Cordelia Gartside Hastings, UK
Blended with influences of alt-indie and rock, Cordelia's music showcases free movement through ranges of emotion, lyrics like short stories and notes that hit like a sucker punch.
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supported by 6 fans who also own “Sirens ft. John Smith”
This is the first album I found that really spoke to me as a young fem. From the simplicity, the bass drum, specifically in landfill is so steady and soothing. I love landfill because it perfectly portrays trauma bonds, sexual or romantic relationships rooted in power imbalance. Being led on, unrequited love, constantly being clueless if someone is a real friend, or a lover. Are they yours or are they ruthlessly rogue. Untameable. Love and hate are such similar feelings, and they often mingle.
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Old Country
by Andrea von Kampen
supported by 5 fans who also own “Sirens ft. John Smith”
The whole album is awesome. But I gravitated first toward "Portland". Then "Wildwood Flower" because I'm familiar the 10,000 Maniacs cover. Very different; AVK's is very contemplative.
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supported by 5 fans who also own “Sirens ft. John Smith”
Stumbling upon Tiny Ruins felt like when I first stumbled upon Leonard Cohen in my late teens. The lyrics, the music, the voice come together in a unique melancholic and tender delivery. Loving it!
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Simple yet experimental bedroom folk plays has the dirgey, pensive feel of very early Sufjan Stevens records.
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Enough as it Was
by Amos the Kid
Terrifically edgy guitar rock defines the latest from Amos the Kid, funneling country influence through a gritty indie aesthetic.
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Under The Surface
by Nameless Ghost
The wrenching songs on the latest from Nameless Ghost tackle loss and grief amidst toothy indie rock.
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Or Else The Light
by Louise Connell
supported by 5 fans who also own “Sirens ft. John Smith”
The magically understated arrangements, the journeys embedded within the lyrical content and the allure of Louise Connell's vocal delivery. Another fabulous outing from what must be one UK's finest artists.
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