Listen: St. George by Caroline Romano

Caroline Romano is a Nashville-based musician, who at just 21-years-old has already managed to generate millions of streams across her catalogue of music. Her new EP, the wonderfully titled A Brief Epic, is made up of three past singles, This House, Guts, and Mississippi Air, together with three new songs.

Across its duration, A Brief Epic depicts the start, middle, end, and aftermath of “a whirlwind relationship”. Being the individual that I am, my getting on point is the new track St. George, which portrays a relationship that has come to a close, as Romano describes:

“St. George is about when the goodbyes have been said and the parting niceties have been exchanged. It’s also about the anger and wanting all of the memories gone, but also wanting it all back at the same time. It’s about wondering what could’ve been done differently, but also knowing you couldn’t have done anything at all to change the outcome.”

Records about relationships that don’t quite happen — jigsaw puzzles where the final piece doesn’t fit — are my emotional security blanket. This is evidenced by the fact I only just covered the thematically similar Never Right, by Sea Glass and Yes Kid, a couple of weeks back.

St. George boasts a strong Taylor Swift vibe from its opening voicemail message, which reminds me of Swift’s iconic phone call from one of her own epic break-up singles, We Are Never Getting Back Together (see below). Here the phone call is from Caroline to her ex, pragmatic in intent, yet emotive in the memories an old sweater, a beach and a forgotten book can evoke, all played atop a Taylor-esque piano refrain.

The resulting production uses that gently heartbroken piano melody to create a sense of vulnerability, and a steady heartbeat-like rhythm provides an emotive sense of pace. As Romano hit the chorus, a crisp, quickening drumbeat gives St. George a sense of determined resolve.

Side note: In writing this post, I stumbled upon this epic performance by Taylor Swift at the 2013 Grammy’s, where she employs a British accent and states “I’m sorry, I’m busy opening up the Grammys”. Worth a watch.

Listen: Always Forever by Dance Yourself Clean

Having appeared on BlackPlastic.co.uk back in December with their thick, big room focused track Losing Focus, the Dance Yourself Clean crew are back with something a little different.

For those unaware, Dance Yourself Clean started as an indie-dance party in Seattle in 2013, before branching out with a touring party, and subsequently starting record label Lights & Music, a production outfit, and ultimately, a music and remix project.

Always Forever retains the no-nonsense, big room aesthetic of Dance Yourself Clean’s previous work, but in contrast to Losing Focus, it is imbued with a light playfulness. That comes from the muted guitar and angelic vocals of Donna Lewis’ 90s classic, I Love You Always Forever. Here it is combined distortion embracing bass and epic synth chords to create something emotionally resonant, amplifying the feelings of the original. It is, undoubtedly, the kind of obvious-once-you-hear it treatment that feels well-suited to wider mainstream success, and yet at the same time I love it all the same.

Listen: Imminent Danger by Hot Foxes

Hot Foxes simply describe themselves as, “Three friends, maybe we lived together at some point”. It’s a level of mystery I felt inclined not to dispel, and so that’s all you get to know, too.

Here on Imminent Danger, the trio channel 80s-hair-spray, synth-sheen and cinematic drums to create a sound both crisp and melodic. New wave chords open the song as a sole vocal charts its way through musical darkness, culminating in a chorus built on a big synth melody and powerful vocals.

The song charts a dual narrative that feels born to soundtrack a celluloid juxtaposition that would sit at home in an episode of Stranger Things… In one thread we see our heroes charting the upside down, danger around every corner, and in the other, we see some teens getting ready for a night out, the prospect of romantic liaisons on the cards. That’s because the imminent danger the song depicts is inspired by the alluring feeling of entering the unknown territory of uncharted love with another person.

Check out Imminent Danger below:

Listen: Slow It Down by Tropez

Tropez is the conclusion of 15 years spent touring the mainstream music market, and sharing the stage at major festivals that include Hangout Fest, Life is Beautiful, Sundance, and Made In America. That time was frequently spent feeling a sense of separation, of outsider status. In working through this with a therapist, Tropez represents a potential musical outlet for those feelings. In Tropez’s own words:

“The climate of the world we live in, the exponential growth of technology, and becoming a parent have filled my notepad with words to attach to melodies.”

The first single lifted from a forthcoming debut album, Slow It Down is produced by Grammy-winning producer Ben H Allen III, who is notable for working with Washed Out, Animal Collective, Gnarls Barkley, and Neon Indian. The impact of that production is audible, without overwhelming Tropez’s own style.

Slow It Down moves with a sense of slow drama, a quiet disco style infusing the bass line, strings, and synths. Loose percussion still manages to deliver a punchy feel, and gently strummed guitars give the piece a relaxed, transportive feel. Tied together with a yearning vocal, the whole thing feels like the sunset on the beach… Eminently classy, yet instantly appealing.

Check out Slow It Down below. As well as that debut album, it will be followed by an official remix of St Lucia’s upbeat Gimme The Night.

Listen: Never Right — Sea Glass feat. Yes Kid

With gentle instrumentation, glistening synths, and delicately worn vocals, Never Right shimmers with the feelings of a holiday that failed to meet expectations. The strummed guitars in the bridge give this a loose, Hawaiian feel, and the result is as relaxed as it is introspective.

The first collaboration between Sea Glass and Yes Kid, Never Right is an attempt to convey the feeling of the heart betraying the brain. Occasionally, you want something you ultimately know isn’t right for you, as Sea Glass, real name Jake Muskat, describes:

“I decided to put it down into song, hoping to capture the feeling of nostalgia for someone, some place, or some time that you don’t really want to revisit, yet the sadness of the memory can wrap you like a warm blanket, making it all the more welcome for a brief moment.”

Muskat looked to Yes Kid, aka Yael Kaufman, whose vocal grants the song added humanity:

“I felt the song could use a partner to both present the other side of the story but to bring in the softness that’s inside of everyone, even those that have the ability to hurt you… Yael and I had talked for a couple of years about working together. I am such a huge fan of her voice, so when thinking of who could be my partner on this song, it was such a natural fit and such a relief that she was into it. She added the feminine counterpoint to my verse that sealed the song for me and made this a really special one.