Tag Archives: Lovers Turn To Monsters

GoldMold presents Lovers Turn to Monsters, Sawlung (split EP launch) at Bloc, 13/3/17

Four-piece Sawlung seem to have an intricate understanding of the basis of emo music garnered the hard way.

Their complicated music is heavily relatable and exceptionally gripping, with unapologetically raw vocals from Wull Swales.

Kenni Campbell plays the guitar vivaciously and veraciously with the intensity and passion that make him one of my favourite guitarists in Glasgow; his work – in this band or elsewhere (The Sinking Feeling, FRAUEN) – are acoustically unlike any other music I listen to.

It seems like GoldMold has him under lock and key with FRAUEN’s debut album earlier this year and with The Sinking Feeling releasing two EP’s this year, for which I am leg-rubbingly excited.

This is Sawlung’s first gig – their on-stage presence and some of the overall intensity brought seems still to be under development, which is acceptable and not at all a problem; they are still settling in.

Their songs, however, do not feel as if they are under development; their music is mature, well-developed, dripping with emotional intensity and impeccably well suited to my ears; they’re certainly a band to watch out for in 2017.

Swales gets down from the stage for a biscuit and a wee seat before getting right back up to play bass for Lovers Turn to Monsters – the other side of the Sawlung/Lovers Turn to Monsters split around which the night revolves.

Singer and principle lover/monster Kyle Wood remains true to words he spoke to me in the smoking area before the show.

He says he is not a fan of heavy music, but loves the acoustic singer/songwriter elements that tended to feature on albums of such artists.

His music echoes that with a curious mixture of levity and depth, Wood indulges in an inordinate amount of inter-song discourse – at times I feel like screaming “play a damn song”.

LTTM play music that aches of the softer side of the East Coast American emo a lot of us grew up with, indeed both LTTM and Sawlung possess this quality.

Nice lyrics coat pleasant ukulele lines amidst tight, technical drum work, low prolific bass and sparse, well-implemented guitar work.

Wood’s vocals are non-formulaic, diverse and fitting, pretty good in a technical sense as well; the vocals remind me of Japandroids – there you are.

Wood swaps his ukulele for an acoustic guitar with a harmonica attached, talks mince for what feels like an entire day before playing another pair of nice songs.

Some fans seem to know the last song in its entirety, singing every word – thereby saving Wood the trouble.

Overall and in keeping with these monthly showcases, tonight’s event is convivial, vibrant, fun and in service of some excellent new music.

By putting on these free, diverse shows each month, GoldMold remains one of Glasgow’s most inclusive labels.

Words: Paul Aitken

Albums of 2015 (20-11)

20-11  –  10-1  –  Tracks & EPs

20 December ’91 - Quebec20 December ’91 – Quebec [Gold Mold]

Probably the only album to make this year’s lists recorded on a mobile phone, Quebec showcases both December ’91’s musicianship and originality. Raw, simple but excellently put together December 91’s music clearly serves as an outlet for his emotions as it touches on a number of personal matters, which are delivered in an equally heartfelt manner. (Jess Lavin)

19 Antique Pony - unalbum19 Antique Pony – unalbum

Completely unique and utterly, strangely, bewitchingly triumphant; unalbum features vocoders, discordant melodies, funk, surf guitar, jarring and angular riffs… and yet it all flows. They may as well be called Unique Pony because there’s bugger all else out there quite like this, not capable of producing such a cohesive blend from wildly divergent ingredients anyway.

18 Idlewild - Everything Ever Written18 Idlewild – Everything Ever Written [Empty Words]

Everything Ever Written encapsulates Idlewild in 2015, the Fugazi fuelled alt rock angst of 100 Broken Windows may be missing, but it more than makes up for it in melodic depth. A surprising, poetic, folk tinged collection of songs that are so well rounded it’s hard to pick a favourite. Idlewild have matured at the same rate as their fans and this record satisfies the huge Scottish rock/pop void left since Readers & Writers. (Andy McGonigle)

[soundcloud url=”https://api.soundcloud.com/tracks/185112505″ params=”color=ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false” width=”100%” height=”166″ iframe=”true” /]

17 Admiral Fallow - Tiny Rewards17 Admiral Fallow – Tiny Rewards [Nettwerk]

Admiral Fallow’s third album Tiny Rewards, is quite simply brilliant. Released three years after their second album, this new collection of songs unravels a band that has come of age. Tiny Rewards is an epiphanic record that fills you with joy; it is also tender, contemplative and intelligent. (Tina Koenig)

16 Lovers Turn To Monsters - Hard To Be Around16 Lovers Turn To Monsters – Hard To Be Around

Fresh and eccentric, delicate and intimate, Hard To Be Around works as a sneak peek into Kyle Wood’s psyche. The album is an obscure trip down the singer’s brightest and darkest sides, mystically keeping you on the edge of your seat after every track. An absolute delight if your mainstream conscious is switched off; a rare piece of raw music, which will provoke emotions in whoever dares to listen.

15 Pinact - Stand Still and Rot15 Pinact – Stand Still and Rot [Kanine]

With their debut LP Pinact have produced a piece of work that fully realises their significant talents. Stand Still and Rot is full of bluster and grace, exploring notions of uncertainty, joy and boredom, spiked with corrosive volume and sweetened with heartening melodies. The album is full of instantly likeable and catchy moments, loads of classy touches and tons more, including more hooks and big choruses than you can shake a stick at.

14 Young Fathers - White Men Are Black Men Too14 Young Fathers – White Men Are Black Men Too [Big Dada]

After winning the Mercury Prize for their 2014 album Dead, Young Fathers immediately travelled to Berlin to finish recording its follow up: White Men Are Black Men Too. The difference in the two albums is night and day. Whilst Dead was polished and gleamed with pop sensibility, WMABMT features lo-fi, raw production that makes use of rattling drum machines and scratchy, hollering vocals. Young Fathers may be the most innovative music group in Scotland, and go about it in a damn cool way. (Greg Murray)

13 Apostille - Powerless13 Apostille – Powerless [Night School]

Powerless. Horrible. Dark. Depressing. Makes you want to kill yourself, but that is the point. Everything is fucked so why not listen to this as you stare at the clock, waiting for it to end… (Paul Choi)

12 Rustie - EVENIFUDONTBELIEVE12 Rustie – EVENIFUDONTBELIEVE [Warp]

It could be said that 2015 was a rough year for Russell Whyte, aka Rustie, with the producer announcing a break from live shows due to “addition and mental health problems”, however one particular high point was the release of EVENIFUDONTBELIEVE; an album that saw him head back his raw beginnings. The album saw Rustie take full creative control, and when we say full we mean FULL; everything here was done by Rustie from the beats to the production to the vocal samples! It may not be the adrenaline pumping club effort many wanted, but it is a highly detailed maximalist release that demonstrates the producer’s prowess. Hopefully he’s not off too long.

[soundcloud url=”https://api.soundcloud.com/tracks/231186412″ params=”color=ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false” width=”100%” height=”166″ iframe=”true” /]

11 Kathryn Joseph - Bones You Have Thrown Me and Blood I’ve Spilled11 Kathryn Joseph – Bones You Have Thrown Me and Blood I’ve Spilled [Hits The Fan]

Kathryn Joseph was undoubtedly one of 2015’s greatest success stories, with the release of Bones You Have Thrown Me and Blood I Have Spilled propelling her to the forefront of the Scottish scene. Produced with simplicity, honesty and an instantly recognisable vocal, this album served as a perfect introduction to an artist who we are most definitely going to be hearing a lot more from in times to come. (Ellen Renton)

20-11  –  10-1  –  Tracks & EPs

Lovers Turn To Monsters – Hard To Be Around

It is rather unusual these days to listen to unpredictable music, one would have to go deep into the experimental section of a vinyl store to get drowned into unfamiliar sounds.

It is even more interesting when this idea of experimenting is soaked into a common genre like indie or alternative music, transforming the compositions and the songs into personal statements, melodic visions.

The result is usually surprising reflecting different perspective about how things can be done, heard and felt.

Hard To Be Around works as a sneak peek into Kyle Wood’s psyche, from rocking melodies that reveals a certain philosophy of life (‘Me, Crying As A Kid’; ‘Fine, Whatever’) to sweet and quiet soothing riffs exposing a delicate side to the singer’s versatile attitude (‘Not Going Out’; ‘If My Brain Had An Ass I Would Kick It’).

The album is nothing but an obscure trip down the singer’s brightest and darkest sides, the whole musical work sometimes echoes as a concept that seems out of range and splattered across one’s eardrums in no particular order, but it mystically keeps you on the edge of your seat after every track.

After all music is art and should sometimes be seen as only what it is, i.e. sounds combined in such a way as to produce beauty of form, harmony, and expression of emotion.

The conceptual mixtape goes through every emotion like a catalogue, from the softness of ‘Arms’ with its reverberating vocals echoing a quiet and drifting guitar riff to the marching ‘One Final, Clumsy, Desperate Waltz’ whose lyrics are inexistent, but replaced by a dialogue between two French protagonists (one can be recognized as Audrey Tautou), birds are whispering, kids are playing around as the music gets louder and louder; every song is an invitation to Wood’s limitless imaginarium.

‘Don’t Try to Stop Me Smee!!!’ is a delicate musical mixture between the sound of a banjo and a beatbox machine, of course depicted this way it does not sound appealing, but the vocals push the boundaries of those two instruments creating, for more than three minutes, an ephemeral harmony exposing another side of LTTM’s talent.

But LTTM does not forget his punk/pop roots and through the whole album a few isolated powerful and loud tracks appear (‘Fine ,Whatever’; ‘Result!’).

And yes sometimes it takes a few listens to fully grasp the band’s intentions like on the long minute-and-half of musical moaning and screaming beat-making that is ‘Sorry, I Don’t Smoke’, but everything seems to fall into a certain chaotic yet melodic order.

The album is an absolute delight if your mainstream conscious is switched off, it is undoubtedly flawed, but most of those flaws turn this album into a rare piece of raw music with its only purpose to provoke emotions in whoever dares to listen to it.

It is fresh and eccentric, but at the same time delicate and intimate.

Words: Jeremy Veyret

Round-Up: Errors, BBC at the Quay, Ariana Grande, Lovers Turn To Monsters

So, in a bit of a trip from the usual review filled generalities I decided I would put up a bit of round up post Primavera of my musical adventures, of which there have been a few, all coming in a ridiculous haze that hasn’t faded two weeks later (me and Nick are going to piece together some memories of that too for your pleasure, but that’ll come later).

Arriving back to all the glory of the cold of Partick, via Prestwick, in the early hours of Wednesday morning it took a good deal of time before I was prepared to leave the comfort of the flat, eventually emerging for work and then making it along to the Detour event with Errors at the Science Centre as part of the BBC at the Quay proceedings.

Errors have consistently been one of the best acts in Glasgow for a good time now, 11-years they’ve been going, with five highly impressive albums under their belt; so understandably it was pretty exciting having the prospect of seeing them in a unique and potentially awe inspiring setting.

Sadly there’s no science tonight, we turn up to the Science Centre to find it’s all set up for them to play in the foyer; slight disappointment, maybe this won’t live up to the ear splitting show they played at the Opry at few years back.

Still, it’s pretty brilliant, but when are they not, they submerge us in tunes from their brilliant floaty new record, Lease of Life, as well as treating us to an array older numbers by the mid point of the set there’s not a single person without a bounce in their step.

Some immersive visuals project cleanly onto both the side walls, but they are most impressive when directed onto the band making the boys seem like they’re playing in some kind dream-scene wash of colour.

Indeed the high point of the set comes when the band are joined by the Glad Community Choir, who add a whole new dimension to the typical Errors set in a unique and truly beautiful moment.

By the time the band finish up they’ve got everyone’s toes tapping, and foyer or no foyer they’ve produced something, yet again, that reminds us why these guys are so good; well worthy of their SAY Award nomination.

Still, recovering we skip ahead to Sunday, potentially even more recovering after a messy Saturday, but it’s lovely outside the West End Festival is starting and stuff seems to be happen all over the city – odd day to fire a full day worth of live music at the BBC when the West End’s biggest party of the year is happening just half-an-hour’s walk away.

I do make the track over the river, however fail abysmally to get there in any reminisce of time and from word around miss a few belting sets.

Just after I arrive uncle Vic is up on stage introducing Kobi Onyame, an act I’ve been aware of but never really had the chance to check out properly.

One thing that can’t be said is the Ghanaian, Scotland based, MC is that he doesn’t put his all into stirring up a reaction from the pretty sparse audience, we do see lingers of dancing here and there, but it doesn’t quite wash as those in attendance switch from shades and no jacket to jacket and no shades as Glasgow’s nice weather draws to a close.

United Fruit take it up a notch; it’s been a while since I’ve seen these guys but frontman Iskander Stewart seems in fair spirit, talking jovially with the crowd before exploding into another track.

There’s been a few new tracks kicking about by these guys in recent months, but those tracks don’t quite give the impression of their live show.

It’s powerful, loud, life affirming stuff and if they can translate this live feel into their new record they’ll be a formidable force to deal with.

It’s pretty chilly by the time one of last year’s bands of the last year, Honeyblood, take the stage, but the duo do their upmost to maintain that sunny feel with the sundrenched melodies of last year’s self titled debut album.

It’s a nice way to spend the early part of a Sunday evening as Stina Tweedale’s bittersweet lyrics drift addictively over the Quay, while the band’s 90s alternative sound gives enough of an illusion of warmth to keep the shivers away before we all have to make that trek home.

Next up is an odd one, well it isn’t, it’s one me and my flatmate talked forever about needing to go to, but also one that has drawn questionable looks from most when I do talk about it.

It indeed is glossy pop Princess Ariana Grande at The Hydro; we’re running late by the time we get to Glasgow’s state of the art arena, missing yesteryear’s Nickelodeon star’s entrance, but only missing ‘Bang Bang’ in terms of tracks, which as her material goes is pretty mince.

The set itself is the spectacle you’d expect from a pop show of this magnitude, as Grande draws on material from her two album to date, 2013’s Yours Truly and last year’s fantastic My Everything, she floats above the stage on a cloud, gets lowered down on a chandelier, has as many costume changes as humanly possible and has a host of collaborators (Mac Miller, Childish Gambino et al.) show up on custom video to piece together the set.

None of that is the most outstanding factor though, it’s that this girl can sing and I mean really sing! She doesn’t seem to ooze the charm of Katy Perry or the charisma of Beyoncé, but if it came down to chops alone wee Ariana would be well up there.

That tag of the next Maria Carey isn’t a bad one to hold, but this girl shows all signs of potentially passing that and if album number three keeps up the trajectory there won’t be a single person that doesn’t know her name.

So onto Tuesday and it goes from pop princess to lo-fi pop… princess? Nah we can’t quite go there, Kyle Wood aka Lovers Turn To Monsters plays his cassette launch with full band at Bloc and out of all the times I’ve seen this boy, whose garden I can see from the bedroom window of my parent’s house, this is potentially the best.

Support comes from the acoustic punk of Roscoe Vacant, whose sometimes poignant, sometimes heartfelt, generally amusing words warm the Bloc audience before Calum West’s project Young Skulls takes us down a much more fuzzy and indulgent path to make way for the tonight’s headliner.

Like I was saying, I’m no stranger to a Lovers Turn To Monsters set, he usually emits a shambolic charm, as his quirkly tales, that he seems to have no end of, never fail to amuse and warm any crowd.

Tonight it’s a bit different though, he tells me he’s “no steamin’”, something he’s not done on stage in a while, still he goes some way to sorting this before and during the set, sending drummer Barry Carty to get shots mid set while he plays while he plays an acoustic number.

That said, tonight Kyle has his game face on, the tunes seem more refined with the full band, and although he still seems produce the most prolific amount of material around, he’s definitely got better at channeling the gems in that selection.

His banter tonight is top notch too, maybe it’s luck or maybe it’s that he’s playing to a room here to see him, but every word he utters between songs seems like gold, where before it might have been awkward drunken observation, tonight it’s poignant, comical sentiment.

The set blasts through those lo-fi vibes, but gets beefed up without losing that shambolic charm, indeed as he stands in the audience screaming “you’re a rain cloud” during ‘Me; Crying As A Kid’ it seems he’s in his element; impressive stuff.

Words: Iain Dawson

Album of 2014

Andrew Person & Lovers Turn To Monsters – Everything We Miss17 Andrew Pearson & Lovers Turn To Monsters – Everything We Miss [Common]

A combination of two endearing singer-songwriters, brought together under the umbrella of Common Records in the dismal Glaswegian rain, resulting in an equally endearing collection of tracks. Taking a song each throughout the track listing, the single ‘Juan Antonio’ is a standout track in an octet of tracks that will coax out a tear if you let them. (Kyle McCormick)

[review]

Fat-Suit – Jugaad17 Fat-Suit – Jugaad [Equinox]

With a 15 strong collective of highly trained musicians, in the later part of 2014 Fat-Suit released an instrumental album of innumerable sounds and styles all expertly welded together. Tight grooves splashed with influences from traditional Scottish music and a heavy emphasis on jazz and experimenting ensures that Jugaad is a big, unique flag planted firmly in a Scottish music scene which is very lucky to have Fat-Suit in its midst. (Greg Murray)

[review]

National Jazz Trio of Scotland – Standards Volume III17 National Jazz Trio of Scotland – Standards: Volume III [Karoke Kalk]

Bill Wells has made his name by his collaborations and his experimentations, which often take him to pry the envelope of pop music to great result, at first, Standards: Volume III could appear to be a glossy but unwavering pop album, but upon repeated listens this record is a richly endearing effort for fans and casual listeners alike.

[review]

The Amazing Snakeheads – Amphetamine Ballads17 The Amazing Snakeheads – Amphetamine Ballads [Domino]

Amphetamine Ballads does take some warming to, but after a number of listens and a full appreciation of its delightfully refined latter half, this album is undoubtedly one to be treasured if it appeals to your sense of artistry.

[review]

Withered Hand – New Gods15 Withered Hand – New Gods [Fortuna Pop]

New Gods might at first fool you as sounding like inoffensive dentist-waiting-room shmooth-fm folk-pop; clean but still sensibly naturalistic production, tons of hooks, catchy choruses, acoustic guitars and simple song structures; yet lurking in the lyrics there’s an extremity of emotional tension that swings between stark ugly introspection on one hand and manic optimism on the other.

[review]

Andrew Montgomery – Ruled By Dreams15 Andrew Montgomery – Ruled By Dreams

Former Geneva vocalist Andrew Montgomery went solo with Ruled By Dreams, and has successfully created an album that showcases his writing strengths, both musically and lyrically.

[review]

Thin Privilege - Thin Privilege12 Thin Privilege – Thin Privilege [Struggletown]

For me, Thin Privilege is the band of 2014. With their intense live show alienating crowds’ left, right and centre, I had very high hopes for this record and was not disappointed. This noisy, duel bass assault of an album really grasps the energy of what this very short-lived band was. (Iain Gillon)

[review]

Jonnie Common – Trapped In Amber12 Jonnie Common – Trapped In Amber [Song, by Toad]

Bizarre in all the right places, in all the right ways, Trapped In Amber is perhaps best described as “bizarre pop” as a direct consequence. Pleasingly simple soundscapes provide the backdrop to lyrics that span the board from drama to comedy, with hints of balladry (‘Fractal’), hip-hop (‘Crumbs’) and amazement (‘Binary 101’) all contributing to a record of abundant imagination. (Kyle McCormick)

[review]

Young Fathers – Dead12 Young Fathers – Dead [Anticon/Big Dada]

2014 was Young Fathers’ year, taking home award after award with critical acclaim following them at every turn. Dead was the centre piece of it all, an intoxicating multicultural record that took elements of hip-hop, electronica and pop and put Scottish music firmly back on the musical map.

Rustie – Green Language11 Rustie – Green Language [Warp]

Rustie deserves every single bit of credit that comes his way, while fellow Glaswegian label mate Hudson Mohawke jets off with the glamorous names, Rustie has stuck to his guns and make a record that feels like natural progression. Green Language has all of Rustie’s punch and some very special moments, still we can’t help feel his best is yet to come and we can’t wait.

Beerjacket – Darling Darkness10 Beerjacket – Darling Darkness

Darling Darkness makes for a relaxing listen, but there’s more to it. There’s a depth and texture that goes beyond your ordinary singer songwriter. To mark 10 years of Beerjacket, Peter Kelly has released a beautiful, cosy, folk masterpiece. (Alisa Wylie)

The Twilight Sad – Nobody Wants To Be Here and Nobody Wants To Leave8 The Twilight Sad – Nobody Wants To Be Here and Nobody Wants To Leave [FatCat]

One of the years later releases but well worth the wait, aside from their debut it could be their best yet. The production values like always are superb and the songs reek of melancholic angst and pain just what you’d expect from Scotland’s gloomiest export. The album deserves all the praise it gets. (Phil Allen)

[review]

Mogwai – Rave Tapes8 Mogwai – Rave Tapes [Rock Action]

A lush set of songs that breathe a warm melancholia; flourishes of ambient and electro sounds underpinned by one of the great guitar arsenals in all of music. (Brendan Sloan)

[review]

Stanley Odd – A Thing Brand New7 Stanley Odd – A Thing Brand New [A Modern Way]

The Edinburgh sextet’s third album sees them at their creative best, with their usual concoctions of politics, pop culture and poetry shifted into the next razor sharp gear. Tackling issues of parenthood and imperialism, likely catalysed by recent arrivals and national political awakenings, among other things, A Thing Brand New is thought-provoking and head-nodding perfection. (Kyle McCormick)

[review]

Fatherson – I Am An Island6 Fatherson – I Am An Island [A Modern Way]

Incredible, conceptual debut from a band that looks set to take off in a big way in 2015. Sounds absolutely massive. (Alisa Wylie)

[review]

PAWS – Youth Culture Forever4 PAWS – Youth Culture Forever [FatCat]

Youth Culture Forever might be the perfect follow up to Cokefloat! It takes its predecessors themes and then follows up on them, while also covering some new ground; plus the production is a serious step up and it shows. (Phil Allen)

[review]

Deathcats – All Hail Deathcats4 Deathcats– All Hail Deathcats [Fuzzkill]

I never thought Deathcats would get a full LP release, 2014 truly was a brilliant year for Scottish music. From the get go Deathcats display a penchant for crafting some of the most infuriatingly brilliant melodies in recent memory. Aside from this it’s great to see the band really test their limits and put some of their live show into the record with the great linking sections between songs. (Phil Allen)

[review]

Algernon Doll – Omphalic3 Algernon Doll – Omphalic [Struggletown]

Emo/alt-rock is a genre I that I don’t often indulge in anymore but every so often something pops up which shakes me from that angsty slumber and reminds me that it’s still possible to create original and awesome sounding music in that style. Ewan Grant’s Algernon Doll and their album Omphalic is the perfect example of this, and legendary producer Steve Albini will no doubt help them carry their momentum into next year, with their fourth release in as many years. (Greg Murray)

[review]

King Creosote – From Scotland With Love2 King Creosote – From Scotland With Love [Domino]

A stirring celebration of Scottish pride and resolve; a profoundly evocative album, which handles its subject matter with gentle reverence. This record is nothing less than a masterpiece, and its release saw it receive the critical acclaim that it rightly deserves. The album provided an evocative accompaniment to Virginia Heath’s documentary of the same title, although despite its status as a soundtrack, it is a piece of art in its own right (Brendan Sloan/Ellen Renton)

[review]

Honeyblood – Honeyblood1 Honeyblood – Honeyblood [FatCat]

Glaswegian duo Honeyblood’s self-titled debut unleashes a wave of emotionally aggressive lyrics mixed with sweet melodies and harmonies reminiscent 90s grunge and fitting to their name. The band’s stripped back and minimal setup is compelling, allowing vocalist Stina Tweeddale to showcase her enchanting voice. (Jess Lavin)

[review]

Andrew Pearson & Lovers Turn to Monsters – Everything We Miss [Common]

When Andrew Pearson meets Kyle Wood (Lovers Turn to Monsters) the sparkles generated turn music into an uplifting entity, soothing any kind of pain and undeniably provoking heartrending reminiscence of things past and making you wonder what will happen next.

These are the kind of collaborations that expose why music sometimes can be considered as more than what it actually is.

Both singers enlighten the record song after song, as a mark of mutual respect they let each other express themselves one song at the time, leaving the record layered into two intertwined levels.

At first, those two artists seem light-years apart from each other and two songs on the album provide this strange detachment, while ‘Lavender’ is a gentle ballad about childhood memories and nostalgia that inspires happiness, the following song ‘This is Not a Secret Stars Song’ strikes by its sheer melancholy and its bringing-small-tears-to-the-corner-of-your-eyes kind of feeling.

But then again everything collides perfectly when the last track ‘You’ll Be The Death of Me’ kicks in, divulging impeccable songwriting skills and talented musical accompaniment.

Both artists are compelled to tackle heavy subjects making their music more intricate, simple but sophisticated.

Music becomes poetry distilled through simplistic acoustic guitar riffs that lay bare two artists that are inclined to their own feelings and aware of what surrounds them, their humility is almost palpable, propelled to be shared with anyone willing to listen to their music.

[soundcloud url=”https://api.soundcloud.com/tracks/145147346″ params=”color=ff5500&auto_play=true&hide_related=false&show_comments=true&show_user=true&show_reposts=false” width=”100%” height=”166″ iframe=”true” /]

Words: Jeremy Veyret