Raving Wild is a singer songwriter based in the UK, and we ran through a few questions to get better acquainted…
Spunky and packed with an up front pop sensibility, Lily Lambert’s sophomore album So Far is a breezy package of folk tinged tunes to bring some sunshine in to your day.
Cedar Boulevard combines a blend of rock, pop punk and post-hardcore to form a unique and distinctive sound. From the fast paced vocal delivery, dual lead guitar and thumping low end through to the more melodic acoustic, piano and string elements the band covers a wide range of styles and genres. Founded in Australia by Kris Ahlquist and Luke Sharp, but searching for a bigger scene the two moved to North America. Here they found David Mari and Julian Comeau. After releasing their self titled EP the band has set out on a mission to conquer the music scene and gain countless new fans.
We ran a few questions their way to find out a bit more about them.
The opening track of We All Make Miss Pakes, ‘Lying Awake’, kicks off with an gorgeousness that drips though the whole track, deep and chocolatey.
Flimstrip’s Moments Of Matter is glorious blend of country, indie, americana, and classic slacker college rock.
Kicking off with ‘Body Bag II’, Dead Things Don’t Bleed get things going with a bucketload of cool country influenced indie rock.
Opening with a hugely effected yet stripped back vocal line, ‘I Don’t Get You’ wastes no time at all getting straight into the beat, first with a echoey, natural drum fill that leads into the track’s thumping four to the floor bass beat.
With a warmth and depth to its tone, Shelby Potts’ ‘Just Over The Moon’ floats and drifts its folk infused vibes around your head, drawing you in and surrounding you like a winter coat.
When you break the track down to its component parts, it’s clear that it’s all there: broad guitar strums, wailing country style notes, aching delay echoes washing around in the background, and a confident yet unassuming lead vocal. Ordinarily this would simply be a recipe for something good, but here something truly magical happens through the combination of these elements. It’s hard to put a finger on it, but there’s a sense that the key is found in the lack of pretense, and the way that attention to detail and commitment to artistry has been put so high, it would seem, on the agenda when it came to the construction of the track. If everything else was taken away and it was nothing but an acoustic guitar and a voice, it would still stand up strong as a song on its own right, but the real beauty of ‘Just Over The Moon’ is found in the way that the instrumentation has been applied so carefully, and almost painfully, if not beautifully so.