Posts Tagged ‘Melancholy’

13th May 2025

Christopher Nosnibor

Papillon de Nuit, the ever-evolving, ever-shifting musical collective centred around the multi-talented composer, arranger, lyricist – not to mention promoter and musical / creative all-rounder – Stephen Kennedy, presents a sixth single in just a few short months, a run which began in December last year. And, true to form, ‘Ma’at’ is very different from each of the previous offerings.

Once again featuring the grand piano work of Karen Amanda O’Brien and Michalina Rudawska on cello, along with the return of Megan Richardson providing vocals alongside Kennedy’s, ‘Ma’at’ follows its predecessor, ‘Adriane’, as a song built around strong, dominant percussion and brooding strings. Where it departs is that what emerges from the bold, dramatic intro is a pretty straight-up dark pop song that’s not a million miles removed from later March Violets. It’s graceful, melodic – and I’ll even add catchy, comfortably withstanding repeat plays – and naturally, it’s laced with a delicate hue of wistfulness and melancholy.

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‘Dröm Sång’ emerges as a poignant ballad from Këkht Aräkh, blending melancholic melodies with an introspective narrative. Rooted in a draft originally conceived during the Pale Swordsman sessions in 2021, the song carries a familiar resonance, particularly reminiscent of the track "Swordsman" from the same album. However, its creation followed an unconventional path, with recording taking place under spontaneous, often cramped conditions across Berlin, Germany, and Tokyo, Japan.

The accompanying music video was shot entirely in Tokyo and features scenes filmed by Nick from the electronic duo IC3PEAK and additional footage self-recorded by Dmitry, all using a handheld camcorder to create a raw, personal aesthetic.

Dmitry explains:

“There’s a deeper reason behind choosing Tokyo as the location for the music video, beyond my admiration for Japan. This particular place is often idealized by people around the world who have never lived there, making it a perfect fit for the song’s escapist theme. The song reflects on life, with all its hardships and evils, as nothing more than a dream from which you’ll eventually wake into a peaceful world.”

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Photo credit: Nick Kostylev (IC3PEAK)

Summer has come to an end, all swallows have left the north, and autumn is already knocking on doors and windows with gusts of wind and rain. When the first leaves are falling, it is also time for melancholic tunes. WHISPERING VOID has the perfect offer for this darkening season: the eponymous song that gave the collective of renowned musicians from Norway’s west coast their name. ‘Whispering Void’ is taken from their forthcoming debut album At the Sound of the Heart, which has been scheduled for release on October 18, 2024.

WHISPERING VOID comment: “Lyrically, ‘Whispering Void’ combines all the elements of this album”, vocalist Kristian Espedal reveals. “The slow, gracious movements of the music evoke the innocence of natural beings moving through a forest, as acted out by the vocals in the verses. This song also features our third ‘outside’ collaborator, Matias Monsen from the band DROTT is playing the cello.”

Listen to this gloriously epic tune here:

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‘Wanderer’ is Këkht Aräkh’s first new music since the release of the highly praised album Pale Swordsman.

Of late, Këkht Aräkh has been a music project on the move. Originally from Ukraine, Dmitry called many places home, finally taking up residency in Berlin. So unsurprisingly, the themes touch on very real and personal experiences pertaining to the complexity of identity and belonging. His inner sensitivity, in the absence of and longing for a sense of home, is a physical one.

Sonically, Këkht Aräkh took inspiration from second wave black metal, as well as neo-folk, hip-hop, and nu-metal. ‘Wanderer’ is an evolution of sound but his signature melancholic atmosphere and escapist nostalgia are fully present.

Watch the video here:

Mirroring the artist’s life, the writing and recording process of ‘Wanderer’ was a nomadic journey in itself. Recording took place in two different locations – Berlin, Germany, and Espoo, Finland. Every borrowed guitar and impromptu studio session became a vital thread in the song’s intricate tapestry. Invaluable contributors also brought their unique elements to ‘Wanderer.’ Wanja from Mrtva Vod lent his raw drumming, and Chase, the Galrög from Lore Liege, played a crucial role in shaping the song’s brooding sound. Nick from IC3PEAK also provided a creative haven for the visceral vocal work.

The eerie tranquility of the Finnish woods provided the necessary space for Këkht Aräkh to breathe life into the song. Here, the finishing touches were added – the delicate keys and haunting vocals. The accompanying music video was also crafted in this setting, amidst dense forests and derelict churches.

The title, ‘Wanderer,’ is a nod to the well-known hook from Pale Swordsman; "Wandering in the night, Pale Swordsman." However, it’s also a reflection of Këkht Aräkh’s personal journey as an immigrant, perfectly encapsulating the essence of the song’s inspiration.

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New Zealand singer/producer/multi-instrumentalist Fazerdaze (real name: Amelia Murray) has shared an addictively hooky new song ‘Flood Into,’ making the previously vinyl-only track available across all platforms for the first time.

‘Flood Into’ appears on Fazerdaze’s first project in over five years – the powerful and cathartic ‘Break!’ EP – out now via section1.

Listen here:

In Amelia’s words, “‘Flood Into’ is about a deep love and loss, and the reclamation of myself at the end of that cycle. It’s the feeling of my own energy rushing to fill me back up again. I wrote Flood Into in anticipation of a break up. The song embodies all the melancholy I felt from letting go of someone I loved in order to walk my own path and learn to stand in my own frame again.”

Fazerdaze’s debut LP, 2017’s Morningside, launched Amelia onto the global stage with rave reviews from publications like Pitchfork and Mojo and tours to the other side of the world from her previous home base of Auckland. But the wheels were coming off behind the scenes. A combination of unhealthy personal relationships, feelings of unworthiness regarding her burgeoning success and general mental exhaustion soon began to manifest in her musical output; for years, Amelia found she couldn’t finish a single song. That is, until she relinquished resilience as a badge of honor and let herself crack open.

Break! was completed during a three-month long lockdown in NZ while Amelia was living in solitude for the first time, and directly in the aftermath of a nine year long relationship. Taking stock at an emotional bottom, the EP crafts an empowering portrait of surrender and personal reclamation. Break! is a vital release for Amelia, who wrote it whilst on a journey of rediscovery as both musician and human.

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26th January 2022

Christopheer Nosnibor

Elkyn first came to my attention – and, quite frankly, blew me away instantaneously – in his previous iteration as elk, in the spring of 2019, an appreciation that was cemented with the release of the ‘beech’ EP that summer. Since then, Leeds based multi-instrumentalist Joey Donnelly has become elkyn and gone on to craft not only more remarkable songs, but also something of a rarefied space artistically.

In many respects, there’s very little of Joey out in the public domain: press shots tend to be similar in style, and unassuming, and interviews, while interesting in themselves, and while he comes across well, reveal little about the man behind the music. In contrast, his songs are so intensely personal that there’s likely little need to elucidate further: the songs really do speak for him.

Those songs have already earned him airplay on BBC 6Music, BBC Introducing and Radio X, and deservedly so, and now, with a debut album, holy spirit social club, due for release in the spring, elkyn is sharing ‘talon’ as a taster.

Fuller in sound and more up-tempo than previous singles ‘something’ and ‘everything looks darker now’, it’s more akin to ‘found the back of the tv remote’, which found him flexing new muscles and venturing into Twilight Sad kitchen-sink melancholia.

It’s a(nother) magnificently-crafted tune, and it’s clear by now that Joey has a real knack for bittersweetness. The guitar is melodic and imbued with a wistfulness that’s hard to define. There’s a Curesque lilt to it, in the way that when the Cure do pop, it’s somehow sadder and more emotionally touching than then they do gloomy – or is that just me who experiences that sensation where a certain shade of happy just makes me want to cry inexplicably? But more than anything, when Donnelly’s voice enters the mix, I’m reminded of Dinosaur Jr. Joey’s a better singer than J Mascis, but his voice has that same plaintive quality that tugs away and evokes that emotional hinterland between gloom, resignation, and hope.

Donnelly deals in self-doubt, self-criticism and articulations of inadequacy, and this is why his songs are so affecting and relatable. But it’s the hope that shines through on ‘talon’ – thin rays of sun through the closed curtains of despair perhaps, but with a tune this breezy it’s hard to feel anything other than uplifted by the end.

Live dates:

18/03/22 Hyde Park Book Club Leeds

19/03/22 Fulford Arms York

20/03/22 The Castle Manchester

24/03/22 Scale Liverpool

25/03/22 JT Soar Nottingham

26/03/22 The Flapper Birmingham

27/03/22 Duffy’s Leicester

29/03/22 Strongrooms London

30/03/22 Folklore Rooms Brighton

01/04/22 Clifton Community Bookshop

02/04/22 Tiny Rebel Cardiff

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Pic: Stewart Baxter

Crocodile Records – 26th April 2019

Let’s not deny it: we’re all vain to varying extents. Of course I got a buzz from Amy Studt’s sharing of my review of her last release, ‘I Was Jesus in your Veins’ on Facebook (although more than the buzz, I was genuinely touched by her level of appreciation), and to see Aural Aggravation quoted in the press release for the follow-up – well, that did give me a buzz. That isn’t to say that I crave attention and adulation, and when I say I do this for the love not the money, I mean the love of music, not love I receive for writing all this shit, because, well, it’s not how it is, and I’d kiss a lot more arse if I wanted that kind of adulation and approval.

I’ve digressed before I’ve even begun. ‘Let The Music Play’ is the follow up to ‘I Was Jesus in Your Veins’, and is the second track and chapter in a series of songs that will be released every six weeks and will ultimately make up the overall story / track listing on what Amy’s PR describe as her ‘eagerly awaited new album’, which is ‘a narrative diary of depression, hope and redemption’, and ‘a bold and intimate set of heartfelt songs’ which is set to arrive later this year.

‘Let the Music Play’ begins as an intimate acoustic song, but over its duration, layers up with warping synths and infinite incidentals that coalesce to a rich, dense sonic soup. Amy’s vocal is quavering, quiet, intimate, as she reaches upwards and soars with a joyous freedom tempered by a deep-seated melancholy. A magnificent slow-burner, it’s quite simply a great song.

With some live dates upcoming, the indications are that after some wilderness years and a false start a bit back, Amy’s finally getting her career back on track, and the signs so far for the new album are all shades of positive.

15th July 2018

Recently named ‘artist of the month’ at The Great Frog, former Arrows of Love drummer, film and game soundtracker and artist in his own right, Mike Frank is on a bit of a roll.

He’s written and recorded two albums post-Arrows: ‘This is going to get weird… I’m going to make this weird’, which he describes as ‘a collection of orchestral and experimental film music songs’, and an album featuring Rufus Miller, Lyndsey Lupe and Artur Dyjecinski which is ‘full of dark sounds and Middle Eastern instruments’. Only the former has yet seen the light of day.

A taster of a forthcoming album, ‘All My Possessions’ has no connection with either project, and is infinitely more accessible – I’ll refrain from going so far as to say commercial – than anything we’ve heard from him so far. What’s more, this downtempo yet somehow simultaneously jaunty, jangly indie rock tune, which boasts a really rather catchy chorus, hints further at his songwriting range. With delicate, understated, picked guitar and a bleak croon, the opening resembles Leonard Cohen, and there’s a darkness which shadows the song as a whole.

Bukowski’s influence is rendered explicit in the lifted footage which accompanies the song, which is essentially about the vagabond life of a writer, but also, as he puts it ‘about feeling down and out, lonely or even desperate’ – and you wonder which voice or perspective lines like ‘she’s so good to me / I’m such an asshole’ and ‘I like to drink because I can / It makes me feel like I’m still with the band’ are really coming from.

It’s got a nice slow build that swells subtly to a full finish, and is, as a song, rounded and satisfying. And really very nice, if kinda sad.

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Mike Frank

Gizeh Records – GZH67 – 1st April 2016

Christopher Nosnibor

Last Harbour aren’t exactly renowned for their prolific output. They may have released six albums, but it’s taken the best part of 17 years, and the gap between the last two albums was a full four years. So, for Paler Cities to follow less than a year after their last long player, the immense Caul, feels like a real step-up in terms of momentum. The 7” single is accompanied by a brace of digital-only tracks, and the quality of the material is both consistent and superlative.

They’ve struck a rich seam of gloomy post-punk folk music, and ‘Paler Cities’ indicates a further evolution, showcasing a new-found stripped back approach to the compositions. A tense, chorus-heavy guitar provides a suitably stark backdrop to K Craig’s intonations of mournful longing delivered in his signature cavernous baritone.

Flipside ‘The Curved Road’ is a brooding, introspective effort which goes deep inside while evoking dark late-night imagery and conjuring psychological drama. The stealthy, almost subterranean, wandering bassline really makes it.

The digital tracks are of an equal calibre: ‘A Better Man’ is beautifully lugubrious and understated, dripping with minor-key violin, and with its chiming guitars and sad-sounding string arrangements, the darkly dreamy ‘Witness’, with its sweeping vistas, displays post-rock tendencies (or, more specifically, it echoes I Like Trains at their most melancholy).

There’s an overarching theatricality to the four tracks on offer here, and while they’re downtempo and downbeat, the aching beauty that lies in their shadowy depths is utterly compelling.

 

Last Harbour - Paler

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Last Harbour Online