Let’s start with major congratulations to Skyes, whose electropop track ‘Quarks’ has hit the No 1 spot in this week’s Heatseekers Chart. It is going to do very well when it crosses over into the main chart next week: a meteoric rise up the Heatseekers survey of 49-8-3-1 suggests that it has significant momentum behind it, as does the fact that it has headed a Top 10 which also contains Laurel, Rosie Lowe, The Augustines, Lapsley and Alessia Cara. I have tracked down a ‘Balcony TV’ performance from Skyes – for the uninitiated, Balcony TV features acts playing on (guess).. balconies around the world. Skyes were playing in Brooklyn on a cold day – all the Balcony TV clips I’ve seen from Brooklyn seem to involve very cold days (I recall Foxes performing ‘Youth’ in a duffle coat on one occasion, rather different to her usual stage outfits). They’re great, aren’t they – loving Dallin Knightly’s vocal and Dan Tirer’s guitar work particularly.
Now, as I am going to save comments on new entry ‘Come Alive’ from The Jezabels until I review the Australian band’s album ‘Synthia’ in the next day or so, I’ll mention a couple of other tracks instead. Firstly it’s welcome back to Meadowlark: the three piece consisting of Kate Jones, Daniel Broadley and Carl Jones have had two major hits on my chart with ‘Family Tree’ (No 2 in 2014) and ‘Eyes Wide’ (No 11 last year), and now return with new single ‘Paraffin’. Jones was hugely famous for her YouTube covers channel, and her new band have clear potential to be successful too. They just need a break – that one song that kicks them into the public eye. ‘Paraffin’ might be a touch too gentle for that I suspect, and sadly I doubt that ‘Fero’ will be the song that breaks Eyre Llew either. Who, I hear you cry? Well, Eyre Llew are a three piece ambient rock band from Nottingham: Sam Heaton, Jack Bennett and Jack Clark. They are unsigned, incredibly enough – quite why nobody in the A&R field has listened to ‘Fero’ or has heard its remarkable qualities is beyond me. It is totally different, with twisting, swirling music behind what sounds like snippets of lyrics recorded and played backwards. It’s not at all straightforward, and it’s all the better for it.