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indie pop,
britpop, lo fi
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orchestral
pop, lounge pop
mellow core
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avant
indie, post rock
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indie
rock
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post
punk, noise rock
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alt
rock, power pop,
emo
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garage,
punk, glam + other revivals
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alt
folk, alt soul,
rootsy pop, folk rock
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songwriters
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NYC/Austin artist to watch at CMJ: Heavenly Beat
Split between Austin and Greenpoint (Brooklyn), Captured Tracks' signees Heavenly Beat (led by Beach Fossil's John Peña) show this geographical dichotomy in their sound. The band's serene and spacious melodies are rendered in a semi-claustrophobic way in their electro-orchestral arrangements. There's definitely something heavenly at work here, but the heaven in question, rather than an angelic explosion of fanfare, is crammed in a small Greenpoint bedroom where a few musicians (or maybe just one) quietly record their imaginative songs. Heavenly Beat have a few singles under their belt, the latest - entitled "Messiah," is streaming below. They'll be playing at Webster's Marlin Room on 10.16 with Teen Daze and Delicate Steve.
Published on September 26, 2012
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April 2013
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Drowners
"Between Us Girls"
"Uptempo" and "Pop" are by themselves two concepts that - in the business of being an indie band - can take you quite far; but if on top of that you add to the equation also comparisons to The Smiths, then the hype can get out of control. Brooklyn's Drowners have more than one similarity with Morrisey's act, and although they will surely feel belittled by such comparison, they should not, because no artists really managed to be The Smiths' worthy musical heir yet (like, for example, XTC were for The Beatles, Robin Hitchcock for Syd Barrett, and The Strokes for Lou Reed - uhm, maybe...).
The band's 3 songs debut EP features the remarkable single "Between Us Girls" (streaming below) which immediately throws us back to the days of "Meat is Murder," with the electric guitar alternating between jangly parts and arpeggios, and Welsh frontman Matt Hitt singing semi-melancholically about some girls' hair length - rather than about how big they are... The edge is slightly punkier, while the songwriting reveals an almost clinical concision (the song clocks in just under 2 minutes, with the first chorus coming in after 26" - A&R allergic to intros will dig that).
The second song, "You've Got it All Wrong," beats a similar musical path, tackling the infinite well of inspiration that (for Brits) is life at the pub, with the difference of a slower bridge, which acts as a breather for the final chorus. Final track "A Shell Across the Tongue" is the punkier of the bunch, but also the one with the least memorable melody.
This is obviously a band with enormous songwriting potential. If they'll manage to write songs as good as these and integrate their influences in a more mature and personal sound, the world can be theirs. - PDG
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