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Keel Her

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With Ariel Pink appearing in celebrity sad rags, The Guardian streaming Dan Deacon’s latest album and R. Stevie Moore recently releasing a (kind of) ‘best of’, it seems that so-called outsider musicians are increasingly being brought inside the cultural tent, rather than stumbling around in the bushes beyond it. This is no bad thing – all deserve recognition for their commitment to their individual visions – but it does leave something of a gap between ‘bedroom artists whose tracks are only heard by their friends’ and ‘bedroom artists whose tracks are premiered on Pitchfork’.

Keel Her, known at home as Rose Keeler(geddit)-Schäffeler, ticks all the right boxes. Based in Brighton, she takes the prolific output associated with many of her lo-fi forebears to extremes, uploading new tracks onto Soundcloud almost every day. Those tracks range from sweet folky numbers like “With Me Tonight” to semi-tuneless indie-psych splurges, but her exhaustive (and occasionally exhausting) creativity makes her impossible to pigeonhole. Emerging London label Critical Heights are now looking to tap that well of ideas, beginning with a recently released EP, “Prize Catch”.

There is more than a hint of ol’ Ariel and R. Stevie to the record’s twisted pop and technicolour grooves (she even sings “I just wanna be like R. Stevie Moore” on “Robert”), an influence perhaps bought to the fore following collaborations with both over the last year. And while, like them, the idiosyncrasies can sometimes stray into self-indulgence, there’s plenty to suggest she has the song-writing ability to make her the next outsider insider. Keel Her to be featured in Now! or Star magazine before the year is out? Place your bets…

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SPLASHH

SPLASHH
Whereas once Antipodeans arriving in London were content to seek out the nearest bar and get a job behind it, now it seems they'd prefer to conquer our stages instead. Cameras (from Sydney) produced our last Album of the Week, and now SPLASHH have gone one better by actually relocating here from the sunny climes of Byron Bay. You can hear the band's balmy origins in their music which is, by their own admission, "kind of about sun and girls", whereas most British indie tends to be largely influenced by a distinct lack of either. So far their infectious, solar-dazed enthusiasm has remained undimmed by both a record-breakingly wet British summer and the addition of a bassist from Wolverhampton. Then again the bands they most sound alike, Pixies and Ash (before they went shit), hailed from Boston and Northern Ireland which aren't exactly gleaming sun-traps. Perhaps the influence of those bands takes precedence; to be honest, if Kim Deal was Apple she'd have sued the shit out of SPLASHH after hearing the bassline to "Headspins", while the poppy fuzz of new single "Need It" could've been lifted straight off Ash's debut album. Everything else is peppered with garage flecks and then coated in coastal sunshine. Yet seeing as Wavves went over this sort of ground pretty recently, you'd be forgiven for pondering the point of it all. The answer? Reckless enthusiasm. Live, the band tend to win over the doubters by the first stage-dive (which is pretty impressive considering their first gig was only a few months ago), and they somehow manage to transpose that wanton delight into the studio too. The last great musical immigrant from Down Under was Nick Cave, who came with a duffel bag full of murder weapons and Cormac McCarthy paperbacks. SPLASHH's satchel is full of suncream and skin mags instead. Now we just need a bit more sunshine to go with them.
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