News The Neu Bulletin (12th November 2012)

Neu’s daily new music & live music recommendations, featuring Woman’s Hour and TOPS.

Every day of the week, Neu gives you a choice show and a selection of new music tips, all in the name of exposing you to something new and exciting.

THE GIG
Still Corners, Tops, Woman’s Hour - Lexington, London

In their recent ‘Our Love Has No Rhythm’ track, Woman’s Hour showed some real progression. Early shows at the turn of the year showed a gentle balancing act between xx-esque atmospherics and a less direct form of songwriting than their peers. Depending on what kind of mood you’re in and whether you’re willing to immerse yourself in something more subtle than your average live act, a Woman’s Hour show can be quite the experience. Or it’ll pass you by. They’re first on a bill of acts going places. Tops’ debut has taken on its own word of mouth momentum this year and Still Corners look like a band making real inroads from their 2011 full-length. Head to London’s Lexington tonight to see the finest bill gracing the city this week.

THE SONG
GEMS - Void Moon



When Washington DC duo GEMS speak of recording new material in a beach house on the Outer Banks, North Carolina, it’s hard not to think of their closest contemporaries, Beach House, and the fact that these newcomers make similarly styled songs of reverb-laced guitars, angelic female vocals. GEMS are a more direct outfit, if you ask me. There’s greater immediacy to these debut tracks than the majority of Beach House’s recent, abstract-leaning ‘Bloom’ record. All in all though we ought to be grateful that more than one of these magnificent bands exists at the same time.

OTHER NEU BUSINESS


Yesterday I came to the conclusion that most - not all - remixes aren’t worth most people’s time, that there’s usually a very basic re-arranging of an original’s parts and that you’re best sticking to the dear beloved of old. Except Yalls’ take on Rhye’s ‘The Fall’ tears this opinion in two. It probably took a couple of hours to make, considering how prolific Dan Casey is as a producer, but it gives the original a new glimmer of life and excitability. It’s wonderful.

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