it was last September that I was bemoaning the fact that any activity that was bringing new music my way via glasswerk had all but dried up as I posted the last couple of live reviews
so I finally took it upon myself to knock out a couple of reviews, both of which i have some personal investment in.
first up was the debut EP from a fledgling North London record label, that just so happens to be run by a couple of Enfield lads that I have crossed paths with a number of times, from their time performing together in Those Handsome Animals, and also separately in Retro Crooks and The Waterloos in the golden age of Enfield's live music scene.
but that is all in the past now, and they are now concentrating their efforts on sniffing out new talent as Njord and releasing limited edition cassettes with a lo-fi feel.
Connecticut born solo artist, Gift Lions, has the honour of kicking off their release schedule with 5 tracks that shimmer and glow with a nostalgic warmth, but you better move fast if you want to covet the physical format, as only 100 copies of the cassette release are in existence
Gift Lions review here
the second was a look at the latest single to be released by Akira The Don, who I have never shied away from heaping praise upon.
We Won't Be Broke Forever Baby, has long been a personal favourite of mine, teased out at occasional live performances long before being committed to record, featuring on the sophomore effort, The Life Equation and gaining itself a single release
Akira The Don review here
and with these two recent reviews under my belt I gathered up a bunch of contact details from promo CDs and sent out the feelers to see if anyone out there would like to send some new music my way
and some people did, I was rather disappointed with the bland Burning Shapes, rather more impressed with the subtle hip-hop head-nodder from Niko (which, due to technical difficulties, had to be reposted in April) and also gave the seal of approval to the debut album from film makers and art-collective turned musicians, Breton.
The press release may have been full of hot air in order to push the band's high-brow and artistic nature to anyone that would listen, but when the music was allowed to speak for itself it showed a highly diverse and post-modern collection of songs that may look set to infiltrate the public consciousness via car commercials if any advert executives spot this bands crossover potential, but don't hold that against them
Breton review here