1)Le Butcherettes/IM GETTING sick of you A short introduction to Mexico's riot-grrl-in-chief, Teresa Suárez: She's the lead singer of Mexican punk duo Le Butcherettes, the band she launched with her best friend, aged only 17. On-stage antics include fake blood, flour, eggs and a real pig's head. Teresa - or, to use her stage name, Teri Gender Bender - and Auryn Jolene have been known to take the stage in 1950s dress, combined with a bloody apron. Le Butcherettes is a Mexican garage punk band formed in 2007 in Guadalajara by Teri Gender Bender (born 15 May 1989 (age 24) as Teresa Suárez) If Le Butcherettes look as if they were inspired by 1990s riot grrl, that's because they were. Listening to Bikini Kill and L7 inspired Suárez to found the group, her first band, when she was still in school in Guadalajara. The resemblance doesn't stop with visuals, as Le Butcherettes dig deep with choppy guitars, a DIY feel and feminist lyrics. As Miss Selfridge dredges through its archives to sell another round of red velvet dresses and plaid shirts to a new generation, it's a relief to imagine for a minute that Bikini-Kill-flavoured-garage bands like Le Butcherettes could make a second coming. At 24, Suarez hasn't abandoned Le Butcherettes but she has a new project: singing in a new band, Bosnian Rainbows, with two alumni of The Mars Volta: Omar Rodríguez-López (who was instrumental in propelling Le Butcherettes into global success in the late 2000s), Deantoni Parks and keyboardist, Nicci Kasper. (The name is a metaphor, she explains. "The point is that everything has its beauty. That's why the rainbow, it's the future. So Bosnian Rainbows' something with the future. Something seen with negativity that really is something beautiful.") I know that you identify as a feminist Teri. What are your thoughts on feminism and femininity? TERI GENDER BENDER: I’ve always identified myself as a feminist because to me this word is linked to a powerful movement that has changed not only culture but even the core of economy. I’m reading a book called Freakonomics and it speaks about the hidden running ways that change the economy on a daily bases. Example: Jane Roe vs. Wade case has helped improved security in the late 90s, lowering criminal rates. My thoughts on feminism, it has helped tremendously, however there are fanatics in every “ism” group and fanatics is a nice way to call someone a poseur. Fanatics generally don’t understand the essence of a movement and focus only on literal translations… resulting in a neo movement that alienates young women. 2)cibo matto/mfn Sul sito della radio NPR è da oggi possibile ascoltare per intero Hotel Valentine, album che segna il ritorno dopo 15 anni delle Cibo Matto, duo giapponese di stanza a New York che ha segnato gli anni '90. Il lavoro è stato registrato da Miho Hatori e Yuka Honda negli ultimi due anni, con l'aiuto di Nels Cline e Glenn Kotche dei Wilco, di Mauro Refosco degli Atoms for Peace e del comico Reggie Watts. Secondo quanto riportato da un comunicato stampa, si tratta di un concept album che racconta "una storia d'amore e quella di un gruppo di fantasmi in un hotel". L'album è in uscita il 14 febbraio, e lo potete già ordinare su Amazon. Qui sotto invece trovate il video del primo singolo MFN, feat. Reggie Watts. The last time Cibo Matto released an album, it was 1999's Stereo Type A. Then, they went on a long hiatus before returning for some reunion dates a couple years ago. Now, Miho Hatori and Yuka C. Honda are returning with a new LP called Hotel Valentine. It's out February 14 via Chimera Music. Their first offering from the album is "MFN", which features Reggie Watts. It's got a colorful, erratic video by Georgia. Check it out below. The album was self-produced over the course of two years and features guest spots from Nels Cline, Glenn Kotche, Mauro Refosco (of Atoms for Peace), Watts, and others. According to the press release, it's a concept album with a love story and ghosts in a hotel. Honda talked about working on the album, what it's about, and reconnecting creatively with Hatori: “'Hotel Valentine' was the first song we wrote together for this album. It thus represents the genesis of our concept or story, but in a way it seems that explaining too much would prevent listeners from coming to their own conclusions about each song as well as about the whole project. Yes, there is a ghost girl, a hotel, housekeeping ladies and things happen. But they are elusive in nature.” “Having spent some time apart, we became more aware of our magical chemistry, our magnetic bond. We both realized we had unfinished business.” Hatori added: "Hotel Valentine is the cinematic bricolage of Yuka and me. Our medium is music. For me, making an album is like raising a child. We don't know what kind of person (story) they will end up to be.” 3)suzanne vega/dont uncork what you cant contain cita concerti Sono trascorsi ormai quasi trent'anni dal folgorante esordio dell'allora venticinquenne, apparentemente fragile, cantautrice che ammaliò il mondo intero con brani quali The queen and the soldier o Marlene on the wall. Era il 1985 e le atmosfere rarefatte eppure pungenti di quel disco riuscirono a far breccia nei cuori e nelle menti di una generazione soffocata, consapevolmente o meno, da suoni e immagini che altro non erano se non colonne sonore del nulla. La sua voce delicata e dolce, ma pronta a irrobustirsi e incattivirsi. La sua chitarra di seta e i suoi arpeggi elfici. Le magie armoniche del mai troppo rimpianto Michael Hedges. La biondina minuta dagli occhi di cerbiatto, devota all'arte sublime di Leonard Cohen, David Crosby e Rolling Stones (che la sua prima figlia si chiami Ruby non è un caso), si fece rapidamente largo in quel pantano sonoro con la sola forza della poesia e della passione. Oggi, a distanza di sette album, fra cui il secondo e celeberrimo “Solitude Standing” (Luka è tuttora fra i brani più ascoltati via etere), Suzanne Vega ritorna con un album magnifico. Ha atteso otto anni per proporci nuovi brani ed il tempo non passa mai invano. Le dieci tracce di “Tales from the realm of the queen of pentacles” ci offrono perle sonore di rara bellezza. Il suono è compatto, sicuro. L'iniziale Crack in the wall è assolutamente entusiasmante. Echi di Chimes of freedom degli amati Byrds e distorsioni psichedeliche, non inedite nella sua produzione, introducono come meglio non si poteva all'ascolto di un cd che con la successiva Fool's complaint spinge ulteriormente sull'acceleratore di un incanto a metà strada fra il jingle-jungle sound e il folk rock. Antiche reminiscenze che rimandano d'impatto all'immenso “Beggar's Banquet” degli Stones. Ascoltate Never wear white per averne ulteriore conferma. Portrait of the knight of wands ci riporta soavemente alle atmosfere della Suzanne che conoscevamo, ma arricchite da intarsi sonori che manifestano la chiave di volta di un nuovo approccio emozionale. Il disco è un arabesco di chiaroscuri, incredibilmente intenso. Una potente, emozionante spinta interiore guida tutto il lavoro. La voce e i testi incantano, pregni di una nuova, consapevole maturità creativa ed espressiva. Don't uncork what you can't contain e la successiva Jacob and the angel giocano con i nostri sensi come un caleidoscopio di colori e sfumature. E' rock, ambient, psichedelia... Arte. Mai come ora Suzanne lavora di cesello su riff, arpeggi e armonie. Registrato fra Praga, Londra, New York e Los Angeles, Tales from the realm of the queen of pentacles è un album straordinariamente vivo. Il passato è parte di questo splendido presente. Alla purezza degli esordi si aggiunge la raggiante maturità, artistica ed esistenziale di una splendida artista di 54 anni. La disarmante bellezza di Horizon (There is a road) può forse essere considerata la summa non solo di un disco, ma di una serena (per quanto possibile) presa di coscienza con la vita e i suoi estremi. Un grande ritorno. Una bella lettera da una vecchia amica. Un disco di gran classe. Bellissimo. 4)Thalia Zedek/dance me to the end of love 2013 was a notable year for Thalia Zedek. She released her first album in five years, Via, which PopMatters called a “rumbling, sweet, muscled set of tunes, as resilient as they are beautiful,” which was followed by a tour across North America with Low. She also reunited with Come, the classic band she formed with Chris Brokaw in 1990, reissuing their classic debut Eleven:Eleven and playing their first shows in over a decade across the US and Europe. In October, following this intense flurry of activity, Thalia regrouped with her band in Boston to record an EP, harnessing the creative energy she had accumulated during her time on the road. The resulting SIX opens with a full-band version of “Fell So Hard,” a characteristically mournful dirge that exudes a tenacious, slow-moving intensity. From there, Zedek explores the complexities of interpersonal relationships, employing some of the most sparse arrangements of her career. The spareness of tracks like “Julie Said” and “Afloat” achieve incredible emotional heft, letting Thalia’s lyrics, delivered in her unmistakable voice, take center stage. Alongside this new material is a cover of Freakwater’s “Flathand,” which was originally released on the Plum 7” box set in 2007. SIX is being released in advance of Thalia’s most extensive European tour in six years, and will be released in limited quantities on CD and 12” vinyl. -- " Zedek specializes in thorny songs that unflinchingly address adult topics and full-grown problems, with the malleable backing of her guitar and band providing either momentary refuge or sympathetic cries of exasperation." - Pitchfork " Hearing a new Thalia Zedek records gives me hope for music." - Dagger " Those big open guitar cords only add to the song’s emotional thrust. If listening to Via makes you feel good, chances are Zedek is feeling good. Powerful stuff." - Paste "But Via, like so much of Zedek’s work, fights the inclination to quit when the going gets tough. In less capable hands, a lyric like “the truth will set you free,” from leadoff track “Walk Away,” may sound shallow. Coming from Zedek, it’s a call to arms." - American Songwriter 5)Emma Russack/you shouldn't Australian singer Emma Russack is streaming a pretty, sedate, and sensual new track from off her upcoming release, ”You Changed Me”, out April 4th via Spunk Records. There’s nothing complicated about the song, but that’s its charm. It feels honest, stripped bare, and its soft, bluesy guitar lines work so well with her soothingly vocal delivery: “When he laid out the sofa bed / I knew I was staying, staying the night / And I felt wanted / So wanted / When she took off her underwear / I knew I was playing, playing with fire / But I felt wanted. Emma Russack is an Australian singer and songwriter who grew up in Narooma, New South Wales, where she graduated from high school in 2005.[1] She currently lives in Melbourne.[2] In 2004, when she was 16, she won the contest "Fresh Air" of the Australian Broadcasting Corporation for young talents with her song Used to this.[3] By 2008, she was already known on YouTube, where she had posted eight covers,[4] as well as two songs of her own, playing the guitar.[5] For some time (2007 [6] and 2008[7]) she took on the artistic name Lola Flash, while being the singer of a band of the same name. The group members were Jake Phillips (bass), Alec Marshall (guitar), Paul Mc Lean (drums) and Kate Delahunty (violin).[8] The single Psycho, published in 2009, is from that period.[9] She spent a year travelling around in South America.[2] In 2010, the EP Peasants was published, and in 2012 her first album, Sounds of our city, including ten songs, was published.[9] Articles about her have appeared in the German and Australian editions of Rolling Stone and in the Australian magazine Frankie. 6)NENEH CHERRY/weightless SHARES DETAILS OF NEW ALBUM BLANK PROJECT OUT 24th FEBRUARY 2014/25th FEBRUARY IN THE US ON SMALLTOWN SUPERSOUND Neneh Cherry, vocals Alexis Georgopoulos, bass TJ Maiani, drums Following last month’s announcement that Neneh Cherry will release her first solo album in 16 years – a collaboration with RocketNumberNine, produced by Four Tet, and featuring a guest appearance by Robyn – Neneh is now ready to share further details of this forthcoming record with the world. The 10-track album, recorded and mixed over a 5-day period, will be titled Blank Project, and it will be out February Monday 25th (UK/Europe) Tuesday 26th (US) 2014 on Smalltown Supersound. It follows 2012’s The Cherry Thing, a collaborative record with free jazz, noise collective The Thing, which featured new versions of songs by The Stooges, MF Doom, Ornette Coleman, amongst others. While her energy and demeanor may not have changed since the days of Rip Rig + Panic, musically, Blank Project is a departure from anything Neneh has previously done, initially written as a means of working through personal tragedy. What stands out upon first listen is the album’s sparseness: loose drums and a few synthesizers are the only accompaniment to Neneh’s wildly poetic, sometimes-spoken, sometimes-screeching, soul-flooded and raw vocals. The space created by this minimal aesthetic leaves room for occasional pistes and flurries of rapid, yet throbbing and thunderous instrumentation. Featuring combined elements of beat poetry, avant-electronica and beautiful vocal melodies, it’s a record that uses simple ideas to create something entirely original. And despite the personal struggles Neneh was working through in writing this new material, the songs are far from introverted. As many are aware, the stories from Neneh’s early years are astonishing. She spent her childhood living 50/50 between a loft in New York and in the South of Sweden with her mother and stepfather, the legendary jazz musician Don Cherry. She's been lifted onto Miles Davis’ lap, Allen Ginsberg regularly passed through their home in an evening and as she got older, she could pop in on Arthur Russell, Talking Heads and The Modern Lovers who all lived in the same loft complex in Long Island City, New York. At 14, she started taking trips to Harlem with Ari Up of the Slits at a time when few would venture so far uptown. Soon after, she left home and moved to London, and spent the next 20 years inside the crucial developments in British subculture. As post-punk became the site of 80s Britain’s artistic and political resistance, she helped form the anarchic multi-ethnic, multi-genre Rip, Rig + Panic, and she was one of the first to bring hip-hop culture to a British audience with “Buffalo Stance” and Raw Like Sushi. Although at points her career had brushes with the mainstream, Neneh remained staunchly counter-culture. Through post-punk’s adherence to mixed-race line-ups and anti-government stance, to UK rap’s refusal of the conventions of pop, trip-hop’s connection with the politicized elements of rave culture and, through 1996’s Man, where Neneh introduced elements of Senegalese language to mainstream audiences for the first time via the mammoth “7 Seconds” single featuring Senegalese singer Youssou N'Dour, and now, with Blank Project, Neneh continues to arrive at moments in musical history when there is an opportunity to subvert ideas of popular culture. She is subverting once again, only this time, although this record is musically bold, Neneh sees the stasis she’s challenging isn’t musical or societal, but her own. 7)kimono kult/todo menos el dolor Si chiama Kimono Kult ed è una nuova band che di certo non avrà bisogno di raccomandazioni: composta da ben sei teste di serie del rock d'Oltreoceano, ancora prima della musica arrivano infatti gli arcinoti curricula dei suoi componenti. Nelle fila del supergruppo si schierano niente meno che John Frusciante che, accantonato irrimediabilmente il discorso Red Hot Chili Peppers, ha lasciato da parte anche il suo percorso solista per incrociare la chitarra di Omar Rodriguez- Lopez, da tempo ormai orfano dei Mars Volta (nonché fermo con At the Drive-in, De facto e Bosnian Rainbows). In prima linea, alla voce e chitarra, c'è poi Teri Gender Bender, la 24enne del punk rock di Jalisco già nota per il suo ruolo di leader nelle Butcherettes, anche lei nei Bosnian Rainbows. A completare i ranghi poi arrivano Nicole Turley, per la quale Frusciante prestò la chitarra nel brano "I want to go" del side-project Vagenda, e Dante White-Aliano, attualmente frontman dei Dante vs Zombies che in passato lavorò con, tra gli altri, Starlite Desperation, Lost Kids e Detroit Cobras; infine, a violino, tromba e basso, Laena Geronimo, dal 2009 al 2011 bassista delle losangeline Like. I Kimono Kult hanno già all'attivo un primo EP battezzato "Hiding in the light", che sarà disponibile in versione digitale dal prossimo 4 marzo e che conterrà le tracce "Todo menos el dolor", "Las esposas", "La vida es una caja hermosa" e "La cancion de Alejandra". Il disco uscirà per la Neurotic Yell Records della stessa Nicole Turley che ha anche registrato, mixato e prodotto l'intero lavoro. 8)Blouse // "A Feeling Like This" In the fall of 2011, the last thing the world needed was a song called "Videotapes" that sounded a little bit like a lost Human League hit dubbed onto an old, worn-out cassette. This kind of idea wasn't exactly novel: Chillwave had broken and crested, VHS nostalgia was inescapable, and bands claiming the tag "dream pop" were cropping up like dandelions in springtime-- was it really possible that none of them had already written something called "Videotapes"? It's a testament to Portland's Blouse, then, that the murky earworm bearing that particular name managed to stand out even among the crowded crop of hypnagogic pop. Maybe that's because, like "Videotapes", all the songs on their unexpectedly fresh self-titled debut were driven by the tension of opposing forces, as the heat generated from radiant, sun-bursting synths collided with the airy cool of Charlie Hilton's vocals. Blouse found a balance between texture and melody: here was a band that clearly cared about atmosphere, but never at the expense of a solid, Top Gun soundtrack-worthy hook. With their second full-length Imperium, though, the band is making a conscious push to distance itself from those electro-tinged beginnings. Blouse have nixed the synths and drum machines: Multi-instrumentalist and producer Jacob Portrait (who also plays bass in Unknown Mortal Orchestra) proudly announces in the press release that the record was made entirely with "instruments that don't plug into the wall." Sure, selling your proverbial turntables to buy guitars is enough of a sophomore album cliché to get a mention in LCD Soundsystem's "Losing My Edge", but luckily Blouse's guitar-driven make-over hasn't rendered them unrecognizable. That much is clear from the jump: Bouncy opener "Imperium" takes some of the familiar elements of Blouse's best tunes-- namely sweeping strums and lurching, rubbery basslines-- and blends them into a gloomy swirl. "Are you one of us?/ Are you one of us?" Hilton chants as the song winds down, in a haunting monotone that's half Hope Sandoval, half creepily malfunctioning automaton. Though Hilton's out in front, Portrait is Blouse's secret weapon, concocting the immersive textures that give Imperium its distinct atmosphere. The driving "Eyesite" sounds like it was recorded in the frigid but sparkling depths of an icy cave, while the up-tempo ripper "Arrested" has the loose, unvarnished feel of a band jamming in a the garage-- albeit one equipped with an enviable pedal board. And yet, there's a lack of variety in Imperium's marble-cool tone that makes it feel more one-note than Blouse's debut. It's laudable for a band to push itself out of its comfort zone on its second album-- there are artists out there who lay such a lazily trendy coating of synthesizers over their songs that the electricity in their practice spaces should be cut just to stir creativity. But Blouse weren’t one of those bands. Their debut showed the promise of growth, and their “no synth” policy may have hemmed them in unnecessarily. When Blouse headlined one of Captured Tracks' 5 year anniversary shows earlier this month, the contrast was clear: The new, thoughtfully structured songs showcased the band’s ear for sticky hooks, but only when Portrait plugged in his tower of synths to play older track like "Time Travel" and "Into Black" did the music bloom. 9)blackie the oohoos/when light falls The second video from 'Blackie & The Oohoos' sophomore album 'Song For Two Sisters' Le sorelle di anversa (belgio) Loesje e Martha Maieu cantano di sogni romantici, desideri pericolosi ed emozioni senza tempo. Blackie & The Oohoos creano dal vivo un’atmosfera che trascina il pubblico in un mondo immaginario. Sa di psichedelia andata e di elettronica malata la musica delle Blackie & the Oohoos, come se tornasse il Dottor Who (qualcuno se lo ricorderà di certo!) e si andasse a scartabellare in qualche fumetto di fantascienza ormai desueto e consunto. Come, in fondo, hanno fatto gli ultimi Portishead. Le due sorelle citano tra le proprie influenze: Beach House, Mazzy Star, David Lynch, Beth Gibbons 10)soft metals/on a cloud Patricia Hall and Ian Hicks of the Los Angeles-based synth act Soft Metals approach their music with the loose conceptual framework of avant-garde sound artists rather than musicians. The duo, who started dating right around their band's formation, refer to Soft Metals albums as “works being commissioned” and stand apart from their boy-girl synth contemporaries like Kisses and Glass Candy, simply because their electronic compositions are several shades darker, stalking around ominously on the back of churning keyboards and drum machines, often without any discernable hook or cathartic crescendo. Their self-titled 2011 debut album had flashes of poppier aspirations amidst the busy distorted breakbeats and murky bedroom production, but those moments were almost always subverted by Hall’s ethereal, distant vocals and unnervingly detached lyrical persona. For their latest album Lenses, Hall and Hicks relocated from Portland to Echo Park, setting up a home studio after failed attempts to write and record in a professional space. Like their self-titled debut, they worked through the new material by participating in extended improvised jam sessions, shaping and editing the new batch of songs from long dirges of chugging krautrock rhythms set to the Teutonic tick of an 808 drum machine. But Lenses dives deeper into the hallucinogenic soundscapes from their previous work via subtraction; instead of pushing toward more pop inflected compositions and building off the moments of melody from their previous album, they've pared down their work, focusing on the hypnotic depths of the repetitive synthesizer movements and brittle keyboards of Kraftwerk and John Carpenter’s classic movies scores. The production allows most of the tracks’ spartan compositions to reverberate in cavernous expanses of space, while Hall’s ghostly voice waxes dreamy poetics about the doors of perception and altered states of consciousness. Hall’s heady lyrical abstractions were inspired, in part, by a moment of clarity she reached during a mushroom and ecstasy fueled dance party. “We'd be there for 10 hours dancing and then I start seeing cave paintings on the wall,” Hall told me when I interviewed her for Paper. “It made me think of how this couldn't be very different from what prehistoric people were doing. They were gathering, and dancing around a fire, listening to this primitive music and having these really incredible experiences connecting with one another.” But while Hall and Hicks’ aspiration to explore weighty philosophical ruminations through their impressionistic songwriting is an interesting goal, the results are more admirable than listenable. This is pretty evident on Lenses’ title track, which attempts to create an abstract patchwork of synth arpeggios, but never quite congeals into a coherent enough piece to merit attention. That, and Hall’s vocal work here is marred by an unflattering harmony and cringe-worthy, sophomore philosophy major's lyrics: “Breaking through my perception of you/ Breaking through my concept of life/ Breaking through what the mirror reflects/ Breaking through the way that I move.” “Tell Me” does a much better job working out the rhythmic dimensions that Hall and Hicks seem to be striving for, pulsing from a spiraling synthesizer riff and four-on-the-floor beat as Hall sings breathy lyrics that are alluring in their sensual crypticism (“Tell me/ Has this come true?”), while staying much closer to the central melody than she did to worse effect on “Lenses”. On the occasions Soft Metals inch nearer to pop songcraft, like they do with the bass-heavy R&B light show of “On a Cloud” or the arty melodrama of “No Turning Back”, the results are surprisingly effective, especially considering the ways in which the duo’s penchant for breakneck cyclical synth patterns augment their prettiest harmonies with a paranoid sense of unease. In the end, Lenses comes off like a proggy, synth pop album that wants to get treated like sound sculpture, but Soft Metals don't fully commit to either endeavor in spite of the record's handful of successes. Regardless, they've admirably carved out their own corner of the electro world; Hall and Hicks are determined to make challenging, cerebral EDM and have more on their minds than the placement of the next drop. 11)dre green/fear Taking downtempo to its extreme, Chicago’s Dre Green created a dark, lush and beautiful track called “Fear”. It combines a Sade sensuality with an ominous electronic feel and whispery vocals. The rhythm of the track is steady, the heart-beat percussion stuttered and apprehensive. This soulful song opens with these lyrics: “I been … / I been missing you, baby” – the phrase and words cross-fading and weaving over the top of each other. The music is pretty enough, but the lyrical sentiment is equal to it — aching with sexuality over that thing that’s missing when a lover leaves the room and goes about their day. In a way, it’s a kind of haunting, for someone so in love they just can’t stop thinking about the other person. It’s a really gorgeous track. There’s a little touch of The Weeknd’s cool-jeweled feel in “Fear” and the vocal style of an artist like Billy Miles. The song was produced by Jeremiah Meece and is the second single from a forthcoming mixtape debuting sometime this spring via Lo Motion. 12)tashaki miyaki/COOL RUNNING LA- and San Fransisco-based lo-fi band Tashaki Miyaki seemed to have appeared on our radar overnight, and we haven't been able to get their haunting tunes out of our heads. Imagine you are down a dimly lit highway at dawn, feeling unburdened by the twists and turns of life — Tashaki seems to perfectly soundtrack this moment of melatonin'd serenity. The band, made up of duo Lucy and Rocky, was formed after a late night jam session and impromptu recordings. Something seems to have clicked, because in the band's short time post-formation, they've already put out a couple of inspiring EPs and recorded some of my favorite Sam Cooke & Everly Brothers covers soaked in shoegaze and reverb. 13)banks/brain Electronic, soulful singer BANKS is now streaming her newest track, “Brain”, in anticipation of her debut LP, which is set to be released later on this year via Harvest Records (U.S)/Good Years (UK). The track was produced by Shlohmo and circles around these verses: “I can see you struggling / Boy, don’t hurt your brain / Thinking whatcha gonna say / ‘Cuz everything’s a game / Always trying to calculate / Trying to look smart, but not too smart, to threaten anything they say. 14)twin caverns/Undiscover Sydney downtempo duo, singer Louise Millar and instrumentalist Michael Macias, are Twin Caverns. They’ve posted a sweet new track called “Swell” on their soundcloud page. It’s a soulful, light, electronic song that seems to follow in the path lit by bands like Zero 7. It’s low-key, understated, and pretty.