'Push The Feeling On' is The Tea Street Band's second single on Jack to Phono. The start of the year has been a busy time for this five-piece Liverpudlian set. They have been confirmed to support Inspiral Carpets on their Back to Life tour and have been selected to play in New York Sound City in March.
The band have picked up national television exposure from Channel 4 with the video appearing on Sunday Brunch and been featured in The Guardian in the "New Band Up North" feature.
Ajimal, a medical student from Newcastle, follows up his 2012 debut ‘Footnote to Love [Part One]’ with a new single, ‘This Human Joy’.
With a name inspired by a Haitian witchdoctor, Ajimal is a shape-shifting collaborative project led by Newcastle’s Fran O’Hanlon with the aim of writing about the interplay between ideas from music, medicine, art, ideas, literature, science and stories. Jumping between piano, delicate acoustic, reverb guitars, loop pedals, singing bowls and saws, with the one constant of expressive and beautiful vocal melodies and lyrics, Ajimal specialises in grandiose haunted pop.
'This Human Joy' is a hopeful song about finding peace in the beauty of small and simple things, when often it's easy to slip into feeling frustrated or irritated by the world, routine and to stop taking chances and risks. It's about accepting the fact that we can't always know where we're going or what will happen to us and embracing those mysteries.
The achingly beautiful song could warm even the coldest heart. Featuring guest harpist Emily Hoile, and produced by Mick Ross (Frankie & the Heartstrings, Let’s Buy Happiness), ‘This Human Joy’ is released on March 25.
Now we may be a bit presumptuous considering this new indie five-piece bunch of 19 year olds from Sheffield have not yet even played a live gig, but with two demos just posted on Soundcloud and YouTube, we think they are rather promising.
And we're not alone it seems. The cheeky chappies - Josh Coddington (vocals/guitar), Morgan Somers (lead guitar), Tom Forster (rhythm guitar), Cal Atherton (bass), Max Smith (drums) - got a mate to bung a demo through the door of The Violet May's Chris McClure, who liked them enough to add his weight of support, along with brother, the 'Rev' Jon McClure. The track below, 'Me, Myself and I', he describes as 'a big dirty stoner mess'.
After meeting through school and a shared love of footie, they got together to form SSS. As to what the name 'SSS' is about? Well, they're keeping that under wraps for now, opting cryptically just to say "the name does have an unofficial meaning within the band, but we've chosen to keep it more of an enigma. We might reveal one day."
SSS play their debut gig this Saturday, March 2, at The Shakespeare in Sheffield - which has already sold out.
Hotly tipped future bass newcomers DrDr have released their debut single 'Addicted'. DrDr are producers JOE WOODS, CHRIS CAMPBELL and female vocalist DONNA CURSON. Having remixed the likes of Major Lazer, The xx and Kissy Sell-Out and receiving early support from BBC 1XTRA, they have already established a cult online following, seducing fans with their penchant for early 00’s garage beats and soulful R&B style vocals.
DrDr play Brighton's Concorde 2 on March 1 supporting Dark Sky, BrEaCh and T. Williams.
Their first EP 'No Compromise' will be out on March 24 via Champion Records.
Two years on from the release of his Mercury nominated debut, ‘Peanut Butter Blues and Melancholy Jam’, Ghostpoet announces his sophomore album ‘Some Say I So I Say Light’ which will be released on May 6 through Play It Again Sam.
Alongside news of ‘Some Say I So I Say Light’, Ghostpoet premiered teaser track ‘MSI MUSMID' on Gilles Peterson’s Saturday BBC 6Music Show. Obaro says ‘MSI MUSMID ’ pronounced " M S I" " MUS" "MID" "is a track based on a dream I had where dimsum and noodles were life-long friends who kept squabbling all the time...I try in vain to make sense of it all.” You can download ‘MSI MUSMID’ from SoundCloud now and stream below:
To celebrate the release of ‘Some Say I So I Say Light’ Ghostpoet will be headlining a UK tour throughout May.
Released on Kissibility from April 8, llanelli five-piece Cut Ribbons and Kissability have devised a new format and will be releasing the single 'Luna' on download and Mug. Whereby those who purchase the Cut Ribbons ‘Luna’ mug, gain access to the single download.
A tale of fading love, against a back drop of crescendo guitars, girl-boy vocals and Cut Ribbons’ own delicate Welsh warmth, stream 'Luna' below.
To support the release the band will be embarking on a co-headline tour in March with Brighton's Holland. While on the road will be playing a select number of daytime acoustic sets, where fans can hunker down for a cuppa from their new mug.
MARCH
16th SWANSEA, The Scene
22nd SOUTHAMPTON, Goblets (Free Entry) with Holland
23rd TORQUAY The Attic, Torquay with Holland
24th FALMOUTH, Mango Tangos with Holland
25th CARDIFF, Buffalo Bar
26th LONDON, Hoxton Bar and Kitchen, London with Holland
27th NOTTINGHAM, Bodega Social with Holland
28th LEEDS, Brudenell Social Club with Holland
29th SUNDERLAND, The Plugged In with Holland
30th GLASGOW, Flat 0/1 with Holland
31st MANCHESTER, Trof Fallowfield with Holland
They've been quiet for awhile, but now Stornoway return in fine form with 'Tales From Terra Firma'.
The album which is a compendium of stories – birth, death, marriage, coming of age: The Big Stuff. The songs were mostly written in a camper van in land-locked Oxford but on listening, the yearning for adventure and the freedom of the coast and wild places is palpable. As is true of classic songwriting partnerships, lyricist Brian Briggs’ eloquence coupled with his crystalline voice unite with Jon Ouin’s stunning arrangements and alchemise to form a musical mirror. Tales From Terra Firma reflects powerful life experiences, the great outdoors and the passing of time, which is a major theme of the album. Stornoway have self-produced a record that marks a new sophistication in compositional and, in particular, lyrical qualities, while still retaining the charm of their debut that so many fell in love with.
And so to the songs themselves. Brian suggests: “The title of the album conjures up for me, the romantic notion of an adventurer, exploring new lands and reporting on his experiences. Discovering what it is to be human and an enthusiasm for adventure, which I feel is true of me.” This notion was seized upon by drummer Rob Steadman who worked in conjunction with artist Kirini Kopcke to bring an action-adventure sensibility to the album’s artwork. Inspired by Antoine de Saint-Exupéry, Hergé and Ukiyo-e and using the ligne claire style, the aim was, as in the songs, to contrast the drama and adventure of the high seas with something very rooted in the real world. Bass player and other band multi-instrumentalist Oli Steadman transformed into the band’s “super geeky esoteric experimentalist” as well as tutor to Brian in the finer points of learning Logic.
Oli and Rob’s parents’ garage in Oxford became band HQ : Stornostudios. It was here that together they brought 'Tales From Terra Firma' into being. Whilst the band strengthened their grip on experimenting, arranging, song writing and the artwork underneath; the majority of the tracks are simple, melodic pop songs that are warm and inviting and quintessentially Stornoway.
'Knock Me On The Head' is the single from the album. Complex time changes exist alongside the huge hooky chorus and it is in a sense microcosmic of Tales From Terra Firma, encapsulating the history and evolution of Stornoway in a single track. It features the qanun (Turkish zither), a harpsichord and whimsically, a spoon solo by Rob Steadman.
Tracklisting for 'Tales From Terra Firma' is as follows:
1) You Take Me As I Am
?2) Farewell Appalachia
?3) The Bigger Picture
?4) (A Belated) Invite To Eternity
?5) Hook, Line, Sinker
?6) Knock Me On The Head
?7) The Great Procrastinator
?8) The Ones We Hurt The Most
?9) November Song
The band are now on tour across the UK until the end of March.
THE AWAY DAYS ANNOUNCE FREE DOWNLOAD OF ‘DRESSING ROOM’, SXSW SHOWS AND LONDON DATE
The Away Days, the four-piece Turkish dream rock band, look set to be making quite an impact over the coming months.
Taken from The Away Days debut EP ‘How Did It All Start’, the band are offering the track ‘Dressing Room’ as a free download. The EP is available on iTunes now.
The Away Days first US trip beckons with an invite to SXSW festival in Texas this March, and they are also firming up their first UK dates for this May which includes the Barfly, London on May 7 with more dates to be announced shortly.
The Away Days are: Oguzcan Ozen (guitars/vocals/keyboards&synth); Berk Tekelioglu(drums); Sezer Koc (guitars); Burak Serter (bass guitar).
The first time I listened to 'It's Over' I couldn't quite nail the sound of the latest Scandinavian songstress to hit these shores, Beatrice Eli. Not in a "I don't get this way", but with a nagging sense of trying to figure out who she is similar to. So, over to Last.fm I went to check for similar artists, and this is when it struck me: she's very unique. The artists listed as similar I had never heard of - and until today it came to hearing this release, I hadn't heard of Beatrice Eli either. After listening to her though, you can't help but hit repeat and indulge yourself all over again.
The title track from her forthcoming EP 'It's Over' displays a confident Beatrice strutting around in her video, with good reason too. The song starts with catchy, simple and stomping guitar and moves along at a comfortable pace with similarly catchy lyrics. It's good to see an act that has the musical prowess to back the ego so many acts now have these days, and this song certainly does have the traits of someone who deserves to be big.
The EP includes previously released single 'The Conqueror', which contains the perfect combination of dark and experimental production, with sweet pop accessibility, plus three new tracks including 'It's Over' - a slice of unadulterated, dark synth-pop, down-beat ballad Definite Mistake and Scandi-pop gem Violent Silence.
With a few more songs under her belt with the upcoming EP - and eventually, album - she could be joining the ever growing club of Swedish acts to make it into the limelight.
EP Track Listing:
It's Over
The Conqueror
Definite Mistake
Violent Silence
Described on their website as “mope-rock” or “grave-wave”, it's fair to say that LA's Ballerina Black relish in their own blend of melancholia. Their music is an eclectic mix of 80s inspired synth hooks, ephemeral vocals and chunky bass lines that blend together to create something darkly atmospheric and strangely uplifting. Their new EP is the second in a series of extended plays called 'Injureless' and features 4 tracks spread across 15 minutes. Each track manages to sound somewhat distinct from the others while still giving the record a concomitant feel with each track transitioning smoothly in to the next.
Opening track 'Cannot Feel the Reign' starts with a drum beat that will be familiar to fans of Bloc Party and a gradual synth builds throughout the intro slowly adding depth to the track before Bobby Moynahan's vocals glide effortlessly over the top to round it off. At a little over five minutes, it's the longest track to feature on 'BLÅ' and introduces the overall aesthetic feel of Ballerina Black perfectly.
New single 'Birth of A Felony' is much the same. A heavy bass riff forms the backbone of the song, juxtaposing itself against the delicate synth patterns that accompany it. Here Moynahan's vocals are more confident than before and as a result are more discernible, which obviously works in the bands favour. It's not necessarily the vocals which carry the song but they add an extra layer of texture to the track which would otherwise feel transient in all but the chorus.
The strongest track on the EP is the also the shortest; 'Not Far Away' clocks in at a little over two and a half minutes. A delicately morose string section fills in for the absent bass while a finger-picked acoustic decorates the songs middle-ground. The vocals in this track are by far the best on the record and serve to extenuate what is already an incredible song.
It's hard to pigeon-hole a band like Ballerina Black, which is probably a good thing. At times they can sound sort of similar to Bloc Party, but there's an overt darkness to each track that makes even that comparison difficult to maintain. This is really an EP that words can't do justice. It's by no means perfect record. The production quality is of such a standard that it loses some of it's integrity amidst all the polish. Don't let that deter you, however. What you'll find here are four tracks that, paradoxically, are as different as they are similar and rather than being listened to as individual songs, need to be listened to as a whole to really get the full experience.
F.U.R.S have announced their debut single 'Striptease' will be released through Loose Lips Records on March 25.
Fronted by brother / sister Liam and Elle Wade and featuring drummer Olly Bets, they recorded the single at the end of last year at the Crows Nest Studios in London. Stateside influenced pop and roll record, with a U.K. twist, the single was produced by Liam and Olly and will be available as a limited edition 7”, the single will feature a ‘The Fierce & the Dead’ remix of 'Striptease'.
The end of last year saw the band play a handful of their own headline shows around London plus support slots with the likes of Ms Mr, Allah La’s and Gabriel Bruce. They now embark on extensive UK tour supporting Johnny Marr.
MARCH
10th
Oxford Academy
11th
Norwich Waterfront
12th
Cambridge Junction
14th
Brighton Concorde
15th
London Shepherd’s Bush Empire
16th
Birmingham Institute
18th
Sheffield Leadmill
19th
Glasgow ABC
20th
Liverpool Academy
22nd
Manchester Ritz
23rd
Manchester Ritz
The band will also be shortly announcing their own headline shows around the release of the single.
London trio Ghost Eyes have retained something of a mysterious nature since they first came to notice in 2011 with their 'Phantom Mountain' single. Long periods of quiet, enigmatic images on their Facebook page - and little much else to go on (bar their having previously toured with Gold Panda and Matthew Dear, and remixed tracks for Cymbals and Fujiya & Miyagi).
With the download release on February 18 of the 'Black Magic' EP - set to be the first of three planned releases for 2013 - things have not changed. Their moody magnificience that fuses a range of styles - electronica, sampling, rap, dreamwave - while being gloriously evocative throughout.
Tracklisting
1. Another Moon
2. Fear & Fever
3. Twig Fingers
4. Lost Souls
5. Outro
Joseph Coward, the 21 year old Essex-born musician, is to release 'Children's Bones' b/w 'Fat & Ugly' as a hand-packaged vinyl single through Blank Editions on February 25.
Coward emerged in 2010 with his self-released EP 'Animal Sweethearts', his music characterised by his heartfelt baritone voice, multi-layered guitars and high-octane electronic based rhythms. He has since released two singles with Tim Burgess's O Genesis label, and gone on to share the stage with The Charlatans, Factory Floor and rising stars TOY. After spending 2012 working in the studio with a wealth of supporting musicians, Coward returns with ‘Children's Bones’.
He plays London's Old Blue Last on February 26 with special guests, to be followed in early spring by a short tour with his band. Dates to be announced.
Watch the official video for 'Children's Bones' here:
Andy Burrows will release a new single, 'If I Had A Heart', on Play It Again Sam on April 1. Taken from Burrows’ superb solo album, 'Company', the release of the single follows a UK tour and a period in which he made his first foray into soundtrack writing, composing the music for Channel 4’s Christmas TV highlight, The Snowman And The Snowdog.
'If I Had A Heart' is the third single to be taken from the acclaimed 'Company', following two huge airplay hits in the shape of 'Because I Know That I Can' and 'Hometown'. The latter single was also featured in the soundtrack to The Snowman And The Snowdog, which was seen and heard by 10 million people over Christmas.
'If I Had A Heart' has been remixed for its single release by Ash Howes, and will be accompanied by a video directed by Stefan Parker.
Andy Burrows has just embarked on his first full UK tour following the release of 'Company'. Dates as follow:
Mon 18th FEBRUARY BRIGHTON, Komedia
Tues 19th PORTSMOUTH, Wedgewood Rooms
Wed 20th BRISTOL, Fleece
Thur 21st LONDON, Bush Hall
Sat 23rd BIRMINGHAM, Temple
Sun 24th MANCHESTER, Ruby Lounge
Mon 25th GLASGOW, King Tuts
Tues 26th LEEDS, Brudenell
Coventry-based quartet, The Grafham Water Sailing Club are causing a stir across the midlands. Their bizarre blend of dark industrial post-punk won't appeal to everyone; that much at least is clear. Their unique brand of melancholia will however attract attract it's fair share of supporters. Sounding somewhat similar to bands such as Joy Division is always going to work in a bands favour and this case is no exception.
That said, TGWSC aren't just resurrecting the spirit of Ian Curtis. They've created their own mix of ominous vocal work, chunky sounding bass lines and off-kilter guitar work which is as jarring as it is welcoming. Shirking the usual conformity, the band don't necessarily have their own individual parts to play. Instead they share the musical responsibilities of each instrument across the board, creating something that drips versatility.
'Pericolo' starts with some tightly produced drum work and the clean bass sound that perpetuates each of their songs before giving way to lo-fi vocals that are both haunting and captivating and though they are occasionally that little bit too understated, the vast majority of the time it's Nathan Rewhorn's vocal work that really carries the song. That's not to detract away from the other members of the band who are obviously talented musicians. It's just that the song is straightforward in terms of the instrumentation and serves as a platform for Rewhorn's vocals despite being almost-instrumental. A fantastically understated flute lead decorates the song giving it varied intonation in what would otherwise be a bass-heavy affair.
New single entitled 'Kappa Kappa' it's more fast-paced than the latter. The sound of a police siren litters the first minute of the song before bass-heavy verses kick in sounding similar to both 'Cecilia Ann' and 'Planet of Sound' by The Pixies, Rewhorn's subdued vocals are again on top form, and sound somewhat sinister when coupled with the disjointed experimental sounds of the rest of the band. That said though, while the bands music certainly falls in to the experimental category, the structure of the songs are fairly straightforward, and make for easy listening which is somewhat paradoxical given the bizarre nature of the tracks.
While not for everyone, The Grafham Water Sailing Club are definitely doing something no-one has else. There music is dark and dreamy, ominous and occasionally ostentatious. Fuelled by melancholy (and if they're Tumblr is anything to go by: a lot of weed) this is the sort of music that could be considered depressing. However it is anything of the sort. Merely an experiment in experimentation and definitely something you've never heard before.
Forthcoming dates:
February 22 – Birmingham, The Rainbow (w/ The Chapman Family)
February 23 – Cheltenham, Sound Music Venue (w/ Exit Calm)
March 16 – Scunthorpe, The Light (w/ Public Service Broadcasting)
April 28 – Paris, La Cantine de Belleville
Heavenly signings Charlie Boyer & The Voyeurs continue their assault on psychedelia with their new single announcement.
'Things We Be' / 'Feathers & Tar' is to be released on March 25 on 7” and download. Both sides were produced by Edwyn Collins and Seb Lewsley andfollows their debut single 'I Watch You' which was released last October.
Having supported TOY on their U.K. tour at the end of 2012 and recently played with them at their NME Awards Show at London’s Scala, Charlie Boyer & The Voyeurs also have their own London headline show around the release of the single - on March 4 at London's Hoxton Bar & Kitchen.
Details of their debut album, to be released in late spring 2013, and further U.K. dates will be announced shortly.
Charlie Boyer & The Voyeurs are: Charlie Boyer (vocals & guitar), Danny Stead (bass), Sam Davies (guitar), Samir Eskanda (drums) & Ross Kristian (keys).
Hear and watch the video below.
London-based four-piece Cymbals unleash their follow-up to last year's epic nine-minute/er 'Like An Animal' with 'The Natural World'.
Produced by the same team (Dreamtrak, aka Oli Horton (Teeth, Queen of Hearts), 'The Natural World' is available on iTunes now and released on vinyl on March 18 via Tough Love.
Are Loom one of the most exciting bands to emerge in the last year? Some may think so - including us - and certainly as far as Leamington Spa goes, they are well out front.
If you have still to catch up with their exciting live act, the newly released video - shot live at their Shacklewell Arms gig in London last year - to their forthcoming single 'I Get A Taste' (released March 25 through Hate Hate Hate) wil give you an idea of what to expect. Dark, menacing, energetic, and if you stand in the front rows you're likely to get well and truly up close and personal with their frontman, Tarik Badwan.
'I Get A Taste' is the follow-up to the band’s first offering Bleed On Me - a cassette-only release on the Heart/throb label - which sold out within hours of its release in December.
Loom have confirmed the following live appearances, including an NME show with Fidlar at London’s Garage in aid of Teenage Cancer Trust.
Manchester's diva of soul, Josephine has released the official video for her new single, Portrait.
The single, released on February 25, is the title track from her debut album.
Josephine is currently on tour with Paloma Faith playing 20 dates across the UK and Ireland.
She will also be heading out on a headline European tour in April as well as performing at this year's SXSW festival, and just annouced is a further London show at The Tabernacle on April 18.
With their debut album 'Smile That Won’t Go Down' set for release next month, those South London boys who recently brought you 'Jimmy Jammies' (which inspired a whole range of unseemingly thoughts in more than one young lady it seems), now air an album taster.
‘Mental Conditions‘ is to be the first single from the album, and to accompany it they have unveiled a video - filmed on a Blackberry, and directed and produced by FB brothers, Michael and Paraic Morrissey.
Filthy Boy will be opening for Charlie Boyer & The Voyeurs at Hoxton Bar & Kitchen on March 4. They also play Sticky Mike's Frog Bar, Brighton on April 6.
Hot Chip’s Alexis Taylor lends unforgettable lead vocals to Fimber Bravo’s haunting 'The Way We Live Today'. Fimber and his incandescent steel pan playing have already shone a new light on the contemporary music landscape. Blending joyous sounds with visceral improvisations on the steel pan, he collaborates with contemporary UK producers: Zongamin, Optimo, Mickey Moonlight and more.
The new album 'Con-Fusion' is out now on Moshi Moshi.
Fimber Bravo plays the following live dates in London:
'Hangman' is the titular track and leading single from the début EP from East London's The Flight. Comprised of a duo of producers Joe Henson and Alexis Smith, this EP, also titled 'Hangman' is a concept record that retells the story of 'Pretty Polly' a traditional folk song which tells the tale of a girl who is seduced and murdered before being buried in a shallow grave in the woods.
Macabre the subject matter may be, the record even turns things on its head after 'Hangman' and tells the rest of the story from the point of view of the murderer. But subject matter aside 'Hangman' is a fantastic first single from The Flight and shouldn't be overlooked despite it's unusual narrative.
It makes sense that they release 'Hangman' as the leading single as it introduces and frames the rest of the EP. Vocally the song is reminiscent of bands such as Brand New or A Republic of Wolves but that's as far as the comparisons can stretch. Musically this is something really different; a slow-building lament with diverse instrumentation that takes the listener on a auditory journey through the initial act of 'Pretty Polly' and leaves you at the other side feeling like you've just experienced something that borders on the musically profound.
The video that was released along side the song is a work of art in itself. It's a collage of foreshadowing symbolism and morbid connotations. There are references to Edgar Allen Poe strewn throughout with particular emphasis on the raven, which adds to the ominous aesthetic upheld, by video and song alike.
This really is something completely out of the ordinary and something worth spending some time to listen to. What The Flight has done is bring an age-old folk song kicking and screaming in to the contemporary. The video could have been directed by Tim Burton, as it holds much of the same macabre appeal as his work. It is brilliantly put together, utilising what seems to be a multitude of mediums to convey a story which is really quite moving.
For a first attempt at making their own music The Flight have certainly ticked every box in making this a fantastically memorable if not morbid first single. The excellent chorus which includes the lines “And I can still feel her sweet kiss/ I am bound to swing for this” is sure to play out in your head over and over again. A sure fire sign that The Flight have truly succeeded in making a song which at once both haunts and encapsulates, drawing you in to a world that drips with Dickensian austerity and glistens with a charm that really shouldn't be felt given the overt sincerity of the lyrics.
Youth Lagoon - Trevor Powers - has announced the release of his sophomore album, 'Wondrous Bughouse', to be released on March 18 via Fat Possum.
It was spawned from what he describes as "becoming more fascinated with the human psyche and where the spiritual meets the physical world." During the time he wrote, Powers became intrigued with the metaphysical universe and blending those ideas with pop music. "Youth Lagoon is something so personal to me because writing music is how I sort my thoughts, as well as where I transfer my fears," he explains.
Signing to the Mississippi-based label in 2011, he toured much of the following year before going back into solitude to write. The resultant album is one which sees Powers boldly and confidently expanding his Spartan sonic palette, creating a record that opens upwards and outwards even as it retains his knack for beautiful melody and fragile emotion. With the production help of Ben H. Allen (Animal Collective, Washed Out), Powers delivers a gloriously widescreen take on the bedroom pop of “The Year of Hibernation”, even as he explores darker subject matter such as a fear of mortality, or as he describes, “realizing that human life is only great because it is temporary”. So, even while the songs are more full-bodied than they were previously, they are also as effortlessly poignant and moving as ever. “Dropla”, for instance, employs lush orchestration to build and swell, making the recurring refrain of “you’ll never die” triumphal, almost celebratory, while the stirring “Third Dystopia” progresses to a lump in throat climax which sounds like Powers casting out his demons, singing “evil is in the air, I’m not coming out/ out/ out...Jane’s not here, she’s on the other side, out/ out/ out”. The overall effect is powerful and indelibly affecting, recalling not so much his newer contemporaries as epochal records like Mercury Rev’s “Deserters Songs” or Flaming Lips’ “The Soft Bulletin”; gorgeous psychedelic pop songs imbued with an ingrained heart of grief and sadness. Even though some of the titles may seem opaque, listening to this extraordinary record will make everything fall into place. As Powers says: “I'm not a gifted speaker, so explaining things is difficult for me. But music always makes sense."
TRACKLISTING
1. THROUGH MIND AND BACK
2. MUTE
3. ATTIC DOCTOR
4. THE BATH
5. PELICAN MAN
6. DROPLA
7. SLEEP PARALYSIS
8. THIRD DYSTOPIA
9. RASPBERRY CANE
10. DAISYPHOBIA
New label Seedy Wunderground, the brainchild of producer Dan Carey (pictured above) is set to launch on February 25 with the release of 'I Go 'by Steve Mason & Emiliana Torrini.
Dan will produce all releases and all records will be recorded at his South London studio. Dan, who has previously produced Franz Ferdinand, Bat For Lashes, TOY, Willy Mason, Django Django, The Kills, Chairlift and Steve Mason, is aiming to record in one day and finish before midnight. The recordings will be a snapshot of the day. Mixing will be done the day following the recording, also in one day only.
The recordings will appear in limited runs of two hundred and fifty 7", which will be in the shops as soon as humanly possible following their completion. The core of each song will be a live take recorded in the dark with smoke and lazers and somewhere on each record the Swarmatron will make an appearance.
As its name may suggest, Speedy Wunderground intends to work quickly. There will be as a little delay as possible between recording and release. Speedy Wunderground records will not sit on the shelf gathering dust waiting to be released and each year's recordings as a compilation at the end of the year.
LA sisters Jennifer and Jessica Clavin aka Bleached will headline the Dalston Victoria on Feb 27 with support from Sean Nicholas Savage and The Wharves. Tickets are on sale now.
Blending a punk aesthetic with vintage sunny California rocknroll and blindingly bright hooks, their new single 'Next Stop' epitomises this movement - raw adventurous and free. This comes from their debut album 'Ride Your Heart' to be released on April 1 thru Dead Oceans.
One of the most blogged about bands of 2012, folk/electronic outfit Mt. Wolf return with new single ‘Hypolight’. The lead single from their eagerly anticipated follow up EP of the same name will be released via Two Sisters on March 11.
‘Hypolight’ continues where their gripping debut effort ‘Life Size Ghosts’ began, full of dreamy and emotive electronic landscapes, yet reveals the sound of a band truly coming into their own.
A confident and promising step forward.
Mt. Wolf will be the headliner act for a live show at XOYO on February 28. The band will be supported by upcoming electronic producer duo Face + Heel and a special guest who will be announced later this month.
Good Thank you, things are starting to move forward again.
We hear you've just forsaken the North and moved to the far more upmarket South. Are you finding the natives friendly so far?
This is correct. Its not a big deal though. I have been coming down here that much it was just easier to be based here. I think some people never leave the end of their street and would see London as another planet. The band are only a few hours up the road. People in Australia and America travel that distance all the time. I have moved in with my girl friend, Jon from Sulk and another friend Nat. So yes everyone is friendly!
Tell us who you are and what you do.
You know who I am? Amazing guess earlier then! I am the vocalist in Exit Calm amongst other things...
Now, now, grumpy! Some nice band shots to accompany the single release and tour. You're still not smiling though?
We're doing a photo shoot tomorrow - I will smile for you! Mean and moody is in the 'band photo handbook'. Have you not read it? Along with the singer has to be pushed to the front slightly; all stood awkwardly stiff against a wall with some graffiti in the back ground or a derelict building.
Are you better known for having a somewhat menacing presence on stage or your facial hair, do you think?
I'm not known for a beard: it's a new thing. Makes me look less menacing apparently - like a warm fuzzy bear. So less people shit themselves at gigs.
What have you got to plug for us?
'The Rapture' will be released on the 18th February on 500 limited vinyl. Our tour to accompany its release starts at the Borderline on the 21st.
What can you tell us about the new album you've been working on and why has it taken you so long since the debut of 2010? Is it because you/the band are perfectionists at your craft?
The new album will be called 'The Future Isn't What It Used To Be.' It will have nine songs on. Most will be played at these next run of gigs and we are itching to see how they will be live. One of my current favourites is called 'Holy War'. It's got a deep massive attack groove in the vein of Inertia Creeps, but the chorus is kind of eighties sounding. It's a strange mix, but it works. I can tell it will be an eventual big favourite. It ends in an apogee that could be seen as our signature. I'm looking forward to playing it live tonight for the first time in Luton at our warm up show. We are perfectionists to some extent, but also with this record there has been a little less of that this time. Not to say we have been lacklustre at all, but a little more carefree in the respect of trying to control absolutely everything. It's mind bending so it had to stop.
You have those other shoegaze wonders SULK opening for you in London. Will you and Jon be serious, non drinking folk post gig?
No idea what Jon will be doing - hogging all the mirrors probably! They have a tune called 'Down' that's my favourite off their album. Look out for it. As for drinking, I think you know the answer. Unfortunately, next to every stage I play at, a bar is next to it... Those that know me, know that I'm rarely serious off stage. It's a common misjudgement by people that. I have never laughed as much as I have with the people in my band. And I mean wholehearted, belly aching laughter. Yet when we are on stage we are all very serious about the music so people imagine that's what we are like permanently. It's strange because it seems to work the other way round in reality. Half of these so called comedy bands with funny lyrics and light music are the most boring depressive people off stage you could possibly ever want to meet.
There's a pretty healthy back catalogue of Exit Calm songs, which would you say is the one you are most proud of and why?
It's like having a favourite kid though isn't it? Its not really possible, not in a melodramatic heavy sense. Just because I personally don't believe in pride. Yes I wrote the lyrics and the melody I sing, but I still do not feel right taking credit for the vocals. Because Im objective enough to know that there are always outside influences. Whether conscious, or just subtle things that are going on without people being aware. It might sound daft to some people but it is my view that Exit Calm is responsible for what it produces. That's it. You may hear that as incredibly modest, it's not. I know very well that I sat and wrote the words, but I can't be proud of any that I like because im not sure I believe in the individual in the common sense.
Well, seeing as 'The Rapture' is the latest, we'll let people listen to that instead.
If you weren't in Exit Calm, where would we be most likely to find you today - the pub is not an accepted response!
The cemetery - is that acceptable? There is no 'if'. I am in Exit Calm and will be for a good few more albums. Sorry I have just remembered you said lighthearted! I wouldn't be dead, Exit Calm isn't the reason I am alive. Definitely one of the reasons though!
Who have been your musical influences and to what extent have they shaped your own writing and performing?
When I was 16 at art college my third eye opened and in poured John Lennon. I know he is now a cliche, almost a Mickey Mouse figure, but I couldn't help it. Oasis were just about to emerge and I was swept up by the whole Beatles/Lennon thing. So to talk of one influence, it would have to be him. I remember just being completely obsessed, read every book; went to watch Backbeat about four times on my own at the pictures. But that was almost twenty years ago. The influence list is endless now. I am just as influenced by a shit song because it makes me want to do better, as I am something that I hear and think is great. Creation, Factory and Mo-wax says enough though we believe.
Last word: spill your word or words of wisdom. Say 'pass' if you have none.
Pass. I will be forever learning so there is no way I would try to advise anyone, but I will say that if you think that this is all there is, then you are an absolute moron.
Forget your Biffy Clyro and your Frightened Rabbit, Dundee's Man Without Machines might just be the next big Scottish export to brighten the festival circuit this summer. Their début album 'The Kreuzberg Press' is comprised of 12 tracks of radio-friendly electro-pop that has been influenced by the likes of New Order and Human League.
There is a distinct political theme that runs through the album, from the title (a reference to an area of Berlin, famous for it's radical attitudes to art and music) down to lyrical musings on the Cold War in 'It's Closer' to the current banking crisis ('Share the Love'). With the political overtones coupled with influences such as the aforementioned, you could be forgiven for thinking that 'The Kreuzberg Press' would be a sombre affair. Instead, somehow Man Without Machines have managed to create an album which is one part politics, one part party.
The first single release from 'The Kreuzberg Press' was 'Something's Happening Here'; a track which sets aside the politics in favour of driving guitars which hark back to the early days of brit-pop. Having found itself airplay on the likes of BBC Scotland and 6Music, 'Something's Happening Here' could easily become a floor-filler in indie clubs nationwide.
The second single to be released and album opener, 'Even Still, Even Though', could be a synth-happy Vaccines, especially throughout the verses and is described by the band as being “essentially an electro pop ballad” that will no doubt become an opener at their live shows.
Perhaps the strongest song on the album is the upbeat 'Sound of Your Lies' which finds vocalist Adam Lockhart sounding similar to Stephen Malkmus of Pavement fame. The song is led by a playful synth loop that is juxtaposed brilliantly with the serious nature of the lyrics.
'The Kreuzberg Press' is an album that injects some colour in to an otherwise grey winter. Unfortunately, the seriousness of Lockhart's lyrics is lost amidst a sea of shiny synth loops and hard-hitting guitars. That said, however, this is a record that will have you tapping a foot or nodding your head before you even realise that you're doing it. There's a real party vibe to the music even if there is a message being put across. Who said politics can't be fun?
Three years after their initial 7” 'Curiosity', London 5-piece Fiction release their first full length album, ‘The Big Other#, a record which capitalises on current 80s resurgence and fuses it with the traditional jangle of indie-pop into an amalgamation of sugar and sunshine.
Opener 'Parting Gesture' sounds somewhat like We Are Augustines. Delicate, breathy vocals add a layer of texture to a track which, brought on by a chorus of 'ooh's', soars to heights rarely matched in the tracks that follow. Songs such as 'See Me Walk' and 'Vertigo In Bed' forgo the sunshine in favour of a darker, 80s feel which, vocally, is not dissimilar to Tears For Fears. However, these tracks are what let the album down, leaving it feeling somewhat flat at times.
The problem with ‘The Big Other’, is it lacks the childish playfulness exhibited on earlier 7” such as 'Parakeets' and the aforementioned 'Curiosity', both of which bring to mind Misty's Big Adventure minus the flamboyancy. 'Big Things' is a track, which, fortunately keeps some of the bands earlier folly alive and is vaguely reminiscent of Vampire Weekend thanks to a sweet and Summery synth track that defies you not to nod your head and is another highlight of an album that rarely does much to stand out.
Coming full circle, 'The Big Other' finishes on another high in the form of 'The Apple' which thankfully isn't as permeated by the 1980s as other tracks on the album. It's understated and minimal and a result the track shimmers with fantastic vocal harmonising and a Pixies-esque ending.
Unfortunately for the band ‘The Big Other’ is an album they appear to have taken too seriously. Whether that is the case or not; the cheeky off-kilter songs you could both dance and laugh to are all but gone and what we're left with is an album filled with 1980s theatrics that is detrimental to the overall record
CHVRCHES, the Glaswegian electro-pop trio, release their new EP on March 25 via Virgin/Goodbye, followed by a limited edition 12-inch vinyl (UK only) on April 20 for Record Store Day.
'Recover' which made its debut on Zane Lowe's Radio 1 show (February 6), as 'Hottest Record In The World' right now.
Tracklisting:
1. Recover
2. ZVVL
3. Now Is Not The Time
4. Recover (Cid Rim Remix)
5. Recover (Curxes’ 1996 Remix)
Ducktails, the side project of Real Estate's Matt Mondanile, has just released 'The Flower Lane', which is the project's fourth album and his first for the Domino Records label. Recorded and mixed last summer with Al Carlson (Peaking Lights, Oneohtrix Point Never) the ten track album dropped on January 28 - together with the single release of effervescent pop gem, 'Letter of Intent'.
The ten songs on The Flower Lane move across a range of expressive pop songs that are bright and expansive, but venture even further with forays into saxophone leads, synth lines and piano accompaniment that would have been at home on the early records of sophisticated guitar pop icons such as Aztec Camera and Prefab Sprout.
With brooding seducers 'Under Cover', 'The Flower Lane' and 'Sedan Magic' along with a stunning cover of founding Clean/Chills member Peter Gutteridge's 'Planet Phrom', the ambient pop of 'The Flower Lane' is, from start to finish, as spirited as the time the band obviously had recording it.
Ducktails are about to embark on an 8-date European tour, including playing in the UK at Brighton's Green Door Store on February 24 and The Lexington, London, on February 25.
Lo-fi dreampop London based duo Amelia Rivas and Christian Pinchbeck release their latest taste of dreamy nonchalance, 'Skyscraper' via Memphis Industries on March 25.
Swirling guitar lines, pounding bassline, luscious organ, melodic 60s style harmony choirs and the sultry haze of Amelia's vocal overlaid, place it in a Beach House groove - with added perfection.
Is there life after for The Strokes? Is 'Trigger' about fit only for an episode of 'Only Fools And Horses'? Oliver Burgess offers a personal view.
There once was a band called The Strokes. They came to Earth to save mankind from Travis. Like many superheroes they had their flaws: they flew to Earth on silver spoons, they were rich kids who had it easy, socialites with business mogul dads who owned modelling agencies. Musically and stylistically they pillaged the past to make themselves look effortlessly cool and had a 'guru' (JP Bowersock) who probably wrote a lot of the tunes (the ones that weren't written by Tom Petty that is). But we forgave them because that's what they did have in abundance, tunes.
To these ears 'Is This It?' is an excellent album, well crafted and full of brilliant alternative pop songs performed with a calm swagger, which is exactly what planet bland needed in 2001. As is well documented, the band and album were a much-needed antidote to the likes of the far too nice Travis and the moronic shit-storm that was Limp Bizkit.
Skip forward 12 years (yes, 12 years!) and we have 'exciting' new single 'One Way Trigger' - a truly awful, turgid, piece of lazy, 8-bit, Ah-Ha plagiarizing guff. Some may say that The Strokes have reinvented themselves since their debut, that we shouldn't expect 'Is This It? Mark II' (no, we shouldn't, that was the 2nd album and it was boring). They have not reinvented themselves; they've just got shit, very shit.
'One Way Trigger' is the same song The Strokes have been pedalling for 12 years, but this time it's performed by a dying old lady over the sound of a Nintendo plat-former from 1988. Before you know it Casablancas gets bored of the dying old woman routine and opts instead to do impression of a near comatose Sylvester Stallone. Then we get the guitar solo. Yes, the guitar solo (you know the one), the one that we get in every song by The Strokes, it's just that it's got wankier over the years. Once that's over and done with, we're on the home straight, which is more of a procession of painful lurches than a sprint to victory. This consists of some more mumbling alternating with the dying woman bit, which goes on far, far too long.
I think Julian talks about finding a job and settling down which is probably what he should do, but I suspect these are hollow words. The song ends in familiar fashion with the drum part from 'Hard To Explain' or one of the other good ones; unsurprisingly this is a track highlight.
And that's about it. The track is a painful mess. Rather than cover up the complete lack of a song with anything approaching a creative idea The Strokes opt instead for a pitch shifter (or kick in the balls?) and a secondhand retro console. The face isn't a mess, Julian still has those eyes the girls swoon over, so will look good on every magazine cover from Rolling Stone to NME. Just a shame that that the music being produced is so appalling bad.
Do you agree or disagree with Oliver's view? Leave your comments below.
The distinctive vocals of singer Sammy Aaron Jr, take on this Goth-like lullaby 'Far From My Arms', whilst - in the video at least- gets a little 'stuck up.
Having shared stages with the like of TOY, Twin Shadow and Paris Suit Yourself, the Brighton quartet are seasoned live performers and you can see their rousing live show tonight - February 6 - at the Notting Hill Arts Club, London.
'Far From My Arms' can be downloaded for free here:
Hailing from Austin, Texas, G A L P A L S are Bristol-based label Howling Owl's first international release.
The female duo of Lauren Marie Mikus and Jillian Talley concoct bubblegum hooks and summery sassiness on their first offering, 'For Our Sake'. The single will be released on February 18 on 7" vinyl, along with two B sides 'Do You Ever' and 'Dilettante'; as per usual with Howling Owl product, the artwork will be handmade and will be limited to 250 copies.
New signings to the Club AC30 label (home to Exit Calm, Ringo Deathstarr amongst others) are the Oklahoman darkwave/extreme noise trio Depth & Current. They release their first offering on the label, a mini-album entitled 'Transient' on March 18.
The album consists of 8 songs, compressed into 14 minutes - so not only is it not going to take up too much of your time, but they won't give you the chance to be bored either. Canny lot, eh! 'Transient' will initially be available on 7" vinyl only.
Their sound is heavy electronic beats, loud jarring guitars, punishing bass, and dark, reverb-drenched vocals. You can try before you buy with a taster sampler 'You're Alive' below.
Depth & Current are: Chris Harris (guitars, synths, programming, vocals), Derek Lemke (guitars, synths), and Tommy McKenzie (bass, guitars, synths).
London synth quintet Portasound confirm the release of their new EP ‘Sacrifice’ on February 11 via Blood And Biscuits. To accompany it they also have a weird and wonderful video for the EP's lead track ‘Time Lost’, plus two extensive UK tours with Wave Machines and label mates Gallops.
As with their previous release 'The Second Renaissance EP', Portasound have created a sense of filmic purpose in their songs and put together an EP that, whilst each song may be enjoyed on it's own merits, is best digested from start to finish as a 20 minute sci-fi journey. James Dow, who steps forward on the 'Sacrifice' EP as the band incorporate more vocals, explains: "The aim was to create an EP which carried the atmosphere of some of our favourite dystopian films and novels with the energy of a live electronic band to create an intense and memorable listening experience both on record and on stage."
Watch the video for ‘Time Lost’ here:
Over the last few years, Portasound have shared stages with The XX, Two Door Cinema Club, Friendly Fires, Metronomy and Three Trapped Tigers whilst continuing to hone their own sound and grow from three to the five members who make up the live band today. They start 2013 by accompanying Liverpudlians Wave Machines on their UK tour before joining Blood and Biscuits label-mates Gallops for a series of dates that will surely warp minds across the country.
See Portasound live on these dates:
FEBRUARY
03 – Newcastle @ The Cluny 2 (w/ Wave Machines)
05 – Nottingham @ Bodega (w/ Wave Machines)
06 – London @ Scala (w/ Wave Machines)
07 – Southampton @ Joiners (w/ Wave Machines)
11 – Edinburgh @ Electric Circus (w/ Gallops)
12 – York @ Fibbers (w/ Gallops)
13 – Leicester @ Firebug (w/ Gallops)
14 – Birmingham @ Flapper (w/ Gallops)
15 – Bristol @ Start The Bus (w/ Gallops)
16 – Cardiff @ Buffalo Bar (w/ Gallops)
20 – Liverpool @ Shipping Forecast (w/Gallops)
21 – London @ Lexington (w/ Gallops)
27 – Leeds @ Brudenell (w/ Gallops)
28 – Hartlepool @ The Studio (w/ Gallops)
‘Sacrifice’ EP track listing:
1. Time Lost 2. Procession 3. Furore 4. Ascension
Portasound are: James Dow (vocals, keys), Michael Dow (bass, keys), Luke Bell (guitar), Thomas Ellinas (guitar, bass, keys) and Graham Gaffney (drums).
It would have been a fairly standard Saturday evening, had it not been for just before 9pm (GMT) the following appeared on the Facebook page of My Bloody Valentine:
" We are preparing to go live with the new album/website this evening. We will make an announcement as soon as its up."
Having announced just before Christmas that they had finished mastering the new album, speculation has been rife ever since. Added weight was given to its imminent appearance when frontman Kevin Shields told the audience at their Brixton pre-tour warm-up show on January 27 that it was coming "in two or three days".
The surprise announcement of the album arrived in a similar fashion to that of David Bowie's new single 'Where Are We Now?' last month, with no prior formal record company word.
The album, which will be their first since 1991's 'Loveless', comes in advance of their live UK shows in March as follows:
March
08 Birmingham 02 Academy
09 Glasgow Barrowlands
10 Manchester Apollo
12 London Hammersmith Apollo
13 London Hammersmith Apollo
As of now with the music media and blogging fraternity about to go into meltdown, all we can do is sit and wait a little longer and remember how they once sounded.
Young Unknowns, the Brooklyn quartet fronted by lyricist Meredith Meyer, fast their seat belts for a few one-off dates in the UK next week as they unveil their updated version of The Cars classic 'Drive'.
As yet still largely 'unknown', Young Unknowns released their debut EP 'You Are A Young Unknown' last October, bringing Meyer's sultry vocals and their 90s influenced indie synth rock style to notice. Produced by Bill Racine (Rogue Wave, Mates of State, Flaming Lips), they exhibited a quietly smouldering intent that was enough to shake bloggers from their slumbers.
The band play London's Buffalo Bar (Feb 5), Cornershop (Feb 6) and Old Blue Last (Feb 8).
After winning Artocker magazines 'Unsigned Act of the Year' Bristolian quartet Spectres are set to release their EP 'Hunger' on March 11 through Howling Owl Records (limited to 100 12" vinyl, that also comes with a CDR and download code, all housed in handmade sleeves and artwork). Recorded by members of the blossoming Howling Owl family (Oliver Wilde and Dominic Mitchison (Velcro Hooks), 'Hunger' catches the squalls of feedback, distortion and noise, whilst still managing to leave room for the vocals to float around at will.
They describe themselves on their Facebook page as being 'loud' and while that's not an understatement - plenty of feedback, thumping rhythms; think Sonic Youth - it is not just loud 'noise'. 'Threshing Machine' - coming in at not far off seven minutes in length - provides a stunning guitar opening with a pounding beat that makes it almost danceable to! Nearly as long is 'Maybe You Shouldn't Be Living Here'. Close your eyes and once you're past what could easily be mistaken for a variation on the Batman theme mashed up with TOY-like motoriks, it provides one of the EP standouts.
Tracklisting:
1. Pull
2. Rattle The Cage
3. I Was In A Box
4. Maybe You Shouldn't Be Living Here
5. Threshing Machine
Spectres play at Bristol's Motorcycle Flash Parade on February 23 for the 'Hunger' launch party, followed by London's Old Blue Last on March 7 with fellow Brizzies, Velcro Hooks.
Spectres are: Joe Hatt - Guitar + Vocals; Darren Frost - Bass + Vocals; Adrian Dutt - Guitar; Andy Came - Drums.
The video teaser below for the EP prompted XFM's John Kennedy to tweet 'Blimey!' after having seen it. Whether that was in a good or bad way remains to be seen - we'll leave you to make up your own mind!
