First seven seconds hit:
Free falling… it’s like I’m free… falling… it’s a change of course
Here I am, I sing the verse, sing the verse, sing the verse…
Upside down, and in reverse… in reverse… in reverse
Florrie Arnold’s career has to be one of the most enjoyable to follow as a Pop fankid, culture connoisseur, and audio-anglophile; it’s, just, good, music – period.
2010’s Introduction, 2011’s Experiments, 2012’s Late – all EPs, all independent, all soundtracks for something of an anomaly in the current industry – sonic record of artistic development, unbound by mainstream market trajectory.
April brings the Bristol-native’s fourth EP, entitled Sirens. The album’s first track, “Seashells” was released late last week and – it works.
This is just… quite good really – in, many many ways; albeit, many simplistic ways, but simplistic ways necessary in an otherwise unnecessarily muddled music scene… Check out Florrie’s latest: “Shot You Down”
Nice progression, smooth – milk smooth #isthataphrase – bass riding through the track. I’m obviously a fiend for most electro-acoustic hybrids – by that I mean, any melodic melange capable of bringing out the best of synthesized effects in tandem with (not drowning out or exploitatively distorting #notinthegooddistortionway acoustic instrumentation) and the soul of live instruments. I’m even more fiendish for that most tangible and raw of instruments – los tambores, le batterie, الطبول, Gǔ, – the drums.
Pop. Out. My. Ears. #yes
The Siren: Florrie Arnold
The Scene: Snow, ice, pints, and Summer Nights… on the outside: London’s first snow of the year, on the inside: the strobed sublime of HMV’s Next Big Thing – snowballs and disco balls make for a splendid sonic nightcap. Roughly speaking, Barfly hosted a beautiful melange of art gallery purveyor types, thirty-something Euro/Dance Pop aficionados, twenty-something knit hooded hipsters, Camden characters, low-key Diesel-and-cardigan donning Pop fiends, raven-haired East London teens… moustaches, brown leather satchels and black rimmed glasses, cocktail dresses, red lipstick and suede heels, scarves and sailor stripes… On the floor: an Anglophilic audience with a distinct taste for Xenomania; at the helm: a doe-eyed, denim-donning neo-disco diamond in the rough behind a pulsing pokerface bluff, and the beat of her own drum #litrally
The Sound: All the best bits of Brit-and-Synth-Pop – period. Much like a fine wine, or the Fugees break-up, Florrie’s stint as an unsigned artist yields a product that gets better with time. Saturday’s set list covered her relatively brief back solo catalogue, spanning both her Introduction (“Left too Late,” “Summer Nights,” “Give Me Your Love“) and Experiments (“Begging Me,” “I Took A Little Something,” “Experimenting with Rugs,” “What You Doing This For”) EPs, and throwing some new tracks in the mix (“Without A Trace,” “Go“).
Meet UK-native drummer, singer, songwriter Florrie. The ambassador of contempo-bossa-synth-pop dropped her debut “Introduction” EP this week; and well, needless to say, I haven’t heard music this poppin’ fresh from across the pond since I hopped off the Lily pad.
- Florrie: as traditional a musician and performer as can possibly be, but at the same time a completely new type of independent pop artist.
- Florrie’s bold, attention-grabbing pop music is at once robotic and human, chunky and svelte, big on ideas and not shy of explosive choruses.
- Florrie is a 21 year old artist, originally from Bristol in the south-west of the UK.
The four-track EP is a warm welcome from the Bristol native. “Introduction” is an expansive sound board touching on disco, alternative, funk, and ska. Each track clings to a specific sonic aesthetic, and though brief, the debut is a broad-reaching soundscape that blends the best of Florrie’s wide-spread influences and contemporaries.
“Call of the Wild” comes in like the smoky haze of a surfer speakeasy as want you need you it’s the call of the wild, something animal more than physical; satisfy me ‘cos I’m fallin’ apart, synchronicity in our chemistry rides over subtle electric wet string reverb. Layered guitar and percussion build beneath breathy vocals as the woman-not-siren calls before a Misirlou-esque riff crashes onto a bossa beach. The track is a clear standout, with strong lyrics and oscillating instrumentation – one minute coasting through a mellow beatbox bridge, only to swell back into a sonic tsunami of bombast.
We’ve got a trifecta triple-deke this week: The New Loud, Florrie, and Natalia Kills – let’s get it in
“You don’t dance me, but I dance you.” Touche. This indie electro-altern-rock band hails from the land of a thousand lakes (Minneapolis, MN for those who forgot 3rd grade geography). Their music hails the gods of a thousand layers: solo vocals over chants that ride the border of hymnal and hypnotic, guitar riffs intertwined with space-age synth, electronic bass pulsating as the vocals build to a deafening roar, all backed by the most epic live drums this side of The Mars Volta – win.
Download their full 6-track EP: Can’t Stop Knowing here
Oh man, this one – the Brits… at it again like Timbaland and Magoo someone call 911, she’s on the run