The two acts are the latest announcements for Poland's summer festival.
The newest additions to Open'er Festival 2015 arrive in the form of Flume and Tom Odell, who are joining an already stellar line-up including Alt-J and Kasabian for some fantastic Polish fun this summer. Further additions are yet to be announced.
Australian electronic musician Flume and one of the UK's favourite singer-songwriters Tom Odell are the latest additions to the fourteenth Open'er Festival, held at Gdynia-Kosakowo Airport in Gdynia, Poland from July 1st - 4th 2015. They'll be playing alongside the likes of Main Stage acts Alt-J and Kasabian, Tent Stage musicians Jose Gonzalez and St. Vincent and Alter Stage visitors Swans.
Ben Howard's 'I Forget Where We Were' is one of the most exciting albums of the year and he plans to storm America in early 2015.
If there's any artist you should be excited about this year, it's London-based singer-songwriter Ben Howard, whose brand of seriously immersive indie-folk is capturing the hearts of many on an international scale.
While he was nominated for the prestigious Mercury Prize in 2012 for his highly-acclaimed debut album 'Every Kingdom', Ben Howard really made a splash on the music scene in 2013 after winning two BRIT Awards for Best British Breakthrough Act and Best British Solo Male Artist. He had already been releasing various EPs since he began in 2008, most notably his Island Records debut 'The Burgh Island EP' which entered into the UK Top 40. Now he's here with his eagerly awaited second venture, 'I Forget Where We Were', out on US label Republic Records.
Continue reading: Ben Howard: Your Guide To Modern Folk's Emerging Icon
What with 'The Secret Life of Walter Mitty' not being released until Boxing Day and knowing little about what the film actually entails - Ben Stiller goes on some grand adventure to save his job and Sean Penn makes an appearance at some point - rather than approach this review by discussing how well the songs work as a soundtrack, it seemed best to approach it as a compilation with no hitherto connections.
The suspected whimsical air about the film suggests that the gentle soundtrack would accompany the various reveries Mitty travels through well and as a collection of songs there is a likeness throughout the album as one track drifts to the next. The quieted tone lasts throughout the album, diverting only briefly and only slightly when the pace quickens. These diversions come along frequently enough to prevent the temperance of the album from becoming tiresome and, as a stand-alone album, the quality of songs hold relatively strong for the full fifty minutes.
José Gonzalez has a handful of original songs on the album, also featuring with his side project Junip for a pair of back-to-back tracks. His third solo contribution '#9 Dream' is easily his best, his hazy vocals carried along by a round, guitar-led beat and subtle yet sweetly used orchestration overlaid on to the track as it progresses. The Junip track 'Far Away' is another standout; the steady build of the humming bass injecting a sense of urgency into the mostly gentle soundtrack. Of Monsters and Men's 'Dirty Paws' is another notable cut from the OST, the interweaving of Nanna Bryndís Hilmarsdóttir and Ragnar "Raggi" Þórhallsson's finely-tuned harmonies proving their worth as always.
Continue reading: The Secret Life of Walter Mitty OST Album Review
In Your Nature
In your Nature is Jose Gonzalez's first LP since 2003's Veneer, which only achieved mainstream popularity in 2005, thanks to Mr Gonzalez taking the high road and shilling for Sony. Luckily, the record itself wasn't half bad, but can his latest effort live up to its predecessor?
Well, in a sense the answer is yes, because it gives fans exactly what they were expecting; wistful folk and delicate acoustic guitars. What it doesn't do, is offer anything particularly spectacular, and is as such something of a rehash.
That's not to say it's an inherently bad record; 'How Low' bubbles with the kind of vitriol that's largely absent from his other work, and his cover of 'Teardrop' is way better than that bloke with ginger dreads' attempt. The crux of the problem is that most of the record drifts by inoffensively, and does very little to capture the imagination.
Of course, none of us were expecting a new thrash metal direction; but some progression or augmentation of Veneer's pared back style would have made things at least a bit more interesting. If Jose Gonzalez doesn't start to stray off the beaten path soon, his next album will be another example of diminishing returns, a la Coldplay, and nobody would want that, would they?
One day I was innocently looking through mysapce when I came across an interesting looking profile, cue the auto-play default music. I did what most people do, you either turn off your own music and listen to the profile or you grimace while some sort of weird hyper mix of your favourite tunes are mixed with some homo electro pop from Europe. However when I stopped itunes when the most soothing and dexterously played acoustic tune came out from my speakers, it was Heartbeats (actually written by The Knife) but played by José González. I had never heard his music before and from this moment on I will be a huge fan. The songs are amazingly crafted and work seamlessly well when played back to back.
Acoustic tunes from the realm of Nick Drake and Tim Buckley but with a slight Spanish/Portuguese twist. A favourite from Veneer is the repetitive but hugely powerful 'Remain' strummed with the power of Bryan Maclean at his finest. My suggestion to anyone who likes acoustic music is to get out and buy this album its simply outstanding (I don't say that often)
Continue reading: Jose Gonzalez, Veneer, Album Review