If there was an award for the most memorable piano part of the year, Finland based Indie-Pop duo Since November would win in a heartbeat with their debut single ‘Star System’ released in late June this year. The riff is wonderfully unique in that it is flashy, sad and uplifting all at the same time- resulting in an effect that is rare, but undeniably effective.
Bespoke is excited to announce the release of a new CHARIOTS EP – Dreaming As We Go (Remixes). Featuring 4 remixers (This., Latchmere, Black Forest and OKO) tackling the same song. The This. remix has already been featured on several mid-range Spotify playlists- take a listen to this energetic and diverse project and let us know what you think! Available from all digital outlets– OUT NOW.
The Legend of XERO is certainly a distinctive and interesting individual. Producing a unique brand of dark, Industrial-Goth, Pop and Hip-Hop for several years now- The Legend of XERO (his real name unknown) has already released multiple albums, his most recent being Ascension: The Creative Power of the Imagination, released earlier this year. This album features XERO’s most popular track to date, titled ‘Zombies’. Much like the majority of XERO’s music, ‘Zombies’ features influences spanning an array of different styles including EDM, Rock and Industrial with a contemporary pop sensibility in the songs structure, lyrics and vocal melodies.
Despite residing in L.A, one of the world’s most prominent hubs of music and pop culture, PLEXXAGLASS have faced little trouble standing out as of late. Consisting of members Alexa Joan Rae (vocals, keys), Lauren Stockner (bass, guitar), Ken Oak (Cello) and Sarah Luffred (drums), the bands unique brand of emotive songwriting initially captured a more widespread audience through their single ‘Lament en Route’ released five months ago, gaining critical acclaim from independent bloggers across the globe. It was a powerful, emotive and commercial release, but how does their newest single shape up in comparison?
Anybody growing up as an awkward teenager in the mid-late 2000’s will remember with fond nostalgia the music of Paramore and the way they tapped into a MySpace culture of emotional angst at just the right time. Lead singer Hayley Williams’ dramatically razor-sharp bangs (with appropriately violent bursts of red, pink and orange) jumping around in front of her band mates (who for the most part just seemed like they were in it for the ride). Fast paced, mind numbingly catchy emo-rock-pop, albeit without the shrill whininess one often associates with the genre. Thinking about how much of a different time this was really does make one feel old.