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    (King) Louie Bankston

    Posted on 30 November 2023

    Louis Paul Bankston, better known as King Louie Bankston, was an American rock and roll musician from New Orleans. Associated early on with garage punk, he abandoned the genre in 1998 and focused on Louisiana swamp pop, boogie woogie, boogie rock, and power pop.

    Adrian Crowley

    Posted on 20 May 2020
    Adrian Crowley is a Dublin-based singer/songwriter with an introspective, moody tone. Crowley’s music is steeped in the folk traditions of the 1970s, calling to mind storytelling songwriters such as Leonard Cohen and Nick Drake, with a strong, often central emphasis on lyrics. Increasingly as his career has progressed, his sound has incorporated electronic music; this influence has been reinforced by his ongoing relationship with producer Stephen Shannon of Dublin “folktronica” act H...
    Adrian Crowley is a Dublin-based singer/songwriter with an introspective, moody tone. Crowley’s music is steeped in the folk traditions of the 1970s, calling to mind storytelling songwriters such as Leonard Cohen and Nick Drake, with a strong, often central emphasis on lyrics. Increasingly as his career has progressed, his sound has incorporated electronic music; this influence has been reinforced by his ongoing relationship with producer Stephen Shannon of Dublin “folktronica” act Halfset, while his reputation as a multi-instrumentalist has led him to employ a vast array of acoustic instruments and guitar pedals.
    Season of the Sparks was released by Tin Angel in Ireland in April of 2009 and won the Choice Music Prize -– Ireland’s Album of the Year Award. His follow-up, I See Three Birds Flying, was issued in September of 2012. May of 2013 saw the release of The Invaders Salute Captain America, a collaboration with James Yorkston in tribute to, and featuring the songs of, underground U.S. songwriter Daniel Johnston. After the pair played a series of shows, Crowley spent the remainder of the year playing his own gigs and writing new songs. His next album, Some Blue Morning, with contributions from the London string ensemble Geese, cellist Kevin Murphy, and singer Katie Kim, was released in November of 2014. Teaming up with American producer Thomas Bartlett (Magnetic Fields, Sufjan Stevens), Crowley’s next release ‘Dark Eyed Messenger was unusual in that it was recorded entirely without his primary instrument, the guitar.

    2021 sees Crowley releasing his ninth studio album ‘The Watchful Eye of the Stars’ produced by John Parish (Aldous Harding, PJ Harvey) and recorded in between both the studio and Crowley’s home. Featuring members of Crash Ensemble, Jim Barr of Portishead contributing double bass and engineering, Nadine Khouri and Katell Keineg who feature as guest backing singers on the record.

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    Adrianne Lenker

    Posted on 24 November 2020

    Al Doyle

    Posted on 20 May 2020

    Al Doyle is a British musician and songwriter. He is best known as the guitarist and synthesiser player for British indie electronic band Hot Chip and American rock band LCD Soundsystem. He is also a founding member of British electronic band New Build.

    Alabaster Deplume

    Posted on 11 August 2020

    Alabaster DePlume is a Manchester-born, London-based bandleader, composer, saxophonist, activist and orator. He’s a resident at the legendary London creative hub Total Refreshment Centre, a recording artist for the off-grid, Scottish Hebridean island label Lost Map, and now the latest arrival into Chicago-based International Anthem’s growing family of progressive musical explorationists. The music of his 2020 release “To Cy & Lee: Instrumentals Vol. 1” contains naturally elegant o...

    Alabaster DePlume is a Manchester-born, London-based bandleader, composer, saxophonist, activist and orator. He’s a resident at the legendary London creative hub Total Refreshment Centre, a recording artist for the off-grid, Scottish Hebridean island label Lost Map, and now the latest arrival into Chicago-based International Anthem’s growing family of progressive musical explorationists. The music of his 2020 release “To Cy & Lee: Instrumentals Vol. 1” contains naturally elegant orchestration wrapped around something visceral and primordial, combining new compositions alongside bygone instrumentals and understated lullabies that feel like they’ve been picked from between the cracks of civilisation. DePlume’s politics might be more evident in vocal songs from his live repertoire when he’s reshaping advertising slogans into a call to arms or encouraging activism on “I Was Gonna Fight Fascism,” but his commitment to the cause is as palpable through the instrumentals of Cy & Lee… This is music designed to respond to what Russian revolutionary poet Mayakovsky described as a “social command.” “I like the idea that we’re not just doing frivolous decoration. We’re doing work for society. I like to listen for what needs to be said.” – Excerpt taken from “To Cy & Lee: Instrumentals Vol. 1” liner notes by Emma Warren.

    The Guardian 2020

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    Alan Braxe

    Posted on 01 November 2023

    Alan Braxe is a singular musician with a rare and restless spirit. His penchant for composition and melody commenced at an early age, with classical training in clarinet and cello. Braxe developed an omnivorous appetite for music in his adolescence, devouring everything from Alexander O’Neal to Heaven 17 and Public Enemy.

    Before long, Braxe was producing his own viral strain of dance music using only a mixer, a compressor, and an Emu SP1200.

    Within a year, a handful of Braxe’s early demos...

    Alan Braxe is a singular musician with a rare and restless spirit. His penchant for composition and melody commenced at an early age, with classical training in clarinet and cello. Braxe developed an omnivorous appetite for music in his adolescence, devouring everything from Alexander O’Neal to Heaven 17 and Public Enemy.

    Before long, Braxe was producing his own viral strain of dance music using only a mixer, a compressor, and an Emu SP1200.

    Within a year, a handful of Braxe’s early demos attracted Thomas Bangalter’s attention, and Braxe’s debut single, “Vertigo”, was released in 1997 via Bangalter’s influential Roulé label. “Vertigo” was a hallmark of the emerging French Touch sound, and Braxe, Bangalter, and childhood friend Benjamin Diamond decided to join forces for a collaborative project. That project would be called Stardust, and their 1998 single “Music Sounds Better With You” — which they wrote and recorded in one week — arrived as an instant dance music classic, selling over 3 million copies, and earning the trio a canonical spot in the electronic music constellation.

    Approaching the 20th anniversary of Stardust’s smash success and the Vulture label’s launch, Braxe again takes a radical turn in method. He strips his studio of all things digital and starts to experiment with a Buchla modular synthesizer, echoing his first setup’s minimalism.

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    Aldous Harding

    Posted on 20 May 2020

    An artist of rare calibre and intensity, Aldous Harding does more than sing. Her body and face a weapon of theatre, Harding dances with steeled fervor in and through an omnium gatherum of emotions.

    As a Bunraku puppet transfigures from graceful maiden into gnashing, black-eyed demon, so Harding spins through sinister torch songs, gentle laments and eerie odes. Her debut release with 4AD Party (produced with the award-winning John Parish; PJ Harvey, Sparklehorse) introduces a new pulse to the ...

    An artist of rare calibre and intensity, Aldous Harding does more than sing. Her body and face a weapon of theatre, Harding dances with steeled fervor in and through an omnium gatherum of emotions.

    As a Bunraku puppet transfigures from graceful maiden into gnashing, black-eyed demon, so Harding spins through sinister torch songs, gentle laments and eerie odes. Her debut release with 4AD Party (produced with the award-winning John Parish; PJ Harvey, Sparklehorse) introduces a new pulse to the stark and unpopulated dramatic realm where the likes of Kate Bush and Scott Walker reside.

    Igniting interest with her eponymous debut album released just two years ago, Aldous Harding quickly become a name murmured on many lips, known for her charismatic combination of talent, tenacity and shrewd wit. The album drew attention and accolades from some of the most illustrious corners of the music industry, receiving 4 stars in MOJO and Uncut, while UK blog The 405 hailed her a “toweringly talented song writer”.

    Comprising a formidable clutch of songs, 2017’s Party sees Harding shape-shift through a raft of roles: chanteuse, folk singer and balladeer – all executed with her twisted touch of humour, hubris and quiet horror. In other words, she’s having a good time. Stretching her limbs with playful cunning and steely fervor; every note, word and arrangement posed with intellect and inventiveness.

    First single “Horizon” is a lover’s call to arms, shockingly powerful for its brutal simplicity and rawness of feeling, love and loathing colliding to devastating effect. “Aldous Harding repeats the line as a mantra, as a truth, as a reality.
    It’s as if the gift of life is right here, with all its beauty and its limitations”,
    said NPR.

    Renowned for the captivating state of possession she occupies in live performance, Aldous Harding has won crowds the world over playing alongside Deerhunter, Frankie Cosmos and Perfume Genius, as well as to hoards of eager crowds at Great Escape, Golden Plains, SXSW and more. Aldous’ 2017 touring schedule spans Europe, the US and the United Kingdom for much of the year.

     

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    Alex Burey

    Posted on 20 May 2020

    Alex Burey is a producer, songwriter, mixer & multi-instrumentalist from the outskirts of London. His interest in music began at the age of 7 when Alex found classical piano. Once at school he began producing hip-hop & grime music for local artists. Since then he’s worked from his home studio on all styles of music; hip-hop to folk, classical to dance. Authenticity is a central quality to all the music he produces.

    Alex’s approach to production is collaborative, working with t...

    Alex Burey is a producer, songwriter, mixer & multi-instrumentalist from the outskirts of London. His interest in music began at the age of 7 when Alex found classical piano. Once at school he began producing hip-hop & grime music for local artists. Since then he’s worked from his home studio on all styles of music; hip-hop to folk, classical to dance. Authenticity is a central quality to all the music he produces.

    Alex’s approach to production is collaborative, working with the artist to find the emotional essence of a song and then allowing that to speak out first. He takes inspiration from an older time yet couples this with a modernism that feels fresh and original. Warmth, contrasts in dark & light tones and imperfections are layered throughout his production work.

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    Alex G

    Posted on 20 May 2020

    Not long after he finished recording Beach Music, his seventh full-length and Domino debut, Alex Giannascoli found himself in unfamiliar territory. “I took the record to a studio,” he says, “to get it mixed and mastered by some pros. But I was really nervous—usually, I’d just do everything myself and then put it out myself. I have this really precise vision and the best understanding of what I want to do.”

    Over the course of six self-recorded and mostly self-released LPs, that vis...

    Not long after he finished recording Beach Music, his seventh full-length and Domino debut, Alex Giannascoli found himself in unfamiliar territory. “I took the record to a studio,” he says, “to get it mixed and mastered by some pros. But I was really nervous—usually, I’d just do everything myself and then put it out myself. I have this really precise vision and the best understanding of what I want to do.”

    Over the course of six self-recorded and mostly self-released LPs, that vision has come to bear in frequently breathtaking, innately melodic forms. As Alex G, the Philadelphian singer-songwriter has built and feverishly shared a body of work unassuming in its presentation but astounding in its depth, a stream of recordings so rich and expansive that settling on a favorite song is nearly impossible: The moment you finally choose one, you discover another you hadn’t heard yet.

    Beach Music was written and recorded in Giannascoli’s apartment, between the Fall of 2014 and the Spring of 2015, during breaks from touring with the likes of Elvis Depressedly, Cymbals Eat Guitars, and Gardens & Villa. While its predecessors often came in uninterrupted bursts—from his head to his Bandcamp page in a matter of hours and days—Beach Music was shaped in part by Giannascoli adapting to life as a touring musician. Songs were written within months of one another rather than all at once, with influences ranging from noise music to piano-based laments to Southern rock to the rhythmic focus of techno—whatever he happened to be most interested in at the time. “Every song is coming from a different place,” he says. “It branches off in all these directions, but it has its own sound. It’s not something I do intentionally, but I’m the common thread.”

    The result is Giannascoli’s most cohesive and beautiful work to date, as heard in the iridescent guitars of “Bug,” the starlit whispers of “Mud,” and the singularly strange harmonics of “Brite Boy.” Some feature parts of songs that he began writing as a kid; all are haunting additions to a songbook whose rewards continue to evolve and multiply with every listen. “I wanted this album to sound really warm and unpretentious and unfiltered,” he says. “I wanted to make music that was completely honest, music that was coming really naturally to me. I don’t know what or who I am if I’m not writing songs.”

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    Alex Izenberg

    Posted on 20 May 2020

    Alex Izenberg first emerged onto the scene with his debut album ‘Harlequin’, released in 2016 on Domino Records. The album was colorful, full of mischief and concealed charm, while remaining deeply human and relatable at its core. In 2020, Izenberg followed up with ‘Caravan Château’, and he will soon release ‘Alex Izenberg and The Exiles’ in 2024. The latest project features melodies that are romantic and warm, with arrangements that are invitingly expansive, making expert use of...

    Alex Izenberg first emerged onto the scene with his debut album ‘Harlequin’, released in 2016 on Domino Records. The album was colorful, full of mischief and concealed charm, while remaining deeply human and relatable at its core. In 2020, Izenberg followed up with ‘Caravan Château’, and he will soon release ‘Alex Izenberg and The Exiles’ in 2024. The latest project features melodies that are romantic and warm, with arrangements that are invitingly expansive, making expert use of a new ensemble formed around the strongest songs of his career. ‘Alex Izenberg and The Exiles’ represents a bold new chapter in his artistic journey, inviting listeners to join him on a captivating musical odyssey through his ever-evolving musical universe.

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    Alex Lahey

    Posted on 25 September 2023

    Alex Lahey is an LA based multi-instrumentalist, producer, and writer originally from Melbourne, Australia. Despite studying jazz saxophone at university, Alex hit her stride with her distinctive brand of infectious indie rock as showcased through two successful albums released on Dead Oceans in US/Europe and via her imprint Nicky Boy Records in Australia/NZ, where she’s been ARIA Gold certified, has charted in the ARIA Top 20, and has had multiple songs in the Triple J Hottest 100 o...

    Alex Lahey is an LA based multi-instrumentalist, producer, and writer originally from Melbourne, Australia. Despite studying jazz saxophone at university, Alex hit her stride with her distinctive brand of infectious indie rock as showcased through two successful albums released on Dead Oceans in US/Europe and via her imprint Nicky Boy Records in Australia/NZ, where she’s been ARIA Gold certified, has charted in the ARIA Top 20, and has had multiple songs in the Triple J Hottest 100 over the last 5 years. An engaging collaborator, Alex has become a go-to writer and producer for artists looking to straddle the pop and alternative worlds, providing unique lyrics paired with accessible yet imaginative sonics. Her own songs have become a favorite across the film/tv and advertising landscape, with prominent placements in shows like Grey’s Anatomy, Ramy, The Bold Type and Supergirl, video games such as the relaunch of Tony Hawk Pro Skater, advertising campaigns for Lidl, and original composition for film including the theme song “On My Way” for the Oscar-nominated animated film The Mitchells vs. The Machines. Alex has also been working with Maggie Lindemann co-writing “Knife Under My Pillow” and “Crash and Burn”. Other recent collaborations include Jacknife Lee, Gordi, Christian Lee Hutson, Fran Healy (Travis), Isom Innis (Foster The People), Jenny Owen Youngs, Bradley Hale (Now Now), JT Daly, Ian Walsh, Sean Kennedy, George Alice, and numerous Australian-based artists.

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    Alice Jemima

    Posted on 20 May 2020

    Signed to Sunday Best, Rob da Bank’s independent record label, Alice Jemima merges sultry sweet vocals with contemporary electronic production, creating catchy yet intelligent pop that speaks of universal emotions. Initially breaking through via an enchanting cover of Blackstreet’s No Diggity – now tallying over 3 million plays.

    Self-taught guitarist and singer/songwriter Alice Jemima started writing songs at the age of 12, and while at comprehensive school in her native Devon, she got ...

    Signed to Sunday Best, Rob da Bank’s independent record label, Alice Jemima merges sultry sweet vocals with contemporary electronic production, creating catchy yet intelligent pop that speaks of universal emotions. Initially breaking through via an enchanting cover of Blackstreet’s No Diggity – now tallying over 3 million plays.

    Self-taught guitarist and singer/songwriter Alice Jemima started writing songs at the age of 12, and while at comprehensive school in her native Devon, she got a work placement at Britain’s biggest summer festival, Glastonbury. With the job cementing the idea of a music career in her mind, Jemima set about writing and developing her sound. While at college, she won the Helen Foundation Best Endeavour Award, which saw her get to work with producer Andy Chatterley. Taking her classical guitar style and melding it with looped beats and subtle electronica, Jemima produced her first self-released EP — the four-track All the Boyfriends — in 2012, while consistently uploading material to the internet. In 2014, a cover of Blackstreet’s “No Diggity” caught the attention of BBC Radio 1 DJ, Bestival founder, and label owner Rob Da Bank. After inviting Jemima to record a session at the BBC’s Maida Vale studios, Da Bank signed the singer/songwriter to his own Sunday Best label. Spending time recording and working with the label, Jemima’s first release was the mid-2016 EP Liquorice. Entering the studios with producer Roy Kerr (Foxes, Bloc Party), Jemima set about recording her debut album, with the first fruits being released in September in the form of the single Dodged a Bullet. The follow-up single “Electric” appeared a few months later, with her full-length eponymous debut dropping in early 2017. After a two-year break from the studio, Jemima returned in April 2019 with singles “Icarus” and “Dancing in Love,” both co-written with Sophie Ellis-Bextor. These featured on her sophomore album, Everything Changes, which was released in October that year.

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    Alison Mosshart

    Posted on 25 September 2020

    Fierce and fiery, a no-nonsense firestarter, Alison Mosshart is hardly a stranger to taking chances. Best known as one-half of acclaimed duo The Kills, when she’s not moonlighting as Baby Ruthless, the gnarly lead singer of blues-punk foursome The Dead Weather, Mosshart is a forever moving force. Over the years she’s collaborated with everyone from her Dead Weather bandmate Jack White to the Arctic Monkeys, Primal Scream, Gang Of Four, Cage The Elephant, Foo Fighters, James Williamson...

    Fierce and fiery, a no-nonsense firestarter, Alison Mosshart is hardly a stranger to taking chances. Best known as one-half of acclaimed duo The Kills, when she’s not moonlighting as Baby Ruthless, the gnarly lead singer of blues-punk foursome The Dead Weather, Mosshart is a forever moving force. Over the years she’s collaborated with everyone from her Dead Weather bandmate Jack White to the Arctic Monkeys, Primal Scream, Gang Of Four, Cage The Elephant, Foo Fighters, James Williamson and Mini Mansions.

    For a decade and a half, The Kills have mastered that savage balance, unleashing artful detonation and subtle vocal and guitar violence. That’s five albums and four EPs where Alison and Jamie reimagined the possibilities of modern duality—alchemizing garage rock, punk, and blues into smoke clouds, psychic carnage, and a smoldering nocturnal slink—into a northwest passage between Outkast and Suicide. Their last album, Ash & Ice (2016), was universally lauded, and their most recent release—a 2018 cover of Saul Williams’ “List Of Demands” b/w Peter Tosh’s “Stepping Razor”—came timed to the band’s 15th anniversary, leaving fans ravenous for more.

    Mosshart’s new and boldest move yet finds her embracing her solo bonafides: releasing music under her name is a new experience but an entirely thrilling one. She’s been compiling a bank of unreleased music for more than a decade; back in 2013, the first initial sketch of “Rise” was written.

    For a multi-disciplinary artist like Mosshart—whose paintings have been shown in galleries across the world, and who recently published her first book, CAR MA, a collection of her art, photography and writing that doubles as a love letter to automobiles—working on a variety of projects, now including her own music, is exactly how she likes it.  Currently, she is working with Jamie Hince on the next Kills record and dreams of the day in the hopefully not so distant future, (pandemic-willing) when they’ll be back on the road with exciting new music to share.

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    All We Are

    Posted on 20 May 2020

    All We Are are a global gathering made up of Ireland’s Richard ‘O Flynn (drums, vocals), Norway’s Guro Gikling (bass, vocals) and Brazil’s Luis Santos (guitar, vocals), who met at university in Liverpool. Written initially in a cabin in the isolated Norwegian mountains, with follow-up sessions in a secluded cottage in North Wales, the album was finished and perfected in their studio in a disused school in Liverpool. The record was then recorded in London with producer Dan Carey...

    All We Are are a global gathering made up of Ireland’s Richard ‘O Flynn (drums, vocals), Norway’s Guro Gikling (bass, vocals) and Brazil’s Luis Santos (guitar, vocals), who met at university in Liverpool. Written initially in a cabin in the isolated Norwegian mountains, with follow-up sessions in a secluded cottage in North Wales, the album was finished and perfected in their studio in a disused school in Liverpool. The record was then recorded in London with producer Dan Carey (Bat For Lashes, M.I.A, Hot Chip). A total democracy, the band write all music and lyrics together. Inspired by a shared love of hip-hop and soul music, Guro calls their sound “psychedelic boogie”. Born of long, late nights, dreamy melodies, supple psychedelics and gorgeous midnight disco grooves – this is the sublime, swirling sound of All We Are.

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    Allison Crutchfield

    Posted on 20 May 2020

    Allison Crutchfield has been writing and performing fantastic songs over the years, most notably in her co-founding projects Swearin’ and P.S. Eliot.

    Lately she’s been part of the Waxahatchee live band and self-released the Lean In To It EP, but 2017 will see the release of her first proper full-length ‘Tourist In This Town’ in 2017 which is released on Merge Records.

    Watch the video for “Dean’s Room” below which was directed by Lara Jean Gallagher.

    Allo Darlin’

    Posted on 20 May 2020

    Allo Darlin’ are a fan’s band, with a DIY ethos. They are close friends who found each other and the music they make in London. Elizabeth and Bill are from Australia, Mike and Paul are from Kent. Their self-titled debut was released on Fortuna Pop in June 2010 to widespread critical acclaim. Their second album, Europe, was Rough Trade’s best-selling record of 2012 and was highly placed in many best of the year polls, including Rolling Stone, Emusic and Rough Trade. The band&...

    Allo Darlin’ are a fan’s band, with a DIY ethos. They are close friends who found each other and the music they make in London. Elizabeth and Bill are from Australia, Mike and Paul are from Kent. Their self-titled debut was released on Fortuna Pop in June 2010 to widespread critical acclaim. Their second album, Europe, was Rough Trade’s best-selling record of 2012 and was highly placed in many best of the year polls, including Rolling Stone, Emusic and Rough Trade. The band’s third album, called We Come From The Same Place, was released by Fortuna Pop and Slumberland on October 6 2014.

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    The Amazing Snakeheads

    Posted on 20 May 2020

    ‘Amphetamine Ballads‘ is the debut album from Glasgow’s The Amazing Snakeheads, which will be released on 14th April 2014 on Domino Records. A monument to the redemptive powers of rock ‘n’ roll – full of rage, romance and dark humour – it is an uncompromising, astonishingly visceral debut album. The Amazing Snakeheads – Dale Barclay, William Coombe and Jordan Hutchinson – are truly a force of nature. On stage, Dale appears possessed by music, rock’n’roll chan...

    ‘Amphetamine Ballads‘ is the debut album from Glasgow’s The Amazing Snakeheads, which will be released on 14th April 2014 on Domino Records. A monument to the redemptive powers of rock ‘n’ roll – full of rage, romance and dark humour – it is an uncompromising, astonishingly visceral debut album. The Amazing Snakeheads – Dale Barclay, William Coombe and Jordan Hutchinson – are truly a force of nature. On stage, Dale appears possessed by music, rock’n’roll channelled through every sinew in his body. “I genuinely don’t know where the music comes from,” says Dale. “How I play music – live or in the studio – it is what it is and I struggle to know where it comes from. There’s been a lot of things written about the band, people say we’re angry and things like that – but to me it’s just us. There’s a hell of a lot of joy in the music.” ‘Amphetamine Ballads‘ is the soundtrack to the dark corners of nightclubs and those dimly lit alleyways off the main drag. The smell of smoke and liquor pervades everything. Recorded at night time at The Green Door Studio in Glasgow, this is a subterranean record – an album that can show you round the parts of a city that come alive after dark.

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    Andy Barlow

    Posted on 20 May 2020

    Andy is best known as one half of the electronic duo LAMB and his solo material released under the LOWB moniker.
    Aside from his own projects, Andy Barlow has also produced and mixed brilliant albums for an array of talented artists, including the acclaimed Distance And Time for FINK and, in more recent years, DAVID GRAY’s latest album Mutineers and the brilliant debut album from THE RAMONA FLOWERS Dismantle and Rebuild.
    His compositions have been used in adverts for both Guinness and the To...

    Andy is best known as one half of the electronic duo LAMB and his solo material released under the LOWB moniker.
    Aside from his own projects, Andy Barlow has also produced and mixed brilliant albums for an array of talented artists, including the acclaimed Distance And Time for FINK and, in more recent years, DAVID GRAY’s latest album Mutineers and the brilliant debut album from THE RAMONA FLOWERS Dismantle and Rebuild.
    His compositions have been used in adverts for both Guinness and the Tomb Raider: Underworld video game, in movies including Baz Luhrman’s Moulin Rouge!, and television shows like Six Feet Under, CSI and Torchwood.
    Within Lamb, and also under his HIPOPTIMIST alias, Andy has remixed tracks for a breadth of incredible bands and artists such as PLACEBO, ELBOW and DAMIEN RICE.
    A recent and lengthy 18 months with U2 in various studios around the world (including his own in the Sussex countryside) yielded five Andy Barlow- produced songs which appear on their latest album ’Songs of Experience’ and which was out in December 2017.

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    Andy Jenkins

    Posted on 14 July 2022

    Andy Jenkins is a songwriter from Richmond, Virginia. His debut album Sweet Bunch and The Garden Opens EP were released via Spacebomb Records. He has co-written songs on the Matthew E. White cult classic Big Inner and recent releases by Raf Rundell and Skyway Man.
 “an affably charismatic vocalist and supremely resourceful songwriter…like Harry Nilsson if he’d been born a Southerner” – Uncut

    Andy Monaghan

    Posted on 05 August 2024

    Andy Monaghan is an artist, writer and producer operating out of the East End of Glasgow. As a member of Frightened Rabbit, he was a  multi-instrumentalist and contributing producer, in the studio and on stage.

    Animal Collective

    Posted on 20 May 2020

    From their inception the four members of Animal Collective: Deakin,
    Geologist, Avey Tare and Panda Bear have created music as primal as face paint
    and as expressive as the yells they first fed into their sampler. Every new
    record is a change in direction on a journey undertaken without maps. The
    destination remains the same – the Collective consciousness, where formulae and
    rules can never be applied. 

    Anna Calvi

    Posted on 20 May 2020

    Calvi has been revered in the British music industry since she emerged in 2011, a soulful songwriter, virtuosic guitarist and captivating performer. Both her self-titled debut album and the 2013 follow-up One Breath were nominated for the Mercury Music Prize, with her debut also receiving a Brit nomination for ‘Best Breakthrough Artist’. She’s collaborated with Brian Eno, Marianne Faithful and, on the 2014 covers EP Strange Weather, David Byrne. In 2017, she composed the music for T...

    Calvi has been revered in the British music industry since she emerged in 2011, a soulful songwriter, virtuosic guitarist and captivating performer. Both her self-titled debut album and the 2013 follow-up One Breath were nominated for the Mercury Music Prize, with her debut also receiving a Brit nomination for ‘Best Breakthrough Artist’. She’s collaborated with Brian Eno, Marianne Faithful and, on the 2014 covers EP Strange Weather, David Byrne. In 2017, she composed the music for The Sandman, an opera directed by Robert Wilson. In 2018, Calvi returned with her Mercury Prize nominated third studio album ‘Hunter‘. Produced by Nick Launay (Nick Cave, Grinderman) at Konk Studios in London with some further production in LA, the album was recorded with Anna’s band – Mally Harpaz on various instruments and Alex Thomas on drums – with the addition of Adrian Utley from Portishead on keys and Martyn Casey from The Bad Seeds on bass. Anna Calvi has composed and performed the score for season five of BBC television drama ‘Peaky Blinders’.

    IMDb

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    Ant Whiting

    Posted on 24 September 2020
    Ant Whiting is a Mercury nominated multi-instrumentalist Producer, with 2 Double Platinum no 1 UK albums and several top ten UK hits to his name.  Ant has written with and produced for artists such as Lana Del Rey, M.I.A, Matt Maltese, Crystal Fighters, John Newman, Rizzle Kicks, Shaznay Lewis, Soak, Gia Ford, DNCE, The Feeling, Danny Jones and many more. He works from his home studio in Shepherds Bush where he is currently scoring a film soundtrack for BFI and also developing artist...
    Ant Whiting is a Mercury nominated multi-instrumentalist Producer, with 2 Double Platinum no 1 UK albums and several top ten UK hits to his name.  Ant has written with and produced for artists such as Lana Del Rey, M.I.A, Matt Maltese, Crystal Fighters, John Newman, Rizzle Kicks, Shaznay Lewis, Soak, Gia Ford, DNCE, The Feeling, Danny Jones and many more. He works from his home studio in Shepherds Bush where he is currently scoring a film soundtrack for BFI and also developing artists such as Master Peace and Connie Talbot.
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    Apollo Sunshine

    Posted on 20 May 2020

    Shall Noise Upon,  released  September 2nd, 2008 on the Headless Heroes label, is the third full-length album from Apollo Sunshine.  The band has already proven their versatility and skill on their past albums, 2003’s Katonah and 2005’s Apollo Sunshine, but Shall Noise Upon shows them at their strongest. We find multi-instrumentalists Jesse Gallagher, Sam Cohen, and Jeremy Black weaving through a multitude of styles: from mind-expanding pop psych to barn burning blues ...

    Shall Noise Upon,  released  September 2nd, 2008 on the Headless Heroes label, is the third full-length album from Apollo Sunshine.  The band has already proven their versatility and skill on their past albums, 2003’s Katonah and 2005’s Apollo Sunshine, but Shall Noise Upon shows them at their strongest. We find multi-instrumentalists Jesse Gallagher, Sam Cohen, and Jeremy Black weaving through a multitude of styles: from mind-expanding pop psych to barn burning blues howlers, funk grooves, cowboy tunes, tropicalia/soul, and delicately orchestrated instrumental meditations, all played with assured fluidity and inspiration. Shall Noise Upon is as carefully crafted as a perfectly compiled mix tape, filled with awesome original material that celebrates the journey through darkness and light.  

    The band went up to the Catskill mountains in the summer of 2007 and began work in a house not only inhabited by spirits, but also right next door to the home of the original “Uncle Sam”. Surrendering themselves to the collective head-space and transformative musical alchemy of Apollo Sunshine, the group, alongside friend and co-producer Quentin Stoltzfus, (Mazarin), have created a record that will have you believing in music as a vehicle for illumination. The lush, CinemaScopic arrangements on the album were able to be fully realized by recruiting a slew of friends and guest musicians, (including Drug Rug, Edan, White Flight, The Self Righteous Brothers, Dawn Landes and many, many more). 

    Album-openers “Breeze” and “Singing To The Earth (To Thank Her For You)” are love-poems to nature and longing, with cascading autoharps and drippy pedal steel, that weave the emotional connection to the world and to each other as one magnetic force. “666: The Coming Of The New World Government” likens America today to the fall of Rome around anthemic psych guitar scrawl, propellant percussion, and winding vocal harmonies that recall The Beatles at their most turned-on and far-out. “Brotherhood Of Death” is a brain-buster from the apocalypse that tells the hallucinatory tale of a man intoxicated  by greed and power; followed by “Happiness”, a sweeping, expansive instrumental, whose gorgeous flute and string arrangements sound like an orchestra conducted by Ray Davies. This summer they’ll be appearing at the Wakarusa Festival in Lawrence, Kansas and the 2008 Wireless Festival in London.

    Shall Noise Upon will give you the feeling of a perfect mix tape: the kind that will be traded among friends and treasured.  Apollo Sunshine creates harmony from the chaos all around us, fiercely celebrating a country and a world both dangerous and beautiful.

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    April Smith

    Posted on 20 May 2020

    “I was the surprise,” says April Smith, the bonus baby her parents won late and whose moxie and dash astounded everyone she met. Today, she remains a welcome bolt: a loose-lipped, cocked-hip gal whose music and mien could buoy the Titanic.

     

    The girl from Toms River, New Jersey, swears she cultivated her magnetic personality in order to impress her much older and “insanely talented” siblings. Watching her brother play with his band, and her sister paint murals on ...

    “I was the surprise,” says April Smith, the bonus baby her parents won late and whose moxie and dash astounded everyone she met. Today, she remains a welcome bolt: a loose-lipped, cocked-hip gal whose music and mien could buoy the Titanic.

     

    The girl from Toms River, New Jersey, swears she cultivated her magnetic personality in order to impress her much older and “insanely talented” siblings. Watching her brother play with his band, and her sister paint murals on her closet doors, young April wondered, “How do I sneak into their world?”

     

    Actually, “sneak” isn’t quite the word. April crashed her older siblings’ practice sessions, living room talent shows and parties. “I’d put on a show anywhere,” she recalls. At the “big, bad” shindigs her sister threw when their parents were away, our plucky heroine hopped on the dining room table to sing selections from her Cabbage Patch Kids tape. When her siblings held extemporaneous living room talent shows, she begged entry. Absent any raid-able events, she would belt out at the DMV or the supermarket.

     

    The album’s sound was informed by the ’30s and ’40s, juke joints and cabaret, the Andrews Sisters and, of course, Waits. Smith covers a wide range as a singer and songwriter, from the heartbroken ballad “Beloved” to the cheeky tell-off “Stop Wondering” and the sexy swagger of “Wow and Flutter.” Her voice swoons and seduces, and then escalates to breathtaking peaks, backed by piano, upright bass, drums, guitar, horns, ukulele, accordion and even, when the occasion warrants, a suitcase used as a bass drum.

     

    Her songs and her playful, confident performances – in which she’ll wear a tutu and impishly tease her band, The Great Picture Show – now win her fans everywhere. In 2008, she opened a national tour for singer-songwriter J.D. Souther (the Eagles, Linda Ronstadt). This summer, Rolling Stone branded April and the GPS one of “30 Bands to Watch” at Lollapalooza, while Showtime’s Californication featured “Terrible Things” in its season three promo and BBC 6 played “Colors” on Introducing: Fresh On the Net. She also appeared on the syndicated TV show Fearless Music and did sessions with WRXP-FM’s Matt Pinfield and WFUV-FM’s Rita Houston. It’s a helluva start for an unsigned artist who was, at the time, without a current release.

     

    Songs for a Sinking Ship, incidentally, boasts fan funding through Kickstarter.com, an invitation-only website that helps musicians, artists, authors and other creators keep their work independent. By offering gifts of anything from homemade cookies to personalized songs and house concerts, April exceeded her $10,000 goal by a fat third, raising over $13,000. “It’s really nice to know that your fans care enough to help you reach your goal, but go further than that to help you make the record you want to make,” she says.

     

    It’s because April offers them something that, ironically, is no surprise at all. In her music and her day-to-day, April is the same stunner onstage as off. No bells, no whistles. Just the tutu, and the very real menagerie in her soul. “If you want people to believe in what you do, you have to show them that you love what you’re doing.” What’s more, you gotta serve it straight-up, like her childhood sensei Tom Waits and recent inamoratos Dr. Dog. Not only is it clear that they love what they’re doing, she says, “they don’t sugarcoat it. It’s like, ‘Here ya go – this is what I made. Take it or leave it.’ I think that’s very respectable.”

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    Aquarian Blood

    Posted on 28 March 2023

    With Bending The Golden Hour, the third album from Memphis, Tennessee’s Aquarian Blood, husband and wife team J.B. Horrell (Ex-Cult) and Laurel Horrell (formerly of the Nots) continue the gorgeously stripped-down and atmospheric direction set on their critically acclaimed previous effort A Love That Leads to War. While Aquarian Blood has roots as a chaotic punk rock six-piece, the band shifted gears after two raucous cassette-only releases on ZAP Cassettes, a pair of seven-inches, and 201...

    With Bending The Golden Hour, the third album from Memphis, Tennessee’s Aquarian Blood, husband and wife team J.B. Horrell (Ex-Cult) and Laurel Horrell (formerly of the Nots) continue the gorgeously stripped-down and atmospheric direction set on their critically acclaimed previous effort A Love That Leads to War. While Aquarian Blood has roots as a chaotic punk rock six-piece, the band shifted gears after two raucous cassette-only releases on ZAP Cassettes, a pair of seven-inches, and 2017’s Last Nite In Paradise, released on Goner Records. After drummer Bill Curry broke his arm, the Horrells redefined Aquarian Blood, reemerging in early 2018 as the more intimate, mostly acoustic balladeers behind the staccato, fever dream sound of A Love That Leads to War. Like its immediate predecessor, Bending The Golden Hour was recorded at the Horrells’ Midtown Memphis home. The band turned over forty-three tracks to Goner co-owner Zac Ives, who handpicked seventeen songs for the album. The final result is shimmering and hopeful; as beautiful and sparse as a Rockwell Kent snowscape.

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    Arch Garrison

    Posted on 20 May 2020

    There is a house by a river by a village by the foot of the South Wiltshire downs in which North Sea Radio Orchestra’s Craig and Sharron Fortnam live. A wheezing dog and a crackling fire were the backdrop to the creation of ‘King of the Down’, which was written, recorded and performed by Craig with additional vocals by Sharron, and features songs about the Mighty Thames, Roman Roads, ditches and mounds, vapour trails and mental un-health.

    Fans of North Sea Radio Orchestra ha...

    There is a house by a river by a village by the foot of the South Wiltshire downs in which North Sea Radio Orchestra’s Craig and Sharron Fortnam live. A wheezing dog and a crackling fire were the backdrop to the creation of ‘King of the Down’, which was written, recorded and performed by Craig with additional vocals by Sharron, and features songs about the Mighty Thames, Roman Roads, ditches and mounds, vapour trails and mental un-health.

    Fans of North Sea Radio Orchestra have come to expect beautiful melodies, quality arrangements and chord progressions that make your insides go funny. These elements are all in abundance in Arch Garrison but this is a much sparser sound, with Craig’s instantly recognisable nylon and steel string guitar playing combining with his trusty Philicorda organ, some synths and percussion  providing the backdrop to his folk tales. 

    ‘King of the Down’ is an album full of melodic, harmonic and lyrical invention that, along with his NSRO accomplishments and ongoing collaborations, shows Craig Fortnam to be one of the UK’s most original and distinctive talents.

     

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    Archie Bronson Outfit

    Posted on 20 May 2020

    Generating molten heat right from the opening bars of first track "Magnetic Warrior," Coconut, the new Archie Bronson Outfit album, is a record full of deep riffs, spaced loops and the sound of a band revelling in both their individuality and intensity. Coconut is a record of barely contained ambition and ecstatic overload. The album was produced by DFA’s Tim Goldsworthy (LCD Soundsystem, The Rapture, Hercules & Love Affair) with recording sessions in Michigan, London and ...

    Generating molten heat right from the opening bars of first track "Magnetic Warrior," Coconut, the new Archie Bronson Outfit album, is a record full of deep riffs, spaced loops and the sound of a band revelling in both their individuality and intensity. Coconut is a record of barely contained ambition and ecstatic overload. The album was produced by DFA’s Tim Goldsworthy (LCD Soundsystem, The Rapture, Hercules & Love Affair) with recording sessions in Michigan, London and mixing in New York. The result is a wildness of musical vision, given the freedom to be let absolutely loose.

    Switching between full on deep-end rock and more reflective, beat-driven, numbers Coconut is a modern psychedelic testament delivering a visceral shot of pleasure. The record’s out and out rockers: "Magnetic Warrior," "Wild Strawberries," "Harness (Bliss)" are sweet aural assaults, pushing further and further ahead, leaving swirls of feedback and shredded senses behind. The automated voice on "Magnetic Warrior" rises from the riffs to repeat “think I’m ready for more, think I’m ready for more” establishing perfectly the Coconut mission statement and mindset from track one.

    Elsewhere Coconut moves into the strange, dark, space disco first hinted at on the band’s breakout single "Dead Funny". Tracks like "Shark’s Tooth," "Hoola" and especially "Chunk" take ABO way with a groove to some awesomely disturbed and euphoric places. These tracks are stripped back to a head-nodding pulse, and fixed in a pinpoint rhythmic dexterity and reflexive, sensory percussion. This is real after-dark music. Archie Bronson Outfit’s spaced funk-not-funk is a portal to some strange nocturnal location.

    Few tracks have ever sounded so literal as "You Have a Right to a Mountain Life" – opening with the war cry squall of psychedelic cave dwellers, before breaking down into a monster Cro-Magnon boogie. "Bite It" and Believe It" and "Hunt You Down" sound like almost-laments offering changes in pace and a different psychic mood. Coconut concludes with the unhinged euphoria of "Run Gospel Singer," ending on a high, the journey completed.

    Archie Bronson Outfit have recorded a new sonic testament for a new decade’s dawn. Get your freak on.

     

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    Archie Pelago

    Posted on 20 May 2020

    Archie Pelago is a production and live performance trio based in Brooklyn, NY . Formed in late 2010, the trio of Hirshi (trumpet/Ableton), Cosmo D (cello/Ableton) and Kroba (sax/Ableton) combine their varied backgrounds in jazz and classical music with a common love for rhythm and the wide open possibilities of electronic music.
     
    In the studio, the three produce collectively and prominently feature their instruments, lending deeply emotive patterns and textures to their tracks. ...

    Archie Pelago is a production and live performance trio based in Brooklyn, NY . Formed in late 2010, the trio of Hirshi (trumpet/Ableton), Cosmo D (cello/Ableton) and Kroba (sax/Ableton) combine their varied backgrounds in jazz and classical music with a common love for rhythm and the wide open possibilities of electronic music.
     
    In the studio, the three produce collectively and prominently feature their instruments, lending deeply emotive patterns and textures to their tracks. On the stage, the group innovatively combines DJ-style performance with live playing and processing of their instruments, conjuring singular renditions of their original works as well as music that inspires them.
     
    2014 has been a busy year for Archie Pelago, having released a collaborative LP with West Coast producer Grenier, titled, ‘Grenier Meets Archie Pelago’ as well as putting out four tracks on the Mister Saturday Night compilation ‘Brothers and Sisters’ and releasing the ‘Lakeside Obelisk EP’ on their own Brooklyn-based imprint, Archie Pelago Music. This follows their first two releases on their own label, the ‘Sly Gazabo EP’ and the ‘Breezy Whey / Backflight’ 12′, which received critical acclaim in Spin, Resident Advisor, DJMag, Tsugi and XLR8R, collectively. Their single ‘Avocado Roller’ was featured on Pitchfork and was included on NPR’s Heavy Rotation series.
     
    Notable live appearances include Decibel Festival, MUTEK, RBMA Festival, MoMA PS1 and Boiler Room London. Current radio support includes NPR, KCRW, KEXP, WFMU, WNYU, Solid Steel, Mary Anne Hobbs, and Gilles Peterson. Archie Pelago can currently be heard on their SUB.FM radio show, Sundays 11pm-1am UK time.

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    Arctic Monkeys

    Posted on 14 September 2020

    DOMINO MUSIC: The International Sound of High Green, Sheffield, broadcasting live and direct from the Tranquility Base Hotel & Casino

     

    Arlo Day

    Posted on 20 May 2020

    Arlo Day is the moniker of Alice Barlow, a young songwriter and guitarist from South-East London whose unique ear for melody, haunting vocals and rumbling guitar tones have gained a quiet reputation as one of the capital’s best kept secrets.

    Art School Girlfriend

    Posted on 20 May 2020

    When Polly Mackey – AKA Art School Girlfriend – released her first album Is It Light Where You Are in 2021, what was a shimmering debut felt to her more like a sublime denouement. 

    The Welsh producer and multi-instrumentalist’s record revelled in expansive dreamscape sounds and diaristic writing that stretched deep into the emotional peripheries of a then very recent heartbreak. A protracted two years later, Polly was able to tour the record – then, embarking on a new relationship, ...

    When Polly Mackey – AKA Art School Girlfriend – released her first album Is It Light Where You Are in 2021, what was a shimmering debut felt to her more like a sublime denouement. 

    The Welsh producer and multi-instrumentalist’s record revelled in expansive dreamscape sounds and diaristic writing that stretched deep into the emotional peripheries of a then very recent heartbreak. A protracted two years later, Polly was able to tour the record – then, embarking on a new relationship, and reconsidering her creative mode. While the album garnered critical celebration for its visceral aural textures and lucid themes, for Polly, it was inflected with alienation. “By the time it was out in the world, I felt unattached to it,” she shares. “This new record truly feels like my debut.” 

    Soft Landing is the culmination of Art School Girlfriend’s contemporary artistic testament. It represents a tonal shift and tenure in a much more contented and philosophical state of being. The title presented itself to her through the frequency illusion: a turn of phrase thrown up in overheard conversation, and mentioned on the news. “‘Soft landing’ showed up to strike me when things were falling into place,” Polly says. “I was at that typical moment where you’re leaving your 20s and realising you don’t have to work toward this concept of future happiness. Going to the pub with your mates can be the ultimate. Lying beside the person you love, watching the sun come in, can be it.” 

    This album percolates in these “small euphorias”; elations of life you don’t have to reach far for. “It captures what a lot of people coming out of COVID have felt, looking for joy closer to home, in your immediate surroundings,” Polly says. “I am much more interested in capturing a time and feeling, than getting it perfectly right.”

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    Arthur Russell

    Posted on 20 May 2020

    Seminal avant-garde composer, singer-songwriter, cellist, and disco producer Arthur Russell prolifically created music that spanned both pop and the transcendent possibilities of abstract art. Though posthumously regarded as one of the most influential musicians of all time, his profound talent was never truly acknowledged before his untimely death in 1992.

    His long time collaborators and friends included Philip Glass, Allen Ginsberg and David Byrne, the latter with whom he produced eccentric...

    Seminal avant-garde composer, singer-songwriter, cellist, and disco producer Arthur Russell prolifically created music that spanned both pop and the transcendent possibilities of abstract art. Though posthumously regarded as one of the most influential musicians of all time, his profound talent was never truly acknowledged before his untimely death in 1992.

    His long time collaborators and friends included Philip Glass, Allen Ginsberg and David Byrne, the latter with whom he produced eccentric disco hits under the moniker Dinosaur L which became pre Studio 54 hits.

    Shunning the conventionality of ‘genre’ he became the master of minimalist symphonies (‘First Thought, Best Thought’) and experimental disco/new wave (‘Calling Out Of Context’).

    As the long deserved praise continues to grow, 2007 saw the release of ‘Four Songs By Arthur Russell’ an EP of enchanting covers by contemporary artists such As Vera November and Taken By Trees. Whilst the film ‘Wild Combination: A Portrait Of Arthur Russell’ was released in 2008.

    ‘Love Is Overtaking Me’ (2008)  reaches back further to Russell’s first compositions from the early `70s and spans forward to his very last recordings. Comprised of demos and home recordings of unreleased pop, folk and country songs, it is the fifth collection put together so lovingly by Audika Records.

     

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    Asian Dub Foundation

    Posted on 20 May 2020

    Famed for their electrifying fusion of punk rock, electronic beats, reggae, bhangra, hip-hop and politics, the one-time Mercury nominees & NME Award winners return with a freshly reinvigorated & retooled line-up to release their career defining best with Adrian Sherwood back at the controls.

    ‘More Signal More Noise’ (released via Believe Recordings on 6thJuly 2015) showcases a band shot-through with a new found sense of positive energy, militancy and purpose. Recorded in j...

    Famed for their electrifying fusion of punk rock, electronic beats, reggae, bhangra, hip-hop and politics, the one-time Mercury nominees & NME Award winners return with a freshly reinvigorated & retooled line-up to release their career defining best with Adrian Sherwood back at the controls.

    ‘More Signal More Noise’ (released via Believe Recordings on 6thJuly 2015) showcases a band shot-through with a new found sense of positive energy, militancy and purpose. Recorded in just three days straight to tape by a thoroughly tour drilled band, and mixed in another three, its urgency and pure joyousness shine through on the finished record.

    The story of ADF’s rejuvenation begins in 2012 when the band agreed to Secret Cinema’s subversive request to re-stage their live soundtrack to Mathieu Kassovitz’s ‘La Haine’ (originally performed at the Barbican in 2001) at London’s notorious Broadwater Farm Housing Estate – a fitting setting for a film about urban dislocation, given that it was on the spot of one of the UK’s most infamous riots. The white heat of that show acted as a catalyst to cement the line-up that made this record – founding guitarist Steve Savale re-joined by original members Dr Das (Bass) and Rocky Singh (drums), and former vocalist Ghetto Priest returning to the line-up for the first time in a decade. Alongside Aktarv8r and new recruit Nathan ‘Flutebox’ Lee, the band has once again become a force.

    In 2015 Asian Dub Foundation performed live their new soundtrack at London’s Barbican to the George Lucas’s cult sci-fi classic THX1138 – a chilling dystopian fantasy set in a post-apocalyptic future. Produced by Francis Ford Coppola, THX 1138 has gained cult status over the years, with the soundtrack by Lalo Schiffrin and sound design by triple Oscar winner Walter Murch having been sampled by a host of influential electronic artists including Nine Inch Nails, UNKLE, Orbital and many more. They will also be performing the soundtrack at Sydney’s world famous Opera House on 5th November 2016.

    T 

    Published by Domino Publishing Ltd. O.B.O Normal Music

     

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    Astrel K

    Posted on 11 March 2024

    The Foreign Department is the second album by Astrel K, the solo project helmed by Stockholm-based British ex-pat, Rhys Edwards. Those already familiar with Edwards’ work will likely know him for fronting the cultishly great Ulrika Spacek, and given he operates as the principal songwriter in both projects, much of the same hallmarks of his cathartic, elliptical songwriting are present in Astrel K. Nonetheless, The Foreign Department feels like a rubicon moment of sorts, and the album that E...

    The Foreign Department is the second album by Astrel K, the solo project helmed by Stockholm-based British ex-pat, Rhys Edwards. Those already familiar with Edwards’ work will likely know him for fronting the cultishly great Ulrika Spacek, and given he operates as the principal songwriter in both projects, much of the same hallmarks of his cathartic, elliptical songwriting are present in Astrel K. Nonetheless, The Foreign Department feels like a rubicon moment of sorts, and the album that Edwards has unconsciously been working towards his entire creative life.

    As a title, The Foreign Department offers an instructive guide for the listener, framing a life-in-transition/artist-in-exile document that maps two impromptu moves in twelve months for its songwriter: the first from London in pursuit of a relationship, the second between homes in Stockholm as that decade long relationship then suddenly dissolved. Indeed, diffusion, dissolution and reconstitution feel like appropriate touchstones for its recurring themes. Written amidst the flux of two states, at once isolated from home and then any established emotional anchor, the resulting eleven tracks came to represent a precognitive search for shifting identity and with it forming an unwittingly biographical record. It’s commendable and somewhat telling that during this shake up, Edwards somehow landed upon his most realised and original work. 

    With a former life stripped away, there emerged an opportunity to reinvent a sense of self through art, now not just as a writer, but a composer also. Developing the confidence to arrange songs in ways he’d previously considered off-limits, while also taking cues from the opulent string and brass arrangements of records like Mercury Rev’s Deserters’ Songs and Death of A Ladies Man by Leonard Cohen, Edwards enlisted a range of performers to bring to life the mini-symphonies forming in his head. Perhaps it’s inevitable that an album written while facing the consequences of being alone would eventually ossify around the process of bringing people together.

    For all its troubled origins, The Foreign Department is a remarkably warm sounding collection. Edwards’ lyrics are typically knotty and neurotic, dancing around the poetry of quarter-life anxiety, but the music itself is often joyous and even uplifting, the combination expressing that neat duality of melancholic euphoria. Edwards sings variously of crises, “torrid pieces of art”, of “houses on fire” and not “having the guts for it”, yet these troubling sentiments are framed by seemingly incongruous swelling strings, chirping horns or motorik percussion, creating that sense of pushing forward or floating above, of wrapping your troubles in dreams, a salve for the moments when you get a bit too much for yourself.

    Lead single, ‘Darkness At Noon’, likely captures this all best. Named for the French idiom “midi a quatorze heures”, the maddening idea of attempting the impossible for the sake of some greater possibly pointless cause, it directly grapples with the opposing notions of wanting and not wanting, of being here and being there at the same time. The conflicting and impossible self. It’s something Edwards addresses in the song at perhaps his most open, opining, “I know I want to be seen, but I hate most of what comes out of me”. And yet here is, putting it all out in the open and on the line, the dialectics of his enlightenment up on show.

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    Austin Brown

    Posted on 30 August 2022

    Austin Brown is a founder member of critically-acclaimed New York band Parquet Courts, and one of the key creative driving forces behind the group’s ever evolving sound over the last 10 years. Their most recent release – 2021’s Sympathy For Life – offered a new twist, incorporating dance elements drawn from the long, illustrious history of Big Apple nightlife.

    Brown has always maintained a multi-faceted approach to making music and began to explore his long-standing interest in writin...

    Austin Brown is a founder member of critically-acclaimed New York band Parquet Courts, and one of the key creative driving forces behind the group’s ever evolving sound over the last 10 years. Their most recent release – 2021’s Sympathy For Life – offered a new twist, incorporating dance elements drawn from the long, illustrious history of Big Apple nightlife.

    Brown has always maintained a multi-faceted approach to making music and began to explore his long-standing interest in writing for picture when he wrote the original score to the 2020 film PVT Chat. A dark, debut feature by director Ben Hozie, the movie starred Julia Fox (break out star of Uncut Gems) and perfectly showcased Brown’s use and control of atmospherics. He’s currently working on new projects in this area which are set to see the light of day very soon.

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    Austra

    Posted on 20 May 2020

    This confluence of classical and electronic has been at the heart of Stelmanis’s career before there even was a career. At the age of 10, Stelmanis joined the Canadian Children’s Opera Chorus, where she sang regularly for the prestigious Canadian Opera Company. While simultaneously learning viola and piano, Stelmanis pursued a career in opera, studying privately for four years while making plans to study the genre further in college.

    Spurred on by her production work for soundtrac...

    This confluence of classical and electronic has been at the heart of Stelmanis’s career before there even was a career. At the age of 10, Stelmanis joined the Canadian Children’s Opera Chorus, where she sang regularly for the prestigious Canadian Opera Company. While simultaneously learning viola and piano, Stelmanis pursued a career in opera, studying privately for four years while making plans to study the genre further in college.

    Spurred on by her production work for soundtracks for local plays, Stelmanis began immerging herself in electronic music. “I wanted to be able to write music for orchestras and with MIDI, you could just press ‘Record’ and bring up any instrument you wanted,” says Stelmanis. “It took me years to not think of MIDI as a substitute for real instruments and as an actual electronic instrument.” With new obsessions Bjork, P J Harvey and Nine Inch Nails weaving their influence, Stelmanis’s goal was clear: “I wanted to make classical music with really fucked up, distorted crazy shit on there.”

    In 2008, after playing with Galaxy for three years, Stelmanis appeared on Fucked Up’s The Chemistry of Common Life and released her debut solo album Join Us. Pinned as goth by everyone in Canada who didn’t entirely know what goth was, the album, written and recorded entirely by Stelmanis, combined dark, yet poppy, synth melodies with the singer’s operatic voice for what Chart Attack called “oddly beautiful and enchanting.”

    Through it all, Stelmanis remained fiercely independent, managing every creative, technical and business aspect of her career herself – she embarked on six self-organized tours in the past three years including an opening slot for CocoRosie – all while trying to thrive in a country not exactly receptive to her brand of music. “A lot of people didn’t understand my first album,” she says, laughing. “So I booked my own tour of Europe, where they seemed to be more open. But we were the most DIY you could possibly be. I just figured everything out by myself the whole time. That’s always been my mentality. I was watching bands in Toronto that reached some level of success and they were booking their own tours, so I just thought, obviously I should book my own tours.”

    Three years later, Stelmanis’s innate do-it-yourself ethos hasn’t changed, yet with the addition of former Galaxy member Postepski (Princess Century, Trust) on drums and programming and former Spiral Beach bassist Wolf, the singer has created her best work to date. Written primarily by Stelmanis – “Most of the songs are finished in my bedroom,” says the songwriter – and mixed by Damian Taylor (Bjork, The Prodigy, UNKLE), the album rests nicely with your Kate Bush, Bat For Lashes and The Knife albums, but also conjures up the seedier sides of early 1980s British New Wave (think the dirty alleys and after-hours clubs dreamed up by Japan and Soft Cell.) On their first single “Beat and The Pulse,” Austra have created the warmest cold track of the year, a pulsating, synth-driven attack laced by Stelmanis’s gorgeous, towering vocals.

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    Avey Tare

    Posted on 20 May 2020

    Best known as a founding member of experimental pop group Animal Collective, David Portner’s (aka Avey Tare) psychedelic vision contributed to both Animal Collective’s highly influential output, a healthy solo catalog, and several warped side projects. In downtime from his main band, Portner has released records as wildly imagined as the completely backwards 2007 album Pullhair Rubeye and the more straightforward voicings of multifacted songwriting like 2019’s Cows on Hourglass Pond.

    Po...

    Best known as a founding member of experimental pop group Animal Collective, David Portner’s (aka Avey Tare) psychedelic vision contributed to both Animal Collective’s highly influential output, a healthy solo catalog, and several warped side projects. In downtime from his main band, Portner has released records as wildly imagined as the completely backwards 2007 album Pullhair Rubeye and the more straightforward voicings of multifacted songwriting like 2019’s Cows on Hourglass Pond.

    Portner was born on April 24, 1979. He grew up near Baltimore and met his future fellow Animal Collective mates Noah Lennox, Josh Dibb, and Brian Weitz in high school, where they bonded over shared musical obsessions for Pavement, the Grateful Dead, and various strains of psychedelic music. Along with future BARR leader Brendan Fowler, the teenaged Portner, Weitz, and Dibb started a band called Automine, and went so far as to release a 7″ single before leaving high school. In 2000, Portner worked with Lennox on Spirit They’re Gone, Spirit They’ve Vanished, an album credited to Avey Tare & Panda Bear but later recognized as the first official output of Animal Collective. This album set the precedent for Animal Collective’s nebulous lineup, as various members would sit out some albums or contribute heavily to others. Portner moved to New York City to attend NYU, and the other members of the collective soon joined him, with the band playing more shows and touring with like-minded noise rock acts like Black Dice, Lightning Bolt, and the Cranium.

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    Avey Tare’s Slasher Flicks

    Posted on 20 May 2020

    Slasher Flicks by name alone is not what it appears to be. Scrambled horror film soundtracks? Not even remotely. A bunch of East Coasters making their quintessential LA album? No, more like escape from LA, say guitar-wielding lead singer Avey Tare (of Animal Collective), keyboard player and singer Angel Deradoorian (of Dirty Projectors, Deradoorian), and drummer Jeremy Hyman (of Ponytail, Dan Deacon). If LA is an environment to get lost in, as they claim, this group sewing roots in SoCal have...

    Slasher Flicks by name alone is not what it appears to be. Scrambled horror film soundtracks? Not even remotely. A bunch of East Coasters making their quintessential LA album? No, more like escape from LA, say guitar-wielding lead singer Avey Tare (of Animal Collective), keyboard player and singer Angel Deradoorian (of Dirty Projectors, Deradoorian), and drummer Jeremy Hyman (of Ponytail, Dan Deacon). If LA is an environment to get lost in, as they claim, this group sewing roots in SoCal have become lost in the best way: relocating and reinventing sounds they’re already skilled in making, sounds that as Avey Tare says, are not only regionally unrestricted but that “come from a place that’s not human.” The Debut LP ‘Enter The Slasher House’ is released in April 2014 on Domino Records.


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    B-Movie

    Posted on 09 April 2025

    B-Movie formed in 1980 and quickly became part of the emerging New Romantic scene, supporting Duran Duran on their debut tour. However, their musical direction was more closely aligned with the psychedelic and post-punk sounds of bands like The Doors, Echo and the Bunnymen, Magazine, and early Ultravox.

    Their songwriting combined shimmering guitar textures, swirling synthesizers, classic-style piano, and a tight rhythm section, all anchored by Steve Hovington’s distinctive baritone. The ban...

    B-Movie formed in 1980 and quickly became part of the emerging New Romantic scene, supporting Duran Duran on their debut tour. However, their musical direction was more closely aligned with the psychedelic and post-punk sounds of bands like The Doors, Echo and the Bunnymen, Magazine, and early Ultravox.

    Their songwriting combined shimmering guitar textures, swirling synthesizers, classic-style piano, and a tight rhythm section, all anchored by Steve Hovington’s distinctive baritone. The band signed to Phonogram Records and released three standout singles, including the dance floor hit Nowhere Girl and the anti-war anthem Remembrance Day. They also recorded a memorable session for BBC’s John Peel.

    After their first U.S. tour, the original lineup disbanded in 1983. B-Movie continued briefly with a new lineup and released the album Forever Running on Sire Records, before stepping out of the spotlight.

    In 2004, the original members reunited for a show at London’s Metro Club, reigniting their creative spark. They released new material including the albums Age of Illusion (2012) and Climate of Fear (2016), both showcasing a darker, evolved post-punk edge while retaining their classic sound. The Repetition EP followed in Autumn 2018, released on Loki Records.

    B-Movie continue to perform energetic live shows across the UK and Europe. In July 2022, original keyboardist Rick Holliday stepped away from the band, with Keith Phillips joining as his replacement.

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    BABii

    Posted on 20 May 2020

    BABii produces incredibly forward-thinking electro-tinged pop/R&B which features skittering beats and incredibly thick, layered synths with heavy bass with a semi industrial feel to them. The lyrics are dark, yet the vocals are sweet and despite its incredible pop hooks the whole LP drips with a sentiment of loss and abandonment. BABii wowed SXSW this year playing 7 shows in 5 days and being compared to everyone from Grimes to FKA Twigs and while those comparisons give you a jumping off p...

    BABii produces incredibly forward-thinking electro-tinged pop/R&B which features skittering beats and incredibly thick, layered synths with heavy bass with a semi industrial feel to them. The lyrics are dark, yet the vocals are sweet and despite its incredible pop hooks the whole LP drips with a sentiment of loss and abandonment. BABii wowed SXSW this year playing 7 shows in 5 days and being compared to everyone from Grimes to FKA Twigs and while those comparisons give you a jumping off point, they also feel lazy as BABii definitely inhabits her own unique world.

    Music has always been a mirror for electronic pop adventurer BABii – a place where “I can dig out demons from the basement of my brain and set them on fire,” as the singer-producer puts it. Among her songs’ skittering beats and fractured synths are reflections of her deepest self that she wouldn’t otherwise know how to access. “It’s always a cathartic process that helps my mind feel less dusty and disorganised,” the Margate artist explains. “But this album was definitely a new extreme…” She’s talking about MiiRROR – a record, book and accompanying alternate reality game that required new heights of self-reflection to create. Written, produced and creative-directed by the production polymath, real name Daisy Emily Warne, MiiRROR explores “the duality of emotions: good and bad, light and dark” across ten songs and a story full of demons and junk yards. The tale it tells may be fantastical, pulling fans through oil-smudged cities and glistening opaline clouds towards a climax in a beat-up transit truck, but it’s a universe built on real-life heartache – not so much a demon fire, but a brutal, beautiful inferno.

    “I don’t wanna be, I don’t wanna be, a secret, do you want to keep me?” asks Warne over eerie echoes and hard-like melodies on ‘WASTE’, before tracing “the tracks in the dirt where you left me” moments later. Abandonment is at the heart of this haunting record because Warne grew up without a mother, raised in Yorkshire, Kent and Canada by a nomadic father who, after quitting a potential career playing ice hockey, hustled his way through life, turning his hand to antique dealing and building and renting out a warehouse space to creatives. When her mother later re-entered her life, “a lot of things went unsaid – until one day when I finally had this confrontation with her.” The tidal wave of emotions unleashed by that interaction sparked something in Warne, who decided to devote her next project to exorcising those demons. “I wanted to confront both my negative and positive feelings towards her: the dark reality and the idyll that as a kid I had in my head.”

    The result is a nostalgic, ambitious and affecting world to explore: one of the most imaginative and immersive new voices in the UK music underground, championed by BBC Radio 1, 6 Music, Loud and Quiet and The Quietus among others, inviting you to step through the looking glass of her unusual childhood via sound, story and image. Building on the sonic boundary-pushing of her brilliant 2019 albums HiiDE (her solo debut) and XYZ (a collaborative album with her creative collective, GLOO), not to mention her well-received 2020 EP ‘iii+’, it’s an album inspired by “things I loved as a kid, like [1984 movie] The Neverending Story,” says Warne. It’s also informed by her “experience growing up in a dark scrappy atmosphere that I often escaped from by getting sucked into these fantasy worlds. I hope people can discover their own meanings in it and relate to it in their own ways.” Music has always been a mirror for BABii. She hopes this album can do the same for you.

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    Balam Acab

    Posted on 20 May 2020

    Alec Koone aka Balam Acab, like Salem and oOoOO, traverse the same shadowy territories that seem at once sensual and unnerving. He creates something akin to Burial being slowly drowned in an ocean of Drone, a cybernetic limbo haunted by distant machine moans, those trademark ghostly digi-diva vocals positively lost in another world all together. His first EP ‘See Birds‘ was released by the Tri Angle label in August 2010.

    Balam Acab’s debut full length album ‘Wander/Wonder‘ came ...

    Alec Koone aka Balam Acab, like Salem and oOoOO, traverse the same shadowy territories that seem at once sensual and unnerving. He creates something akin to Burial being slowly drowned in an ocean of Drone, a cybernetic limbo haunted by distant machine moans, those trademark ghostly digi-diva vocals positively lost in another world all together. His first EP ‘See Birds‘ was released by the Tri Angle label in August 2010.

    Balam Acab’s debut full length album ‘Wander/Wonder‘ came out on 29th August 2011 and it sees Koone furthering his majestic sound.

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    Bassvictim

    Posted on 13 May 2024

    Bedouine

    Posted on 20 May 2020

    Like her name implies, Bedouine’s music has a nomadic heart. Sweeping, hypnotic. Esoteric yet familiar. It is untethered to place because its home is everywhere. Bedouine travels a spectrum of 60s folk to 70s country funk; All the while nodding to the at-ease vocals of a Brazilian songstress.

    An outsider and an introvert, Bedouine prefers anonymity but loves making music enough to share hers with anyone willing to listen—even if it means confronting her fears. An aversion to the spotlight...

    Like her name implies, Bedouine’s music has a nomadic heart. Sweeping, hypnotic. Esoteric yet familiar. It is untethered to place because its home is everywhere. Bedouine travels a spectrum of 60s folk to 70s country funk; All the while nodding to the at-ease vocals of a Brazilian songstress.

    An outsider and an introvert, Bedouine prefers anonymity but loves making music enough to share hers with anyone willing to listen—even if it means confronting her fears. An aversion to the spotlight led her away from the stage for several years, where she worked from the shadows, composing music for independent films and art installations. She soon fell in with the tight-knit community of performers in her Echo Park neighborhood, spending nights trading songs and listening to records with some of L.A.’s best underground artists.

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    Bella Hardy

    Posted on 20 May 2020

    Bella Hardy’s seventh solo album With The Dawn – her first since being named BBC Radio 2 Folk Singer Of The Year in 2014– isn’t just the latest collection of songs from this prolific and ingenious artist. The album is an account of one year of her life. Where previously Bella has adapted and explored traditional ballads and fables to tell her contemporary folk tales, the stories that inspired these songs are her own experiences: good and bad, happy or sad.

    Bella releas...

    Bella Hardy’s seventh solo album With The Dawn – her first since being named BBC Radio 2 Folk Singer Of The Year in 2014– isn’t just the latest collection of songs from this prolific and ingenious artist. The album is an account of one year of her life. Where previously Bella has adapted and explored traditional ballads and fables to tell her contemporary folk tales, the stories that inspired these songs are her own experiences: good and bad, happy or sad.

    Bella released her debut album Night Visiting in 2007. One of its songs, Three Black Feathers was nominated for a BBC Folk Award. It was her first original composition. Since then Bella has continued to record and perform at a tremendous rate; appearing on numerous BBC radio and TV programmes, singing solo in a sold-out Albert Hall at the Proms, composing the music for a Radio 4 documentary on the Post Office, writing with former Beautiful South founder David Rotheray, forming an all-female fiddle group with folk royalty Eliza Carthy, and winning yet another Radio 2 Folk Award for her original song The Herring Girl. Her 2013 album Battleplan, a collection of reimagined traditional songs, received the best reviews of her career, with multiple stars showered on it from the broadsheets and folk press alike.

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    Benjy Ferree

    Posted on 20 May 2020

    Come Back To The Five And Dime, Bobby Dee Bobby Dee, the second full-length album from Benjy Ferree, is a musical eulogy to the forgotten child star, Bobby Driscoll. He portrayed Peter Pan in the 1953 Disney feature, then faced the reality of growing up in a world without Neverland. Once Disney’s golden boy of cinema, Driscoll was fired from Disney after the making of Peter Pan for the unforgivable crime of hitting puberty and developing acne. No longer cute and profitable, he struggled...

    Come Back To The Five And Dime, Bobby Dee Bobby Dee, the second full-length album from Benjy Ferree, is a musical eulogy to the forgotten child star, Bobby Driscoll. He portrayed Peter Pan in the 1953 Disney feature, then faced the reality of growing up in a world without Neverland. Once Disney’s golden boy of cinema, Driscoll was fired from Disney after the making of Peter Pan for the unforgivable crime of hitting puberty and developing acne. No longer cute and profitable, he struggled to find work and fell into a life-long battle with drugs until ultimately dying homeless and broke in a Manhattan tenement in 1968 at the age of 31. With police unable to identify his body, the Academy Award winner ended up in an unmarked pauper’s grave on New York’s Hart Island.

     

    Driscoll was a natural subject for Ferree as Peter Pan wasn’t just an entertaining fictional character during Ferree’s youth – he was an obsession. As a child, Ferree spent hours imitating the mischievous, magical child adventurer. His eventual discovery of Driscoll’s sad fate led to this album – an ode not just to his childhood hero, but to anyone who’s gotten the short end of the stick in life – with Driscoll renewing his role as the leader of life’s ignored Lost Boys.

     

    Musically, Ferree lets his distinctive blend of rock and roll and Americana across new borders and genres. Drawing as much from the country meandering of Jimmie Rodgers and the passionate blues pounding of Son House as he does from the vocal hysterics of Freddie Mercury and the balladry of Nick Cave, Ferree crafts a sound that is difficult to fit into any one category, but upon listening is as gratifying as it is unique.

     

    Produced by Ferree himself, engineered by Mark Nevers, and mixed by Brendan Canty, Come Back To The Five And Dime, Bobby Dee Bobby Dee displays Ferree’s evolution as not only a masterful songwriter and arranger, but more importantly, as one of today’s most intriguing and imaginative voices.

     

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    The Big Eyes Family

    Posted on 20 May 2020

    Previously known as The Big Eyes Family Players, the group is a five-piece, based in Sheffield, UK, and headed by artist/printmaker James Green. In the last fifteen years they have released eight albums, having previously worked with the likes of James Yorkston, Alasdair Roberts, Terry Edwards and Rachel Grimes to name but a few, and played numerous shows and music festivals over the last few years, including Green Man Festival (UK), Field Day (UK) and Rolling Stone Festival (DE).

    The band fe...

    Previously known as The Big Eyes Family Players, the group is a five-piece, based in Sheffield, UK, and headed by artist/printmaker James Green. In the last fifteen years they have released eight albums, having previously worked with the likes of James Yorkston, Alasdair Roberts, Terry Edwards and Rachel Grimes to name but a few, and played numerous shows and music festivals over the last few years, including Green Man Festival (UK), Field Day (UK) and Rolling Stone Festival (DE).

    The band feature Heather Ditch (vocals/flute/zither), James Green (guitar/synths/backing vocals), Guy Whitaker (drums), Neal Heppleston (bass guitar & double bass) and James Street (organs/synths)

    Their sound has touched on folk music, modern classical and drone/noise at times, but for the last few years they have been working on a more psychedelic pop sound. For the last two albums they have worked with producer Dean Honer (I Monster, Eccentronic Research Council, Moonlandingz, International Teacher Of Pop, All Seeing I).

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    Big Thief

    Posted on 20 May 2020

    Big Thief’s music, rooted in the songs of Adrianne Lenker, paints in vivid tones “the process of harnessing pain, loss, and love, while simultaneously letting go, looking into your own eyes through someone else’s, and being okay with the inevitability of death,” says Adrianne.

    Masterpiece, Big Thief’s debut album, is filled with characters and visceral narratives, songs that pivot in the space of a few words. Adrianne’s voice and guitar playing speak of rich emotional territory wi...

    Big Thief’s music, rooted in the songs of Adrianne Lenker, paints in vivid tones “the process of harnessing pain, loss, and love, while simultaneously letting go, looking into your own eyes through someone else’s, and being okay with the inevitability of death,” says Adrianne.

    Masterpiece, Big Thief’s debut album, is filled with characters and visceral narratives, songs that pivot in the space of a few words. Adrianne’s voice and guitar playing speak of rich emotional territory with grace and insight. In her words, the record tracks “the masterpiece of existence, which is always folding into itself, people attempting to connect, to both shake themselves awake and to shake off the numbness of certain points in their life. The interpretations might be impressionistic or surrealistic, but they’re grounded in simple things.”

    Adrianne met her longtime musical partner, guitarist and singer, Buck Meek, in Brooklyn a few years ago, and they quickly formed a creative bond tempered by the experience of traveling and performing for months on end in old dive bars, yards, barns, and basements together. They recorded a pair of duo albums (A-Sides and B-Sides), and Adrianne showcased her songs on a solo album, Hours Were The Birds.

    Now, as a full rock and roll band, with Buck on guitar, Max Oleartchik on bass, and James Krivchenia on drums, they bring a steady wildness, giving the songs an even deeper layer of nostalgia. “These guys feel like a pack of wolves at my back,” says Adrianne, “they make the songs howl and bark with a fierce tenderness that gives me courage.”

    After spending last July in an old house that they turned into a studio on Lake Champlain with producer Andrew Sarlo, the resulting collection soars on what Big Thief fan Sharon Van Etten calls “…a real journey, with intelligent stories and twist-and-turn melodies.”

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    Bill Ryder-Jones

    Posted on 20 May 2020

    While some records are laboured with full stops, some are born from a hypothetical If… Bill Ryder-Jones’ first solo album is one such record.

    Written as a tribute to a cult novel and recorded as a film soundtrack, If… is never all that is seems. Inspired by Italian avant-garde author Italo Calvino’s postmodernist novel If On A Winter’s Night A Traveller, Ryder Jones’ masterfully-woven soundscape asks the question that few musicians dare to: how do you sustain the magic?

    “The boo...

    While some records are laboured with full stops, some are born from a hypothetical If… Bill Ryder-Jones’ first solo album is one such record.

    Written as a tribute to a cult novel and recorded as a film soundtrack, If… is never all that is seems. Inspired by Italian avant-garde author Italo Calvino’s postmodernist novel If On A Winter’s Night A Traveller, Ryder Jones’ masterfully-woven soundscape asks the question that few musicians dare to: how do you sustain the magic?

    “The book was given to me at an important part of my life and really sums up a period for me,” Bill reveals. “I guess the theme that’s central to the novel is something I’d always felt but never really summed up myself. It talks about influence and inspiration and how it’s often the initial burst that really gets you and after that it’s all downhill.

    “With music it’s the way a song hits you first time that’s important and how once you learn the chords, then it loses its magic. The hardest part is learning how to maintain that ambiguity in something that has to have a definite ending.”

    The quest for ambiguity is an apt one for Bill Ryder-Jones, whose musical career began in 1996 when he joined forces to become 1/6 of psychedelic folk-rockers The Coral. The band quickly courted feverish attention from fans, critics and fellow musicians alike (Noel Gallagher regularly saluted Bill as one of his favourite guitarists and Graham Coxon is considered both friend and collaborator). Though Ryder-Jones left the band soon after the release of their fifth studio album Roots & Echoes in 2007, his arrangements on the record indicated a promising talent for instrumentation – most notably his John Barry-style string arrangements on the track ‘Music At Night’, which spectacularly captured the spirit of a host of sixties screen classics.

    If Roots & Echoes was the precursor, then If… is most certainly its successor. Taking its cue from Abel Korzeniowski’s off-kilter soundtrack for Tom Ford’s acclaimed film A Single Man, If…’s influences are eclectic and diverse. From modern cinema composers like Michael Galasso (Seraphine) and Clint Mansell (The Wrestler, Black Swan) to psychedelic sorcerer Syd Barrett, Nick Cave and nineties Welsh indie-psych disciples Gorky’s Zygotic Mynci. Speaking of the latter, Bill reflects, “they’re the band I relate to more than any other I think. Where I grew up looks out to Wales, so listening to their songs really reminds me of my childhood.”

    The record’s production was equally inclusive as musicians, friends, parents and even the Liverpool Philharmonic pulled together to make If… a reality. Such was the display of affection for the record that the recording process was relatively painless. As Bill puts it: “it was lovely seeing just how many people were keen to be involved.”

    And as for production: “There’s a not a lot of that…” In Fact, If… was batted around all over Bill’s home town of Liverpool looking for shelter: “A few bits in my mum’s house, some in Elevator Studios, some in the Scandinavian church in Liverpool and some in the friary in Everton Valley.” Whilst the non-instrumental tracks were laid down in Liverpool’s Grade II listed warehouse Elevator Studios, the Liverpool Philharmonic settled under the protective rafters of the Friary, Everton. There, title track ‘If…’ took shape alongside fellow instrumentals ‘The Reader (Malbork)’, ‘Enlace’, ‘The Flowers #3 (Lotus)’ and ‘Give Me A Name.’

    The leap from lead guitarist to instrumental composer has been a challenging one and Bill is quick to admit that the road hasn’t always been easy. Yet with Italo Calvino’s novel providing him will the necessary markers and signposts, the album’s pulse soon developed a natural rhythm of its own making.

    As Ryder-Jones explains: “I tried to balance it out in the start, tried to make it true to the idea but make sense to people who aren’t fussed about the concept. In the end I thought, fuck it, I’ll just make it how I like and it’ll make sense to me.

    “I ended up writing a couple of tracks for each chapter and picking my favourite. It was pretty simple. Once I’d decided to not really care about how the album flows it was easy.”

    Just don’t ask Bill for his favourite track – his opinion changes on a regular basis. At the time of writing ”’The Reader (Malbork)’ is the one I enjoy listening to most. There’s a track called ‘Give Me A Name’ that I’m proud of too. I love it all really…”

    In this respect, If… exists as a living, breathing record in its entirety. The quest for singles is a futile one. Where the record truly captures the listener’s ears is in its effortless ambiguity. And so we finish where we began…

    With his first solo composition unleashed, thoughts now turn to his next two projects. And what better way to counteract the naturalism of If… than with a soundtrack for a psychological revenge thriller entitled ‘Piggy’? As for “the other one”, Ryder-Jones remains tight-lipped. But rest assured “both read brilliantly and I’m really, really excited.”

    IMDb

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    Bill Wells

    Posted on 20 May 2020

    Bill’s story is long and complex; a self-taught musical visionary from Falkirk. Bill has been able to build profitable liaisons around an open-minded Glasgow music scene, finding that groups like The Pastels, Future Pilot AKA, Telstar Ponies and Belle & Sebastian rate his music very highly, and are happy to collaborate with him. The first of these associations to really register is this highly rated sound-clash with Future Pilot AKA on Domino, which is the start of an ongoing musical pa...

    Bill’s story is long and complex; a self-taught musical visionary from Falkirk. Bill has been able to build profitable liaisons around an open-minded Glasgow music scene, finding that groups like The Pastels, Future Pilot AKA, Telstar Ponies and Belle & Sebastian rate his music very highly, and are happy to collaborate with him. The first of these associations to really register is this highly rated sound-clash with Future Pilot AKA on Domino, which is the start of an ongoing musical partnership, now at a point where The Pilot, Sushil K. Dade, simply refers to Bill as ‘The Co-Pilot’.

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    Black midi

    Posted on 20 May 2020

    black midi is comprised of Geordie Greep (vocals/guitar), Cameron Picton (bass/vocals), Matt Kwasniewski-Kelvin (guitar/vocals) and Morgan Simpson (drums). The repartee between the quartet is quiet but quick and laconic. It’s a connection reflected in the intensely focused and driven live shows with which black midi have made their name, drawing comparisons to American groups like Shellac, but that’s only half the story to this deeply uncategorizable music. They bonded over shared musical...

    black midi is comprised of Geordie Greep (vocals/guitar), Cameron Picton (bass/vocals), Matt Kwasniewski-Kelvin (guitar/vocals) and Morgan Simpson (drums). The repartee between the quartet is quiet but quick and laconic. It’s a connection reflected in the intensely focused and driven live shows with which black midi have made their name, drawing comparisons to American groups like Shellac, but that’s only half the story to this deeply uncategorizable music. They bonded over shared musical enthusiasms, or “liking messed up things” as Kwasniewski-Kelvin puts it, including an appreciation for rapper Danny Brown, Death Grips, Deerhoof, Miles Davis and Talking Heads.

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    The Black Tambourines

    Posted on 20 May 2020

    The Black Tambourines make music grounded in the ethos of D.I.Y production and scuzzy, distorted garage-rock, but with ragged grooves and a sun-kissed haze. Their music has been described as “surf-punk that buzzes with urgency” – NME, “blissfully hazy garage-punk”– Clash and “scuzzy rip-roaring indie-rock” – BEAT.

    Over the last year The Black Tambourines have performed at Glastonbury, Isle of Wight festival, The Great Escape (unofficially, pla...

    The Black Tambourines make music grounded in the ethos of D.I.Y production and scuzzy, distorted garage-rock, but with ragged grooves and a sun-kissed haze. Their music has been described as “surf-punk that buzzes with urgency” – NME, “blissfully hazy garage-punk”– Clash and “scuzzy rip-roaring indie-rock” – BEAT.

    Over the last year The Black Tambourines have performed at Glastonbury, Isle of Wight festival, The Great Escape (unofficially, playing a guerrilla gig from the back of their van) and Manchester’s Psych Fest; they’ve toured Europe and the UK and supported The Jesus and Mary Chain (among many other shows).

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    Blanche

    Posted on 20 May 2020

    In the fair city of Detroit, nestled among the garage-rock nooks and country crannies, lurks the music of Blanche. Husband and wife Dan and Tracee Miller trade intense and haunting vocals over an uneasy sea of pedal steel, banjo, raw guitar sounds, and sparse, driving drumming. The moods created in the songs seem to define Blanche. Some songs are sad and pretty, while others have a powerful, spooky feel. The melodies trick you into singing along with tales of superstitions, garbage picking, f...

    In the fair city of Detroit, nestled among the garage-rock nooks and country crannies, lurks the music of Blanche. Husband and wife Dan and Tracee Miller trade intense and haunting vocals over an uneasy sea of pedal steel, banjo, raw guitar sounds, and sparse, driving drumming. The moods created in the songs seem to define Blanche. Some songs are sad and pretty, while others have a powerful, spooky feel. The melodies trick you into singing along with tales of superstitions, garbage picking, fading trust, and feelings of lost hope. The sound combines the intense desperation of the Gun Club, the sincere sadness of the Carter Family, and the creepy playfulness of Lee Hazlewood.

    Family Tree: The Millers are joined by Feeny, who provides the perfect balance of eeriness and teariness to his pedal steel work; drummer Lisa jaybird Jannon, who uses a combination of brushes and maracas to complement her pared-down style, and banjo player/auto harpist Patch Boyle who, while on stage, sits in his favorite chair plucking away in his own world Blanche has come together from the well-preserved ashes of singer-guitarist Dan John Miller’s previous two bands. The seminal country-punk band Goober & the Peas released two acclaimed albums while touring incessantly throughout the U.S. and Europe, with artists such as Morphine and Uncle Tupelo. Next, Miller shed the ‘Goober’ moniker and teamed with Jack White (now of the White Stripes) for the country-garage collaboration, Two Star Tabernacle.

    Along with Tracee Miller on bass and Detroit Cobras’ drummer Damian Lang, the band made only one official recording, a 7 inch for Bloodshot Records, on which they joined forces with R&B/garage legend Andre Williams. In Blanche, the band resembles a dolled-up meeting of the Stepford Wives and a Lawrence Welk gospel special. Live, the band kind of lulls the audience into their dark, awkward world, and gradually builds intensity toward a frenetic finish.

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    Blondes

    Posted on 20 May 2020

    Blondes, the duo of Sam Haar and Zach Steinman, first met at Oberlin College in 2003, where they studied electroacoustic composition and studio art respectively, and became collaborators in a smattering of short-lived experimental outfits. They moved to Oakland, NYC, and Berlin, where they founded Blondes proper, before settling in to Brooklyn as their home base.

    Blondes quickly evolved from a home studio project to a live experience built around a tactile assemblage of synthesizers, sequence...

    Blondes, the duo of Sam Haar and Zach Steinman, first met at Oberlin College in 2003, where they studied electroacoustic composition and studio art respectively, and became collaborators in a smattering of short-lived experimental outfits. They moved to Oakland, NYC, and Berlin, where they founded Blondes proper, before settling in to Brooklyn as their home base.

    Blondes quickly evolved from a home studio project to a live experience built around a tactile assemblage of synthesizers, sequencers, and drum machines. Haar and Steinman’s creative approach centers around an improvisational process that first produced syrupy, space-case dance music, before further performances at nightclubs with bigger sound systems and ecstatic dance floors inspired the duo to focus their sounds at a higher fidelity and deeper frequency, both sonically and spiritually.

    Blonde’s second album ‘Swisher’ was released in August 2013 via RVNG intl, followed by new EP ‘Touched’ in June 2015 via Clasp.

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    Blood Incantation

    Posted on 13 September 2024

    Blood Incantation is a death metal band from Denver, Colorado, formed in 2011. They’re known for blending old-school death metal with psychedelic and cosmic/spacey elements. The band includes Paul Riedl on vocals and guitar, Morris Kolontyrsky on guitar, Jeff Barrett on bass, and Isaac Faulk on drums.

    Blood Orange (Dev Hynes)

    Posted on 20 May 2020

    Seer, Producer, multi-instrumentalist, composer, songwriter and vocalist Devonté Hynes is a globetrotting polymath for our times. The four albums he has recorded as Blood Orange have gained an international audience and the admiration of his peers. Hynes’ songwriting has helped essay the subjects of gender fluidity, twenty-first century vulnerability and the ennui of permanently-on connectedness into the modern lexicon. His lyrics act as a beacon to the vulnerable or temporally dispossesse...

    Seer, Producer, multi-instrumentalist, composer, songwriter and vocalist Devonté Hynes is a globetrotting polymath for our times. The four albums he has recorded as Blood Orange have gained an international audience and the admiration of his peers. Hynes’ songwriting has helped essay the subjects of gender fluidity, twenty-first century vulnerability and the ennui of permanently-on connectedness into the modern lexicon. His lyrics act as a beacon to the vulnerable or temporally dispossessed, ensuring each Blood Orange release is a source of energy and solace in these confused times.

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    Bob Moses

    Posted on 20 May 2020

    The music of Grammy-nominated, Canadian-by-way-of-California duo Bob Moses finds a natural home at both Fabric and Bonnaroo. On their debut album Days Gone By, Tom Howie and Jimmy Vallance paired their experience of growing up within the codes of the club scene with the signifiers of rock bands, such as a live drummer. Battle Lines, their second album, adds a further dynamic filter. Bob Moses is a band.

    BOBBY

    Posted on 20 May 2020

    BOBBY is a cooperative musical project based on the talents of musicians from Partisan Records and Knitting Factory Records which is notable for achieving an avant garde alternative sound using polyrhythm as well as achieving critical acclaim before releasing their first album entitled Bobby. With Martin Zimmermann (Chunk) on the cans, Paolo Menuez (Pillow) on thweedles, Julian Labat (Crumbles) on low-end, Roby Moulton (Moldy) on wisps and Molly Sarle (of Mountain Man) to contribute vocally, ...

    BOBBY is a cooperative musical project based on the talents of musicians from Partisan Records and Knitting Factory Records which is notable for achieving an avant garde alternative sound using polyrhythm as well as achieving critical acclaim before releasing their first album entitled Bobby. With Martin Zimmermann (Chunk) on the cans, Paolo Menuez (Pillow) on thweedles, Julian Labat (Crumbles) on low-end, Roby Moulton (Moldy) on wisps and Molly Sarle (of Mountain Man) to contribute vocally, the recordings from their first big show caught the ear of Tim Putnam, who quickly signed the group to his label, Partisan Records. From the success of their big show, the group decided to shack up together all relocating to western Massachusetts in the town of Montague. The music was going well, but a name for the group still eluded them. For many months they struggled but in the end decided to name it after their front man, Bobby.

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    Bodywash

    Posted on 20 May 2020

    Bodywash was formed in 2014 when Chris Steward and Rosie Long Decter began jamming in a basement rehearsal room at McGill University. Bonding over a shared affection for shoegaze and dream pop, the two found an immediate chemistry. “There is an excitement that comes from having people of diverse backgrounds and personalities in one room,” says Steward, “trying to make something beautiful together.” Tom Gould joined soon after on bass, and they recorded an EP in 2016. 

    The Bohicas

    Posted on 20 May 2020

    Bolis Pupul

    Posted on 29 November 2023

    Hot on the heels of a whirlwind year touring the globe and releasing the acclaimed collaboration with Charlotte Adigéry, ‘Topical Dancer’, dance music’s suavest producer-singer-songwriter Bolis Pupul has announced his debut album Letter To Yu.

    Letter To Yu is a love letter to Bolis’ late mother who passed away in 2008 in a traffic accident. Born to a Belgian father and Chinese mother, growing up in Gent, Bolis had not negated his Chinese roots exactly – his mother was born in Hong...

    Hot on the heels of a whirlwind year touring the globe and releasing the acclaimed collaboration with Charlotte Adigéry, ‘Topical Dancer’, dance music’s suavest producer-singer-songwriter Bolis Pupul has announced his debut album Letter To Yu.

    Letter To Yu is a love letter to Bolis’ late mother who passed away in 2008 in a traffic accident. Born to a Belgian father and Chinese mother, growing up in Gent, Bolis had not negated his Chinese roots exactly – his mother was born in Hong Kong – but he certainly hadn’t embraced them. However, in the wake of his mother’s passing, he began coming to terms with his heritage. “When I started to think about my roots, instead of being ashamed of them, I started to embrace them,” he recalls. “And so it became more and more important for me to get in touch with them. I went to evening school here in Belgium and began learning Chinese. I did that for four years. That was the first step.”

    His first visit to Hong Kong in 2018 further crystallised how Bolis wanted to incorporate his Chinese legacy into his music. A primary intention on his first trip to Hong Kong was to locate where his mother – Yu Wei Wun – was born. Not wanting to forget this overwhelming experience, Bolis began writing a letter to his mother so he could properly grasp his thoughts. Much later, when the album began to properly take shape, he remembered the letter. “It became the centerpiece of this album,” he says matter-of-factly.

    The album’s first single/video “COMPLETELY HALF” (built around field recordings on the Hong Kong subway) is a beautifully filmed art-house video by Magnum photographer Bieke Depoorter in the heart of Hong Kong, who follows Bolis exploring its streets and buildings in search for his late mother. The women in the video welcomed Bieke into their homes and daily routines to let her film intricately composed tableaux of their everyday lives, in which Bolis seeks the spirit of his late mother.

    The creation of Letter To Yu has been a pivotal and liberating experience for Bolis. “Even though this trip was very emotional and at times sad, I also had some great times that just made me really happy,” he concludes. “This resulted in a very uplifting melody where I felt like I could handle my life.”

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    Bonde do Role

    Posted on 20 May 2020

     

    This particular party started in 2002 when Gorky was DJing at events around Rio. "I was definitely influenced by 2ManyDJs," he recalls. "Well, I say influenced, I was completely ripping them off. But one of the things I’d play to be unexpected was baile funk." Baile funk is a Brazilian, and particularly Rio-based, party funk sound. Diplo has described it as "little children screaming about drugs over a Smiths loop and a breakbeat – perfect music." Some...

     

    This particular party started in 2002 when Gorky was DJing at events around Rio. "I was definitely influenced by 2ManyDJs," he recalls. "Well, I say influenced, I was completely ripping them off. But one of the things I’d play to be unexpected was baile funk." Baile funk is a Brazilian, and particularly Rio-based, party funk sound. Diplo has described it as "little children screaming about drugs over a Smiths loop and a breakbeat – perfect music." Sometimes people would boo, other times they’d knock drinks and tables out of their way in a thunderous stampede towards the dancefloor.
    In 2004 Gorky met another DJ – Pedro – and they moved in together. Within weeks the pair had formed a dodgy electro rock duo (referred to within the band as The Electro Rock Band That Never Happened) and, when they wanted a girl to sing, they called up Marina. Pedro knew Marina as that girl from school who everyone thought was a drug addict (translation: she liked Hole, Nine Inch Nails and Sleater-Kinney). Marina remembered Pedro as "a clubber!’ He was fashion! Somewhere between hip-hop and rave." Whatever – Pedro sent her the CD, chucking on some of his and Gorky’s throwaway baile funk tracks to fill up the CD. Marina phoned back to say she got the CD and hated everything except the stupid stuff at the end. Marina came round. They drank vodka all night and Bonde Do Role was born.
    A Debate Regarding Gorky’s Role In Bonde:
    Gorky: "Oh, it’s a LOT of responsibility being the oldest member, they are my children. I have to show them my wisdom."
    Pedro: "Your WISDOM!?"
    Gorky: "I mean this! I’m the wise man! Besides that I also have the responsibility of bringing the beats to gigs."
    Pedro: "You only have to bring the CD along!"
    Marina: "That’s your JOB!"
    Gorky: "And I sort out all the interviews! And all the problems! If I don’t do that you don’t get ANYTHING done!"
    Marina: "You spend twenty hours a day messing around on the computer!"
    Gorky: "I’M WORKING!"
    Bonde played their first gig 200 kilometres away from home, on a boat. Marina and Pedro wanted to lipsync but Gorky wouldn’t let them, announcing that "you have to be at least a BIT serious." How did it go? "Pretty bad." But the music was taking on a life of its own. As soon as tracks were ready they’d find themselves zapped around the world over email and instant messenger, sometimes burned to CDs, sometimes played out at clubs and parties. At one such party Diplo, already obsessed with baile funk, chucked on a Bonde demo he’d been sent, and he decided to sign them, which meant that Pedro, Marina and Gorky had to start taking things seriously. Diplo’s advice as label boss: "look and behave like artists." He continues to live in hope.
    A Disagreement About When The Band Got Signed
    Gorky: "We had done a couple more gigs before we were signed."
    Marina: "No, our second gig was the next year when we were already signed."
    Pedro: "Yes!"
    Gorky: "NO! We did one!"
    Marina "We didn’t because…"
    Gorky: "WE DID!"
    Pedro: "We didn’t because some motherfucker stole the CD with the beats!"
    Gorky: "Oh, Marina is right."
    Before long Bonde were heading off on their first European tour. "It’s difficult to tour with a Brazilian passport," Marina says. "People think you’re an immigrant and you want to sell kebabs." Pedro’s mum, meanwhile, assumed the trio had simply been roped into an elaborate hoax by international drug smugglers and was only convinced that the band really were taking off when they made a Rolling Stone magazine "Ones To Watch" feature.
    Bonde’s mums love Bonde’s music, by the way. Gorky’s does her hydro-gymnastics to …With Lasers. She likes the happy songs, or at least the ones which sound happy but are probably about something unspeakable, because most of the lyrics on …With Lasers are in an obscure Portugese sub-dialect called Pajuba, which was appropriated by the gay community, a bit like polaris in Britain. "They have different words for ass," Pedro clarifies. These lyrics pop up in "James Bonde." "Gorky really likes James Bond," Marina explains, "so I wrote a song about James Bond being gay, and turned him into James Bonde. He would be so much better being gay. The song is about how The Queen would sack him if she found out he uses false eyelashes."
    Then there’s "Office Boy," Pedro’s favourite on the album, about the life of many a Brazilian teenage boy including, just a few years ago, Pedro himself. "In Brazil, as a teenager, it’s impossible to get a job other than ‘office boy,’" he explains. "It is their job to stand in a queue for three hours to pay the boss’ phone bill. They all look the same – polo shirt, jean pants, little teenage moustaches and hair dyed blonde at the front. The song’s about office boy saving his money to go to the beach, hoping he gets a crowded bus on the way so he can be rubbing against women for fun." "IT’S A SOCIAL LYRIC!" Gorky declares, and it’s certainly true that this is the nearest Bonde Do Role will get to political comment any time soon. Which, these days, is just what the doctor ordered.
    Causing a rumpus across Europe with a series of high-profile support and headline slots, and dropping …With Lasers just in time for the summer party season, Bonde Do Role will be hard to ignore over the next twelve months, during which time they’re relocating from Rio to Berlin. "It’s cheaper to live in Berlin," Pedro says. "Plus the people go crazy and get naked."

     

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    Bonnie Prince Billy

    Posted on 20 May 2020

    Will Oldham (born 24 December 1970, Louisville, Kentucky) is an American singer-songwriter, actor, and musician. His music is often (perhaps inappropriately) placed under the genre of “alt-country”. Oldham has recorded under many names, including Palace, Palace Music, Palace Brothers, and Bonnie Billy. He often plays and records with other musicians, including David Pajo and his brothers Ned and Paul Oldham, but is generally the chief creator of the music.

     

    He has also been involved...

    Will Oldham (born 24 December 1970, Louisville, Kentucky) is an American singer-songwriter, actor, and musician. His music is often (perhaps inappropriately) placed under the genre of “alt-country”. Oldham has recorded under many names, including Palace, Palace Music, Palace Brothers, and Bonnie Billy. He often plays and records with other musicians, including David Pajo and his brothers Ned and Paul Oldham, but is generally the chief creator of the music.

     

    He has also been involved in musical projects and bands such as Amalgamated Sons of Rest, The Anomoanon, The Boxhead Ensemble, Tortoise, and The Sundowners as well as releasing his first solo album in 1993. Oldham has said that the Bonnie ‘Prince’ Billy moniker has many references. These include ‘Bonnie’ Prince Charlie, an 18th century Jacobite; Billy the Kid, the 19th century American outlaw also known as William Bonney; and the American singer Nat King Cole. He has also appeared in several films, such as the 1987 film Matewan and most recently in Old Joy (released in late 2006). He is also the photographer of the cover image of the Slint album Spiderland.

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    BORIS

    Posted on 26 January 2022

    Legendary Japanese sludge/doom rock trio Boris formed in 1992 and eventually arrived at the band’s current lineup of Takeshi, Wata, and Atsuo into 1996.  In the 29 years since, Boris has tirelessly explored their own rendition of what is heavy through methods entirely their own. Though the depths of their “heaviness” may intensify, their unique musicianship defies classification in any one genre or style, so let’s just call it real “heavy music” in extreme color. Their music has ...

    Legendary Japanese sludge/doom rock trio Boris formed in 1992 and eventually arrived at the band’s current lineup of Takeshi, Wata, and Atsuo into 1996.  In the 29 years since, Boris has tirelessly explored their own rendition of what is heavy through methods entirely their own. Though the depths of their “heaviness” may intensify, their unique musicianship defies classification in any one genre or style, so let’s just call it real “heavy music” in extreme color. Their music has been called a “game changer” regarding the leading edge of the world’s rock scene, and that influence is limitless. They enter realms that cannot be described simply in terms of the “explosive sound” or “thunderous roars” that have become their trademark.

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    Boshra AlSaadi

    Posted on 08 March 2022

    Boshra AlSaadi, aka SAADI, is a Syrian American musician living in New York City. Her sound shows traces of her vast and diverse influences ranging from dancehall to traditional Arabic dabke, from Brian Eno to Lady Saw, resulting in a real fusion of sound that would lend itself to a sweaty dance floor or a darkened bedroom. AlSaadi’s former projects include Brooklyn’s TEEN and the late great Janka Nabay and the Bubu Gang.

    Boz Boorer

    Posted on 20 May 2020

    Boz Boorer is a guitarist who composes music for Morrissey along with Jesse Tobias, Gustavo Manzur and Mando Lopez, previously Alain Whyte was a major writer too. He is not only famous and well known as a guitarist: Boz Boorer is a high profile, hard working artist and engineer who has scored many times in his different figures, and steadily performs live gigs in several countries with different bands, or as solo performer.

    Rockabilly Guy was the first single Boorer released as a guitarist wi...

    Boz Boorer is a guitarist who composes music for Morrissey along with Jesse Tobias, Gustavo Manzur and Mando Lopez, previously Alain Whyte was a major writer too. He is not only famous and well known as a guitarist: Boz Boorer is a high profile, hard working artist and engineer who has scored many times in his different figures, and steadily performs live gigs in several countries with different bands, or as solo performer.

    Rockabilly Guy was the first single Boorer released as a guitarist with his young, stylish and talented band The Polecats (with the other members Tim Worman, Phil Bloomberg and Chris Hawkes) in 1979. Since then he has released solo material and worked with other artists, including an album and writing songs with Adam Ant, performing live with David Bowie, a recording session with Joan Armatrading, performing with Jools Holland, Boz And The Bozmen, Ronnie Dawson, The Deltas, John’s Children, Bluberry Hellbellies, Edwyn Collins and a whole bunch more . Boz Boorer studied music and harmony to A-Level and plays several other instruments (clarinet, saxophone, bass, drums, keyboards etc ) whereas the guitar is his biggest passion. Boorer has even toured Japan with the all girl rockabilly band The Shillelagh Sisters who were supposed to reform this year at the Vegas rockabilly festival with their singer Jacquie who went on to fame in Banarama . In 1995 Boz did some live shows with Kirsty MacColl’s band as well, resulting in him producing and scoring the strings on the duet of the Lou Reed song ‘Perfect Day’ with Evan Dando. He also produced and scored the strings on the 90s duet ‘Interlude’ by Morrissey and Siouxsie Sioux, He also played on the debut album by Ours, the band that featured vocalist extrordinare Jimmy Gnecco. His solo records are an eclectic mix of all his influences from Glam to Punk and rockabilly and everywhere in between and ofter feature contributions from his wide range of musical friends.

    Boorer worked as a music studio engineer and joined the Chrysalis organization in the capacity in 1984. In 1991 he joined Morrissey’s band as musical director. Boz occasionally runs his own label NV Records, and he runs Serra Vista Recording Studios, his private music studio in the quiet hills of the Algarve in Portugal.
    He also runs a record store ‘Vinyl Boutique’ in Camden Town

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    Brad Stank

    Posted on 21 June 2023

    Brad Stank wants you to talk less and love more. A sensei of the slow jams, this sexistentialist-pop bohemian writes jazz-leaning twilight ruminations that puncture the mythology of R&B. Juxtaposing Eastern philosophies against sexuality, the Stank alter-ego – a unification of modern hip hop attitude and old soul – allows Brad to tap into the flow of a deeper human mysticism. A blend of lounge lizard jazz and smoky blues, the essence of creativity and knowledge weaves itself into ever...

    Brad Stank wants you to talk less and love more. A sensei of the slow jams, this sexistentialist-pop bohemian writes jazz-leaning twilight ruminations that puncture the mythology of R&B. Juxtaposing Eastern philosophies against sexuality, the Stank alter-ego – a unification of modern hip hop attitude and old soul – allows Brad to tap into the flow of a deeper human mysticism. A blend of lounge lizard jazz and smoky blues, the essence of creativity and knowledge weaves itself into everything he produces. No wonder then, that audiences gather to receive Stank’s sensual gospel. Remain tender.

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    Brian Chippendale

    Posted on 29 October 2024

    Brian Chippendale is a New York-born musician and visual artist, known for his role as vocalist and drummer in noise-rock band Lightning Bolt, which he co-founded in 1994 with bassist Brian Gibson. In 2006, he launched his solo project Black Pus – describing the music as guttural, raw and freeform. Wasted Shirt is the latest collaboration from Chippendale, teaming up with Ty Segall to release 2020 album Fungus II. Outside of music, Chippendale is also a talented visual artist, celebrate...

    Brian Chippendale is a New York-born musician and visual artist, known for his role as vocalist and drummer in noise-rock band Lightning Bolt, which he co-founded in 1994 with bassist Brian Gibson. In 2006, he launched his solo project Black Pus – describing the music as guttural, raw and freeform. Wasted Shirt is the latest collaboration from Chippendale, teaming up with Ty Segall to release 2020 album Fungus II. Outside of music, Chippendale is also a talented visual artist, celebrated for his intricate comic art and illustrations featured in various exhibitions and publications such as The New York Times.

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    Brian Destiny

    Posted on 23 August 2022

    Brian Destiny is the solo project from Nathan Saoudi (Fat White Family).

    The Brother Brothers

    Posted on 20 May 2020

    The Brother Brothers are Adam and David Moss, identical twins carrying on the folk tradition for a new generation. Using minimal instrumentation, heartfelt lyricism, and harmonies so natural they seem to blend into one beautiful voice, the siblings draw on the energy and creativity of Brooklyn, New York for their full-length debut album, Some People I Know.

    The Brother Brothers’ acoustic project emerges from several years spent traveling the country, both separately and together, playing i...

    The Brother Brothers are Adam and David Moss, identical twins carrying on the folk tradition for a new generation. Using minimal instrumentation, heartfelt lyricism, and harmonies so natural they seem to blend into one beautiful voice, the siblings draw on the energy and creativity of Brooklyn, New York for their full-length debut album, Some People I Know.

    The Brother Brothers’ acoustic project emerges from several years spent traveling the country, both separately and together, playing in varying ensembles and sometimes settling in separate cities. Though each writes his fair share of the discography independently, the brothers’ palpable fraternal bond produces a togetherness in these songs that few bands can offer.

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    Buck Meek

    Posted on 12 October 2023

    Buck Meek, the talented singer-songwriter and guitarist, has emerged as a captivating figure in contemporary folk music as a solo artist and as the guitarist of Big Thief.

     As a solo artist, Meek writes captivating and heartfelt music that weaves poignant storytelling with delicate melodies. After releasing his self-titled debut album in 2018, Meek moved from Brooklyn, where Big Thief were formed, to the mountains north of Los Angeles where he wrote many of the songs for Two Saviors rel...

    Buck Meek, the talented singer-songwriter and guitarist, has emerged as a captivating figure in contemporary folk music as a solo artist and as the guitarist of Big Thief.

     As a solo artist, Meek writes captivating and heartfelt music that weaves poignant storytelling with delicate melodies. After releasing his self-titled debut album in 2018, Meek moved from Brooklyn, where Big Thief were formed, to the mountains north of Los Angeles where he wrote many of the songs for Two Saviors released in January 2021. Having established himself as a talented songwriter and masterful guitarist of equal measure, whilst continuing to contribute to Big Thief’s emotionally-charged sound, Meek presents his third full-length solo album and 4ad debut Haunted Mountain (2023).

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    Buzzcocks

    Posted on 13 October 2020

    The nervous sound of eternal youth, the music of Buzzcocks has never aged, or ceased to influence each successive generation. Their definitive recordings, from Spiral Scratch to A Different Kind Of Tension, are now proudly included in the Domino catalogue.

    By The Sea (Liam Power)

    Posted on 12 October 2022

    By The Sea come from the lineage of firework pop, bursts of colour and squeeze-your-hand intense love aligned with grey skies & work things.

    Liam Power formed By The Sea in 2011, the band’s debut single ‘Waltz Away’ coming out on The Great Pop Supplement label that year. In November 2012 the band released their self-titled album through Dell’Orso and GPS. The NME noted how there was “a beautifully bruised element to this Wirral act’s debut from the subdued, morbid production t...

    By The Sea come from the lineage of firework pop, bursts of colour and squeeze-your-hand intense love aligned with grey skies & work things.

    Liam Power formed By The Sea in 2011, the band’s debut single ‘Waltz Away’ coming out on The Great Pop Supplement label that year. In November 2012 the band released their self-titled album through Dell’Orso and GPS. The NME noted how there was “a beautifully bruised element to this Wirral act’s debut from the subdued, morbid production to Liam Power’s heroically battle-weary vocals”.

    They have also often been tagged for their kitchen-sink dramas, though they’re more akin to something like ‘Wish You Were Here’, both funny and dark without being maudlin. There’s an end of pier melancholy to By The Sea records though, something more than a scribble of sentiment on a souvenir postcard.

    For their second LP Endless Days, Crystal Skies the band turned over production duties to their friend Bill Ryder-Jones (formerly of The Coral) and released that bounty of pop in 2014. It’s a partnership they have retained for the new third album Heaven Knows Magnolia.

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    The C.I.A

    Posted on 29 November 2022

    A project from the notoriously prolific garage-punk kingpin Ty Segall, the C.I.A. is a collaboration between Ty and his spouse Denée Segall, who had previously worked with his group GØGGS and handled photography and design for many of his album covers. Like much of Ty‘s music, the C.I.A.’s sound is lo-fi garage-oriented rock & roll, with plenty of dirty guitars and stripped-down melodies, while Denée handles the lead vocals with a vintage drum machine holding down the percuss...

    A project from the notoriously prolific garage-punk kingpin Ty Segall, the C.I.A. is a collaboration between Ty and his spouse Denée Segall, who had previously worked with his group GØGGS and handled photography and design for many of his album covers. Like much of Ty‘s music, the C.I.A.’s sound is lo-fi garage-oriented rock & roll, with plenty of dirty guitars and stripped-down melodies, while Denée handles the lead vocals with a vintage drum machine holding down the percussion in tandem with a live drummer.

    The C.I.A. made their debut with a handful of live shows in 2018; on-stage, the group featured Ty Segall on guitar, Denée Segall on vocals, Emmett Kelly of the Cairo Gang on bass, and drummer R.E. Carlos. The group made their recording debut with a small-run cassette-only EP available at their live shows; the tape, with an aging rhythm machine taking the drummer’s place on most tracks, included four original tunes and a cover of “Magazine Love” by synth-punk pioneers the Screamers. In December 2018, the C.I.A. released a full-length, self-titled album via In the Red Records; it was the sixth album Ty Segall released in 2018.

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    Caitlin Canty

    Posted on 20 May 2020

    Caitlin Canty delivers her fine-edged songs with a 1930′s Recording King guitar and a dusky alto, painting the line between joy and pathos with uncanny precision and power.  Raised in small-town Vermont, the daughter of a school teacher and a house painter, she spent a decade in New York City cutting her teeth on both sides of the microphone – as a performer and as the first employee of the successful Artists Den series.  In 2014 she will release ‘Reckless Skyline’, a...

    Caitlin Canty delivers her fine-edged songs with a 1930′s Recording King guitar and a dusky alto, painting the line between joy and pathos with uncanny precision and power.  Raised in small-town Vermont, the daughter of a school teacher and a house painter, she spent a decade in New York City cutting her teeth on both sides of the microphone – as a performer and as the first employee of the successful Artists Den series.  In 2014 she will release ‘Reckless Skyline’, a new collection of original songs produced by acclaimed songwriter Jeffrey Foucault (also Domino Publishing), and featuring an all-star band on twelve songs that veer nimbly between country ballads and straight-up rockers, dark blues and sparsely arranged folk.

    A constant collaborator, Canty writes and performs with several bands, including Down Like Silver – her ongoing duo project with Nashville’s Peter Bradley Adams – and the Massachusetts-based indie-folk quartet Darlingside. She has released two full-length albums under her own name, most recently ‘Golden Hour’, a gently produced and Western-tinged album tracked live in Maine in the winter of 2012. Meanwhile, Canty spends much of her year on the road, or dividing her time between Nashville, Idaho, and New England.

    Both on the road and on her unreleased new album, Caitlin Canty teams with some of the finest musicians in the world – including members of Morphine, Booker T, Cold Satellite, and Ray LaMontagne’s Pariah Dogs – to create a sound that harnesses the grit and spark at the very heart of American music, and tempers it with a voice at once so haunting and distinct that it’s instantly memorable, instantly classic.

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    Carmine Appice

    Posted on 13 November 2020

    As drummer for Vanilla Fudge, Carmine Appice set the grooves for the groundbreaking band‘s 1967 psychedelic debut, inadvertently inventing Stoner Rock in the process. The Fudge had no precedent. The band was totally unique. No rock group, up until that point, had ever so lugubriously s-t-r-e-t-c-h-e-d out well-known pop tunes like the Beatles “Eleanor Rigby” and “Ticket To Ride,” Curtis Mayfield‘s “People Get Ready,” Sonny & Cher‘s “Bang Bang” Rod Argent‘s “She...

    As drummer for Vanilla Fudge, Carmine Appice set the grooves for the groundbreaking band‘s 1967 psychedelic debut, inadvertently inventing Stoner Rock in the process. The Fudge had no precedent. The band was totally unique. No rock group, up until that point, had ever so lugubriously s-t-r-e-t-c-h-e-d out well-known pop tunes like the Beatles “Eleanor Rigby” and “Ticket To Ride,” Curtis Mayfield‘s “People Get Ready,” Sonny & Cher‘s “Bang Bang” Rod Argent‘s “She‘s Not There” and, most famously, The Supremes‘ Motown classic “You Keep Me Hangin‘ On” to such hippie heights. With Mark Stein‘s mysterioso wash of Grand Guignol keyboard theatrics, Tim Bogert‘s amazing and trippy bass runs, and guitarist Vince Martell‘s era-happy soloing, Appice boomed like no other drummer in rock history. Their debut album still stands today as a Hard Rock classic. Vanilla Fudge went on to tour with Jimi Hendrix, Cream, and even had Led Zeppelin as an opening act.

    Post-Fudge, Bogert and Appice formed Cactus (seen as an influence on King‘s X and Van Halen). Post-Cactus, the rhythm section found Grammy-winning Guitar Hero Jeff Beck to form the first supergroup: Beck, Bogert & Appice (BBA).

    One of the premier showmen in rock, Appice became known worldwide for his astonishing live performances, in addition to becoming a highly sought-after session drummer, recording with countless artists throughout his career. In ‘76, he joined Rod Stewart‘s band, touring, recording and writing two of Stewart‘s biggest hits, “Do Ya Think I‘m Sexy’ and “Young Turks.’ He left Stewart to record his first solo album, “Rockers’, and tour Japan and North America with an allstar band. . In the early 80’s, he toured with OZZY Osborne ,Ted Nugent . In the mid 80’s, he formed King Kobra for two Capitol albums and international touring And in the late 80’s, Carmine played on a Pink Floyd record “Momentary Lapse of Reason’ and formed Blue Murder with Whitesnake‘s John Sykes and The Firm‘s Tony Franklin. In the early 90s, he pounded away soul-style for The Edgar Winter Group.

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    Cass McCombs

    Posted on 09 September 2024

    The five albums Cass McCombs released on Domino represent the caucus of a canon of unparalleled contemporary American songwriting: Dropping The Writ, Catacombs, Humor Risk, Wit’s End, and Big Wheel And Others are all essential listening.

    Castanets

    Posted on 20 May 2020

    Castanets is the musical project of Raymond Raposa, a San Diego native currently residing in New York City. While Raposa is the only constant member of the band, his records and live performances often feature a seemingly never ending rotating cast of musicians, the line-up often changing from night to night in a single tour. First touted by Pitchfork Media, Castanets were one of the more prominent proponents of the so-called freak folk movement (also known as psychedelic folk and New Weird A...

    Castanets is the musical project of Raymond Raposa, a San Diego native currently residing in New York City. While Raposa is the only constant member of the band, his records and live performances often feature a seemingly never ending rotating cast of musicians, the line-up often changing from night to night in a single tour. First touted by Pitchfork Media, Castanets were one of the more prominent proponents of the so-called freak folk movement (also known as psychedelic folk and New Weird America) that took place in the U.S. music scene in 2003-04. In addition to his regular touring, Raposa recently toured the east coast’s Intracoastal Waterway in a sailboat with singer-songwriters Jana Hunter and Red Hunter (aka Peter and the Wolf).

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    Cate Le Bon

    Posted on 20 May 2020

    Be it on her more minimalist, acoustic-leaning 2009 debut album Me Oh My or critically acclaimed, liquid-riffed 2013 LP Mug Museum as well as 2016s Crab Day, Cate Le Bon’s solo work — and indeed also her production work, such as that carried out on recent Deerhunter album Why Hasn’t Everything Already Disappeared? (4AD, January 2019) — has always resisted pigeonholing, walking the tightrope between krautrock aloofness and heartbreaking tenderness; deadpan served with a twinkle in the ...

    Be it on her more minimalist, acoustic-leaning 2009 debut album Me Oh My or critically acclaimed, liquid-riffed 2013 LP Mug Museum as well as 2016s Crab Day, Cate Le Bon’s solo work — and indeed also her production work, such as that carried out on recent Deerhunter album Why Hasn’t Everything Already Disappeared? (4AD, January 2019) — has always resisted pigeonholing, walking the tightrope between krautrock aloofness and heartbreaking tenderness; deadpan served with a twinkle in the eye, a flick of the fringe and a lick of the Telecaster.

    It was on a mountainside in Cumbria that the first whispers of Cate Le Bon’s fifth studio album poked their buds above the earth. “There’s a strange romanticism to going a little bit crazy and playing the piano to yourself and singing into the night,” she says, recounting the year living solitarily in the Lake District which gave way to Reward. The result is an album every bit as stylistically varied, surrealistically-inclined and tactile as those in the enduring outsider’s back catalogue, but one that is also intensely introspective and profound; her most personal to date.

     

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    Charif Megarbane (Cosmic Analog Ensemble)

    Posted on 20 May 2020

    Cosmic Analog Ensemble is the brainchild of prolific Lebanese music producer and multi-instrumentalist Charif Megarbane, a one-man musical force who writes, performs and produces all of its creative output. With a DIY music ethos, Megarbane has crafted an inimitable style of instrumental music, a melting pot of global sounds that effortlessly glides between 1960s Italian library music, Middle Eastern psychedelia, afro-beat and hip-hop breaks.

    Charlotte Adigéry and Bolis Pupul

    Posted on 27 August 2021

    Cultural appropriation. Misogyny and racism. Social media vanity. Post-colonialism and political correctness. These are not talking points that you’d ordinarily hear on the dancefloor but Charlotte Adigéry and Bolis Pupul are ripping up the rulebook with their music. The Ghent-based duo, who broke out with their 2019 Zandoli EP on Soulwax’s record label DEEWEE, are rare storytellers in electronic music: they take the temperature of the time and funnel them into their playful synth concoc...

    Cultural appropriation. Misogyny and racism. Social media vanity. Post-colonialism and political correctness. These are not talking points that you’d ordinarily hear on the dancefloor but Charlotte Adigéry and Bolis Pupul are ripping up the rulebook with their music. The Ghent-based duo, who broke out with their 2019 Zandoli EP on Soulwax’s record label DEEWEE, are rare storytellers in electronic music: they take the temperature of the time and funnel them into their playful synth concoctions – never didactic and always with a knowing wink.

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    Cheek Mountain Thief

    Posted on 20 May 2020

     

     

     

    Mike Lindsay (Tunng)  has recently been hiding out in Iceland creating a solo album with members of the local Husavik community under the name Cheek Mountain Thief. Mike fell in love with Iceland after playing Airwaves 2010 and decided to spend two months in the remote Northeast town ofHusavik, borrowing enough equipment to build a small studio in a cabin facing the Kinnafjoll (CheekMountains). The album was completed in Rejkjavik with a host of local characters: a m...

     

     

     

    Mike Lindsay (Tunng)  has recently been hiding out in Iceland creating a solo album with members of the local Husavik community under the name Cheek Mountain Thief. Mike fell in love with Iceland after playing Airwaves 2010 and decided to spend two months in the remote Northeast town ofHusavik, borrowing enough equipment to build a small studio in a cabin facing the Kinnafjoll (CheekMountains). The album was completed in Rejkjavik with a host of local characters: a male choir named after the Kaffi Barin pub, producer Sindri (Sin Fang) and electronica artist Mugison, who has toured with Tunng.

    Released through Full Time Hobby Records the eponymous debut album drops 13th  August 2012. The album will be preceded by the first single, ‘CheekMountain’ ( watch the video on our Film + TV page )

    A London show at the Purcell Room, Southbank Centre has been confirmed for 11th September 2012, where the band will be performing as a seven-piece, with more dates to follow shortly.

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    Chief

    Posted on 20 May 2020

    The story of Chief is one of two coasts. Though Evan Koga, Mike Moonves and brothers Danny and Michael Fujikawa were all born and raised as sons of Los Angeles, they left for New York University, worlds away. It was in New York that they first got to know one another as collaborators, rumbling through a number of semi-serious projects and solo ventures before feeling swept away by a small run of songs Koga had penned and presented to them. He had written them under the name Chief, a moniker t...

    The story of Chief is one of two coasts. Though Evan Koga, Mike Moonves and brothers Danny and Michael Fujikawa were all born and raised as sons of Los Angeles, they left for New York University, worlds away. It was in New York that they first got to know one another as collaborators, rumbling through a number of semi-serious projects and solo ventures before feeling swept away by a small run of songs Koga had penned and presented to them. He had written them under the name Chief, a moniker the brothers Danny and Michael opted to keep the day they first formed their trio. It was on New York stages that they honed their songs and found their sound, a thoughtfully melodic update on summer and road records past.  Neil Young. Tom Petty. The Band. Crosby, Stills and Nash. Natural, timeless songwriting for times that change too quickly. LA was never far away.

     

    In fact, in early 2009, they all started to migrate home to the City of Angels for good, the newly added Moonves along for the ride on bass. “We simply wanted a change of pace,” guitarist Koga says. “Our BPM is a little bit slower here.” On Modern Rituals, their first full-length and Domino debut, that transcontinental downshift is captured in gorgeous, full-bodied stereo. Recording began in November of last year, the foursome taking their songbook into the studio with New York-based, producer and Grammy Award-winning engineer Emery Dobyns. The goal was to create a rock record free of gimmicks and fences, a fresh look at classic sounds fitting of its title. The end result is just that. “It’s a traveler’s record. I listen and it immediately feels natural to see myself driving down the Pacific Coast Highway,” guitarist Danny Fujikawa explains. “But at the same time, maybe it would feel the same way if I were walking through New York.” Modern Rituals was tracked in four different studios, parts of some songs scattered across time in New York, Echo Park, Los Feliz and Venice, California. “You wouldn’t know to listen for it, but it’s like a math problem,” says Michael. “I can hear personal experiences from all those times layered across some of these songs. It’s insane.” To his brother, one element unifies the album as a whole. “There is a good bit of ocean in there,” Danny says. 

     

    “You Tell Me” is a Danny-penned bracer sometimes felt most by his older brother. “Because he’s my brother, we’re already cut of the same cloth: everything about him is to do with me and everything about me is to do with him,” Michael says. “But that song is literally about how my mom and I are constantly telling Danny to get up and go, to snap out of it, that he can do it. To hear him sing that song is huge. As a band, we go through everything together. We’re all deeply invested in this music, even if we didn’t write the song or lyric.”  Though that love is audible from Modern Rituals’ first strum to its last, few moments ring as true to the sentiment as “In The Valley”. Koga and Danny’s guitars slow dance with one another. Moonves and Michael’s rhythm section is loose but totally in-step. And beyond the many constellations of melody that unfolding from top to bottom, you can hear all four meet vocally. Since the very beginning, Chief has prided itself in braiding together every member’s voice in a way both unique to their own modern sensibilities and loyal to the rock & roll touchstones that helped bring them closer to together. “Chief has opened my eyes musically,” Danny says. “I’m not just working on my own anymore and in that way I’ve grown as a person: I started out as a guitarist and now I have a voice. I want people to be able to hear just how proud we are of all of these songs.”

     

    They will.

     

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    The Child of Lov

    Posted on 20 May 2020

    The Child of Lov released his eyponymous Debut LP in 2013 on the Domino affiliate label Double Six with contributions from DOOM, Thundercat and Damon Albarn.

    Chris Forsyth

    Posted on 20 May 2020

    Guitarist Chris Forsyth’s hypnotic instrumentals assimilate art-rock textures with vernacular American influences culled from a lauded career as a composer, improviser, and inveterate collaborator. Long active in the international improv/experimental underground, he’s released a series of acclaimed records as a solo artist that demonstrate a resolute engagement in making corporeal/cerebral music that transcends such subterranean realms, reaching instead for a bleeding-ed...

    Guitarist Chris Forsyth’s hypnotic instrumentals assimilate art-rock textures with vernacular American influences culled from a lauded career as a composer, improviser, and inveterate collaborator. Long active in the international improv/experimental underground, he’s released a series of acclaimed records as a solo artist that demonstrate a resolute engagement in making corporeal/cerebral music that transcends such subterranean realms, reaching instead for a bleeding-edge physicality and lyricism that he deems “cosmic Americana.” The fascinating tension manifest in Forsyth’s playing between often long-form, rarefied abstraction and percolating rhythms and rock/roots structures animates notable recent works such as his 2011 LP ‘Paranoid Cat‘ on Family Vineyard and ‘Early Astral‘, a 2012 duo LP with Koen Holtkamp (Mountains) on Blackest Rainbow.

    In Fall 2013,  the Paradise of Bachelors label will release ‘Solar Motel‘ the follow up to Forsyth‘s 2012 ‘Kenzo Deluxe’ LP/CD on Northern Spy. An immersive four-part suite referencing the eponymous (and now vanished) derelict New Jersey lodge, featuring renowned NYC drummer Mike Pride, bass guitarist Peter Kerlin, and organ/keyboard/piano man Shawn Hansen of Kansas City.  According to critic Tony Rettman, “sneak listens to his upcoming LP, Solar Motel hint that the best has yet to be heard. Solar Motel is broken up into four parts, each one of them escalating in sequence with head-swelling psychedelic bliss while showcasing Forsyth’s equal admiration for the guitar interplay of both Tom Verlaine and Richard Lloyd from Television and Jerry Garcia and Bob Weir of the Grateful Dead. It serves as a perfect example for what Forsyth calls his music: cosmic Americana.”  Forsyth will be touring behind the record with a stellar new Solar Motel Band featuring bassist Kerlin, guitarist Paul Sukeena (Spacin’) and drummer Steven Urgo (ex-The War on Drugs).

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    The Clang Group

    Posted on 20 May 2020

    It’s just a rumour that was spread around town. It said there was a star that few had ever heard of. But that few included David Bowie, Morrissey and Elvis Costello and he’d produced them all. Also, this man had a band called Deaf School and they’d inspired many other bands from Dexys Midnight Runners to Frankie Goes To Hollywood.

    It’s time Clive “Clanger” Langer was known by more than a few. He is a quietly-spoken, bespectacled pop wizard from North London...

    It’s just a rumour that was spread around town. It said there was a star that few had ever heard of. But that few included David Bowie, Morrissey and Elvis Costello and he’d produced them all. Also, this man had a band called Deaf School and they’d inspired many other bands from Dexys Midnight Runners to Frankie Goes To Hollywood.

    It’s time Clive “Clanger” Langer was known by more than a few. He is a quietly-spoken, bespectacled pop wizard from North London who (with his studio partner Alan Winstanley) made Come On Eileen and what seems like a hundred hits for Madness. He’s a songwriter, too. When Robert Wyatt broke our collective hearts with that great immortal sigh of a song called Shipbuilding, it was Langer’s music he was singing.

    A little while ago our secret star had a significant birthday. “At the age of 60,” he says, “I decided to start another band. I got The Clang Group together and I achieved what I wanted. Which was to play on my 60th birthday.”

    Forty years on from their inception at Liverpool art college, Langer’s first band Deaf School still record and tour, but not often enough for his taste. Nor for their keyboardist John Wood and drummer Gregg Braden: “Deaf School is like getting the circus out. And we wanted a band that could just go and play.” So this core trio did get out and play, with guest appearances by friends such as Andy Mackay of Roxy Music, whose sax you can hear on this record. And there’s Suggs, of Langer’s regular production clients Madness: he’s the vocalist on Had A Nice Night, a song first aired on the sole LP by Clive Langer & The Boxes, released a mere 36 years ago.  

    Another thing he wants us to know: “It’s not The Clang Group like The Dave Clarke Five. The title of the album is Practice. The Clang Group is like a design company. The Clang Group Practice. With a cover like a Cy Twombly painting. I think the music is quite expressionist.”

    Expressionist? Like a lot of British pop, The Clang Group are a part of that art school dance that goes on forever. And yet, Practice is like nothing we have heard before. Places and things, people and feelings, spill out in a kaleidoscopic tumble. There’s the wine and sunlight of a Sicilian wedding (Concertina); the marmalade skies of an Isle of Wight seaside town (Picture Postcard Paradise); the hurt of a lost boy with a European railcard in his pocket and a girl who didn’t turn up (Amsterdam). There is even Brixton’s new frontline, where Caribbean market stalls meet artisan coffee bars (Acre Lane).

    We glimpse a page or two torn from the venerable Psychedelia Britannica, scribed by Syd Barrett and others. And there is a surprising quantity of sheer, insolent NOISE. Practice makes imperfect, and beautifully so. In here are film noir backstreets and angular jazz. There are peculiar riffs that jump like springs from fly-tipped mattresses. There are the broken pianos of abandoned corner pubs. Somewhere, a ghostly juke box still plays that wonky solo by Thunderclap Newman.

    Most strikingly, there is Clive Langer’s voice. He’s seldom used it on record before, but is finding he finally likes it: “Singing now is a lot easier than singing then. I’ve got a bit of age in my voice.”

    There is indeed a man’s whole life within these tracks. Time is passing and parents and pop stars are knocking on heaven’s door. No reason or rhyme. You’re now the living collision between your best intentions and the brute force of blind happenstance. Knocked off your motor bike. But you can still ride it if you like.

    The Clang Group made an EP last year. One reviewer said it sounds like they’re either having fun or they’re drunk. Well? “It’s a mixture of nerves and bravado,” Clive reasons. “I’m not going to try and ‘produce’. I’m so anti fucking production. Trying to make things sound right. I’ve done that all my life.”

    Langer grew up loving classic pop singles and he’s crafted plenty more himself. But there is a part of him that still thrills to a memory of Captain Beefheart’s band pulverising its bewildered hippy audience. These days he needs to blast away on that electric guitar: “It’s a bit RUDE, the sound I want to make, it’s not comfortable. I don’t want to fit in. I write pop songs, but I make a lot of noise. I need to be in overdrive.”

    Clang! The rumour was true. Don’t let this year slip by without hearing The Clang Group. It’s getting dark, turn your bloody lights on.

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    Clap Your Hands Say Yeah

    Posted on 20 May 2020

    In any discussion regarding songwriters and lyricists of 21st century indie music, Alec Ounsworth and his moniker, Clap Your Hands Say Yeah, will feature prominently. Few have been as consistently brilliant, eclectic, and intimate; fewer still remain defiantly independent, refusing to sign deals that compromise artistic vision. That is what characterizes Ounsworth’s oeuvre, especially the lifetime project he initiated sometime in the early 2000s, Clap Your Hands Say Yeah. And with each r...

    In any discussion regarding songwriters and lyricists of 21st century indie music, Alec Ounsworth and his moniker, Clap Your Hands Say Yeah, will feature prominently. Few have been as consistently brilliant, eclectic, and intimate; fewer still remain defiantly independent, refusing to sign deals that compromise artistic vision. That is what characterizes Ounsworth’s oeuvre, especially the lifetime project he initiated sometime in the early 2000s, Clap Your Hands Say Yeah. And with each release since its landmark self-titled debut, he has refined and broadened his sound, indulging an ever wider set of influences.

    Prolific and enigmatic as ever, his recent works marry the quirky, left-field spirit of the early years with a well-earned confidence, and grander sense of scale and ambition. Always heading down new avenues of song arrangement and organic connection to his audience, after nearly two decades Ounsworth remains one of music’s most distinctive voices.

    The latest album New Fragility (Feb 12, 2021 CYHSY/Secretly Distribution), including the singles Hesitating Nation / Thousand Oaks, Where They Perform Miracles and CYHSY, 2005, was produced by Alec Ounsworth, with additional production from Will Johnson, recorded by Britton Beisenherz in Austin, TX, mixed by John Agnello in New Jersey, and mastered by Greg Calbi.

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    Clinic

    Posted on 20 May 2020

    Bubblegum, the mind-blowing sixth album from Clinic, is exactly 40 minutes long. Usually, long-players by this most extraordinary British band clock in at a clipped half-hour. That makes an extra 33% of murky psychedelic/punk excellence. But there’s a little more to it than that. This one comes from another planet, baby. Here’s why.

    Clinic – singular, ambitious, revered by fellow musicians – forever sound like no-one else but themselves, because no-one else could even ...

    Bubblegum, the mind-blowing sixth album from Clinic, is exactly 40 minutes long. Usually, long-players by this most extraordinary British band clock in at a clipped half-hour. That makes an extra 33% of murky psychedelic/punk excellence. But there’s a little more to it than that. This one comes from another planet, baby. Here’s why.

    Clinic – singular, ambitious, revered by fellow musicians – forever sound like no-one else but themselves, because no-one else could even begin to sound like them. Since the tail end of the ’90s, they’ve beamed in other-worldly psychedelic-pop transmissions from their own parallel dimension (geographically, it’s in Liverpool, but…), each with a vibe and quality consistent with its predecessors, oblivious to passing trends.

    For Bubblegum, Clinic busted out a completely new creative system. “In the past,” says Ade, “songs would normally start from rhythms, and we’d build it up from there, always keeping an eye on what the drums were doing – a percussion thing. What changed this time is, we approached it more in a songwriter way – what the chords were, and what the melodies were – and put everything on top of that.”

    “When we’ve done gigs in the past,” says Ade, “it’s always seemed like the songs are really short, and you’re racing to finish them before you’ve even really started. It just felt good to be doing something now, even just in the studio, where you’re thinking, We’re actually PLAYING it, and it’s not all breakneck speed. There’s a bit of room to breathe. Being slower, it makes the songs a bit longer, too, and it’s that extra 20 or 30 seconds that makes all the difference.”

    One factor in Clinic’s evolution was their working with a producer, for the first time since 2004’s Winchester Cathedral. The man in question, John Congleton, was suggested by Domino boss Laurence Bell, inspired by his warmth-bringing wizardry for, among others, Bill Callahan and Okkervil River. Since Winchester…, Blackburn & co have been self-sufficient in their Liverpool hideout, always creating tracks as sound experiments, i.e. as self-producers, anyway. But perhaps it was time to break from their isolationism, and let in some light from outside.

    The result is an album still drenched in lysergic sap, but gentler and sexier, populated by intoxicating sirens named Elaine, Evelyn and Linda (“with Linda, you’ll get high as a kite”) and by the seductress in the spoken-word track, “The Radio Story”, where Clinic’s photographer Jason Evans narrates a blurry-edged tale of anonymous erotica. With the different musical strategy, Ade found himself writing differently: “In the past, I could get away with surreal and esoteric stuff; this time, they had to have more of a personal vibe, maybe twisted relationship stuff.” So: Bubblegum speaks to you, one-to-one.

    To broadcast their reinvention, the band will unleash a puppet-based promo video for “I’m Aware”, directed by Pete Fowler, and will be playing some select dates, doubtless in ER scrubs. And the plaudits will keep rolling in. Since they debuted on their own Aladdin’s Cave of Golf label with the legendary “IPC Subeditors Dictate Our Youth” 45, the band have been embraced by numerous top-flight artists, touring with celebrity fans as diverse as Arcade Fire, The Flaming Lips and Radiohead, and appearing at Meltdown Festival at the behest of curator Scott Walker. They were also nominated for a Grammy for ’02’s Walking With Thee.

    Clinic are still Ade Blackburn (voice, guitar, dulcimer, etc), Brian Campbell (bass, backing vocals, etc), Hartley (guitar, clarinet, etc), Carl Turney (drums, percussion, etc). They are still the business.

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    Coby Sey

    Posted on 04 May 2021

    Coby Sey is an artist, multi-instrumentalist musician and DJ from Lewisham, London. Coby Sey’s distinguished presence in London has elicited a bold impression of his compositions and performances, to much the attention of acclaimed artists and collaborators Tirzah, Mica Levi, Kwes, Kelly Lee Owens and Cosha.

    Sey’s music is reflective of his vast spectrum of influences, yet he remains undeniably uniquely himself; experimenting with live instrumentation and electronic-based productions, meld...

    Coby Sey is an artist, multi-instrumentalist musician and DJ from Lewisham, London. Coby Sey’s distinguished presence in London has elicited a bold impression of his compositions and performances, to much the attention of acclaimed artists and collaborators Tirzah, Mica Levi, Kwes, Kelly Lee Owens and Cosha.

    Sey’s music is reflective of his vast spectrum of influences, yet he remains undeniably uniquely himself; experimenting with live instrumentation and electronic-based productions, melding sounds and space with introspective lyrics. Sey’s open-door approach to sharing and making music stretches to his work with London Contemporary Orchestra – with CURL the collective he founded with Mica Levi and Brother May – and a regular slot on NTS Radio which offers a portal into his appealingly murky musical world.

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    The Coral

    Posted on 20 May 2020

    The Coral’s past speaks volumes having sold over a million UK albums since their debut EP release in 2001, five of those hitting the top ten, including the chart-topping Magic and Medicine (2003) and eight top 40 singles. Without so much as a glance over their shoulder, James Skelly (vocals/guitars), Ian Skelly (drums/percussion/vocals), Nick Power (keyboard/vocals), Paul Duffy (bass/keyboards/vocals) and Paul Molloy (guitars) stride into the future to fortify their indefinable position in ...

    The Coral’s past speaks volumes having sold over a million UK albums since their debut EP release in 2001, five of those hitting the top ten, including the chart-topping Magic and Medicine (2003) and eight top 40 singles. Without so much as a glance over their shoulder, James Skelly (vocals/guitars), Ian Skelly (drums/percussion/vocals), Nick Power (keyboard/vocals), Paul Duffy (bass/keyboards/vocals) and Paul Molloy (guitars) stride into the future to fortify their indefinable position in modern music. There are no full stops in The Coral’s story, but their return with a seventh album, Distance Inbetween in 2016 turns a distinct new page within it after an unapologetic five year hiatus. Picking up the band’s story from the release of 2010’s Butterfly House, theirs is a tale of uninterrupted individual creativity punctuated by the surprise release of their lost album, The Curse of Love (2014).

    A collective for whom permanence is defined by bonds stronger than music, The Coral encouraged each other to go exploring alone after a relentless decade of activity. James Skelly wrote and recorded Love Undercover (2013), establishing his Skeleton Key record label and producing songs for bands including Blossoms, Sundowners and She Drew The Gun. Nick Power revealed literary talents with a book called Small Town Chase (2013); Ian Skelly found a kindred spirit in Paul Molloy (formerly of The Zutons) forming Serpent Power and Paul Duffy turned to soundtrack composition. Founding member, Lee Southall continues his own personal and artistic journeys separately while The Coral regroup, leaving his foot in the door for when his ambitions have been fulfilled elsewhere.

    Of the break and return, James Skelly says: “We decided the band had hit a brick wall. We had to stop and take a breath. We had been doing the same thing of touring, doing an album and then touring again for twelve years and it had become a habit everyone was scared to step away from. Looking back now, from the point of view of a reinvigorated band, it was the best decision we could have made.”

    The rumour of a heavier album by The Coral has now become an irrefutable reality. Recorded live and mostly in just one take, the seams of each of the 12-tracks are purposely rough-hewn and pave the way for a new wave of visceral onstage performances by the reenergised band. Straddling digital and analogue worlds, many songs on Distance Inbetween developed through texts and emails between James Skelly and Power. Its unforced development influenced equally by the nature of modern communication, their shared artistic desires and love for the static of rediscovered cassette tapes. Using the experience of compiling The Curse of Love as a catalyst for new material, today’s The Coral is one of musical minimalism, drawing the rhythm section out of the shadows, putting emphasis on the importance of ideas and words over instrumentation.

    James Skelly expands on the origins of the album, saying: “Before we started making the album we had discussed that we wanted it to be more minimal and rhythmical, with less chords. We came from a starting point of having only me on guitar, so we thought logically about how we could turn a potential weakness into an advantage. So, we thought if you’ve got a rhythm section that’s been playing together for almost twenty years, why not make that the centre of the songs?”

    Following lyrical themes that question reality, the band ferments a climate in which it’s possible for influences like David Lynch to sit alongside Hawkwind and Public Enemy. Listeners are invited into The Coral’s world of Richard Yates books, Alan Moore comics, 1980’s toys, the sound of krautrock compilations and Muddy Waters’ Electric Mud, as well as hours spent staring into the bleak beauty of Gregory Crewdson’s photography. It’s a rule that a book’s cover only hints at its content, but a glance at the monochrome artwork of Distance Inbetween speaks a thousand words for what lies within. As black and white birds circle each other in perpetuity above an ominous void, the band are photographed as shamanistic explorers of no known place in time or space.

    Connector opens the album, a driving beat set to a looping guitar riff, cut through with mellotron strings. Skelly’s vocal echoes as if cast from a pulpit, calling on himself and his congregation to accept the consequences of their actions. Chasing The Tail Of A Dream throws shards of reverb-laden guitar and keys into almost four minutes of pulsing, rhythmical soundscape, the lyrics questioning our human fallibility when faced with irresistible fantasies.

    Distance Inbetween, the title track, pulls away into space of its own finding the singer in relative solitude with Nick Power’s piano a faithful companion, speaking with brutal honestly of love and the walls that matters of the heart can easily build around us. Skelly’s studied serenade, a notable counterpoint to the asphalt-throated pinnacles he finds when volume counts, recalls the restrained modern classicism of Sinatra and dusky depths of Nick Cave. Million Eyes surfs a growing tide of instrumentation and layers of vocal harmony, before stopping the tape and tacking into a rhythmic jam. Holding dear the virtues of freedom of expression, especially the tradition of letting their guitarists cut loose, Paul Molloy’s fingers go for a walk in a frenzied, improvised solo.

    James Skelly recalls the session, saying: “Paul was playing with Ian in their band, Serpent Power and we’d all been mates with him for years. We already had a couple of tunes recorded and Ian suggested Paul add some guitar. His parts really enhanced the tracks; he understood where he needed to leave space. From that point we didn’t look back. We had a full line-up and were confident we could make an album that would stand next to the others.”

    Fear Machine finds Skelly in subversive mood. With concealed venom he decries the manipulation of mass public perception by using fear to instil control, while elsewhere on the album he urges himself not to fall prey to those unspoken and unseen forces. Holy Revelation tells of a blissful awakening to these dynamics, releasing himself from the clutches of control with emphatic defiance as crying strings and throbbing guitars snake through tumbling rhythms that tip a high-hat to Cream and White Album Beatles. A two minute, ethereal soundscape written by Nick Power titled End Credits brings the curtain down, signalling the end of another wide-screen adventure with The Coral.

    Distance Inbetween was recorded at Parr Street Studio in Liverpool with co-producer Richard Turvey, a thrilling new talent and wide-eyed emergent master of studio techniques, within whom The Coral found a trusted and fearless collaborator. Additional sounds were laid down at the Coral Caves that reside at an undisclosed location beside the Mersey, with the album also featuring contributions from Alfie Skelly (bow on She Runs The River). The album is dedicated to Alan Wills, the band’s early mentor and Deltasonic label boss, who lost his life just months prior to the recording of the record in 2014.

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    Coral Web

    Posted on 07 January 2025
    Sofia Arreguin is a musician raised and living in Los Angeles. She began writing and touring with a band called Wand (Drag City) in 2015. In the past few years she has also performed and toured with Devendra Banhart, Current Joys, Kathleen Hannah, White Fence, Shannon Lay, and Kamikaze Palm Tree. Her main instruments are piano and synth. In 2020, she discovered an old demo tape left behind by her dad Gregg. He had played guitar for Brian Eno, Seal, Chris Isaak, K.D. Lang, and many others, bef...
    Sofia Arreguin is a musician raised and living in Los Angeles. She began writing and touring with a band called Wand (Drag City) in 2015. In the past few years she has also performed and toured with Devendra Banhart, Current Joys, Kathleen Hannah, White Fence, Shannon Lay, and Kamikaze Palm Tree. Her main instruments are piano and synth. In 2020, she discovered an old demo tape left behind by her dad Gregg. He had played guitar for Brian Eno, Seal, Chris Isaak, K.D. Lang, and many others, before he passed away in 2003. She started playing with a couple of his songs, reinterpreting nearly intelligible lyrics because the tape was so warped and distorted. Two of the songs on this EP are from that tape. Her other songs explore an overlapping personal relationship with both rock and electronic energies while digging into her experience with death, the sublime felt in nature, and faded memories.
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    Correcto

    Posted on 20 May 2020

    A Glaswegian cultural powerhouse, Correcto were Danny Saunders, the late Patrick Doyle, Paul Thomson of Franz Ferdinand and Turner Prize winner Richard Wright. Their sole, self-titled album is a buzzsaw tour de force.

    Courteeners

    Posted on 20 May 2020

    To become the biggest band in Manchester, city of The Smiths, The Stone Roses and Oasis, is no mean feat. In 2015 that prestigious honour went to Courteeners, that summer playing to their largest hometown crowd of 25,000 at Heaton Park before closing the year with a record breaking seven-night residency at the city’s O2 Apollo. “What those gigs gave us was an unassailable belief that people believe in this band,” says singer and songwriter Liam Fray. “After four albums...

    To become the biggest band in Manchester, city of The Smiths, The Stone Roses and Oasis, is no mean feat. In 2015 that prestigious honour went to Courteeners, that summer playing to their largest hometown crowd of 25,000 at Heaton Park before closing the year with a record breaking seven-night residency at the city’s O2 Apollo. “What those gigs gave us was an unassailable belief that people believe in this band,” says singer and songwriter Liam Fray. “After four albums it felt like a real vindication, as much for the fans who came along as for us as a band. It made us step back and think – hang on, we’re not finished yet. It was as if playing those shows gave us a new lease of life.”

    This revitalised joie de vivre is self-evident on fifth album Mapping The Rendezvous, a record fizzing with infectious riffs, smart lyrics, giant choruses and the irrepressible energy of a band playing to their maximum strengths. Lyrically, its tales of kitchen-sink hedonism, hopeful romanticism and disappearing youth are a Jarvis-sharp reminder of why both Morrissey and Johnny Marr have praised Fray as such a worthy wordsmith: eleven tracks chasing the night towards dawn through love, chaos, friendship, dreams, regret and the lingering euphoria of “having such a good time”. “The album is a bit like a night out,” describes Fray. “A lot of the lyrics relate to adventures I’ve had, both in the past when I was younger and in recent times. Stories about people I’ve met, places I’ve been, old acquaintances and relationships.”

    Fray’s muse was first ignited by Sebastian Schipper’s award-winning 2015 film Victoria, the drama of a Spanish girl in Berlin whose night of drinking and clubbing ends in a bank robbery, all shot in a continuous camera take. “That film blew my mind,” Fray enthuses. “It’s a real assault on the senses and something about the atmosphere of it kick-started a lot of ideas for the songs. I’ve never had a night out go as badly as it does in the film, but the look and feel of it was definitely a massive inspiration.”

    More direct influence came from Paris, the city where Fray and long-time Courteeners producer Joe Cross spent time writing and recording demos by day, exploring its bars and clubs by night. “I went to Paris to write our last album [2014’s Concrete Love], but this time I really got under the city’s nails, proper deep down and dirty. Obviously with everything that Paris has been through in recent times it’s a city on the edge right now. It was a strange time to be there. But I can’t help but be sucked in by it. It does something to me that nowhere else does and I think that fed into the spirit of the music.”

    If after 2015’s glory gigs Courteeners looked set to jet off to brave, new destinations, Mapping The Rendezvous sees them arrive in style. Poetic latitude meets magical longitude of life-affirming pop. In 2016, you won’t find a better set of co-ordinates.

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    Crippled Black Phoenix

    Posted on 20 May 2020

    Born from a blizzard of horned cats, Crippled Black Phoenix bring you a twisted cinematic experience, handcrafted by a mercenary crew of musical outsiders, giving depth and gravity to regal songs about love, loss, tragedy and redemption. Their debut album, A Love Of Shared Disasters, will be released on April 2nd on Invada Records on cd and vinyl. Back in 2004, the then Electric Wizard drummer Justin Greaves (also of Iron Monkey, Teeth of Lions Rule the Divine) started recording songs and sou...

    Born from a blizzard of horned cats, Crippled Black Phoenix bring you a twisted cinematic experience, handcrafted by a mercenary crew of musical outsiders, giving depth and gravity to regal songs about love, loss, tragedy and redemption. Their debut album, A Love Of Shared Disasters, will be released on April 2nd on Invada Records on cd and vinyl. Back in 2004, the then Electric Wizard drummer Justin Greaves (also of Iron Monkey, Teeth of Lions Rule the Divine) started recording songs and soundscapes he’d had in his head for several years using primitive recording techniques.

     

    Encouraged by good friend (and Mogwai bassist) Dominic Aitchison those ideas would become the bones of Crippled Black Phoenix. Other great compadres followed, Panthiest members Andy Semmens and Kostas Panagiotou, Nial McGaughey of 3D House of Beef and -(16)- amongst others and solo folk songwriter Joe Volk, who also fronts critically acclaimed heavy rock band Gonga, all stepped up to bring a variety of influences and skills to complete the line-up.

     

    In 2006, during one of the hottest summers on record the band recorded their debut album in Bristol and signed to Invada Records (run by Portishead’s Geoff Barrow). During the recording process the old friends aligned and fully realized visions that had been pestering Greaves for the past few years. The result is a collection of self penned endtime ballads, a dark hybrid that is the culmination of all the members’ eclectic influences.

     

    It is the first of a trilogy and deals with the timelessness of honesty and tragedies laid bare, featuring sordid tales from the pages of literary history combined with personal stories of contemporary loss and love. Using a blend of modern amplified and Victorian era equipment, the band have produced a captivating, slow-burning sound that’s both archaic and modern at the same time.

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    Crooked Man

    Posted on 30 September 2021

    Mixing raw, back-to-basics house with pop-friendly vocals and hooks, Crooked Man is one of the many aliases of maverick Sheffield, England-based DJ/producer Richard Barratt. During his time with projects including Funky Worm, Sweet Exorcist, and All Seeing I in the ’80s and ’90s, and his production career in the 2000s and 2010s, Barratt never lost his passion for the classic house singles he introduced to Sheffield as a DJ. On albums such as 2018’s Crooked House, Crooked Man keeps th...

    Mixing raw, back-to-basics house with pop-friendly vocals and hooks, Crooked Man is one of the many aliases of maverick Sheffield, England-based DJ/producer Richard Barratt. During his time with projects including Funky Worm, Sweet Exorcist, and All Seeing I in the ’80s and ’90s, and his production career in the 2000s and 2010s, Barratt never lost his passion for the classic house singles he introduced to Sheffield as a DJ. On albums such as 2018’s Crooked House, Crooked Man keeps the spirit of that music alive and thriving.

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    Cryptacize

    Posted on 20 May 2020

    Cryptacize deals in the unforgettable melody, the forsaken chord and the extravagant sentiment. They offer a distinct kind of pleasure; it’s not casual background or ‘lifestyle’ music. Nedelle Torrisi’s surefooted and richly nuanced vocal arabesques, like a modern day Freddie Mercury or Ronnie Spector, strangely complement Chris Cohen’s guitar, maniacally sped-up a la Les Paul or staccato and funny like Roy Smeck or Adolph Jacobs of the Coasters. Michael Carreira’s syncopated drum ...

    Cryptacize deals in the unforgettable melody, the forsaken chord and the extravagant sentiment. They offer a distinct kind of pleasure; it’s not casual background or ‘lifestyle’ music. Nedelle Torrisi’s surefooted and richly nuanced vocal arabesques, like a modern day Freddie Mercury or Ronnie Spector, strangely complement Chris Cohen’s guitar, maniacally sped-up a la Les Paul or staccato and funny like Roy Smeck or Adolph Jacobs of the Coasters. Michael Carreira’s syncopated drum corps rudiments and pit-orchestra rave-ups propel the songs with a refreshingly buoyant touch that never lapses into rock music cliches. There are also widescreen cinematic moments that take on a mournful and otherworldly pathos, like Henry Mancini’s “Experiment in Terror” but with vocals by Cambodian 60’s pop legend Ros Serey Sothea – or like Arabic diva Fairouz singing along to a psychedelic film score by Popol Vuh. Simultaneously happy and sad, pragmatic and mystical, hopeful and doomed, MYTHOMANIA (Cryptacize’s second album) is a revelation by anyone’s measure. The playing shows a new level of confidence and intent, as well as an artful sense of timing – it’s the sound of a band that’s found themselves and is growing by leaps and bounds.

    Never ones to follow the rules, Cryptacize have been touring the US in a Toyota Corolla (opening for bands as diverse as Why?, Danielson, Shearwater, Ponytail, Magik Markers, Marnie Stern, The Blow, Mirah, etc.) performing using miniature amps and drums – a sight which has caught many a spectator off guard. They are a thoroughly unconventional band, but one that is somehow miraculously easy on the ears. Deceptively simple, using modest means to achieve ambitious ends, never predictable, Cryptacize challenges preconceptions about how a song should go or how rock music should make you feel. But in the end, they always leave you with a tune you can hum and lyrics that tell a story.

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    Cults Percussion Ensemble

    Posted on 20 May 2020

     

    An absolute gem of a recording, passionatley brought back into the limelight from 1979 to 2013 by Trunk Records.

    “The Cults Percussion Ensemble must have one of the best group names of all time. To many it will immediately come across as something sinister, a touch spooky and possibly a bit dramatic too. They are certainly two of those but the use of the word “Cults” here is easily misinterpreted. Cults, in this case, is the suburb of Aberdeen. I’m going there next ...

     

    An absolute gem of a recording, passionatley brought back into the limelight from 1979 to 2013 by Trunk Records.

    “The Cults Percussion Ensemble must have one of the best group names of all time. To many it will immediately come across as something sinister, a touch spooky and possibly a bit dramatic too. They are certainly two of those but the use of the word “Cults” here is easily misinterpreted. Cults, in this case, is the suburb of Aberdeen. I’m going there next week in fact, with a strange costume.

    This is the only album by the group. Assembled by percussion teacher Ron Forbes in 1976, the average age of the students was just 14. They came from a few of the schools in the area, including the Cults Academy, Ellon Academy, Aboyne Academy, Inverurie Academy and Powis.

    My copy of the album came from Spitalfields market in London. I loved the music the second it started, because it reminded me of Carl Orff and peculiar library. So I started to investigate it further, and eventually, thanks to the highly tuned world of percussion, was given the address of Ron Forbes. I got in touch with him and now we have this, a formal release of something quite lovely that was only previously available very briefly in 1979 at concerts when the young girls performed.

    Over the years the original privately pressed album has achieved a little notoriety, not just because of the very beautiful music, but also because of the notable presence of one future star, but more of that later on.

    In that last paragraph I say “little notoriety”, but when I investigated the album, there was scant information about anywhere. Nothing on line, and very few people had even heard of it. It seemed very much below the musical radar of just about everyone. However three people I knew of had come across it: one was a record dealer from France and I realized that the LP had been taken to France by the ensemble when they played there. The other two – 1) Mr Young from the very fine Sound Awareness blog and 2) the well respected music geek Andrew Symington, are both from Scotland. Yes, of course they are. So I got Andrew to write a few words, which freaked him out a bit, but then he got on with it. He even went and found some pictures. I also asked Ron Forbes if he had any recollections and he wrote a short piece for the sleevenotes too.

    The original 1970s artwork for the album is all brown and beige, and I thought for something so musically beautiful a little more colour was in order. Whether this was a good idea or not is down to personal preferences but I quite like the new sleeve. And I’ll always love the music no matter what’s on the front. “

    Thanks for listening

    Jonny Trunk 2013

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    DāM-FunK

    Posted on 20 May 2020

    Known as Los Angeles‘ “Ambassador of Boogie Funk,” Dam-Funk represents the citizens of the Funkmosphere. Headquartered in the Leimert Park section of L.A., Dãm (pronounced: ‘Dame’ as in Damon) spent the last few years cultivating a musical renaissance rooted in the early-’80s styles known as Boogie, Modern Soul and Electro-Funk. 

    As a DJ/selector, Dãm attracts the most discerning Boogie Funk afficionados within driving distance of his storied Monday-night Funk...

    Known as Los Angeles‘ “Ambassador of Boogie Funk,” Dam-Funk represents the citizens of the Funkmosphere. Headquartered in the Leimert Park section of L.A., Dãm (pronounced: ‘Dame’ as in Damon) spent the last few years cultivating a musical renaissance rooted in the early-’80s styles known as Boogie, Modern Soul and Electro-Funk. 

    As a DJ/selector, Dãm attracts the most discerning Boogie Funk afficionados within driving distance of his storied Monday-night Funkmosphere parties. But it’s not just collectors at the bar toasting to the melodic sounds. Anyone who grooves to the likes of Slave, Aurra, early Prince, Prelude Records and the like, will get a dose of those groups’ unknown contemporaries – more obscure but equally Funk-worthy. 

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    Damu

    Posted on 20 May 2020

    Damu (a.k.a. Sam Schorb) sure hasn’t wasted any time while working his way into the UK bass conversation. In less than a year, the Manchester-based producer—and one-time subject of our Bubblin’ series—has released an impressive series of EPs, including offerings on the Local Action, Silverback, and Keysound labels. The latter is also home to his recently released debut full-length, Unity, which finds Damu continuing to meld tweaked, videogame-referencing synth melodies with sk...

    Damu (a.k.a. Sam Schorb) sure hasn’t wasted any time while working his way into the UK bass conversation. In less than a year, the Manchester-based producer—and one-time subject of our Bubblin’ series—has released an impressive series of EPs, including offerings on the Local Action, Silverback, and Keysound labels. The latter is also home to his recently released debut full-length, Unity, which finds Damu continuing to meld tweaked, videogame-referencing synth melodies with skittering percussion and pitched R&B vocal bits.

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    Daniel James

    Posted on 07 April 2025

    Published jointly by Domino Music & John Congleton, producer/writer Daniel James has worked with numerous artists such as Paramore’s Hayley Williams (her entire Flowers For Vases album, Self Serenades EP and numerous songs on Petals For Armor), Cheat Codes + All Time Low, Judah & The Lion (including songs with Kacey Musgraves & Jon Bellion), David Byrne, H.E.R., Coin, The Regrettes and Efterklang among others. In addition, James has composed music used by brands such as...

    Published jointly by Domino Music & John Congleton, producer/writer Daniel James has worked with numerous artists such as Paramore’s Hayley Williams (her entire Flowers For Vases album, Self Serenades EP and numerous songs on Petals For Armor), Cheat Codes + All Time Low, Judah & The Lion (including songs with Kacey Musgraves & Jon Bellion), David Byrne, H.E.R., Coin, The Regrettes and Efterklang among others. In addition, James has composed music used by brands such as Toyota, Xbox, Adobe, Marie Kondo, Quibi and in Nike’s Emmy winning “You Can’t Stop Us” campaign and had television placements on ABC, AppleTV+, CW, Disney+, ESPN, Netflix, and Showtime among others. 

    Under the moniker Canon Blue, James released multiple albums on Temporary Residence and toured with artists such as Miike Snow, Foster The People, Poliça, Boxer Rebellion and Mutemath. In 2024, Daniel launched a new band, Night Party, with cosmic folk artist, Katrina Urton. Their debut album released Feb 7th, 2025 includes features from artists including Hayley Williams, DIIV and Deafheaven.

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    Dave Formula

    Posted on 20 May 2020

    Dave, Graeme and Nigel hatched the Formula 1 project in the aforementioned Bar Columnas in Seville in 2006 while attending WOMEX.

     

    Since then Dave and Graeme have created a selection of recordings entitled ‘Satellite Sweetheart’, and is to be released on the Wire-Sound label on Monday 15th February 2010.

     

    Dave’s debut collection of solo recordings features brand new collaborations on brand new material with Howard Devoto, Barry Adamson, John Doyle and even John ...

    Dave, Graeme and Nigel hatched the Formula 1 project in the aforementioned Bar Columnas in Seville in 2006 while attending WOMEX.

     

    Since then Dave and Graeme have created a selection of recordings entitled ‘Satellite Sweetheart’, and is to be released on the Wire-Sound label on Monday 15th February 2010.

     

    Dave’s debut collection of solo recordings features brand new collaborations on brand new material with Howard Devoto, Barry Adamson, John Doyle and even John McGeoch makes an appearance. Additional performances are supplied by guest vocalists and musicians David McAlmont, Robert Wyatt, Corinne Drewery, Joel Purnell and Dennis Rollins. All top players on top of their game. Available in CD and download formats. This item is available now for pre-order from the Wire-Sound online shop.

     

    Dave has been involved with seminal bands throughout his musical career. He kicked off things with St. Louis Union, who entered the hit parade, as was, in the 1965 ‘beat boom’, with their debut 45rpm release, ‘Girl’. Between ‘65 and ‘67 they made the infamous Twisted Wheel club in Manchester their HQ and they can be seen performing two numbers in relic of a beat film ‘The Ghost Goes Gear’ Nowadays they are rightly rated in mod circles as the bees-knees.

     

    Dave next showed up on the radar as the creator and player of the multi-layered keyboard sounds in Magazine (see their separate page on this very website for more information).

     

    Thereafter Dave was a founding member of the influential ‘futurist’ group Visage. Dave co-wrote on both Visage albums before turning his attentions to production.

     

    He established Strongroom recording studios with Richard Boote and later Red Bird studios, where he now resides and creates soundtracks and other ambient recordings and for, amongst others, the BBC and British Film Institute.

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    David Shrigley

    Posted on 20 May 2020

    Shrigley finds humour in flat depictions of the inconsequential, the unavailing and the bizarre – although he is far fonder of violent or otherwise disquieting subject matter. Shrigley’s work has two of the characteristics often encountered in outside art – an odd viewpoint, and (in some of his work) a deliberately limited technique.

     

    His freehand line is often weak, which jars with his frequent use of a ruler; his forms are often very crude; and annotations in his drawings are poor...

    Shrigley finds humour in flat depictions of the inconsequential, the unavailing and the bizarre – although he is far fonder of violent or otherwise disquieting subject matter. Shrigley’s work has two of the characteristics often encountered in outside art – an odd viewpoint, and (in some of his work) a deliberately limited technique.

     

    His freehand line is often weak, which jars with his frequent use of a ruler; his forms are often very crude; and annotations in his drawings are poorly executed and frequently contain crossings-out (In authentic outsider art, the artist has no choice but to produce work in his or her own way, even if that work is unconventional in content and inept in execution. In contrast, it is likely that Shrigley has chosen his style and range of subject matter for comic effect).

     

    David Shrigley co-directed an animate!-commissioned film with award-winning director Chris Shepherd called ‘Who I Am And What I Want’, based on Shrigley’s book of the same title. Kevin Eldon voiced its main character, Pete. He also produced a series of drawings and t-shirt designs for the 2006 Triptych festival, a Scottish music festival lasting for three to four days in three cities. He has also designed twelve different covers for Deerhoof’s 2007 record, Friend Opportunity.

     

    In October 2007, Tomlab released Worried Noodles, a double-CD of artists including Liars, Grizzly Bear, Dirty Projectors, Franz Ferdinand and Final Fantasy putting Shrigley’s 2005 book of the same name to music.

     

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    Dawn Mccarthy

    Posted on 20 May 2020

    DAWN McCARTHY hails from a large, musical family and began writing and performing as a singer in 1987 at Milwaukee Summerfest, debuting as a singer-songwriter in 1997 upon London’s Spitalfields Music stage. She formed FAUN FABLES with Nils Frykdahl in 1998, with an extensive discography on Drag City Records, touring extensively in North America, with time in Europe, UK/Ireland, Australia, New Zealand and Israel. She also recorded and toured with Bonnie ‘Prince’ Billy (The Letting Go, 20...

    DAWN McCARTHY hails from a large, musical family and began writing and performing as a singer in 1987 at Milwaukee Summerfest, debuting as a singer-songwriter in 1997 upon London’s Spitalfields Music stage. She formed FAUN FABLES with Nils Frykdahl in 1998, with an extensive discography on Drag City Records, touring extensively in North America, with time in Europe, UK/Ireland, Australia, New Zealand and Israel. She also recorded and toured with Bonnie ‘Prince’ Billy (The Letting Go, 2006 and What the Brothers Sang, 2013). Dawn trained in Poland with Wlodermierz Staniewski’s physical theater company ‘Gardzienice’ and played the title role in Faun Fables’ The Transit Rider, which toured North America. She wrote and directed rock/folk musicals at the Idyllwild Arts Academy in the San Jacinto Mountains as Artist-In-Residence. Her opera debut was as the Goddess Brigid in the fire opera ‘Machine’ at The Crucible in Oakland, California.

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    Dayna Kurtz

    Posted on 20 May 2020

    Dayna Kurtz began performing her original compositions in public as a teenager, and subsequently spent the better part of a decade touring solo across the back roads of America, selling CDs out of her trunk and mesmerizing club and festival crowds with her riveting live performances. Along the way, she opened shows for the likes of Richie Havens, Rufus Wainwright, Antony & the Johnsons, and Keren Ann. Additionally, Dayna has won over fellow “Living Room” habitué Norah Jones, who...

    Dayna Kurtz began performing her original compositions in public as a teenager, and subsequently spent the better part of a decade touring solo across the back roads of America, selling CDs out of her trunk and mesmerizing club and festival crowds with her riveting live performances. Along the way, she opened shows for the likes of Richie Havens, Rufus Wainwright, Antony & the Johnsons, and Keren Ann. Additionally, Dayna has won over fellow “Living Room” habitué Norah Jones, who sings a duet with Dayna on “I Got It Bad…” (from Beautiful Yesterday).

    2012 sees her simultaneously releasing two contrasting yet equally authentic albums. The first, ‘American Standard’, is both covers and original pieces of ‘American roots music’ from the traditions of rock ‘n’ roll and country. Half of the album was recorded with her live band – long-time drummer/co-producer Randy Crafton, Dave Richards on upright bass and Peter Vitalone on piano and organ at analogue studio Kaleidoscope Sound in New Jersey. The remainder was cut with Sun Records rockabilly Sonny Burgess and the Legendary Pacers at Ardent Studios, Memphis, and with The Nightcrawlers in New Orleans.

     The second album, ‘Secret Canon, Vol. 1’ is, in her own words, the outcome of her lifelong love of smoky mid-century chanteuse records from the R&B and jazz bins. The album is predominantly one of interpretations, covering songs originally performed by Nat ‘King’ Cole and Boston vocal group, The Blenders. All but one of the tracks were recorded in New Jersey with Kurtz’s longstanding live band. For ‘Not the Only Fool in Town’ – the original composition on the album – Dayna travelled to New Orleans to record with George Porter Jr., legendary bassist of the seminal funk combo The Meters, and Crescent City piano master David Torkanowsky. 

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    DC Gore

    Posted on 24 May 2022

    DC Gore is part of a rich tradition of distinctly British disrupters, As inspired by the unvarnished portraiture of Martin Parr as he is Ballardian grotesquerie – and by the seedy witticisms of Jarvis Cocker and arch art-pop commentary of Neil Tennant, Gore conjures up what he describes as ‘a very English type of failure’. 
 Following the release of his dancefloor-focused melancholic debut single “California”, “Nietzsche On The Beach” is a sort of satirical fever dream set in ...

    DC Gore is part of a rich tradition of distinctly British disrupters, As inspired by the unvarnished portraiture of Martin Parr as he is Ballardian grotesquerie – and by the seedy witticisms of Jarvis Cocker and arch art-pop commentary of Neil Tennant, Gore conjures up what he describes as ‘a very English type of failure’. 
 Following the release of his dancefloor-focused melancholic debut single “California”, “Nietzsche On The Beach” is a sort of satirical fever dream set in the wake of our current populist predicament,” Gore “a tragicomedy” Brexit Britain re-contextualised as a love song.” Continuing to showcase his talent for creating scrupulous and satirical lyrics, “Nietzsche On The Beach” is a richly synth-layered and propulsive dance track, a nod to the songs that might have once filled the coastal dance floors of Britain’s summers past. It was co-produced by DC Gore and Duncan Tootill with additional production by Tom Gillieron and mixed by Alexis Smith (Speedy Wunderground). Alongside the single, the accompanying video features Gore at the beach dressed as a seemingly baffled politician; as the video progresses, his bravado descends into fear and confusion as the world he was promised begins to unravel in front of his eyes. It’s clever, sardonic and serves as the perfect light relief from the current state of UK politics.

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    De Rosa

    Posted on 20 May 2020

    De Rosa are a band from Lanarkshire, Scotland. They are songwriter Martin John Henry (vocals, guitar), James Woodside (bass) and Neil Woodside (drums). They released their debut single Camera on local indie label Gargleblast Records in 2004. The single was championed by John Peel and De Rosa spent the next two years recording their debut LP with Mogwai producer Andy Miller. They have released three acclaimed studio albums –Mend (2006), Prevention (2009), and Weem (2016) – on Gla...

    De Rosa are a band from Lanarkshire, Scotland. They are songwriter Martin John Henry (vocals, guitar), James Woodside (bass) and Neil Woodside (drums). They released their debut single Camera on local indie label Gargleblast Records in 2004. The single was championed by John Peel and De Rosa spent the next two years recording their debut LP with Mogwai producer Andy Miller. They have released three acclaimed studio albums –Mend (2006), Prevention (2009), and Weem (2016) – on Glasgow’s legendary labels – Chemikal Underground and Rock Action Records. De Rosa have collaborated with Under the Skin author Michel Faber on the album, Ballads of the Book (Chemikal Underground, 2007). In 2018 they were invited by Robert Smith to play his Meltdown festival at the Southbank Centre in London. De Rosa are currently recording the followup to Weemwith producer Andy Miller (Mogwai, Arab Strap, Scout Niblett).

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    Deaf Club

    Posted on 20 May 2020

    Formed in 2010, British four-piece Deaf Club self-released a digital EP of 2011, Lull, featuring the track ‘Hana’.
    Lull was followed in early 2012 by a double-A-side single, ‘Sunday’/‘Mirrors’. Between
    these releases the band recorded a BBC Introducing session for Jen Long, supported 2:54
    and set out on their own headline dates. So impressed was Long by the band that she put
    out ‘Sunday’/‘Mirrors’ on her Kissability imprint, on a limited-edition cassette also
    housing the f...

    Formed in 2010, British four-piece Deaf Club self-released a digital EP of 2011, Lull, featuring the track ‘Hana’.
    Lull was followed in early 2012 by a double-A-side single, ‘Sunday’/‘Mirrors’. Between
    these releases the band recorded a BBC Introducing session for Jen Long, supported 2:54
    and set out on their own headline dates. So impressed was Long by the band that she put
    out ‘Sunday’/‘Mirrors’ on her Kissability imprint, on a limited-edition cassette also
    housing the four Lull tracks.

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    Dean Blunt

    Posted on 20 May 2020

    Maverick musician and producer Dean Blunt, a London (Hackney), played bass in Graffiti Island prior to making bigger waves with Inga Copeland as Hype Williams. The duo was classified as chillwave and as hypnagogic pop, two terms Blunt rejected. From 2009 through 2012, Hype Williams released a handful of albums and several singles and EPs, where material ranged from lo-fi house to noisy collages with equally whimsical titles. Blunt started releasing solo material in 2011 and quickly built a di...

    Maverick musician and producer Dean Blunt, a London (Hackney), played bass in Graffiti Island prior to making bigger waves with Inga Copeland as Hype Williams. The duo was classified as chillwave and as hypnagogic pop, two terms Blunt rejected. From 2009 through 2012, Hype Williams released a handful of albums and several singles and EPs, where material ranged from lo-fi house to noisy collages with equally whimsical titles. Blunt started releasing solo material in 2011 and quickly built a discography that rivaled the size of his work with Copeland. Among his most notable full-lengths were The Narcissist II (Hippos in Tanks, 2012), The Redeemer (Hippos in Tanks, 2013), and Black Metal (Rough Trade, 2014). The first two of those three saw him dabble in slack singing and songwriting, while the last of the bunch was a full embrace of the form that was even, at times, guitar-based. In 2015, he released an online mini-album titled Babyfather. He then expanded Babyfather into a full-blown project, presented as a trio including DJ Escrow and Gassman D (which, in all likelihood, are alter egos of Blunt himself). Following two self-released mixtapes, Hyperdub issued Babyfather’s single “Meditation” (co-produced by Arca) and full-length BBF Hosted by DJ Escrow in 2016.

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    Dena

    Posted on 20 May 2020

    Ever since moving to Berlin, Bulgarian-born singer/songwriter and producer DENA (born Denitza Todorova) has been working on her signature sound, a unique mix of handmade pop, self taught piano compositions, polyphonic harmonies and personal lyrics, combined with self programmed electronic beats. After her single “Cash, Diamond Rings, Swimming Pools”, released as an EP on the French label Kitsuné, went viral in summer 2012, DENA has received praise from some of the biggest media in Europe...

    Ever since moving to Berlin, Bulgarian-born singer/songwriter and producer DENA (born Denitza Todorova) has been working on her signature sound, a unique mix of handmade pop, self taught piano compositions, polyphonic harmonies and personal lyrics, combined with self programmed electronic beats. After her single “Cash, Diamond Rings, Swimming Pools”, released as an EP on the French label Kitsuné, went viral in summer 2012, DENA has received praise from some of the biggest media in Europe and worldwide (e.g. Der Spiegel, Guardian, Dazed & Confused, Fader), as well as wowing audiences at SXSW, clubs and festivals around Europe. In 2014 she unleashed her debut album Flash, a collection of bass-heavy pop-inspired songs about the ever-increasing pace of human life in the digital era. Ever since the release of her first singles she has been touring internationally and playing showcases, festivals and concerts around Europe, together with her live band or solo. In September 2018 she released her second album “If It’s Written” via Mansions and Millions. Dena’s latest album, Hyacinth (2024), is a collaborative project with EDM/indie pop artist Lauer.

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    Despot

    Posted on 20 May 2020

     

    Born Alec Reinstein, Despot is an American rapper living in Brooklyn, NY. Following the release of multiple singles produced by Blockhead including “Get Rich or Try Dying”, “Substance D”, “King Me” amongst others, Despot released the RATATAT produced single “Look Alive” on Definitive Jux in the fall of ’09. Despot is currently at work on his debut album.

     

     

    Deux Furieuses

    Posted on 20 May 2020

    Newly signed to Xtra Mile Recordings, fierce duo Deux Furieuses have released second album My War is Your War as the follow-up to critically acclaimed debut Tracks of Wire (2016).
    MWIYW lyrically and musically expands on their debut taking the post punk and Riot Grrrl influences of the predecessor and injecting a darker rock sound. The album reaches out to find common cause against a context of increasing right wing populism and the Me Too movement.
    Since 2013, Scottish vocalist/guitarist Ros...

    Newly signed to Xtra Mile Recordings, fierce duo Deux Furieuses have released second album My War is Your War as the follow-up to critically acclaimed debut Tracks of Wire (2016).
    MWIYW lyrically and musically expands on their debut taking the post punk and Riot Grrrl influences of the predecessor and injecting a darker rock sound. The album reaches out to find common cause against a context of increasing right wing populism and the Me Too movement.
    Since 2013, Scottish vocalist/guitarist Ros Cairney & London Greek drummer Vas Antoniadou, have earned a reputation for uncompromising politically charged rock which has seen them championed by Q Magazine, Classic Rock Magazine, Louder Than War & Radio X DJ John Kennedy whose enthusiasm caught the attention of Frank Turner and led to a support slot at the Roundhouse, London for Lost Evenings 2017.
    With My War is Your War firmly on the critically acclaimed shelf and powerhouse performances at Camden Rocks & 2000 Trees Festivals in 2019, Deux Furieuses have played recent UK dates supporting Soeur, Petrol Girls and an acoustic support to Frank Turner.

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    Dice Raw

    Posted on 28 October 2020

    Karl “ Dice Raw” Jenkins is a mainstay of the Philadelphia Hip-Hop Scene, and most commonly associated over the years as a principal songwriter/collaborator /producer for The Roots.

    At the young age of 15, the legendary Roots crew first took Dice Raw under their umbrella, when their production member, Kelo, first discovered him at a local talent show. Little did they know, Dice had already begun his music industry career at age 13, when he worked in California for New Edition offsho...

    Karl “ Dice Raw” Jenkins is a mainstay of the Philadelphia Hip-Hop Scene, and most commonly associated over the years as a principal songwriter/collaborator /producer for The Roots.

    At the young age of 15, the legendary Roots crew first took Dice Raw under their umbrella, when their production member, Kelo, first discovered him at a local talent show. Little did they know, Dice had already begun his music industry career at age 13, when he worked in California for New Edition offshoot, Bell Biv Devoe. Dice Raw’s debut with the band came on their classic, “The Lesson, Pt. 1”, and soon after, he made a name for himself with cameos on “Episodes” and “Adrenaline”, where his hard-hitting style complemented the heady rhymes of Roots leader, Black Thought. Dice Raw has made several guest appearances on several mixtapes. He made an appearance in fellow band member and beatboxer Scratch’s first solo album, Embodiment of Instrumentation.

    In 2000, Dice Raw released his solo debut album, Reclaiming the Dead, on MCA Records. He also recorded vocals for the entrance theme of WWE superstar, Kung Fu Naki. The track is titled “Kung Fu San”, and samples Carl Douglas’ Kung Fu Fighting, available on Voices: WWE The Music Vol. 9. In 2011, Dice Raw co-wrote, rapped, and sang on several tracks of The Roots acclaimed Undun album, including the celebrated “Lighthouse”, “Make My” featuring Big K.R.I.T., and “One Time”, featuring Phonte.

    Additionally, Dice Raw has been in the studio working on his own material. In May 2010, he released his first solo single in 10 years entitled “100” off of his 3-part solo project, The Greatest Rapper Never. The single is a digital release and was made available on iTunes. In August 2012, Dice Raw offered the fans a sampler of sounds to come with his well-received The Greatest Rapper Never: The Mixtapes Vol. 1, including a feature from Raw Life artist, Rone, and 13 tracks of Dice’s diverse songwriting and rap flows. He is now working on part 2 of the The Greatest Rapper Never trilogy, set for release in Fall 2012 and featuring Black Thought, Raheem DeVaughn, and more.

    Dice Raw was also part of the now-defunct group, Nouveau Riche, along with the Philadelphia Hip-Hop collaborative, The Money-Making Jam Boys. He continues to expand his touch on new music through his label, Raw Life Records. Under Raw Life, he is developing the new generation of the Philadelphia/Roots dynasty via artists such as Rone, Mazon, and Yazz The Greatest. He is currently expanding his talents into Hip-Hop theater and web/TV-based, multimedia content.

     

    In 2014, Dice Raw has taken on the cause of Black male incarceration in America with his magnum opus, “Jimmy’s Back” – [iTunes link]. The highly acclaimed concept album inspired by New York Times bestselling book “The New Jim Crow” is a lyrical odyssey through the plight of the prison system, told musically by Dice Raw and a cadre of excellent MC ex-felons. Most recently, the album debuted as the stage play “The Last Jimmy” at Philadelphia’s coveted Kimmel Center for the Performing Arts. He also has plans to release a book in the near future, and was an instrumental contributor to The Roots’ 2014 album, “And Then You Shoot Your Cousin”, released in May 2014.

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    Dirty Beaches

    Posted on 20 May 2020

    Alex Zhang Hungtai, known by his stage name Dirty Beaches, is a Taiwanese-born Canadian musician based in Montreal, Quebec. Dirty Beaches began as a one-man band, sometimes employing sampling, inspired by Zhang’s longtime love of hip hop. In addition to his own years moving between countries and on the road touring, films are one of Zhang’s influences, particularly those by Wong Kar–wai. Zhang said Wong’s movies are “usually about the passage of time, and how in relation it dis...

    Alex Zhang Hungtai, known by his stage name Dirty Beaches, is a Taiwanese-born Canadian musician based in Montreal, Quebec. Dirty Beaches began as a one-man band, sometimes employing sampling, inspired by Zhang’s longtime love of hip hop. In addition to his own years moving between countries and on the road touring, films are one of Zhang’s influences, particularly those by Wong Kar–wai. Zhang said Wong’s movies are “usually about the passage of time, and how in relation it distorts your relationship with everything else in life. The central Dirty Beaches character is a product of those experiences. Of someone traveling long distances in search of something, in exile, misplaced, with no home to return to.” Zhang has lived in Taipei, Queens, Etobicoke, Honolulu, San Francisco, Shanghai, Vancouver and Montreal, among other cities.

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    Dirty Projectors

    Posted on 20 May 2020

    West African-inflected guitars, intricate three-part vocal harmonies and a fearless intellectual and compositional ambition all serve as useful signifiers with which to describe Dirty Projectors’ music. But it is the space between these elements, where melody and drama unfold among ascending voices and the intuitive and counterintuitive meet, that the essence of the band is located. David Longstreth’s singular talents have led to all manner of invitations from the great and the good but h...

    West African-inflected guitars, intricate three-part vocal harmonies and a fearless intellectual and compositional ambition all serve as useful signifiers with which to describe Dirty Projectors’ music. But it is the space between these elements, where melody and drama unfold among ascending voices and the intuitive and counterintuitive meet, that the essence of the band is located. David Longstreth’s singular talents have led to all manner of invitations from the great and the good but have left his restlessness undimmed.

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    DITZ

    Posted on 26 September 2022

    A ferocious live band, DITZ create forward-thinking noise rock/post-punk which features vast arrays of pedal effects with influences from 80s and 90s post-hardcore and noise rock.

    Their debut album ‘The Great Regression’ was recorded by Ben Hampson (Blood Red Shoes & Tigercub), mastered by Kate Tavini (We Are Scientists & Nadine Shah) & released on Alcopop! Records. Their limited-edition Dinked vinyl which sold out in under 24 hours and they gained plaudits from the likes of P...

    A ferocious live band, DITZ create forward-thinking noise rock/post-punk which features vast arrays of pedal effects with influences from 80s and 90s post-hardcore and noise rock.

    Their debut album ‘The Great Regression’ was recorded by Ben Hampson (Blood Red Shoes & Tigercub), mastered by Kate Tavini (We Are Scientists & Nadine Shah) & released on Alcopop! Records. Their limited-edition Dinked vinyl which sold out in under 24 hours and they gained plaudits from the likes of Pitchfork, Der Spiegel, Steve Lamacq, DIY and Clash.

    Live they are a formidable beast, in 2022 they’ve toured with DIIV, played festivals less than 24 hours after the drummer dislocated his shoulder, jumped into lakes mid-set and blown fans away with their powerful and pounding onslaught. They’ve toured the UK twice this year and made several excursions to mainland Europe, as well as playing to thousands of people at festivals such as La Route Du Rock, Reeperbahn, Great Escape, Truck, 2000 Trees, Krankenhaus and many more.

    Prior to ‘The Great Regression’ DITZ released their debut EP ‘5 Songs’ for Alcopop! Records in 2020 featuring their singles ‘Total 90’, ‘Role Model’ and their cover of Peaches’ ‘Fuck The Pain Away’. This received plaudits from some of the UK’s premier new punk bands, IDLES and Slaves, as well as media fuss from DIY, Loud & Quiet, So Young, The Line Of Best Fit and more.

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    DJ Falcon

    Posted on 01 November 2023

    DJ Falcon (born Stéphane Quême) is a French DJ, record producer, and photographer. He was signed with Roulé, Thomas Bangalter’s own label, where he released his first EP Hello My Name Is DJ Falcon. DJ Falcon and Bangalter later formed a band together called Together where they released just two songs, “So Much Love to Give” and “Together”. DJ Falcon co-wrote and co-produced the song “Contact” with Daft Punk, released on Random Access Memories in 2013. An old version of Contac...

    DJ Falcon (born Stéphane Quême) is a French DJ, record producer, and photographer. He was signed with Roulé, Thomas Bangalter’s own label, where he released his first EP Hello My Name Is DJ Falcon. DJ Falcon and Bangalter later formed a band together called Together where they released just two songs, “So Much Love to Give” and “Together”. DJ Falcon co-wrote and co-produced the song “Contact” with Daft Punk, released on Random Access Memories in 2013. An old version of Contact could be heard in a 2002 live set. Falcon noted that when he worked on “Contact” with the duo in Paris, they felt that it needed something akin to a countdown. After contacting NASA for audio recordings, Daft Punk and Falcon settled on an excerpt where someone was called “Bob”, as that was Falcon’s skating nickname when he was first introduced to Bangalter and Guy-Manuel de Homem-Christo.

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    Dolman

    Posted on 20 May 2020

    Dolman is a Bristol-born audio project by Scott Hendy of Malachai (Domino Publishing) and Ben Salisbury of DROKK (Invada RecordS), which has manifested itself into a full LP. Comprising instrumentals and guest vocalled tracks, the record evokes a dark cinematic air, like ‘The soundtrack to a film about Bristol that has never been made’.

    Dolman is imbued with a quality of apartness that is distinctly Bristol. The album features vocals from some of the cities finest musical talent, ...

    Dolman is a Bristol-born audio project by Scott Hendy of Malachai (Domino Publishing) and Ben Salisbury of DROKK (Invada RecordS), which has manifested itself into a full LP. Comprising instrumentals and guest vocalled tracks, the record evokes a dark cinematic air, like ‘The soundtrack to a film about Bristol that has never been made’.

    Dolman is imbued with a quality of apartness that is distinctly Bristol. The album features vocals from some of the cities finest musical talent, including Danny Coughlan AKA Crybaby on lead single ‘On Stoney Ground’, which features lyrics inspired by Turner Prize-winning Steve McQueen’s artwork Queen and Country. Other Bristol vocalists include Alison Garner of The Fauns on ‘Flight 22’, and Derek Meins AKA The Agitator on ‘Uncanny Valley‘. Elsewhere, Adele Emmas of Liverpool three-piece Bird lends her soulful voice to lush ballad ‘The Rainbow’.

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    Domenique Dumont

    Posted on 26 July 2022

    Domenique Dumont is a nom de plume for collaboration between multi-instrumentalist and producer Arturs Liepins, vocalist and ethnomusicologist Anete Stuce and perhaps an artist from France whose existence is neither confirmed nor denied. Hailing from a small country situated on the shores of the Baltic Sea in the North of Europe, the band has gained popularity and raised a lot of eyebrows not only in their homeland, but all around the globe, especially in francophone countries. Domenique Dumo...

    Domenique Dumont is a nom de plume for collaboration between multi-instrumentalist and producer Arturs Liepins, vocalist and ethnomusicologist Anete Stuce and perhaps an artist from France whose existence is neither confirmed nor denied. Hailing from a small country situated on the shores of the Baltic Sea in the North of Europe, the band has gained popularity and raised a lot of eyebrows not only in their homeland, but all around the globe, especially in francophone countries. Domenique Dumont’s music escapes easy categorization, but once the song starts the feel of something familiar, classic and rigid in its direction is there. Building from a foundation of buoyant sambas, bossa nova undertones and cinematic, experimental pop the Latvian duo’s project is a heartfelt modernization of breezy dreaminess in the style of its own.

    Since 2013 the band has released 3 albums. The newest – “People On Sunday” (2020) is the third album by Domenique Dumont. Freshly signed to The Leaf Label and having previously released two albums on Parisian electronic / dance label Antinote it follows on from the cult success of synth-pop exotica albums “Comme Ça” (2015) and “Miniatures de Auto Rhythm” (2018). “People On Sunday” was originally conceived as a soundtrack to the classic 1930 German silent film known variously as “Menschen am Sonntag”. It was originally performed at Les Arcs Film Festival in December 2019, as a joint order from Les Arcs Film Festival, Festival La Rochelle Cinéma and BulCiné (Nantes).

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    DRIFT (by Renaud Letang)

    Posted on 25 February 2025

    The art of Renaud Letang invites you into an intimately interconnected world. From inside his studio, the Grammy-nominated producer––behind some of the most canonised albums of the last few decades––is a therapist, a problem solver, and skilled technician who transforms the spaces he occupies into playgrounds for artists. Now, debuting as DRIFT and unveiling his own project titled DRIFT ISLAND, Letang creates music that is designed to be felt as much as heard.

    Born in 1970 in Iran to ...

    The art of Renaud Letang invites you into an intimately interconnected world. From inside his studio, the Grammy-nominated producer––behind some of the most canonised albums of the last few decades––is a therapist, a problem solver, and skilled technician who transforms the spaces he occupies into playgrounds for artists. Now, debuting as DRIFT and unveiling his own project titled DRIFT ISLAND, Letang creates music that is designed to be felt as much as heard.

    Born in 1970 in Iran to French parents, his childhood was spent in far-flung locales—Tehran, Paris, Indonesia, and Venezuela and his father, a classical jazz pianist, would play for hours each night. His omnipotence from ’88 onwards is virtually unmatched. At 18, he began as an engineer in Paris at the revered Guillaume Tell studio. For the next three years, he led the reigns as the main assistant, breathing life into hall-of-fame songs before the world would hear them. A baby-faced presence among stars like Prince, Ray Charles, and Charles Aznavour.

    In 1990, Letang picked up a side gig as Jean-Michel Jarre’s engineer, offering a foundational rupture in his career when he oversaw the sound production for Jarre’s timeless La Défense concert. After turning down Phil Ramone’s offer to join him in the US, Letang branched out as a freelancer, working on albums like The Silencers’ So Be It and Manu Chao’s Clandestino and Próxima Estación: Esperanza. The wild style forged in these collaborations anchored these lasting relationships that define his career.

    In the early 2000s, eager to step out of his comfort zone again, the stars aligned when Chilly Gonzales moved to Paris, opening the doors to a partnership. Introducing Letang to his friend Feist, Gonzales suggested they collaborate—a connection that culminated in Let It Die (made without label backing), and later The Reminder (2007), Metals (2011), and Pleasure (2017). The pair forged a close-knit circle, counting Gonzales, Feist, Peaches, Jamie Lidell, and Mocky at its core—where Letang’s trusted vision spanned six of Mocky’s albums.

    By the mid-2010s, Letang continued to grow his solo repertoire. While producing a live show for Charlotte Gainsbourg, where Connan Mockasin’s band was performing, he met and eventually found another creative allegiance with Mockasin, Infinite Bisous, and LA Priest, resulting in crackling albums like With Love, Soft Hair and Jass Busters.

    Whether mastering the oud for Palestinian ensemble Le Trio Joubran, or picking up international acclaim mixing the renowned Mali musicians Amadou & Mariam’s Foila––Letang’s work maps out his vast social and cultural foundations. Conceptualised alongside Chilly Gonzales at Studio Ferber in Paris, every offering as DRIFT is an act of love in that sense, prepared with great care. It’s the culmination of countless years of experience and a childhood immersed in the language of music, guided by one of the few producer-turn-artists with the range to pull it off.

    A meeting of maverick minds, his collaborations with Feist, Connan Mockasin, Jamie Lidell, Saul Williams, Benny Sings, Mocky, Philippe Katerine, and Infinite Bisous reflect years of creative synergy. The narrative unfolds like a coming-of-age tale, exploring the complexities of feeling adrift in a world made for connection. DRIFT ISLAND is music made for the end of a rooftop barbecue, when the sun dips, the beer is nearly done, and everyone who doesn’t want to be there has gone already. Here, you can be honest, goofy, even silent.

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    Dub Pistols

    Posted on 20 May 2020

    The ascendancy of big-beat techno with punk rock attitude continued unabated with the Dub Pistols, a lager-swilling quintet headed by ex-club promoter Barry Ashworth and featuring guitarist John King, bassist Jason O’Bryan, programmer Bill Borez, and turntablist Malcolm Wax. Ashworth, who had been turned on to the vibes of Ibiza house in the mid-’80s, began promoting clubs in Britain later in the decade. He went aboveground by 1989 with Deja Vu, a much-loved club night for Madchester band...

    The ascendancy of big-beat techno with punk rock attitude continued unabated with the Dub Pistols, a lager-swilling quintet headed by ex-club promoter Barry Ashworth and featuring guitarist John King, bassist Jason O’Bryan, programmer Bill Borez, and turntablist Malcolm Wax. Ashworth, who had been turned on to the vibes of Ibiza house in the mid-’80s, began promoting clubs in Britain later in the decade. He went aboveground by 1989 with Deja Vu, a much-loved club night for Madchester bands like Happy Mondays and the Stone Roses. After a bust-up with police during another of his events, 1991’s Eat the Worm, Ashworth and several friends decided to form the band Deja Vu, a London-centric band with Madchester influences. After signing with Cowboy and releasing a couple of singles, the group released one album (Gangsters, Tarts & Wannabes) but broke up by 1996.

    Inspired by the Chemical Brothers and Jon Carter’s Heavenly Social club night, Ashworth began DJ’ing himself. He was recruited to remix “Blow the Whole Joint Up” by Carter’s Monkey Mafia, and got his new group, Dub Pistols, signed to Concrete Records as a consequence. The band debuted in late 1996 with the singles “There’s Gonna Be a Riot” and “Best Got Better.” By the time of their 1998 debut album, Point Blank, big beat appeared to have run its course. Dub Pistols remained an infectious live draw, however, startling audiences in Britain and around the world.

    The group’s second album, Six Million Ways to Live, appeared in 2001 and was followed a year later by the mix album Y4K: Next Level Breaks. Singer Terry Hall joined the group for its 2007 effort, Speakers and Tweeters, which featured covers of new wave classics like “Rapture” (Blondie), “Peaches” (the Stranglers), and “Gangsters” (from Hall’s old group, the Specials). Their 2009 effort, Rum and Coke, came with a guest shot from DJ Justin Robertson along with vocalists Lindy Layton (Beats International) and Ashley Slater (Freak Power). Layton returned for their 2012 effort, Worshipping the Dollar, which also included several guest spots from rapper Rodney P., who is prominently featured on the hit single “Mucky Weekend.” Their fifth effort, Return of the Pistoleros (Sunday Best Recordings), arrived in 2015. Two years later, they issued the single “Crazy Diamonds” with Too Many T’s. The track appeared on their seventh album of the same name, which saw release in October 2017.

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    Ducktails

    Posted on 20 May 2020

    Unfurling out of Los Angeles this July comes St. Catherine, Matt Mondanile’s fifth outing as Ducktails. The new album emerges from the roots of Mondanile’s previous work, from the free-form, ambient bedroom experiments of seminal underground release Landscapes (2009), to 2013’s eighties pop re-imagination The Flower Lane, but ultimately moves Ducktails on to a more refined, personal and sincere place.

    St. Catherine is a finely-honed colle...

    Unfurling out of Los Angeles this July comes St. Catherine, Matt Mondanile’s fifth outing as Ducktails. The new album emerges from the roots of Mondanile’s previous work, from the free-form, ambient bedroom experiments of seminal underground release Landscapes (2009), to 2013’s eighties pop re-imagination The Flower Lane, but ultimately moves Ducktails on to a more refined, personal and sincere place.

    St. Catherine is a finely-honed collection of baroque pop songs that take the blissful, cascading melodic fretwork that Mondanile has made his signature with both Ducktails and his other band, Real Estate, and applies it to songs of considerable new emotional heft and dynamic range.

    A seeking meditation on the sensation of love, from its initial growth to eventual dissolution, St. Catherine sees Mondanile seek to project these most universal pop themes through the prism of a keen interest in the beauty and sacred aspects of the Catholic church he’s harboured since his childhood altar boy days. The result is fittingly romantic, mysterious and celestial – a dizzying, awe-struck listen replete with strange lyrical images and seductive melodies that are alluring and foreboding in equal measure.

    The title St. Catherine is a reference to St. Catherine of Alexandria, the saint of knowledge and virtue who was condemned by mortal men for devoting herself to Christ, an act of faith that at the time was seen as a type of dangerous lunacy. “The title track, St. Catherine, is about being blinded by light”, says Mondanile of the record’s central metaphor, “It’s about throwing yourself into a revery, regardless of the consequences.”

    Mondanile partially wrote and recorded St. Catherine over the course of 2014 and then finished off recording at the start of 2015. The longest time he has ever spent working on a record, it took place in bedrooms and studios predominantly in east LA and Glendale, but venturing as far as Berlin and New York as Mondanile worked on tracks around heavy periods of Real Estate touring.

    When Mondanile finally settled back in LA at the start of 2015, it was Rob Scnapf, co-producer of Elliott Smith’s classic albums XO and Either/Or, that he turned to in order to help put the finishing touches to St. Catherine. Together, the pair added a new crispness and punch to the record’s more upbeat, psychedelic pop tracks (such as James Ferraro-featuring, lolloping lead single “Headbanging In The Mirror”, and the soaring “Into The Sky”), that recalls the artful muscularity of Smith’s later work, whilst title track, the heavenly “St. Catherine” boasts one of Mondanile’s greatest ever lead guitar lines and benefits greatly from Schnapf’s warm, rich feel.

    Where St. Catherine impresses even moreso, however, is when Mondanile steps out of his comfort zone, as he does frequently and with great success. The Julia Holter-featuring “Church” and “Heaven’s Room”, tracks which see Mondanile flex his muscles as a composer and arranger, introducing complex, interlocking vocal harmonies, gorgeously sweeping string parts (provided by Andrew Tholl and Christopher Votex) and a host of off-kilter electronic elements into his sonic palate – channeling the likes of Broadcast, and Stereolab but with a younger wide eyed sensibility. 

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    Earthless

    Posted on 28 October 2020

    Formed in 2001, Earthless prides itself on creating energetic, utterly unique and free thinking instrumental music inspired by an eclectic mix of German krautrock and Japanese heavy blues-rock. The Californian trio has dedicated itself to mastery of the mind-bending jam session, evoking the spirits of Jimi Hendrix and Black Sabbath in equal measure. Named after a song title from vintage New York garage-psych band The Druids of Stonehenge, Earthless‘ sound has been called “A sonic kaleidos...

    Formed in 2001, Earthless prides itself on creating energetic, utterly unique and free thinking instrumental music inspired by an eclectic mix of German krautrock and Japanese heavy blues-rock. The Californian trio has dedicated itself to mastery of the mind-bending jam session, evoking the spirits of Jimi Hendrix and Black Sabbath in equal measure. Named after a song title from vintage New York garage-psych band The Druids of Stonehenge, Earthless‘ sound has been called “A sonic kaleidoscope of lava and lightning”, earning it the title of “California’s loudest band”. The group delivers “one of the best live shows in all of modern, heavy rock,” leading to one reviewer stating that the band’s “epic shredding harkens back to the days were psychedelic rock had balls the size of grapefruits and wasn’t afraid to take its listeners on a ride for which they may never return.”

    Each member of Earthless has done time in many other bands. Drummer (and former pro skater) Mario Rubalcaba currently plays in the hardcore punk band OFF! and Hot Snakes amongst many others. Bassist Mike Eginton played with Electric Nazarene and guitarist Isaiah Mitchell was most recently in Howlin’ Rain, has played with Nebula and Drunk Horse and also heads up the Bay Area band Golden Void. In the end, EARTHLESS is the musical rock that grounds the three musicians and now, after more than half a decade since the release of their last studio LP, EARTHLESS has returned and is out to prove — through sheer rock power — why they are considered the cream of the modern-day heavy psych scene.

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    Eblis Alvarez

    Posted on 20 July 2023

    Eblis Alvarez is based in Bogota, Columbia, where he has been studying music since attending conservatory at eight years old and has been on the vanguard of modern cumbia music for over 20 years.   Though he is (very) reverent of Columbian and Latin music, his projects simultaneously pay homage while incorporating playful modern electronic elements, and lyrics that lean into the socio-political. Alvarez is the mind behind the musical projects ‘Meridian Brothers’ ‘Los Piranhas’ and &...

    Eblis Alvarez is based in Bogota, Columbia, where he has been studying music since attending conservatory at eight years old and has been on the vanguard of modern cumbia music for over 20 years.   Though he is (very) reverent of Columbian and Latin music, his projects simultaneously pay homage while incorporating playful modern electronic elements, and lyrics that lean into the socio-political. Alvarez is the mind behind the musical projects ‘Meridian Brothers’ ‘Los Piranhas’ and ‘Chupame El Dodo’.

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    Ela Minus

    Posted on 20 May 2020

    Bright Music for Dark Times . . . . Colombian (Brooklyn based) multi instrumentalist Ela Minus is a humble rebellion to the overly produced-laptop driven electronic music scene. Ela is a one-woman all hardware electronic orchestra. Following a strong desire to maintain the essence of improvisation both in recorded as well as on live music, she does not use any laptops in absolutely any stage of her production or live performances. She does everything herself and performs live using only hardw...

    Bright Music for Dark Times . . . . Colombian (Brooklyn based) multi instrumentalist Ela Minus is a humble rebellion to the overly produced-laptop driven electronic music scene. Ela is a one-woman all hardware electronic orchestra. Following a strong desire to maintain the essence of improvisation both in recorded as well as on live music, she does not use any laptops in absolutely any stage of her production or live performances. She does everything herself and performs live using only hardware machines and her voice.

    Originally a drummer Ela has had a long career as a multi instrumentalist for countless projects. Born and raised in Bogotá, Colombia. She moved the Boston to attend Berklee College of Music where she graduated with a dual major on drum set performance and Music Synthesis and later moved to Brooklyn, NY. Where she still resides now.

    Ela has already received a massive array of press from the New Yorker to Pitchfork, has been a Spotify Radar artist, achieved the A list on BBC 6 Music and Radio 1 support in the UK.

    Minus makes all her own music on outboard equipment which she adorns with slogans like ‘Bright Music Dark Times’. We have selected some videos here below which brilliantly demonstrate Ela Minus’ set up.

    REMEZCLA Hardware demo 

    KEXP session January 2021

    Amoeba Remote Session October 2020

    FACT Magazine Patch Notes

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    Electric Youth

    Posted on 28 November 2023

    After Electric Youth first made a splash in 2011 with their contribution to the Drive soundtrack, “A Real Hero,” the Toronto duo’s widescreen synth pop defined the stylish, slightly retro sound that flourished for the rest of the 2010s. On their 2014 debut album Innerworld, instrumentalist/producer Austin Garrick and singer Bronwyn Griffin defined their breezy yet pulsing take on ’80s sounds as filtered through a soft-focus 21st century lens. Later, they made the most of their flair f...

    After Electric Youth first made a splash in 2011 with their contribution to the Drive soundtrack, “A Real Hero,” the Toronto duo’s widescreen synth pop defined the stylish, slightly retro sound that flourished for the rest of the 2010s. On their 2014 debut album Innerworld, instrumentalist/producer Austin Garrick and singer Bronwyn Griffin defined their breezy yet pulsing take on ’80s sounds as filtered through a soft-focus 21st century lens. Later, they made the most of their flair for the cinematic with 2017’s largely instrumental Breathing (which was originally conceived as a soundtrack) and showcased the breadth and depth of their music with the ambitious pop of 2019’s Memory Emotion.

    Garrick and Griffin met while in sixth grade, began dating a couple years later, and officially started the band in 2009. After recording a few demos, including a cover of Clio’s Italo-disco classic “Faces,” they caught the ear of the similarly ’80s-focused Valerie Collective and met up with like-minded artists such as College, Anoraak, and others. Around this same time, they self-released their first single, “Replay,” and started performing shows around town. They also began working with College in earnest, providing vocals for the song “She Never Came Back” on the 2009 album Secret Diary. ’80s-focused artist Grum also came calling and Griffin provided vocals for a track (“Turn It Up”) on his 2010 album Heartbeats. The next year saw their big break with “A Real Hero,” another College collaboration that was featured in Nicolas Winding Refn’s 2011 film Drive. Partly inspired by the 2009 crash landing of Flight 1549 and the heroic actions of pilot Chesley Sullenberger, the song earned critical acclaim and helped define the dreamy synth pop sound associated with Refn’s aesthetic. The duo’s second single, “Right Back to You,” arrived soon after and was followed by the 2012 track “The Best Thing.”

    To make their debut album, Electric Youth recorded in their Toronto studio and in an L.A. studio that came complete with a screening room, which allowed Griffin and Garrick to let their cinematic obsession bleed into the music. While they worked with co-producers Vince Clarke and Peter Mayes, the duo also made time to appear on Sally Shapiro‘s 2013 album Somewhere Else. After signing to Secretly Canadian, they released the single “Innocence,” the first taste of September 2014’s Innerworld. Featuring “A Real Hero” and “The Best Thing” along with previously unreleased tracks, the album was widely acclaimed. Following Innerworld’s release, Electric Youth reunited with Refn, lending the song “Good Blood” to the soundtrack of his 2016 film The Neon Demon. Garrick and Griffin also collaborated with director Anthony Scott Burns, composing music for his film Breathing; however, the movie was changed so much during post-production that both Burns and the duo left the project. Griffin and Garrick then released the Breathing score on Milan Records as part of the Nicolas Winding Refn Presents series of albums in September 2017. In 2019, Electric Youth worked with Gesaffelstein on his album Hyperion and contributed to Ryuichi Sakamoto‘s remix album async: Remodels before delivering their second album, Memory Emotion. Recorded in their Toronto home with vintage synths and samplers, the album was released by Last Gang Records in August 2019.

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    Eli Winter

    Posted on 06 October 2022

    Eli Winter is a composer, self-taught guitarist, essayist, and Houston native. His music synthesizes aspects of folk, rock, jazz, and devotional music, maintaining a waggish disregard for genre constraints emblematic of Chicago, his adopted hometown. Across five LPs and counting for labels like Three Lobed and American Dreams, the scope of his music has grown to include guitar soli, instrumental duets, and bandleading. He’s collaborated with a wide range of artists live and on record, inclu...

    Eli Winter is a composer, self-taught guitarist, essayist, and Houston native. His music synthesizes aspects of folk, rock, jazz, and devotional music, maintaining a waggish disregard for genre constraints emblematic of Chicago, his adopted hometown. Across five LPs and counting for labels like Three Lobed and American Dreams, the scope of his music has grown to include guitar soli, instrumental duets, and bandleading. He’s collaborated with a wide range of artists live and on record, including Yasmin Williams, Jaimie Branch, David Grubbs, Cameron Knowler, and Ryley Walker, and leads a trio featuring Chicago musicians Sam Wagster (pedal steel guitar) and Tyler Damon (drums).

    Eli’s concert history further spans prestigious music festivals such as Primavera Sound and Big Ears, pristine listening rooms, laundromat bars, and small rooms in shotgun houses. In music and prose, Winter’s writing often considers subjects including memory, grief, endurance, literature, and trauma. He has written about touring, literature, illness, and the lives of working artists for the Los Angeles Review of Books, The Economist, and others, and has frequently written liner notes for the American Dreams label.

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    Ellis Island Sound

    Posted on 20 May 2020

    Ellis Island Sound started life as a duo consisting of multi-instrumentalists Mr Peter Astor and Mr David Sheppard, gentlemen adventurers in sound since 1997. Someone once said they sound like Nick Drake recorded by Conny Plank. Which is something. EIS have cut tracks, singles, remixes and eps for innumerable labels ranging from All City Chicago, faux-lux and Static Caravan to Warp, Island and EMI. They released an eponymously titled compilation on Heavenly in 2002. Messrs Astor and Sheppard ...

    Ellis Island Sound started life as a duo consisting of multi-instrumentalists Mr Peter Astor and Mr David Sheppard, gentlemen adventurers in sound since 1997. Someone once said they sound like Nick Drake recorded by Conny Plank. Which is something. EIS have cut tracks, singles, remixes and eps for innumerable labels ranging from All City Chicago, faux-lux and Static Caravan to Warp, Island and EMI. They released an eponymously titled compilation on Heavenly in 2002. Messrs Astor and Sheppard have also recorded and toured together with Matador recording artists the Wisdom Of Harry. Mr Astor is the erstwhile leader of the Weather Prophets and the Loft (the band that helped established Creation Records), while Mr Sheppard makes records with State River Widening and in partnership with SRW’s Keiron Phelan (for the Leaf Label) and for Anglo-Spanish group, Continental Film Night (Tinhorn/Dock)
    After the stripped down sound of 2003’s Home Service mini-LP, EIS regrouped to record their “long-awaited” (hey!) ‘agrarian’ album, The Good Seed, which is now slated for release on February 19th ’07 on Peacefrog of London (home of Jose Gonzalez, Findlay Brown, Nouvelle Vague, Klima etc). Lately, Messrs Astor and Sheppard have gathered around them a throng of gifted musical stylists (with whom they have already played a handful of spectacular London shows) in whose company they will venture far afield in ’07, spreading The Good Seed all over the land. Time, then, to introduce some new Ellis Islanders: On harmonium and melodica we have Mr Nick Buxton; on guitar and melodica Mr Iain Lowery; on violins are Mr Dan Mayfield and Ms Helen McGrath; on Moog, stylophone and assorted electrical goods Mr Darren Hayman; on bass Mr Luke Hannam; on drums/percussion etc Messrs Tom Colman and Geordie Hawdon, on saxophone is Mr Aki Paivarinne while the redoubtable Mr John Hart and new addition Matt play trombones. Mr Astor handles the ukulele and ceremonials while Mr Sheppard directs musical traffic while playing guitar. Everybody sings.

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    Emilíana Torrini

    Posted on 01 February 2023

    An Icelandic singer/songwriter whose music embraces elements of folk, electronica, pop/rock, and trip-hop. Torrini was raised in Kópavogur, where she worked at her father’s Italian restaurant and attended opera school as a teenager. After releasing three albums in her native Iceland (Spoon, Crouçie D’où Là, and Merman), she joined forces with Tears for Fears‘ Roland Orzabal to produce her first widely released effort, 1999’s Love in the Time of Science. The famed Lord of the Ring...

    An Icelandic singer/songwriter whose music embraces elements of folk, electronica, pop/rock, and trip-hop. Torrini was raised in Kópavogur, where she worked at her father’s Italian restaurant and attended opera school as a teenager. After releasing three albums in her native Iceland (Spoon, Crouçie D’où Là, and Merman), she joined forces with Tears for Fears‘ Roland Orzabal to produce her first widely released effort, 1999’s Love in the Time of Science. The famed Lord of the Rings director Peter Jackson heard her cool, otherworldly croon and approved Torrini to voice the finale music for 2002’s The Two Towers.

    Torrini followed up this cinematic achievement by co-writing a pair of songs for Kylie Minogue (including the number one hit single “Slow”) and releasing the soft-spoken but beautiful Fisherman’s Woman, her first album for the London-based label Rough Trade Records. Fisherman’s Woman was a back-to-basics effort that deemphasized Torrini’s use of electronics in favor of acoustic guitar, piano, and the singer’s cherubic vocals. It also cemented her fruitful partnership with producer Dan Carey, who remained with Torrini during the recording of her next solo effort, 2008’s Me and Armini. The record spawned the European hit single “Jungle Drum,” which shot to number one in her native Iceland, as well as in Germany and Belgium. Torrini took the album on a two-year worldwide tour and then became a parent in 2010, after which she took a short break. Both of these events changed her approach to music and influenced her songwriting process heavily. She was introduced to Oberheim synths and producer/collaborator Dan Carey‘s drone synth the Swarmathon, with both instruments inspiring songs on her fourth record, Tookah, which was released in 2013.

    Torrini took yet another approach for her next recording. She teamed up with the Colorist Orchestra from Belgium, who worked on recomposing a number of songs from her back catalog. The collaborators took the reimagined tracks on the road for a number of shows, and those gigs resulted in the live album The Colorist & Emiliana Torrini, which was scheduled for release in late 2016. In addition to the re-compositions, the record featured two brand-new songs, “When We Dance” and “Nightfall.” Torrini also collaborated with Canadian turntablist Kid Koala on his album Music to Draw To: Satellite, which was released by Arts & Crafts in January of 2017.

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    Emily Barker

    Posted on 20 May 2020

    Emily Barker is an award-winning singer-songwriter, best known as the writer and performer of the theme to the BBC’s hugely successful crime drama Wallander starring Kenneth Branagh. She has released music as a solo artist as well as with various bands including The Red Clay Halo, Vena Portae and Applewood Road (with whom she released a remarkable album of original songs recorded live around a single microphone, dubbed “flawless” by The Sunday Times) and has written for film, including ...

    Emily Barker is an award-winning singer-songwriter, best known as the writer and performer of the theme to the BBC’s hugely successful crime drama Wallander starring Kenneth Branagh. She has released music as a solo artist as well as with various bands including The Red Clay Halo, Vena Portae and Applewood Road (with whom she released a remarkable album of original songs recorded live around a single microphone, dubbed “flawless” by The Sunday Times) and has written for film, including composing the soundtrack for Jake Gavin’s lauded debut feature Hector starring Peter Mullan and Keith Allen.

    As a performer, Barker is captivating and accomplished, with an adept understanding of audiences that finds her equally at home touring with punk troubadour Frank Turner as she is with American multi-Grammy-winning musician Mary Chapin Carpenter.

    Most recently, Barker has released an album of collaborations with English folk legend Marry Waterson. A Window to Other Ways is out now on One Little Indian Records.

    IMDb

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    Emily Rose and the Rounders

    Posted on 20 May 2020

    Emily Rose & the Rounders are a traditional country outfit from Los Angeles, California. After the dissolution of several other country projects, Emily Rose took the reigns and formed her own band in 2017 which was formerly called the Blue Rose Rounders and is now the Rounders as we know it. They made a self-titled record which came out on Mock Records in February of 2022 which featured Nicholas Merz on pedal steel and former drummer Jordan Edwards, who passed away tragically in 2021. T...

    Emily Rose & the Rounders are a traditional country outfit from Los Angeles, California. After the dissolution of several other country projects, Emily Rose took the reigns and formed her own band in 2017 which was formerly called the Blue Rose Rounders and is now the Rounders as we know it. They made a self-titled record which came out on Mock Records in February of 2022 which featured Nicholas Merz on pedal steel and former drummer Jordan Edwards, who passed away tragically in 2021. The record featured many old songs from Emily Rose’s catalog, touching on grief, regret, lost love, (all) female empowerment, nihilism and trying to find power, joy and sometimes humor in times of darkness. The record was only partially done when Edwards passed away, so it was important to the band to finish it  and preserve the memory of his time in the band and in their lives.

    The current  incarnation of the band consists of Emily Rose Epstein, who writes the songs, sings and plays guitar and her old friends Vincent Bury, the lead guitar player, bass player David Fox, drummer Brice Bradley and pedal steel player Olaf Selland. The Rounders are mainstays in the vibrant Los Angeles country scene and have toured with and opened for legendary acts like John Doe, Orville Peck, Dinosaur Jr., the Legendary Stardust Cowboy, Shannon & the Clams, Wanda Jackson and so many more. Their live shows are both celebratory and emotional, truly cathartic and also alive with the joyful spirit both the band and the crowds that come to see them.

    The Rounders serve up country music in the tradition of George Jones, Patsy Cline, Waylon Jennings and Webb Pierce without looking too far into the past for inspiration. They are not a throwback band, they are a band that has steeped themselves in the tradition of those that came before them and strive to make the kind of country music that has lifted them up and inspired them.

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    Emma Anderson

    Posted on 26 October 2023

    Emma Anderson, co-founder of Lush and, later, Sing-Sing, releases her debut solo album, Pearlies, on October 20, 2023.

    One of the most underrated British songwriters to emerge from the era that encompassed shoegaze and Britpop, she has teamed up with producer James Chapman (aka Maps) for this collection that combines effervescent electronic pop with psych and folk textures with lyrics covering themes such as confronting your fears, embracing independence and moving on in life.

    It arrives full...

    Emma Anderson, co-founder of Lush and, later, Sing-Sing, releases her debut solo album, Pearlies, on October 20, 2023.

    One of the most underrated British songwriters to emerge from the era that encompassed shoegaze and Britpop, she has teamed up with producer James Chapman (aka Maps) for this collection that combines effervescent electronic pop with psych and folk textures with lyrics covering themes such as confronting your fears, embracing independence and moving on in life.

    It arrives fully formed with a burnished beauty (aided by the mastering skills of Heba Kadry) that belies its somewhat protracted creation, which began with Emma feeling disillusioned after Lush’s 2016 reunion came to an abrupt end.

    Left with songs and bits of music originally intended for the band, she began working with cellist and string arranger Audrey Riley and Robin Guthrie, formerly of the Cocteau Twins, both of whom encouraged her to sing her own songs. Covid put a temporary halt on proceedings, but the decision had been made.

    When Sonic Cathedral introduced her to James Chapman at the start of 2022, Pearlies quickly took shape and blossomed into a masterpiece, the perfect mix of Emma’s incredible, idiosyncratic songwriting and James’ electronic production nous. Plus, a little extra guitar magic on four tracks courtesy of Richard Oakes from Suede.

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    Endless Boogie

    Posted on 20 May 2020

    Formed in the heart of Brooklyn, N.Y.C., Endless Boogie are an American rock ensemble, known for traversing the styles of psychedelic rock, stoner rock, and blues rock. Made up of Paul Major (vocals, guitar), Jesper Eklow (guitar), Marc Razo (bass guitar), and Harry Druzd (drums) the band was formed in 1997 after the members began to indulge in Tuesday night jam sessions. After some time, word began to spread of the ensemble’s sound and indie rock musician Stephen Malkmus decided to coax th...

    Formed in the heart of Brooklyn, N.Y.C., Endless Boogie are an American rock ensemble, known for traversing the styles of psychedelic rock, stoner rock, and blues rock. Made up of Paul Major (vocals, guitar), Jesper Eklow (guitar), Marc Razo (bass guitar), and Harry Druzd (drums) the band was formed in 1997 after the members began to indulge in Tuesday night jam sessions. After some time, word began to spread of the ensemble’s sound and indie rock musician Stephen Malkmus decided to coax them out of their rehearsal space in order to open for his band Stephen Malkmus and the Jicks at their debut N.Y.C. show in 2001. Naming themselves after an album by John Lee Hooker, the band’s performance was a success, which led to more live requests and the quartet eventually found themselves recording their rehearsals for their debut independent releases in 2005. The recordings in question were composed of numerous basement rehearsals, separated into limited copies of two volumes (simply entitled Vol. 1 and Vol. 2) which the band gave out at their appearance at the 2005 ATP festival in the U.K. In 2008, the band put out their first official album, Focus Level, via Philadelphia-based label, No Quarter Records. The record received widespread critical acclaim, garnering stylistic comparisons to the blues-laden hard rock of household acts such as ZZ Top and Canned Heat. The band delivered their sophomore effort for No Quarter in 2010’s Full House Head, which was swiftly followed by another rehearsal collection entitled The Skinless Ogress Revolution, Which Feeds on Human Sacrifice; a limited-edition 100-copy release that Eklow had handmade for sale at gigs on a West Coast tour. This tradition of capturing live rehearsals for hard copy releases cropped up again on the 2011 EP Twenty Minute Jam: Getting Out of the City. Endless Boogie’s third album, Long Island, was deemed as one of the band’s career-defining moments, with many citing it as their most eclectic, cohesive, and detailed effort to date. The group returned in early 2017 with their fourth full-length, Vibe Killer. The record was once again released via No Quarter Records.

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    Enumclaw

    Posted on 28 May 2024

    Hailing from Tacoma, Washington, U.S.A., Enumclaw are Seattle natives with the swagger of ’90s Britpop and grunge. Following the success of their critically acclaimed debut EP ‘Jimbo Demo’, Enumclaw returned in 2022 with their debut album ‘Save the Baby’, released on Luminelle Recordings. Produced by Gabe Wax, the album is titled as such for the dreams frontman Aramis Johnson has persevered in pursuing since he was a young child to make a mark on the world. It’s about the importan...

    Hailing from Tacoma, Washington, U.S.A., Enumclaw are Seattle natives with the swagger of ’90s Britpop and grunge. Following the success of their critically acclaimed debut EP ‘Jimbo Demo’, Enumclaw returned in 2022 with their debut album ‘Save the Baby’, released on Luminelle Recordings. Produced by Gabe Wax, the album is titled as such for the dreams frontman Aramis Johnson has persevered in pursuing since he was a young child to make a mark on the world. It’s about the importance of following your dreams, in spite of hardship. The band further consists of Ladaniel Gipson, Nathan Cornell, and Eli Edwards—who all met at a karaoke night in Tacoma before starting Enumclaw.

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    Eszter Balint

    Posted on 20 May 2020

    Eszter Balint is a Hungarian-American singer, songwriter, violinist, and actress. In 2014 she was making progress gathering material for the new album when out of the blue-after a long hiatus from acting she was offered a part she couldn’t refuse. She agreed to star in a six-episode arc of Louis C.K.’s F/X series Louie, Season 4, a performance which would earn her considerable critical praise. Eszter also improvised compositions, sang and played violin for the episodes which featured her...

    Eszter Balint is a Hungarian-American singer, songwriter, violinist, and actress. In 2014 she was making progress gathering material for the new album when out of the blue-after a long hiatus from acting she was offered a part she couldn’t refuse. She agreed to star in a six-episode arc of Louis C.K.’s F/X series Louie, Season 4, a performance which would earn her considerable critical praise. Eszter also improvised compositions, sang and played violin for the episodes which featured her performance. As soon as filming wrapped, Eszter returned to work on her album.

    The album boasts three of New York’s most distinguished and original guitarists: Chris Cochrane (John Zorn, Zena Parkins, long time EB alumni) Dave Schramm (The Schramms, Yo La Tengo, others) and Marc Ribot (too many to name!). They are joined by drummer Brian Wilson (Johnny Dowd, Neko Case), JD Foster on bass, and Sam Phillips on vocal harmonies. Andy Taub and Don Piper engineered at Brooklyn Recording, and Adrian Olsen mixed with JD and Eszter at Montrose Recording. This is Eszter’s third album working with Cochrane, producer Foster, and engineer Taub, and her second with Ribot, with whom she has also worked on a number of other projects over the years. Eszter is featured on vocals, guitar, violin, melodica, mandolin, random sounds, whistling, and she wrote all the songs.

    After releasing her second album Mud in 2004 on Bar/None, Eszter took a break and focused on parenting. Once her son started attending school, she began writing again. After a number of years spent writing and polishing these songs, doing studio sessions with other artists and resuming live performance, Balint felt she had a body of work worth capturing in the studio.

    Eszter relates, “The songs were ripening. They were just at that point where they were starting to feel like they needed to be picked. And my desire to record was starting to burn me up. Not all of the tunes were completed when I decided to make a record, but the ones which were, it felt like they were going to be neglected in an unkind way if they didn’t get recorded very soon.”

    What resulted is Balint’s most confident effort to date. The lyrics are cohesive and support strong, if mysterious, narratives with a decisive cinematic feel. The accompanying tunes are varied and strategically eclectic in approach. There’s more rock and punk influence here, which gives way to an eerie, calm spaciousness. These songs are artful, sophisticated yet earthy, there’s guts and grit and beauty too; it’s an eloquent expression of her life experiences to date.

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    Etienne Jaumet

    Posted on 20 May 2020

    Who knows Etienne Jaumet? His name might still be unknown… but his face doesn’t leave anyone indifferent: you only need to see him once on stage, shimmering and tense, surrounded by anolog machinery, synthesisers, sequencers and drum machines, to then recognise him anywhere.

     

    With Etienne being one half of Zombie Zombie, the band’s first album is still its last. Until they record a second one (the other half of Zombie Zombie is busy with his other band Herman Dun...

    Who knows Etienne Jaumet? His name might still be unknown… but his face doesn’t leave anyone indifferent: you only need to see him once on stage, shimmering and tense, surrounded by anolog machinery, synthesisers, sequencers and drum machines, to then recognise him anywhere.

     

    With Etienne being one half of Zombie Zombie, the band’s first album is still its last. Until they record a second one (the other half of Zombie Zombie is busy with his other band Herman Dune), Etienne Jaumet has embarked on a passionate new adventure: making music on his own, with his instruments as only companions.

     

    It was precisely upon the suggestion of the head of French label Versatile – Gilbert, that Etienne composed his first solo track and gave birth to the 15 minute ‘Repeat Again After Me’ (beautifully remixed by the Germans, Ame), a prelude to an eponymous album. A bit like when Klaus Schulze released his first solo album in the early ’70s when he was still officially in Ash Ra Tempel. The comparison with the ’70s doesn’t end there: Etienne composed this album with that decade in mind, or rather with the way records were made then, thinking of both sides of the record, both movements. This is why his record is made of five tracks. The first is 20 minutes long and is the entire A side, while the other, shorter tracks are on the flipside. That was his way of making the ’70s live on, but without insisting too much on the nostalgia of it all. At first listen you will immediately hear the urgency, contemporary and immediacy of the record.

     

    Etienne plays all the instruments: rhythm machine, synthesiser, effects, and saxophone (the instrument he played initially in indie bands like The Married Monk. This is where he comes from… but how far he has come). He makes everything come together on the moment, each track being recorded in one take, to preserve the moment, the inspiration, the energy and the insanity as well. Because there is also a good dose of madness in all this.

     

    Etienne Jaumet and his machines and instruments tell real stories, like little sonic landscapes, and he has been helped along the way by two big figures. The first is Carl Craig, who, blown away by Etienne’s demos, accepted to produce and mix the album, whilst keeping the entire original tracks intact – only adding effects, taking a few things away here and there, in order to only keep the bare essentials and accentuate the psychedelic feel of the original tracks. His work can be compared to that of a picture framer, illuminating and highlighting an already beautiful image. In turn, a French music legend appeared: the singer and harpist Emmanuelle Parrenin contributed her harp to Etienne’s sounds – she plays the stellar notes that conclude ‘For Falling Asleep,’ and she also lays her voice on the synthesised sounds, mixing and blending them together in a cosmic abstraction.

     

     

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    Eugene McGuinness

    Posted on 20 May 2020

    “I was born in London, and grew up in Essex but I went to university in Liverpool. I’m a bit of a three-headed monster; Liverpool, London, Ireland, all of them have influenced me in some way. I find it quite a weird thing to talk about, where someone comes from. It always seems to end up defining a person, and people would instantly associate you with a particular sound or with a particular group of people. I want to try to avoid that.” 

    ‘The Invitation To The Voy...

    “I was born in London, and grew up in Essex but I went to university in Liverpool. I’m a bit of a three-headed monster; Liverpool, London, Ireland, all of them have influenced me in some way. I find it quite a weird thing to talk about, where someone comes from. It always seems to end up defining a person, and people would instantly associate you with a particular sound or with a particular group of people. I want to try to avoid that.” 

    ‘The Invitation To The Voyage’ released in June 2012 is the second full-length album from Eugene McGuinness and his most powerfully conceived and fully realised artistic statement to date. Recorded with the dual assistance of producers Clive Langer (Elvis Costello, Morrissey, Madness) and Dan Carey (MIA, Hot Chip, Santigold) ‘The Invitation’ is an unabashedly bombastic, brave and above all, thoroughly contemporary update on a distinctly English strand of lyrical, gently fantastical pop songwriting that locates and celebrates the beautiful and the bizarre in modern life.


     

     

     

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    Ex-Cult

    Posted on 20 May 2020

    Memphis’ Ex-Cult, released their album Negative Growth in 2016 via In The Red Records. It’s the third full-length from is a continuous onslaught of bristling, blaring, mono-tonal punk songs that run zig zag through dystopia dodging rifle fire and tossing hand grenades. There are no duds here, and no dramatic departures. The cuts hurtle on, one after another, like bad news that comes in nines, blistering the ground as they pass and deepening the surrounding pall of smoke. You coul...

    Memphis’ Ex-Cult, released their album Negative Growth in 2016 via In The Red Records. It’s the third full-length from is a continuous onslaught of bristling, blaring, mono-tonal punk songs that run zig zag through dystopia dodging rifle fire and tossing hand grenades. There are no duds here, and no dramatic departures. The cuts hurtle on, one after another, like bad news that comes in nines, blistering the ground as they pass and deepening the surrounding pall of smoke. You could pick a high point by dropping in at any point on the album (though bonus for you if you land on “Hollywood Heat Seeker”).

    Ty Segall, who plays in GØGGS with Ex-Cult singer Chris Shaw, helped record Negative Growth and you can possibly discern his influence in the louder, sharper dual guitar sound (that’s JB Horrell and Alec McIntyre clanging out the riffs). Shaw told one interviewer that they’d used no guitar amps at all, instead feeding the guitars directly into the soundboard.

    “In the year of the snitch, there are forces beyond your control that keep you up at night. Ghost notions that swirl around your room while you sleep. Your own pillow laughing right in your face while you fight for an hour of rest. There are voices that whisper from the corner, telling you everything you never wanted to hear. ‘Negative Growth’, our third album, is dedicated to fear and deception.
    This collection of songs were conceived in Memphis and finalized in Los Angeles, with the help of our family doctor Ty Segall. It was created in February 2016, when we traded Memphis misery for a week of California sunshine. ‘Negative Growth’ is a nine-track nightmare, a death trip in the crystal ship. Out later this year, the institution known as In The Red Records will do the honors. The Hollywood Heat Seeker takes ten years off your life.” – Chris Shaw (Ex-Cult)

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    Farao

    Posted on 20 May 2020

    Farao established a trippy, textured mix of folk, rock, and whimsical atmosphere alongside ethereal vocals on her 2015 debut, Til It’s All Forgotten. Three years later, her follow-up takes a left turn, though it’s a wide rather than a sharp one, retaining much of her off-kilter electro-acoustic sound but recontextualizing it as dedicated alternative dance music. Titled “Pure-O”, the album was specifically inspired by Soviet disco and an obsession with the era’s analog synths. (The r...

    Farao established a trippy, textured mix of folk, rock, and whimsical atmosphere alongside ethereal vocals on her 2015 debut, Til It’s All Forgotten. Three years later, her follow-up takes a left turn, though it’s a wide rather than a sharp one, retaining much of her off-kilter electro-acoustic sound but recontextualizing it as dedicated alternative dance music. Titled “Pure-O”, the album was specifically inspired by Soviet disco and an obsession with the era’s analog synths. (The record’s gatefold packaging includes an itemized photo of a dozen or so models of synthesizers and controllers). She locks into the discothèque vibe right from the opener, “Marry Me,” a swirly, romantic club track with lyrics like “hold me, kiss me, marry me” accompanied by gossamer sighs and sparkling mechanical timbres. Also featured prominently on Pure-O are both live and programmed drums and zither, an instrument that accompanies her on tour and opens the second track “Lula Love You,” with a glissando. Later, the woozy “Luster of the Eyes” incorporates bent pitches and a contemporary alt-R&B persona, while “The Ghost Ship” manipulates and distorts vocal samples within strata of plucked stringed instruments, cymbals, and shimmery synths. Taken together, the set provides both reliably dreamy background grooves and, for the more attentive listener, frequent moments of discovery, making it seem more cutting edge than throwback despite its main inspirations.

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    Fat Dog

    Posted on 01 September 2023

    When the chaotic south London rabble known as Fat Dog came together, they made two rules: they were going to be a healthy band who looked after themselves and there would be no saxophone presence in their music. Two simple edicts to live by, and two things long-since broken by the Brixton five-piece.

    Fat Dog formed in 2021 after frontman Joe Love decided to seek out like-minded mavericks Chris Hughes (keyboards/synths), Ben Harris (bass), Johnny Hutchinson (drums) and Morgan Wallace (keyboard...

    When the chaotic south London rabble known as Fat Dog came together, they made two rules: they were going to be a healthy band who looked after themselves and there would be no saxophone presence in their music. Two simple edicts to live by, and two things long-since broken by the Brixton five-piece.

    Fat Dog formed in 2021 after frontman Joe Love decided to seek out like-minded mavericks Chris Hughes (keyboards/synths), Ben Harris (bass), Johnny Hutchinson (drums) and Morgan Wallace (keyboards/saxophone), to shake off the lockdown blues. The band is one of the most exciting breakthrough acts in recent times, conjurers of the sort of frenzied and wild live shows not seen in the capital for years.

    The sound Fat Dog make, Love says, is screaming–into–a–pillow music. “I wanted to make something ridiculous because I was so bored,” he declares. It’s a thrilling blend of electro-punk, rock’n’roll snarling, techno soundscapes, industrial-pop and rave euphoria, music for letting go to.

     

     

     

     

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    Fat White Family

    Posted on 20 May 2020

    Fat White Family are the band for our times and for the good times; a lens through which contemporary life is exposed, investigated and celebrated, from Malden to Sheffield and back again, with no stone left unturned.

    Faun Fables

    Posted on 20 May 2020

    FAUN FABLES is Dawn McCarthy’s vivid imagination come to life in song and theater, made to explore human pathos amid an animate earth with musical & physical storytelling forms. It has been attracting a devoted and eclectic following since 1997 with numerous performances throughout North America, Europe, Israel, Australia, New Zealand, Iceland and four record releases distributed worldwide on Drag City Records: EARLY SONG, MOTHER TWILIGHT, FAMILY ALBUM and THE TRANSIT RIDER.

    Dawn McCart...

    FAUN FABLES is Dawn McCarthy’s vivid imagination come to life in song and theater, made to explore human pathos amid an animate earth with musical & physical storytelling forms. It has been attracting a devoted and eclectic following since 1997 with numerous performances throughout North America, Europe, Israel, Australia, New Zealand, Iceland and four record releases distributed worldwide on Drag City Records: EARLY SONG, MOTHER TWILIGHT, FAMILY ALBUM and THE TRANSIT RIDER.

    Dawn McCarthy is a writer, singer and theater artist whose work is a sea of gorgeous elemental nitty gritty; haunting melodies, breath, stomping, and natural theatricality led by the voice, rooted in the physical body. It is a crossroads where ancient ballad, art song, physical theater and rock music meet. Her lyrics speak to people of all ages about things like rugged housekeeping, street kids, growing old, sleepwalking and exiled travelers returning home. She was raised in Spokane, WA by two piano players from Chicago and grew up making sounds and dances with a big family of Italian and Irish descent. Her primary education and inspiration came from all kinds of unorthodox and self-taught means. At home her parents played romantic, impressionistic and folkloric melodies via Bartok and Debussy, while older siblings helped develop her taste for rock and experimental music.

    In New York City, Dawn studied at the School Of Visual Arts and New School for Social Research and cut her teeth as a performer with several adventurous theatrical and musical groups. A solo & musical exploration through Europe plus a fateful meeting with Oakland based entertainer NILS FRYKDAHL began a creative chapter in 1997 that eventually relocated her to the thriving arts community of the Bay Area, California, where she is still currently based. In recent times, Dawn has been inspired by studies with Polish theater director WLODZIEMIERZ STANIEWSKI, Action Theater artist CASSIE TERMAN, a primitive skills anthropological workshop called ‘RABBITSTICK,’ and singers LOLE MONTOYA, MARIANA SADOWSKA and ROKY ERICKSON.

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    Faux Real

    Posted on 24 September 2024

    It’s hard to pin down Faux Real. The Franco-American duo, comprised of brothers Elliott and Virgile Arndt, have been steadily broadening the scope of their project. Their high-octane DIY performances, involving matching cut-up boiler suits lined with fringe, barefoot dance routines, and crowd-splitting highkicks, are taking on a more established and ever more unhinged form — think Iggy Pop meets campy Eurodance boyband. Humble beginnings between Paris and London birthed their first self-t...

    It’s hard to pin down Faux Real. The Franco-American duo, comprised of brothers Elliott and Virgile Arndt, have been steadily broadening the scope of their project. Their high-octane DIY performances, involving matching cut-up boiler suits lined with fringe, barefoot dance routines, and crowd-splitting highkicks, are taking on a more established and ever more unhinged form — think Iggy Pop meets campy Eurodance boyband. Humble beginnings between Paris and London birthed their first self-titled EP in 2020. Dubbed “Anti-Rock” by early onlookers, Faux Real showcased a keen ear for hooks and anthemic songwriting. The ensuing pandemic had the pair looking inwards and digging their way into a glossier pop sound.

    Recorded between Paris, Provence, London, New York, and Los Angeles, Faux Ever is the boiling down of countless demos, and honors Faux Real’s love of puns. Opening track and initial single “Faux Maux” (a play on the acronym for “fear of missing out” that doubles up as french for “fake aches”) is an ode for the introverts who revel in the comfort of staying in and missing the party. They’re unafraid of injecting silliness with severity: songs like “99 Ghosts” and “Walking Away From My Demons” address psychological turmoil with deadpan humor. The contradictions between order and chaos, between the visceral and the artificial — that’s where Faux Real truly shines.

    Exploring themes of pastiche, hustle culture, anxiety and authenticity with an often brutalist sound – and en franglais (s’il vous plaît!) – the band of brothers cite a broad range of references from Talking Heads to Björk, from the outsider ballads of Tommy Mandel to fellow Franco-American bard Joe Dassin, from 90s Eurodance to Prefab Sprout, the California-drenched synth bangers of Mylene Farmer to experimental pop futurists Art Of Noise or industrial dance duo Chris & Cosey.

    At the core of Faux Ever, Faux Real interrogate what constitutes ‘real’ art, and seek a home within their practice. They have built an entire philosophical framework, acting as a duo of alternative jesters infiltrating the pop space. Toeing the line between undeniable pop potential and an off-kilter flair lies at the core of everything they do. That said, no one really knows what is real and what is faux, and that’s the magic of it all.

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    Fear Of Men

    Posted on 20 May 2020

    Brighton, U.K. indie pop/dream pop band Fear of Men began in early 2011 as an extension of work Jessica Weiss was making for her art degree. Weiss had been making ambient soundtrack recordings for her short films, and met guitarist Daniel Falvey when he came to the exhibition of these films. The two art students started working toward a more pop sound in bedroom recordings, and eventually made a series of lo-fi demos designed to lure in other players to be in the band. Almost immediately, the...

    Brighton, U.K. indie pop/dream pop band Fear of Men began in early 2011 as an extension of work Jessica Weiss was making for her art degree. Weiss had been making ambient soundtrack recordings for her short films, and met guitarist Daniel Falvey when he came to the exhibition of these films. The two art students started working toward a more pop sound in bedroom recordings, and eventually made a series of lo-fi demos designed to lure in other players to be in the band. Almost immediately, the bait was taken by Alex Flynn-O’Neill, who joined in on bass, and Michael Miles on drums. Weiss took the role of lead vocalist and also played guitar. The group quickly completed a well-received cassette and quickly rose to acclaim through a series of support gigs and a string of 7″ releases on smaller indie labels such as Sex Is Disgusting and Italian Beach Babes. Fear of Men perfected their woozy sound, falling somewhere between the moody shoegaze of ’90s acts like Curve and Lush and the beachy indie currents of their own era. A compilation of various cassette and 7″ releases called Early Fragments was released in early 2013 while the band prepared to record its proper debut album. By this point some bandmembers had relocated to London, and some shifts in lineup occurred as they embarked on their first international tours. The band showed up as the initial trio of Weiss, Falvey, and Miles on their 2014 debut LP, Loom, aided by various string and woodwind players on several tunes. The album received critical acclaim, and the group toured North America and Europe, opening for the Pains of Being Pure at Heart. Two years later, Fear of Men released their second album, Fall Forever. 

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    February Montaine

    Posted on 20 May 2020

    February Montaine was an outsider artist from the Midlands, England who was active between the period of 1985 and 1991.
    Domino Publishing artist Sam Potter (previously of Late of The Pier) was introduced to his works of music, memoirs and prophecies some five years ago, and has been working with February’s step-daughter Suzy, to document Montaine’s unique take on the world since.
    What was left by February varies from well archived stems to scraps of ideas recorded straight to tape. In the...

    February Montaine was an outsider artist from the Midlands, England who was active between the period of 1985 and 1991.
    Domino Publishing artist Sam Potter (previously of Late of The Pier) was introduced to his works of music, memoirs and prophecies some five years ago, and has been working with February’s step-daughter Suzy, to document Montaine’s unique take on the world since.
    What was left by February varies from well archived stems to scraps of ideas recorded straight to tape. In the last year he has been carefully digitising these, and when possible mixing these most cherished possessions he left behind.
    His work paints the picture of a reclusive and sensitive artist using music as a lens to observe and interact with the world around him. The music is functional, using a broad palette of styles to enhance and change his moods. Music and memoir releases are scheduled in 2020 on respected reissue labels Be With and Seance Centre.

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    The Feelies

    Posted on 20 May 2020

    The Feelies, the legendary and influential rock band, reunited at Battery Park in NYC on July 4th, 2008 opening for Sonic Youth. The classic Feelies lineup of Glenn Mercer, Bill Million, Dave Weckerman, Brenda Sauter, and Stanley Demeski performed their first show since 1991.

     

    Formed in Haledon NJ in 1976, The Feelies released 4 albums- including their critically acclaimed and influential debut Crazy Rhythms, which was voted 49 in the top 100 albums of the 1980s by Rolling Stone magazin...

    The Feelies, the legendary and influential rock band, reunited at Battery Park in NYC on July 4th, 2008 opening for Sonic Youth. The classic Feelies lineup of Glenn Mercer, Bill Million, Dave Weckerman, Brenda Sauter, and Stanley Demeski performed their first show since 1991.

     

    Formed in Haledon NJ in 1976, The Feelies released 4 albums- including their critically acclaimed and influential debut Crazy Rhythms, which was voted 49 in the top 100 albums of the 1980s by Rolling Stone magazine and chosen by Spin Magazine as 49 of the best alternative records of all time.

     

    The twin-guitar attack of songwriters and founders Glenn Mercer and Bill Million is the infectious sound of the group. Paired with driving drums and percussion, it has left an indelible mark on the landscape of rock and roll.

     

    According to legend, the band played infrequently (usually on national holidays); however The Feelies performed several American and European tours in support of their records The Good Earth, Only Life, and Time For A Witness, which created a large cult following. The band also appeared on the The Late Show With David Letterman and in concerts with Lou Reed, The Patti Smith Group, REM and Bob Dylan. Their music has been featured in the films Married to the Mob, Something Wild, Prelude to a Kiss, The Truth About Charlie and The Squid & the Whale.

     

    After the band’s breakup, Mercer and Weckerman formed Wake Ooloo, who released 3 CDs. Demeski played with Luna, and Sauter formed Wild Carnation. Mercer’s first solo CD Wheels In Motion (2007), which included performances by five former Feelies, and Wild Carnation’s recent Superbus (2006) topped several critics’ “Year’s Best” polls.

     

    This highly anticipated reunion brought The Feelies’ distinctive sound back to live performance for long-time fans and a generation of fans who have only savored the long out-of-print records and CDs. In March 2009, The Feelies performed by invitation at the “Tribute to R.E.M.” concert at Carnegie Hall.

     

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    Felix

    Posted on 20 May 2020

     

     

     

    ‘Oh Holy Molar’ is the second album from the UK trio. The group produces bewitching, minimal chamber pop that works as the perfect framework for singer/songwriter Lucinda Chua’s oblique and emotionally immediate stories of superstition and searching for protection against bad omens. As a follow up to their debut ‘You Are The One I Pick’, the band return with a collection of songs with a sound stripped back to its very core. Something is said to h...

     

     

     

    ‘Oh Holy Molar’ is the second album from the UK trio. The group produces bewitching, minimal chamber pop that works as the perfect framework for singer/songwriter Lucinda Chua’s oblique and emotionally immediate stories of superstition and searching for protection against bad omens. As a follow up to their debut ‘You Are The One I Pick’, the band return with a collection of songs with a sound stripped back to its very core. Something is said to have “teeth” when it has the ability to make an impact. This record certainly has “teeth”, and sharp ones at that. The album was recorded in a vast, spooky 1940s cinema in Nottingham, England, now converted into a studio. After recording was completed the band discovered that underneath the live room lay an abandoned Dental Laboratory. “Oh Holy Molar” indeed.

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    Flasher

    Posted on 20 May 2020

    Although undoubtedly, and proudly, a band that could only be native to Washington DC and its politically-engaged DIY independent culture, the songs of Flasher speak to an experience that is universal – an instantly recognisable state of being where torpor and hedonism share an equal status, one experienced at the sharp end of inter-generational equality. The band’s music is a thrilling and energised response to such feelings of malaise – a layering of guitars and atmospheres, which prov...

    Although undoubtedly, and proudly, a band that could only be native to Washington DC and its politically-engaged DIY independent culture, the songs of Flasher speak to an experience that is universal – an instantly recognisable state of being where torpor and hedonism share an equal status, one experienced at the sharp end of inter-generational equality. The band’s music is a thrilling and energised response to such feelings of malaise – a layering of guitars and atmospheres, which proves that the sound of kicking the hell out is still the best response.

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    Fontaines D.C.

    Posted on 20 May 2020

    Barely a year after the release of their hugely acclaimed debut album ‘Dogrel’, which earned a Mercury Prize nomination and was named Album of the Year 2019 by both BBC 6 Music and Rough Trade record store, Dublin’s Fontaines D.C. returned with an intensely confident, patient, and complex follow-up album, ‘A Hero’s Death’.

    Now, following their third album ‘Skinty Fia’ (2022) and taking home the Brit Award for 2023 International Group, Fontaines D.C. announce details of their h...

    Barely a year after the release of their hugely acclaimed debut album ‘Dogrel’, which earned a Mercury Prize nomination and was named Album of the Year 2019 by both BBC 6 Music and Rough Trade record store, Dublin’s Fontaines D.C. returned with an intensely confident, patient, and complex follow-up album, ‘A Hero’s Death’.

    Now, following their third album ‘Skinty Fia’ (2022) and taking home the Brit Award for 2023 International Group, Fontaines D.C. announce details of their highly-anticipated 2024 album, ‘ROMANCE’, released via XL Recordings and produced by James Ford. Ideas for ‘Romance’ crystalised whilst on tour with the Arctic Monkeys, as the five band members shared music and found a throughline with artists that deftly build out their own sprawling creative worlds.

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    Forest Fire

    Posted on 20 May 2020

    Forest Fire is an experimental rock band living in New York City whose music is based around the songwriting of guitarist/vocalist Mark Thresher. Band members are guitarist/multi-instrumentalist Nathan Delffs, bassist/multi-instrumentalist Natalie Stormann, producer/keyboardist Adam Spittler & drummer Robert Pounding.

    With two albums under their belts 2009’s “SURVIVAL”, and last year’s “STARING AT THE X” the band have earned acclaim as one of Rough Trad...

    Forest Fire is an experimental rock band living in New York City whose music is based around the songwriting of guitarist/vocalist Mark Thresher. Band members are guitarist/multi-instrumentalist Nathan Delffs, bassist/multi-instrumentalist Natalie Stormann, producer/keyboardist Adam Spittler & drummer Robert Pounding.

    With two albums under their belts 2009’s “SURVIVAL”, and last year’s “STARING AT THE X” the band have earned acclaim as one of Rough Trade shops’ top ten records of the year.

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    FOUND

    Posted on 20 May 2020

    FOUND is the brainchild of art college buddies: Ziggy Campbell (lead vocals, guitar), Tommy Perman (bass guitar, synth) and Kev Sim (electronics, percussion). The band create an unusual mix of garage rock, melodic pop and glitchy electronica.
    FOUND began life as an experimental arts collective putting on many weird and wonderful events in art galleries, warehouses and even storage containers.
    Their most recent project, an emotional robot band called Cybraphon, captured the attention of the wo...

    FOUND is the brainchild of art college buddies: Ziggy Campbell (lead vocals, guitar), Tommy Perman (bass guitar, synth) and Kev Sim (electronics, percussion). The band create an unusual mix of garage rock, melodic pop and glitchy electronica.
    FOUND began life as an experimental arts collective putting on many weird and wonderful events in art galleries, warehouses and even storage containers.
    Their most recent project, an emotional robot band called Cybraphon, captured the attention of the world’s press. Since its unveiling at the Edinburgh International Festival at the start of August, Cybraphon has been featured on national newspapers across the world (e.g. China, Brazil, Italy, Spain, UK), made the top story on the homepage of WIRED.com and has been covered by CNN and TV networks internationally including BBCs primetime arts show The Culture Show.
    FOUND made their American debut at SXSW in March 2009 and followed up with a string of performances at CMJ in October 2009 where Brooklyn Vegan picked them out as ones to watch. In the UK they have built up a strong fan base and highlights of their live career to date include the BBC Electric Proms, T in the Park, Triptych, Brightons Great Escape, the Fence Collective Homegame’s; festival and Hydro Connect Festival.
    Their self-released debut ‘Found Can Move’ earned them an impressive amount of UK national radio play including support from BBC Radio 1 djs, Steve Lamaq, Rob Da Bank, Huw Stevens and Vic Galloway. They’ve recorded radio sessions for BBC Radio 1, BBC 6 Music and BBC Radio Scotland including a recording in John Peel’s studio at Maida Vale.  They also recorded an exclusive live session in the legendary ‘Beatles Studio’ at Abbey Road for US radio station U-Pop XM 29.

    FOUND have a prolific output with two full-length albums and numerous singles / EPs in the last two years, with releases on Fence Records [UK], Creeping Bent [UK] and Aufgeladen Und Bereit [Germany]. The band have also become sought-after remixers and have recently applied their creative imaginations to reworking the music of King Creosote (Warner), Make Model (EMI), Attic Lights (Island) and Au Revoir Simone (Moshi Moshi).

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    Foxes in Fiction

    Posted on 20 May 2020

    Toronto-native Warren Hildebrand began his Foxes in Fiction project in 2005, during his sophomore year of high school, as an outlet for his drug-induced, experimental sound collages. In 2011, Hildebrand hunkered down in his Toronto apartment, writing and recording what would later become his second Foxes in Fiction full-length album entitled ‘Ontario Gothic’. The album, which is centered around the idea of loss, finds Hildebrand looking back at the past five years while living in Toronto ...

    Toronto-native Warren Hildebrand began his Foxes in Fiction project in 2005, during his sophomore year of high school, as an outlet for his drug-induced, experimental sound collages. In 2011, Hildebrand hunkered down in his Toronto apartment, writing and recording what would later become his second Foxes in Fiction full-length album entitled ‘Ontario Gothic’. The album, which is centered around the idea of loss, finds Hildebrand looking back at the past five years while living in Toronto and the powerful experiences that took place during that time. Hildebrand enlisted songwriter/composer Owen Pallett (also Domino Publishing) to contribute string arrangements throughout the album, giving it a warm, rich overtone. He then moved to New York in 2013. “Personal loss and dealing with anxiety and depressive issues that I’ve struggled with my most of my life have played into my music and the way I work for as long as I can remember. Growing up gay on a small farm in rural Ontario was part of the reason that I got into writing and making music as a young kid, and the isolation and loneliness that I went through because of that helped to shape the conditions under which I usually make my best work.” ‘Ontario Gothic’ will be released on September 23 via his own label, Orchid Tapes. Orchid Tapes is distributed by the Orchard and has also released two previous Foxes in Fiction records: ‘Swung from the Branches’ and ‘Alberto EP’.

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    Fránçois & the Atlas Mountains

    Posted on 20 May 2020

    François Marry alongside his band The Atlas Mountains are Domino Record’s first signing to their French office in Paris. Raised in south-west France, Fránçois released his first album ‘Pleine Inondable’ in 2009 on King Creosote’s Fence Records and then settled down and made music in cities such as Bristol, Bruxelles and Paris.

    François has been busy since the 2017 release of ‘Solide Mirage’, Frànçois and the Atlas Mountains’ fourth album. First, he headed to the 19th...

    François Marry alongside his band The Atlas Mountains are Domino Record’s first signing to their French office in Paris. Raised in south-west France, Fránçois released his first album ‘Pleine Inondable’ in 2009 on King Creosote’s Fence Records and then settled down and made music in cities such as Bristol, Bruxelles and Paris.

    François has been busy since the 2017 release of ‘Solide Mirage’, Frànçois and the Atlas Mountains’ fourth album. First, he headed to the 19th century and Baudelaire’s Les Fleurs du Mal (The Flowers of Evil), from which he set eight poems to music; then to Essaouira, Morocco, where he discovered the trancelike music of the Gnawa people; and finally back to Europe where he gathered images and melodies. “I love that dreamlike state of starting afresh with a blank canvas. That feeling where anything is possible, allowing you to let new and unexpected flavours into your open mind.”

    His fifth album ‘Banane Bleue’ forthcoming on 26th February 2021 is an album about wandering and memories; a journey through space, love and time. A nomadic record, hailing from rented workspaces in Berlin, Athens and Paris and assisted on production by Finish composer Jaakko Eino Kalevi and on mixing duties by Renaud Letang (Feist, Gonzales, Connan Mockasin).

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    Frankie and the Heartstrings

    Posted on 20 May 2020

    Sunderland five-piece Frankie and the Heartstrings released their first album Hunger in 2011 – an upbeat collection of indie pop songs frecorded with the legend Edwin Collins. Likened by the BBC to Orange Juice and Dexy’s Midnight Runners the lead track ‘Hunger’ found its way onto a Domino Pizza commercial. 2013‘s ‘The Days Run Away’ was recorded in Newcastle and London with former Suede figurehead and producer Bernard Butler. The band initially collaborated ...

    Sunderland five-piece Frankie and the Heartstrings released their first album Hunger in 2011 – an upbeat collection of indie pop songs frecorded with the legend Edwin Collins. Likened by the BBC to Orange Juice and Dexy’s Midnight Runners the lead track ‘Hunger’ found its way onto a Domino Pizza commercial. 2013‘s ‘The Days Run Away’ was recorded in Newcastle and London with former Suede figurehead and producer Bernard Butler. The band initially collaborated with Butler on a one off single ‘Everybody Looks Better (In The Right Light)’ released in 2011.  This successful partnership led F&THs to record their upcoming second album with Butler, the first fruits of their sessions was released in the form of download track ‘I Still Follow You’ in October 2012.

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    Friends of Dean Martinez

    Posted on 20 May 2020

    Friends of Dean Martinez is an instrumental rock band featuring members of Giant Sand, Calexico, and Naked Prey. Beautiful ambient rock reminiscent of Unwed Sailor. In a nutshell, FoDM is a combination of bits of electronic static intertwined with surf guitar inspired leads, reminiscent of pre “dark side” Pink Floyd, all droning to the beat of Nick Mason-esque drums, stretched over 30 minute intervals. The band was originally formed in Tucson, Arizona as an experimental side project by va...

    Friends of Dean Martinez is an instrumental rock band featuring members of Giant Sand, Calexico, and Naked Prey. Beautiful ambient rock reminiscent of Unwed Sailor. In a nutshell, FoDM is a combination of bits of electronic static intertwined with surf guitar inspired leads, reminiscent of pre “dark side” Pink Floyd, all droning to the beat of Nick Mason-esque drums, stretched over 30 minute intervals. The band was originally formed in Tucson, Arizona as an experimental side project by various members of Giant Sand, Calexico and Naked Prey.

    Originally called “The Friends of Dean Martin,” they were forced to change their name after Dean Martin refused to give his blessing. It worked out for the best, as “Martinez” provided a south-western spin to their retro lounge sound, with their debut album, “The Shadow of Your Smile,” released with Sub Pop in 1995. The band has evolved several times since then. They’ve gone through a variety of line-ups, moved to Los Angeles, and have now settled in Austin, Texas.

    Currently the trio includes Bill Elm on steel guitar and organ, Mike Semple on guitar, and Andrew Gerfers on drums. Originally a guitar player, Elm first started experimenting on the steel guitar with the formation of “Friends”. Pushing beyond the instrument’s country twang traditions, he pioneered a distinctive new sound for the pedal steel guitar, by playing it more like a voice rather than merely as a background instrument. With a distinctive filmic sensibility that is able to create images and mood without words, the “Friends” eventually embarked on a project to perform a live score to the silent film masterpiece The Cabinet of Dr. Caligari at the Alamo Drafthouse in Austin. Part performance and part film, the band began to redefine the boundaries of the conventional film music score. Feature film scoring work has included the Richard Linklater film Fast Food Nation and the John Waters narrated feature documentary Plagues & Pleasures on the Salton Sea.

    Upon seeing Plagues & Pleasures on the Salton Sea for the first time, Elm recollects, “I felt I could really write music for this. It was a nice fit for what we do, the images, and the story. It felt natural to watch it and want to write music. It was inspiring, and that’s the most you can ask for when you score something or write music.” “The music we play supports things well,” adds Semple, “and I think that the Salton Sea is very compatible with that because of the vastness, the openness and the people that live there – there are certain qualities to them that leaves space for interpretation. I think leaving things open and not entirely filling up all the spaces is the commonality between the music and the desert.”

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    Frightened Rabbit

    Posted on 20 May 2020

    Ever since Scott Hutchison started releasing music as Frightened Rabbit more than a decade ago, his emotionally honest and incisively worded lyrics have been among the project’s most beloved qualities. Over the course of five albums, including their new Painting of a Panic Attack, Frightened Rabbit’s frontman has made poetry of his misery, and still somehow managed to make it sound anthemic — like a triumphant rallying cry rather than a downer. In all of those respects, Painting...

    Ever since Scott Hutchison started releasing music as Frightened Rabbit more than a decade ago, his emotionally honest and incisively worded lyrics have been among the project’s most beloved qualities. Over the course of five albums, including their new Painting of a Panic Attack, Frightened Rabbit’s frontman has made poetry of his misery, and still somehow managed to make it sound anthemic — like a triumphant rallying cry rather than a downer. In all of those respects, Painting of a Panic Attack – produced by The National’s Aaron Dessner – , is the band’s most accomplished collection yet. “Great songwriters touch a nerve, and I think Scott really touches a nerve with these songs,” says Dessner. “To me, lyrically, this album is a step above anything he’s written before.”

    Beginning with the 2006 debut album Sing The Greys, Frightened Rabbit have become one of the U.K.’s most beloved exports. Though originally self-released, Sing The Greys earned the band a deal with indie label Fat Cat Records, who re-released the album and the two that followed: 2008’s Midnight Organ Fight and 2010’s The Winter of Mixed Drinks. Their last album, 2013’s Pedestrian Verse, marked their Canvasback / Atlantic Records debut, as well as their most critically and commercially successful albums to date. In the UK, that LP was dubbed “a triumph” by The Quietus, while The Guardian described it as “a collection of stirring, instant anthems.,” Equal praise came from wide swath of U.S. outlets, including Rolling Stone, Time magazine, and Pitchfork, who praised Hutchison’s “lucid assessments of social and emotional turmoil.” The album also helped Frightened Rabbit achieve new commercial milestones, bringing a Top 10 debut in the U.K..

    “I think a lot of this new record is informed by reaching a conclusion of sorts with Pedestrian Verse — closing a door on a sound that we came the closest to achieving with that album,” says Hutchison. After taking some time off from Frightened Rabbit to record and tour in support of the 2014 solo album he released as Owl John, the singer returned to his band with the goal of continuing to explore new approaches to songwriting. One important aspect of that evolution has been a shift to a more collaborative process, with all five band members contributing as songwriters.

    Painting of a Panic Attack began in the summer of 2014, when the band — Hutchison, his brother/drummer Grant Hutchison, bassist Billy Kennedy, guitarist/keyboardist Andy Monaghan, and multi-instrumentalist Simon Liddell (who worked with Hutchison and Monaghan on Owl John and joined Frightened Rabbit after Gordon Skene’s amicable departure) — convened in Wales to begin demoing ideas. “We started as though we were making an instrumental album,” Hutchison explains. They wrote and tracked approximately a song a day during the course of a couple weeks and ended up with a dozen ideas that Hutchison took back with him to his new home in Los Angeles, where he would tackle the lyrics.

    The singer had relocated there from Glasgow earlier that same year, and, although initially optimistic about the move, he was surprised to quickly discover that he felt profoundly out-of-step in LA. “I don’t usually get homesick,” he says, “but I’d never gone so far from home for such a long period of time before.” Being disconnected by friends, family, and especially his bandmates was a stark contrast to his life while making Pedestrian Verse, where the band moved in together, forging a camaraderie and connection that was, in Hutchison’s own words, “gang-like.”

    As he worked his way through the Wales demos, Hutchison says, “I was circling what could be a central idea for this record — this sense of not really being sure why I was in LA. But I was still avoiding admitting that that was how I felt.” He sent a few tracks to his brother Grant for some feedback. “Grant was like, ‘Are you really saying what you think here?,’” Hutchison recalls. “Initially I was pissed, but as I thought about it more I realized that he was right. That, out of the desire for this album to be different, I was avoiding writing about the stuff that actually matters to me and the things that were going on with me at the time. I was fictionalizing a bit too much. And after that conversation, a lot of things came into focus.”

    The first thing he wrote after that — the anthemic “I Wish I Was Sober” — is sure to become one of Painting of a Panic Attack’s signature songs. ” “It’s a lonely song,” says Hutchison. “There’s a lot of that on this record, because I was really lonely in LA. And I think that’s what ‘I Wish I Was Sober’ came to represent: that desperate point where you’re like, ‘I have had too much and I don’t have anyone to lean on.’”

    Of first single “Get Out” — a tune about a lover you’ll never get over — Hutchison says: “‘Get Out’ is about that person to whom you are completely addicted. They are a drug, and the one that you don’t feel like quitting. They live in your blood and will not leave. I’ve always found it compelling to write about the physical nature of love and loss, rather than the mental aspect. ‘Get Out’ continues that exploration and takes it to a somewhat obsessive level.”

    As Hutchison continued to work on the new songs, he reached out to Dessner to discuss collaborating — maybe writing a couple songs together. The two musicians originally met in 2013, when Frightened Rabbit opened for The National on a month-long tour. But Dessner was also a longtime fan of the band, and quickly became the obvious choice to produce Painting of a Panic Attack. “Before this,” Hutchison notes, “we’d never actually worked with a producer who had such a distinct awareness of our catalog and where we’d been as a band. And Aaron was very mindful of that — what we had done in the past and where we needed to go with this album to take us creatively forward.”

    Frightened Rabbit arrived at Dessner’s Ditmas Park, Brooklyn studio last August with thirty contenders for Painting of a Panic Attack, and whittled down from there over the course of the following month. As they considered which direction the album should take, Hutchison says it became clear that the best tracks were the ones with the most emotional immediacy. “‘I Wish I Was Sober’ is not the first song I’ve written about being drunk, and ‘Break’ is not the first song I’ve written about being a fuck-up and wishing I wasn’t, but it turns out there are many ways of expressing that,” says Hutchison. “I think people who are fans of our band come to us for a sense of belonging. I know that’s not unique to us, but I really do believe that our music can come to a person at a pivotal point in their life and that we can become this place to consider where you are in the world.”

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    Futurebirds

    Posted on 20 May 2020

    Futurebirds is a band that has carved its own path in the music world with an eclectic mix of psychedelic country rock. Formed in 2008 in Athens, Georgia, the band consists of Carter King, Daniel Womack, Thomas Johnson, Brannen Miles, and Tom Myers. Known for their rich harmonies and energetic live performances, Futurebirds have released several albums, including Hampton’s Lullaby (2010), Baba Yaga (2013), and Teamwork (2020), each showcasing their Southern roots and innovative sound.

    For F...

    Futurebirds is a band that has carved its own path in the music world with an eclectic mix of psychedelic country rock. Formed in 2008 in Athens, Georgia, the band consists of Carter King, Daniel Womack, Thomas Johnson, Brannen Miles, and Tom Myers. Known for their rich harmonies and energetic live performances, Futurebirds have released several albums, including Hampton’s Lullaby (2010), Baba Yaga (2013), and Teamwork (2020), each showcasing their Southern roots and innovative sound.

    For Futurebirds, the road goes on forever. Easy Company (2024) is the latest stop on a journey that’s still unfolding, winding its own route through American rock & roll, giving Futurebirds and the grassroots community they’ve created — the Birdfam — a new place to land.

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    Genuflex

    Posted on 20 May 2020

    Introducing the heartbreaking Lynch tilted torch songs of Genuflex … who’s been described as “Scott Walker singing through a Cocteau wash of Bowie era Berlin.”

     He is also featured on the eagerly awaited  David Bowie tribute album due for release world wide September 6th on Manimal Vinyl, on which he has forged a luxurious cover of “Soul love” from the classic album Ziggy Stardust and the Spiders from Mars.

     

     

     

     

    Geordie Greep

    Posted on 25 September 2024

    Geordie Greep is a musician and songwriter, known as the former frontman of black midi. His upcoming 2024 debut solo album, The New Sound, features contributions from over thirty session musicians across two continents, with half of the tracks recorded in Brazil. Greep’s work blends intricate jazz-funk workouts with surreal storytelling, exploring themes of desperation and grandeur. The music is characterized by a liquid and propulsive feel, alongside moments of brilliant absurdity.

    George FitzGerald

    Posted on 20 May 2020

    George FitzGerald is a singular voice in electronic music, uniting underground dancefloor progressivism with pop’s cutting edges. Following the release of 2015’s debut album Fading Love and 2018’s breakthrough album All That Must Be, last year he released his third studio album, Stellar Drifting, featuring tracks with Panda Bear, London Grammar and SOAK, and artwork created by the celebrated designer David Rudnick.

    Concluding a sold out UK and European tour in October, FitzGe...

    George FitzGerald is a singular voice in electronic music, uniting underground dancefloor progressivism with pop’s cutting edges. Following the release of 2015’s debut album Fading Love and 2018’s breakthrough album All That Must Be, last year he released his third studio album, Stellar Drifting, featuring tracks with Panda Bear, London Grammar and SOAK, and artwork created by the celebrated designer David Rudnick.

    Concluding a sold out UK and European tour in October, FitzGerald returned to the studio and this summer will release a new EP entitled Not As I. Featuring recent Lana Del Rey collaborator SYML, the solo project of American artist Brian Fennell, on the track “Mother”, the EP showcases his continued evolution as a producer, and his ability to reframe his work through new collaborations.

    FitzGerald has been a preeminent figure in electronic music for over a decade. After many years in Berlin releasing tracks on labels including Aus and Hotflush Recordings, FitzGerald signed to Domino’s imprint label Double Six in 2013 and made the transition from club producer to album artist, establishing a celebrated live show, and working with icons such as Bonobo and Everything But the Girl’s Tracey Thorn. As well as a collaboration album entitled OTHERLiiNE with UK artist Lil Silva, FitzGerald helped produce London Grammar‘s 2021 number one album, hosted his very own BBC Radio 1 residency and boasts a remix roster with the likes of Foals, Moby and Jon Hopkins.

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    Georgia

    Posted on 20 May 2020

    Georgia Barnes is a Londoner, Producer and club-informed forward thinker. The self-titled debut Georgia album was both a statement of intent and an assured presentation of a life consumed by music, one spent alongside friends and accomplices Kae Tempest, Kwes and Micachu. Her 2020 album Seeking Thrills is a record that blossoms into life, animated by Chicago House piano lines, vintage drum machines, and Georgia’s bespoke street sass.

    Gilla Band

    Posted on 20 May 2020

    Gilla Band (fka Girl Band) are a 4 piece noise rock band from Dublin, Ireland. Their sophomore album “The Talkies” will be released through Rough Trade Records on September 27th, 2019. This is the follow up to their debut album “Holding Hands with Jamie” that came out four years ago almost to the day. “The Talkies” was recorded in November 2018 at Ballintubbert House, Ireland, a stately home on the outskirts of Dublin. The alien construction of Ballintubbert and its corridors help...

    Gilla Band (fka Girl Band) are a 4 piece noise rock band from Dublin, Ireland. Their sophomore album “The Talkies” will be released through Rough Trade Records on September 27th, 2019. This is the follow up to their debut album “Holding Hands with Jamie” that came out four years ago almost to the day. “The Talkies” was recorded in November 2018 at Ballintubbert House, Ireland, a stately home on the outskirts of Dublin. The alien construction of Ballintubbert and its corridors help to navigate Gilla Band’s cataclysmic sound within a world of its own. Their live show has been described by The Guardian as feeling “genuinely dangerous, like one last rave before the apocalypse, and as perfect an expression of rock’n’roll’s essential auto-destructive impulse as this writer’s ever heard”.

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    Girls Names

    Posted on 20 May 2020

    Belfast-based – Choice Awards nominated – four-piece Girls Names are a singular proposition, both geographically and psychically removed from their contemporaries at home and abroad. Released on 18th February 2014, their second album The New Life is the sound of a band on the fringes striving to forge their own path, purposefully out of step – and time – with their surroundings. Weighed heavy with the grey landscapes of their hometown, The New Life is isolation laid bare, shot...

    Belfast-based – Choice Awards nominated – four-piece Girls Names are a singular proposition, both geographically and psychically removed from their contemporaries at home and abroad. Released on 18th February 2014, their second album The New Life is the sound of a band on the fringes striving to forge their own path, purposefully out of step – and time – with their surroundings. Weighed heavy with the grey landscapes of their hometown, The New Life is isolation laid bare, shot through with an undeterred sense of purpose and individuality. The album’s title track, and the first single to be taken from the album, is an ideal entry point. Just shy of 8 minutes long, it rotates around a hypnotic bass line, and in Cathal Cully’s evocation of renaissance, offers a perfect metaphor for the album as a whole. The single ‘Hypnotic Regression’ reflects another side to the record. The reverb-heavy guitars and compelling melody are immediately memorable, but there are signs of experimentation, too; the white squall of the lead break; the uneasiness in the vocal echoes that furnish the verses. As such, The New Life, stands as a brave statement; the mark of the band untying themselves from the past and easing forth into the unknown.

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    The Go Betweens

    Posted on 20 May 2020

    Gold Panda

    Posted on 20 May 2020

    Nearly three years after the release of his debut album ‘Luck Shiner’, Gold Panda announces his second album ‘Half Of Where You Live’, released on his own NOTOWN Recordings (and Ghostly International in America). The intervening period saw Gold Panda touring the world multiple times around and absorbing influences and probing potential new avenues of creative exploration on a handful of interim releases, leading to what feels like the definitive studio return of the Essex-born produce...

    Nearly three years after the release of his debut album ‘Luck Shiner’, Gold Panda announces his second album ‘Half Of Where You Live’, released on his own NOTOWN Recordings (and Ghostly International in America). The intervening period saw Gold Panda touring the world multiple times around and absorbing influences and probing potential new avenues of creative exploration on a handful of interim releases, leading to what feels like the definitive studio return of the Essex-born producer. It was, of course, ‘Lucky Shiner’ that propelled the unassuming south-easterner into a world of ever changing territories and accelerated life experiences. The blog buzz that surrounded portentous early EPs like ‘Quitter’s Raga’, ‘Miyamae’ and ‘You’ spilt over with his debut LP, a record that burst out from the bedroom and onto the dance floor with its wonky beats, chopped up samples and tech-flecked melodies.

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    Grant Hart

    Posted on 20 May 2020

    As founder and half of the songwriting engine that drove the mighty Hüsker Dü to his maverick solo work, Grant Hart has cut a singular path across the last three decades of music.  It is with great confidence that we say he has made an album to rival his greatest achievements.  A double album based on John Milton’s epic Paradise Lost, Hart distills its essence into pop and rock concoctions that nimbly flit through the history of 20th century music from Irving Berlin and ...

    As founder and half of the songwriting engine that drove the mighty Hüsker Dü to his maverick solo work, Grant Hart has cut a singular path across the last three decades of music.  It is with great confidence that we say he has made an album to rival his greatest achievements.  A double album based on John Milton’s epic Paradise Lost, Hart distills its essence into pop and rock concoctions that nimbly flit through the history of 20th century music from Irving Berlin and David Bowie to… Hüsker Dü, even.  Ambition is the topic and Hell is the location for this project that is ambitious as Hell. Does he pull it off?  We say yes!
    While visiting James Grauerholz, former friend and secretary for William S. Burroughs, James showed Grant an unpublished manuscript for Lost Paradise, William’s science fiction story which portrays the fallen angels as men from distant planets and God as none other than fellow Missourian Harry S. Truman. James and Grant discussed adding music to William’s story much in the same way that Tom Waits and William conspired to turn the German folk tale Die Freishutz into The Black Rider as staged by Robert Wilson.
    From that point the seed had been planted, and the seed grew into the most beautiful tree in the garden of Grant’s career.  Domino invite you to taste the fruit of this tree.  Go ahead, taste it.
    Although lines from the poem are rarely quoted directly, all of the menace, pain and devotion of Milton’s best loved work are here found.  But where Milton’s poem was “unadorned by rhyme,” The Argument contain many complex couplets, especially the title track, in which not only the ends of lines rhyme, but the word that ends a phrase is the same as the first line of the phrase after it, all while conforming to the original ten syllable structure devised by Milton.  Anyone who has ever had a conversation with Grant knows how patiently he chooses the words he uses.
    As a double album of two halves, we wanted to show both the light and the dark of the album in its initial introduction, so we are offering two tracks for preview.  “Is the Sky the Limit?” is a melancholy song of the aftermath of rejection built upon the eerie and lonely sound of Sputnik 1.  To counterbalance this somber paean, “Letting Me Out” follows in all its propulsive Buddy Holly glory as the Artist formerly known as Lucifer offers up his cunning business proposition to populate the netherworld.

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    Haiku Salut

    Posted on 30 November 2021

    Haiku Salut are an instrumental dream-pop-post-folk-neo-everything trio from the Derbyshire Dales. The group consists of multi-instrumentalists Gemma Barkerwood, Sophie Barkerwood, and Louise Croft. Between them, Haiku Salut play accordion, piano, glockenspiel, trumpet, guitar, ukulele, drums, and melodica. Their music also features electronic elements, which they refer to as “loopery and laptopery”.

    Half Cousin

    Posted on 20 May 2020

    The Orkney Islands, off the north-eastern tip of Scotland, had never been known for their distorted junkyard pop. Not until the debut album by Half Cousin,”The Function Room”, appeared in 2004, inspired by the islands’ weather-beaten landscapes and off-beat characters.

     

    Sought after singles “Half Turn/Mrs Pilling”,”Country Cassette” and “The Diary Fire EP” paved the way for acclaimed shows, supporting the likes of Hot Chip, The Earlies and Boom Bip. Collaborations, als...

    The Orkney Islands, off the north-eastern tip of Scotland, had never been known for their distorted junkyard pop. Not until the debut album by Half Cousin,”The Function Room”, appeared in 2004, inspired by the islands’ weather-beaten landscapes and off-beat characters.

     

    Sought after singles “Half Turn/Mrs Pilling”,”Country Cassette” and “The Diary Fire EP” paved the way for acclaimed shows, supporting the likes of Hot Chip, The Earlies and Boom Bip. Collaborations, also, with Hans-Joachim Roedelius and contributions to the Blank Tape Spillage Fete, all cemented Half Cousin’s reputation as something fresh and exciting. Kevin Cormack followed ‘The Function Room’ in 2007 with ‘Iodine’ to great critical acclaim, with Uncut magazine saying: “Comparisons with Syd Barrett, early Bjork or Devendra Banhart barely do ‘Iodine’ justice; a thing of wild and magical beauty”

     

    As before, junk percussion, cheap electronics and family heirlooms prevail- but the results are far more beguiling, detailed and, at times, euphoric.

     

    The subject matter of small town Orcadian characters is also more elaborate: Irish Country groupies, Rat Pack Dads, crofters on the run from the police and teenage pyromaniacs inhabit songs about chip shop photography, Alzheimer’s, social club show business, absentees and mistaken identities. Cormack’s twisting melodies lead the way, giving momentum and focus to the driving ragbag collection of customized sounds. Hints of Captain Beefheart, Arab Strap, Animal Collective and even early House music emerge, but always as part of something uniquely it’s own. Essentially, it all still adheres to his original aim of creating “short, melodic songs made from junk.”

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    Half Wolf

    Posted on 06 June 2022

    Half Wolf was raised by humans in Fargo, ND. Growing up on her Dad’s record collection, Wolf’s songwriting is still shaped by Neil Young, Pink Floyd, and Talking Heads. In 2016, she moved to Minneapolis, MN to pursue music professionally.  After months of countless venues refusing to book her unless she had a band, Wolfdecided to start her own DIY venue out of her Westbank loft apartment. These multimedia shows attended by thousands, ignited her love of collaboration, and expanded her in...

    Half Wolf was raised by humans in Fargo, ND. Growing up on her Dad’s record collection, Wolf’s songwriting is still shaped by Neil Young, Pink Floyd, and Talking Heads. In 2016, she moved to Minneapolis, MN to pursue music professionally.  After months of countless venues refusing to book her unless she had a band, Wolfdecided to start her own DIY venue out of her Westbank loft apartment. These multimedia shows attended by thousands, ignited her love of collaboration, and expanded her influences to include Johnathan Richmond, Mitski, and the Velvet Underground a la The Factory. In 2019, she moved into her car and headed to LA to start working with producers such as Nathan Chapman, Dave Schiffman, David Davis, and Brian West. Wolf is currently based in Los Angeles working on her upcoming releases.

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    Hanna Benn

    Posted on 21 July 2021

    A composer, vocalist, and genre-spanning collaborator, Hanna Benn has been creating music for over a decade. Her multi-disciplinary approach has incorporated dance, opera, and theater — blurring genre and discovering new sonic landscapes in the process.

    Her work as a composer has taken her across the globe, from most recently a premiere at The Perth International Arts Festival to Antwerp performing with the B.O.X Baroque Orchestra. Past works have been performed by the Northwest Symph...

    A composer, vocalist, and genre-spanning collaborator, Hanna Benn has been creating music for over a decade. Her multi-disciplinary approach has incorporated dance, opera, and theater — blurring genre and discovering new sonic landscapes in the process.

    Her work as a composer has taken her across the globe, from most recently a premiere at The Perth International Arts Festival to Antwerp performing with the B.O.X Baroque Orchestra. Past works have been performed by the Northwest Symphony, Saint Helen’s String Quartet, Seattle Chamber Players, Opus 7, North Corner Chamber Orchestra and the Indianapolis Symphony.

    As a vocalist, Benn produces, writes and performs solo. Her most recent release, DIVIDE, has received critical acclaim from music publications such as Pitchfork, MTV, Stereogum, and XLR8R. Benn has been recognized for her unique and ethereal vocal work which has been described as an “unmistakable sense of sanctuary” (Pitchfork) and “devastatingly moving” (The Stranger).

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    Hard Feelings

    Posted on 04 May 2021

    New York City’s Amy Douglas has made her reputation across the worlds of house and disco with her distinctive voice and stellar songwriting ability, she has become the “go to” for providing powerhouse vocals and killer hooks. After features with everyone from Juan MacLean to Treasure Fingers, Amy has since worked with such artists as Luke Solomon, The Crooked Man, Horse Meat Disco. Recently writing “Something More” for Roisin Murphy on her recent album Roisin Machine, she has a wide...

    New York City’s Amy Douglas has made her reputation across the worlds of house and disco with her distinctive voice and stellar songwriting ability, she has become the “go to” for providing powerhouse vocals and killer hooks. After features with everyone from Juan MacLean to Treasure Fingers, Amy has since worked with such artists as Luke Solomon, The Crooked Man, Horse Meat Disco. Recently writing “Something More” for Roisin Murphy on her recent album Roisin Machine, she has a wide range of notable champions from the likes of Bill Brewster, Andrew Weatherall and Sean Johnston.

    Amy’s HARD FEELINGS counterpart, Joe Goddard is also synonymous with the electronic music world, widely-known in the front ranks of British producers, creating a sounds from across his panoramic musical life, from house, techno and disco to UK garage, R&B and electro-pop. Joe forms one fifth of the UK electronic-pop powerhouse, Hot Chip whilst alongside Raf Rundell, he is one half of The 2 Bears.

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    Harvey Milk

    Posted on 20 May 2020

    An anomaly among the college/indie rock-centered Athens, GA, scene from which they emerged, cult favorite Harvey Milk was responsible for some of the slowest, heaviest, and most uncompromising rock music created in the latter half of the ’90s. The trio formed in the early ’90s with a lineup of Creston Spiers (guitar/vocals), Stephen Tanner (bass), and Paul Trudeau (drums). They released their first album, My Love Is Higher Than Your Assessment of What My Love Could Be, on the tiny North C...

    An anomaly among the college/indie rock-centered Athens, GA, scene from which they emerged, cult favorite Harvey Milk was responsible for some of the slowest, heaviest, and most uncompromising rock music created in the latter half of the ’90s. The trio formed in the early ’90s with a lineup of Creston Spiers (guitar/vocals), Stephen Tanner (bass), and Paul Trudeau (drums). They released their first album, My Love Is Higher Than Your Assessment of What My Love Could Be, on the tiny North Carolina-based Yesha label in 1996. The following year saw the release of their magnum opus and masterpiece, the tormented and at times painfully slow Courtesy and Good Will Toward Men, which was first issued exclusively on limited-edition double vinyl by Reproductive Records before eventually being reissued on CD by tUMULt in 2000.

    Following this album, the band parted ways with Trudeau, replaced him with Kyle Spence, and reoriented themselves toward a more straightforward classic rock style marked by the influence of bands such as AC/DC, Led Zeppelin, and, most of all, ZZ Top. (One of the few sentences among Courtesy’s minimal sleeve notes simply stated, “ZZ Top is the best,” and it’s clear the band meant this without irony.) This stylistic turn was documented on the Reproductive album The Pleaser (1998), soon after the release of which Harvey Milk disbanded.

    They regrouped in 2005, however, and released Special Wishes the following year on Troubleman Unlimited (who also reissued Courtesy and Good Will Toward Men). Relapse eventually reissued My Love Is Higher and The Pleaser. Hydrahead took interest and signed them to their roster of metal heavyweights before releasing Life…The Best Game in Town in June of 2008.

    In 2010, Hydrahead released the band’s unreleased, self-titled record. Recorded in 1994 with Bob Weston, the album had been previously seen only a very limited vinly pressing. Later that year after tours with Torche and Coalesce, Harvey Milk released their seventh full length album, A Small Turn of Human Kindness.

    – bio from www.allmusic.com

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    Hayden Thorpe

    Posted on 20 May 2020

    Hayden Thorpe is the Kendal born, former frontman of Wild Beasts. Following the band’s split in 2017, Thorpe has crafted his first stunning collection truly all of his own vision. Diviner was recorded over the course of 2018 with close friend and long-time collaborator, Leo Abrahams (Jon Hopkins, Brian Eno, David Byrne).
    Diviner is a deeply emotional album: lyrically generous in its candid tone and self-awareness, the melodies resonant with sense memory. A startling departure from Thorpe’...

    Hayden Thorpe is the Kendal born, former frontman of Wild Beasts. Following the band’s split in 2017, Thorpe has crafted his first stunning collection truly all of his own vision. Diviner was recorded over the course of 2018 with close friend and long-time collaborator, Leo Abrahams (Jon Hopkins, Brian Eno, David Byrne).
    Diviner is a deeply emotional album: lyrically generous in its candid tone and self-awareness, the melodies resonant with sense memory. A startling departure from Thorpe’s previous work with Wild Beasts, it is unlike anything else being made at the moment, with its unique intimacy and open throbbing heart.

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    Heather Trost

    Posted on 20 May 2020

    Heather Trost is best known for her work composing and performing as one half of the duo A Hawk and a Hacksaw. She has also played with Neutral Milk Hotel, Beirut, Josephine Foster, and most recently Thor Harris of Swans. She has arranged and performed with the BBC Concert Orchestra and Stargaze Orchestra conducted by Andre De Ridder, and has toured throughout the world.

    In 2014 she released her first solo project, a 7 inch on Badabing records. In 2015, Trost completed “Ouroboros,&rdquo...

    Heather Trost is best known for her work composing and performing as one half of the duo A Hawk and a Hacksaw. She has also played with Neutral Milk Hotel, Beirut, Josephine Foster, and most recently Thor Harris of Swans. She has arranged and performed with the BBC Concert Orchestra and Stargaze Orchestra conducted by Andre De Ridder, and has toured throughout the world.

    In 2014 she released her first solo project, a 7 inch on Badabing records. In 2015, Trost completed “Ouroboros,” a limited edition cassette of expansive electronic ambient compositions influenced by Basil Kirchin, Terry Riley and Angelo Badalamenti on Cimiotti recordings.
These two projects propelled the forthcoming full length album “Agistri.” Named after a Greek Island, Agistri is a song cycle of freely formed pop songs touching upon Soul, Samba, and Pop music of the 60’s and 70’s, with an often subtle shade of psychedelia. Ambient and melancholic sounds interweave with Hammond organs and vintage Italian synthesizers, reflecting the desert landscapes of New Mexico, and the sparse shrubbery and turquoise water of the Aegean Sea and its islands.

    At the core of the record are Trost’s wonderful, often surreal melodies and vocals- “Thunder clouds roll over the mesa, casting shadows, raining down remedies, medicine from the the deep. Yesterday’s gone, today is here, was this all a dream? Leaving me memories from ancestors…” Featuring contributions from Neutral Milk Hotel’s Jeremy Barnes on drums and bass, Deerhoof’s John Dieterich on guitar, and Drake Hardin and Rosie Hutchinson of cult New Mexico band Mammal Eggs. Trost’s talents as a songwriter and arranger have really exploded on “Agistri,” which will see the light of day in May 2017 on Living Music Duplication. 

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    Hen Ogledd

    Posted on 29 June 2020

    Hen Ogledd take their name from the phrase for the Old North, the Celtic region comprising Southern Scotland and Northern England in early Middle Ages Britain. The band members – harpist Rhodri Davies, Dawn Bothwell, Sally Pilkington, and Richard Dawson – all hail “from historically different tribal regions of the Old North”. On Mogic the group defy the orthodoxy of exploring mystical customs with acoustic instruments; instead they celebrate the paradoxes and similarities of the anc...

    Hen Ogledd take their name from the phrase for the Old North, the Celtic region comprising Southern Scotland and Northern England in early Middle Ages Britain. The band members – harpist Rhodri Davies, Dawn Bothwell, Sally Pilkington, and Richard Dawson – all hail “from historically different tribal regions of the Old North”. On Mogic the group defy the orthodoxy of exploring mystical customs with acoustic instruments; instead they celebrate the paradoxes and similarities of the ancient and modern through melody, technology and return-journey time travel.

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    Hinako Omori

    Posted on 01 February 2023

    Hinako Omori is a Japanese composer, musician and producer based in London. Her music offers immersive sonic architectures and environments in which to process and access emotional states through binaural recording or multi-channel installation, across ambient synthesizer and vocal music, classical arrangement and composition. Hers is music with spirit and awareness; it unfurls in the mind’s eye, inviting the listener to turn inwards. Likening her process to painting or weaving, she layers,...

    Hinako Omori is a Japanese composer, musician and producer based in London. Her music offers immersive sonic architectures and environments in which to process and access emotional states through binaural recording or multi-channel installation, across ambient synthesizer and vocal music, classical arrangement and composition. Hers is music with spirit and awareness; it unfurls in the mind’s eye, inviting the listener to turn inwards. Likening her process to painting or weaving, she layers, melds and merges textures and sound sources to quilt her uniquely enveloping compositions.  

    Omori’s palette is rooted in analogue synths (often the Prophet 8, OB6 or Moog Matriarch) alongside processed voice and field recording. Her first album “a journey…” (Houndstooth, 2022) combined therapeutic frequencies, forest bathing, and binaural sound – a meditative cartography of the mind in ambient electronics that explored the physical and psychological effects of sound in therapy, brain entrainment and frequencies that can affect our brainstates. Her second, “stillness, softness…” (Houndstooth, 2023) mapped an emotional landscape, where the nuanced response of her synthesizers became a portal to the subconscious.

    Omori’s lush textures and many-layered approach to composition have garnered her critical acclaim and radio play across BBC 6 Music, BBC Radio 1, 3 & 4, KEXP and NTS. “a journey…” was called “remarkable” by Pitchfork and “blissfully restorative” by Loud and Quiet, and “stillness, softness…” was credited as a “deeply enchanting patchwork” by Electronic Sound magazine. She has been covered in features and reviews in Pitchfork, The Guardian, Rolling Stone, Crack Magazine, Clash Magazine, Sound On Sound, Composer Magazine, The Vinyl Factory and elsewhere.

    Previous to her first full length, she also released a string of singles and EPs, including the transportive 12″ single Voyage (2019), which was shortly followed by EP Auraelia (2019), inspired by a period in which she experienced intense migraines that were accompanied by auras and other visual distortions. Remix releases include contributions by Claire Rousay, Coby Sey, Patricia Wolf, Foodman and Akiko Haruna. 

    Born in Yokohama, Japan, Omori moved to the UK when she was three years old and now resides in East London. She began her musical path learning classical piano, later obtaining a degree in  Music and Sound Recording (Tonmeister) at the University of Surrey, where she fell in love with analogue electronics.

    As a versatile pianist, synthesist and producer, Omori is involved in multiple collaborations at any one time. She performed with a 60-piece orchestra for BBC Radio 3’s Unclassified Live, and in 2024 joined Floating Points’ ensemble at the Hollywood Bowl in Los Angeles to perform Promises, his collaborative album with the late Pharoah Sanders. Omori is also a member of Will Gregory’s Moog Ensemble, performing composed material and repertoire from electronic music icons such as Wendy Carlos and John Carpenter, alongside the music of classical composers arranged for synthesizers.

    As a composer and arranger she has worked on various projects, including an original score for Serpentine Gallery’s Intimacies podcast and orchestral commissions for the BBC. In 2022 she collaborated with American artist Cécile B. Evans on sound design for their multimedia installation work Notations for an Adaption of Giselle (welcome to whatever forever), 2020, exhibited at the Centre Pompidou and online via Frieze. Omori has also scored film and moving image work, including short animation Organima, which captured the real time creation of galls on a maple leaf, and Invisible Monsters & Tomato Soup, which visualised the dreams of people during the pandemic (premiered on The New Yorker). She also collaborated with poet and musician Keaton Henson on his 2024 album “Somnambulant Cycles”.

    Omori has toured extensively as a solo artist, performing in venues such as Southbank Centre, The National Gallery, St Paul’s Cathedral, ICA, Kings Place, Volksbühne, Bishopsgate Institute, at festivals including Le Guess Who, ADE, Pitchfork (London), SXSW (Houndstooth / MUTEK) and Hans-Joachim Roedelius’ More Ohr Less Festival, and DJ sets at Tate Modern and POLA Museum. She has supported Ichiko Aoba, L’Rain, Anna Meredith, Beth Orton, Erland Cooper and Holy Other.

    She has also toured internationally and collaborated in the studio with artists including Utada Hikaru, Kae Tempest, Shabaka, Ed O’Brien (EOB), Georgia, Grian Chatten and Sophie Hunger.

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    Holiday Ghosts

    Posted on 22 November 2022

    Holiday Ghosts’ music manages to perfectly encapsulate their name: fun on the surface, haunting underneath. Formed in Falmouth on the south coast of Cornwall, this indie rock four piece has two albums and one EP to their name.

    The music comes via drummer Katja Rackin and guitarist Sam Stacpoole, with the two swapping lead vocal duties. Rackin’s voice is both melodic and instantly memorable, while Stacpoole’s playing conjures up all your favourite 60s guitar-smiths. Imagine what The Pas...

    Holiday Ghosts’ music manages to perfectly encapsulate their name: fun on the surface, haunting underneath. Formed in Falmouth on the south coast of Cornwall, this indie rock four piece has two albums and one EP to their name.

    The music comes via drummer Katja Rackin and guitarist Sam Stacpoole, with the two swapping lead vocal duties. Rackin’s voice is both melodic and instantly memorable, while Stacpoole’s playing conjures up all your favourite 60s guitar-smiths. Imagine what The Pastels would have sounded like if they’d been produced by Kim Fowley and you’re getting there.

    Back in 2017 they released their self-titled debut LP, a rough-edged record that drew comparisons with The Modern Lovers and The Clean. 2019 follow up West Bay Playroom, meanwhile, brought a brighter sound to the turntable, with songs like ‘Booksmart’ and ‘Just A Feeling’ demonstrating their ability to deliver clever lyrics in a pop package.

    Holiday Ghosts’ third record North Street Air – their first in collaboration with their new label home FatCat Records – was released in May and has been widely praised by the likes of Rough Trade, Brooklyn Vegan, KEXP and more, and has been spotlighted by BBC 6 music and included in their Album of the Day feature. With 12 songs of love, hate and everything in between, Holiday Ghosts continue to navigate a striking reputation for story telling alongside an unforgettable live and rocking energy.

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    Hollow Hand

    Posted on 23 May 2023

    “The attitude of the album is definitely DIY” says Max Kinghorn-Mills of Hollow Hand’s 3rd album. “About just doing everything yourself and not needing to rely on anyone. That’s the one thing I love about doing this: no one has any answers for you, you are your own boss and it’s YOUR OWN ADVENTURE. It’s down to you.” This independent spirit that propels the creative process is also one that gave birth to its title: Your Own Adventure. “The title is kind of amantra to summari...

    “The attitude of the album is definitely DIY” says Max Kinghorn-Mills of Hollow Hand’s 3rd album. “About just doing everything yourself and not needing to rely on anyone. That’s the one thing I love about doing this: no one has any answers for you, you are your own boss and it’s YOUR OWN ADVENTURE. It’s down to you.” This independent spirit that propels the creative process is also one that gave birth to its title: Your Own Adventure. “The title is kind of amantra to summarise my philosophy when writing and recording thealbum,” he says. “I grew up immersing myself in all kinds of Fantasy genres and I loved the choose your own adventure game-books of Joe Dever. Other kinds of books I was reading throughout the writing process pointed me towards a kind of *belief in the self’ – there’s no definitive, correct way to live this life.”Despite the creative drive and singular determination behind the album, it’s also one that has welcomed some outside input. “I’m veryexcited to have some guests on the album as I admire each of these musicians so much,” says Kinghorn-Mills, referring to the input of Tim Smith (Midlake, Harp), Spencer Cullum, Holly Macve, Ryan Pollie and Oliver Newton, with the album being mixed by Chris Cohen in Los Angeles. “At some level it’s a bit nerve wracking [bringing in other people] because this is something that you spend so much time building up and making sure that all the pieces are correct,” he says. “Bringing people in can be like, ‘oh god is this going to work?’ I don’t really ever collaborate much but when I do it’s because I trust them.”Whether it was sitting at home and obsessing over every detail independently or adding some pedal steel all the way from Nashville, the ethos of the album remained rooted in trust, intuition and exploration – a sense of letting go and seeing where the project takes you. “I just decided I needed to more open minded, which was exciting,» he says. “All the little parts of my imagination which had been activated in the past slowly came through. I guess that’s again about freedom and your own adventure. Like, just let it happen. Whereas in the past I’ve been a bit more self-aware. I’ve definitely let my guard down on this record and not been afraid of the path ahead.”

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    Honeyglaze

    Posted on 26 January 2022

    Honeyglaze – the South London based, haiku-loving trio comprised of vocalist and guitarist Anouska Sokolow, bassist Tim Curtis, and Yuri Shibuichi on drums. Born out of lead songwriter Sokolow’s un-desire to be a solo-act, the group met officially at their first ever rehearsal- just three days ahead of what was to become a near-residency, at their favoured ‘The Windmill’, Brixton. Forming a mere five-months ahead of a subsequent five-months of mandatory solitude, a parallel that’s b...

    Honeyglaze – the South London based, haiku-loving trio comprised of vocalist and guitarist Anouska Sokolow, bassist Tim Curtis, and Yuri Shibuichi on drums. Born out of lead songwriter Sokolow’s un-desire to be a solo-act, the group met officially at their first ever rehearsal- just three days ahead of what was to become a near-residency, at their favoured ‘The Windmill’, Brixton. Forming a mere five-months ahead of a subsequent five-months of mandatory solitude, a parallel that’s both aligned and universally un-timely, Honeyglaze, at first appearance, are a group who play with chance, time, and synergetic fate, in a manner few others are able to do.

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    Hookworms

    Posted on 20 May 2020

    Hookworms are hard working Leeds lads juggle living actual real lives with making super awesome music which now has a home on Weird World Records. Live and on record, like Spaceman 3, they pointedly subvert the tripped out sound environments of psychedelia with a darkly malevolent punk menace; unlike J.Spaceman et al, there’s no chemical assistance, these concepts and feelings come with clarity.’Pearl Mystic‘ (Weird World (WexUK)/ Gringo Records (uk)) was released in the Autumn of 2013...

    Hookworms are hard working Leeds lads juggle living actual real lives with making super awesome music which now has a home on Weird World Records. Live and on record, like Spaceman 3, they pointedly subvert the tripped out sound environments of psychedelia with a darkly malevolent punk menace; unlike J.Spaceman et al, there’s no chemical assistance, these concepts and feelings come with clarity.’Pearl Mystic‘ (Weird World (WexUK)/ Gringo Records (uk)) was released in the Autumn of 2013 and is a tantalising glimpse of what is to come.

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    Hot Chip

    Posted on 20 May 2020

    Hot Chip’s position as the thinking person’s party band is
    now firmly and magnificently set in stone, as is the group’s ability to mix the
    highest strobe-lit euphoria with the most reflective kind of headphones melancholy.
    In a career that has already produced six albums, an infinite number of mixes
    and borderline devotional live performances, Hot Chip have claimed the
    salvation of the sweet spot of the dancefloor as their own.

    Hovvdy

    Posted on 20 May 2020

    Hovvdy (pronounced “howdy”) is the writing and recording project of Charlie Martin and Will Taylor. The duo, both primarily drummers, first met in the fall of 2014 and quickly bonded over a love for quiet music. Within a few weeks, they had combined songs and began recording their first EP in bedrooms and family homes across Texas.

    By 2016 the two had committed to each others growth in songwriting and recording, resulting in their debut album Taster , originally released on Sports Day Rec...

    Hovvdy (pronounced “howdy”) is the writing and recording project of Charlie Martin and Will Taylor. The duo, both primarily drummers, first met in the fall of 2014 and quickly bonded over a love for quiet music. Within a few weeks, they had combined songs and began recording their first EP in bedrooms and family homes across Texas.

    By 2016 the two had committed to each others growth in songwriting and recording, resulting in their debut album Taster , originally released on Sports Day Records and reissued in 2017 by Double Double Whammy. They followed this in 2018 with the release of Cranberry , which Pitchfork described as, “Foggy, warm, and wistful, it sounds like faded time.” Hovvdy has found a unique identity in rhythmic, down-tempo pop songs that are hopeful, yet melancholy; relatable, yet distinguishable.

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    How to Dress Well

    Posted on 20 May 2020

    Since the release of his debut album Love Remains in 2010, Tom Krell – AKA How to Dress Well – has crafted a reputation as one of America’s most original, focused and beguiling young songwriters. Merging ever surprising production choices and aesthetic detail with a sensual but sincere R&B influence and a deep, grounded emotionality, Krell has steadily established himself as one of the most influential figures in contemporary experimental pop music. 

    On How to Dress...

    Since the release of his debut album Love Remains in 2010, Tom Krell – AKA How to Dress Well – has crafted a reputation as one of America’s most original, focused and beguiling young songwriters. Merging ever surprising production choices and aesthetic detail with a sensual but sincere R&B influence and a deep, grounded emotionality, Krell has steadily established himself as one of the most influential figures in contemporary experimental pop music. 

    On How to Dress Well’s fourth LP, Care, Krell enlists a group of trusted producers, including 21st century dancehall innovator Dre Skull, ambient sound sculptor Kara-Lis Coverdale, experimental electronic producer, Grammy award nominee, and regular How to Dress Well collaborator CFCF, as well as pop maven Jack Antonoff. Here, for the first time, Krell acts as an executive producer, coaxing unexpected sounds from his collaborators while allowing them to exist in their own separate contexts, even as they make music that slots seamlessly into the How to Dress Well discography.  

    Care is the next step in the evolution of Krell’s sound, which began with his first critically-lauded album, Love Remains, in 2010 and continued up through his widely acclaimed previous album, What Is This Heart?, released in 2014.  In six quick years, Krell has deftly moved from hazy, bedroom R&B to full-blown alt-pop gems, projecting more clarity and depth than ever before.  Writing and working between Chicago, Los Angeles, and New York, Care retains Krell’s signature lyrical wordplay while being the most vibrant, curious, and celebratory he’s ever been with the listener.  It’s an intimate album that goes big, filled with stadium-sized choruses, rollicking guitar solos, vocal tenderness, and Celine Dion-inspired melodies.  It is radio-ready hooks refracted through the How To Dress Well lense, tinting all the broader strokes with the unique elements that have always made Krell a celebrated musical visionary.  

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    The Human League

    Posted on 12 August 2020

    Synth pop’s first international superstars, the Human League were among the earliest and most innovative bands to break into the pop mainstream on a wave of synthesizers and electronic rhythms, their marriage of infectious melodies and state-of-the-art technology proving enormously influential on countless acts following in their wake. The group was formed in Sheffield, England in 1977 by synth players Martyn Ware and Ian Marsh, who’d previously teamed as the duo Dead Daughters. Followi...

    Synth pop’s first international superstars, the Human League were among the earliest and most innovative bands to break into the pop mainstream on a wave of synthesizers and electronic rhythms, their marriage of infectious melodies and state-of-the-art technology proving enormously influential on countless acts following in their wake. The group was formed in Sheffield, England in 1977 by synth players Martyn Ware and Ian Marsh, who’d previously teamed as the duo Dead Daughters. Following a brief tenure as the Future, a period during which they added and lost synthesizer player Adi Newton and enlisted vocalist Philip Oakey, they rechristened themselves the Human League.

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    Hurray For The Riff Raff

    Posted on 19 May 2022

    Lynda Segarra was born and raised in the Bronx, which they left at the age of seventeen, running away from everything and everyone they knew, hopping freight trains or hitchhiking across the country in the company of a band of street urchins. Segarra moved to New Orleans in 2007, and formed two bands: Dead Man’s Street Orchestra and Hurray for the Riff Raff. In 2015, Segarra decamped to Nashville, then to New York, to make their last. album, 2016’s critically praised The Navigator, an amb...

    Lynda Segarra was born and raised in the Bronx, which they left at the age of seventeen, running away from everything and everyone they knew, hopping freight trains or hitchhiking across the country in the company of a band of street urchins. Segarra moved to New Orleans in 2007, and formed two bands: Dead Man’s Street Orchestra and Hurray for the Riff Raff. In 2015, Segarra decamped to Nashville, then to New York, to make their last. album, 2016’s critically praised The Navigator, an ambitious and fully realized concept album that was their quest to reclaim their Puerto Rican identity. Segarra’s previous records as Hurray for the Riff Raff are Crossing the Rubicon (EP, 2007), It Don’t Mean I Don’t Love You (2008), Young Blood Blues (2010), Hurray for the Riff Raff (2011), Look Out Mama (2012), My Dearest Darkest Neighbor (2013), and Small Town Heroes (2014). The Nonesuch debut of Hurray for the Riff Raff (aka Alynda Segarra), LIFE ON EARTH (coming in 2022), is a departure for the Bronx-born, New Orleans-based singer/songwriter. Its eleven new “nature punk” tracks on the theme of survival are music for a world in flux—songs about thriving, not just surviving, while disaster is happening.

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    Ian Chang

    Posted on 20 May 2020

    Bringing electronic music to the physical realm, genre-bending drummer Ian Chang is an acclaimed drumming virtuoso known for his work in Son Lux and Landlady, Chang uses his kit to control and manipulate samples resulting in a seamless synthesis of raw performative intensity and sophisticated sound design.

    Born in the colony of Hong Kong in 1988, Chang has lived a nomadic life. Stationed out of New York for 10 years, he built an impressive roster of progressive pop collaborators such as Moses...

    Bringing electronic music to the physical realm, genre-bending drummer Ian Chang is an acclaimed drumming virtuoso known for his work in Son Lux and Landlady, Chang uses his kit to control and manipulate samples resulting in a seamless synthesis of raw performative intensity and sophisticated sound design.

    Born in the colony of Hong Kong in 1988, Chang has lived a nomadic life. Stationed out of New York for 10 years, he built an impressive roster of progressive pop collaborators such as Moses Sumney, Joan As Police Woman, and Matthew Dear, among others, all while performing internationally and recording as a member of Son Lux and Landlady. Now relocated to Dallas, Texas, Chang’s discovered an inquisitive confidence that can only come from newfound isolation. Between tours, he dedicated himself to developing his international musical language, facilitated by a home studio and a burgeoning relationship.

    IMDb

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    Ian Pickering

    Posted on 12 April 2023

    Ian Pickering is a co-lyricist for the British band, Sneaker Pimps. He has previously collaborated with Natalie Imbruglia, Front Line Assembly, Transporter, Emiliana Torrini  and is a founding member of Anglo-French dark electronic rock/pop group ‘The Noise Who Runs’.

    Ibex Clone

    Posted on 09 February 2023

    Ibex Clone is a new project featuring George Williford (Hash Redactor) on vox and guitar, Alec McIntyre (Ex-Cult, Hash Redactor) on bass, and Meredith Lones (NOTS, Hash Redactor) on drums. Hailing from Memphis, TN Ibex Clone makes an expansive brand of pop that inhabits a space as driving and groove-laden as it is muggy and gothic. The trio, consisting of George Williford on vocals and guitar, Alec McIntyre on bass and Meredith Lones on drums, weaves together the loose ends of the past six...

    Ibex Clone is a new project featuring George Williford (Hash Redactor) on vox and guitar, Alec McIntyre (Ex-Cult, Hash Redactor) on bass, and Meredith Lones (NOTS, Hash Redactor) on drums. Hailing from Memphis, TN Ibex Clone makes an expansive brand of pop that inhabits a space as driving and groove-laden as it is muggy and gothic. The trio, consisting of George Williford on vocals and guitar, Alec McIntyre on bass and Meredith Lones on drums, weaves together the loose ends of the past six decades of guitar-based music, strains of folk, psychedelia, and punk, into something that in the end sounds only like itself.”

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    Iglooghost

    Posted on 20 May 2020

    Iglooghost is a UK-based artist who creates music, artwork, and puzzles that all gravitate around a fictional ecosystem of strange entities and tiny gods. Each of Iglooghost’s releases expands on this universe through multimedia content, and in 2024, he released his fourth album, Tidal Memory Exo, via Lucky Me. Splitting his time between making otherworldly laptop music as Iglooghost, he also collaborates with Kai Whiston and BABii collectively as ‘Gloo’—creating clothing, club nights...

    Iglooghost is a UK-based artist who creates music, artwork, and puzzles that all gravitate around a fictional ecosystem of strange entities and tiny gods. Each of Iglooghost’s releases expands on this universe through multimedia content, and in 2024, he released his fourth album, Tidal Memory Exo, via Lucky Me. Splitting his time between making otherworldly laptop music as Iglooghost, he also collaborates with Kai Whiston and BABii collectively as ‘Gloo’—creating clothing, club nights, and strange online artifacts.

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    Ikonika

    Posted on 20 May 2020

    Ikonika is a UK-based electronic musician, producer and DJ often associated with Hyperdub Records and the Dubstep genre.

    Her debut 12″, “Please/Simulacrum” was released in 2008 on Hyperdub Records. She has released music on Planet Mu, as well as a remix of DJ Mujava’s “Township Funk”, released by Warp Records. Ikonika’s music combines melodic synth patterns, driving drums, melancholic sub bass and unorthodox song structures. She was described by The Observer as “a rare female ...

    Ikonika is a UK-based electronic musician, producer and DJ often associated with Hyperdub Records and the Dubstep genre.

    Her debut 12″, “Please/Simulacrum” was released in 2008 on Hyperdub Records. She has released music on Planet Mu, as well as a remix of DJ Mujava’s “Township Funk”, released by Warp Records. Ikonika’s music combines melodic synth patterns, driving drums, melancholic sub bass and unorthodox song structures. She was described by The Observer as “a rare female face in the male-dominated world of dubstep, Ikonika melds the genre’s juddering bass with Aphex Twin-style melodic mischief-making.”

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    Illuminati Hotties

    Posted on 21 March 2022

    Illuminati Hotties are an American indie rock band from Los Angeles, California, created and fronted by producer, mixer, and audio engineer Sarah Tudzin. In 2021, Pitchfork included the album “Let Me Do One More” on their list of Best Rock Albums of that year. In her review, Nina Corcoran wrote: “Alternating between folk-punk ballads and power-pop rippers, Tudzin cracks open an oversized champagne bottle of fun and feelings.” The band’s third album is set for release in 2024, and i...

    Illuminati Hotties are an American indie rock band from Los Angeles, California, created and fronted by producer, mixer, and audio engineer Sarah Tudzin. In 2021, Pitchfork included the album “Let Me Do One More” on their list of Best Rock Albums of that year. In her review, Nina Corcoran wrote: “Alternating between folk-punk ballads and power-pop rippers, Tudzin cracks open an oversized champagne bottle of fun and feelings.” The band’s third album is set for release in 2024, and includes single “Can’t Be Still”, with Tudzin self-describing Illuminati Hotties as ‘tenderpunk’.

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    Insecure Men

    Posted on 20 May 2020

    In many ways Insecure Men – the band led by the fiercely talented songwriter and musician Saul Adamczewski and his schoolmate and stabilising influence, Ben Romans-Hopcraft – are the polar opposite of the Fat White Family. Whereas sleaze-mired, country-influenced, drug-crazed garage punks the Fat Whites are a “celebration of everything that is wrong in life”, Insecure Men, who blend together exotica, easy listening, lounge and timeless pop music, are, by comparison at least, the last ...

    In many ways Insecure Men – the band led by the fiercely talented songwriter and musician Saul Adamczewski and his schoolmate and stabilising influence, Ben Romans-Hopcraft – are the polar opposite of the Fat White Family. Whereas sleaze-mired, country-influenced, drug-crazed garage punks the Fat Whites are a “celebration of everything that is wrong in life”, Insecure Men, who blend together exotica, easy listening, lounge and timeless pop music, are, by comparison at least, the last word in wholesomeness.

    The band originally formed in 2015 in the cramped confines of The Queens Head pub, Stockwell, in the Fat White Family’s notorious South London ‘practice space’. With so many hard living musicians all crammed into one room and other tenants in the same building, it soon became clear, says Saul, occasionally they had to make music that wasn’t “just noise” so he started writing quieter, more reflective songs. He says despite their shared origins he felt that “what I did in Insecure Men couldn’t really be expressed via Fat White Family”. The group started as Saul, Nathan Saoudi (FWF’s suave organist) and Ben (of the group Childhood). Saul explains that he has been round Ben his whole life: “I was always trying to corrupt Ben and his twin brother, to try and get them to bunk off primary school in Herne Hill but they never would.” And he remains incorruptible to this day: “Ben is very centred, calm, rational and nice – which is what makes our relationship work because he’s everything I’m lacking.” This is just as well because Insecure Men is more than just a band for Saul – it’s a project for sobriety. The project is the thing that he throws most of his extra energy into now that he has made serious – and so far successful – efforts to deal with his long standing drug problems.

    He recorded all of the songs he wrote at The Queens Head onto tape at Sean Lennon’s studio in upstate New York, while visiting with the Moonlandingz. This tape, recorded on his own in a corridor onto an ancient Tascam while in a foul mood with his mates, essentially became Insecure Men’s self-titled debut album as more and more layers were dubbed over the top until nothing of the original demos even remained.

    Saul was kicked out of Fat White Family in November 2015 on a particularly grim night in Paris (the band had no idea that the Bataclan terrorist atrocity was unfolding very close to where they were playing): “I fell into a downward spiral, living on a friend’s floor just smoking crack and heroin and doing nothing else. After four months I snapped out of it and realised I needed to get clean. When I came out of rehab I had nothing left other than these songs – I was like a ship without a sail – so it started to look like Insecure Men was something I should definitely pursue as my main project.”

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    Integrity

    Posted on 20 May 2020

    Known for being one of the most incendiary and influential bands in hardcore and modern metal history, apocalyptic heavy music icons INTEGRITY formed in  1988 primarily as an outlet for the philosophical and spiritual musings of vocalist Dwid Hellion. With an intense sound that melds together high-velocity hardcore punk, heavy metal, thrash and angular, noisy guitar riffs with lyrical themes that include religion, the supernatural, mental illness, individualism, the occult, and Holy Terror...

    Known for being one of the most incendiary and influential bands in hardcore and modern metal history, apocalyptic heavy music icons INTEGRITY formed in  1988 primarily as an outlet for the philosophical and spiritual musings of vocalist Dwid Hellion. With an intense sound that melds together high-velocity hardcore punk, heavy metal, thrash and angular, noisy guitar riffs with lyrical themes that include religion, the supernatural, mental illness, individualism, the occult, and Holy Terrorism, INTEGRITY are unquestionably one of the pioneering forces that forged the worlds of hardcore and metal together. Their influence on hundreds, if not thousands of bands can still be heard to this day.

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    Islands

    Posted on 03 November 2020

    At the end of 2016, after ten years and seven albums, Nick Thorburn quietly decided to put an end to Islands and retire from music. There was no announcement or farewell, only two shows at Webster Hall in New York and the Hollywood Forever Cemetery in Los Angeles to commemorate the tenth anniversary of the band’s widely adored debut album Return to the Sea. “This seemed like a perfect time to put a cap on things and close out the circle,” Thorburn says. He switched focus, selling and pr...

    At the end of 2016, after ten years and seven albums, Nick Thorburn quietly decided to put an end to Islands and retire from music. There was no announcement or farewell, only two shows at Webster Hall in New York and the Hollywood Forever Cemetery in Los Angeles to commemorate the tenth anniversary of the band’s widely adored debut album Return to the Sea. “This seemed like a perfect time to put a cap on things and close out the circle,” Thorburn says. He switched focus, selling and producing a pilot television script, creating a graphic novel with preeminent comics publisher Fantagraphics, and scoring a few films and the occasional BBC radio show.

    Thorburn decided that if he was going to make another Islands record, he’d do it without a deadline. He also wanted to work with outside producers, which would be his first time since 2009’s Vapours. He reached out to that album’s producer, Chris Coady (Beach House, Yeah Yeah Yeahs) , and asked Islands drummer Adam Halferty and guitarist Geordie Gordon to join him in a recording session at Sunset Sound in Los Angeles.

    Five years after Islands went dormant, Nick resurrected the band, who reemerged in 2021 with their 8th album, Islomania. More than two years in the making, Islomania is a culmination of things Thorburn learned from the intervening period and all the things he’d accomplished during the band’s initial ten year run.

    In June 2024 Islands will release their 9th studio album, What Occurs, which functions like a collection of short stories, each song telling a different tale. The entire record was recorded, mixed and mastered entirely on Vancouver Island, the birthplace of the band.

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    Isom Innis

    Posted on 20 May 2020

    Isom Innis is a Los Angeles based producer, mixer, songwriter, & musician, and a member of the band Foster The People. Isom’s credits include writing and production work for Foster The People, Coin, Kimbra, Azealia Banks, The Kooks, Grace Mitchell, Day Wave, and most recently with Domino Publishing writer Lava La Rue on her single ‘Angel’

    Jaakko Eino Kalevi

    Posted on 20 May 2020

    Welcome to Jaakko Eino Kalevi’s garden of earthly delights! Chaos Magic is the Finn’s wildest statement yet – a double-album of elemental pop and baroque electronics that plots a thrilling course through the Jaakko universe, drawing on cosmic jazz, dub reggae, neon synthpop, tender ballads and psych-rock nirvana, the whole thing laced with melody and mystery.   

    Largely written and recorded by Jaakko in his new home of Athens, Chaos Magic features musical contributions from...

    Welcome to Jaakko Eino Kalevi’s garden of earthly delights! Chaos Magic is the Finn’s wildest statement yet – a double-album of elemental pop and baroque electronics that plots a thrilling course through the Jaakko universe, drawing on cosmic jazz, dub reggae, neon synthpop, tender ballads and psych-rock nirvana, the whole thing laced with melody and mystery.   

    Largely written and recorded by Jaakko in his new home of Athens, Chaos Magic features musical contributions from Alma Jodorowsky, Jimi Tenor, Faux Real, Yu-Ching Huang and John Moods, as well as artwork by Flaminia Veronesi and illustrations by Vilunki 3000. 

    Chaos Magic also circles back to Jaakko’s earliest albums, his 2007 debut Dragon Quest and its cult-classic follow-up Modern Life. It’s infused with the same impulsive spirit and freewheeling energy that characterised those anything-goes records – home to “Flexible Heart” and “Macho” – only this time there’s a sense that Jaakko has a greater skill set at his disposal.  

    “In a way, it’s a ‘back to the roots’ album because it is a collection of songs from a certain period without trying to tie them together, like my first albums,” he says. “I think it is more coherent naturally because I have been doing this for a longer time. If you practice something, you’re going to develop.” 

    Stylistically, the album covers a lot of ground – from the ice-cool new-wave of “I Forget” and “Night Walk” to the delirium of “Dino’s Deo” and “Hell & Heaven” – but carries it off classily.  

    “One reason I wanted to call this album Chaos Magic is because it’s a seemingly chaotic collection of songs,” says Jaakko. “For me, having a concept limits the imagination. I like variety. Each song has its own themes and together they form this beautiful creation. It’s like a collection of short stories.” 

    Chaos Magic took shape over the past two years. Initial demos were made at various spots across Europe – at artist residencies in Geneva and Maajaam, Estonia, and in studios in Berlin and the Greek island of Hydra – before being developed in Athens at Mutual Sound Studios, a place close to Jaakko’s heart, which is run by his friend Teemu Takatalo. Teemu had started working on the songs as an engineer but his advice and knowledge led to him co-producing and mixing the album. 

    “We would talk about my ideas and how to develop the songs,” says Jaakko. “This studio is one of the reasons I moved to Athens and we are building it together and collaborating in numerous ways. Compared to Berlin, where I used to live, I have a much better routine for working on music here.” 

     For Jaakko, working on the record with Teemu in the studio helped him focus and gave him the space to experiment. “This album has more thought on the choice of mics, reverbs, preamps, synths, amps and the sounds in general – it’s more musical. It also half-accidentally became more electronic and has more drum machines and synths than my last album, Out of Touch – and it also has more solos! To me, it feels less distant, more determined.”  

    Jaakko also sought out friends he’d not worked with before to collaborate on the record, which adds richness to the material. Some songs were made remotely, including “Cyborg” with Berlin singer John Moods, “Hell & Heaven” with the livewire Faux Real brothers, and the swirling krautrock of “Let’s See How Things Go” with Helsinki legend Vilunki 3000 on guitar and JEK’s live bassist Jelena Mirceta chanting the title. Finnish jazz titan Jimi Tenor plays flute and sax on three songs, and Yu-Ching Huang, a Taiwanese musician based in Berlin, takes the lead on the evocative cosmic disco of “Galactic Romance”.

    The French actress and singer Alma Jodorowsky – granddaughter of filmmaker Alejandro Jodorowsky – happened to be in Athens last year when Jaakko was in the midst of the record. Introduced by a mutual friend, they spent a day hanging out when Jaakko realised he could ask Alma to sing on a couple of songs, “Palace in My Head” and “L’Horizon”, for which she ended up writing the French lyrics. “It was all very spontaneous and easy,” he says.  

    “Sometimes it’s good to trust yourself to trust others,” he adds. “Letting go of the strings often results in something fantastic and surprising. I like to surprise myself as well. If you work fast, you think less, and then you’re often surprised by what you’ve done.”  

     Chaos Magic is also the first Jaakko album to have the lyrics printed on the sleeve. From the free association text for “Hell & Heaven” to the poetic sentiments of “Night Walk” and “Drifting Away”, it’s a sign he’s grown in confidence not only as a musician.  

    “As a lyricist I come from nonsense,” he says. “I usually collect words and sentences and put them together when it comes to writing lyrics – it takes you to surprising places. With this album I’m more confident about the lyrics and how they fit. I guess that’s one reason I wanted them to be printed. I’m not sure if I’ve got better but maybe I’m just older and more experienced, so I know that this is how I do it.” 

    Since settling in Athens, Jaakko has been involved in a number of projects. He produced the Francois & The Atlas Mountains album Banane Bleue – his first time producing someone else’s record – and collaborated with DJ Sotofett and Andres Lõo on the free-jazz set Jazzsomdub. He’s also a member of the soft-rock group Lovers of All Kinds, alongside Teemu, whose Canterbury-flavoured self-titled EP came out last year. And as The Bomb, he recently released a mini-album of modular dub on his own label JEKS Viihde. Greece, it seems, has been good for him. 

    “One thing about living in Greece is that you learn the origin of words,” he says. “The word chaos comes from the Greek kháos, meaning an abyss or void that was created when Earth and Heaven were separated – and that’s the world where we live. Chaos is the origin of everything but also the current state. It’s not necessarily the opposite of order – it’s more of a refined order that is not understood.”  

    Chaos is also the first goddess in Greek mythology, which is alluded to in the painting by the Italian artist Flaminia Veronese inside the album. “I like the soft fantasy quality of it,” says Jaakko. “It’s childlike but not naïve.” 

    As for the title, he says: “I got Chaos Magic from a medieval fantasy TV show. I don’t remember the name, but this combination of words spoke to me. It’s like giving chance a chance.”  

     

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    Jack Slade

    Posted on 01 July 2021

    20-year-old South Australian based singer/songwriter & performer Jack Slade, brings a contemporary approach to alternative bedroom styled pop music drawing inspiration from many genres and projecting it on his own sonic creations. Being self-taught Jack has explored many sounds over the years and with his debut EP it’s his truest expression yet.

    James Yorkston

    Posted on 20 May 2020

     

     

    ‘I Was A Cat From A Book’ by James Yorkston will be released by Domino on Monday the 13th of August 2012.  His first album since 2008’s ‘When The Haar Rolls In’, ‘I Was A Cat From A Book’ finds James playing with a new band comprised of members of Lamb & The Cinematic Orchestra alongside old friends.  The album was produced by James Yorkston and Dave Wrench and mostly recorded live during 5 wintry days in Bryn Derwen Studios, North Wales. It’s an al...

     

     

    ‘I Was A Cat From A Book’ by James Yorkston will be released by Domino on Monday the 13th of August 2012.  His first album since 2008’s ‘When The Haar Rolls In’, ‘I Was A Cat From A Book’ finds James playing with a new band comprised of members of Lamb & The Cinematic Orchestra alongside old friends.  The album was produced by James Yorkston and Dave Wrench and mostly recorded live during 5 wintry days in Bryn Derwen Studios, North Wales. It’s an album full of energy and great musicianship, and contains James’ strongest and most bewildering set of songs yet.

    Since the release of ‘When The Haar Rolls In’, James has published a book ‘It’s Lovely To Be Here’, collaborated with The Big Eyes Family Players on Folk Songs and Folk Songs II  and seen the 10 year anniversary release of Moving Up Country, his landmark debut album.

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    Jana Horn

    Posted on 27 January 2022

    Jenifer Jackson

    Posted on 20 May 2020

    Jenifer Jackson is an American songwriter, singer and guitarist known for crafting intimate, understated pop songs. She embraces elements of old fashioned country, bossa nova, and folk in her writing and singing, and always with great soulfulness.

    Her songs have appeared on television (‘Bloodline’) and film soundtracks (‘Run, Fat Boy Run’ and Independent Spirit Winner ‘Daydream Believer’) and have been covered by a wide variety of artists in the USA and Europe.

    Jackson currently m...

    Jenifer Jackson is an American songwriter, singer and guitarist known for crafting intimate, understated pop songs. She embraces elements of old fashioned country, bossa nova, and folk in her writing and singing, and always with great soulfulness.

    Her songs have appeared on television (‘Bloodline’) and film soundtracks (‘Run, Fat Boy Run’ and Independent Spirit Winner ‘Daydream Believer’) and have been covered by a wide variety of artists in the USA and Europe.

    Jackson currently makes her home in Austin, Texas but has lived in Boston and Manhattan, in Sicily, where she became fluent in Italian, and in France, where her first recordings were produced by new wave iconoclast Wreckless Eric.

    Her 11 solo albums have taken her on tours around the world, landed her on broadcasts such as NPR All Songs Considered, World Café and Mountain Stage, and enabled collaborations with notable musicians including Pat Sansone (Wilco), Greg Wiczoreck (Norah Jones), Paul Bryan (Aimee Mann), Oren Bloedow (Meshell Ndegeocello) and Nate Walcott (Bright Eyes).

    “There’s a particularly soft, almost naïve sense of beauty to Jenifer Jackson’s songs that belies the sophistication of their craftsmanship and presentation,” wrote CMJ.

    Her album BIRDS, produced in Nashville by dear friend Brad Jones, was named “the soft pop record of the year” by Tangents magazine.

    “Jackson is a songwriter first, a sweetener second,” wrote The Onion’s AV Club. “Sketches of urban romance that alternate joyous delirium with desperate loneliness, all laced with persistent feelings of need.”

    “I’ve lived in so many cities and spent time in a lot of the great urban centers of the world,” says Jackson. “But as a songwriter, I’m most inspired and at peace in nature, whether it’s near the ocean or in the desert, or close to animals.”

    “I long for lastingness, in love, in melody, in memories. But I know everything is temporal. I write and create for lots of reasons, and one is to capture the feeling of a moment and make it last within the world of a song.”

    JJ’s newest album PATHS came out in November 2019. The collection of 9 original compositions, produced and engineered by Brad Jones and assisted by Jonas Lindstrom at Alex the Great Recording in Nashville TN, features Brad Jones, Pat Sansone, Jim Hoke, Joshua Hunt and Chris Carmichael.

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    Jennifer Castle

    Posted on 20 May 2020

    On Jennifer Castle’s new album Angels of Death, her third full-length record under her given name the Ontario songwriter summons a kindred classical vision of the Muses as domestic familiars intimately in league with death.. Space is sculpted in silence, and the songs resemble gossamer webs, visible only at an angle, sunlight refracting through dew. Castle’s voice is an instrument of exquisite ethereality and expressive linearity, limpid and narrow and pure as a mountain brook. Over the ...

    On Jennifer Castle’s new album Angels of Death, her third full-length record under her given name the Ontario songwriter summons a kindred classical vision of the Muses as domestic familiars intimately in league with death.. Space is sculpted in silence, and the songs resemble gossamer webs, visible only at an angle, sunlight refracting through dew. Castle’s voice is an instrument of exquisite ethereality and expressive linearity, limpid and narrow and pure as a mountain brook. Over the course of her fruitful career in music, she has collaborated with U.S. Girls, Owen Pallett, Doug Paisley, Fucked Up, and Kath Bloom; she has toured with Destroyer, Steve Gunn, Cass McCombs, Kurt Vile, Iron & Wine, and M. Ward, among others. 

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    Jens Kuross

    Posted on 20 May 2020

    A graduate of Berklee College of Music, the music of Jens Kuross occupies a rare space in the world with his particular way of melding evocative lyrics and dreamy arrangements with introspective, yet sublime songwriting. In the last two years, the multi-talented singer-songwriter has released a string of hypnotic releases, most recently his acclaimed EP “Art! at the expense of mental health, Vol. 2”, which was released in October 2018 and served as the second instalment of his multi-facet...

    A graduate of Berklee College of Music, the music of Jens Kuross occupies a rare space in the world with his particular way of melding evocative lyrics and dreamy arrangements with introspective, yet sublime songwriting. In the last two years, the multi-talented singer-songwriter has released a string of hypnotic releases, most recently his acclaimed EP “Art! at the expense of mental health, Vol. 2”, which was released in October 2018 and served as the second instalment of his multi-faceted ‘Art! at the expense of mental health’ project.
    Live, Jens has performed across the world, including headline dates at Omeara and Servant Jazz Quarters in London, and has supported Bonobo, Rhye, Go Go Penguin and RY X, who he also performs with as an active member of The Acid alongside Adam Freeland and Steve Nalepa.
    More details on Jens’ debut album will be coming soon. For now, Jens has said the following about the upcoming record, “How are you supposed to sardonically reject social media driven, style obsessed, scenester music culture when a penchant for sincere song-writing and a reluctantly held Instagram account are your only tools? – I haven’t a clue. But I think, among other things, this record is a work trying to reconcile that contradiction whilst bemoaning the digital revolution for reducing all us fair-weather contrarians to hypocrites.”

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    Jeremy Jay

    Posted on 20 May 2020

    Jeremy Jay was born in the San Diego suburb of Chula Vista, in southern California. His family later moved north to Los Angeles, and then north again, to Monterey.

    When Jeremy was 14, he began playing in high school bands with schoolmates, performing to packed venues in the area. Seeing her son’s devotion to music, Jeremy’s mother bought him an eight-track reel-to-reel recorder, which he used to make recordings in a studio that he built in the family garage.

    When Jeremy was 18 he...

    Jeremy Jay was born in the San Diego suburb of Chula Vista, in southern California. His family later moved north to Los Angeles, and then north again, to Monterey.

    When Jeremy was 14, he began playing in high school bands with schoolmates, performing to packed venues in the area. Seeing her son’s devotion to music, Jeremy’s mother bought him an eight-track reel-to-reel recorder, which he used to make recordings in a studio that he built in the family garage.

    When Jeremy was 18 he moved to Portland, Oregon, where he met Calvin Johnson, Beat Happening singer and founder of K Records, the label he later signed to and has now released 5 of his albums including 2011’s Dream Diary.

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    Jeremy Black

    Posted on 23 September 2021

    Jeremy Black is a US-born music producer and composer living in Berlin. Born into a musical family, he started piano lessons at the age of five and the drums soon after. In high school he was mentored by Jazz legend John Scofield with whose daughter he had started a punk band with. He went on to study Music Production at Berklee School of Music in Boston, where he met Sam Cohen(Prod. Kevin Morby, Danger Mouse) and Jesse Gallagher with whom he founded the psych-pop group Apollo Sunshine. Signe...

    Jeremy Black is a US-born music producer and composer living in Berlin. Born into a musical family, he started piano lessons at the age of five and the drums soon after. In high school he was mentored by Jazz legend John Scofield with whose daughter he had started a punk band with. He went on to study Music Production at Berklee School of Music in Boston, where he met Sam Cohen(Prod. Kevin Morby, Danger Mouse) and Jesse Gallagher with whom he founded the psych-pop group Apollo Sunshine. Signed by the time they graduated, they came up in the early 2000s with the likes of The National and The Strokes. They received critically acclaimed success, a pivotal placement in Breaking Bad, signed a publishing deal with Domino, and spent eight years touring the world. The band called it quits in 2010 and Black decided to open Coyote Hearing Studio in Oakland, California to pursue his dream of becoming a full-time music producer. He has worked with dozens of established artists over the years including members of Bon Iver and The National, Ezra Furman, Hauschka, Dave Harrington, FJAAK, Fil Bo Riva, White Denim, Peking Duk, Efterklang and Geographer.

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    Jesse Gallagher

    Posted on 12 April 2022

    Jesse started his career co-founding the underground psychedelic pop trio, Apollo Sunshine (2001-2010) The group performed over 1000 shows across America & Europe, including several national late night TV performances, a headliner at Bonnaroo (2007) featured in the New York Times, Rolling Stone, Spin & shared the stage with legendary acts Wu-Tang Clan, Toots & The Maytals, The Flaming Lips & Dr. Dog to name a few. . Breaking Bad used Jesse’s song “We are Born When ...

    Jesse started his career co-founding the underground psychedelic pop trio, Apollo Sunshine (2001-2010) The group performed over 1000 shows across America & Europe, including several national late night TV performances, a headliner at Bonnaroo (2007) featured in the New York Times, Rolling Stone, Spin & shared the stage with legendary acts Wu-Tang Clan, Toots & The Maytals, The Flaming Lips & Dr. Dog to name a few. . Breaking Bad used Jesse’s song “We are Born When We Die” (2008) to dramatic effect. “Today is the Day” (2005) was in international Nike commercials while his “Singing to the Earth to Thank Her For You” was used in a large GAP campaign. Gallagher has collaborated, recorded & performed extensively w/ Sam Cohen, Willy Mason, Lilys, Nick Nicely, Doug Tuttle & Edan. Hailing from Boston Massachusetts, raised by musician parents ( Blue Tandem) Jesse still resides there, running a small independent music club (The Lilypad) a short walk to both Harvard & MIT for well over a decade & continues to book, manage & perform there. Gallagher is a certified Yoga & Meditation teacher and hosts classes in Boston & online. Since 2018, he has released 40 pieces of instrumental music which have been used in millions of YouTube videos ranging from NBC NY to Tesla and most recently a string of viral videos by Emma Chamberlain. Gallagher has a very active YouTube channel, making lots of psychedelic music videos and building a community of mindful listeners.

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    Jessica93

    Posted on 20 May 2020

    Geoffroy Laporte aka. Jessica93

    Taken from his Mad Max CB radio user name, Jessica93, is shaking things up in the French rock scene.  His fourth album ‘Guilty Species’ is more immediate, nervous and disillusioned and see’s Jessica93 start the most interesting path in his musical career. Something ardent, limpid, relieved of any digression and carried by compositions with toxic melodies and ferocious grace.

    The Jesus And Mary Chain

    Posted on 20 May 2020

    Like the Velvet Underground, their most obvious influence, the chart success of The Jesus and Mary Chain was virtually nonexistent, but their artistic impact was incalculable; quite simply, the British group made the world safe for white noise, orchestrating a sound dense in squalling feedback which served as an inspiration to everyone from My Bloody Valentine to Dinosaur Jr. Though the supporting players drifted in and out of focus, the heart of the Mary Chain remained vocalists and guitarist...

    Like the Velvet Underground, their most obvious influence, the chart success of The Jesus and Mary Chain was virtually nonexistent, but their artistic impact was incalculable; quite simply, the British group made the world safe for white noise, orchestrating a sound dense in squalling feedback which served as an inspiration to everyone from My Bloody Valentine to Dinosaur Jr. Though the supporting players drifted in and out of focus, the heart of the Mary Chain remained vocalists and guitarists William and Jim Reid, Scottish-born brothers heavily influenced not only by underground legends like the Velvets and the Stooges but also by the sonic grandeur and pop savvy of Phil Spector and Brian Wilson. In the Jesus and Mary Chain, which the Reids formed outside of Glasgow in 1984 with bassist Douglas Hart and drummer Murray Dalglish (quickly replaced by Bobby Gillespie), these two polarized aesthetics converged; equal parts bubblegum and formless guitar distortion, their sound both celebrated pop conventions and thoroughly subverted them.

    In late 1984, the band issued its seminal debut single, “Upside Down,” a remarkable blast of live wire feedback anchored by a caveman-like drumbeat; the record made the Mary Chain an overnight sensation in the U.K., as did their nascent live shows, 20-minute sets of confrontational noise (performed with the band’s members’ backs to the audience) which frequently ended in rioting. The follow-up, “You Trip Me Up,” further perfected the formula, and led to their 1985 debut LP Psychocandy, which gift-wrapped sweet, simple pop songs in ribbons of droning guitar fuzz. After a two-year layoff (during which time Gillespie exited to form Primal Scream, and was replaced by John Moore), the Jesus and Mary Chain returned with Darklands, a dramatic shift in approach which stripped away the feedback to expose the skeletal guitar pop at the music’s core. After a sprawling 1988 collection of singles, B-sides, and demos titled Barbed Wire Kisses, they emerged with Automatic, which introduced a more tightly coiled brand of feedback while jettisoning Moore’s live drums in favor of synthesized beats.

    After another long absence, the Mary Chain (minus Hart) resurfaced in 1992 with Honey’s Dead, and earned greater U.S. visibility thanks to a spot on that summer’s Lollapalooza lineup; the first single, “Reverence,” also won them renewed notoriety at home when Top of the Pops banned the song because of its opening lines, “I wanna die just like Jesus Christ” and “I wanna die just like JFK.” With 1994’s gentle, largely acoustic Stoned & Dethroned, they even reached the U.S. pop charts thanks to the lovely single “Sometimes Always,” a duet with Mazzy Star’s Hope Sandoval. Another collection of scattered sides, The Jesus and Mary Chain Hate Rock ‘n’ Roll, followed a year later, highlighted by the single “I Hate Rock ‘n’ Roll,” a scabrous swipe which reclaimed the pure noise attack of their earliest work. Moving to Sub Pop, they returned with Munki in 1998. William Reid left the group during the subsequent tour, and in 1999, the Jesus and Mary Chain officially disbanded.

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    Jib Kidder

    Posted on 20 May 2020

    Jib Kidder is the performing moniker of musician and artist Sean Schuster-Craig. Born in Lousiville, raised in Georgia, educated in Michigan and bouncing between California and New York ever since, he has spent the last decade exploring a variety of approaches to psychedelic collage. In his audio recordings, songs, videos, sculptures, digital paintings, chalk murals & written work he has attempted to harness the humor and ambiguous poignancy specific to the experience of dreaming. 

    Joan As Police Woman

    Posted on 20 May 2020

    Joan Shelley

    Posted on 20 May 2020

    Joan Shelley is a songwriter and singer from Louisville, KY. She draws inspiration from traditional and traditionally-minded performers from her native Kentucky, as well as those from Ireland, Scotland, and England, but she’s not a folksinger. Her disposition aligns more closely with that of, say, Roger Miller, Dolly Parton, or her fellow Kentuckian Tom T. Hall, who once explained—simply, succinctly, in a song—“I Witness Life.”

    Her perspective and performances both have been descri...

    Joan Shelley is a songwriter and singer from Louisville, KY. She draws inspiration from traditional and traditionally-minded performers from her native Kentucky, as well as those from Ireland, Scotland, and England, but she’s not a folksinger. Her disposition aligns more closely with that of, say, Roger Miller, Dolly Parton, or her fellow Kentuckian Tom T. Hall, who once explained—simply, succinctly, in a song—“I Witness Life.”

    Her perspective and performances both have been described, apparently positively, as “pure,” but there’s no trace of the Pollyanna and there’s little of the pastoral, either: her work instead wrestles with the possibility of reconciling, if only for a moment, the perceived “natural” world with its reflection—sometimes, relatively speaking, clear; other times hopelessly distorted—in the human heart, mind, and footprint.

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    Joanne Robertson

    Posted on 20 May 2020

    Joanne Robertson has become known for the lyrical drifting beauty of her music. The two solo albums she’s released, The Lighter (Textile) and Black Moon Days (Feeding Tube), both been hailed as brilliant extensions of the avant garde wing of the femme-folk tradition. But she is also a form-disrupter of the highest order, as she demonstrated early on with the Blood ‘n Feather collective, amongst other noise brigands.

    For these new shows, Robertson is playing in trio format with Jasper Bayd...

    Joanne Robertson has become known for the lyrical drifting beauty of her music. The two solo albums she’s released, The Lighter (Textile) and Black Moon Days (Feeding Tube), both been hailed as brilliant extensions of the avant garde wing of the femme-folk tradition. But she is also a form-disrupter of the highest order, as she demonstrated early on with the Blood ‘n Feather collective, amongst other noise brigands.

    For these new shows, Robertson is playing in trio format with Jasper Baydala “KOOL MUSIC” on guitar and Paddy (from Manchester’s garage-space monsters, GNOD) on drums. The music incorporates some samples provided by Joanne’s sometimes-collusionist, Dean Blunt, which lend themselves to zoned improvs of a very high and sludgy order.
    The band will be presenting new compositions as well as new arrangements of older things, and about all you can expect, really, is the unexpected. You lucky dogs.

    (Byron Coley 2015) 

    Watch the video for ‘Heven’ below (Escho Records).

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    Joe Harrison

    Posted on 20 May 2020

    Joe Harrison is a producer, engineer, session musician and multi-instrumentalist based in Los Angeles. Harrison is a swiss army knife in the studio. In his 15 years working in the recording industry he has worked as an audio engineer for Mark Ronson and Adele, as a session musician for Taylor Swift and Gunna, and as a producer and writer for Frank Dukes, Anderson .Paak, Lianne la Havas, Nick Hakim and many others. Harrison is equally fluid throughout many styles and genres, while still mainta...

    Joe Harrison is a producer, engineer, session musician and multi-instrumentalist based in Los Angeles. Harrison is a swiss army knife in the studio. In his 15 years working in the recording industry he has worked as an audio engineer for Mark Ronson and Adele, as a session musician for Taylor Swift and Gunna, and as a producer and writer for Frank Dukes, Anderson .Paak, Lianne la Havas, Nick Hakim and many others. Harrison is equally fluid throughout many styles and genres, while still maintaining a common thread in his work as a result of his unique approach and distinct sonic identity.

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    Joe Wong

    Posted on 20 May 2020

    Los Angeles based multi-instrumentalist, podcast host (The Trap Set) and composer Joe Wong (“Master of None”, “Russian Doll”, “The Midnight Gospel”, “Ugly Delicious”, “Awkwafina is Nora From Queens” is newly signed to Decca Records for his debut solo record, Nite Creatures. Nite Creatures is a collection of 10 baroque, ruminative, songs that evoke the psychedelic heyday of the legendary UK-based Decca label, living in the pops and crackles between the Summer of Love and th...

    Los Angeles based multi-instrumentalist, podcast host (The Trap Set) and composer Joe Wong (“Master of None”, “Russian Doll”, “The Midnight Gospel”, “Ugly Delicious”, “Awkwafina is Nora From Queens” is newly signed to Decca Records for his debut solo record, Nite Creatures. Nite Creatures is a collection of 10 baroque, ruminative, songs that evoke the psychedelic heyday of the legendary UK-based Decca label, living in the pops and crackles between the Summer of Love and the start of the Seventies – the acid-tinged era of Scott Walker, Marianne Faithfull, Love, the Zombies and Fairport Convention.

    COMPOSER CREDITS

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    Joel Ford

    Posted on 20 May 2020

    Joel Ford first exploded onto Brooklyn’s electronic music scene as the formidable leftfield synth-duo Games, and later as Ford & Lopatin. While maintaining projects as an artist, Joel has spent the past decade working as a producer, mixer, engineer and composer for such projects as Oneohtrix Point Never, How To Dress Well, Jacques Greene, Autre Ne Veut, Com Truise, Cyril Hahn, Alex Cameron, North Americans, Kirin J Callinan, Heathered Pearls, and Young Ejecta.

    Joel has recently emerged...

    Joel Ford first exploded onto Brooklyn’s electronic music scene as the formidable leftfield synth-duo Games, and later as Ford & Lopatin. While maintaining projects as an artist, Joel has spent the past decade working as a producer, mixer, engineer and composer for such projects as Oneohtrix Point Never, How To Dress Well, Jacques Greene, Autre Ne Veut, Com Truise, Cyril Hahn, Alex Cameron, North Americans, Kirin J Callinan, Heathered Pearls, and Young Ejecta.

    Joel has recently emerged as a premier game audio sound designer after mixing Nintendo’s Legend of Zelda: Cadence of Hyrule (OST). The 2019 Nintendo release features gameplay based mostly around the music and has been heralded as “the best Legend of Zelda offshoot ever made” -Polygon.

    His forward thinking blend of analog and digital processing makes him a flexible and powerful sound designer, churning out successful works in the TV / Advertising, Film, Game Audio, and Music worlds.

    Joel works out of his studio in East Los Angeles owned and run by his record label, Driftless Recordings.

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    John Andrews

    Posted on 18 April 2023

    New Jersey-born multi-instrumentalist John Andrews worked with several bands before stepping out on his own with solo project John Andrews & the Yawns — “the Yawns” being a fictional backing band at first, as Andrews played all the instruments on his debut. He did employ accompanists for his later albums, but his low-key and lo-fi pop vision changed very little once he had a band, with his murmured vocals and subtle, melodic keyboard work still his stylistic hallmarks. 2015’s Bit ...

    New Jersey-born multi-instrumentalist John Andrews worked with several bands before stepping out on his own with solo project John Andrews & the Yawns — “the Yawns” being a fictional backing band at first, as Andrews played all the instruments on his debut. He did employ accompanists for his later albums, but his low-key and lo-fi pop vision changed very little once he had a band, with his murmured vocals and subtle, melodic keyboard work still his stylistic hallmarks. 2015’s Bit by the Fang and 2017’s Bad Posture were tuneful exercises in dreamlike indie pop, while 2021’s Cookbook tightened the focus on his ’70s California soft rock influences.

    John Andrews always worked on solo compositions, but he notably contributed drums to indie act Quilt and organ/keyboards to fuzzy folk-rockers Woods. Being a full-time member of both these bands made it difficult to find time and space to complete his own recordings. Andrews began work on a debut album in 2013 when living in the remote Amish country of Lancaster, Pennsylvania. Over the next several months, Andrews eventually decamped to his grandparents’ New Jersey home, where he set up in their vacant living room and re-recorded the warm, Kinks-informed roots pop songs that made up his 2015 debut, Bit by the Fang, which saw release on the Woodsist label. After relocating to a Colonial farmhouse in the woodland of Barrington, New Hampshire with musician friends, he went to work on his second album. Recorded on the property with housemates including Rachel Neveu of Mmoss, and Lukas Goudreault and Joey Schneider of Soft Eyes, Bad Posture followed in 2017, comprising more rootsy psych-pop. 2021’s Cookbook saw Andrews paying more explicit homage to ’70s soft rock, with the opening track, “New California Blue,” written specifically to pay tribute to Joni Mitchell.

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    John Congleton

    Posted on 20 May 2020

    John Congleton is Grammy Winning American producer/engineer/mixer/writer. John works out of his his studio (EStudios) in Dallas, Texas. In addition to his production work Congleton fronted the indie rock band, The Paper Chase, and writes music for a newer project entitled The Nighty Nite and music for various projects, including MTV’s Jackass, the Discovery Channel, and several Halloween sound effects/music CDs.

    John has worked with St. Vincent, The Walkmen, Modest Mouse, Angel Olsen (a...

    John Congleton is Grammy Winning American producer/engineer/mixer/writer. John works out of his his studio (EStudios) in Dallas, Texas. In addition to his production work Congleton fronted the indie rock band, The Paper Chase, and writes music for a newer project entitled The Nighty Nite and music for various projects, including MTV’s Jackass, the Discovery Channel, and several Halloween sound effects/music CDs.

    John has worked with St. Vincent, The Walkmen, Modest Mouse, Angel Olsen (also Domino Publishing via Ribbon Publishing), Swans, The Thermals, Sigur Rós, Franz Ferdinand (Domino Records), Sparks, Chelsea Wolfe, Nelly Furtado, Cloud Nothings, Earl Sweatshirt, Clap Your Hands Say Yeah, Something for Kate, Okkervil River, Sarah Jaffe, David Byrne, Brian Wilson, Astronautalis, Bill Callahan, Smog, Xiu Xiu, Lower Dens, The Polyphonic Spree, Unknown Mortal Orchestra, Kirk Franklin, Explosions in the Sky, The Black Angels, Blood Red Shoes, Clinic, R. Kelly, The Mountain Goats, Swan Lake, The Octopus Project, Wye Oak, Rogue Wave, Erykah Badu, The Roots, Trash Talk, Amanda Palmer, Heartless Bastards, Sleater Kinney, Minus Story, Chairlift, Bitch Magnet, Maserati, 90 Day Men, Rubblebucket, Autopilot Off, Margot & the Nuclear So and So’s, Marilyn Manson, John Grant, SUUNS, Elvis Perkins, Jens Lekman, Bono, Two Ton Boa, Pink Mountaintops, Hitch, Logh, Chin Up Chin Up, Sybris, Black Mountain, Baroness, Ximena Sarinana, Lightning Dust, Zzzz, John Vanderslice, Hagfish, Big Harp, Antony and the Johnsons, Mozella, The Toadies, Buddy Miles, MC Breed, William Elliott Whitmore, This Will Destroy You, Lymbyc Systym, Anna Calvi, Micah P. Hinson, Keren Ann, The Appleseed Cast, Port O’Brien, Land of Talk, Brutal Juice, Shearwater, The New Pornographers, The Good Life, Pattern is Movement, Treefight For Sunlight, Bleeding Heart Pigeons, Black Joe Lewis, Pompeii, Waters, Knesset, Budos Band, Murder By Death, Thao and the Get Down Stay Down, Disappears, Two Gallants, We Ragazzi, Dismemberment Plan, Andrew Jackson Jihad, Monika, Mini Mansions, Strand Of Oaks, The Districts, and Civil Twilight. Did we miss anybody? It’s an understatement to say John is busy these days!

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    John Curley (Afghan Whigs)

    Posted on 20 May 2020

    In 2000, The Afghan Whigs disbanded after a 14-year run. Much has already been written about those days but it’s safe to say that the Whigs were one of the most influential and critically-acclaimed bands to come out of the alternative rock scene of the early 90’s – well known for unflinching lyrics and the bands’ consistently amazing live shows. Fast forward to the present. Afghan Whigs bass player John Curley has 2 kids and runs a recording studio in Cincinnati.

     

    Curley’s cur...

    In 2000, The Afghan Whigs disbanded after a 14-year run. Much has already been written about those days but it’s safe to say that the Whigs were one of the most influential and critically-acclaimed bands to come out of the alternative rock scene of the early 90’s – well known for unflinching lyrics and the bands’ consistently amazing live shows. Fast forward to the present. Afghan Whigs bass player John Curley has 2 kids and runs a recording studio in Cincinnati.

     

    Curley’s current band, The Staggering Statistics has been receiving attention for its latest CD, “All of this and more…” Lead guitarist Rick McCollum lives in Minneapolis. Rick’s band, Moonmaan, is set to release their debut LP in early 2007. Drummer Michael Horrigan has also kept busy- living in Detroit and playing bass in Brendan Benson’s band as well as drums in Five Horse Johnson. Dulli’s current band, The Twilight Singers, which began as a side project between the AW releases Black Love and 1965, is now a well established act on its own terms, continuing to attract new fans and raise the bar with their live shows and LPs.

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    Joker’s Daughter

    Posted on 20 May 2020

    Born in London but Greek Cypriot by origin, Helena Costas studied violin from ages 7 to 13, then taught herself guitar and keyboards. As she became an adult, her mission came into focus. She wrote songs relentlessly, learned the art of production, and gained confidence as a performer as she played gigs around London.

     

    Like a cryptic, symbolic dream, the music of Joker’s Daughter feeds on a range of conscious and unconscious influences, from classical violin training to Arthurian l...

    Born in London but Greek Cypriot by origin, Helena Costas studied violin from ages 7 to 13, then taught herself guitar and keyboards. As she became an adult, her mission came into focus. She wrote songs relentlessly, learned the art of production, and gained confidence as a performer as she played gigs around London.

     

    Like a cryptic, symbolic dream, the music of Joker’s Daughter feeds on a range of conscious and unconscious influences, from classical violin training to Arthurian legend to a certain fascination with food. The result is haunting, infectious and playful, a rich harvest from a broad psychic landscape.

     

    In 2003, she began sending her home recordings to artist/producer Danger Mouse, a correspondence that continued as his career grew. The two artists discovered a natural affinity, and launched a collaboration, which they dubbed Joker’s Daughter after one of Helena’s many shifting personae.

     

    Joker’s Daughter is a character who gives voice to the darkness and redemption in Helena’s psyche, often with a mischievous flair. Always evolving as a musician and performer, Helena has recently taken up the bouzouki, a traditional instrument played by the muses in ancient Greek myth.

     

    Danger Mouse is a full collaborator at every stage. His verdant production and instrumentation compliments the full spectrum of emotion in Helena’s music, from grief to celebration to happy ambiguity. Together, they make music both timeless and fresh from a strange, uncharted world.

     

    The project also features the horns of Neutral Milk Hotel’s Scott Spillane and the string arrangements of frequent Danger Mouse collaborator Daniele Luppi.

     

    “…As the Joker’s Daughter, Costas and Mouse are interested in marrying organic and synthetic sounds, not in contrasting them. The resulting album may be steeped in British folk history, yet the pair still finds room to play around with those sounds and traditions. The result is a sparkling debut for her and one of his most interesting collaborations.”

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    Jolie Holland

    Posted on 12 October 2023

    Jolie Holland is an American singer and performer who combines elements of folk, traditional, experimental, and rock. She has forged a timeless, captivating musical legacy; as she mines the depths of her, at times harrowing, life experiences, her creative choices are rooted in honesty and presence. they are also fearless.

    On October 6th, she will unveil her latest collection, Haunted Mountain; intricately connected with friend and collaborator Buck Meek’s album of the same name, Haunte...

    Jolie Holland is an American singer and performer who combines elements of folk, traditional, experimental, and rock. She has forged a timeless, captivating musical legacy; as she mines the depths of her, at times harrowing, life experiences, her creative choices are rooted in honesty and presence. they are also fearless.

    On October 6th, she will unveil her latest collection, Haunted Mountain; intricately connected with friend and collaborator Buck Meek’s album of the same name, Haunted Mountain features five songs co-written by the pair, including the mesmerizing title track. “When he told me he was including our song on his next record, I was extremely pleased at the weirdness – I was going to release a version as well,” Holland says, adding that they had each planned to give their albums the same title. “We thought about it for a minute and decided it was bizarre and wonderful. I am enormously pleased that Buck chose it as his album name too.”

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    Jon Auer

    Posted on 20 May 2020

    Jon’s musical journey started in the late ’80s in Bellingham, WA, where he formed legendary power pop band The Posies. Their first record, Failure, was recorded and mixed by a teenage Jon in his father’s home studio. Two years later The Posies signed a deal with DGC/Geffen and made four records for them, including the landmark Frosting on the Beater, which includes Jon’s classic singles “Dream all Day” and “Flavor of the Month” as well as his dark and epic “Coming Right Alon...

    Jon’s musical journey started in the late ’80s in Bellingham, WA, where he formed legendary power pop band The Posies. Their first record, Failure, was recorded and mixed by a teenage Jon in his father’s home studio. Two years later The Posies signed a deal with DGC/Geffen and made four records for them, including the landmark Frosting on the Beater, which includes Jon’s classic singles “Dream all Day” and “Flavor of the Month” as well as his dark and epic “Coming Right Along,” which was featured on The Basketball Diaries soundtrack.

     

    The Posies are still together and to date have released six studio albums, an e.p., two live albums, a 4-CD box set, and a “Best Of” collection. They’re now signed to Ryko, who released their most-recent CD “Every Kind of Light” in 2005. The Posies’ success has also led to Jon becoming part of the reformed Big Star with original members Alex Chilton and Jody Stephens. The current lineup played its first show in 1993 and now 13 years later is still touring and has even recorded a new album of originals (In Space), whose focus track “Lady Sweet” was written and sung by Jon.

     

    The album was also released by Ryko last year. In addition, Jon spent time in Nashville recently playing guitar and singing on the latest William Shatner record, Has Been, with Ben Folds serving as producer. While all these projects came and went, Jon’s ongoing core focus has been on writing, recording and mixing this 15-song solo masterwork Songs from the Year of Our Demise, which he called an “all-consuming, important-to-me, it’s-my-baby type of affair.” With few notable exceptions, every bit of writing, recording, and performing was done by Jon with “no one else around for miles” as he “methodically dragged the record into existence.” This deeply personal musical statement stretches far beyond the expected boundaries of an artist known as a power pop legend. The sound will be familiar to any Posies fan who expects exceptional songwriting and hummable melodies, but this unique musical journey also takes listeners to sonic and emotional territories far beyond the expected parameters of the pop genre.

     

    Although he has released a solo e.p. in Spain and Japan (The Perfect Size) and an e.p. of radically reworked covers (6 ½) on Pattern 25 Records, this is Jon’s first solo full-length recording. Songs from the Year of Our Demise, released in 2006 is truly the landmark piece of work we all knew Jon had in him.

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    Jon Hopkins

    Posted on 20 May 2020

    Jon Hopkins has been a trailblazer in electronic music for over two decades, captivating listeners worldwide. Prior to releasing solo albums, Hopkins was known as an expert producer, collaborating with the likes of Coldplay and Brian Eno, and securing an Ivor nomination for his work scoring feature film, Monsters (2010), directed by Gareth Edwards.

    Now, in 2024, he is gearing up for another exciting chapter with the release of his upcoming album, “Ritual,” set for release August 30th. Wit...

    Jon Hopkins has been a trailblazer in electronic music for over two decades, captivating listeners worldwide. Prior to releasing solo albums, Hopkins was known as an expert producer, collaborating with the likes of Coldplay and Brian Eno, and securing an Ivor nomination for his work scoring feature film, Monsters (2010), directed by Gareth Edwards.

    Now, in 2024, he is gearing up for another exciting chapter with the release of his upcoming album, “Ritual,” set for release August 30th. With each release, Hopkins continues to push boundaries and provide audiences with stunning audio-visual performances, exemplifying his own visionary.

     

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    Jon Joseph

    Posted on 29 June 2022

    Writer/producer/multi-instrumentalist Jon Joseph works out of his studio in San Pedro, CA. Leaving high school early to pursue production, Jon Joseph built a name for himself around the Southern California alt-pop scene. Recent work includes co-writes and/or production for illuminatti hotties, Medium Build, Jakob’s Castle, Becca Mancari, Mini Trees, AVIV, BOYO, The Undercover Dream Lovers and many more.

    Josef K

    Posted on 20 May 2020

    There needed to be a gloomy remotely intimate glam pop group named after a character created by Franz Kafka who detuned their pained, pining guitars like the Velvet Underground, who screwed up dance beats with as much nimble knowingness and/or amateurish exuberance as Devo, who faced up to long lasting reality with as much sad, mad grace as Magazine, who got stuck into logic as defiantly as Pere Ubu, who had spent a lot of time watching Television and listening to the first six or seven songs...

    There needed to be a gloomy remotely intimate glam pop group named after a character created by Franz Kafka who detuned their pained, pining guitars like the Velvet Underground, who screwed up dance beats with as much nimble knowingness and/or amateurish exuberance as Devo, who faced up to long lasting reality with as much sad, mad grace as Magazine, who got stuck into logic as defiantly as Pere Ubu, who had spent a lot of time watching Television and listening to the first six or seven songs written by Buzzcocks.

     

    At the end of the 1970s, after punk rock had to some extent realigned British musical history and established urgent new priorities, there just had to be something, somewhere at the rainy edge of reason. Something that was christened The Sound of Young Scotland, together with Orange Juice, whose guitars were also radiant and brittle, whose rhythms were also scrubbed and blunt, whose vocals were also proud and serious, but who sounded like another group completely. They played desolate, fidgety songs by David Bowie, Talking Heads and Television that could have belonged to a dry, extravagant musical based on the definitively alienated life of Josef K, cerebral, visceral songs that were filtered through the newly minted post-punk attitude that clich?s murdered inspiration. They took themselves very seriously whilst circling the idea that fun was a very peculiar notion. They wore suits, even ties ? fastidiously peeling away from the leather, pins and gunk of the trad punk look – and their pale, trim and amused, vaguely guilt ridden lead singer Paul Haig was a ghostly hint of a non-existent mod Samuel Beckett who played double bass in 60s Paris for a visiting Sonny Rollins.

     

    Josef K and Orange Juice were both operating high above England, tense and certain, cool and fraught, closer in a way to New York and Detroit than London. They were on the cusp between the 70s and the 80s, closer in a way to the 60s and the 21st Century. Nearly everyone ignored Josef K, including ultimately themselves. But they were right all along. They wrote prickly, plaintive pop songs that were the sound of depressed young men having lethargic tantrums about the mysteriously inevitable everyday. They added something new to the possibility of pop, combining that which needs to be leisurely interpreted with a quick, sensational celebration of the moment that just needs to be taken, prized, and thrown away. A touch more rational. A little less glaring. A splinter less uptight. Lacking, perhaps, the art for art’s sake element that some of us swooned over, and which we see explicitly echoed in the way, say, the popular Franz Ferdinand express themselves.

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    Joshu

    Posted on 20 May 2020

    Raised in Antigua, West Indies on a potent mixture of Bob Dylan, calypso, and the ocean, Joshu is bringing a new island sound to the world. With notes of Jack Johnson and Jose Gonzalez, his songs resonate with the laid back lyricist in all of us. His Caribbean childhood was steeped in the eclectic musical tastes of his father and mother, from Mozart to Belafonte, which has inspired a beautiful combination of groove and folk.

    2019 marks the release of his debut EP ‘Lines of Time’ and this ...

    Raised in Antigua, West Indies on a potent mixture of Bob Dylan, calypso, and the ocean, Joshu is bringing a new island sound to the world. With notes of Jack Johnson and Jose Gonzalez, his songs resonate with the laid back lyricist in all of us. His Caribbean childhood was steeped in the eclectic musical tastes of his father and mother, from Mozart to Belafonte, which has inspired a beautiful combination of groove and folk.

    2019 marks the release of his debut EP ‘Lines of Time’ and this summer has seen Joshu touring Europe, taking his signature open, impromptu style to festival tents and venues in the UK, Sweden and Netherlands.

    Having honed his stage presence with three years leading Sound Citizens (touring across the Caribbean & UK and personally producing 3 albums), it’s no wonder Joshu has the ability to create a particularly unique feeling of connection at live performances.

    He’s a lover of travel, a new school troubadour, with the goal of becoming a better, wiser, more creative and connected human being through music and learning. 24 and already prolific, Joshu is a songwriter and performer to be watched closely over the next few years as his solo efforts begin to bear fruit.

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    Julia Holter

    Posted on 20 May 2020

    The common thread running through the Julia Holter discography is
    her fearless individuality. The Los Angeles-based composer has amassed a body
    of work that explores song structure, atmosphere, minimalism and the authority
    of her voice.

    The double album Aviary is epic in scale, moving through the chamber
    pieces with which she has made her reputation to moments of drama and
    orchestration on an epic scale.

     

    IMDb

    Junior Boys

    Posted on 20 May 2020

    Their music has drawn variously from disco, electro-pop, UK garage, R&B—and Frank Sinatra. They bear traces of Munich, London, Chicago, Virginia Beach, Tin Pan Alley—and yet they hail from Hamilton, Ontario. They are men of the world, but you can call them Junior Boys.

     

    The men in question, of course, are Jeremy Greenspan and Matt Didemus, and their story is an unlikely one: two childhood friends who had no real intention of becoming professional musicians—and yet,...

    Their music has drawn variously from disco, electro-pop, UK garage, R&B—and Frank Sinatra. They bear traces of Munich, London, Chicago, Virginia Beach, Tin Pan Alley—and yet they hail from Hamilton, Ontario. They are men of the world, but you can call them Junior Boys.

     

    The men in question, of course, are Jeremy Greenspan and Matt Didemus, and their story is an unlikely one: two childhood friends who had no real intention of becoming professional musicians—and yet, six years after the almost accidental founding of the band, find themselves with three studio albums and a mix CD under their belts, their passports ragged after frequent touring, their press books brimming with clippings.

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    JW Francis

    Posted on 08 September 2020

    JW Francis is an artist who can’t sit still. Born in Oklahoma and raised in France, Francis started his music career in New York, where he first built a name for himself, before taking to the road, where he has lived for the past three years.

    What makes Francis special is his connection to people: he writes over 100 Valentine’s Day songs a year for his fans’ loved ones and regularly goes on ‘Dream Tours’, where he plays only in unconventional venues like fans’ backyards, roller-sk...

    JW Francis is an artist who can’t sit still. Born in Oklahoma and raised in France, Francis started his music career in New York, where he first built a name for himself, before taking to the road, where he has lived for the past three years.

    What makes Francis special is his connection to people: he writes over 100 Valentine’s Day songs a year for his fans’ loved ones and regularly goes on ‘Dream Tours’, where he plays only in unconventional venues like fans’ backyards, roller-skating rinks, children’s museums, and retirement homes.

    Francis has earned his industry stripes opening up for acts like Mild High Club and Wild Nothing, consistently averaging 100 shows a year and solidifying himself as an indie mainstay.

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    Kae Tempest

    Posted on 20 May 2020

    Kae Tempest started out when they were 16, rapping at strangers on night busses and pestering mc’s to let them on the mic at raves. Ten years later they have published playwright, novelist, poet and respected recording artist. Their work includes ‘Balance’ (Domino Publishing) , their first album with band Sound of Rum; Everything Speaks in its Own Way their first collection of poems, the critically acclaimed plays Wasted, Glasshouse and Hopelessly Devoted. Brand New Ancients, their se...

    Kae Tempest started out when they were 16, rapping at strangers on night busses and pestering mc’s to let them on the mic at raves. Ten years later they have published playwright, novelist, poet and respected recording artist. Their work includes ‘Balance’ (Domino Publishing) , their first album with band Sound of Rum; Everything Speaks in its Own Way their first collection of poems, the critically acclaimed plays Wasted, Glasshouse and Hopelessly Devoted. Brand New Ancients, their self-performed epic poem to a live score, won the Ted Hughes prize 2013 and the Herald Angel at Edinburgh Fringe. It has sold out tours in the UK and New York and is published by Picador.  Kae’s second collection of poetry, Hold Your Own, was published by Picador in October 2014. Their debut novel, The Bricks That Built The Houses, sold in a highly competitive auction to Bloomsbury and will be published in territories including the UK, US, France, Holland and Brazil in Spring 2015. Excitingly, each track on the record correlates with a chapter in the novel, in a groundbreaking cross-genre experience.

    The single ‘Our Town’, with producers letthemusicplay was released on Greco-Roman records. Kae has featured on songs with Sinead O Connor, Bastille, the King Blues, Damien Dempsey and Landslide. They have toured extensively, supporting Billy Bragg on his UK tour, as well as supporting Scroobius Pip, Femi Kuti, Saul Williams and John Cooper Clarke. Kae is 2 x slam winner at the prestigious Nu-Yorican poetry cafe in New York and has played all the major UK and European music festivals either solo or with Sound of Rum.

    Kae’s recent, critically acclaimed album ‘Everybody Down’ was released in May 2014 on Big Dada records. It was produced by Dan Carey  who is one of the UK’s best known and most highly-rated producers. When the two met, Carey invited Tempest to come through to his South London studio to muck about on a track or two. In a burst of intense creativity, they put down the whole twelve track album in a fortnight having spent almost a year developing the characters and story.

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    Kaitlyn Aurelia Smith

    Posted on 19 July 2023

    Kaitlyn Aurelia Smith, the world-renowned, award-winning electronic artist, transforms synth-driven soundscapes into immersive, otherworldly experiences. Known for her ability to weave organic textures with futuristic electronic elements, Kaitlyn creates music that feels both ethereal and deeply human. Her work blurs the lines between ambient, experimental, and dance music, capturing the attention of tastemakers and festival-goers alike. As a classically trained jazz musician and sound engine...

    Kaitlyn Aurelia Smith, the world-renowned, award-winning electronic artist, transforms synth-driven soundscapes into immersive, otherworldly experiences. Known for her ability to weave organic textures with futuristic electronic elements, Kaitlyn creates music that feels both ethereal and deeply human. Her work blurs the lines between ambient, experimental, and dance music, capturing the attention of tastemakers and festival-goers alike. As a classically trained jazz musician and sound engineer, she brings unparalleled technical expertise and artistic depth to her craft. With each release, Kaitlyn continues to innovate, crafting sound journeys that challenge convention and connect listeners on a visceral level. A true sonic architect, she transcends genre, reshaping the possibilities of music.

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    Kaki King

    Posted on 20 May 2020

    When Kaki King went into the studio in upstate New York to record the tracks for her fourth album, Dreaming Of Revenge, her producer, Malcolm Burn, had one condition: “He said, ‘If someone can’t be sawing a log in half and whistling along to the song, I don’t want it on the record,’” King recalls with a laugh. And so the bar was set. Burn’s mandate was just the push King needed to make her most accessible CD yet. “Even though half the tracks are...

    When Kaki King went into the studio in upstate New York to record the tracks for her fourth album, Dreaming Of Revenge, her producer, Malcolm Burn, had one condition: “He said, ‘If someone can’t be sawing a log in half and whistling along to the song, I don’t want it on the record,’” King recalls with a laugh. And so the bar was set. Burn’s mandate was just the push King needed to make her most accessible CD yet. “Even though half the tracks are instrumentals, I feel like I’m writing pop songs,” she says. “We really concentrated on the melodies. Everything I write tends to be dense and chordal, but this time the idea was to layer the challenging guitar work under very simple, beautiful melodies. I really wanted them to be memorable.” 

    That strict attention to song craft is a logical step for King, whose previous album, 2006’s …Until We Felt Red propelled this dazzling young guitar player and composer, known to instrumental music fans for her finger-picking, fret-slapping, and percussive thumping style, into previously uncharted indie-rock territory. Produced by post-rock kingpin John McEntire (Tortoise, Sea and Cake), Red was filled with lush, ambient soundscapes that “sound like the abstract, dreamy, and hypnotic end of alternative rock,” as the New York Times noted in its review.

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    Kath Bloom

    Posted on 20 September 2021

    The daughter of world-renowned oboist Robert Bloom, Kath was born and raised in New Haven, Connecticut, where she trained as a cellist. However, she soon gave away formal musical education for the acoustic guitar, which she taught herself over long afternoons spent among the tombstones of her local cemetery.

    After a time working with conceptual artist Bruce Nauman, Kath met avant-garde guitarist Loren MazzaCane Connors in 1976, teaming up with him for a series of now h...

    The daughter of world-renowned oboist Robert Bloom, Kath was born and raised in New Haven, Connecticut, where she trained as a cellist. However, she soon gave away formal musical education for the acoustic guitar, which she taught herself over long afternoons spent among the tombstones of her local cemetery.

    After a time working with conceptual artist Bruce Nauman, Kath met avant-garde guitarist Loren MazzaCane Connors in 1976, teaming up with him for a series of now highly sought-after recordings of traditional blues and folk songs and Bloom’s originals.
    Some records were released in editions of as few as fifty, most no more than 200 copies, until the duo released their Swansong Moonlight in 1984.

    After a period of child-rearing and family life, Kath began to return to songwriting and recording in the early 90s, revealing a mother-of-three songwriter as accomplished and affecting as any of her more acclaimed colleagues such as Lucinda Williams, Gillian Welch or Hazel Dickens.

    In 95′ Richard Linklater’s inspired use of her song ‘Come Here’ in ‘Before Sunrise’ introduced kath to a new generation of fans as did ‘Loving Takes This Course’ two disc set, featuring one disc of covers (Bill Callahan, Josephine Foster, Devendra Banhart) and one of the original versions of Kath’s songs is as good a place to start as any. Bloom is a tiny, wiry, mature woman, that strums with a claw-like hand, wearing a belt of harmonicas that she switches to match the chords of each song. Closer to fellow outsider Michael Hurley than enigmatic female folk acts that fell off the map like Judee Sill or Karen Dalton, but in her prime her vocal power is reminiscent of Peel favourite Sandy Denny.

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    The Kills

    Posted on 20 May 2020

    Dreamy and feverish, hooky and repetitive, obsessive and claustrophobic – that’s The Kills’ fourth album, “Blood Pressures”. ‘Obsessive and claustrophobic?’ repeats Jamie Hince: ‘yes, I like that. After we’d made the record, Alison and I talked about the theme: there’s a lot about gender, about relationships; it’s about sex – so, blood pressures’.

    ‘Right now, I would say it’s quite a dark record,’ says...

    Dreamy and feverish, hooky and repetitive, obsessive and claustrophobic – that’s The Kills’ fourth album, “Blood Pressures”. ‘Obsessive and claustrophobic?’ repeats Jamie Hince: ‘yes, I like that. After we’d made the record, Alison and I talked about the theme: there’s a lot about gender, about relationships; it’s about sex – so, blood pressures’.

    ‘Right now, I would say it’s quite a dark record,’ says Alison Mosshart; ‘the lyrics are a little twisted.  I think I always say that about every record I do.  I think we’re just both obsessive people. Obsessive about what we love and maybe even more obsessive about what we hate. I need to perform this record live to see what it really is, and what it’s really communicating’.

    In contrast to 2008’s “Midnight Boom”, the new album is a return to the band’s trademark dark guitar rock but with a twist. ‘The music’s changed because Alison was on tour with The Dead Weather for much of last year,’ Jamie continues. ‘It was really freeing to take ideas of hers and to change them musically. “The Last Goodbye” for instance changes from 4/4 to waltz time’.

    “Blood Pressures” was recorded at Key Club Studios in Benton Harbor, Michigan. Jamie: ‘it was an absolute second home, with no distractions. I delved into sampling and programming. I spent a lot of time with drum kits. When we were recording the album, I visited a school band room: have you ever been to a band room in the US? They are absolutely huge, with walls of various kinds of drums. I sampled them all’.

    -Jon Savage, 2011

     

     

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    King Creosote

    Posted on 20 May 2020

    ‘From Scotland With Love’, released on 21st July 2014, is King Creosote’s first album since his Mercury-nominated collaborative record with Jon Hopkins (also Domino Publishing), ‘Diamond Mine’. Composed of eleven stunning and emotive tracks, ‘From Scotland With Love’ was created in collaboration with director Virginia Heath and Producer Grant Keir as an audio-accompaniment to a poetic documentary film of the same name, to be released for the Commonwealth Games this summer. F...

    ‘From Scotland With Love’, released on 21st July 2014, is King Creosote’s first album since his Mercury-nominated collaborative record with Jon Hopkins (also Domino Publishing), ‘Diamond Mine’. Composed of eleven stunning and emotive tracks, ‘From Scotland With Love’ was created in collaboration with director Virginia Heath and Producer Grant Keir as an audio-accompaniment to a poetic documentary film of the same name, to be released for the Commonwealth Games this summer. Featuring archive footage but no narration or interview, the film works around themes of love and loss, war, resistance, emigration, work and play, and is driven as much by the music as it is the images. For the first time King Creosote found himself being able to write from other people’s perspectives, such as the female characters found in the archive (the ‘fisher lassies’ inspired the moving track ‘Cargill‘, for example). The result is one of King Creosote’s most widescreen cinematic and finest pieces of work to date.

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    King James & The Special Men

    Posted on 20 May 2020

    “The champions of New Orleans classic R&B…” -Alex Rawls, My Spilt Milk

    Hot. Sweaty. Raw. Soulful. King James & The Special Men sound like New Orleans on wax, and they represent the Crescent City like no other. Rhythm & Blues (“Rock and Roll”, as it’s referred to outside of New Orleans) was born in “The City That Care Forgot” during the late 40’s/early 50’s in the years after WWII, and these very special men indeed are doing everything possible to not only ...

    “The champions of New Orleans classic R&B…” -Alex Rawls, My Spilt Milk

    Hot. Sweaty. Raw. Soulful. King James & The Special Men sound like New Orleans on wax, and they represent the Crescent City like no other. Rhythm & Blues (“Rock and Roll”, as it’s referred to outside of New Orleans) was born in “The City That Care Forgot” during the late 40’s/early 50’s in the years after WWII, and these very special men indeed are doing everything possible to not only keep it alive, but make it strong, vibrant, and relevant to contemporary devourers of great music everywhere. How do they do it? With high-powered live shows and a steady stream of original recordings. Their Monday “red beans and R&B” residency at BJ’s Lounge in the 9th Ward has become a must see show for travelers to New Orleans (including several world-famous musicians), and in the summer of 2013 they traveled to New York City to bring their unique style of raucous boogie to ecstatic crowds at Lincoln Center. In 2014, the group played with the inimitable Charles Bradley at Santa Monica Pier, and their debut album is scheduled for release via Special Man Records.

    Today, the band’s status as one of New Orleans’ best kept secrets seems to be changing rapidly into something that is anything but. Their weekly gigs are routinely packed, and after the band finishes its last set in the wee, wee hours, you will find the same phrase on everybody’s lips, whether local or globetrotter: “You gotta see The Special Men!”

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    Kings Have Long Arms

    Posted on 20 May 2020

    Freshfaced eccentric Adrian Flanagan aka KINGS HAVE LONG ARMS, used to live in Salford, Lancashire but now Lives in a small cave in a wood on the outskirts of Sheffield.

    It is here you will find him making his joyful, uplifting, life giving “eccentronic unpopular music”. Regarded by many as a bona-fide Genius but known by his mum as “not a full shilling”.. On the budget of a giro and a mean line in Yee Olde Salfordian blag & charm, KINGS HAVE lONG ARMS has had some of the biggest ...

    Freshfaced eccentric Adrian Flanagan aka KINGS HAVE LONG ARMS, used to live in Salford, Lancashire but now Lives in a small cave in a wood on the outskirts of Sheffield.

    It is here you will find him making his joyful, uplifting, life giving “eccentronic unpopular music”. Regarded by many as a bona-fide Genius but known by his mum as “not a full shilling”.. On the budget of a giro and a mean line in Yee Olde Salfordian blag & charm, KINGS HAVE lONG ARMS has had some of the biggest Pop Icons of the past 40 years wanting to work with him. KHLA writes songs, special songs, sometimes he sings them himself, sometimes he gets a legend to do it for him.

    KHLA recently recorded with Liverpool pop starlet Candie Payne.

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    Kins

    Posted on 20 May 2020

    Currently hailing from Brighton, England, Kins originally formed in late 2010 around a collection of home-demos by frontman Thomas Savage. Kins spent their first six months playing small shows up and down the coasts of Australia with the city of Melbourne acting as home-base. In May 2011 they released their 7-track debut E.P; ‘Dancing Back And Forth Covered In Whipped Cream’. After relocating to the UK, Thomas was faced with the task of finding a new rhythm section, which eventual...

    Currently hailing from Brighton, England, Kins originally formed in late 2010 around a collection of home-demos by frontman Thomas Savage. Kins spent their first six months playing small shows up and down the coasts of Australia with the city of Melbourne acting as home-base. In May 2011 they released their 7-track debut E.P; ‘Dancing Back And Forth Covered In Whipped Cream’. After relocating to the UK, Thomas was faced with the task of finding a new rhythm section, which eventually arrived in the form of Rob Walters and Alex Knight. Refusing to waste a single day, the band restlessly went about writing, recording and rehearsing fresh batches of material. Self-produced over the winter months of 2012-2013 in a damp basement flat by the sea, their eyponymous debut yields 10 tracks which aptly reflect the isolated environment they were created in.

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    Kode 9/Spaceape

    Posted on 20 May 2020

    Kode9 is a London-based dubstep artist, DJ, and owner of the Hyperdub record label. MC The Spaceape is a frequent collaborator.

    Like many dubstep artists, Kode9 comes from a musical background of oldschool jungle, drum and bass, and 2-step garage; he has mentioned his first encounter with jungle, in Edinburgh, as being “the most important musical event of my life”.

     

    Kody Nielson

    Posted on 20 May 2020

    Multi-talented musician Kody Nielson has followed multiple paths throughout his career, from confrontational art-punk to neo-psychedelia to electronic pop. The New Zealand native first gained attention as a member of the noisy garage punk band the Mint Chicks, which he co-founded with his brother Ruban in 2001. After releasing several acclaimed albums, the group broke up in 2010, and Nielson formed the more pop-oriented Opossom, whose debut Electric Hawaii appeared in 2012. In addition to pla...

    Multi-talented musician Kody Nielson has followed multiple paths throughout his career, from confrontational art-punk to neo-psychedelia to electronic pop. The New Zealand native first gained attention as a member of the noisy garage punk band the Mint Chicks, which he co-founded with his brother Ruban in 2001. After releasing several acclaimed albums, the group broke up in 2010, and Nielson formed the more pop-oriented Opossom, whose debut Electric Hawaii appeared in 2012. In addition to playing in his brother’s band, the acclaimed Unknown Mortal Orchestra, Nielson began a downtempo electronic project called Silicon, releasing Personal Computer in 2015. His first solo album under his own name, 2018’s Birthday Suite, was a celebratory instrumental album inspired by vintage Moog pop records from the ’60s, and dedicated to his family members.

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    Kris Delmhorst

    Posted on 20 May 2020

    Kris Delmhorst is an American songwriter, singer, and instrumentalist. She has released six full length records on the respected indie label Signature Sounds, as well as a panoply of EPs, side projects, and collaborations. A wide-ranging, eclectic artist, her recordings have included intimate acoustic sets, rock band renderings, home-recording landscapes collaged from found and unexpected sounds, and works of classic poetry refigured and set to music – not to mention an all-acoustic collect...

    Kris Delmhorst is an American songwriter, singer, and instrumentalist. She has released six full length records on the respected indie label Signature Sounds, as well as a panoply of EPs, side projects, and collaborations. A wide-ranging, eclectic artist, her recordings have included intimate acoustic sets, rock band renderings, home-recording landscapes collaged from found and unexpected sounds, and works of classic poetry refigured and set to music – not to mention an all-acoustic collection of covers of songs by new-wave masters The Cars.
    A constant collaborator, Delmhorst has appeared on vocals, cello, and fiddle on records and stages with fellow songwriters Anais Mitchell, Lori McKenna, Chris Smither, Mary Gauthier, Erin McKeown, Winterpills, Peter Mulvey, Gregory Alan Isakov, and many more.
    Delmhorst’s newest album, THE WILD (Oct 2017), was co-produced with her husband, songwriter Jeffrey Foucault, and features a band drawn from players they share long history with as bandmates and friends, the album merges Delmhorst’s sophisticated melodies and hauntingly open voice with Foucault’s lean aesthetic to deliver a darkly hopeful, fiercely wise new collection of songs.
    Delmhorst lives in western Massachusetts with Foucault and their young daughter.

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    L.A. Salami

    Posted on 05 June 2020

    LA Priest

    Posted on 20 May 2020

    Variously known as Sam Dust, LA Priest and L.A. Priest, Eastgate has built a reputation as a subversive, unpredictable musician, consistently innovating over the course of his work with his now defunct breakout band Late Of The Pier, his cherished Soft Hair collaboration with Connan Mockasin as well as his solo work under LA Priest. As well as releasing his acclaimed album Fase Luna (2023) which was labelled by MOJO as “a loose, hazy treat”, he also completed a successful string...

    Variously known as Sam Dust, LA Priest and L.A. Priest, Eastgate has built a reputation as a subversive, unpredictable musician, consistently innovating over the course of his work with his now defunct breakout band Late Of The Pier, his cherished Soft Hair collaboration with Connan Mockasin as well as his solo work under LA Priest. As well as releasing his acclaimed album Fase Luna (2023) which was labelled by MOJO as “a loose, hazy treat”, he also completed a successful string of UK and EU dates plus supported BRIT award-winners Jungle, aka electronic producers J Lloyd and Tom McFarland, on their EU and US tour.

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    Laetitia Sadier

    Posted on 20 May 2020

    Laetitia Sadier is the alluring female voice of iconic 90’s band Stereolab.

    As lulling and gentile as her French accent is, Sadier certainly possesses a strong mind and places a lot of meaning behind her music and song-writing. The new album ‘Silencio’ ( out 24th July 2012 on Drag City) was so named in a poignant moment where Sadier felt she experienced total silence whilst visiting a church and realised that only in utter silence, one is free to explore their own thoughts....

    Laetitia Sadier is the alluring female voice of iconic 90’s band Stereolab.

    As lulling and gentile as her French accent is, Sadier certainly possesses a strong mind and places a lot of meaning behind her music and song-writing. The new album ‘Silencio’ ( out 24th July 2012 on Drag City) was so named in a poignant moment where Sadier felt she experienced total silence whilst visiting a church and realised that only in utter silence, one is free to explore their own thoughts. Recorded in both Toulouse and Chicago, ‘Silencio’ is her second solo album after ‘The Trip’ (released 2010) and features songs written by fellow Stereolab member Tim Gane (Domino Publishing) and musican James Elkington.

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    Lamb

    Posted on 20 May 2020

    Mancunian duo Lamb have achieved commercial success and critical acclaim with their distinctive, ever-evolving sound which combines passionate, heart-on-sleeve songwriting with unconventional arrangements informed by jazz, drum’n’bass, classical, and other genres. Lamb dwell in brash musical contrasts and, occasionally, contradictions that make their songs as musically complex and exploratory as they are vocally catchy. The duo’s self-titled 1996 debut, an arresting mix of jungle and tr...

    Mancunian duo Lamb have achieved commercial success and critical acclaim with their distinctive, ever-evolving sound which combines passionate, heart-on-sleeve songwriting with unconventional arrangements informed by jazz, drum’n’bass, classical, and other genres. Lamb dwell in brash musical contrasts and, occasionally, contradictions that make their songs as musically complex and exploratory as they are vocally catchy. The duo’s self-titled 1996 debut, an arresting mix of jungle and trip-hop, contained the heartbreaking single “Górecki,” a Top 30 U.K. hit which would eventually be featured in several movies and TV shows. The duo pushed their sound further with 1999’s Fear of Fours, nodding to their penchant for highly complex time signatures. Expanding their sound to incorporate more live instrumentation, 2001’s What Sound contained the haunting ballad “Gabriel,” which became a chart-topping hit in Portugal. Following 2003’s Between Darkness and Wonder, the duo broke up; singer Lou Rhodes released a series of folk-influenced solo albums, while Andy Barlow produced material for other artists. Lamb returned with the full-length 5 in 2011, and continued touring and releasing studio and concert albums throughout the decade, while additionally pursuing their respective solo outings.

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    LAMPS

    Posted on 20 October 2020
    These days, good news is hard to come by, but here’s some: Lamps, LA’s notoriously unprolific noise-merchant trio, are ready to release their spectacular fourth album called People With Faces, out on In The Red Records. Produced by Ty Segall at Val’s, Lamps’ first recorded output since 2012’s landmark LP Under The Water, Under The Ground finds them breaking adventurous new terrain. I’d say they’ve matured, but I’d only say it behind their backs. Stalwarts Monty ...
    These days, good news is hard to come by, but here’s some: Lamps, LA’s notoriously unprolific noise-merchant trio, are ready to release their spectacular fourth album called People With Faces, out on In The Red Records. Produced by Ty Segall at Val’s, Lamps’ first recorded output since 2012’s landmark LP Under The Water, Under The Ground finds them breaking adventurous new terrain. I’d say they’ve matured, but I’d only say it behind their backs. Stalwarts Monty Buckles (guitar, voice, keyboards) and Josh Erkman (drums, voice) double down on Lamps’ trademark cloak of effects-laden guitars and hammering drums, and new(ish) member Denée Segall jumps into the fray with her Poly Styrene-wail and monolithic bass, add-ing depth both sonically and lyrically. Their trademark abrasiveness is still present, but it’s bur-nished it into something richer, more layered. Don’t worry, it still kicks your head in…
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    Laucan

    Posted on 20 May 2020

    When Lewes-raised newcomer Laucan began singing in falsetto after the break-up of an old band, he had his reasons. “I didn’t want anyone hearing my songs through the door of my room,” recalls Laurence Galpin, the 27-year-old behind the Laucan (pronunciation: Lor-can) moniker. Thankfully, his newfound readiness to be heard doesn’t come at any cost to his distinct voice on his debut EP, Up Tomorrow, released March 6th on Sunday Best. Between its impressionist lyrica...

    When Lewes-raised newcomer Laucan began singing in falsetto after the break-up of an old band, he had his reasons. “I didn’t want anyone hearing my songs through the door of my room,” recalls Laurence Galpin, the 27-year-old behind the Laucan (pronunciation: Lor-can) moniker. Thankfully, his newfound readiness to be heard doesn’t come at any cost to his distinct voice on his debut EP, Up Tomorrow, released March 6th on Sunday Best. Between its impressionist lyrical images, spectral folk beauty and enveloping soundscapes, Up Tomorrow is a gorgeous, glowing introduction to a singer who found something special in his attic-based isolation.

    “Sunlight pours through the doorway, picks out patterns on the floor,” sings Galpin on the title-track, his falsetto taking wing over a rich bedding of reverberant guitars, synth atmospherics, tender percussion and bird song. With Andrew Phillips of Ninja Tune’s post-rock duo Grasscut as his collaborator, Galpin composes with a cinematic auteur’s sense of shading and world-building and a flair for sound art that evokes a sense of environment shows in his work. “Where I Should Be” is a lushly gorgeous study in atmosphere. A forthright side to Galpin’s voice shows on “DLMA”, before “Tectonic Plates” showcases his falsetto at his most exquisitely delicate.

    This is richly tended music, made by a man who took the slow, careful route here. If you hear a British psychedelic folk influence at work, Galpin’s background bears it out. He grew up in Lewes, in the South Downs: “Famed for its Wicker Man-esque bonfire celebrations,” Galpin notes. At 16, he formed a short-lived band that imploded, he recalls, “while stitching together a 40-minute continuous prog/math rock monstrosity”. After moving to London, Galpin felt out of phase with the competitive and fast paced nature of the city, and looked to the past for influence. 

    Submerged in what he calls “folk music of increasing obscurity”, Galpin began writing songs such as “DLMA” (Don’t Love Me Anymore), a track steeped in the kind of anxiety of expression that often haunts artists who refuse to follow trends, preferring to create their own off-piste worlds. “Eventually,” he says, “I decided that either I release them or I just give up writing music.” We’re all the better for the choice Galpin made: his tomorrows are looking up.

     

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    Laura Groves

    Posted on 20 May 2020

    There’s a confiding tone to Bradford-born singer/songwriter Laura Groves’ voice, one that extends a tender invitation into her world. As a member of Nautic, she took a sultry turn over horizontal funk, while her former folk-pop guise Blue Roses was veiled in pastoral allegory. Now, recording under her own name, she sounds stronger and surer than ever. On the deliriously wistful “Pale Shadows”, from her forthcoming solo EP on Bullion’s DEEK label, she uses memory ...

    There’s a confiding tone to Bradford-born singer/songwriter Laura Groves’ voice, one that extends a tender invitation into her world. As a member of Nautic, she took a sultry turn over horizontal funk, while her former folk-pop guise Blue Roses was veiled in pastoral allegory. Now, recording under her own name, she sounds stronger and surer than ever. On the deliriously wistful “Pale Shadows”, from her forthcoming solo EP on Bullion’s DEEK label, she uses memory like a paintbox, muddling together vivid moments and letting the accumulated emotion wash throughout the song. “All of the walls break down,” she sighs, as the song’s pitter-patter percussion fades out, leaving her words to echo round the brain.

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    Laura Les

    Posted on 05 June 2020

    Originally from St. Louis, Missouri, Laura is a producer and songwriter currently based in Chicago. As a solo artist, Laura has released numerous EPs including i just don’t wanna name it anything with “beach” in it the title”, and “hello kitty stakes to the fucking CEMETARY”. As a part of the band 100 Gecs, Laura has released both the ep`”100 Gecs” and the full length “1000 Gecs” to critical acclaim. Laura has collaborated with Charli XCX, Black Dresses, Dorian Electra, Ri...

    Originally from St. Louis, Missouri, Laura is a producer and songwriter currently based in Chicago. As a solo artist, Laura has released numerous EPs including i just don’t wanna name it anything with “beach” in it the title”, and “hello kitty stakes to the fucking CEMETARY”. As a part of the band 100 Gecs, Laura has released both the ep`”100 Gecs” and the full length “1000 Gecs” to critical acclaim. Laura has collaborated with Charli XCX, Black Dresses, Dorian Electra, Rico Nasty among others.

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    The Laurel Collective

    Posted on 20 May 2020

    Where to even start when describing The Laurel Collective…? Collective by name and by composition also, the six piece (whittled down from nineteen a year ago) comprise members hailing from Wales, England, Nigeria and Italy. The Laurels are a genre trashing six piece led by the twin attack and contrasting vocals of front men Martin Sakutu and Bob Tollast. Imagine the motley crew spirit of such misfit gangs as The Specials and Dexys mixed with the rhythmical assault and groove of Sly Fam...

    Where to even start when describing The Laurel Collective…? Collective by name and by composition also, the six piece (whittled down from nineteen a year ago) comprise members hailing from Wales, England, Nigeria and Italy. The Laurels are a genre trashing six piece led by the twin attack and contrasting vocals of front men Martin Sakutu and Bob Tollast. Imagine the motley crew spirit of such misfit gangs as The Specials and Dexys mixed with the rhythmical assault and groove of Sly Family Stone, and blended with the psychedelic pop sensibilities of Super Furry Animals and you’d be half way there.

     

    The band’s debut mini-album ‘Feel Good Hits of a Nuclear Winter’ is a psych-pop epic, bristling with energy and ambition, full of made-for-festival sing-a-long choruses and oddball charm. Through the soulful vocals of Martin and the more wistful deliveries of co-singer Bob, The Laurel Collective deliver skewed, uplifting pop carried on a wave of darkly, humorous lyrics. Add to this, dancehall rhythms and a love of US alt-rock, the band somehow manage to harness a multitude of influences across eight songs, to create a sound that remains focused and quite distinctly their own. The record opens at breakneck speed with the pop assault of ‘International Love Affair’, before swiftly swerving off into the Hendrix meets Outkast funk-freakisms of ‘Gun Mouth’.

     

    Debut single ‘Vuitton Blues’ has the eccentric allure to match its epic ambitions that over the course of four minutes taps into the euphoric spirit of Brian Wilson’s “Teenage Symphony to God”. Though kaleidoscopic throughout, the record never becomes distracted or sounds disjointed: through the common characteristics of Martin and Bob’s duel vocals, the pounding bass rhythms and the band’s ability to write huge, melodic choruses, The Laurel Collective successfully amalgamate the sum of their parts and different origins. From the muscular opening riffs of ‘Hercules’ through to Olly Puglisi’s fizzing ‘Modern Life is Rubbish’ guitar lines on album closer ‘Printers’, ‘Feel Good Hits of a Nuclear Winter’ marks The Laurel Collective out as very different, but very exciting new band.

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    Lava La Rue

    Posted on 20 May 2020

    Lava La Rue makes ambition look easy; an MC, musician, rapper, clothing designer, producer, and director, there isn’t a lot they can’t do. Since debuting, Lava has racked up more than 500m total streams, multiple Radio 1 Hottest Record and Chillest Record spots, and several 6Music playlist adds while being touted as a rising talent by the likes of NME, Dazed, Evening Standard and Forbes’ 30 Under 30. But their impact goes beyond industry accolades, and into community.

    Lava’s long-awai...

    Lava La Rue makes ambition look easy; an MC, musician, rapper, clothing designer, producer, and director, there isn’t a lot they can’t do. Since debuting, Lava has racked up more than 500m total streams, multiple Radio 1 Hottest Record and Chillest Record spots, and several 6Music playlist adds while being touted as a rising talent by the likes of NME, Dazed, Evening Standard and Forbes’ 30 Under 30. But their impact goes beyond industry accolades, and into community.

    Lava’s long-awaited debut concept album STARFACE (Dirty Hit), brings in international features, blends genres, and Lava co-directs an entire universe of visuals. A sci-fi theme threads throughout the album, making nods to everything from Funkadelic and Prince to Melody’s Echo Chamber and Beck’s Hyperspace.

    “I was definitely inspired by the idea of making a lesbian version of Ziggy Stardust […] The idea of this alien who falls to Earth. And it meant that I could speak about very real experiences, very human experiences, from the perspective of a third person.” – Lava La Rue

    Lava credits the myriad of subcultures they were exposed to as a child as the source of their creativity and musical style today. Fusing experimental R’nB with alternative hip hop and a unapologetically British sound – both their message of self love and unity makes Lava La Rue one of London’s most intriguing rising underground artists.

     

     

     

     

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    Lawrence Hart

    Posted on 22 June 2020
    Lawrence famously pushes boundaries on production and genre, weaving hard-hitting club-ready beats, emotional intricacies, and beautiful chilled pieces, suiting busy dancefloors and headphone sessions alike.
    Lawrence Hart has collaborated with the likes of George Fitzgerald, Lil Silva, Chloe Howl and released a collaborative album with Casually Here.

    Lawrence has recently amassed sweeping support across BBC Radio 1 (Annie Mac, Pete Tong – including ‘Essential New Tune’, Danny Howard, J...

    Lawrence famously pushes boundaries on production and genre, weaving hard-hitting club-ready beats, emotional intricacies, and beautiful chilled pieces, suiting busy dancefloors and headphone sessions alike.
    Lawrence Hart has collaborated with the likes of George Fitzgerald, Lil Silva, Chloe Howl and released a collaborative album with Casually Here.

    Lawrence has recently amassed sweeping support across BBC Radio 1 (Annie Mac, Pete Tong – including ‘Essential New Tune’, Danny Howard, Jack Saunders, Jaguar, Sarah Story, Arielle Free, Jess Iszatt, Connor Coates, Vicky Hawkesworth), 6 Music, Radio 1 Dance, Kiss FM, Rinse FM and across specialist radio plus artists including The Blessed Madonna, Martin Garrix, Prospa, Sub Focus, Sister Bliss, Anja Schneider, Elderbook, Sasha and Dixon.

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    Léa Sen

    Posted on 24 May 2022

    Open-eared and open-hearted: these are the watchwords of Léa Sen’s music. At just 22 years old, the London-based singer, songwriter and producer has established herself as one of the capital’s most in-demand talents, meandering between gossamer vocal features for Joy Orbison to solo work that references everything from Bon Iver’s electronic timbre and folk guitars to Sampha’s impressionistic lyricism.

    Singing from a young age as a natural means of self-expression, at 15 Sen learned t...

    Open-eared and open-hearted: these are the watchwords of Léa Sen’s music. At just 22 years old, the London-based singer, songwriter and producer has established herself as one of the capital’s most in-demand talents, meandering between gossamer vocal features for Joy Orbison to solo work that references everything from Bon Iver’s electronic timbre and folk guitars to Sampha’s impressionistic lyricism.

    Singing from a young age as a natural means of self-expression, at 15 Sen learned the guitar and began to craft songs with an experimental, intuitive sensibility. Production and mixing skills soon followed out of a DIY necessity and in 2019 she moved to London from her home of Paris and caught the ears of drummer Kwake Bass and singer-songwriter Wu-Lu. A session with DJ and producer Joy Orbison produced the stand-out track “Better” from his 2021 mixtape, Still Slipping, Vol. 1, while Sen’s tender version of David Bowie’s 1976 track “Golden Years” is a highlight of the Modern Love compilation album, featuring the likes of Helado Negro, Khruangbin and Meshell Ndegeocello.

     

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    Leatherface

    Posted on 20 May 2020

    Leatherface is a relatively obscure but critically acclaimed and highly influential British band from Sunderland fronted by Frankie Stubbs. The band is known for an eclectic style spanning American folk music, hardcore punk, post-hardcore and Dischord-style early emo.

    Formed in August 1988, Leatherface has released eight full-length albums.

     

    Rubber Factory Records released a tribute album to Leatherface in 2008 featuring 41 tracks by over 35 artists from several different countries who ...

    Leatherface is a relatively obscure but critically acclaimed and highly influential British band from Sunderland fronted by Frankie Stubbs. The band is known for an eclectic style spanning American folk music, hardcore punk, post-hardcore and Dischord-style early emo.

    Formed in August 1988, Leatherface has released eight full-length albums.

     

    Rubber Factory Records released a tribute album to Leatherface in 2008 featuring 41 tracks by over 35 artists from several different countries who were influenced by the band including Hot Water Music, In The Red, Radon, The Sainte Catherines and The Dukes of Hills of Hillsborough.

    It was issued as a double cd in a card gatefold jacket and was limited to just 2000 copies.

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    The Lemonheads

    Posted on 20 May 2020

    Evan Griffith Dando (Domino Publishing) formed THE LEMONHEADS with two high school buddies in late winter ‘86, in their senior year at Boston’s tiny Commonwealth School. A few months later, they spawned what is now one of the most sought-after punk relics of the 80s, the indie EP Laughing All the Way to the Cleaners. Boston-based Taang! Records immediately picked up on the LEMONHEADS, with three college radio pleasers to follow: the LPs Hate Your Friends (1987), Creator (1988), an...

    Evan Griffith Dando (Domino Publishing) formed THE LEMONHEADS with two high school buddies in late winter ‘86, in their senior year at Boston’s tiny Commonwealth School. A few months later, they spawned what is now one of the most sought-after punk relics of the 80s, the indie EP Laughing All the Way to the Cleaners. Boston-based Taang! Records immediately picked up on the LEMONHEADS, with three college radio pleasers to follow: the LPs Hate Your Friends (1987), Creator (1988), and Lick (1989) . In 1990 Atlantic Records took notice of the massively expanding LEMONHEADS fanbase in Europe (where they toured in 1989) and America by signing the band and releasing their well-received (in Cambridge, Massachusetts) fourth LP, Lovey.

    A 1991 tour brought Evan to Australia, where by chance he met songwriter Tom Morgan (Domino Publishing) and future LEMONHEADS bassist Nic Dalton. Their collaboration made all the difference for the next Atlantic release, It’s a Shame About Ray (1992), a concentrated blast of pure pop perfection that clocks in at just under 30 minutes. Thanks to songs such as “Confetti”, “My Drug Buddy”, “Rudderless”, and “Ceiling Fan in My Spoon”, Dando hit a whole new audience (“they’re getting younger”, he confessed to Kathie Lee Gifford at the time).

    Atlantic released a smash followup, Come on Feel the Lemonheads, in October 1993. The album brought Dando a genuine charting single (“Into your Arms”) as well as instant classics such as “Great Big No”, “Down About It”, “Being Around”, and “You Can Take it with You.” In winter 1993/1994 Evan Dando was in your living room, thanks to live appearances on the Letterman and Leno late night network TV shows. Inevitably, in Warrington, Pennsylvania, a 20-something named Jeff Fox published the first issue of his backlash ‘zine Die Evan Dando, Die.

    Two years of brutal touring for THE LEMONHEADS followed, which Evan punctuated with some high-profile personal meltdowns on various continents that caught the imagination of a press ever eager for negative copy. Still THE LEMONHEADS (now with Boston friends John Strohm on guitar and Murph on drums) managed to crank out a defiant 1996 release Car Button Cloth, with some of their best melodic pop/punk to date: “It’s All True”, “If I Could Talk I’d Tell You”, and “Tenderfoot”. After a year promoting the record, Dando announced at the 1997 Reading Festival that he was disbanding THE LEMONHEADS. Atlantic released a Best of The Lemonheads album in 1998, and a lot of geezers surmised that that was that.

    But back to the album called the The Lemonheads, the group’s 2006 release on Vagrant. You can think of it as a Best of the Lemonheads Volume II, featuring songs from the band’s greatest era that didn’t quite yet exist, played a little louder and little faster. “You should listen to the DESCENDENTS’ [1982] Milo Goes to College to get an idea of what the next LEMONHEADS record sounds like”, says Evan of his newly reformed band. “I wanted to make a rock record, a melodic rock record.” And more to the point, “Also, I’m sick of selling solo T-shirts.”

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    Lene Lovich

    Posted on 07 September 2020

    One of the more offbeat and memorable figures in new wave, Lene Lovich certainly drew much of her widely varied approach from her unconventional early experiences. Born of a Yugoslavian father and British mother, she spent much of her childhood in Detroit, MI. She later developed an interest in art and theater, enrolling at the Central School of Art. She took up the saxophone and, after a brief stint in a soul-funk band (with future collaborator Les Chappell), Lovich wrote a string of songs f...

    One of the more offbeat and memorable figures in new wave, Lene Lovich certainly drew much of her widely varied approach from her unconventional early experiences. Born of a Yugoslavian father and British mother, she spent much of her childhood in Detroit, MI. She later developed an interest in art and theater, enrolling at the Central School of Art. She took up the saxophone and, after a brief stint in a soul-funk band (with future collaborator Les Chappell), Lovich wrote a string of songs for French disco star Cerrone. In 1978, Stiff Records signed her after hearing her first recording, a remake of “I Think We’re Alone Now.” She quickly became one of Stiff’s brightest stars, headlining package tours and earning several U.K. hits over the next three years with the unforgettable “Lucky Number,” “Say When,” “Bird Song,” and “New Toy.”

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    Leslie Winer

    Posted on 20 May 2020

    Described by music critics as everything from ‘a slightly nastier Tom Waits’ to ‘the Grandmother of Trip-Hop’ Leslie Winer has collaborated with &/or written songs for Grace Jones, Sinead O’Connor, Jon Hassel, C M von Hausswolff, done features for Christopher Chaplin, Diamond Version, Jah Wobble and been covered by Matmos & countable others.

    She has also had her music featured in films including Sophie Fiennes’ ‘Bloodlight and Bami’ and Cheryl Dunye’s feminist clas...

    Described by music critics as everything from ‘a slightly nastier Tom Waits’ to ‘the Grandmother of Trip-Hop’ Leslie Winer has collaborated with &/or written songs for Grace Jones, Sinead O’Connor, Jon Hassel, C M von Hausswolff, done features for Christopher Chaplin, Diamond Version, Jah Wobble and been covered by Matmos & countable others.

    She has also had her music featured in films including Sophie Fiennes’ ‘Bloodlight and Bami’ and Cheryl Dunye’s feminist classic ‘The Watermelon Woman’ — and soundtracked a Budweiser commercial which premiered at the Superbowl.

    John Peel called LW a musician’s musician and said her small but persistent and prescient cult classic ‘Witch’ (pseudonym ©) was ‘the very definition of a hidden gem’.  Said to be played as often at Sean Penn’s BBQs in Hollywood as at block parties in Compton, LW’s music is addressing the hard problem of consciousness.  She repairs small electrical appliances for free on Wednesday afternoons.

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    Liam Howe

    Posted on 20 May 2020

    Liam Coverdale Howe is a London-based record producer, musician and songwriter. Since forming 90s cult band Sneaker Pimps in 1996, he has had much success producing the likes of Lana Del Rey, Marina and the Diamonds, FKA Twigs, Ellie Goulding, and Tom Vek.

    Light Heat

    Posted on 20 May 2020

    After Mazarin ended circa 2006, Quentin Stoltzfus stepped away from performing and releasing music. He did not, however, cease writing and recording music. Thankfully. With the help of an assembled group of friends including Paul Maroon, Matt Barrick, Peter Bauer and Walter Martin from The Walkmen, Quentin’s new venture, Light Heat, manages to weave classic references (Stereolab, The Byrds) with the sound of the future. The result is an album chock full of metaphysical news. Embodied within...

    After Mazarin ended circa 2006, Quentin Stoltzfus stepped away from performing and releasing music. He did not, however, cease writing and recording music. Thankfully. With the help of an assembled group of friends including Paul Maroon, Matt Barrick, Peter Bauer and Walter Martin from The Walkmen, Quentin’s new venture, Light Heat, manages to weave classic references (Stereolab, The Byrds) with the sound of the future. The result is an album chock full of metaphysical news. Embodied within you’ll find sweet soft harmonies alongside guitar pyrotechnics and a rhythm section adrift in time signatures recalling Can, Faust, Cluster.

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    Lightning Bolt

    Posted on 23 September 2020

    Bridging the worlds of technical playing and noise chaos with a colour and imagination unlike any other band, Providence, Rhode Island duo Lightning Bolt began their hypnotic pummeling in the mid-’90s and grew to become one of the most powerful and unique entities in the indie scene.

    Lightning Bolt first took shape in 1995 as a three-piece art school project. Initially, Brian Chippendale’s explosive, nonstop drumming, Brian Gibson’s Contortions-like basslines, and Hisham Baroocha’s v...

    Bridging the worlds of technical playing and noise chaos with a colour and imagination unlike any other band, Providence, Rhode Island duo Lightning Bolt began their hypnotic pummeling in the mid-’90s and grew to become one of the most powerful and unique entities in the indie scene.

    Lightning Bolt first took shape in 1995 as a three-piece art school project. Initially, Brian Chippendale’s explosive, nonstop drumming, Brian Gibson’s Contortions-like basslines, and Hisham Baroocha’s vocals propelled them into a fury of volatile noise and orgiastic tribalism. The group helped found Fort Thunder, a music and art collective, and recorded a self-titled album that was issued through Load in 1999.

    Lightning Bolt returned in 2015 with sixth album Fantasy Empire, their first new material in over five years and their first music recorded in a fully functional, high-end recording studio. After a similarly lengthy four-year break, the duo released their seventh LP, Sonic Citadel, in October 2019.

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    Lightships

    Posted on 20 May 2020

     

     

    Lightships; the project of Teenage Fanclub singer, songwriter and bassist, Gerard Love together with a cast of Glasgow-based friends Dave McGowan (guitar, Teenage Fanclub), Brendan O’Hare (drums, from the first incarnation of Teenage Fanclub), Tom Crossley (flute, International Airport and The Pastels) and Bob Kildea (bass, Belle & Sebastian).

    In recent times, Gerard has been very much part of The Pastels, who operate occasional Domino imprint, Geographic.

    Lightships&rsquo...

     

     

    Lightships; the project of Teenage Fanclub singer, songwriter and bassist, Gerard Love together with a cast of Glasgow-based friends Dave McGowan (guitar, Teenage Fanclub), Brendan O’Hare (drums, from the first incarnation of Teenage Fanclub), Tom Crossley (flute, International Airport and The Pastels) and Bob Kildea (bass, Belle & Sebastian).

    In recent times, Gerard has been very much part of The Pastels, who operate occasional Domino imprint, Geographic.

    Lightships’ debut album Electric Cables was released in April this year. An album of tender, observational songs played with an invigorating and easy sense of purpose; the sound of friends enjoying one another’s company and allowing ideas and experiments to flourish. 

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    Lightspeed Champion

    Posted on 20 May 2020

    What about the man behind the Lightspeed Champion moniker? Who is he? Where did he come from? How much free time does he have? Working backwards: very little. Dev Hynes is a man who doesn’t like to sit around waiting for results; by the time the results are in, he’s on to bigger and better, or at the very least worse but different. A selected history of Dev rather breathlessly testifies to as much:

     

    He began piano at age 7 (and yet he doesn’t hate it today). Next came ...

    What about the man behind the Lightspeed Champion moniker? Who is he? Where did he come from? How much free time does he have? Working backwards: very little. Dev Hynes is a man who doesn’t like to sit around waiting for results; by the time the results are in, he’s on to bigger and better, or at the very least worse but different. A selected history of Dev rather breathlessly testifies to as much:

     

    He began piano at age 7 (and yet he doesn’t hate it today). Next came cello, then the double bass, drums in high school, all the while teaching himself guitar. Early Dev Hynes band history involves several shitty punk bands whose names, according to him, “involved a celebrity’s name of some sort, either exactly copied, or made into some sort of irrelevant pun.” (No examples were provided, but one assumes that ‘Meg Ryan’ and ‘Crispin, Her Fingers Are Blue, Glover’ can’t be far from the mark.) Dev’s shitty punk band run culminated in Test Icicles, a shitty punk band that was actually pretty good, taking a skewed approach to shitty punk that telegraphed an intelligence not always present in the genre (‘Test Icicles’ is an anagram for ‘Eel Tics Tics’ (probably).

     

    Extensive touring had ravaged his throat, and in December he underwent surgery that left him unable to speak for weeks, incapable of anything but whispers and scowls for a good while after that. So he scorned the world, holed up in his apartment, and began writing Life Is Sweet! Nice to Meet You. It was finished by March. During the last year alone, Dev:

     

    – performed Cat Stevens’s soundtrack for Harold & Maude at a special screening by the British Film Institute.
    – sang songs from Moondog’s Sax Pax for a Sax with the London Saxophonic at London’s Barbican Centre on the 10th anniversary of the composer’s death.
    – arranged for and sang with The Britten Sinfonia orchestra, conducted by André De Ridder and Andi Toma.
    – co-wrote with legendary composer and arranger Van Dyke Parks, the fruits of which will see release in the near future.
    – wrote and recorded with Basement Jaxx (see “My Turn,” the new single from their recent record).
    – wrote and recorded with Solange (sister of Beyoncé, a well known R&B performer).

     

    He also covered, this year, something like thirty records in their entirety – recorded them and everything – while sitting around his apartment (his latest, as of this writing, is Todd Rundgren’s A Wizard A True Star). These covers are rarely heard by another soul, although in 2007 Dev put his Nimrod take on Myspace (Green Day continue to nurse their cover of Falling off the Lavender Bridge). He also started a new solo project called Blood Orange (a “slightly disco Chris Isaak Oriental thing”).  He also scored an album for two cellos, which he aims to release in 2010.

     

     

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    Liquid Liquid

    Posted on 20 May 2020

    Space, particularly inner headspace was big news in the early eighties. All those derelict inner city landscapes represented both physical and mental wastelands. The most iconic music of the era serves as a map to those empty spaces rebuilt by flickering minds in stranger, more emancipated times: World Of Echo, Unknown Pleasures, Dare, Remain In Light, Computer World. It’s become a cliche to describe these records as strange documents from a lost brave new world but that’s what they are. ...

    Space, particularly inner headspace was big news in the early eighties. All those derelict inner city landscapes represented both physical and mental wastelands. The most iconic music of the era serves as a map to those empty spaces rebuilt by flickering minds in stranger, more emancipated times: World Of Echo, Unknown Pleasures, Dare, Remain In Light, Computer World. It’s become a cliche to describe these records as strange documents from a lost brave new world but that’s what they are. Here are some postcards from the heart of downtown.

     

    Manhattan’s Liquid Liquid the quartet of Scott Hartley Richard McGuire, Salvatore Principato and Dennis Young effortlessly melded and shaped there own, very groovy, space. Loose but tight, edgy and inviting, both dry and wet, the phrase Slip In And Out of Phenomenon, the title of this retrospective collection – and the vocal hook from their most infamous track Cavern – perfectly nails both the sound and the sensation of listening to Liquid Liquid. Over little more than 3 EPs in their lifetime Liquid Liquid rerouted the rythmns of the subway and the steam of the city to some imagined African nighttime future. Contemporaries were busy discoursing on the Fourth World, or re-imaging ethnography for computers. Can had come close at their most sensual but no one had sounded as direct, hotwired and funky as Liquid Liquid. In the space and depth of their sound there was room not only to move, but to get right down deep into it. Orbiting around a core configuration of drums, bass, marimba and percussion Sal Principato’s voice incanted and chanted. One minute he’s reading out the formulae to surface tension – see Out – or, as on Lock Groove he’s a ghost having a good time stuck in an echo chamber. Either way he makes being disorientated sound like the best fun in town.

     

    As well as an intensity to the grooves that is very much of its time – you can hear the group reaching for every note and beat – Liquid Liquid were locked together by a sticky looseness – see Where’s Al? – that is as head-nodding infectious now as it must have been desirously strange at the time. Cavern kicks off with what must be, by now, the world’s most famous bassline. And thereby, via White Lines, Sugarhill business practice, the birth of hip-hop and sampling, hangs a tale.

     

    Now a good twenty five years after legal meltdowns, industry shutouts and bad deals; it’s the jaw dropping elasticity and funkiness of Cavern that shine through, one of the most remarkable tracks to ever be put on record. Today Liquid Liquid’s legacy is everywhere. The UK’s hippest club, Glasgow’s Optimo is named after track 13 of this CD, a piece of music any DJ would kill to get their hands on as its skitters and twitches its way across the dancefloor. Fellow NYC residents DFA resurrected the uptight downtown funk of Liquid Liquid and contemporaries ESG in their early productions and edits, whilst today’s vogue for live instruments in ‘balearock’ italo and electro club tracks means Liquid Liquid’s way of doing things has come full circle. So its good news right? That the party’s starting all over again.

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    Lisa O’Neill

    Posted on 20 May 2020

    ‘Same Colth Or Not’ (Song Seeds Records 2013) captures Irish singer Lisa O’Neill at her best. An assured songwriter, as comfortable with lyrical pathos as she is comic turn of phrase. At times she is downright poetic, switching mood from forlorn love songs to shady tales of wheelbarrow smuggling. Her voice is a unique instrument in itself, subtle enough to execute the tender reminiscence of a song like ‘Speed Boat’ but powerful enough to bring the house down on the rousing call-to-a...

    ‘Same Colth Or Not’ (Song Seeds Records 2013) captures Irish singer Lisa O’Neill at her best. An assured songwriter, as comfortable with lyrical pathos as she is comic turn of phrase. At times she is downright poetic, switching mood from forlorn love songs to shady tales of wheelbarrow smuggling. Her voice is a unique instrument in itself, subtle enough to execute the tender reminiscence of a song like ‘Speed Boat’ but powerful enough to bring the house down on the rousing call-to-arms chorus on ‘Come Sit Sing’.

    The album was recorded in a beautiful rented cottage in Wicklow, Ireland in the winter months with David Kitt producing and Karl Oldum engineering and includes her band Stina Sandstrom (vocals) and Mossy Nolan (bouzouki) and some wonderful interventions from London-based string duo Geese (Emma Smith & Vincent Sipprell).

     

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    Little Cub

    Posted on 20 May 2020

    Made up of Dominic Gore, Duncan Tootill, and Ady Acolatse, Little Cub are an alternative/indie pop trio based in South-East London, U.K. Although their sound developed primarily in London, the ensemble actually formed in Dorking, Surrey in 2015. Gore and Tootill met by chance and instantly bonded over a shared passion for LCD Soundsystem’s James Murphy and his label, DFA Records, alongside other seminal acts such as New Order and Aphex Twin. Gore then went on to meet Acolatse during a club ...

    Made up of Dominic Gore, Duncan Tootill, and Ady Acolatse, Little Cub are an alternative/indie pop trio based in South-East London, U.K. Although their sound developed primarily in London, the ensemble actually formed in Dorking, Surrey in 2015. Gore and Tootill met by chance and instantly bonded over a shared passion for LCD Soundsystem’s James Murphy and his label, DFA Records, alongside other seminal acts such as New Order and Aphex Twin. Gore then went on to meet Acolatse during a club night at London’s infamous Fabric. The three friends then began to brainstorm, sharing musical ideas, and Little Cub was born. Drawing across a range of influences, the trio’s sound encapsulated sleek noir-pop with ethereal atmospherics inspired by a multitude of electronic genres, alongside lyrics that traverse love, loss, and introspection. After amassing a number of strong compositions, the ensemble got to work performing in and around London; they released their first single, “Breathing Space,” in the summer of 2016. The track garnered widespread acclaim and eventually caught the attention of Domino Records. They then put out their debut release for the label, Loveless, later that year. The song received further praise for its woozy, sparse, and lush electronics and soaring yet soft chorus melody. Little Cub released their first full-length album, Still Life, in April 2017 via Domino Records.

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    Little Wings

    Posted on 20 May 2020

    Little Wings is the musical project of fine artist and songwriter, Kyle Field. Field was born in Alabama, the son of a college football coach, but his family quickly moved to California where he grew up to love surfing. In the late 1990s, Field formed the band Little Wings, of which he is the only permanent member. The band released several albums through K Records, including Light Green Leaves and Magic Wand. Field is also an acclaimed visual artist. His first book of drawings was released o...

    Little Wings is the musical project of fine artist and songwriter, Kyle Field. Field was born in Alabama, the son of a college football coach, but his family quickly moved to California where he grew up to love surfing. In the late 1990s, Field formed the band Little Wings, of which he is the only permanent member. The band released several albums through K Records, including Light Green Leaves and Magic Wand. Field is also an acclaimed visual artist. His first book of drawings was released on the label Ahornfelder.

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    Liz Janes

    Posted on 20 May 2020

    Liz Janes is an accidental artist and a late bloomer. While attempting to accomplish four typical academic years of college, she dropped out, went farming, and started drawing. Went back to school kept drawing. Started making noise with instruments while imbibing with friends. Secret love of singing. Quietly began composing songs she knew for sure she’d never share. Three chords on an old Sears guitar. Made loud loud noise with friends.

    Years later, friend says come over I’ll reco...

    Liz Janes is an accidental artist and a late bloomer. While attempting to accomplish four typical academic years of college, she dropped out, went farming, and started drawing. Went back to school kept drawing. Started making noise with instruments while imbibing with friends. Secret love of singing. Quietly began composing songs she knew for sure she’d never share. Three chords on an old Sears guitar. Made loud loud noise with friends.

    Years later, friend says come over I’ll record you. Liz drops in on friend and records bedroom tunes, proceeds to Mexico. Realizing she’d rather be making babies with the Future Rapper, Liz returns home to good man, and a fully produced record of bedroom tunes. Liz says OK, friend puts out record. Liz dares herself to learn how to perform and try to sell the records. Years pass. Two more friends produce two more records with Liz.
    Friends say we’ll put out the records. Years pass. Liz is still slowly figuring out that recording songs is the thing she does. It may not better society, or make any money, but birds make nests, Liz makes songs. Her friends want to share them. What a gift. What good friends.

    Another record? She’s working on it….years pass. Etc.

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    Lomond Campbell

    Posted on 20 May 2020


    Lomond Campbell lives on the edge of a loch somewhere up in the Highlands in a dilapidated and long disused primary school. He has filled a classroom with old guitars & synthesisers, barely working echo boxes, tape recorders and various other home built contraptions, carefully positioning them all in between the drips from the leaking roof. It’s from here he writes and records his music. He made his first appearance on a collaborative album, recorded in one week, called ‘Expe...


    Lomond Campbell lives on the edge of a loch somewhere up in the Highlands in a dilapidated and long disused primary school. He has filled a classroom with old guitars & synthesisers, barely working echo boxes, tape recorders and various other home built contraptions, carefully positioning them all in between the drips from the leaking roof. It’s from here he writes and records his music. He made his first appearance on a collaborative album, recorded in one week, called ‘Experimental Batch #26’ along with Slow Club & members of the Fence Collective. Lomond’s first EP ‘Only A City Apart’ was released on limited edition vinyl in 2013.  His debut album is due for release in 2014 on influential Scottish indie label Chemikal Underground. 

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    Lou Barlow

    Posted on 20 May 2020

    Hi, my name is Lou Barlow. This is ‘Brace the Wave’. 

    One of my first song writing attempts occurred in 1983— it is called “Lou’s Anxiety Song”, released by my first band, Deep Wound. The original title was ‘Pressures’, but the singer decided to scream “Lou’s anxiety song!!” at the beginning (his commentary on the overly earnest lyrics ).The title stuck.

    Deep Wound evolved into Dinosaur Jr. While playing in that band I beg...

    Hi, my name is Lou Barlow. This is ‘Brace the Wave’. 

    One of my first song writing attempts occurred in 1983— it is called “Lou’s Anxiety Song”, released by my first band, Deep Wound. The original title was ‘Pressures’, but the singer decided to scream “Lou’s anxiety song!!” at the beginning (his commentary on the overly earnest lyrics ).The title stuck.

    Deep Wound evolved into Dinosaur Jr. While playing in that band I began recording short songs on a baritone ukulele that I modified with heavier strings and flexible tunings. I called myself Sentridoh. My first solo LP ‘Weed Forestin’’ was a cassette that I duplicated and gave away. I was too bashful to play any Sentridoh songs for my slightly older, much cooler bandmates.  I eventually started a band of my own called Sebadoh.  We gained some momentum in the 90s. And then in 1994, I started another band called Folk Implosion.

    By the early 2000s, everything had crashed and burned. I was alone again with my 4-track and a basic knowledge of recording. I still had a ukulele and was most comfortable writing uncomfortable songs. I love the cozy self-delusion of the creative process. Finishing songs, making records and holding the finished piece in hand is incredibly satisfying. In 2005 I made my first official solo LP under my actual name instead of a made-up, nonsense word.  Around that time, I sensibly began touring with Dinosaur Jr. and Sebadoh again which brings me to now… 2015.

    Having moved back to Massachusetts (after 17 years in Los Angeles), I recorded ‘Brace The Wave’ in 6 days with Justin Pizzoferrato at Sonelab studios in Easthampton. Justin was the engineer for the 3 Dinosaur Jr ‘reunion’ LP’s. My ease with Justin meant I approached the sessions with focus and confidence. Songs like “Redeemed”, “Wave” and “Moving” reprise my early methods of tuning my ukulele down low and writing the songs during the recording process. Others like “Lazy” and “C+E” are traditional-style folk songs that I performed live in the studio.

    Here it is, “Lou’s Anxiety Song(s)” 2015, less fretful, still restless. 

     

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    Lou Rhodes

    Posted on 20 May 2020

    Trading in the complex electronics of her previous project Lamb for simple folk, singer Lou Rhodes continued on her own after the breakup of Lamb in 2004. In early 2006, she self-released her debut solo record, Beloved One, which was nominated for the Mercury Prize. Her second album, Bloom, arrived in 2007, to generally positive reviews. Released on the A&G imprint, it featured the single “The Rain,” and coincided with a promotional tour, which began later in the same year. 2009 saw...

    Trading in the complex electronics of her previous project Lamb for simple folk, singer Lou Rhodes continued on her own after the breakup of Lamb in 2004. In early 2006, she self-released her debut solo record, Beloved One, which was nominated for the Mercury Prize. Her second album, Bloom, arrived in 2007, to generally positive reviews. Released on the A&G imprint, it featured the single “The Rain,” and coincided with a promotional tour, which began later in the same year. 2009 saw the reunion of Lamb, who went back on the road, during which time Rhodes simultaneously began writing and recording her third solo effort, One Good Thing, which landed in early 2010. The album was co-produced by her Lamb bandmate Andy Barlow, and was the first recorded collaboration between the pair since 2004. Her fourth solo effort, entitled Theyesandeye, arrived in 2016. Recorded in a friend’s studio in rural Wiltshire, the record was co-produced by Simon Byrt, who also played piano, bass, guitar, and synths on the recording.

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    Louis Michot

    Posted on 23 April 2025

    Louis Michot is a Grammy award winning fiddle player and singer for Lost Bayou Ramblers, and in 2023 released his debut solo album “Rêve de Troubadour”. In 2018, Michot founded Nouveau Electric Records, promoting experimental and traditional around Louisiana French. In early 2020 Louis was named ‘Louisianian of the Year’ in 2020 along with his brother Andre. Louis began incorporating solar technology into his music operations in 2020, with a solar powered studio and a mobile solar mu...

    Louis Michot is a Grammy award winning fiddle player and singer for Lost Bayou Ramblers, and in 2023 released his debut solo album “Rêve de Troubadour”. In 2018, Michot founded Nouveau Electric Records, promoting experimental and traditional around Louisiana French. In early 2020 Louis was named ‘Louisianian of the Year’ in 2020 along with his brother Andre. Louis began incorporating solar technology into his music operations in 2020, with a solar powered studio and a mobile solar music stage dubbed the “Solar Roller” This work also bled into doing hurricane relief work as noted in Rolling Stone (Can This Cajun-Punk Musician Protect His Culture From Climate Change?, September 16, 2021) while raising funds to procure solar generators and panels for residents of Terrebonne Parish affected by Hurricane Ida, as written about in New Yorker magazine (The Lost Bayou Ramblers Get Lit, January 3, 2022).

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    Lovvers

    Posted on 20 May 2020

    Although originally hailing from different parts of the UK, Lovvers formed whilst all four members were living in Nottingham in 2006. They are a strange mix of music’s forgotten / blank generation, re-calling the spirit of Darby Crashes’ Germs, the weirdness of Flipper, Wipers-style pop and the carefree attitude of The Replacements.

    Having released four noisy seven-inch singles (three on the Jonson Family record label and one a 4 way band split release on OIB records) the band signed ...

    Although originally hailing from different parts of the UK, Lovvers formed whilst all four members were living in Nottingham in 2006. They are a strange mix of music’s forgotten / blank generation, re-calling the spirit of Darby Crashes’ Germs, the weirdness of Flipper, Wipers-style pop and the carefree attitude of The Replacements.

    Having released four noisy seven-inch singles (three on the Jonson Family record label and one a 4 way band split release on OIB records) the band signed to Wichita Recordings in 2008 and released the “Think” EP that same year. In 2008 they also shared tours and stages with many bands they love, including Butthole Surfers, No Age, Times New Viking, Jay Reatard, Awesome Color, Mika Miko, Fucked Up, Black Lips, Brutal Knights, Los Campesinos! and Boss Hog.

    Well since then, en route from rocking The Smell in LA, touring with the Yeah Yeah Yeahs and playing god knows how many shows at SXSW, Lovvers set about making a record that in their own words is “an unconventional weird pop record”. Comparisons to Mark Sultan and Clorox Girls are clear but it kicks off with something that almost resembles The Clash. This isn’t “Overpowered By Funk” but more “Career Opportunities” then next we get the Ramones meets Minutemen then 13th Floor Elevators.

    Whilst this is budget rock, this time around the budget was actually pretty good so they relocated to Jackpot! Studios (owned by Larry Crane, editor of Tape Op Magazine) in the musical Mecca of Portland, Oregon. With Pat Kearns (Red Dons, Clorox Girls, Exploding Hearts) manning the desk they set about making a record that you’re definitely going to want to keep spinning for some time from now.

    The album is new-meets-old but by the end it’s fuzzed out Woodstock. This is vintage stuff; a completely analogue recording. New instruments have been embraced but when was the last time an independent English band made an interesting, raw, guitar record?

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    LOW

    Posted on 20 May 2020

     

    Low, a band from Duluth, Minnesota, formed in 1993. The band features Alan Sparhawk on vocals and guitar, Mimi Parker on vocals and drums, and Matt Livingston on bass and vocals. Sparhawk and Parker are married with two children; they first met in fourth grade in rural Minnesota. Livingston, the latest addition to the band, replaced longtime bassist Zak Sally, who previously replaced original bassist John Nichols.

     

    Low’s first album, I Could Live in Hope, was produced by Kr...

     

    Low, a band from Duluth, Minnesota, formed in 1993. The band features Alan Sparhawk on vocals and guitar, Mimi Parker on vocals and drums, and Matt Livingston on bass and vocals. Sparhawk and Parker are married with two children; they first met in fourth grade in rural Minnesota. Livingston, the latest addition to the band, replaced longtime bassist Zak Sally, who previously replaced original bassist John Nichols.

     

    Low’s first album, I Could Live in Hope, was produced by Kramer and released on Vernon Yard Records in 1994. The band was immediately pegged as “slowcore” due to their minimalist soundscapes and the beautiful harmonies of Sparhawk and Parker, which stood in stark contrast to the era’s fascination with grunge. Low continued to work with different producers (Steve Fisk, Steve Albini, Tchad Blake, Dave Fridmann) and released a steady stream of critically acclaimed albums (Long Division, The Curtain Hits the Cast, Things We Lost in the Fire, The Great Destroyer), one-offs, collaborations, and other miscellany, including a classic Christmas album, aptly titled Low Christmas. Throughout, Low toured the world and eventually found themselves in the company of such artists as The Dirty Three, Radiohead and Nick Cave and the Bad Seeds.

     

    Drums and Guns is the band’s eighth full-length album and second for Sub Pop. It’s also, after 2005’s The Great Destroyer, the second album they’ve recorded with producer Dave Fridmann. Drums and Guns features a number of songs that ardent Low fans will recognize from the band’s recent live shows. These songs appear here in substantially altered forms, as though they’ve been taken apart and reassembled in striking new ways. There’s no contrivance here, however. While these songs feature new elements (looped vocals, drum machines, etc.) and are thoroughly, radiantly contemporary, they remain undeniably Low’s. Drums and Guns possesses the unique, subtle beauty and power we’ve come to expect from Low, and the record is also a breathtaking step forward.

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    Luke Abbott

    Posted on 20 May 2020

    The success of his 2010 debut album Holkham Drones was something of a dream induction into the world of professional music-making for Luke Abbott. The “game changing electronic opus” stood out as “far and away one of Drowned in Sound‘s favourite records of 2010” and landed in Mojo‘s ‘Electronica Albums of 2010’ list, amongst wide-spread critical acclaim. It wasn’t just about 2010 though; far beyond its initial release Holkham Drones has continued to win over convert upon con...

    The success of his 2010 debut album Holkham Drones was something of a dream induction into the world of professional music-making for Luke Abbott. The “game changing electronic opus” stood out as “far and away one of Drowned in Sound‘s favourite records of 2010” and landed in Mojo‘s ‘Electronica Albums of 2010’ list, amongst wide-spread critical acclaim. It wasn’t just about 2010 though; far beyond its initial release Holkham Drones has continued to win over convert upon convert. Its joyous arpeggios and rolling primal rhythms seduced wherever they were heard, spawning a string of EPs (Object is Navigator and Modern Driveway for Gold Panda‘s label NOTOWN) and sustaining an accompanying live touring schedule that has kept Luke and his handcrafted hardware-jams rumbling across the clubs, gigs and festivals of Europe throughout the intervening years. Four years on, his second full length album Wysing Forest (due out 23 June 2014 via Border Community) is named after the Wysing Arts Centre in Cambridgeshire where, over a six week period in 2012 as their first ever musician-in-residence, Luke recorded what would later become the album.

    IMDb

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    Luke Reynolds

    Posted on 29 April 2021

    Luke Reynolds is an artist, writer, and producer.
    Reynolds has released six solo albums.  His most recent album Vanishing Places Vol. 2 Glaciers In Iceland was commissioned for CHANGE, a permanent polar art exhibit. As a guitarist and multi-instrumentalist, he has worked with Sharon Van Etten, Adrian Utley, The Staves, Neko Case, Sarah Jarosz, The War On Drugs, Miranda Lambert, Regina Spektor, Guster and Phosphorescent.
    He is a frequent collaborator with producer John Conglet...

    Luke Reynolds is an artist, writer, and producer.
    Reynolds has released six solo albums.  His most recent album Vanishing Places Vol. 2 Glaciers In Iceland was commissioned for CHANGE, a permanent polar art exhibit. As a guitarist and multi-instrumentalist, he has worked with Sharon Van Etten, Adrian Utley, The Staves, Neko Case, Sarah Jarosz, The War On Drugs, Miranda Lambert, Regina Spektor, Guster and Phosphorescent.
    He is a frequent collaborator with producer John Congleton.

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    Luke Wyatt (Torn Hawk)

    Posted on 20 May 2020

    Torn Hawk is the project of audiovisual artist Luke Wyatt. Wyatt first gained notoriety for his “Video Mulch”, creating innovative visual work for the label Peoples Potential Unlimited and artists like Autre Ne Veut and Mi Ami.

    The acclaimed “Tarifa” 12″, released on L.I.E.S. in 2012, debuted the distinctive Torn Hawk soundtrack-ready aesthetic of emotive guitars and smeared beats. The tracks sounded like the audio equivalent of confessional watercolors, framed with cinderblocks and...

    Torn Hawk is the project of audiovisual artist Luke Wyatt. Wyatt first gained notoriety for his “Video Mulch”, creating innovative visual work for the label Peoples Potential Unlimited and artists like Autre Ne Veut and Mi Ami.

    The acclaimed “Tarifa” 12″, released on L.I.E.S. in 2012, debuted the distinctive Torn Hawk soundtrack-ready aesthetic of emotive guitars and smeared beats. The tracks sounded like the audio equivalent of confessional watercolors, framed with cinderblocks and distressed leather. This was followed by a prolific two years, with releases appearing on labels including Not Not Fun, Rush Hour’s “No Label”, 1080p, and Wyatt’s own imprint Valcrond Video.

    “Let’s Cry And Do Pushups At The Same Time” (Mexican Summer, 2014) is the most recent full-length statement from Torn Hawk, and marks the onset of a more emotionally manipulative and sonically confident direction. Writing about the album in Pitchfork, reviewer Sam Hockley-Smith said, “Wyatt’s managed to take something as idiosyncratic as the way pop culture tangles up with our memories of the past and make a universal sound out of it. Ultimately, Wyatt has made a sadly triumphant album that questions how our minds remember what they remember.”

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    LUMP

    Posted on 05 May 2021

    LUMP began on an evening in mid June 2016 when Mike Lindsey (producer and member of bands Tunng and Throws) was introduced to Laura Marling (3 time mercury nominated songwriter) after her show supporting Neil Young at London’s 02 arena. To both their surprise, each had been admirers of the others work. A few days later they retreated underground to Mike’s London studio oratory to unite their energies and produce LUMP.

    Lunar Vacation

    Posted on 01 November 2022

    The week that guitarists Grace Repasky and Maggie Geeslin turned old enough to drive, Lunar Vacation was officially formed. 

    Repasky and Geeslin met in the eighth grade and began exchanging musical efforts almost immediately, but that blessed autonomy of first cars meant they could conquer Atlanta’s sprawling suburbs and play to their adolescent hearts’ desire. The pair forged a cluster of demos — just enough to fill a set — and took to as many stages as Atlanta could offer them. L...

    The week that guitarists Grace Repasky and Maggie Geeslin turned old enough to drive, Lunar Vacation was officially formed. 

    Repasky and Geeslin met in the eighth grade and began exchanging musical efforts almost immediately, but that blessed autonomy of first cars meant they could conquer Atlanta’s sprawling suburbs and play to their adolescent hearts’ desire. The pair forged a cluster of demos — just enough to fill a set — and took to as many stages as Atlanta could offer them. Local momentum building, they added classmates Matteo DeLurgio on synth and Connor Dowd on drums to sonically match their songs’ increasingly rambunctious spirit. 

    Upon high school’s end, Lunar Vacation released a pair of well-received EPs, Swell and Artificial Flavors, and landed support runs for the likes of Remo Drive, Sidney Gish, and SALES. The band nabbed infatuated fans across the US while racking up millions of streams on their independently released music. In more than one sense, Lunar Vacation had graduated.

    Back in Atlanta, Geeslin was working in a record store (Criminal Records) when Daniel Gleason of the band Grouplove came in. Following a quick connection and hours of conversation, the members of Lunar Vacation felt Gleason could be one to color in the sound they’d been honing live — melodious guitars swirling atop propulsive, often psychedelic rhythm — and capture it in the studio. The band recorded “Unlucky” with Gleason and released it in early 2020, the song drawing attention as “swoon-worthy” from The FADER, “shimmering … wistful, sun-kissed indie-pop” from American Songwriter, and “equal parts Mac DeMarco and Snail Mail” from Paste Magazine. Lunar Vacation continued recording with Gleason in the producer’s chair. 

    While putting the finishing touches on their highly anticipated debut album, the band are thrilled to share new song “Shrug” via Keeled Scales, their first offering on the critically acclaimed indie label. 

    The song follows Repasky through an anxious conversation with herself. The melody is buoyant though agitated, its guitars warbling like questions marks and lyrics ringing distinctly relatable. Lines like This isn’t how I want to be / I didn’t know I could care that much and Invited but I’ll never show / Sit at home playing too much Wilco cut into a listener’s mind and vibrate there, like thoughts of one’s own. There’s a carefree sense of triumph in Repasky’s refrain: Why don’t you just shrug it off? 

    In “Shrug” as well as the songs to come, Lunar Vacation boast a celebratory sound, a reckless sense of ecstasy specific to fluid youth and rock solid friendship. In spite of life’s bits that inspire these songs — some darker than others — Repasky, Geeslin, DeLurgio, and Dowd reliably find the light in the thing. Drawing from early influences like Rilo Kiley and Tame Impala, and landing a little closer to contemporary favorites like Alvvays and Slow Pulp, Lunar Vacation make bright music replete with bliss.

    Repasky suggested the band name Lunar Vacation to Geeslin at a show, leaning over at a loud moment to say it. It’s easy to imagine others finding out about the band in this same way.

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    Lynks

    Posted on 24 May 2022

    By L’s own admission, Lynks began life as a comedy act. “I mean, I had a song called ‘How to Make a Béchamel Sauce in 10 Steps (With Pictures)’. I wasn’t taking it too seriously.” It’s all the more remarkable, then, that he’s gone on to become one of queer pop’s most potent forces. Instantly recognisable thanks to his self-made costumes – that he’s described as making him a ‘masked drag monster’, while NME went for ‘alt-pop gimp’ – his taste for thumping beats...

    By L’s own admission, Lynks began life as a comedy act. “I mean, I had a song called ‘How to Make a Béchamel Sauce in 10 Steps (With Pictures)’. I wasn’t taking it too seriously.” It’s all the more remarkable, then, that he’s gone on to become one of queer pop’s most potent forces. Instantly recognisable thanks to his self-made costumes – that he’s described as making him a ‘masked drag monster’, while NME went for ‘alt-pop gimp’ – his taste for thumping beats, stylised dance numbers and lurid strobe lighting have made the Lynks live experience an unforgettable one, and marked him out as one of the scene’s most unfailingly entertaining performers.

    By the time he released his second EP, Smash Hits Vol. 2, though, Lynks realised he had more to offer. ‘Str8 Acting’ quickly became his biggest hit – “the one song I would play to people if they wanted to know what Lynks was about” – and beneath its skittering beat and wonky electronics is a searingly witty takedown of the fetishisation of heterosexuality in the gay community, delivered in a brilliantly deadpan manner. “That was the first time I’d tried to write a song that was in any way personal,” he recalls. “Why do we have this obsession with being straight acting? And I found, when I started playing it live, that it was really satisfying and cathartic. I was like, “fuck yeah! This is something I believe in!”

    It was a revelatory moment. “When I started out, it wasn’t that my songs were tongue-in-cheek – I mean, my tongue was through my cheek. But I started to realise that being comedic weirdly allows you to bare a bit more of your soul than with traditional lyrics, because they can become a bit flowery and cliche really easily. Being tongue-in-cheek lets you be pretty truthful and comment on bigger issues. You can use it to dig deeper.”

    That was the mindset as he put together this third EP, MEN. It remains quintessentially Lynks, with all three tracks remaining gloriously in-your-face electro-pop bangers, but as the title suggests, he’s using them as vehicles to explore his relationship with masculinity. Lead single ‘Silly Boy’ continues in the same riotously excoriating vein as ‘Str8 Acting’, and was inspired in part by his experiences on tour supporting Frank Carter and the Rattlesnakes. “That made me realise how important it is to embrace a punk ethos in a live show. There’s a lot of power in queer anger, and I rarely see that explored much. Gay men’s anger is characterised as being funny somehow – like sassy or bitchy. But there’s something about queer rage that I love.”

    And yet, at the centre of Lynks is an exploration of queer vulnerability, something that’s become increasingly important to him as the project has morphed from the cabaret act it began as to the queercore behemoth it is today. “It’s great that we’re at a point in time where we have queer people onstage who are incredibly proud, telling the world that we’re fabulous and we’re slaying, but I want to speak more to the fact that the world messes us up quite a bit, and we have problems too, because it’s very difficult growing up queer. I think we can find power by embracing that vulnerability, and I’m enjoying flying the flag for that.”

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    Mac Kennedy (Poison Ruïn)

    Posted on 26 April 2023

    Evoking a rich tapestry of ice-caked forests, peasant revolts, and silent knights, POISON RUIN stab at the pulsing heart of what it means to live under the permanent midnight of contemporary life. With Harvest, the band aligns their sonic palette to their godless, medieval-inflected aesthetic symbolism, creating a record which strikes with an assured sense of blackened harmony.

    “I’ve always found fantasy tropes to be incredibly evocative,” vocalist Mac Kennedy notes, “that said, even ...

    Evoking a rich tapestry of ice-caked forests, peasant revolts, and silent knights, POISON RUIN stab at the pulsing heart of what it means to live under the permanent midnight of contemporary life. With Harvest, the band aligns their sonic palette to their godless, medieval-inflected aesthetic symbolism, creating a record which strikes with an assured sense of blackened harmony.

    “I’ve always found fantasy tropes to be incredibly evocative,” vocalist Mac Kennedy notes, “that said, even though they are a set of symbols that seem to speak to most people of our generation, they are often either apolitical or co-opted for incredibly backwards politics.”

    Kennedy reworks fantasy imagery as a series of totems for the downtrodden, stripping it of its escapist tendencies and retooling it as a rich metaphor for the collective struggle over our shared reality: “Instead of knights in shining armor and dragons, it’s a peasant revolt,” Kennedy explains, “I’m all for protest songs, but with this band I’ve found that sometimes your message can reach a greater audience if you imbue it with a certain interactive, almost magical realist element.”

    The title track invokes images of feudal peasants, tithes, and money-hungry lords, sounding the horn of labor with the rallying cry, “Isn’t this our harvest? Isn’t this our feast to share?” Tales of the undead rising to take revenge upon those who have unknowingly wronged them spin out like pleasantly cathartic folktales (“Resurrection II”), while other tracks address the profound beauty and spirit of those making ends meet in the forsaken ends of POISON RUIN’s hometown of Philadelphia (“Blighted Quarter”). The band stares into the abyss of modern living with a sober and empathetic outlook, portraying our cracked reality as a complex and difficult to parse miasma of competing desires.

    With Harvest, POISON RUIN have constructed a richly chilling fable out of modern living. Their tale is as lurid as it is seductive, as much a promising fantasy as it is a dreary portrait of reality itself. 

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    Magazine

    Posted on 20 May 2020

    Magazine was an English Post-punk group active between 1977 and 1981.

    The band was formed in Manchester by Howard Devoto after he left Buzzcocks in early 1977. In April 1977 he met guitarist John McGeoch and they began writing songs which would become the first Magazine material. They recruited Barry Adamson, Bob Dickinson and Martin Jackson to form the first line-up of the band, which signed to Virgin Records.

    Bob Dickinson left shortly after the release of the band’s first single “Shot ...

    Magazine was an English Post-punk group active between 1977 and 1981.

    The band was formed in Manchester by Howard Devoto after he left Buzzcocks in early 1977. In April 1977 he met guitarist John McGeoch and they began writing songs which would become the first Magazine material. They recruited Barry Adamson, Bob Dickinson and Martin Jackson to form the first line-up of the band, which signed to Virgin Records.

    Bob Dickinson left shortly after the release of the band’s first single “Shot By Both Sides” and was replaced by Dave Formula. “Shot By Both Sides”, the chorus of which shared the same progression as the Buzzcocks’ “Lipstick,” reached the top 50 in the UK singles chart. Its cover was an early example of the goth influence in punk.

    Following a tour to promote the first album Real Life, Jackson left and was replaced briefly by Paul Spencer and then John Doyle. In 1979 the second album, Secondhand Daylight followed. Devoto left the band in 1981, and after a brief solo outing and two albums with Luxuria he quit music to become a photo archivist.

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    Magic Bullets

    Posted on 20 May 2020

    Magic Bullets began as as a side project of a full time band in Redwood City, CA in 2004. What started as a lark became the main focus and the driving force for core members for years to come. 

    In early 2007 the band released an album’s worth of recordings collected over the span of the three years since the band’s conception. Their first full length “A Child But In Life Yet A Doctor In Love” was released on Minneapolis’ Words on Music. 

    Numerous tours of ...

    Magic Bullets began as as a side project of a full time band in Redwood City, CA in 2004. What started as a lark became the main focus and the driving force for core members for years to come. 

    In early 2007 the band released an album’s worth of recordings collected over the span of the three years since the band’s conception. Their first full length “A Child But In Life Yet A Doctor In Love” was released on Minneapolis’ Words on Music. 

    Numerous tours of the states followed, finding the band as far East as New York and showcased at Austin’s SXSW music festival in 2008. Magic Bullets played with some of their favorite acts, old and new, including Pylon, A Certain Ratio, Section 25, The Raincoats, No Age, Wild Beasts, The Walkmen, and MGMT. 

    Magic Bullets opted to self-release their second recording, a four song 12″ titled “Magic Bullets Lives For Romance”. “Lives for Romance” saw a dramatic maturation of the band’s sound from “A Child…” and despite various lineup changes, shining reviews for the EP encouraged the band to continue writing songs for a second album.

    Whereas the first full length was somewhat haphazardly compiled, this new record was to be a better-envisioned and more deliberate effort.

    2010’s Magic Bullets (Mon Amie Records) exposes the band for what they are: a seasoned group who’s seen its ups and downs and yet somehow ends up the better for it.

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    Makola

    Posted on 20 May 2020

    Rising duo Makola have their roots in Finland and Ghana but their sound, an irrepressible explosion of hip-hop and afrobeat, could only ever have been forged in London. Their latest track, ‘All My People’, compares the frosty reception Ghanaian immigrants received in the ’50s to the more inclusive attitude that largely reigns in the capital today (“nowadays everyone’s your bruv”), and does so to an infectious beat bolstered by some exuberant samples. Look o...

    Rising duo Makola have their roots in Finland and Ghana but their sound, an irrepressible explosion of hip-hop and afrobeat, could only ever have been forged in London. Their latest track, ‘All My People’, compares the frosty reception Ghanaian immigrants received in the ’50s to the more inclusive attitude that largely reigns in the capital today (“nowadays everyone’s your bruv”), and does so to an infectious beat bolstered by some exuberant samples. Look out for a debut album from Makola in 2017.

    Makola have already won huge support from the likes of Radio 1’s DJ Target, Mistajam, Phil Taggart and Beats 1 DJ Julie Adenuga who hailed their debut single ‘This is London’ as one of her ‘’tracks of the summer’’, adding it to her ‘Big 3’, as well as it being on Apple Music UK’s ‘A-list tracks of the week’. Makola are continuing to prove they are a force to be reckoned with.

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    Malachai

    Posted on 20 May 2020

    ‘Beyond Ugly’ (released March 2014 on Double Six) is the last panel in the band’s Ugly triptych and that it was completed at all came as a shock to all concerned, least of all the group.  After the conclusion of the campaign for their second album, ‘Return To The Ugly Side’ (Double Six 2011), members Gee Ealey and Scott Hendy drifted apart with no definitive plans to take up arms together.  It was a chance meeting in Bristol that drew the two back into one a...

    ‘Beyond Ugly’ (released March 2014 on Double Six) is the last panel in the band’s Ugly triptych and that it was completed at all came as a shock to all concerned, least of all the group.  After the conclusion of the campaign for their second album, ‘Return To The Ugly Side’ (Double Six 2011), members Gee Ealey and Scott Hendy drifted apart with no definitive plans to take up arms together.  It was a chance meeting in Bristol that drew the two back into one another’s orbit and to the realization that there was some unfinished monkey business. ‘Beyond Ugly’ recaptures the sonic stew of debut album, ‘The Ugly Side Of Love’ (Invada 2009), a potent brew of post-summer of love and some good ol’ Bristol-fashion psychedelic comedown.  However, there’s a healthy dose of renewed restlessness and anger emanating from Ealey that permeates the album thanks to some spirited vocal performances, from the anthemic and vengeful soliloquy of ‘Sweet Flower’ to the civilly disobedient ‘I Deserve To No’. With the trilogy complete, is this really where the Malachai story ends?  As shown by the creative triumph of ‘Beyond Ugly’, sometimes it’s best not to plan at all and just let it happen. We’ll do our best to let you know when it does.

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    Marah

    Posted on 20 May 2020

    Marah was formed by singer/songwriter/guitarist Dave Bielanko from Conshohocken, Pennsylvania, bass guitarist Danny Metz and drummer Ronnie Vance in 1993. Singer/songwriter/guitarist and harmonica player Serge Bielanko, Dave’s older brother, joined the band in 1995.

    The group featured Mummers Parade influenced banjos combined with standard rock music instruments to create a highly eclectic Roots Rock sound. The quartet recorded two albums together: Let’s Cut The Crap & Hook Up Later o...

    Marah was formed by singer/songwriter/guitarist Dave Bielanko from Conshohocken, Pennsylvania, bass guitarist Danny Metz and drummer Ronnie Vance in 1993. Singer/songwriter/guitarist and harmonica player Serge Bielanko, Dave’s older brother, joined the band in 1995.

    The group featured Mummers Parade influenced banjos combined with standard rock music instruments to create a highly eclectic Roots Rock sound. The quartet recorded two albums together: Let’s Cut The Crap & Hook Up Later on Tonight, released on Black Dog Records in 1998, and Kids in Philly, released on Steve Earle’s now-defunct E-Squared Records in 2000. Both critically acclaimed records were recorded and produced by the band and recording engineer/producer Paul Smith above an auto repair garage in south Philadelphia.

    Metz and Vance left the band in 2000, and were replaced by Mick Bader on drums and Joe Hooven on bass. In 2005, the band entered The Magic Shop recording studio in New York City to record their fifth album with the help of Henderson and two new members, guitarist Adam Garbinski and drummer/guitarist Dave Peterson formerly of the band Squad Five-O. The resulting disc, If You Didn’t Laugh, You’d Cry (IYDLYC), met with near universal critical acclaim. Stephen King, writing in Entertainment Weekly, hailed IYDLYC as the best record of 2005. The release of IYDLYC was complemented by the recording and release of a Christmas album, A Christmas Kind of Town.

     

    The band, now solidified as a three-guitar quintet, embarked upon a year-long tour of the US and Europe to support the two albums. Highlights of the tour included Serge Bielanko’s intense renditions of “Dishwasher’s Dream” from IYDLYC as well as occasional performances of “Reservation Girl,” a song the group has never released on a record.

    In addition to the release of A Christmas Kind of Town, the band, along with keyboardist and vocalist Christine Smith, wrote and recorded music for lyrics written by This American Life contributor Sarah Vowell entitled “Christmas at Valley Forge.” The song, along with other selections from A Christmas Kind of Town, was originally aired on This American Life’s Christmas special in December 2005 and was re-released on the holiday EP “Counting the Days” in 2007.

    Marah, with Christine Smith now a full time member, entered Nashville’s 16 Ton Recording Studios in August 2006 to record songs for a new record. In April 2007, the group recorded and mixed additional songs at Brooklyn, New York’s Excello Recording. In June, Marah announced that the new record, Angels of Destruction, would be released on January 8, 2008 and previewed the album at a concert/listening party in Philadelphia on September 8th, 2007. Angels of Destruction was preceded by a 6-song 10″ EP entitled Can’t Take It With You which was released in October 2007. A Christmas EP called Counting the Days was released in November 2007.

    The new album was released in early January 2008 to widespread acclaim. Almost immediately afterwards, however, plans for an extensive US tour were cancelled following the departure of Garbinski, Peterson, and Henderson. A statement from Dave Bielenko stated that the current line-up could not agree on tour plans, and that to acquiesce to rhythm section would have represented a “musical regression.” Bassist Johnny Pisano and drummer Joe Gorelick were hired as replacements, and in late February the band embarked on a European tour to promote the album.

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    Margo Cilker

    Posted on 21 April 2023

    Margo Cilker is a woman who drinks deeply of life, and her debut record Pohorylle, released in November 2021 on Portland label Fluff and Gravy, is brimming with it. For the last seven years, the Eastern Oregon songwriter, who NPR calls one of “11 Oregon Artists to Watch in 2021,” has split her time between the road and various outposts across the world, from Enterprise, OR to the Basque Country of Spain, forging a path that is at once deeply rooted and ever-changing.

    As Pohorylle traverses...

    Margo Cilker is a woman who drinks deeply of life, and her debut record Pohorylle, released in November 2021 on Portland label Fluff and Gravy, is brimming with it. For the last seven years, the Eastern Oregon songwriter, who NPR calls one of “11 Oregon Artists to Watch in 2021,” has split her time between the road and various outposts across the world, from Enterprise, OR to the Basque Country of Spain, forging a path that is at once deeply rooted and ever-changing.

    As Pohorylle traverses through the geography of Cilker’s memories—a touring musician’s tapestry of dive bars and breathtaking natural beauty—love is apparent, as is its inevitable partner: loss. For what bigger heartbreak is there than to be a fervent lover who must always keep moving? Cilker seems keenly aware of the precarious footing upon which love stands, and at many turns, the record circles something that is staggeringly beautiful and slipping away.
    “I am a woman split between places,” Cilker sings on the album’s wistful closer, touching for a brief moment upon the vast dichotomies of her selfhood and her profession, and the negotiation that she conducts between them.

    “I’m just very inquisitive. I’m a very curious person. Why are things this way? Do they have to stay this way? You know, how can things change?” Cilker asks. It is this part of her nature that expands Pohorylle into the complex journey that it is: her ability to crack open a moment of desperation and lay it out on a table to catch a careful light.

    Pohorylle, which carries gentle nods to Lucinda Williams, Townes Van Zandt, and Gillian Welch, shines under the instincts of producer Sera Cahoone, whom Cilker first came across in 2019 while planning her first full-length. “I was trying to pin down what kind of sound I wanted and stumbled across a video of Sera and just loved how she performed. I then listened to her last studio record and thought, that’s the sound.” Cilker says. “I found out Sera had produced that record herself with John Askew. My friend put me in touch with her and she liked my demos enough to produce the album. It felt very auspicious—It was truly just a gut feeling.”

    Cahoone quickly got to work assembling a first-rate band: Jenny Conlee (The Decemberists) on keys, Jason Kardong (Sera Cahoone, Son Volt) on pedal steel, Rebecca Young (Lindsey Fuller, Jesse Sykes) on bass, Mirabai Peart (Joanna Newsom) on strings, Kelly Pratt (Beirut) on horns, and the album’s engineer John Morgan Askew (Neko Case, Laura Gibson) on an array of other instruments. The record also prominently features effortless harmonies from Sarah Cilker, Margo Cilker’s sister and frequent touring partner.

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    Martin Courtney

    Posted on 20 May 2020

    Now that every record is a “big event”, it’s hard to figure out what really matters. Sometimes the quieter moments are things you connect with, and Martin Courtney (given name Martin Courtney IV), the frontman of Real Estate, just made an album of intimate moments worth treasuring.

    After the 2014 release of Atlas, the third LP from Ridgewood, New Jersey’s Real Estate, Courtney started quietly chipping away at some new songs while he was waiting to head back on the road...

    Now that every record is a “big event”, it’s hard to figure out what really matters. Sometimes the quieter moments are things you connect with, and Martin Courtney (given name Martin Courtney IV), the frontman of Real Estate, just made an album of intimate moments worth treasuring.

    After the 2014 release of Atlas, the third LP from Ridgewood, New Jersey’s Real Estate, Courtney started quietly chipping away at some new songs while he was waiting to head back on the road with his band. The idea was that they would be his songs. They’d be a little more compact and concise, a little less abstract. “I was trying to do a straightforward pop thing,” he says.

    It turns out that what Courtney actually means when he talks about straightforward pop is a collection of soft psychedelia that recalls the Kinks and Big Star even as it probes the depths of his own life as a family man, father, and touring musician. Many Moons is breezy, full of subtle introspection, an elliptical document of Courtney’s transition into family life and fatherhood, largely written while he was on the road. “My original goal for this record was to write songs about one specific idea and have that be that,” he says. “A lot of times with my songs in the past it was very abstract. A phrase would come into my head and I would have no idea what the song was about until months later.” You can hear the newfound clarity of his songwriting on “Airport Bar,” which finds Courtney wasting time waiting for his next flight, grappling with boredom and longing: “It’s half past two in the afternoon/ and I wish I could see your faces/ wondering where you are from an airport bar/ it’s a useless exercise but what’s time wasted.” It is a plain emotional sentiment, but it feels important and real.

    After writing a couple tracks, Courtney realized what he was working on was slowly turning into a full LP, so he enlisted the help of Jarvis Taveniere of Woods to produce and play on the bulk of the record. He also brought in Real Estate’s keyboard player Matt Kallman, longtime friend Julian Lynch, and a whole host of others. Over the next year-and-a-half, the pair recorded sporadically. The result is an album that feels lush and calm, but with a newfound sonic clarity, a brightness often rounded out with orchestral arrangements. The instrumental title track is a bucolic, string and flute number that wouldn’t be out of place on a prime-era Pentangle record.

    Courtney has long made a career of writing songs about what happens when your image of home is something you’re trying to hold on to, when the nostalgia that used to comfort you starts to feel unfamiliar, but on Many Moons, he’s moved through that. It doesn’t feel like a rejection of nostalgia, but an embrace of what’s ahead. It is an album-length meditation on his life right now, which is the type of exploration Courtney has become exceptional at.

    You can hear the change in his arrangements, which still retain the laconic, squinting-at-the-sun vibe of the best Real Estate songs. On the musically upbeat but lyrically conflicted  “Northern Highway,” he sings, “life out here can make you weary/folks at home all wishing well/I just wish I had you near me/I don’t stand a chance in hell,” cloaking his jetlagged exhaustion in a track that expertly straddles the line of longing and contentment.

    Courtney’s always been an expert writer of restlessness and duality, with what it means to grow older with full awareness that he’s growing older. On “Vestiges,” his most lyrically dense piece of writing yet, he sings, “Black mold basements and fenced in yard/rhapsodizing in packed out cars/one can hope that it’s in the cards for you/ But this place is like a column of stone/many moons for it to grow/phases they will come and they will go.” 

    Like the rest of the album, the sadness inherent in this kind of remembrance creeps up on you, and then it starts to feel a lot less like sadness, and a lot more like loving embrace of a specific time. “I like the idea of being a musician, but I’ve always really not liked the idea of putting too much of myself out there,” he says. “I like the idea of disappearing into a band.”

    Without a band to disappear into, Courtney made the kind of record that worms its way into your brain and becomes part of your life without you knowing it. “It’s always good to have some air in the room,” he says. Many Moons is the sound of Courtney looking at the life he’s built for himself, the success of his band, and taking a deep breath, letting all the pressure go and just working through the life that’s right in front of him.

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    Martin John Henry

    Posted on 20 May 2020

    Martin John Henry is a Scottish songwriter and founder of the band De Rosa. Between 2006-2016 De Rosa released three critically acclaimed albums on the Chemikal Underground and Rock Action labels. Henry released his first solo LP in 2011, entitled “The Other Half of Everything”.
    Henry has collaborated with Malcolm Middleton, King Creosote, Barry Burns of Mogwai and writer Michel Faber.

    Mass

    Posted on 12 September 2022

    After Rema-Rema split, Gary Asquith, Mick Allen, and Mark Cox formed arty post-punk outfit Mass with Danny Briottet. The quartet debuted in 1980 with the single ‘You And I’/’Cabbage’, following it up a year later with their sole album, Labour Of Love. The group subsequently split into two halves: Asquith and Briottet formed Renegade Soundwave, while Allen and Cox remained with 4AD for their new project, The Wolfgang Press.

    Matthew E. White

    Posted on 20 May 2020

    Moving, redemptive and powerfully soulful, Big Inner (Domino Records) is a timeless record told in seven songs that mingle memory with the rawness of any given human moment. The references — from the lyrics that echo the common conditions of love, death, seeking, and finding, to open tributes to artists like Washington Phillips, Allen Toussaint, Jorge Ben, Jimmy Cliff, and Randy Newman — are their own scavenger hunt through music history and through White’s place in it.

    A gi...

    Moving, redemptive and powerfully soulful, Big Inner (Domino Records) is a timeless record told in seven songs that mingle memory with the rawness of any given human moment. The references — from the lyrics that echo the common conditions of love, death, seeking, and finding, to open tributes to artists like Washington Phillips, Allen Toussaint, Jorge Ben, Jimmy Cliff, and Randy Newman — are their own scavenger hunt through music history and through White’s place in it.

    A gifted jazz arranger and exceptional guitarist, White’s vision for Big Inner was realised with the help of bassist Cameron Ralston and drummer Pinson Chanselle, who make up the core of his Spacebomb House Band and then embellished with horns, strings, and a choir – all culled from and roused by the venerable landscape of Richmond, Virginia and recorded in the attic of White’s house in the city.

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    Matthew Otto

    Posted on 20 May 2020

    Having launched into the music scene as half of Canadian art-pop act Majical Cloudz, Montreal based producer, songwriter, and mixer Matthew Otto creates music Pitchfork describes as “aural ambiance [that] humbly glows, soars, and contracts underneath.” A classically trained musician, Otto was studying electroacoustic composition when he was introduced to future bandmate and collaborator, Devon Welsh. Otto’s latest production and writing credits include tracks featured on Solange’s A S...

    Having launched into the music scene as half of Canadian art-pop act Majical Cloudz, Montreal based producer, songwriter, and mixer Matthew Otto creates music Pitchfork describes as “aural ambiance [that] humbly glows, soars, and contracts underneath.” A classically trained musician, Otto was studying electroacoustic composition when he was introduced to future bandmate and collaborator, Devon Welsh. Otto’s latest production and writing credits include tracks featured on Solange’s A Seat At The Table, and Moses Sumney’s Lamentations EP. Otto is currently scoring a full-length feature film and collaborating with Toronto based musician Michael Brock for his latest project, Mind Bath.

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    Max Tundra

    Posted on 20 May 2020

    Ben Jacobs was lucky enough to grow up in a house with a piano. As a child he protested about the lessons in which he was forced to learn the music of the famous (dead) composers. “I used to prefer sitting at the keyboard at home and playing tv theme songs and music from adverts,” remembers Ben. Eventually he realised that this expanse of black and white keys could be turned to his own advantage and he began forming his own musical inventions.

     

    Parallax Error Beheads You, the third ...

    Ben Jacobs was lucky enough to grow up in a house with a piano. As a child he protested about the lessons in which he was forced to learn the music of the famous (dead) composers. “I used to prefer sitting at the keyboard at home and playing tv theme songs and music from adverts,” remembers Ben. Eventually he realised that this expanse of black and white keys could be turned to his own advantage and he began forming his own musical inventions.

     

    Parallax Error Beheads You, the third Max Tundra LP and his first since 2002’s Mastered By Guy At The Exchange, is a masterpiece of micro-melodies and sound-bytes; a triumph of splicing, dicing and editing. It’s an intricate mosaic of sounds and styles, some of which you might recognise from the last 30 years of pop, rock, prog, disco, funk, techno, rap, metal and soul, but many of which are completely new: either from a startling recombination of existing genres, or from Max inventing an original one himself. The attention to detail, and the sheer speed at which ideas whizz past you in the mix, will leave you stunned.

      

    “There are micro-melodies on the album – generally, layers and layers of stuff,” says Max. “Hopefully, the more you listen to it, the more new stuff will reveal itself, stuff you didn’t notice the first few times you played it. It’s intricate but that should mean it’s more rewarding over the distance, so that people can go back to it and hear new things each time.”

     

    Mentioning that “Which Song” – earmarked as the second single from the album, following “Will Get Fooled Again” (which itself sounds like McFly in space) – sounds like Scritti Politti had they signed to Warp in 1991, Max admits, “I like the Scritti comparisons.”  

     

    As for the aaahs and ooohs – the luscious, smooth vocals – Max says he arrived at those from years of “doing Prince at karaoke.” But how many people did it take to put together the multi-faceted extravaganza that is Parallax Error Beheads You? Three? Five? Nine? All of the above? No – one: Ben Jacobs a.k.a. Max Tundra, who handles all the many instruments, the vocals and the production. This might be why the album took six years to create.

     

     

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    Maya De Vitry

    Posted on 25 April 2022

    Maya de Vitry’s devotion to songwriting is her way of staying present, curious, and imaginative. Pennsylvania-raised and Tennessee-based, Maya first traveled and performed as a fiddling street musician, and then in bars, theaters, and on festival stages as a founding member of The Stray Birds. In 2019, she released her critically-acclaimed solo debut Adaptations (produced by Dan Knobler) and has quietly emerged as a prolific solo artist and musical collaborator. Violet Light (produced by Et...

    Maya de Vitry’s devotion to songwriting is her way of staying present, curious, and imaginative. Pennsylvania-raised and Tennessee-based, Maya first traveled and performed as a fiddling street musician, and then in bars, theaters, and on festival stages as a founding member of The Stray Birds. In 2019, she released her critically-acclaimed solo debut Adaptations (produced by Dan Knobler) and has quietly emerged as a prolific solo artist and musical collaborator. Violet Light (produced by Ethan Jodziewicz & Maya de Vitry) is her 3rd solo release, and was recorded in a basement home studio in collaboration with numerous musical guests. Violet Light is an open-hearted invitation to explore the tensions between the visible and the imagined, between love and control, and our unrelenting human desire to belong—to a home, to an environment, and to each other. In addition to writing, recording, and touring with her band, Maya collaborates with other artists as a writer, multi-instrumentalist, and producer.

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    Mazarin

    Posted on 20 May 2020

    Mazarin was the psych-pop project of Philadelphia-based singer/guitarist Quentin Stoltzfus, whose previous effort included a stint drumming for the Azusa Plane as well as the solo four-track outing Therisphere. An EP, Wheats, briefly preceded the 1999 release of Mazarin’s debut album Watch It Happen.

    McCarthy

    Posted on 20 May 2020

    80s indie stalwarts trading in politically energised guitar pop – a true treasure chest of hooks, riffs and leftist messages.
    Hailing from Barking, Essex, McCarthy are today considered one of the standard bearing politically inclined bands of that era, possessed of a broader outlook and wittier, better observed lyrics than most of the competition

    By the time McCarthy appeared on the NME’s C86 cassette they had already been playing together for a couple of years and released two excellent ...

    80s indie stalwarts trading in politically energised guitar pop – a true treasure chest of hooks, riffs and leftist messages.
    Hailing from Barking, Essex, McCarthy are today considered one of the standard bearing politically inclined bands of that era, possessed of a broader outlook and wittier, better observed lyrics than most of the competition

    By the time McCarthy appeared on the NME’s C86 cassette they had already been playing together for a couple of years and released two excellent singles.Their debut “In Purgatory” and the indie masterpiece “Red Sleeping Beauty”. The following year McCarthy released the brilliant “Frans Hals” before unleashing their debut album “I Am A Wallet” in 1987
    Now recognised as an indiepop masterpiece it has gone on to achieve cult status, receiving praise from the likes of Nicky Wire (Manic Street Preachers) as one of the most important albums of the 80s. Known by todays indie accolites as the band that spawned Tim Gane and Leititia Sadier (who of course went on to form Stereolab).

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    Mdou Moctar

    Posted on 28 October 2020

    Mdou Moctar hails from a small village in central Niger, where he taught himself to play on a homemade guitar cobbled together out of wood. In 2008, Mdou traveled to Nigeria to record a few tracks, which became viral hits on the mp3 networks of West Africa, later released on the compilation “Music from Saharan Cellphones.” In 2013, he released “Afelan,” recorded in his village. Then he shifted gears, producing and starring the first Tuareg language film, a remake of Prince’s Purple ...

    Mdou Moctar hails from a small village in central Niger, where he taught himself to play on a homemade guitar cobbled together out of wood. In 2008, Mdou traveled to Nigeria to record a few tracks, which became viral hits on the mp3 networks of West Africa, later released on the compilation “Music from Saharan Cellphones.” In 2013, he released “Afelan,” recorded in his village. Then he shifted gears, producing and starring the first Tuareg language film, a remake of Prince’s Purple Rain (“Akounak”). In 2017, he created a solo folk album, “Sousoume Tamachek.”

    As Mdou travels the world, he divides his time between two places, alternating from lavish weddings in Agadez to sold out concerts in Berlin nightclubs. At home, his compositions send a message to his people. Abroad, his music is an opportunity to be heard and represent his people on a world stage. His music has been featured in the BBC, The Guardian, Pitchfork, New Yorker, New York Times, NPR, Rolling Stone, and Les Inrocks. His film continues to be screened at film festivals around the world.

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    Meatbodies

    Posted on 20 May 2020

    Loud, fast, wild — you’ve heard this all before but you haven’t because the Meatbodies are brand new and they’re going to dominate your eyes and ears and give you a bang over like you’ve never had before.

    “Every person involved in this deserves to be high-fived until their hands chafe and bleed.” – NOISEY

    Chad Ubovich began ripping through the rock scene in 2011 as guitarist for Mikal Cronin (also Domino Publishing) and, eventually, bassist in FUZZ....

    Loud, fast, wild — you’ve heard this all before but you haven’t because the Meatbodies are brand new and they’re going to dominate your eyes and ears and give you a bang over like you’ve never had before.

    “Every person involved in this deserves to be high-fived until their hands chafe and bleed.” – NOISEY

    Chad Ubovich began ripping through the rock scene in 2011 as guitarist for Mikal Cronin (also Domino Publishing) and, eventually, bassist in FUZZ. In between tours, he spent his time recording and playing shows around Los Angeles under the name Chad and the Meatbodies. In 2012, Ty Segall (also Domino Publishing) released some of Chad’s bedroom recordings via cassette tape on his GOD? Records imprint. The tape was well received and people began to see Chad was more than just a sideman to his heavy hitting comrades. In 2013, In The Red took notice of Chad’s crunching, grinding sound and added his band, now simply called Meatbodies to their roster.

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    Meg Baird

    Posted on 01 November 2022

    Meg Baird’s songs are rarely made up of tidy stories. In fact, for Meg, mystery itself is often the medium. With Furling, Meg’s fourth album under her own name, she explores the breadth of her musical fascinations and the environments around them—the edges of memory, daydreams spanning years, loose ends, loss, divergent paths, and secret conversations under stars. Furling moves through these varied spaces with the slippery, misty cohesiveness of a dream—guided by an ageless, stirring ...

    Meg Baird’s songs are rarely made up of tidy stories. In fact, for Meg, mystery itself is often the medium. With Furling, Meg’s fourth album under her own name, she explores the breadth of her musical fascinations and the environments around them—the edges of memory, daydreams spanning years, loose ends, loss, divergent paths, and secret conversations under stars. Furling moves through these varied spaces with the slippery, misty cohesiveness of a dream—guided by an ageless, stirring voice that remains singular and unmistakable. Since co-founding the beguiling and beautiful Espers in the mid-aughts amid Philadelphia’s fertile underground music community, Meg’s solo recordings have constituted just a fraction of her work. Her first solo LP, the disarmingly out-of-time Dear Companion (2007), saw her carve a quiet, sunlit space away from the flickering swirl of Espers. Since her last solo releases, Seasons on Earth (2011) and Don’t Weigh Down the Light (2015) Meg has lent thunderous drumming, lead vocal, and poetry to Heron Oblivion (Sub Pop) on an album that garnered praise from the New York Times and made Mojo’s Top Ten Albums of 2016 list. She collaborated with harpist Mary Lattimore on the mesmerizingly hazy Ghost Forests (2018). She’s played drums with Philadelphia scuzz-punks Watery Love (In The Red, Richie Records) and explored her deep familial folk roots in the Baird Sisters (Grapefruit Records). She also contributed her vocal arrangements to albums from Sharon Van Etten, Kurt Vile, Will Oldham, and Steve Gunn, and toured with Angel Olson, Dinosaur Jr., Bill Callahan, Thurston Moore, and Bert Jansch, among others.

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    Mekons

    Posted on 20 May 2020

    Mekons are a british band, though they have been based in Chicago now for many years. Formed in the late 1970s as art students at Leeds University, they are one of the longest-running and most prolific of the first-wave British punk bands, and part of the post-punk movement that came down from north of England (Human League/Gang Of Four). Through the years, the band’s musical style has evolved, incorporating aspects of country, folk, alternative rock and even occasional experiments with dub...

    Mekons are a british band, though they have been based in Chicago now for many years. Formed in the late 1970s as art students at Leeds University, they are one of the longest-running and most prolific of the first-wave British punk bands, and part of the post-punk movement that came down from north of England (Human League/Gang Of Four). Through the years, the band’s musical style has evolved, incorporating aspects of country, folk, alternative rock and even occasional experiments with dub.

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    Melati ESP

    Posted on 18 April 2023

    Melati ESP is the recording alias of Indonesian-born, New York City-based multidisciplinary artist Melati Malay. hipernatural is their debut album.

    Melati (Jasmine in Indonesian) grew up in Jakarta, a sprawling subtropical metropolis with a population of 30 million and the administrative capital of 17,000 Indonesian islands. Like other similar Asian megacities, Jakarta is a bewildering melting pot of ancient traditions and future technologies, which merge in a uniquely Javanese late-capitalis...

    Melati ESP is the recording alias of Indonesian-born, New York City-based multidisciplinary artist Melati Malay. hipernatural is their debut album.

    Melati (Jasmine in Indonesian) grew up in Jakarta, a sprawling subtropical metropolis with a population of 30 million and the administrative capital of 17,000 Indonesian islands. Like other similar Asian megacities, Jakarta is a bewildering melting pot of ancient traditions and future technologies, which merge in a uniquely Javanese late-capitalist equatorial fusion.

    Raised in this environment on a dual diet of western pop music and musik Dangdut (a Javanese form of pop blending Hindustani, Arabic, and Malay influence), Malay eventually relocated to New York City in her early 20’s and collaborated, recorded, and performed with an array of experimental groups, refining her practice at DIY venues across the city.

    Malay has released music as part of multinational experimental trio Asa Tone (Leaving Records) and cinematic pop project Young Magic (Carpark Records), however hipernatural is the first of her work recorded entirely in the language of her childhood, Bahasa Indonesia: “It was liberating, not just phonetically, but also culturally, it was important to me.”

    Over the last decade Malay has collaborated with U.K. trip-hop pioneer Tricky, U.S. cellist and composer Kelsey Lu, Keifing-born Vancouver based producer Yu Su, and innovative 70’s French composer Ariel Kalma. In what could feel like the middle of a long career, this new project by Melati Malay hints that she may only be beginning.

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    Melissa Mary Ahern

    Posted on 20 May 2020

    Melissa Mary Ahern is a Brooklyn based singer-songwriter who first began generating buzz last Christmas surrounding her feature on the release of Sufjan Steven’s 2007 rarity “Lonely Man of Winter” out on vinyl 12/7 via Asthmatic Kitty. Though the artist has been frequenting the New York and Berlin music scene since 2011 this is her first formal, solo release. “Next To You” and “World of Wonder” are the first singles off of Ahern’s 2018 collaboration with Doveman — the produc...

    Melissa Mary Ahern is a Brooklyn based singer-songwriter who first began generating buzz last Christmas surrounding her feature on the release of Sufjan Steven’s 2007 rarity “Lonely Man of Winter” out on vinyl 12/7 via Asthmatic Kitty. Though the artist has been frequenting the New York and Berlin music scene since 2011 this is her first formal, solo release. “Next To You” and “World of Wonder” are the first singles off of Ahern’s 2018 collaboration with Doveman — the producer behind albums by Sufjan Stevens, St. Vincent, Rhye, Norah Jones and many more. She is currently working to release new music by the summer 2019, writing daily and performing locally throughout NYC.

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    Melody`s Echo Chamber

    Posted on 20 May 2020

    Melody’s Echo Chamber is the name given to the work of Paris-based multi-instrumentalist and songwriter Melody Prochet. Possessing a penchant for wild-eyed psychedelia, homespun motorik rhythm and an effortless flair for the sort of melodic classicism redolent of chamber song, Prochet is at once both an aficionado of pop’s outer limits and off-kilter to its expectations. The album was recorded between Perth (with Tame Impala’s maestro Kevin Parker) and her grandparents’ beach house in...

    Melody’s Echo Chamber is the name given to the work of Paris-based multi-instrumentalist and songwriter Melody Prochet. Possessing a penchant for wild-eyed psychedelia, homespun motorik rhythm and an effortless flair for the sort of melodic classicism redolent of chamber song, Prochet is at once both an aficionado of pop’s outer limits and off-kilter to its expectations. The album was recorded between Perth (with Tame Impala’s maestro Kevin Parker) and her grandparents’ beach house in Cavalière in France. With her smoky, sensual voice and romantic presence, Prochet embodies a distinctive kind of elegance and bold sense-of-self long associated with France’s more notable musical exports.

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    MEMORIALS

    Posted on 28 September 2023

    MEMORIALS is the new band of Verity Susman (Electrelane’s frontwoman) and Matthew Simms (Wire, Better Corners, It Hugs Back, UUUU). As a duo these multi-instrumentalists cover plenty of ground on stage, juggling instruments in a set up resembling that of a 5-piece band. Their sound touches on the many points for which they are known, veering from melodic songwriting to psychedelic noise, free jazz freakouts, tape loops and drones, and then back again.

    The Memory Band

    Posted on 20 May 2020

    The Memory Band – Steven Cracknell and his folk supergroup – was born at the turn of the century and draws upon the disparate talents of a network of musicians all of whom share a predilection for music of an acoustic bent and songs about love and dancing. With rhythms, strings and singing in both harmony and unison.

    The 4th offering ‘On the Chalk ( Our Navigation Line Of The Downs)’ ( Static Caravan 2013)  marks the 10th anniversary of one the most invigorating and much loved Fo...

    The Memory Band – Steven Cracknell and his folk supergroup – was born at the turn of the century and draws upon the disparate talents of a network of musicians all of whom share a predilection for music of an acoustic bent and songs about love and dancing. With rhythms, strings and singing in both harmony and unison.

    The 4th offering ‘On the Chalk ( Our Navigation Line Of The Downs)’ ( Static Caravan 2013)  marks the 10th anniversary of one the most invigorating and much loved Folk acts around. A group described by NME as “a disorientating, drugged-up soundtrack for the 21st Century… genuinely beautiful.” The record is a beguiling musical tribute to a mythical ancient pathway crossing Southern England, The Harrow Way and is made of eleven songs spread across haunting horn noises, crackles, drones, blissed-out beats and tender piano melodies.

    It follows the pastoral soundscapes of self titled debut (Hungry Hill 2004) (which is run in conjunction with Spinney Records), ‘Apron Strings’ (Peacefrog Records UK/ Dicristina Stairbuilders North America 2006) and Oh My Days (Hungry Hill 2011).

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    Mia Doi Todd

    Posted on 20 May 2020

    Mia Doi Todd was born and raised in Los Angeles, California. Trained as a classical vocalist in her adolescence and teenage years, Mia began writing songs while a student at Yale University, inspired by the mid-90’s Indie Rock movement. She recorded her debut album The Ewe and the Eye – just her voice and acoustic guitar — in one evening at the “Spaceshed” studio run by the LA band Further who then released it on their label in 1997 just as Todd was graduating from c...

    Mia Doi Todd was born and raised in Los Angeles, California. Trained as a classical vocalist in her adolescence and teenage years, Mia began writing songs while a student at Yale University, inspired by the mid-90’s Indie Rock movement. She recorded her debut album The Ewe and the Eye – just her voice and acoustic guitar — in one evening at the “Spaceshed” studio run by the LA band Further who then released it on their label in 1997 just as Todd was graduating from college. She relocated to New York City, playing downtown clubs and recording a second spare, acoustic album Come Out of Your Mine (The Communion Label, 1999).


    Mia spent a year in Japan studying the avant-garde dance form, Ankoku Butoh, and began to write longer, intricate songs. On her return to Los Angeles, Mia went to work on her third album and formed City Zen Records to release Zeroone in 2001. These first three records all featured minimal, acoustic instrumentation, emphasizing her soaring vocals and finely wrought lyrics, the latter redolent of romantic poetry, but employing puns, alliteration, homonyms and many other verbal experiments.


    Mia is a true artist — an expressionist in many forms. Her garden of song is vast with flowers of infinite shape, color, size, and individuality. GEA is her most intuitive and primal collection of songs yet. Full of incredible passion and sensitivity, these songs reveal the depths of Mia’s emotions, visions and lyrical heart. The album opens with Mia playing guitar and harmonium accompanied by Andres Renteria on hand drums and prolific Chicago-based bassist Joshua Abrams (Sam Prekop, Prefuse 73). Broken, surviving, searching, and hopeful, Mia begins to sing and chant, flowing in the great “River Of Life” that all beings travel. The songs each follow suit beautifully, evanescently, featuring woodwind, brass and string arrangements by the young and talented multi-instrumentalist/composer Miguel Atwood-Ferguson. His arrangements seem to lift Mia on their wings for a mystical journey of intense projection, romance, mourning, and otherworldly imagery.


    Mia has toured the US and Europe, headlining and opening for other artists, including Throwing Muse Kristen Hirsch, Lou Barlow’s Folk Implosion, Saul Williams, The Books, and Dungen. Having released records with labels as major and established as Columbia and as progressive and boutique as Plug Research, Mia is now enjoying her return to the homegrown approach. In addition to her lengthy music discography, Mia has choreographed and performed three solo dance pieces and dances with the group, Body Weather Laboratory.

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    Mica Levi

    Posted on 03 July 2020

    Mica Levi is a musician and composer living in South East London who uses programming software, written notation and improvisation to produce music. As well as being a composer for ensembles, film and theatrical productions, they are currently a member of the groups CURL, Good Sad Happy Bad and Tirzah.

    Michelle Blades

    Posted on 20 May 2020

    A self-taught artist, a multi-instrumentist, Michelle Blades reveals a discography infused with multiple sounds as an extension of her nomadic life spent between Panama, where she was born; Mexico, land of her mother’s family; Florida where she escaped from Manuel Noriega’s dictatorship, Arizona, where the young woman met underground and alternative culture and France for a music career spanning over ten years. Between 2015 and 2016, Michelle Blades has released with Midnight Special Reco...

    A self-taught artist, a multi-instrumentist, Michelle Blades reveals a discography infused with multiple sounds as an extension of her nomadic life spent between Panama, where she was born; Mexico, land of her mother’s family; Florida where she escaped from Manuel Noriega’s dictatorship, Arizona, where the young woman met underground and alternative culture and France for a music career spanning over ten years. Between 2015 and 2016, Michelle Blades has released with Midnight Special Records the LP Ataraxia and two Eps: Nah See Ya and Polylust. In the past years, she toured in several countries with French artist Fishbach as a bassist where she still found the time to record a new EP: Premature Love Songs, released in 2017. In March 2019, Michelle Blades released her second LP with Midnight Special Records : Visitor, published by Domino.

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    Middle Kids

    Posted on 20 May 2020

    One listen to Lost Friends, Middle Kids critically acclaimed debut record and it’s clear that the rising Australian trio is aligned with each member’s own vision. Its 12 songs veer from brittle blasts of indie rock to elegiac piano ballads to pop anthems destined to ignite stadium singalongs.

    Lost Friends saw the band pick up the highly coveted triple j ‘J Award’ for Album Of The Year in 2018, alongside a nomination for Best Rock Album at the ARIAs. The album includes the band’s deb...

    One listen to Lost Friends, Middle Kids critically acclaimed debut record and it’s clear that the rising Australian trio is aligned with each member’s own vision. Its 12 songs veer from brittle blasts of indie rock to elegiac piano ballads to pop anthems destined to ignite stadium singalongs.

    Lost Friends saw the band pick up the highly coveted triple j ‘J Award’ for Album Of The Year in 2018, alongside a nomination for Best Rock Album at the ARIAs. The album includes the band’s debut single and biggest hit to date, ‘Edge Of Town’, which has amassed over 20 million streams on Spotify. Single ‘Mistake’, with its infectious chorus that could have been lifted straight out of a long-lost Fleetwood Mac album, landed in Triple J’s 2019 Hottest 100 at number 64. The album was launched with a sold-out headline performance at the Sydney Opera House, a rare feat for any band.

    Whilst Sydney, Australia is called home, Middle Kids has spent a large part of their time as a band touring internationally with great success. The band have appeared on many U.S. late night television shows including Jimmy Kimmel Live and The Late Late Show with James Corden. They have toured internationally with the likes of Cold War Kids, Bloc Party and appeared at festivals such as The Governors Ball, Lollapalozza, Osheaga Festival and many more.

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    Mike Lindsay

    Posted on 05 June 2020

    Mercury Music Prize winning producer, Mike Lindsay is best known for being the co-founder, composer and producer of UK experimental folk band Tunng and one half of the band LUMP with Laura Marling. Mike has co-written and produced many albums for Speech Debelle, Jon Hopkins, Gotan Project, Farao, DuBlonde, Low Roar, Jae Tyler, Beth Jeans Houghton, Serafina Steer, Hannah Peel, Cibelle and Laura J Martin.

    IMDb

    Mike Wexler

    Posted on 20 May 2020

    The work of Mike Wexler displays a careful attention to detail and his affinities for progressive rock as well as the Canterbury scene of the late sixties and early seventies.

     

    Though there are hints of the Soft Machine, Quiet Sun, and Meddle-ear Pink Floyd, Wexler’s voice and arrangements are completely contemporary and completely his own. Mike released his first self-titled EP on I and Ear in 2005 followed by his debut full length Sun Wheel in 2006 for Amish Records.

    Mind Over Mirrors

    Posted on 20 May 2020

    Mind Over Mirrors is the ever-evolving project of composer, harmoniumist, and synthesist Jaime Fennelly, who buttresses his modest instrumental foundation of Indian pedal harmonium with an array of tape delays, effect processors, and Oberheim synthesizers that belong to the world of classic analog electronic composition. Both as a solo artist and with various collaborators, he creates immersive interdisciplinary work that NPR has described as “an out-of-body experience.” His exploratio...

    Mind Over Mirrors is the ever-evolving project of composer, harmoniumist, and synthesist Jaime Fennelly, who buttresses his modest instrumental foundation of Indian pedal harmonium with an array of tape delays, effect processors, and Oberheim synthesizers that belong to the world of classic analog electronic composition. Both as a solo artist and with various collaborators, he creates immersive interdisciplinary work that NPR has described as “an out-of-body experience.” His explorations of the natural world’s sensory dimensions and the dialogues between cultural traditions—vernacular and avant-garde—have led him down a path of creating work that deliberately situates itself in a questing, edge-of-earth spirit. After five solo albums on several labels, Paradise of Bachelors released Fennelly’s first work for an ensemble, Undying Color (2017), followed by Bellowing Sun (2018), which was commissioned for its world premiere live performance by the Museum of Contemporary Art Chicago and proclaimed by Pitchfork to be “one of the decade’s true experimental wonders.”

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    ML Buch

    Posted on 30 July 2024

    ML Buch is Marie Louise Buch (b. 1987), a Copenhagen-based composer, producer, guitarist, and vocalist. Following the release of her EP ‘Fleshy’ in 2017, she released her critically acclaimed debut album ‘Skinned’ on the Danish imprint Anyines in 2020. ‘Suntub’ is her second full-length release, a double album consisting of 15 tracks, released in October 2023 on 15 love.

    In her compositional practice, ML Buch sketches her music in an almost architectural way. The raw material is ...

    ML Buch is Marie Louise Buch (b. 1987), a Copenhagen-based composer, producer, guitarist, and vocalist. Following the release of her EP ‘Fleshy’ in 2017, she released her critically acclaimed debut album ‘Skinned’ on the Danish imprint Anyines in 2020. ‘Suntub’ is her second full-length release, a double album consisting of 15 tracks, released in October 2023 on 15 love.

    In her compositional practice, ML Buch sketches her music in an almost architectural way. The raw material is generated through immersion in playing and assembling, as a way of triggering random magic. Her live performances, both in solo and group formations, reflect her love of combining 7-string electric guitars in open tunings with synthetic instruments and electronic experiments.

    ML Buch has performed at the likes of ICA (London, UK), Volksbühne (Berlin, DE), Pitchfork Paris Avant-Garde (Paris, FR), Pitchfork Festival (Chicago, US), Public Records (New York, US), Zebulon (Los Angeles, US) Roskilde Festival (Roskilde, DK), La Sala Rossa (Montréal, CA), Longboat Hall (Toronto, CA), Haus Am Waldsee (Berlin, DE) ZDB (Lisbon, PT), Fuchsbau Arts Festival (Hannover, DE) and the sound and vision programme at CPH:DOX, as well as performing as part of Laurie Anderson’s Talking Choir project.

    She has also completed commissioned work with poet Ingvild Lothe and contributed to releases by artists including CTM, Jura and Astrid Sonne, with whom she has also performed live.

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    Moon Bounce (Corey Regensburg)

    Posted on 20 May 2020

    Moon Bounce is mutant pop pioneer and songwriter, Corey Regensburg. Taking cues from dance music, R&B, and even the rhythmic lurch of metal, his output combines soulful vocals with crafty percussion and hyper-controlled synthesis. Moon Bounce is almost always obsessed with groove, occasionally on the verge of falling apart.
    Gaining notoriety from a slew of EPs, including 2014’s acclaimed Dress Rehearsal – the initial release from his Grind Select label — Regensburg’s ambitious com...

    Moon Bounce is mutant pop pioneer and songwriter, Corey Regensburg. Taking cues from dance music, R&B, and even the rhythmic lurch of metal, his output combines soulful vocals with crafty percussion and hyper-controlled synthesis. Moon Bounce is almost always obsessed with groove, occasionally on the verge of falling apart.
    Gaining notoriety from a slew of EPs, including 2014’s acclaimed Dress Rehearsal – the initial release from his Grind Select label — Regensburg’s ambitious compositions and cutting, self-referential lyrical content struck a chord with those sick of the sterile and predictable wave of producers hitting Soundcloud. The music video for lead single “Shake” was nominated for The Berlin Music Video Awards, its depiction of a “puppet bloodbath” a jarring piece of black comedy.
    Releasing a series of singles and EPs on Ryan Hemsworth’s Secret Songs, Activia Benz, Moving Castle and even a collaboration with the legendary The Bloody Beetroots on Dim Mak, Moon Bounce’s mutant pop had found its footing. Shows with Rhye, Slow Magic and Prince Rama affirmed Regensburg’s versatility as a fiercely engaging performer.
    Moon Bounce’s first full-length LP, Clean House, returning to his Grind Select label, showcases the most exposed Regensburg’s songwriting has ever been. Songs like “Drugs” and “Empty Hole” put his voice more prominently in the forefront, as he reconciles serious relationships in his life with relatable neuroses. His most pristine sounding work, the record could not have been made by anyone but Regensburg, the obtuse rhythms, infectious melodies, twists and turns all integral parts of the Moon Bounce universe.
    With his recent signing to Domino Publishing and a collection of concise and freaky new material on the horizon, you can expect anything but the expected.

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    The Mules

    Posted on 20 May 2020

    The Mules are made up of Duncan Brown on guitar, Timothy Burke on both the piano and synthesisers, Jenny Lau on the fiddle, Jim Lesslie on the bass, Ed Seed playing the drums and vocals. Other members which sometimes contribute to the sound of The Mules are Adam Beach (bass), Nico Beedle (fiddle), Henry Brown (bass), Nick Gill (guitar), Tim Hancock (piano), Tom Hobden (fiddle) and Dominic McGuinness (guitar).

    The mules are a London-based ‘electrobilly’ band, fusing the rockabilly style wi...

    The Mules are made up of Duncan Brown on guitar, Timothy Burke on both the piano and synthesisers, Jenny Lau on the fiddle, Jim Lesslie on the bass, Ed Seed playing the drums and vocals. Other members which sometimes contribute to the sound of The Mules are Adam Beach (bass), Nico Beedle (fiddle), Henry Brown (bass), Nick Gill (guitar), Tim Hancock (piano), Tom Hobden (fiddle) and Dominic McGuinness (guitar).

    The mules are a London-based ‘electrobilly’ band, fusing the rockabilly style with experimental electronic music. Having been a band since 2001, The Mules have released two studio albums through label Organ Grider Records. Their debut album ‘Save Your Face’ was released in 2006. The Mules have not released another album since but are still actively working with producer Ricky M.

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    Mun Sing

    Posted on 20 November 2024

    Mun Sing is the solo alias of Harry Wright, a producer, songwriter, visual artist and DJ from Bristol. He has gained a reputation for exhilarating live performances and complex theatrical club music productions. His recorded output often merges tongue-in-cheek playfulness with obtuse rhythms and warped vocal sounds, resulting in some fiercely original dance music.

    On his debut LP Inflatable Gravestone (Planet Mu, 2023), Mun Sing explored ideas around grief and addiction after the sudden l...

    Mun Sing is the solo alias of Harry Wright, a producer, songwriter, visual artist and DJ from Bristol. He has gained a reputation for exhilarating live performances and complex theatrical club music productions. His recorded output often merges tongue-in-cheek playfulness with obtuse rhythms and warped vocal sounds, resulting in some fiercely original dance music.

    On his debut LP Inflatable Gravestone (Planet Mu, 2023), Mun Sing explored ideas around grief and addiction after the sudden loss of his father. The album received notable critical acclaim across the board including being named as one of Resident Advisor’s best albums of 2023.

    He has since been recruited by the likes of Acne Studios to compose music for a number of their runways and projects, most recently the Women’s SS25 collection and the first ever Acne Studios fragrance. He’s produced tracks for the likes of BABii, Gaika and Iceboy Violet and was personally invited by Björk to perform alongside her at special events in Reykjavik and NYC in 2024.

    Mun Sing also co-runs the label/clubnight Illegal Data, an important label connecting experimental songwriting and club music, who have released music by Sarahsson, AYA, Manuka Honey, LCY etc. Mun Sing is set to release his next EP Frolic on Illegal Data in February 2025.

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    Municipal Waste

    Posted on 20 May 2020

    Formed in the early 2000s, Municipal Waste from Richmond, Virginia, are a thrash metal band known for their high-energy performances and their blend of thrash, crossover, and punk genres. The band is made up of frontman Tony Foresta, Ryan Waste on guitar, Land Phil on bass, and Dave Witte on drums. They released their debut album, “Waste ‘Em All” in 2003 via Nuclear Blast Records, and have been with the label ever since. Subsequent releases have solidified their reputation for metal ban...

    Formed in the early 2000s, Municipal Waste from Richmond, Virginia, are a thrash metal band known for their high-energy performances and their blend of thrash, crossover, and punk genres. The band is made up of frontman Tony Foresta, Ryan Waste on guitar, Land Phil on bass, and Dave Witte on drums. They released their debut album, “Waste ‘Em All” in 2003 via Nuclear Blast Records, and have been with the label ever since. Subsequent releases have solidified their reputation for metal bangers, and kept the band a much loved act within the metal community.

     

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    My Brightest Diamond

    Posted on 20 May 2020

    Shara Nova, a classically trained vocalist and self-taught multi-instrumentalist who records dazzling, shapeshifting music as My Brightest Diamond, has always felt like an outsider. Over the course of four groundbreaking albums, she has resisted the conventions of genre, blending elements of rock, art pop, and chamber music into a sound totally her own. While fiercely independent, she like everyone else, still desires connectedness. This tension is at the core of her new album—A Million A...

    Shara Nova, a classically trained vocalist and self-taught multi-instrumentalist who records dazzling, shapeshifting music as My Brightest Diamond, has always felt like an outsider. Over the course of four groundbreaking albums, she has resisted the conventions of genre, blending elements of rock, art pop, and chamber music into a sound totally her own. While fiercely independent, she like everyone else, still desires connectedness. This tension is at the core of her new album—A Million And One—where she has once again reinvented herself.

    Where did it all begin? Shara always knew she wanted to be a musician. She grew up in a family of traveling evangelicals, and together they crisscrossed the country, her father leading church choirs and her mother playing organ. When Shara was a teenager, they settled in a city outside Detroit. It was the early ‘90s, and hip-hop and soul were on the airwaves. Shara listened to everything from Run DMC to Stevie Wonder to Anita Baker and K C & the Sunshine Band. After studying opera, she moved to New York City, where she formed My Brightest Diamond in 2006, releasing her critically acclaimed debut album, Bring Me The Workhorse.

    A Million And One sprung from a period of personal transformation for Shara. It comes just four years after her marriage came to an end. (Literally: Nova translates to ‘new’ in Latin.) And was written during a time that Detroit was going through a rebirth of its own. Shara returned to Michigan in 2008 and settled in Detroit, a city whose rich musical legacy—from Motown to the White Stripes—has always been an animating force for her. This time around, she sought to honor the city with music of her own. A Million And One is an homage to the sounds of Detroit, a love letter of sorts, but also a visceral trip backwards in time, to Shara’s formative teen years. “The album examines the quest for my individuality and the search for a deeper relationship to my body, my neighbors, and to the planet,” she says.

    Each gem-like song is distinct, from the anthemic opener “It’s Me on the Dance Floor,” to the techno-infused “Supernova,” which calls to mind the work of pioneering Detroit producer Carl Craig. “You Wanna See My Teeth,” is a twisting, searing meditation on the death of Trayvon Martin. The album’s ten tracks represent a departure from the lush instrumentation of My Brightest Diamond’s previous work and into leaner, more raw territory, with beats and synths. Shara produced the album with the help of The Twilite Tone (Common, Gorillaz, Kanye West) and it was mixed by Andrew Scheps (Adele, Lana Del Rey, Beyoncé). Anchoring each song is the relationship between Shara’s vocals and drums from Earl Harvin (Seal, Sam Smith). Reborn free of ornament, Shara’s voice has never been more vulnerable—or more powerful.

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    Myrkur

    Posted on 20 May 2020

    Myrkur is the one-woman atmospheric black metal project of Danish songwriter, singer, and multi-instrumentalist Amalie Bruun. The word “Myrkur” is Icelandic and translates to English as “darkness.” Born in Copenhagen in 1985, Bruun has been an active studio and touring musician since 2006, has released two albums and various EPs under her own name (none of which were black metal), and is a member of the pop duo Ex Cops. She has also been a fashion model, most notably in the Bleu de Ch...

    Myrkur is the one-woman atmospheric black metal project of Danish songwriter, singer, and multi-instrumentalist Amalie Bruun. The word “Myrkur” is Icelandic and translates to English as “darkness.” Born in Copenhagen in 1985, Bruun has been an active studio and touring musician since 2006, has released two albums and various EPs under her own name (none of which were black metal), and is a member of the pop duo Ex Cops. She has also been a fashion model, most notably in the Bleu de Chanel ad directed by Martin Scorsese. Myrkur signed to Relapse Records and issued a seven-track, self-titled debut EP in September of 2014. With the release came media attention as to her identity. She revealed it in an interview with Bandcamp, and claimed that Norwegian black metal bands Darkthrone and Ulver, as well as composer Edvard Grieg, were her influences. Bruun produced and played all instruments but drums. The EP was followed by the demo single “Skađi” in December. In June of 2015, a new Myrkur album was announced through the project’s Bandcamp page; it was accompanied by the digital single “Onde Børn.” The full-length, simply titled M, was released by Relapse in August. Recorded in Oslo, Norway, the set was co-produced with Ulver’s Kristoffer Rygg (aka Garm) and featured contributions from members of Mayhem and Nidingr, as well as horn and string players. Myrkur’s first-ever live performance was headlining the “black stage” at Denmark’s Roskilde Festival. On the one-year anniversary of M, Myrkur released Mausoleum, a live recording from the Emanuel Vigeland Mausoleum in Oslo, Norway, accompanied by the Norwegian Girls Choir and former Ulver guitarist Håvard “Lemarchand” Jørgensen. The set offered stripped-down acoustic reinventions of seven songs from the previous album, a Bathory cover, and one new track. Having worked on fresh material the previous year, Bruun went straight back into the studio in early 2017 and enlisted producer Randall Dunn. She wrote songs that mixed folk instrumentation into her melodies, including nyckelharpa, violin, mandola, folk drums, and kulning. In May, a video clip of Bruun playing the nykelhaarpa and singing was released, followed by another live-in-studio snippet when the album’s title, Mareidt, was revealed. The full-length was released by Relapse in September.

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    The Mysterines

    Posted on 20 May 2020

    Formed in Liverpool, The Mysterines – frontwoman Lia Metcalfe, drummer Paul Crilly, bassist George Favager and guitarist Callum Thompson – have undergone a radical transformation over the past few years. Fresh with new purpose and reinvigorated from songwriting sessions while secluded away in the countryside (in between playing to 60,000-strong crowds while on tour with the Arctic Monkeys), the band in 2024 are set to release the best music of their career.

    Naima Bock

    Posted on 29 November 2022

    The roots of Naima Bock’s music are far reaching. Born in Glastonbury to a Brazilian father and a Greek mother, Naima spent her early childhood in Brazil before eventually returning to England and various homes in South-East London. This heritage combines with more recent pursuits in Naima’s music; from the Brazilian standards that the family would listen to driving to the beach, to the European folk traditions she tapped into on her own, and the pursuits that interest her today – studie...

    The roots of Naima Bock’s music are far reaching. Born in Glastonbury to a Brazilian father and a Greek mother, Naima spent her early childhood in Brazil before eventually returning to England and various homes in South-East London. This heritage combines with more recent pursuits in Naima’s music; from the Brazilian standards that the family would listen to driving to the beach, to the European folk traditions she tapped into on her own, and the pursuits that interest her today – studies in archaeology, work as a gardener, and walking the world’s great trails – Naima’s music draws from family, the earth and the handing down of music through generations.

    Naima’s debut album Giant Palm is undoubtedly infused with the Brazilian music of her youth and regular family visits. She found inspiration in “the percussion, the melodies, chords – and particularly the poetic juxtaposition of tragedy and beauty held within the lyrics”. By the age of 15 Naima was embedded in the music scene of South-East London, slotting into a group of like-minded friends writing and playing music. This led to the creation of Goat Girl, the band she toured the world with playing bass and singing alongside her school friends. After six years, Naima decided to leave Goat Girl to try something new. In the intervening years she set up a gardening company and started a degree at University College London in archeology because, as she jokes, “I liked being near the ground”. During this time she was writing music, playing guitar, and learning violin. She was also introduced to producer and arranger Joel Burton through Josh Cohen and his label, Memorials of Distinction. Over the time he and Naima worked together, Joel’s burgeoning interest in Western Classical music, global folk music, experience in large scale arrangement and orchestration informed the collaborative process that eventually culminated in Giant Palm.

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    Nathan Micay

    Posted on 20 May 2020

    In Spring 2019, Toronto-born, Berlin-based DJ and producer Nathan Micay (formerly Bwana) will release his highly anticipated debut album, ‘Blue Spring’, via LuckyMe. The impeccable craft found in the huge past anthems that fuelled his rise is still present, but Micay has upped his own ante; a prodigious and natural creator, this is his best work yet. Highly melodic with complex but spacious sound design, this inspired work is a technicolour ride across sub bass, celestial future breakbeat,...

    In Spring 2019, Toronto-born, Berlin-based DJ and producer Nathan Micay (formerly Bwana) will release his highly anticipated debut album, ‘Blue Spring’, via LuckyMe. The impeccable craft found in the huge past anthems that fuelled his rise is still present, but Micay has upped his own ante; a prodigious and natural creator, this is his best work yet. Highly melodic with complex but spacious sound design, this inspired work is a technicolour ride across sub bass, celestial future breakbeat, drum-roll-fuelled dancefloor rollercoasters, soaring euphoria, otherworldly soundscapes, weightless sino and even a bit of ¾ time. Micay has found a sweet-spot between prog, trance, techno, hardcore, jungle, IDM and ambient, in a renewed twist on the magic mix that birthed Future Sound of London’s hybrid classic ‘Accelerator’. Blue Spring explores the connections and cycles of youth and music, in times of fast change and upheaval. It takes the Castlemorton clash between ravers and authorities as its starting point, and transposes it to an imaginary world. To create the album artwork, Nathan wrote a script outline to be adapted by Peter Marsden into a comic, in turn illustrated by Dominic Flannigan. The comic sees a young data miner rebel by attending a rave in the woods with her friends, only for the event to be broken up by the ranks of a futuristic police state. ‘Blue Spring’ is the start of the revolution.

    IMDb

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    Nathan Salsburg

    Posted on 20 May 2020

    An acoustic fingerstyle guitarist of great elegance and craft, Louisville’s Nathan Salsburg built up an impressive resume as a collaborator and sideman to artists like Joan Shelley, James Elkington, Bonnie “Prince” Billy, and Jake Xerxes Fussell while quietly amassing his own catalog of solo releases like 2013’s Hard for to Win and Can’t Be Won, and 2018’s graceful instrumental guitar collection Third.

    Growing up in Kentucky, Salsburg’s early exposure to the old folk and blues r...

    An acoustic fingerstyle guitarist of great elegance and craft, Louisville’s Nathan Salsburg built up an impressive resume as a collaborator and sideman to artists like Joan Shelley, James Elkington, Bonnie “Prince” Billy, and Jake Xerxes Fussell while quietly amassing his own catalog of solo releases like 2013’s Hard for to Win and Can’t Be Won, and 2018’s graceful instrumental guitar collection Third.

    Growing up in Kentucky, Salsburg’s early exposure to the old folk and blues records his parents played him sparked a lifelong passion that would eventually see him not only pursuing his own career as a musician, but working as the curator for the archives of legendary American folklorist Alan Lomax. Heading to New York after college, he became involved with the Alan Lomax Archive in the early 2000s and by 2008 had become largely responsible for curating its digital collection, doing editorial work and helping to compile albums of Lomax recordings for various labels and outlets.

    Returning home to Kentucky, he maintained his post as Lomax curator with the Association for Cultural Equity while composing his own largely instrumental guitar pieces, some of which appeared Tompkins Square’s 2008 Imaginational Anthem, Vol. 3 collection. By 2011, he’d signed with the No Quarter label and completed his first solo album, Affirmed, while also teaming up with British guitarist James Elkington that same year for the guitar duets record Avos. His second solo release, Hard for to Win and Can’t Be Won, appeared in September 2013, featuring a mix of vocal and instrumental pieces that continued to explore American and British folk influences. In 2014, Salsburg made his first recorded appearance backing up labelmate, Joan Shelley, beginning musical a partnership that would flourish over the next several years. 2015 saw the release of Ambsace, his second collaboration with Elkington, this time for the Paradise of Bachelors label. Over the next few years, Salsburg deepened his musical contributions to Shelley’s music both on-stage and in the studio while also guesting on albums by Red River Dialect, the Weather Station, and Jake Xerxes Fussell. Returning in 2018, he delivered the career standout Third, his first ever entirely solo instrumental guitar album.

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    NÉRIJA

    Posted on 18 January 2022

    The septet of Nubya Garcia (tenor saxophone), Sheila Maurice-Grey (trumpet), Cassie Kinoshi (alto saxophone), Rosie Turton (trombone), Shirley Tetteh (guitar), Lizy Exell (drums) and Rio Kai (bass) is the collective sound of a group at the heart of an open, fresh and contemporary London jazz. It radiates the instinctive warmth and energy circulating between the seven band members of Nérija and their instruments, sharing the secret language they have developed together and which they are now ...

    The septet of Nubya Garcia (tenor saxophone), Sheila Maurice-Grey (trumpet), Cassie Kinoshi (alto saxophone), Rosie Turton (trombone), Shirley Tetteh (guitar), Lizy Exell (drums) and Rio Kai (bass) is the collective sound of a group at the heart of an open, fresh and contemporary London jazz. It radiates the instinctive warmth and energy circulating between the seven band members of Nérija and their instruments, sharing the secret language they have developed together and which they are now communicating with the world.

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    Nick Thorburn

    Posted on 22 June 2020

    Night Moves

    Posted on 20 May 2020

    The songs of Night Moves conjure a spiritual energy only twenty-somethings dislodged by adversity and isolation could produce. Formed in 2009 by guitarist and vocalist John Pelant, bassist Micky Alfano, and multi-instrumentalist Mark Ritsema, Night Moves is a distinctly original concoction. Their honey-dipped sound seethes with a kind of down-home tenderness – and like the best glittering music – the arrangements are colossal in shape. Drummer Jared Isabella later joined the band, complet...

    The songs of Night Moves conjure a spiritual energy only twenty-somethings dislodged by adversity and isolation could produce. Formed in 2009 by guitarist and vocalist John Pelant, bassist Micky Alfano, and multi-instrumentalist Mark Ritsema, Night Moves is a distinctly original concoction. Their honey-dipped sound seethes with a kind of down-home tenderness – and like the best glittering music – the arrangements are colossal in shape. Drummer Jared Isabella later joined the band, completing the live set-up.

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    North Sea Radio Orchestra

    Posted on 20 May 2020

    Back in 2002 North Sea Radio Orchestra were born in the lanes and alleys of the City of London, playing, in dusty old churches, a kind of chamber/alternative classical/folk high-Victorian hybrid music. Then escaping the City to play various festivals, arts establishments, 6Music sessions, venues of all kinds whilst releasing three studio albums to great critical acclaim. Now after a 4 year break they return with their fourth album ‘Dronne’.

    All NSRO music is composed, recorded and lead by...

    Back in 2002 North Sea Radio Orchestra were born in the lanes and alleys of the City of London, playing, in dusty old churches, a kind of chamber/alternative classical/folk high-Victorian hybrid music. Then escaping the City to play various festivals, arts establishments, 6Music sessions, venues of all kinds whilst releasing three studio albums to great critical acclaim. Now after a 4 year break they return with their fourth album ‘Dronne’.

    All NSRO music is composed, recorded and lead by guitarist Craig Fortnam who during the last four years he has not been idle. As well as releasing Arch Garrison’s 2014 CD, ‘I Will Be A Pilgrim’ (Craig as singer-songwriter, singing songs about old roads and chalk downland in a psych-folk haze), Craig also spent the first half of 2014 immersed in the music of Robert Wyatt, having been asked to direct and do all arrangements for a performance of Wyatt’s music for the Nuits de Fourviere Festival in Lyon, with North Sea

    Radio Orchestra as house-band. Assisting in this amazing project were ex-Cardiacs keyboardist William D Drake, ex Henry Cow/National Health bassist and singer John Greaves, as well as Pascal Comelade, Elise Caron and Silvain Vanot. As well as performing all of Wyatt’s classic album ‘Rock Bottom’, NSRO also played several songs spanning Wyatt’s career. This immersion in Wyatt-land has had a profound effect on Fortnam’s way of composing and working in the studio, as he states; “Being the composer and producer has lead to me having TOTAL control over all aspects of making NSRO records. This way of working is of course a double-edged sword as spontaneity and inspiration can be lost under all that control. Robert Wyatt seems to tread the line

    between the two with great skill, incorporating lots of elements of chance into his albums. Re-working his songs while trying to maintain freedom within the arrangements has been a great inspiration while making ‘Dronne’. This record features lots of improvising which I have edited and manipulated; certain accidents within have been left intact – these elements of chance are a real

    antedote to the necessary ‘microscoping’ and control-freakery needed to create NSRO records”.

    Indeed the title track is almost wholly improvised; layers of synths, organs and bells swing pendulum-like between two un-related chords eventually heralding a vast string melody of cosmic proportions, all over an eight minute drone (‘dronne’). More improvisation can be heard during the opening section of NSRO’s Robert Wyatt cover ‘The British Road’, one Craig’s favourite

    arrangements from the Lyon show thus duly included in this release. ‘I A Moon’, NSRO’s previous album was very much concerned with the tragic illness that befell Craig’s good friend Tim Smith (that

    underrated genius from pop/prog/punk legends Cardiacs), so that album felt almost unbearably sad at points. For this release Craig wanted there to be no ‘meaning’ or particular theme but of course life often intervenes in such plans; half way through making the record Craig suffered a close family bereavement, naturally having a huge impact on the outcome of this album. ‘Alsace Lorraine’,

    originally a lullaby for Craig and (NSRO singer) Sharron’s young son suddenly veered into the territory of grief, the lyrics literally changing mid-song;

     

    “Sleep tight tonight – any other night round the world….

    So tie me to the buoy (boy) keep me afloat, I’m afloat on an ocean

    So tie me to a stone, throw me into a river – sink low.

    And water’s thinner than blood and bone.”

     

    Despite the more improvisatory feel, the inclusion of a Wyatt cover-version and a more studio-based compositional style, ‘Dronne’ still contains all the elements that have made NSRO special to their fans and wholly unique in British music; the ability to produce beautiful music without being over-sweet, the combination of large-scale instrumentals (‘Dinosaurus Rex Parts 1 and 2’) with

    smaller pieces and songs, the beautiful voice of Sharron Fortnam, and the ability to marry seemingly disparate influences (Britten, Vaughan-Williams, Cardiacs, early Kraftwerk etc), all wrapped up in a very English/Northern European harmonic and melodic

    language; a language augmented with that extra freedom bestowed upon Craig courtesy of that most liberated of musicians, Robert Wyatt.

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    Nothing

    Posted on 20 May 2020

    NOTS

    Posted on 20 May 2020

    Purveyors of what they call “weird punk,” Nots are a Memphis, Tennessee combo who lay out fast, simple, aggressive tunes fortified with jagged guitar runs, atonal electronics, and disorienting layers of reverb. Beginning as a lo-fi two-piece in 2011, the band soon gained the endorsement of Memphis blues-punk label Goner Records, and expanded to a powerful noise-making quartet with their first album in 2014. Their approach became more concise with 2019’s 3, which was both Nots’ third a...

    Purveyors of what they call “weird punk,” Nots are a Memphis, Tennessee combo who lay out fast, simple, aggressive tunes fortified with jagged guitar runs, atonal electronics, and disorienting layers of reverb. Beginning as a lo-fi two-piece in 2011, the band soon gained the endorsement of Memphis blues-punk label Goner Records, and expanded to a powerful noise-making quartet with their first album in 2014. Their approach became more concise with 2019’s 3, which was both Nots’ third album and their first as a trio, though the music was no less aggressive or muscular as a result.

    Nots were formed in 2011 by guitarist Natalie Hoffmann and drummer Charlotte Watson; Hoffmann initially served double duty with Nots and Ex-Cult before making Nots her main musical commitment, while Watson was a veteran of the Manatees. Hoffmann and Watson originally played out as a two-piece, but soon expanded to a trio with the addition of bassist Madison Farmer, whose résumé included stints with Chain & the Gang and Toxie. Nots released their debut 7″ single, “Dust Red,” on Memphis’ celebrated garage-centric indie label Goner Records in October 2013. A bit more than a year later, Nots dropped their first full-length album, We Are Nots; by this time, the band had grown into a quartet, with Alexandra Eastburn on keyboards. In 2016, Nots delivered their second full-length album, Cosmetic; the LP introduced a new Nots lineup, with new bassist Meredith Lones replacing Madison Farmer.

    2017 saw a steady stream of releases from Nots, including four singles (one recorded live at Third Man Records) and a limited-edition LP, Live at Third Man Records. That year they also launched their first tour of Australia, and in 2018, the band played the Burger Boogaloo Festival in Oakland, California. After the departure of Alexandra Eastburn, Nots moved forward as a trio, and 2019’s 3 found the band sounding leaner but no less powerful.

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    Nu Genea

    Posted on 20 May 2020

    “The Neapolitan, Berlin based, duo Nu Genea creates sounds that are influenced by an imaginary exotic far distant place, shaped by constant research of music from the past.
    Their music path can be described as a historical research on “dancefloor music” in its purest way.
    The key is the contamination of music genres which was born after the encounter of different cultures and populations.
    Nu Genea is a project that comes out of jam sessions, melting synthesizers with instruments, contai...

    “The Neapolitan, Berlin based, duo Nu Genea creates sounds that are influenced by an imaginary exotic far distant place, shaped by constant research of music from the past.
    Their music path can be described as a historical research on “dancefloor music” in its purest way.
    The key is the contamination of music genres which was born after the encounter of different cultures and populations.
    Nu Genea is a project that comes out of jam sessions, melting synthesizers with instruments, containing handcrafted sounds that don’t aim for perfection but genuineness. It can be described as a constantly shape-shifting form, always open to new collaborations with other musicians.

    Their first EP was released on Early Sounds Recordings in 2014 followed by “World Ep” on Tartelet Records.
    In 2016 they release their first album “The Tony Allen Experiments” featuring Tony Allen, the Afrobeat drum master, also known for his long time collaboration with the legendary Fela Kuti.
    In 2017 Nu Genea start their own record label called NG Records. The first release was a 7″ called “Amore”, a cover of an italian disco hit originally released in the ’70s.
    2018 signs a way back to their roots, with the LP “Nuova Napoli” , which represents a tribute to their hometown Napoli.
    In this album they watched their city from a distance reconstructing its energy from their studio in Berlin, calibrating their synths on the Vesuvius meridian, the volcano that has always protected and threatened Napoli. In this album the synthesizers fill the spaces between the past and the future, tightening in a single body acoustic instruments, electronics and voices in Neapolitan dialect.”

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    O’Flynn

    Posted on 20 May 2020

    O’Flynn is a young producer and DJ from London who has been hailed by Boiler Room as “one of dance music’s most prosperous newcomers”. One of the standout 12 inches of 2015 came in the form of O’Flynn’s debut release; ‘Tyrion’ quickly became a tool that Four Tet rarely left out of his sets, while the anthemic ‘Desmond’s Empire’ won support from Gilles Peterson and was used to soundtrack festivals throughout the summer.

    Oli Barton-Wood

    Posted on 20 May 2020

    Oli is a freelance music producer, recording & mix engineer living in London. He works from his studio in Peckham and mix room at The Premises Studios in Hoxton. From working in house at RAK studios, Oli went on to engineer for producer Jim Abbiss before going freelance as a producer/writer. He is published by Domino, has 100m+ streams on his work and enjoys working on jazz, east African and Latin music alongside alternative pop.

    Production – Nilüfer Yanya, Obongjayar, Rachel Ch...

    Oli is a freelance music producer, recording & mix engineer living in London. He works from his studio in Peckham and mix room at The Premises Studios in Hoxton. From working in house at RAK studios, Oli went on to engineer for producer Jim Abbiss before going freelance as a producer/writer. He is published by Domino, has 100m+ streams on his work and enjoys working on jazz, east African and Latin music alongside alternative pop.

    Production – Nilüfer Yanya, Obongjayar, Rachel Chinouriri, Molly Payton, Mellah, Lizzie Reid, Sorry

    Writing – Nilüfer Yanya, JONES, Obongjayar, Molly Payton, Shrink

    Mixing – Tom Odell, Celeste, Porridge Radio, Shame, Joe Armon-Jones, Declan McKenna, Wu-Lu, Eliza

    Engineering – Michael Kiwanuka, Black Midi, Tom Odell, Eliza, Blaenavon, Jamie Lawson, HMLTD

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    Oly Ralfe (Ralfe Band)

    Posted on 20 May 2020

    Ralfe Band is formed by Oly Ralfe and a number of other collaborators, known for infectious folk influenced songs, vivid surreal lyrics and classical and gypsy inspired instrumentals. In 2023, Ralfe Band return with their fourth studio album Achilles Was a Hound Dog, it is a masterclass of songcraft, drawing on experiences from band leader Oly Ralfe’s recent past. “For me, these songs are almost like an abstract diary where reality, memories and dreamlike narratives collide.”

    The las...

    Ralfe Band is formed by Oly Ralfe and a number of other collaborators, known for infectious folk influenced songs, vivid surreal lyrics and classical and gypsy inspired instrumentals. In 2023, Ralfe Band return with their fourth studio album Achilles Was a Hound Dog, it is a masterclass of songcraft, drawing on experiences from band leader Oly Ralfe’s recent past. “For me, these songs are almost like an abstract diary where reality, memories and dreamlike narratives collide.”

    The last few years have seen Oly Ralfe branch out musically, with his acclaimed solo instrumental record Notes From Another Sea from 2018, a collection of plaintive and intimate piano compositions, as well as the Live at St Pancras Old Church album from 2020, featuring Ralfe’s solo piano with classical ensemble. While Oxford-based Ralfe has never stopped writing or creating, it’s now been ten years since Ralfe Band’s last long player, Son Be Wise from 2013, punctuated by the rowdy one-off single, ‘Sweating It Out’, from 2019. “Because of life events it’s taken far longer than I would have hoped,” says Oly, enigmatically.

    Ralfe Band created the soundtrack for the feature film Bunny and the Bull directed by Paul King (dir.Paddington, The Mighty Boosh). The soundtrack album to Bunny and the Bull was released in 2010. The album was well received and scored an 8/10 NME review, “The 22 tracks here recall the deft melancholy of the Amelie soundtrack… The kind of regally drunk spirit last heard on David Dundas’ equally fine Withnail & I soundtrack. Score!”

    IMDb

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    Omar Souleyman

    Posted on 20 May 2020

    Produced by Kieran Hebden of Four Tet, ‘Wenu Wenu’ ( Ribbon 2013) combines aspects of Middle Eastern dabke dance music and traditional songs with his own contemporary style. Often described as “Syrian techno”, Souleyman records and performs live with long-time collaborator Rizan Sa’id. 

    One True Pairing

    Posted on 20 May 2020

    In 2019, Tom Fleming released his debut album as One True Pairing – his first since the split of Wild Beasts and an album described by The Quietus as “excellent” and praised by Clash for its “surprisingly confrontational” meditation on class frustration and self-despair.

    Recorded with producer John ‘Spud’ Murphy (Lankum, black midi, caroline), new single “Frozen Food Centre” is a poignant small-town vignette about childhood, where home is a place to escape and there are ...

    In 2019, Tom Fleming released his debut album as One True Pairing – his first since the split of Wild Beasts and an album described by The Quietus as “excellent” and praised by Clash for its “surprisingly confrontational” meditation on class frustration and self-despair.

    Recorded with producer John ‘Spud’ Murphy (Lankum, black midi, caroline), new single “Frozen Food Centre” is a poignant small-town vignette about childhood, where home is a place to escape and there are ghosts in the aisles of supermarkets. It is perhaps one of the most honest and searching songs of his career.

    Fleming’s output has always looked at ideas around masculinity – the sad and sexy music of Wild Beasts subverting accepted roles around young Northern men. Now older and wiser, his new music continues this theme from a place of newfound experience.

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    Oog Bogo

    Posted on 15 July 2022

    The wiggy wanderings of Oog Bogo wind up on the same island of lost joys all at once, manufacturing a virtual jukebox of singles and side flips that won’t unplug, and just keeps reeling and raging on instead. A bright metallurgy of guitar pop, psych, post-punk and apocalypse disco.

    Oog Bogo are a four-piece rock band from Los Angeles and their new album is ‘Plastic’, an electrifying set of songs and sounds that just don’t stop, working like a machine that makes joy and endless flips a...

    The wiggy wanderings of Oog Bogo wind up on the same island of lost joys all at once, manufacturing a virtual jukebox of singles and side flips that won’t unplug, and just keeps reeling and raging on instead. A bright metallurgy of guitar pop, psych, post-punk and apocalypse disco.

    Oog Bogo are a four-piece rock band from Los Angeles and their new album is ‘Plastic’, an electrifying set of songs and sounds that just don’t stop, working like a machine that makes joy and endless flips and repetitions, whether in front of the turntable or out in the real world.

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    Optic Sink

    Posted on 03 December 2020

    With Optic Sink, Natalie Hoffmann (NOTS) creates a musical paradox: an endeavor that doesn’t really seem to belong to any particular time or place, constructed with sounds that are synthesized and stripped-down, yet bristling with urgency and brutalist emotion.

    Written over a two-year period, the eight songs that comprise Optic Sink S/T sound like they should’ve been recorded in a bathysphere or on a space station—instead, they were captured via analog tape at Andrew McCalla’s Bunker...

    With Optic Sink, Natalie Hoffmann (NOTS) creates a musical paradox: an endeavor that doesn’t really seem to belong to any particular time or place, constructed with sounds that are synthesized and stripped-down, yet bristling with urgency and brutalist emotion.

    Written over a two-year period, the eight songs that comprise Optic Sink S/T sound like they should’ve been recorded in a bathysphere or on a space station—instead, they were captured via analog tape at Andrew McCalla’s Bunker Audio studio in summer 2019. Ben Bauermeister’s (Magic Kids, A55 Conducta) inventive aux percussion and drum machine work provides the backdrop, while Hoffmann stokes a proverbial furnace in the foreground, dryly revisiting and repeating words and phrases until they’re imbued with portent. Hoffmann’s synthesizers add texture with growls and shrieks, often mutating danceable rhythms into shimmering walls of sound. These are fully defined, atmospheric collages crafted with plenty of room for Hoffmann to play and test an artillery of sounds.

    Optic Sink defy categories, shape-shifting from cold wave to psychedelia to distorted noise rock. In the process—which frequently occurs in a single song—Optic Sink claim unchartered territory as they cathartically fragment and reassemble sounds, concepts, and verbal constructs.

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    OSees

    Posted on 20 May 2020

    Psych-punk psychic warrior, ear worm-farmer, and possessor of many stamped passport pages John Dwyer does not let up. His group OSees (aka Thee Oh Sees, OCS, The Oh Sees, etc) have transmogrified to fit many a moment – from hushed druggy folk to groovy demonic pop chants to science fictional krautrock expanse and beyond – to suit his omnivorous whims. It’s common knowledge however, that at their shows, you’re there asking for a beating. 20 years going and the shows keep getting more a...

    Psych-punk psychic warrior, ear worm-farmer, and possessor of many stamped passport pages John Dwyer does not let up. His group OSees (aka Thee Oh Sees, OCS, The Oh Sees, etc) have transmogrified to fit many a moment – from hushed druggy folk to groovy demonic pop chants to science fictional krautrock expanse and beyond – to suit his omnivorous whims. It’s common knowledge however, that at their shows, you’re there asking for a beating. 20 years going and the shows keep getting more and more intense, as many a soupy swarm can attest. The locked-in Rincon/Quattrone drum cops propel masses of strangers to froth and lean into each other as the insistent and repetitive underpinning tumbles nimbly from Tim Hellman’s bass. Meanwhile John ricochets breathy yips and snippets of synth and all manner of guitar heroics around your brain canyons while your reptile instincts yell “move”. Brain-stem body rock meets cerebral expanses, and their now du jour prolifically feeds a labyrinthine garden of well-hewn tunes.

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    Otta

    Posted on 20 May 2020

    Owen Pallett

    Posted on 20 May 2020

    Heartland, the third album by Owen Pallett, is a panoramic and orchestral work; a song cycle of Contemporary Fiction, and Owen Pallett’s finest work to date.

     Heartland’s narrative concerns a young, ultra-violent farmer named Lewis and is set in the imaginary landscape of Spectrum. Pallett describes the concepts behind the record: “The album is about the beginning, middle and end of a relationship. But it’s sung from the point of view of the object...

    Heartland, the third album by Owen Pallett, is a panoramic and orchestral work; a song cycle of Contemporary Fiction, and Owen Pallett’s finest work to date.

     Heartland’s narrative concerns a young, ultra-violent farmer named Lewis and is set in the imaginary landscape of Spectrum. Pallett describes the concepts behind the record: “The album is about the beginning, middle and end of a relationship. But it’s sung from the point of view of the object of my affection.”

    Recorded over nine months, Pallett enlisted the services of the Czech Philharmonic in Prague and travelled to Reykjavik to use Valgeir Sigurðsson’s Greenhouse studio, home to such sonically widescreen masterpieces as Bjork’s Medulla & Bonnie “Prince” Billy’s The Letting Go. Collaborating on Heartland are drummer Jeremy Gara (of Arcade Fire) and mixer Rusty Santos, who previously worked on Panda Bear’s Person Pitch.

     

      The composition of the record is diverse, oscillating between 19th century military music, ’70s analog synth-pop, Russian futurism and American pointillism, often in the space of a few bars. According to Pallett, “The songs were designed to be as dense with polyphony as the Final Fantasy live shows can become.  While writing it, I kept an image in my head of putting so many notes on the page that the paper turned black.” The result is a multi-layered orchestral work played with the immediacy of a singer-songwriter or electro bedroom auteur.  As Pallett notes, “The album was compositionally modelled upon the principles of electronic music.” In effect Pallett treated the orchestra like a vintage modular synth, programming the parts accordingly: “The string section can function as a white noise generator, the winds clatter like an eight-step sequencer, and the brass rises and falls like an enormous oscillating filter.”

     

      This process echoes the Final Fantasy live shows where Pallett layers parts over and over one another to produce a dense set of orchestral flourishes, something approaching a one man orchestra playing the Rite of Spring with a wholly pop heart. Running in counterpoint to this composition method is Pallet’s incredible sense of melody and his resonant voice. His singing on Heartland infuses the songs with empathy and drama, weaving itself among the strings and percussion, soaring at times on “Lewis Takes Off his Shirt” and “Tryst With Mephistopholes” through the drama of the narrative.

     

      Owen Pallett named Final Fantasy as a nod to the unending series of operatic, melodramatic video games of the same name. Owen has written string and orchestral arrangements for numerous releases, including the Arcade Fire’s Neon Bible, Grizzly Bear’s Yellow House, Beirut’s The Flying Club Cup and The Last Shadow Puppets’ The Age of the Understatement. Most recently he wrote orchestral parts for Pet Shop Boys’ Yes, played violin on Mika’s The Boy Who Knew Too Much and contributed string arrangements to the Mountain Goats album, The Life of the World to Come.  

     

    Heartland is a unique modern musical statement.  A record comprising twelve concise songs informed by the traditions of pop, which are based on one long narrative concept, and played by an orchestra. The result is an extraordinary piece of work ringing to the sound of its distinct sense of ambition, warmth and emotion.

     

     

     

     

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    Papercuts

    Posted on 20 May 2020

    Papercuts is made up of songwriter Jason Robert Quever who creates a ‘dreamy’ kind of pop by layering up a multitude of instruments ranging across, but not limited to; strings, autoharp, Mellotron, Moogs, 12-string acoustic guitars, piano and Echoplexes. Papercuts’ latest, and fourth, studio album ‘Fading Parade’ was released in March 2011 on the Sub-pop label. Papercuts currently has three regular live musicians – David Enos (keyboard and autoharp), Graham Hil...

    Papercuts is made up of songwriter Jason Robert Quever who creates a ‘dreamy’ kind of pop by layering up a multitude of instruments ranging across, but not limited to; strings, autoharp, Mellotron, Moogs, 12-string acoustic guitars, piano and Echoplexes. Papercuts’ latest, and fourth, studio album ‘Fading Parade’ was released in March 2011 on the Sub-pop label. Papercuts currently has three regular live musicians – David Enos (keyboard and autoharp), Graham Hill (drums), and Frankie Koeller (bass).

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    Parquet Courts

    Posted on 20 May 2020

    Parquet Courts’ blend of noisy, punk-friendly clatter and snarky, sometimes serious lyrics delivered in a menacing monotone struck a chord within indie rock circles with their 2012 album, Light Up Gold, and after loads of touring and a series of literate and scrappy albums made for What’s Your Rupture? and Rough Trade, they firmly established themselves as one of their era’s marquee groups. As the decade advanced, the band began to experiment with its proven formula, working with rap...

    Parquet Courts’ blend of noisy, punk-friendly clatter and snarky, sometimes serious lyrics delivered in a menacing monotone struck a chord within indie rock circles with their 2012 album, Light Up Gold, and after loads of touring and a series of literate and scrappy albums made for What’s Your Rupture? and Rough Trade, they firmly established themselves as one of their era’s marquee groups. As the decade advanced, the band began to experiment with its proven formula, working with rapper Bun B on a 2016 single, collaborating with Italian producer Daniele Luppi on 2017’s Milano, and exploring new influences (dance punk, new wave) on the Danger Mouse-produced 2018 record Wide Awake!

    The Brooklyn-by-way-of-Texas band was formed in 2010 by former Fergus & Geronimo member Andrew Savage on vocals and guitar, guitarist/vocalist Austin Brown, bassist Sean Yeaton, and drummer Max Savage. The band played often in the greater New York area and released its first album, American Specialties, exclusively on cassette in late 2011 (a vinyl release followed in 2012). A more widely distributed full-length, Light Up Gold, was issued on the Dull Tools label in the summer of 2012, and the band’s first U.S. tour followed by the end of the year. Light Up Gold quickly caught on and was reissued on Brooklyn label What’s Your Rupture? in early 2013 to wider distribution. They became darlings of the indie rock world thanks to the response to the record from the press, constant touring, and their intractable charm.

    When not on the road, they spent much of their time in the studio recording songs for their next record, with a five-song EP, Tally All the Things That You Broke, surfacing late in 2013. Their third album, Sunbathing Animal, was released in June of 2014, again on What’s Your Rupture?, and again, members of the band followed up with a collection of more slapdash recordings almost immediately, releasing the album-length Content Nausea as Parkay Quarts in November of the same year. In March of 2015, the group’s first concert recording, Live at Third Man Records, was issued. That summer, the band released split 7″ singles with Big Ups (on Roekie Records) and Joey Pizza Slice (on Wharf Cat Records). Rough Trade signed Parquet Courts and released the experimental, primarily instrumental Monastic Living EP in November.

    Meanwhile, they were working on their next album, which was the first to have songwriting contributions from all four members. Working at Sonelab studios in western Massachusetts and Wilco‘s Loft in Chicago, but mostly at Dreamland Studio in upstate New York (where the B-52s recorded “Love Shack”), the bandmembers spent their days writing songs and their nights recording them. The resulting album, early 2016’s Human Performance, was somewhat dark and mostly inward-looking, though still full of jumpy punk.

    In February 2017, Parquet Courts released a limited-edition 12″ single, “Captive of the Sun,” which featured the band collaborating with Bun B of the Texas hip-hop crew UGK as well as producers DJ Candlestick and O.G. Ron C. Later that same year, the band was featured on Milano, a collaboration with Italian composer and producer Daniele Luppi that also featured guest vocals from Karen O of the Yeah Yeah Yeahs. Parquet Courts were busy at work on their next album by then, recording in New York and Texas with producer Danger Mouse. The songs written by Andrew Savage and Austin Brown were influenced by a wider range of sounds and artists this time around, with dance-punk, the Specials, folky indie pop, and classic rock all getting a look. Both their expanded approach and Danger Mouse‘s production finesse led to 2018’s Wide Awake! being the band’s most diverse and accessible record yet.

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    The Pastels

    Posted on 20 May 2020

     

    The description “cult band” usually suggests a group that has been going for a while but is only really important to a very small number of people. This definition can be applied to The Pastels, in that they are a permanent feature of student bedrooms, scouring out the back rooms of the Western world. Such an impression may be unfair, as is the fact that good fortune always seems to have eluded them. But their music has been a breath of fresh air – and a fistful of dollars – to...

     

    The description “cult band” usually suggests a group that has been going for a while but is only really important to a very small number of people. This definition can be applied to The Pastels, in that they are a permanent feature of student bedrooms, scouring out the back rooms of the Western world. Such an impression may be unfair, as is the fact that good fortune always seems to have eluded them. But their music has been a breath of fresh air – and a fistful of dollars – to a whole generation of musicians, and it doesn’t stop with Teenage Fanclub. Sonic Youth rate them, and JAMC and Kurt Cobain revered them. “Les Inrockuptibles” Paris, France.

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    Patrick Watson

    Posted on 12 October 2020

    A singer/songwriter, film composer, and pianist based in Montreal, Canada, Patrick Watson makes explorative chamber pop with his band — also called Patrick Watson — often blending spare indie pop, synthesizer experiments, cinematic orchestral song, and a melancholy tone. The group’s second album, 2006’s Close to Paradise, won the Polaris Prize. After composing music for several short films, Watson made his feature-length debut with It’s Not Me, I Swear! in 2008. Released in 2015, Lo...

    A singer/songwriter, film composer, and pianist based in Montreal, Canada, Patrick Watson makes explorative chamber pop with his band — also called Patrick Watson — often blending spare indie pop, synthesizer experiments, cinematic orchestral song, and a melancholy tone. The group’s second album, 2006’s Close to Paradise, won the Polaris Prize. After composing music for several short films, Watson made his feature-length debut with It’s Not Me, I Swear! in 2008. Released in 2015, Love Songs for Robots became his band’s fourth straight album to reach Canada’s Top Ten, and he found success again in 2019 with the arrival of his sixth long-player Wave.

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    Paul Hardcastle

    Posted on 07 September 2020

    Paul Hardcastle has been one of the best-selling smooth jazz artists in the US for the past fifteen years, alternating between the artist names The Jazzmasters and Paul Hardcastle.

    Not many people had noticed Paul’s name before ’19’, but this was his eleventh single, either under his own name or as part of two groups. “19” was No. 1 single in at least 10 countries including UK, Eire, Germany, Italy, The Netherlands, Sweden, Norway in 1985. No 15 in USA. Won an Ivor Novello for “In...

    Paul Hardcastle has been one of the best-selling smooth jazz artists in the US for the past fifteen years, alternating between the artist names The Jazzmasters and Paul Hardcastle.

    Not many people had noticed Paul’s name before ’19’, but this was his eleventh single, either under his own name or as part of two groups. “19” was No. 1 single in at least 10 countries including UK, Eire, Germany, Italy, The Netherlands, Sweden, Norway in 1985. No 15 in USA. Won an Ivor Novello for “International Hit Of The Year”. “The Wizard” was the theme tune for BBC’s “Top Of The Pops” for several years & reached No. 15 in the UK in 1986.

    Paul Hardcastle made the top 5 in the US R&B singles chart in 1984 with another instrumental, ‘Rain Forest’, selling 300,000 copies.

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    Peaking Lights

    Posted on 20 May 2020

    Peaking Lights is an electronica/dub duo consisting of Indra Dunis and Aaron Coyes. Their sound is also described as ‘krautrock’ or ‘psychadelia’ by some. After forming in 2006 due to an improvised recording session, the two moved to Wisconsin together and played gigs together to earn gas money. The first record Peaking Lights made was known as ‘Clearvoiant‘ and was made using minimal equipment, such as a small radio in place of an amp and a couple of tiny keyboards.Their debut a...

    Peaking Lights is an electronica/dub duo consisting of Indra Dunis and Aaron Coyes. Their sound is also described as ‘krautrock’ or ‘psychadelia’ by some. After forming in 2006 due to an improvised recording session, the two moved to Wisconsin together and played gigs together to earn gas money. The first record Peaking Lights made was known as ‘Clearvoiant‘ and was made using minimal equipment, such as a small radio in place of an amp and a couple of tiny keyboards.Their debut album ‘Take 936’ was released in November 2011 on the Weird World label.

    Vivid, nocturnal and sensual, the eleven lean and lithe pop songs of ‘Cosmic Logic’ follow 2012’s much-lauded ‘Lucifer’ and are another progression in the band’s ever-evolving sound; their free-wheeling, far-reaching production and mesmeric, mantra-like songwriting pushing into brighter, bolder spaces than ever before. Recorded by the band themselves in their newly built Los Angeles studio, many of the luminous sounds used on ‘Cosmic Logic’ were designed by Coyes himself over the eighteen months of its making. The record was completed with the help of Matt Thornley (DFA, LCD Soundsystem) at C’mpny Studios in LA in the spring of 2014.

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    PEEL

    Posted on 25 January 2024

    Peel is the musical partnership of Sean Cimino and Isom Innis; both multi-instrumentalists, as well as a visual artist and producer respectively.  The project was born from a month-long recording session between the two artists within Innis’s concrete loft, above the Orpheum Theatre in downtown Los Angeles.  Naturally, the cavernous space served as an industrial incubator for musical experimentation: where fleets of sewing machines once reverberated in the 1930s with metallic rhythms, no...

    Peel is the musical partnership of Sean Cimino and Isom Innis; both multi-instrumentalists, as well as a visual artist and producer respectively.  The project was born from a month-long recording session between the two artists within Innis’s concrete loft, above the Orpheum Theatre in downtown Los Angeles.  Naturally, the cavernous space served as an industrial incubator for musical experimentation: where fleets of sewing machines once reverberated in the 1930s with metallic rhythms, now echoed the sounds of drums, amps, and modular synthesizers.

    From the very beginning, a creative process was developed. Cimino would loop guitar and synths while Innis introduced drums and additional synthetic textures: “It was important for us to play everything without edits, limiting ourselves to a few selected elements.  We are obsessed with records like Second Edition [Public Image Ltd.] and The Pleasure Principle [Gary Numan]; records where spirit and improvisation guided expression. We wanted to create a ‘wall-of-sound’ between the two of us…” says Innis.

    After the two were satisfied with an instrumental take, a vocal performance was captured with a Shure SM7 microphone, often with lyrics deriving from a stream-of consciousness, as in the duo’s first single ROM-COM—a chaotic and cyclical information spiral, finding its existential footing in the modern age. “For me, when I listen to percussive music, the groove becomes hypnotic and it’s an ego-killer in the best way. It takes me out of my head and into a moment…” says Cimino.

    Peel is as much a visual project as it is a sonic one. Enlisting the aid of graphic designer and art director Taylor Giali, the duo is documented through arrays of photographs and hazy analogue-video; manufacturing a familiar yet distinct visual language. “Similar to [Andy Warhol’s] ‘The Factory’ or Claes Oldenburg’s ‘Store’, we agreed early on to question the traditional ideas of production and consumption while leaving plenty of room for ideas to develop, pivot, or even end up in the garbage bin to be fished out later…” says Giali

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    Peggy Sue

    Posted on 20 May 2020

    Peggy Sue is: Rosa Slade, Katy Young and Olly Joyce. Through old-fashioned hard work and by embracing new technology Peggy Sue have unintentionally pioneered a new business model in a now fractured music industry. They weren’t looking for a traditional record deal but when Wichita Recordings stepped in, after witnessing a sold out ICA show in November 2009, it was obviously a meeting of minds and as the band’s favourite record label, the allure proved too strong. The deal was signed in De...

    Peggy Sue is: Rosa Slade, Katy Young and Olly Joyce. Through old-fashioned hard work and by embracing new technology Peggy Sue have unintentionally pioneered a new business model in a now fractured music industry. They weren’t looking for a traditional record deal but when Wichita Recordings stepped in, after witnessing a sold out ICA show in November 2009, it was obviously a meeting of minds and as the band’s favourite record label, the allure proved too strong. The deal was signed in December 2009 and not ones to waste time, Peggy Sue’s debut album was released in April 2010; ‘Fossils and Other Phantoms’. The record featured tracks produced by Steve Ansell of Blood Red Shoes and Ben Lovett of Mumford & Sons, the rest of the album was recorded in Brooklyn with producers Alex Newport (Two Gallants) and John Askew (The Dodos). the 2nd LP ‘Acrobats’ followed in 2011 and in 2014, the band released the critically acclaimed ‘Choir Of Echoes’.

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    Peter Oren

    Posted on 20 May 2020

    Indiana-born, everywhere-based singer-songwriter Peter Oren possesses a remarkable singing voice, low and deep and richly textured: as solid as a glacier, as big as a mountain. Similar in its baritone gravel to Bill Callahan, a hero of his, it rumbles in your conscience, a righteous sound that marks him as an artist for our tumultuous times, when sanity seems absent from popular discussions. His voice is ideally suited to confront a topic as large and as ominous as the Anthropocene Age.
    That ...

    Indiana-born, everywhere-based singer-songwriter Peter Oren possesses a remarkable singing voice, low and deep and richly textured: as solid as a glacier, as big as a mountain. Similar in its baritone gravel to Bill Callahan, a hero of his, it rumbles in your conscience, a righteous sound that marks him as an artist for our tumultuous times, when sanity seems absent from popular discussions. His voice is ideally suited to confront a topic as large and as ominous as the Anthropocene Age.
    That term is relatively new, reportedly coined in the 1960s but popularized only in the new century to designate a new epoch in the earth’s history, when man has exerted a permanent—and, many would argue, an incredibly deleterious—change in the environment. Sea levels are rising, plants and animals facing mass extinctions; it may be humanity’s final epoch, which makes it a massive and daunting subject for a lone singer-songwriter to address, let alone a young musician making his second full-length record. But Oren has both the singing voice and the songwriting voice to put it all into perspective. The songs on Anthropocene are direct and poetic, outraged and measured, taking in the entire fucked-up world from his fixed point of view.

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    Peter Perrett

    Posted on 20 May 2020

    As leader of the Only Ones in the late ’70s, Peter Perrett was one of the new wave’s most enigmatic cult figures. His instantly recognizable vocals, which blended world-weary languor with sarcastic bite, and heart-on-sleeve romantic songs (like the classic “Another Girl, Another Planet”) made the Only Ones one of the more interesting bands of the era. After the band split in 1981, Perrett struggled through years of drug abuse and a stop-start musical career that included the 1996 albu...

    As leader of the Only Ones in the late ’70s, Peter Perrett was one of the new wave’s most enigmatic cult figures. His instantly recognizable vocals, which blended world-weary languor with sarcastic bite, and heart-on-sleeve romantic songs (like the classic “Another Girl, Another Planet”) made the Only Ones one of the more interesting bands of the era. After the band split in 1981, Perrett struggled through years of drug abuse and a stop-start musical career that included the 1996 album Woke Up Sticky before rebounding strongly in the late 2010s with two albums made for Domino Records which showed that despite time and travail, his skills as an incisive songwriter or expressive singer had not diminished.

    Perrett got his start in the proto-punk group England’s Glory in the early ’70s, then formed the Only Ones in 1976 with guitarist John Perry, bassist Alan Mair, and ex-Spooky Tooth drummer Mike Kellie. After a promising independent single, “Lovers of Today,” the band was signed by CBS Records and made their debut with “Another Girl, Another Planet” — one of the U.K. new wave’s most enduring songs. Perrett, with his leopard-skin jacket and Lou Reed drawl, won considerable music press attention, and the band’s self-titled debut album was very well received. A second self-produced collection, Even Serpents Shine, was also distinctive, but internal group friction and disagreements with their record company hampered the band’s progress. Producer Colin Thurston took control of 1980’s Baby’s Got a Gun, which included a guest appearance by Pauline Murray. With sales dwindling, CBS dropped the band from their roster and the Only Ones finally broke up in 1981.

    Serious drug problems knocked Perrett out of commission for most of the ’80s, and indeed, he kept such a low profile that a Syd Barrett-like mystique began to arise around him. After getting a tentative handle on his addictions in the late ’80s, he began to ease back into music, forming a new band, the One, with guitarist Jay Price, keyboard player Miyuki Katsuno, bassist Richard Vernon, and drummer Steve Hands. They released an EP of new material in 1994, and then a full-length album, Woke Up Sticky, the following year. Issued in Britain in 1996, it found Perrett’s odd songwriting muse largely unchanged since the Only Ones’ days. The band broke up the same year, however, and Perrett drifted back out of view.

    He resurfaced briefly in the mid-2000s, playing on-stage with the Libertines and his sons Peter, Jr. and Jamie’s band Love Minus Zero before re-forming a version of the Only Ones in 2007. They played shows in the U.K., worked on new songs, and appeared at the ATP Festival in Minehead, then Perrett ghosted again for a few years.

    A couple Only Ones shows in 2014 and a rare solo set (with his sons in the backing band) the next year seemed like the usual brief Perrett sightings, but this time he was back for a more substantial visit. Free from drug addiction for the first time in decades, Perrett signed a deal with Domino Records and readied his first solo album. Working with his sons again and producer Chris Kimsey, 2017’s How the West Was Won is a mix of gritty rock & roll and heart-felt ballads that proved Perrett had lost none of his songwriting skills or vocal ability. He took the band out on the road and didn’t waste much time getting another record together. Once again he was helped out by his sons, plus drummer Jake Woodward and backing vocalists/multi-instrumentalists Jenny Maxwell and Lauren Moon. The resulting album, Humanworld, had more rock & roll bite and a caustic political point of view. It was released by Domino in June 2019, after which the group headed back out on the road.

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    Petite Noir

    Posted on 20 May 2020

    Yannick Ilunga doesn’t dice words when he outlines the message woven through his debut album: “STAY POSITIVE.”  Yannick is half-Congolese, half-Angolan and was raised in South Africa. The 24-year-old artist known as Petite Noir still lives part-time in Cape Town, close to his family and his spiritual roots and that culture is immediately evident as it bleeds through his music. La Vie Est Belle / Life Is Beautiful, named after an uplifting 1987 Congolese film, is both a beacon and a...

    Yannick Ilunga doesn’t dice words when he outlines the message woven through his debut album: “STAY POSITIVE.”  Yannick is half-Congolese, half-Angolan and was raised in South Africa. The 24-year-old artist known as Petite Noir still lives part-time in Cape Town, close to his family and his spiritual roots and that culture is immediately evident as it bleeds through his music. La Vie Est Belle / Life Is Beautiful, named after an uplifting 1987 Congolese film, is both a beacon and a vessel of inspiration, offering empowerment to those who need it. “Everyone goes through difficult experiences. I’m not the only one,” Ilunga begins. “It’s about you when you listen to the album, not me. What are you going through? Then it tells you, ‘It’s going to be OK.'”

    Though Petite Noir’s musical background ranges from guitar metal to nu-disco, he has since developed into a confident, future-facing singer and songwriter with a wide palette. He discovered the work of Kanye West around the age of 16, and it quite literally changed his life, showing him the importance of breaking musical boundaries. You can hear that fearlessness: The King of Anxiety blended raw post-punk energy with sunny African rhythms and nuanced R&B touches in early 2015, and now La Vie Est Belle / Life Is Beautiful takes that sound to louder, more defiant places. The reasons are self-evident, it seems. “That’s exactly how I am feeling at the moment,” Ilunga points out. “A lot of things have to be said!” But even as explosive pop songs like “Best” and “Just Breathe” delve into depths of frustration and discontent, they’re underpinned with a restless joy. The combination is at once exhilarating and reassuring.

    La Vie Est Belle / Life Is Beautiful represents the first full expression of what Ilunga calls “Noirwave,” which is more of a concept than a specific sound. Inspired by innovators like Mos Def and legends Fela Kuti and Tabu Ley, Noirwave encompasses a “new African aesthetic,” plain and simple. “I think for me, it’s just the story their music tells and the sense of freedom,” he says of his influences. “I can hear the freedom in the music, the mental freedom.” All of which is key to what Petite Noir accomplishes on this, his debut album, expressed with incisive sincerity on “Freedom.” Over gnarled bass synths and a moody dance beat, Ilunga sings in his full-bodied falsetto, “Freedom comes at an expense / Freedom comes when you least expect it.”

    This is Petite Noir’s message to the oppressed, and he reflects the ideals with stylistic dexterity, too. Like Congolese-Belgian vocalist Baloji appearing in the album’s slinky, slow-grooving title track to deliver a rap in French; whether you understand the words or not, his lines feel evocative and rousing, and flow seamlessly with Ilunga’s soft-spoken croon. It’s followed by the bubbly, harmonized “MDR”, a rare love song amongst the unrest Petite Noir tackles head on throughout La Vie Est Belle / Life Is Beautiful. And the launch track, “Down”, ties together funky basslines with piano, synth, and high-stepping drums for a late-album anthem. With footage filmed around the streets of Lubumbashi in the Democratic Republic of Congo, “Down” blends unrehearsed imagery and joyful sounds to paint a contemporary portrait of Petite Noir’s Congolese background and his hopes for the country’s future.

    Diverse as it all sounds, Noirwave’s declaration of “mental freedom” connects the dots with raw emotion and tenacity. “I’m still very spiritual,” Ilunga concedes. “I feel like I have progressed spiritually, but the more I grow, the harder things become.”  He sums up the album however by saying “It’s about seeing the positive in dark times. Seeing God”. His candor is testament to the honesty this album was written with, which fortifies its 10 charismatic tracks with a complex personality. La Vie Est Belle / Life Is Beautiful isn’t just a positive message wrapped in a new African aesthetic, it’s a piece of Petite Noir’s life.

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    Phelan Sheppard

    Posted on 20 May 2020

    Keiron Phelan and David Sheppard make records together and separately under various guises. The first Phelan/Sheppard L.P. :”O Little Stars” was released in 2002 on Rocket Girl. The new album :’Harps Old Master’ was released September 2OO6 on the Leaf Label and features Phelan and Sheppard playing nylon string guitars, double bass, various woodwinds, xylophones, keyboards and electronics, with help from co-producer Guy Fixsen (trumpet, drum machine, Moog bass) and the Willard Grant Co...

    Keiron Phelan and David Sheppard make records together and separately under various guises. The first Phelan/Sheppard L.P. :”O Little Stars” was released in 2002 on Rocket Girl. The new album :’Harps Old Master’ was released September 2OO6 on the Leaf Label and features Phelan and Sheppard playing nylon string guitars, double bass, various woodwinds, xylophones, keyboards and electronics, with help from co-producer Guy Fixsen (trumpet, drum machine, Moog bass) and the Willard Grant Conspiracy’s Josh Hillman (violin and viola). Spanish singer Ines Naranjo adds vocals to a number of the songs.

    The duo also record as State River Widening, having made three albums, the most recent of which -“Cottonhead” – features ’60’s folk icon Anne Briggs. More recently they have formed Smile Down Upon Us with Tokyo based vocalist MoomLooo. An album will be released in early ’08. David Sheppard is also one half of Ellis Island Sound (with Pete Astor) and is part of Anglo/Spanish group Continental Film Night. Keiron Phelan is currently working with the group Orla Wren.

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    Pilote

    Posted on 20 May 2020

    Mr Stuart Cullen is a composer, producer and multi instrumentalist who has been working in the field of electronic music and, more recently, folk and country music, since 1998.

    His ‘Pilote’ project has been on the go for nigh on 12 years, releasing five albums and multiple singles and EP’s in that time, gleefully skipping between the genres causing confused record store owners to file him under everything from Drum and Bass to Ambient, Soundtrack to 2Step. He was a founder member of Br...

    Mr Stuart Cullen is a composer, producer and multi instrumentalist who has been working in the field of electronic music and, more recently, folk and country music, since 1998.

    His ‘Pilote’ project has been on the go for nigh on 12 years, releasing five albums and multiple singles and EP’s in that time, gleefully skipping between the genres causing confused record store owners to file him under everything from Drum and Bass to Ambient, Soundtrack to 2Step. He was a founder member of Brighton’s seminal Fly Casual label and has also provided remixes for the likes of Turin Brakes, Fujiya and Miyagi, Fiona Soe Paing and A Lazarus Soul.

    His work has been used on various film, TV and documentary projects including several series’ of renowned mindbender Derren Brown, Brazilian crime caper ‘O ‘Homem Do Ano’ as well as the US version of the hit C4 show ‘Queer as Folk’ and Canadian travel documentary ‘Departures’. One tune has even provided the soundtrack to a pair of mating gazelle…

    Presently, Mr Cullen is holed up in North East Somerset, polishing off the sixth Pilote album, entitled “The Slowdown” a deft combination of traditional guitar and banjo picking, lush soundscapes and rhythmical hocus pocus.

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    Pissed Jeans

    Posted on 20 May 2020

    Age and four full-lengths haven’t mellowed Pissed Jeans; they can still unleash a blare that will exfoliate your cochlea. Formed in Allentown, Pennsylvania, Pissed Jeans released Shallow, their first album, in 2005 on Parts Unknown Records. The band relocated to Philadelphia seven years ago, and Sub Pop released Hope for Men in 2007, and then King of Jeans in 2009. The latter was recorded by Grammy nominee Alex Newport, who also recorded 2013’s offering ‘Honeys’.

     

     

    ...

    Age and four full-lengths haven’t mellowed Pissed Jeans; they can still unleash a blare that will exfoliate your cochlea. Formed in Allentown, Pennsylvania, Pissed Jeans released Shallow, their first album, in 2005 on Parts Unknown Records. The band relocated to Philadelphia seven years ago, and Sub Pop released Hope for Men in 2007, and then King of Jeans in 2009. The latter was recorded by Grammy nominee Alex Newport, who also recorded 2013’s offering ‘Honeys’.

     

     

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    Plastic Mermaids

    Posted on 20 May 2020

    Plastic Mermaids are a five-piece band from the Isle of Wight who, after building their own analogue studio, have self-produced one of the most genuinely original and sonically adventurous debut albums you’ll hear all year: ‘Suddenly Everyone Explodes’. In terms of musical influences, fans of The Flaming Lips, Arcade Fire, Sparklehorse and Tame Impala will all find something to love in Plastic Mermaids richly-textured sound. 

    Porches

    Posted on 20 May 2020

    When Aaron Maine looks back on his early work as Porches, he’s often struck by how sad and angry it can feel. “That music turned out a lot more pessimistic than I intended it to be,” he says. “But when I took a sad moment and turned it into a song, it was a cathartic, positive, and clean process. For me, those moments were victories”.

    As it turns out, Maine is very good at making songs. Over the past few years, the singer-songwriter has released a wealth of material on several influ...

    When Aaron Maine looks back on his early work as Porches, he’s often struck by how sad and angry it can feel. “That music turned out a lot more pessimistic than I intended it to be,” he says. “But when I took a sad moment and turned it into a song, it was a cathartic, positive, and clean process. For me, those moments were victories”.

    As it turns out, Maine is very good at making songs. Over the past few years, the singer-songwriter has released a wealth of material on several influential labels and, in the process, has become a magnetic live presence, gaining the notice of discerning listeners and labels alike.

    Porches’ sixth studio album, Shirt, is due for release September 2024 on Domino Records. Shirt is part angsty fantasy, part confessional melodrama – a rock album that oscillates between reality and make-believe to reflect both the innocence of suburban youth and the frayed reality of adulthood. A fusion of chaotic impulses, insatiable desires, and a perpetual yearning, Shirt plays with the tension between one’s person and persona – the weight of your dreams crashing up against your reality. The result is something both familiar and uncanny, an anthemic tribute to this intrinsic duality built on crashing and caressing sounds.

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    Pram

    Posted on 20 May 2020

    Birmingham’s Pram craft fairytales from concrete reality. The second city’s spin cycle of perpetual renovation, from the slum clearances to its current cosmetic upgrade, is etched in Pram’s restless groove, an endearing and gently refusenik mix encircling early Rough Trade innovators The Raincoats, astro jazz, sci-fi soundtracks, creepy Victoriana, tropical analogue and tumbledown funk. Born of an aesthetic universe where the senses are excited equally by the dust encrusted revolutions ...

    Birmingham’s Pram craft fairytales from concrete reality. The second city’s spin cycle of perpetual renovation, from the slum clearances to its current cosmetic upgrade, is etched in Pram’s restless groove, an endearing and gently refusenik mix encircling early Rough Trade innovators The Raincoats, astro jazz, sci-fi soundtracks, creepy Victoriana, tropical analogue and tumbledown funk. Born of an aesthetic universe where the senses are excited equally by the dust encrusted revolutions of antique lounge LPs as the wild and wonderful facts packing the yellowed pages of musty encyclopaedias, where a nostalgia for the future meets a fascination for a past that never was, Pram are drawn to the fantastic and exotic ends of the ordinary world.

     

    Like the grain and atmosphere of pre-digital animation Pram’s music has an otherworldliness that’s both comforting and mysterious. Their ability to arrange a diaspora of instruments around Rosie Cuckson’s siren voice results in a new kind of fragile handiwork – somewhere between cartography and prospecting for gold down a rickety mine shaft. Their canon conjures evocative locations like the Sargasso Sea, The North Pole Radio Stations, The Museum Of Imaginary Animals, out-of-bounds places to where imagination has been exiled, lying in wait for souls hardy enough to attempt the hazardous expedition. With Pram as your guide, armchair adventuring has never been so mysterious, beguiling or enticing. To say Pram have always ploughed their own furrow is to underestimate the breadth and scale of their music. To listen to this record is to hear a group who have learned to play together whilst teaching each other a new language. The Moving Frontier is Pram at their most widescreen, they’ve created a mysterious and wonderful landscape that’s sky-wide open.

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    Pregoblin

    Posted on 20 May 2020

    Pregoblin is a collaboration between Alex Sebley and Jessica Winter. There have been a few incarnations of the band but it’s when Alex and Jess met in 2016 it fell into place. Before Pregoblin formed, Alex was a member of The Saudis, alonsgside Lias and Nathan Saoudi, and Jessica is a producer and writer and has worked with members of Gorillaz, Fat White Family, and Dinosaur Pile Up.

    Prison

    Posted on 04 December 2024

    PRISON are a loose NY music collective featuring Paul Major (Endless Boogie), who along with Sarim Al-Rawi, Matt Lilly and many others over the years (including the late Sam Jayne)- have reached for the skies with this mega band. Unfurling a stream-of-consciousness, improvised, heavy, garage-infused psychedelic take on rock and roll…. 2025 sees the release of their sophomore album, Downstate, a heavy, weird, souped-up / psyched out vital release for all of you heads out there. 

    Downstate...

    PRISON are a loose NY music collective featuring Paul Major (Endless Boogie), who along with Sarim Al-Rawi, Matt Lilly and many others over the years (including the late Sam Jayne)- have reached for the skies with this mega band. Unfurling a stream-of-consciousness, improvised, heavy, garage-infused psychedelic take on rock and roll…. 2025 sees the release of their sophomore album, Downstate, a heavy, weird, souped-up / psyched out vital release for all of you heads out there. 

    Downstate’s gonna bust you up.

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    Protomartyr

    Posted on 20 May 2020

    After a year of extensive touring in support of 2015’s The Agent Intellect, Protomartyr returned to their practice space in a former optician’s office in Southwest Detroit. Guitarist Greg Ahee—inspired by The Raincoats’ Odyshape, Mica Levi’s orchestral compositions, and Protomartyr’s recent collaboration with post-punk legends The Pop Group, for Rough Trade’s 40th anniversary—began writing new music that artfully expanded on everything they’d recorded up unti...

    After a year of extensive touring in support of 2015’s The Agent Intellect, Protomartyr returned to their practice space in a former optician’s office in Southwest Detroit. Guitarist Greg Ahee—inspired by The Raincoats’ Odyshape, Mica Levi’s orchestral compositions, and Protomartyr’s recent collaboration with post-punk legends The Pop Group, for Rough Trade’s 40th anniversary—began writing new music that artfully expanded on everything they’d recorded up until that point. The result is Relatives in Descent, their fourth full-length and Domino debut. Though not a concept album, it presents twelve variations on a theme: the unknowable nature of truth, and the existential dread that often accompanies that unknowing. This, at a moment when disinformation and garbled newspeak have become a daily reality.

    “I used to think that truth was something that existed, that there were certain shared truths, like beauty,” says singer Joe Casey. “Now that’s being eroded. People have never been more skeptical, and there’s no shared reality. Maybe there never was.”

    Relatives in Descent offers new layers and new insights, without sanding any of the edges born from their days as a Detroit bar band. Ahee’s guitar still crackles and spits electricity. Casey’s voice continues to shift naturally between dead-eyed croon and fevered bark. Drummer Alex Leonard and bassist Scott Davidson remain sharp and propulsive, a rhythm section that’s as agile as it is adventurous. But this is also Protomartyr at their most impressive. After months of rehearsal, the band decamped to Los Angeles, California for two weeks in March of 2017, to record at 64Sound in Highland Park. Co-produced and recorded with Sonny DiPerri (Animal Collective, Dirty Projectors), who helped capture the band’s long-simmering vision for something more complex, but no less visceral, Relatives in Descent also features contributions from violinist Tyler Karmen and additional synths by Cheveu’s Olivier Demeaux.

    It all begins with “A Private Understanding,” pegged as the album’s opening statement the second it was finished, and a wellspring from which the following eleven songs flow. At once beautiful and brutal, it mutates from drum-led oddity to unlikely anthem, with some of Casey’s most potent lyrical work at its center: “Sorrow’s the wind blowing through/Truth is hiding in the wire.” He’d originally approached the writing on this album as an opportunity to move away from the anger and personal despair that defined much of Protomartyr’s previous three albums. But a lot has happened in the past two years. Disturbed by happenings both local (the ongoing, man-made tragedy of the Flint water crisis) and national (just about everything), Casey drew influence from the songwriting of Ben Wallers, the recently translated stories of Irish writer Máirtín Ó Cadhain, and Robert Burton’s The Anatomy of Melancholy, a sprawling, 17th century masterwork that provided both solace and confirmation.

    One can hear these influences throughout, be it in the wary reportage of “Here Is The Thing” or the uncanny menace of “Windsor Hum”, the shining city of “Don’t Go To Anacita” or the triptych of delusions both “good” and “bad” that is “Up The Tower”, “Night-Blooming Cereus”, and “Male Plague”. In the end, Relatives in Descent offers a small light in the darkness, while never denying that we are all just standing in the dark.

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    Pure X

    Posted on 20 May 2020

    On their third LP Angel it is clear that Pure X have, and always have had, an uncompromising musical vision. Over the course of each full-length the band has tirelessly reinvented themselves, opting to stay true to their own sensibilities rather than placate expectations or regurgitate a “successful” sound. After wooing both critics and audiences alike with their seductive, submerged-in-reverberation debut Pleasure the band pulled an about-face on their sophomore album Crawling Up the Sta...

    On their third LP Angel it is clear that Pure X have, and always have had, an uncompromising musical vision. Over the course of each full-length the band has tirelessly reinvented themselves, opting to stay true to their own sensibilities rather than placate expectations or regurgitate a “successful” sound. After wooing both critics and audiences alike with their seductive, submerged-in-reverberation debut Pleasure the band pulled an about-face on their sophomore album Crawling Up the Stairs, crafting a follow up that emphasized textural clarity and raw emotionality over its predecessor’s intoxicating soundscapes. Now on their third LP, and first as a quartet, the internal upheaval of C.U.T.S. has fully dissipated and given way to a new found serenity, a calm which finds the band in its most potent, refined, and elemental form yet.

    Angel was recorded to tape in a concentrated burst over five days at Wied Hall – a massive, rustic, 100 year-old dance hall in rural central Texas. The band isolated themselves to living in the cavernous space during the Fall of 2013 after a year full of touring and writing on the road, seeking a secluded setting to construct what would become their most focused work to date. The results show the group of Jesse Jenkins, Nate Grace, Austin Youngblood, and newly acquired full-time member Matty Tommy Davidson leaving themselves totally unguarded.

    Pure X’s third long-player, written collectively between all four members and recorded mostly live with minimal overdubs, sees the band further refining themselves after a year of being strenuously tempered on the road. These pieces, comprised of ideas stolen away during moments in the tour van and hammered out on various stages across the United States, were brought back home with a distinct purpose, with one concerted intention: to make the album they had always wanted to make. And thus, Pure X have crafted a beautifully genuine pop record whose influences span across genres and generations without reserve while simultaneously coming into their own in the process.

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    Purling Hiss

    Posted on 20 May 2020

    Purling Hiss is a rock band from Philadelphia, Pennsylvania, led by guitarist and singer Mike Polizze. Prior to evolving into a full band, Purling Hiss began as Polizze’s solo recording project in 2009. The music was characterised by a lo-fi, psychedelic sound. Classic rock plus singing/screaming guitars fused with Mike Polizze’s hope-n-dreamz explode into fresh, sonic heartbreak, happening right now.

    Quasi

    Posted on 20 May 2020

    Quasi formed in Portland, Ore., in 1993, which means that it’s been fearlessly rocking since long before your website launched or you booted up an iPod. For years — 16 to be exact — it was a duo consisting of Sam Coomes and Janet Weiss. In 2006, Joanna Bolme (of Stephen Malkmus + The Jicks) joined the band on bass.

     

    Quasi flings words and notes relentlessly, hurling music across the stage like grenades. It is explosive and electrifying. Coomes devours his instruments, whether it i...

    Quasi formed in Portland, Ore., in 1993, which means that it’s been fearlessly rocking since long before your website launched or you booted up an iPod. For years — 16 to be exact — it was a duo consisting of Sam Coomes and Janet Weiss. In 2006, Joanna Bolme (of Stephen Malkmus + The Jicks) joined the band on bass.

     

    Quasi flings words and notes relentlessly, hurling music across the stage like grenades. It is explosive and electrifying. Coomes devours his instruments, whether it is keyboard or guitar, fusing melody and mayhem. His voice can go from deadpan to caterwauling, from a lovely lilt to a sardonic sting. Weiss is the avalanche (earthquake? tsunami? volcano?) of drummers. Really, just step aside and make a soft landing for your jaw, because it’s very likely to drop. Plus, Weiss can sing, which means that Quasi has harmonies; they hint at sweetness, settling into the halcyon moment for a while, before you realize that the words conjure a creeping sense of unease.

     

    Quasi’s songs teeter between optimism and despair, fantastical journeys and harsh realism; this is a pop band for people who like their pop throttled. Coomes, Weiss and Bolme are consummate players who let go of the reins to let the wildness accumulate; who space out and make the music disintegrate, blur and tumble before it falls back into the groove. Their playing is proficiently, seamlessly ragged.

     

    Quasi’s new album, American Gong, is still ringing in my ears. And by ringing, I mean that it’s obliterated and unstuffed the cushiony music that’s been singing me to sleep for the past few years. Personally, I’m well rested and ready to move on. American Gong signals that the musical group hug we’ve been stuck in for a while is over. Gong lurches and veers; it reels, resets, crawls and moans. But the album also professes beauty; it surfaces from the murkiness and soars. In the midst of this awesome sonic storm are expertly crafted compositions and arrangements, gravel and grime-coated rock, psych and pop tunes that never lose their shine.

     

    Listen to “Repulsion,” listen to “Little White Horse,” listen to “Bye Bye Blackbird.” Wait! Listen to the whole thing. “Black Dogs And Bubbles.” Yes! Yeah! Yay! Words just seem silly compared to the feeling of wanting to jump around.

     

    Here’s something that resembles a cheat sheet: there’s a lot of guitar playing on this album.

     

    Let me end by saying that Quasi is a stellar and inventive band. On American Gong they sound inspired, happy to be playing, even joyful. I think kids will discover Quasi for the first time on American Gong. And long-time fans will wonder where all the time has gone and be thankful that Quasi is still around to provide the unofficial soundtrack to our hopelessly hopeful lives. Rise up! 

     

     

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    Raf Rundell

    Posted on 20 May 2020

    Raf Rundell is one half of the 2 Bears and something of an ambassador for some of the country’s very best parties. His mini album The Adventures of Selfie Boy Part 1 received rave reviews on release in 2016 (“his solo debut feels like the start of something substantial… Rundell is a big-hearted character with a gravelly voice, whose uplifting songs tend to be riven with small-hours self-doubt” 8/10 Uncut).

    Last seen a couple of years back on his debut long-player Stop Lying, Raf Run...

    Raf Rundell is one half of the 2 Bears and something of an ambassador for some of the country’s very best parties. His mini album The Adventures of Selfie Boy Part 1 received rave reviews on release in 2016 (“his solo debut feels like the start of something substantial… Rundell is a big-hearted character with a gravelly voice, whose uplifting songs tend to be riven with small-hours self-doubt” 8/10 Uncut).

    Last seen a couple of years back on his debut long-player Stop Lying, Raf Rundell emerges from his Forest Hill bunker with Monsterpiece, a joyful, larger than life, good-time party anthem.

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    Rafiq Bhatia

    Posted on 28 October 2020

    New York composer and guitarist Rafiq Bhatia seeks to shatter preconceptions about how much can be said without a word-and, for that matter, who can say it. His music has been described by the New York Times as “one of the most intriguing figures in music today.” In 2014, Bhatia became a member of the band Son Lux. 

    Ragz Originale

    Posted on 20 May 2020

    Ragz Originale is a dynamic and eclectic producer capable of turning his hand to any genre, Ragz Originale’s Nature showcases his smooth and downtempo style, with album opener ‘Summer Blues’ seeing Ragz reminisce over a nostalgic trip to a sombre season. Packed with Ragz’s soulful harmonies, the artist adopts a more upbeat style on ‘Proof Read’, with tracks like ‘Disaronno Straight’ focusing on more hard-hitting subjects, serving as a mantra for his “mission to create” by ...

    Ragz Originale is a dynamic and eclectic producer capable of turning his hand to any genre, Ragz Originale’s Nature showcases his smooth and downtempo style, with album opener ‘Summer Blues’ seeing Ragz reminisce over a nostalgic trip to a sombre season. Packed with Ragz’s soulful harmonies, the artist adopts a more upbeat style on ‘Proof Read’, with tracks like ‘Disaronno Straight’ focusing on more hard-hitting subjects, serving as a mantra for his “mission to create” by any means necessary, despite moments of existential crises and relatable questioning of life choices.

    Responsible for production and co-writing duties on Skepta’s certified gold album Konnichiwa – with credits on ‘Shutdown’ and ‘Text Me Back’ – Ragz has quickly developed a reputation as an innovative and creative producer, receiving a wealth of support from the likes of Benji B, Charlie Sloth, Ras Kwame and Julie Adenuga.

    Beginning his career in 2013, recording his own music via his bedroom studio, Ragz was influenced by the grime scene as a youngster, and soon became the mastermind behind the culture-shifting ‘Shutdown’, a global smash which achieved gold certification in the UK. Popping up with vocals on Oscar #Worldpeace’s ‘That’s Alright’, Ragz Originale continues his journey into 2018 and beyond, cementing his reputation as one of the most vibrant talents on the scene, producing for the likes of Giggs and Dej Loaf.

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    Rahm

    Posted on 20 May 2020

    Rainer

    Posted on 20 May 2020

    Rainer – Rebekah Raa and producer Casually Here – real name Nic Nell – met through mutual friends and late nights, realising that working together could consist of a lot of watching hiphop videos on youtube with a bit of music making on the side.

    “Sex can be scary and exhilarating and terribly not allowed all at the same time,”says Raa.  She should know – the new EP ‘Hope/Satin/Glass/Dreams’ braves the menagerie of emotions that come with bedroom trysts a...

    Rainer – Rebekah Raa and producer Casually Here – real name Nic Nell – met through mutual friends and late nights, realising that working together could consist of a lot of watching hiphop videos on youtube with a bit of music making on the side.

    “Sex can be scary and exhilarating and terribly not allowed all at the same time,”says Raa.  She should know – the new EP ‘Hope/Satin/Glass/Dreams’ braves the menagerie of emotions that come with bedroom trysts and a brand new relationship.  Happiness.  Melancholy.  Neediness.  Insanity.  Tangling pop vocals with sleek cracked beats on a bed of cinematic synth swells, it’s a record with the burning night time feel of a Burial nocturne and seductive shimmer of a Chromatics slow dance but blockbuster hooks of a pop chart-topper, it follows their debut double A side ‘Girls’/’Money’.

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    The Range

    Posted on 20 May 2020

    Bearing no relation or resemblance to Bruce Hornsby’s similarly titled backing band, the Range is the recording alias of James Hinton, an electronic music producer from Providence, Rhode Island. Hinton’s music typically utilizes manipulated vocal samples found on YouTube as well as from hip-hop, R&B, or dancehall reggae. He combines these samples with bright, sentimental melodies and simmering beats that reference jungle and footwork, playing with a slow/fast dynamic. His tracks have ...

    Bearing no relation or resemblance to Bruce Hornsby’s similarly titled backing band, the Range is the recording alias of James Hinton, an electronic music producer from Providence, Rhode Island. Hinton’s music typically utilizes manipulated vocal samples found on YouTube as well as from hip-hop, R&B, or dancehall reggae. He combines these samples with bright, sentimental melodies and simmering beats that reference jungle and footwork, playing with a slow/fast dynamic. His tracks have enough bass to work in a club, but they seem far more geared toward lonely late-night introspection.

    Inspired by electronic artists such as Squarepusher and Four Tet as well as the Baltimore club and U.K. grime scenes, Hinton originally began making music under the name Stegosaurus, self-releasing an album called Cower in 2010. He adopted his new moniker soon after, and the Range’s first EP, The Big Dip, appeared on Brooklyn label Astro Nautico in late 2011. Hinton also remixed tracks by labelmates Kuhn, Howse, and Time Wharp, as well as downtempo/hip-hop producer Supreme Cuts. In 2012, the Range signed to Brighton, U.K. label Donky Pitch, who issued his disk EP in July, followed by Seneca in April of 2013. The Range’s full-length debut, Nonfiction, was co-released by Donky Pitch and Project: Mooncircle in October, and immediately received critical acclaim, appearing on Pitchfork’s year-end Top 50 Albums list.

    A new EP titled Panasonic quickly followed in March of 2014, and the Range remixed songs by Mansionair and How to Dress Well. By the end of the year, the Range collaborated with vocalist Niia for an EP titled Breaking. Following a move to Brooklyn, Hinton signed to Domino and released his sophomore album, Potential, in March of 2016. The following year, Hinton issued the singles “New Lots” and “With You,” which both found their way onto his Remixes EP, which featured interpretations by Yaeji, D.K., and Kenton Slash Demon.

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    Real Estate

    Posted on 20 May 2020

    ‘Atlas’ (Domino Records 2014), is the new album by New Jersey’s beloved Real Estate. A triumph of highly evocative, perceptive songwriting and graceful, precise musicianship, ‘Atlas‘ carefully refines, and ultimately perfects, the brilliantly distinct artistic vision that made its predecessors ‘Days’ and Real Estate so unique. The most collaborative Real Estate record to date, ‘Atlas‘ was written by Martin Courtney, Matt Mondanile, Alex Bleeker ...

    ‘Atlas’ (Domino Records 2014), is the new album by New Jersey’s beloved Real Estate. A triumph of highly evocative, perceptive songwriting and graceful, precise musicianship, ‘Atlas‘ carefully refines, and ultimately perfects, the brilliantly distinct artistic vision that made its predecessors ‘Days’ and Real Estate so unique. The most collaborative Real Estate record to date, ‘Atlas‘ was written by Martin Courtney, Matt Mondanile, Alex Bleeker and Jackson Pollis while cruising through the Arizona desert and during a presser in Madrid, in a practice room in Greenpoint, Brooklyn and in an attic in the band’s hometown of Ridgewood, New Jersey. It was recorded in the summer (naturally) of 2013 in Chicago with Tom Shick (Sean Lennon, Low, Cibo Matto) at Wilco’s loft studio where new member Matt Kallman (formerly of Girls) joined the fold on keyboards.

     

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    Red Fang

    Posted on 20 May 2020

    Ever since their inception in 2005, Portland’s RED FANG have strived to write heavy, catchy music underlaid with subtle complexities. Founded by David Sullivan, Maurice Bryan Giles, Aaron Beam, and John Sherman, the band had a distinctive and fully- formed sound right from the start: a mix of compelling rock songwriting and party-hard metal euphoria that speaks to the headbanger, the hesher, and the music student alike. The band’s two-pronged vocal attack and knack for finding the sharpes...

    Ever since their inception in 2005, Portland’s RED FANG have strived to write heavy, catchy music underlaid with subtle complexities. Founded by David Sullivan, Maurice Bryan Giles, Aaron Beam, and John Sherman, the band had a distinctive and fully- formed sound right from the start: a mix of compelling rock songwriting and party-hard metal euphoria that speaks to the headbanger, the hesher, and the music student alike. The band’s two-pronged vocal attack and knack for finding the sharpest hooks made sure that the music world caught on right away. Within just one year of RED FANG’s first show, they were opening for genre stalwarts Big Business and The Melvins, and soon began appearing at festivals including FYF, Fun Fun Fun Fest, Sasquatch Fest, and more.

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    Rema-Rema

    Posted on 01 September 2022

    While the early Axis label singles had served an important research and development function, the arrival of Rema-Rema provided Ivo with something more important: a reason for continuing. Returning to the shop one afternoon to find five people about to play Peter their demo tape, Ivo was immediately struck by the post-punk quintet’s music, later saying, “It was the first point I knew that we were actually doing something serious.” The band consisted of Gary Asquith (guitar/vocals), Marc...

    While the early Axis label singles had served an important research and development function, the arrival of Rema-Rema provided Ivo with something more important: a reason for continuing. Returning to the shop one afternoon to find five people about to play Peter their demo tape, Ivo was immediately struck by the post-punk quintet’s music, later saying, “It was the first point I knew that we were actually doing something serious.” The band consisted of Gary Asquith (guitar/vocals), Marco Pirroni (guitar), Mick Allen (bass/vocals), Mark Cox (keyboards) and Max (drums). Their sole EP, Wheel In The Roses, featured one side of studio recordings and another of live material. Their songs ‘Fond Affections’ and ‘Rema-Rema’ were later covered by This Mortal Coil and Big Black respectively. Rema-Rema split up shortly after the EP’s release in April 1980. Pirroni later hit the big time with Adam And The Ants. Asquith, Allen and Cox formed the short-lived Mass with Danny Briottet. Asquith then moved on to Renegade Soundwave, while Cox and Allen stayed with 4AD as part of The Wolfgang Press. Drummer Max Prior went on to form El Trains (with Jay Strongman) and worked with Genesis P Orridge and Industrial Records as a solo artist under her real name (Dorothy), eventually joining Psychic TV full time.

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    Retribution Gospel Choir

    Posted on 20 May 2020

    The most important thing to know about the rock trio Retribution Gospel Choir is that they are likely the most physically fit band on Earth. Drummer Eric Pollard is a distance swimmer, and Ultimate Frisbee champion with state basketball credentials. Bassist Steve Garrington also dazzles on the court, but it’s his long-distance running skills that mark him a champion. Alan Sparhawk, who plays guitar and sings, has extensive experience in American football, has been scouted for coaching work ...

    The most important thing to know about the rock trio Retribution Gospel Choir is that they are likely the most physically fit band on Earth. Drummer Eric Pollard is a distance swimmer, and Ultimate Frisbee champion with state basketball credentials. Bassist Steve Garrington also dazzles on the court, but it’s his long-distance running skills that mark him a champion. Alan Sparhawk, who plays guitar and sings, has extensive experience in American football, has been scouted for coaching work and stays fit as a distance trail runner and member of the band Low. Certainly, this trio would destroy any other band in a 10k race, and then still do the gig.

    This new record, 2, comes on the heels of the band’s 2008 self-titled debut that was released on Caldo Verde, a label run by Mark Kozelek (Red House Painters, Sun Kil Moon). Since then, Retribution Gospel Choir has toured extensively, including US stints with Wilco and the Meat Puppets. The band was invited early on to play festivals in Spain (Primavera Sound) and the UK (All Tomorrow’s Parties), and were met with hugely positive reactions and invitations to return.

    Tracked in their hometown of Duluth, Minnesota, 2 was then mixed by Matt Beckley, an up-and-coming producer from Los Angeles with credits that include Britney Spears and Paris Hilton. What seems like a strange pairing actually resulted in an album that is raw and technologically perverse, visceral and shiny—a true statement of what can be done with a great rock band in the 21st century. Short, inventive pop songs collide with heavy guitar chaos and psychedelia as the record climbs and dives like a twin-engine bomber, all accompanied by a vocal sophistication that’s rare in new music.

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    Richard Dawson

    Posted on 20 May 2020

    “I feel like shouting”, says Richard Dawson, quietly ‘I really believe in this album.  It feels somehow different than before…..that this can be something important, something of use.”

    No listener to Dawson’s earlier music has ever discerned a lack of artistic ambition. Whether they got on at the last stop – the 4 track Tyneside-Trout-Mask-through a-Vic and Bob-filter of Nothing Important – or earlier in the journey, with The Glass Trunk’s v...

    “I feel like shouting”, says Richard Dawson, quietly ‘I really believe in this album.  It feels somehow different than before…..that this can be something important, something of use.”

    No listener to Dawson’s earlier music has ever discerned a lack of artistic ambition. Whether they got on at the last stop – the 4 track Tyneside-Trout-Mask-through a-Vic and Bob-filter of Nothing Important – or earlier in the journey, with The Glass Trunk’s visceral song cycle or The Magic Bridge’s sombre revels, devotees of his earlier recordings will be at once intrigued by and slightly fearful of the prospect of a record that could make those three landmark releases look like formative work.

    Peasant is that album. From its first beguilingly muted fanfare to its spectacular climax exploring a Dark Ages masseuse’s dangerous fascination with a mysterious artefact called the Pin of Quib, it will grab newcomers to Dawson’s work by the scruff of the neck and refuse to let them go until they have signed a pledge of life-long allegiance. What other response could there be to a record that can somehow make you (or, at least, me) think of Metallica at their long-lost most formidable best, the late-lamented Qawwali giant Nusrat Fateh Ali Khan, Hull’s first family of folk The Watersons, and tireless Dutch anarcho-troubadours The Ex in the space of a single song, without ever sounding like anything other than itself?

    Where Peasant’s precursors sometimes feel (however erroneously, given the involvement of several long-term collaborators) like the work of a lone, Guinness-fuelled visionary howling into the abyss, this is an explicitly collective endeavor, featuring a supremely disheveled ensemble of master musicians. It moulds those collaborators – engineer and co-producer Sam Grant, harpist Rhodri Davies, violinist Angharad Davies, brass virtuoso John Davies – into the musical family the last three of them already are (Rhodri and Angharad being brother and sister and John their dad).  Emerging from this tumbling, fumbling orchestra a formidable chorus of young voices projects the embattled mutuality of the Durham Miners’ Gala back through time to a mythic distant past as pungent and funny and horrifying as any Monty Python ever created on film.  Or should that be a very peculiar north-eastern take on Andrei Rublev?

    Driven forward by exhilarating guitar flurries, Qawwali handclaps and bursts of choral ferocity, Peasant’s eleven tracks sustain a momentum worthy of the lyrics’ urgent subject matter. Dawson describes the themes of these songs as “Families struggling, families being broken up by circumstance, and – how do you keep it together?  In the face of all of these horrors that life, or some system of life, is throwing at you?”  The fact that these meticulously wrought narratives all unfold in the pre-mediaeval North Eastern kingdom of Bryneich – “any time from about 450AD to 780AD, after the withdrawal of the Roman Empire”- only makes their contemporary relevance more enduring and vital. 

    Dawson’s objective was to create “A panorama of a society which is at odds with itself and has great sickness in it, and perhaps doesn’t take responsibility – blame going in all the wrong directions”. But encountering Peasant’s captivating sequence of occupational archetypes (‘Herald’, ‘Ogre’, ‘Weaver’, Scientist’), listeners might find themselves wondering if these multitudes could somehow be contained with one person – surely we all have a ‘Shapeshifter’ and a ‘Prostitute’ within us?

    “I did wonder if that might be a possibility”, he admits, “but it certainly wasn’t set in my mind. I suppose what was more to the fore was the idea of painting a panorama of a society, a bird’s eye view, swooping and darting here and there, and to speak of the collective consciousness, the extent to which we’re all linked…but of separation also.”

    The idea of Richard Dawson imagining an origin myth for the folk tradition will make sense to people right from the off, but there’s another musical root-system beneath what he calls Peasant’s “Mind-set of gentle opposition” which may take some by surprise. “There are a lot of punk bands I have great respect for”, he explains, “but the kind of protest this album is making is absolutely not a punk thing. On the other hand it absolutely is a prog and a metal thing… I was thinking about heavy metal a lot when I was making this record – there’s a lot of Iron Maiden in here…”.

    After a suitably respectful pause to allow the shockwaves from that bombshell to dissipate, Dawson continues, “my thinking with any form of protest, is that it has to be something of beauty first, for it to have any staying power. Also, I’m obsessed with the idea of contradiction, so I wanted to make something which was at once much more accessible and direct than previous works, maybe even something like pop music, whilst also being more dense, pungent and difficult to chew on, lots of improvisation amidst the scaffold, and more freedom, more chaos.  I wanted to see if that’s possible – to do both.  Like a great pulling apart…”

    The tension that holds the molecules together is exactly what makes it such a big deal when the atom splits. And acts of creative fission don’t come much more explosive than Peasant.

    Order Peasant on all physical formats via Dom Mart HERE

    Order Peasant digitally HERE

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    Richard Jobson

    Posted on 20 May 2020

    At age 17 Richard Jobson was the front man for the Scottish Punk band The Skids, who had a string of hits in a 2 year period from 1979 to 1981, the biggest being the top 10 hit ‘Into The Valley’. The band was formed by Jobson and his friend Stuart Adamson who went onto create Big Country. Jobson went on to become part of the critically successful The Armoury Show before moving onto a long period of making spoken word poetry recordings for the Belgian label Crepescule including an adaptati...

    At age 17 Richard Jobson was the front man for the Scottish Punk band The Skids, who had a string of hits in a 2 year period from 1979 to 1981, the biggest being the top 10 hit ‘Into The Valley’. The band was formed by Jobson and his friend Stuart Adamson who went onto create Big Country. Jobson went on to become part of the critically successful The Armoury Show before moving onto a long period of making spoken word poetry recordings for the Belgian label Crepescule including an adaptation of the Marguerite Duras novella ’10.30 On A Summer Night’. He recorded and wrote the memoir ’16 Years Of Alcohol’ in 1987 as well as the poetry book ‘A Man For All Seasons’.

    In the early 1990’s he worked as a presenter on TV shows such as ‘01-For London’ a hip metropolitan arts guide that ran for five years and spawned his book ‘An Insider’s Guide To London’ as well as working with VH-1 on Music and film shows before moving onto a long period as SKY TV’s film critic and presenter of in depth discussion show ‘Movie Talk’. He produced his first film for Channel 4 with New York Satirist Joe Queenan, which was an adaptation of the writer’s legendary essay where he became ‘Micky Rourke For A Day’. He collaborated with Queenan again on a similar project this time based on Hugh Grant. He went onto produce ‘Just another Day in London’ which premiered at the London film Festival in 1996. He followed that film by producing ‘Tube Tales’ for SKY TV in 1999 which also premiered at The London Film Festival, before moving onto ‘Heartlands’, a film he made for Miramax. He directed an adaptation of his own book ’16 Years Of Alcohol’ in 2003 for Tartan Films. The film was a critical success and won the writer/director a variety of International awards and acclaim.

    He quickly made ‘The Purifiers’ in 2004, a film he describes as a Kung Fu movie for kids, which premiered at The Edinburgh Film Festival. The film was picked up New Line in North America and has just been released and will be distributed in the UK by Redbus. He just finished his new film ‘A Woman In Winter’, which will be released by Tartan films and will premiere at The London Film Festival in October 2005. The film had a special charity screening in Edinburgh in August 2005 in front of the chancellor Gordon Brown. In early 2006 Jobson shot back to back thrillers ‘The New Town Killers’ followed by ‘The Ballad Of Jo Lim’.

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    Richard Julian

    Posted on 20 May 2020

    Richard Julian is a Brooklyn-based singer-songwriter whose emotive storytelling and velvety candid voice transcend genre. Brokering common ground  between folk, jazz, Americana, and soul, Julian’s deeply personal, often wry, songs have been praised by distinguished artists like Randy Newman and Bonnie Raitt. In addition to leading his own project, Richard is known for his collaborations with Norah Jones — and for founding and curating the taste-making Brooklyn music venue Bar LunÁtico.

    ...

    Richard Julian is a Brooklyn-based singer-songwriter whose emotive storytelling and velvety candid voice transcend genre. Brokering common ground  between folk, jazz, Americana, and soul, Julian’s deeply personal, often wry, songs have been praised by distinguished artists like Randy Newman and Bonnie Raitt. In addition to leading his own project, Richard is known for his collaborations with Norah Jones — and for founding and curating the taste-making Brooklyn music venue Bar LunÁtico.

    Julian has performed venues and festivals throughout North America, Europe and Japan – including the New Orleans Jazz & Heritage Festival, Newport Folk Festival, Late Night with David Letterman, Monterey Jazz, and Udo Music Festival, among others.

    On his latest original album, Hit & Run (2025), Julian departs from his trademark acoustic guitar sound in favor of electric keyboard and piano. His evocative narratives are newly framed by punchy vocal and brass arrangements, and the recordings feature a noteworthy array of musicians on the New York scene.

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    Rita Donte

    Posted on 23 May 2025

    Born in Havana in 1989, Rita Donte is a Cuban singer, composer, and former flamenco dancer whose journey from Havana’s concrete neighborhoods to the shores of Baja California has been anything but linear. From early piano lessons and choir rehearsals to a professional flamenco career that ended due to systemic racism and health struggles, Rita found rebirth in music. Singing became a lifeline after a painful departure from dance, leading her to collaborations with artists in Cuba...

    Born in Havana in 1989, Rita Donte is a Cuban singer, composer, and former flamenco dancer whose journey from Havana’s concrete neighborhoods to the shores of Baja California has been anything but linear. From early piano lessons and choir rehearsals to a professional flamenco career that ended due to systemic racism and health struggles, Rita found rebirth in music. Singing became a lifeline after a painful departure from dance, leading her to collaborations with artists in Cuba and later Mexico, where she immersed herself in son jarocho, trova, bolero, and jazz. Her creative awakening as a composer was nurtured by producer Gustavo Guerrero (a.k.a. Augusto Bracho), culminating in her debut solo album Ritual. Now based in San José del Cabo, Rita continues composing and performing, honoring her roots while forging new paths in Latin American music.

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    Robert Ellis

    Posted on 20 May 2020

    Before signing with New West Records in early 2011, country songwriter Robert Ellis made a name for himself in Houston. Inspired by the country, folk, and bluegrass records he’d heard while growing up in southern Texas, Ellis began playing shows around the city, eventually landing a Wednesday-night residency at a local venue called Fitzgerald’s. His audience grew as a result of those weekly shows, nicknamed “Whiskey Wednesdays” for their rowdy nature and half-drunk clientele, and Elli...

    Before signing with New West Records in early 2011, country songwriter Robert Ellis made a name for himself in Houston. Inspired by the country, folk, and bluegrass records he’d heard while growing up in southern Texas, Ellis began playing shows around the city, eventually landing a Wednesday-night residency at a local venue called Fitzgerald’s. His audience grew as a result of those weekly shows, nicknamed “Whiskey Wednesdays” for their rowdy nature and half-drunk clientele, and Ellis earned more fans on the strength of his self-released debut, The Great Rearranger. One of those converted fans was George Fontaine, Sr., president of New West Records, who signed Ellis in 2011. Photographs was released that summer, mixing acoustic folk songs with up-tempo country numbers. The album was selected by American Songwriter as one of its Top 50 albums for that calendar year. Ellis toured the United States and Europe before relocating to Nashville. His more eclectic sophomore album, The Lights from the Chemical Plant, was recorded there and produced by Jacquire King and issued in February 2014.

    After extensive touring and experiencing the dissolution of his marriage, Ellis returned to recording. He self-produced his next album, simply titled Robert Ellis, at Sugar Hill Studios in Houston. It was engineered by Steve Christiansen and mixed by John Agnello. A pre-release single and video for “How I Love You” did well on streaming sites, and the album appeared in June 2016.

    After a nearly three-year break, Ellis returned in February 2019 with Texas Piano Man, an album that emphasized his eccentric pop side.

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    Robert Wyatt

    Posted on 20 May 2020

    Robert Wyatt is one of my favourite singers, writers, makers of wonderful music. It is with pleasure that I can introduce you to this, his latest album, and first for Domino. I first discovered Robert Wyatt’s music when borrowing, and then stealing, Ruth Is Stranger Than Richard from a library. Then came a second-hand purchase of the “Shipbuilding” 7″, which I played repeatedly, not even thinking to flip it over. A few years later, it was my near-20 years late discovery of the mid-’...

    Robert Wyatt is one of my favourite singers, writers, makers of wonderful music. It is with pleasure that I can introduce you to this, his latest album, and first for Domino. I first discovered Robert Wyatt’s music when borrowing, and then stealing, Ruth Is Stranger Than Richard from a library. Then came a second-hand purchase of the “Shipbuilding” 7″, which I played repeatedly, not even thinking to flip it over. A few years later, it was my near-20 years late discovery of the mid-’80s compilation and Old Rottenhat that really fixed my glue to Wyatt’s music. I was obsessed (and not least by that very b-side to “Shipbuilding” – “Memories of You”). It seemed in Robert’s “home” recordings, these unfinished-sounding, and barely accompanied, odds and ends – covers, originals, spoken pieces – with just wonderful synthesizers, percussion and piano to support the familiarly fragile voice, I had found home.

     

    I’ve been delving further and repeatedly into his deep well for a few years now, and it is no surprise to even find his songs cropping up in many of my DJ sets, as well as my home listening. With Dondestan, Shleep, Cuckooland and now Comicopera, Wyatt seems to have found his own “home” music – each record intimate and sophisticated, played with (the suggestion of) ease and curiosity. And also fun. Comicopera, divided into three Acts – “Lost in Noise,” “The Here and The Now” and “Away with the Fairies,” continues where these albums had left off, but it is initially less dense than Cuckooland, and more light and live sounding.

     

    -Alexis Taylor, Hot Chip

     

     

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    Robin Richards

    Posted on 20 May 2020

    Since studying under composer and conductor Joe Duddell (New Order, Elbow, and Richard Hawley collaborator), Richards has picked up a number of commissions – notably including composing a new score for famed Hungarian-born director Paul Fejos silent comedy-drama Lonesome, as part of Manchester arts centre HOME’s Film and Music Project in collaboration with the Royal Northern College of Music. He also collaborated with visual artist Clara Casian on Birdsong – Stories from Pripyat, a film...

    Since studying under composer and conductor Joe Duddell (New Order, Elbow, and Richard Hawley collaborator), Richards has picked up a number of commissions – notably including composing a new score for famed Hungarian-born director Paul Fejos silent comedy-drama Lonesome, as part of Manchester arts centre HOME’s Film and Music Project in collaboration with the Royal Northern College of Music. He also collaborated with visual artist Clara Casian on Birdsong – Stories from Pripyat, a film and original live score project inspired by personal testimonies of those affected by the Chernobyl nuclear disaster.  Most recently, Richards was commissioned to be music director and composer for From The Crowd, an event commemorating the 200 year anniversary of the Peterloo massacre in Manchester.

    As composer, arranger and bassist with Dutch Uncles, he has released five LPs that were consistently championed by BBC Radio 6 Music (among others) and toured the world (with pleasingly incongruous support dates with Paramore and long-time friends Everything Everything). Now signed to PRAH Recordings and Domino Publishing, Richards has been honing his own separate identity – his exploration into neo-classicism and composers such as Arvo Pärt is far flung from the atypical rhythms and 80’s inspired guitar pop of his bandmates, but crucially retains much of the playfulness and sense of wide-eyed exploration of his group compositions.

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    Roisin Murphy

    Posted on 20 May 2020

    Ex – Moloko frontwoman Roisin Murphy released her first album in 8 years, ‘Hairless Toys’ on Play It Again Sam records in May 2015. It is a career defining tour de force.  Tipping its hat to the dark disco of European house music, Casablanca Records and Grace Jones, while seamlessly taking in the freedom and organic spirit of jazz, country and gospel.

     The rich, expansive production – by Roisin’s long time musical collaborator Eddie Stevens – is full of inventive loops and unli...

    Ex – Moloko frontwoman Roisin Murphy released her first album in 8 years, ‘Hairless Toys’ on Play It Again Sam records in May 2015. It is a career defining tour de force.  Tipping its hat to the dark disco of European house music, Casablanca Records and Grace Jones, while seamlessly taking in the freedom and organic spirit of jazz, country and gospel.

     The rich, expansive production – by Roisin’s long time musical collaborator Eddie Stevens – is full of inventive loops and unlikely hooks, a grand magical spell exemplified by album opener ‘Gone Fishing’. A song inspired by the film Paris Is Burning, where originality, invention and celebration are escapes from the ugly realities of the world around us, a place where “The practice of realness, feels so surreal” .

    Elsewhere ‘Evil Eyes, Exploitation’ – the debut single from the album – and ‘House of Glass’ provide the extended shake-outs essential to any of Roisin’s albums, while ‘Exile’ and ‘Unputdownable’ hide huge country soul hooks amidst their inventive structures. Sonically adventurous, ‘Hairless Toys’ embraces a broad palette of genres yet is consistently engaging and thrilling throughout.  An exceptional return from an outstanding artist. ‘Róisín Machine’ is the next chapter of that ever unfolding, always compelling tale – a seamlessly edited, 10 years in the making collection of tracks produced in collaboration with her Sheffield pal Parrot, at once her most unabashedly dance-floor ready yet deeply autobiographical work to date.

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    Rosie Lowe

    Posted on 20 May 2020

    Rosie Lowe grew up in south Devon as the youngest of six siblings. Their father, an accomplished jazz saxophonist, encouraged them to follow creative interests and together they bonded over a shared love of music. For Rosie, a childhood love of jazz set her on a path that would dictate her future. “There’s never been anything else that I’ve wanted to do,” she asserts. “Music wasn’t an option, it was a necessity.” She soon became enamoured with the leading lights of the female si...

    Rosie Lowe grew up in south Devon as the youngest of six siblings. Their father, an accomplished jazz saxophonist, encouraged them to follow creative interests and together they bonded over a shared love of music. For Rosie, a childhood love of jazz set her on a path that would dictate her future. “There’s never been anything else that I’ve wanted to do,” she asserts. “Music wasn’t an option, it was a necessity.” She soon became enamoured with the leading lights of the female singer-songwriter tradition – Carole King, Erykah Badu and Joni Mitchell to name but a few. She learnt their songs then broke them apart. She analysed their lyrics. She fell in love with the art of songwriting. It wasn’t until she studied popular music at Goldsmiths, however, that she found her own sound. The breakthrough came when she ditched her instruments and focused on teaching herself production and recording techniques. She was soon approached by management and signed to Domino Publishing. London indie label 37 Adventures soon jumped on board too, and released her critically-adored, four-track debut EP ‘Right Thing’.

    On debut album Control she was striding out alone, tackling politics, feminism and modern relationships. Lowe’s sound was similarly resistant to being pinned down. Electronic, British, Soulful, Progressive, Rhythmic, Introspective. Some of the many attributes of Rosie’s music. On her second album YU, however, Rosie Lowe digs deeper still. With its warmer, sensual, cosmic and funk-driven textures, here is a record that asks bigger questions of how the heart and mind works, ultimately finding power through opening up both. This isn’t, though, an album just about love and being loved: throughout Lowe explores and questions life as a twentysomething in London, as a woman empowered and in control. If Control was Lowe’s singular expression as a solo artist, YU sees Rosie share the creative journey of writing the record with Dave Okumu (The Invisible, Grace Jones, Kwabs, Jessie Ware).

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    Rosie Turton

    Posted on 31 August 2023

    Cited by The Guardian as ‘One To Watch’ and nominated for Jazz FM’s ‘Breakthrough Act of the Year’, trombonist, composer and producer Rosie Turton continues her rise since releasing her debut ‘Rosie’s 5ive’, with Jazz Re:freshed. Rosie’s music tells the tales of meditative soundscapes and improvisations, blurring the lines between the acoustic and electronic universes. 2021 saw the release of her latest EP ‘Expansions and Transformations: Part I & II’, exploring th...

    Cited by The Guardian as ‘One To Watch’ and nominated for Jazz FM’s ‘Breakthrough Act of the Year’, trombonist, composer and producer Rosie Turton continues her rise since releasing her debut ‘Rosie’s 5ive’, with Jazz Re:freshed. Rosie’s music tells the tales of meditative soundscapes and improvisations, blurring the lines between the acoustic and electronic universes. 2021 saw the release of her latest EP ‘Expansions and Transformations: Part I & II’, exploring themes of impermanence,  showcasing Rosie’s growing voice as a producer and was championed on the radio by Gilles Peterson, Jamie Cullum, Iggy Pop & WWFM amongst others. Rosie’s musicality is unbound by genre: from collaborations with collective Nérija to performing and recording with Nu Civilisation Orchestra, Camilla George, Soweto Kinch, Jitwam, Nwando Ebizie, and Dan Samsa. 

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    Rosita Kèss

    Posted on 20 May 2020

    From bossa nova to a taste of French chansons to old Cuban and Argentinian flavors, Rosita Kèss finds the thread, weaving her honeyed alto through four languages in eleven original songs on this tuneful international album recorded in New Orleans. Originally from Venice, Italy, Rosita Kèss’ gypsy aura led her to Berlin, Paris, Barçelona and London before finding a groove in New York and spending two years writing songs and making a new record in New Orleans. Rosita moved from Europe to N...

    From bossa nova to a taste of French chansons to old Cuban and Argentinian flavors, Rosita Kèss finds the thread, weaving her honeyed alto through four languages in eleven original songs on this tuneful international album recorded in New Orleans. Originally from Venice, Italy, Rosita Kèss’ gypsy aura led her to Berlin, Paris, Barçelona and London before finding a groove in New York and spending two years writing songs and making a new record in New Orleans. Rosita moved from Europe to NYC in 2007 to study jazz. She soon she put together a band with some of the most well respected musicians in NYC and started performing in clubs in Manhattan. A few years later she met the singer-songwriter Richard Julian. They soon started to collaborate and together they moved to New Orleans for two years. In New Orleans, 4 months pregnant Rosita has made her third record, produced by Brad Jones. It features Jon Cleary, Andrew Borger and some other New Orleans luminaires. The record is called F.L.O.Y.D (acronym of For Love Of Your Desire). Rosita has already released two records – Almost…me recorded in Berlin and Hannover and released in 2007, and Northern Sky, recorded in NY, produced by Richard Julian (Norah Jones, The Little Willies) and Jesse Murphy (Brazilian Girls, John Scofield) released in 2011. Northern Sky features Beth Hirsch (of the band AIR) and Brazilian percussionist Mauro Refosco (Thom Yorke, David Byrne).

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    The Royal We

    Posted on 20 May 2020

    From her Los Angeles home, future Royal We singer, Jihae Simmons had an idealised image of Glasgow, mostly drawn from Orange Juice and Belle & Sebastian lyrics. She was looking forward to moving to a place which would be like an ‘amazing tweeland’ where everyone had a lot of respect for nature and buildings which they’d want to explain in cafes like in a Godard movie far from the scuzz of the LA music scene. Meanwhile, Patrick Doyle was on his way to university and had stopped off i...

    From her Los Angeles home, future Royal We singer, Jihae Simmons had an idealised image of Glasgow, mostly drawn from Orange Juice and Belle & Sebastian lyrics. She was looking forward to moving to a place which would be like an ‘amazing tweeland’ where everyone had a lot of respect for nature and buildings which they’d want to explain in cafes like in a Godard movie far from the scuzz of the LA music scene. Meanwhile, Patrick Doyle was on his way to university and had stopped off in Glasgow. “It seemed more promising than where I was supposed to be going. Sunderland.” Roxanne Clifford had come to the city from Manchester to study art… and because the music scene was strong.

     

    Other Royal We personnel, Graeme Ronald, Joan Sweeney and Colin Kearney were already here, on the fringes of things, with Colin already a member of Eska, and various other groups. Slowly, by the beginning of 2006 the group started identifying each other on the streets and at parties as possible collaborators, eventually rolling up as part of a 20-person super-session in Jihae’s front room. Even for a conceptual group this was too much, and in the end there was a hardcore of six and they became the The Royal We. Jihae wanted it to sound glam and to be quite extreme. Other members had different ideas but all remember it as an exciting and fast-moving time, with songs coming together really quickly. The night they wrote All The Rage, they took over a party, plugging in a laptop and playing it over and over until they realised everyone else had left. In a city like Glasgow, there’s always an ‘it’ group – in recent times it was Franz Ferdinand and before that the Optimo club and before that Belle & Sebastian and so on.

     

    By summer 2006 The Royal We had become the ‘it’ group – everyone was talking about them and members were turning up on Belle & Sebastian and Franz Ferdinand covers and even the NME was into them. If that all sounds a little too hype, then ok, but The Royal We were the most fun in town; their shows had it down and they had great songs and a great sound. There’s no doubt there’s something pop about The Royal We but it’s an older, odder kind of pop – the experimental pop of Orange Juice or ESG or even The Raincoats. In a way this is partly designed, the lyrics reference pop language, but mostly it’s just exuberant brilliance which has carried The Royal We through. This, their debut album features mostly songs written in their first six months of existence, their polaroid moment. It starts out slow and ends up in Chris Isaac’s Wicked Game. In between are all the reasons The Royal We were and are completely special. They won’t be making a second album, Jihae is moving back to LA for one thing, other members of the group want to move on too. Meanwhile they’re going to play some farewell shows and they keep getting better and better. So this is it, The Royal We are here.

     

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    Rustin Man

    Posted on 23 September 2020

    Paul Webb is Rustin Man. He was once a member of the legendary Talk Talk and collaborated with Beth Gibbons of Portishead on the memorable Out of Season. The debut solo Rustin Man album Drift Code was born of recording sessions in the deep English countryside, during which contemplation was as necessary as microphone placement. The result is Timeless British Music.

     

    Ryan Lott

    Posted on 29 October 2020

    Ryan Lott is a composer, producer, and performer. In 2007, Ryan founded Son Lux and in 2014, Son Lux became a trio, both live and on record, with the additions of guitarist-composer Rafiq Bhatia and drummer Ian Chang. Their latest studio release is an album trilogy called Tomorrows, released in full in 2021. As a band, Son Lux scored the 2023 Best Picture Winner Everything Everywhere All at Once, which earned them a BAFTA and Academy Award nomination, with a second Academy Award nomination fo...

    Ryan Lott is a composer, producer, and performer. In 2007, Ryan founded Son Lux and in 2014, Son Lux became a trio, both live and on record, with the additions of guitarist-composer Rafiq Bhatia and drummer Ian Chang. Their latest studio release is an album trilogy called Tomorrows, released in full in 2021. As a band, Son Lux scored the 2023 Best Picture Winner Everything Everywhere All at Once, which earned them a BAFTA and Academy Award nomination, with a second Academy Award nomination for their end-credit song collaboration with Mitski and David Byrne.

    An avid collaborator in dance, Lott has worked with choreographers Stephen Petronio, Gina Gibney, Kyle Abraham, and Jodie Gates, along with companies The Royal Ballet, Ballet de Lorraine, National Dance Company of Wales, and BalletX. His feature film scores include The Disappearance of Eleanor Rigby (2014), Paper Towns (2015), and Mean Dreams (2017), and arrangements for several others, most notably the iconic sci-fi film Looper (2012), for which Ryan was also pianist and instrument designer.

    He is frequently commissioned by new music ensembles, including eighth blackbird (Lott contributed to their GRAMMY-winning 2015 release Filament), GRAMMY winners Third Coast Percussion, and yMusic, who enlisted Lott to compose their entire 2017 release First. Other commissions include an arrangement of “Peace Like A River” for Paul Simon, and a new orchestral work, “The Swift & the Storm,” for the Royal Concertgebouw Orchestra.

    IMDb

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    Sam Evian

    Posted on 20 May 2020

    Premium is the glistening debut album from New York-based Sam Evian via Saddle Creek. Sam describes the album as “an analogue dream in a digital world.” Like flowing water, its cool surface entices and refreshes – then reveals hidden emotional depths. The sound of Premium recalls a sunbaked cassette of Pet Sounds or All Things Must Pass, composed with glowing guitar chords, aching pedal steel, Wurlitzers and iconic 20th-century synths. Inspired by the soulful classic sounds of Jackson B...

    Premium is the glistening debut album from New York-based Sam Evian via Saddle Creek. Sam describes the album as “an analogue dream in a digital world.” Like flowing water, its cool surface entices and refreshes – then reveals hidden emotional depths. The sound of Premium recalls a sunbaked cassette of Pet Sounds or All Things Must Pass, composed with glowing guitar chords, aching pedal steel, Wurlitzers and iconic 20th-century synths. Inspired by the soulful classic sounds of Jackson Browne, Shuggie Otis, Sly and the Family Stone and The Band, as well as contemporary influences such as Cass McCombs, Broadcast, Cate Le Bon, and Chris Cohen, this is music meant for a close-up experience; spacious, dreamy, fun, and disarmingly open and honest.

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    Sam Mehran

    Posted on 21 July 2021

    Curse, Matrix Metals, Wingdings, Flashback Repository, Explorers, The Sweethearts, Yoga, Blues Runner, Intense Dudes, Outer Limits Recordings, Outer Limitz, 2 X Love, Green Crack, Test Icicles, MELT, Happy Healthy Boyz, 90210, NLS Crew, burqa, S*A*M

    Over his 15-year career, Sam Mehran started a lot of projects and played in a lot of bands – but Cold Brew is the first time his solo music has been released under his own name. As a songwriter, guitarist, producer, and multi-instrumentalist, Sa...

    Curse, Matrix Metals, Wingdings, Flashback Repository, Explorers, The Sweethearts, Yoga, Blues Runner, Intense Dudes, Outer Limits Recordings, Outer Limitz, 2 X Love, Green Crack, Test Icicles, MELT, Happy Healthy Boyz, 90210, NLS Crew, burqa, S*A*M

    Over his 15-year career, Sam Mehran started a lot of projects and played in a lot of bands – but Cold Brew is the first time his solo music has been released under his own name. As a songwriter, guitarist, producer, and multi-instrumentalist, Sam had an instinctive understanding of popular music. He was able to break down a genre’s nuances and subtleties and remake them in his own image. When he died in July 2018, he left behind a body of work that was diverse but never unfocused.

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    Sam Potter

    Posted on 20 May 2020

    Sam Potter is a musician, artist and author based in Berlin. A founding member of cult band Late Of The Pier, he has also collaborated as a writer with Franz Ferdinand and more recently in stitching together the mysteriously rediscovered works of the late February Montaine. Across his many fields of output he looks at helping people reconnect to the emotional properties of sound. ‘Ecstatic Data Sets’, his recent book for Rough Trade Books, explores emerging technology’s role in helping ...

    Sam Potter is a musician, artist and author based in Berlin. A founding member of cult band Late Of The Pier, he has also collaborated as a writer with Franz Ferdinand and more recently in stitching together the mysteriously rediscovered works of the late February Montaine. Across his many fields of output he looks at helping people reconnect to the emotional properties of sound. ‘Ecstatic Data Sets’, his recent book for Rough Trade Books, explores emerging technology’s role in helping us better understand who we are through music, and led to events presenting the work at The Science Museum in London, on Soho Radio, and at UK festivals including Sea Change. At The Barbican Centre and Oval Space his Blackout experiences saw artists like Mica Levi play anonymously in the pitch black, giving artists a chance to experiment freely and the audience to feel new music on a deeper level. Following a NASA funded artist residency Sam started Earth Cry, with fellow composer Edo Van Breemen and climate journalist Geoff Dembicki. The multi platform and 4D sound installation of ‘sonified’ climate change data is building new means to create a much needed emotional connectivity with the science that describes the climate crisis.

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    Sam Shipstone

    Posted on 26 January 2022

    Sam Shipstone is a writer and guitarist formerly in the band, Hookworms and is currently in the Leeds based rock band, Yard Act (alongside James Smith, Ryan Needham and Jay Russell) and Holodrum.

    SASAMI

    Posted on 20 May 2020

    Two Sasami’s exist in harmony. First is Sasami Ashworth, the conservatory-trained classical French horn player, producer, and composer—an artist with a studious approach to craft. And then there is all-caps SASAMI, the fearless performer and protagonist of her increasingly audacious albums. After establishing herself with the poised melancholia of her eponymous 2019 debut, Sasami embraced volume and control on 2022’s Squeeze, which led to support slots with the likes of Haim, Mitski, a...

    Two Sasami’s exist in harmony. First is Sasami Ashworth, the conservatory-trained classical French horn player, producer, and composer—an artist with a studious approach to craft. And then there is all-caps SASAMI, the fearless performer and protagonist of her increasingly audacious albums. After establishing herself with the poised melancholia of her eponymous 2019 debut, Sasami embraced volume and control on 2022’s Squeeze, which led to support slots with the likes of Haim, Mitski, and the Yeah Yeah Yeahs.

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    Seamus Fogarty

    Posted on 24 November 2020

    Seamus Fogarty’s poetic, experimental songs combine folk-rock and more rustic traditional folk with electronic elements including synthesizers and sound effects. His full-length debut, God Damn You Mountain, saw release in 2012. While continuing to rely on instruments like guitar and banjo, he leaned more heavily into synths, samples, and field recordings on albums including 2020’s A Bag of Eyes.

    A native of County Mayo, Ireland, London-based musician Seamus Fogarty started offering his f...

    Seamus Fogarty’s poetic, experimental songs combine folk-rock and more rustic traditional folk with electronic elements including synthesizers and sound effects. His full-length debut, God Damn You Mountain, saw release in 2012. While continuing to rely on instruments like guitar and banjo, he leaned more heavily into synths, samples, and field recordings on albums including 2020’s A Bag of Eyes.

    A native of County Mayo, Ireland, London-based musician Seamus Fogarty started offering his first tour CD-Rs, including Home Game EP and Haarfest EP, circa 2010. His first proper album arrived on the U.K.’s Fence Records in 2012. Titled God Damn You Mountain, the self-recorded release featured appearances by vocalists Dorota Konczewska and Emma Smith. An expanded edition followed a year later on Lost Map Records. Among other short-form releases, the 2014 EP Computer Graph was slightly reworked as Ducks and Drakes for Lost Map in 2015.

    Fogarty’s early recordings made a fan of Domino, which signed him for his second album, The Curious Hand, issued in 2017. It was co-produced by Leo Abrahams (Regina Spektor, Sam Amidon). The EP The Old Suit followed in 2018. Again featuring Emma Smith as well as Abrahams and singer/songwriter Meilyr Jones, among other contributors, the full-length A Bag of Eyes arrived on Domino in November 2020.

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    Sean Oakley

    Posted on 05 June 2020

    Producer / Songwriter / Mixer / Engineer / Astronaut / Swimsuit Model / Karate Champion

    Shannon Lay

    Posted on 28 October 2020

    Shannon Stephens

    Posted on 20 May 2020

    Shannon Stephens is a Seattle-based singer/songwriter. She began her career in 1993 as the voice of the Michigan folk-rock band Marzuki, co-led by Sufjan Stevens. When Marzuki disbanded, Stephens moved to Seattle and embarked on a solo career. Shortly after the release of her debut LP, she lost her taste for the business side of musicianship and retreated, spending the next eight years focusing on home, family, and the pleasures of an abundant garden. Those years of domesticity gave rise to...

    Shannon Stephens is a Seattle-based singer/songwriter. She began her career in 1993 as the voice of the Michigan folk-rock band Marzuki, co-led by Sufjan Stevens. When Marzuki disbanded, Stephens moved to Seattle and embarked on a solo career. Shortly after the release of her debut LP, she lost her taste for the business side of musicianship and retreated, spending the next eight years focusing on home, family, and the pleasures of an abundant garden. Those years of domesticity gave rise to 2009’s The Breadwinner – an album described by Exclaim! as “intensely relevant, lyrically incisive and richly deserving of your attention.”

    In 2008, Bonnie ‘Prince’ Billy covered Stephens’ song “I’ll Be Glad” on his album Lie Down In The Light. In 2010, Asthmatic Kitty Records re-released her debut LP, which was included in the Paste magazine piece “Five Amazing Albums In My iTunes You’ve Never Heard Of”.

    Stephens produced her third album, Pull It Together, in 2012 with the help of Grammy-award winning engineer Kory Kruckenberg. The album brought together a brilliant cast of musicians, and featured a duet with Bonnie ‘Prince’ Billy, a collaboration with New York songwriter DM Stith, and backing vocals by Galen Disston of Pickwick. Pull It Together represented a leap in confidence and songcraft for Stephens. She received the award of “Best Female Vocalist of 2012” and was counted among the “Ten Best Seattle Albums of 2012” by The Seattle Weekly. City Arts Magazine glowed “Shannon Stephens is a talented musician, a master of subtle stagecraft and a fantastic songwriter with an increasingly brilliant body of work.” Stephens toured Pull it Together nationally for six weeks.

    In 2013 Stephens released her “Something Good” EP, showcasing the talents of her live band. The EP featured covers of Depeche Mode’s “World in my Eyes” and Stevie Wonder’s “Tell Me Something Good” alongside two reworked originals.

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    Shapes and Sizes

    Posted on 20 May 2020

    Shapes and Sizes are a four-piece Canadian indie rock band who managed to release their first and self-titled album in 2006. Since then, Rory Seydel, Caila Thompson-Hannant, Nathan Gage and John Crellin have released two more albums, the latest being ‘Candle to your Eyes’ which launched in 2010. Being picked up by Asthmatic Kitty Records when Shapes and Sizes were touring across the west coast, texas and the mid-west of North America, they have since been able to achieve more exposure tha...

    Shapes and Sizes are a four-piece Canadian indie rock band who managed to release their first and self-titled album in 2006. Since then, Rory Seydel, Caila Thompson-Hannant, Nathan Gage and John Crellin have released two more albums, the latest being ‘Candle to your Eyes’ which launched in 2010. Being picked up by Asthmatic Kitty Records when Shapes and Sizes were touring across the west coast, texas and the mid-west of North America, they have since been able to achieve more exposure than ever before.

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    She & Him

    Posted on 20 May 2020

    She & Him make music for an eternal springtime, when the temperature is warm enough to go riding with the top (or at least the windows) rolled down and the radio turned up. They occupy an alternate universe where the saddest of songs feel as warm as sun showers; the rain may be coming down, but somewhere nearby, everything looks bright. What began as a fascinating, no-strings attached collaboration on 2008’s Volume One has evolved into a bona fide, touring band, and She & Him ar...

    She & Him make music for an eternal springtime, when the temperature is warm enough to go riding with the top (or at least the windows) rolled down and the radio turned up. They occupy an alternate universe where the saddest of songs feel as warm as sun showers; the rain may be coming down, but somewhere nearby, everything looks bright. What began as a fascinating, no-strings attached collaboration on 2008’s Volume One has evolved into a bona fide, touring band, and She & Him are here to stay. Zooey Deschanel and Matt Ward are as comfortable and complementary a musical pair as Les Paul and Mary Ford; hearing them again on Volume Two feels like getting together with two old friends. This time, the harmonies have grown more angelically layered, the string arrangements more dramatic, the songwriting even sharper and more confident. But, as with Volume One, the prevailing mood is bittersweet, dreamy, and romantic.

     

    They successfully got through their first gigs under the media glare of Noise Pop and South by Southwest, following those performances with a short summer tour and an appearance at the Newport Folk Festival. Critics were as smitten as their listeners. Paste named Volume One its Album of the Year. The BBC declared, “All the ups and downs of young romance are faithfully recreated in loving fidelity and a variety of styles to evoke that teary-eyed yesteryear pop ambience.” Spin simply decided, “They both seem to be having a blast.”

     

    Volume Two was recorded in Los Angeles (where She lives) and Portland, OR (where Him resides). Joining them for these sessions was engineer, bassist and occasional backing vocalist Mike Coykendall. Notes Deschanel, “I do the bulk of the harmonies, then Matt will fill in some sonic space that I just cannot fill because he has that incredibly raspy, soulful voice. We cover different emotional ground. It’s a cool sort of tool to use. I hear Matt’s voice here or my voice there. Together we can sound like a lot of people. And Coykendall is quite a good singer too.” 

     

    —Michael Hill

     

     

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    She Drew The Gun

    Posted on 19 October 2021

    Passionate, principled, and refreshingly plain-spoken, Louisa Roach will not be cowed into silence. As She Drew The Gun, the Wirral-based singer-songwriter has spent the last few years cementing her reputation as a vital voice in the alternative scene, using punk-infused psych-pop as a vehicle for exposing injustice and for advocating for a fairer and more tolerant society. 

    She Keeps Bees

    Posted on 20 May 2020

    Jessica Larrabee, born in Washington DC, has been a self-taught singer, guitarist, and performer since childhood. The daughter of an R&B drummer and a delightfully eccentric DC party girl, Jessica has attitude to spare. Records were always spinning at the Larrabee house…Rick James, Patti LaBelle, Chaka Kahn, Grace Jones, Lou Reed, Millie Jackson…not music a six-year-old normally gets the pleasure of hearing.

     

    After being in bands for most of her young-adulthood, Jessica mov...

    Jessica Larrabee, born in Washington DC, has been a self-taught singer, guitarist, and performer since childhood. The daughter of an R&B drummer and a delightfully eccentric DC party girl, Jessica has attitude to spare. Records were always spinning at the Larrabee house…Rick James, Patti LaBelle, Chaka Kahn, Grace Jones, Lou Reed, Millie Jackson…not music a six-year-old normally gets the pleasure of hearing.

     

    After being in bands for most of her young-adulthood, Jessica moved  to Brooklyn–from Philadelphia–in 2003, to start her solo career.  She bar-tended for a few years while writing the songs that would eventually become present-day She Keeps Bees. This early music was marked by a stark earnestness, drawing comparisons to Jason Molina and early Cat Power.

     

    In 2005, Jessica was joined by recording engineer and multi- instrumentalist, Andy LaPlant, who had just moved to Brooklyn from New Orleans. Together, they recorded Minisink Hotel, the first proper She Keeps Bees release. After a few drum lessons from Jess, Andy learned to keep up, and they have been recording, performing, and living together since 2006.

     

    After a short tour of the east coast in 2007, they recorded the four song, digital-only EP, Shhhh. With the edition of drums full-time, their sound evolved into a louder, more aggressive style, making room for Jessica to hone in her earthy howl. During 2008, they recorded their second full-length, Nests, entirely at home. This self-released rocker scored them some real attention, enabling the band to release it in the UK and Europe–via Names Records.

     

    She Keeps Bees toured the UK and Europe extensively in 2009 and 2010, with appearances at Green Man Festival and a headlining slot at End Of The Road Festival 2009. The band will release a limited-edition 7″ with two new songs in June and is currently working on their third full-length record. They also have two US tours slated for the summer 2010!

     

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    Sheer Mag

    Posted on 20 May 2020

    Coming on like a soulful yet unholy amalgam of the Mekons, Thin Lizzy, the Jackson 5, and the MC5, Pennsylvania’s Sheer Mag distill big ’70s riffs and garage punk attitude into a hook-filled, lo-fi dance party.

    The band formed in Philadelphia in 2014 around the talents of Kyle and Hart Seely, Matt Palmer, Ian Dykstra, and powerhouse vocalist Tina Halladay, and within a year started issuing a flurry of 7″ releases that caught the attention of everyone from Stereogum and Pitchfork to Roll...

    Coming on like a soulful yet unholy amalgam of the Mekons, Thin Lizzy, the Jackson 5, and the MC5, Pennsylvania’s Sheer Mag distill big ’70s riffs and garage punk attitude into a hook-filled, lo-fi dance party.

    The band formed in Philadelphia in 2014 around the talents of Kyle and Hart Seely, Matt Palmer, Ian Dykstra, and powerhouse vocalist Tina Halladay, and within a year started issuing a flurry of 7″ releases that caught the attention of everyone from Stereogum and Pitchfork to Rolling Stone and NPR. In early 2016, Sheer Mag issued their Static Shock Records label debut LP, I/II, which collected all the tracks from their first two EPs. A year later, another edition of their singles compilation was issued, this time adding the four tracks featured on their aptly named third EP, III. The band had already begun work on their debut full-length, with Hart Seely at the controls. Featuring a more nuanced approach to their tinny AOR sound, and with Halladay’s vocals even more front and center, Need to Feel Your Love was released in July 2017. The group got political and personal on their 2019 sophomore effort, A Distant Call, which looked to socialism, economic hardship, and the death of Halladay’s father for inspiration.

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    Shep Solomon

    Posted on 07 September 2020

    Sheppard attended the Fiorello H. LaGuardia High School of Music & Art and Performing Arts in New York City. Upon graduation, he formed two bands, which were signed to EMI and SIRE respectively. During this time, Sheppard co-wrote material with other songwriters.

    Upon deciding to focus on songwriting full-time, Sheppard went on to achieve 14 top 3 single positions in the United Kingdom and Europe, including his second UK number-one single, “Don’t Stop Movin'” by S Club 7. This singl...

    Sheppard attended the Fiorello H. LaGuardia High School of Music & Art and Performing Arts in New York City. Upon graduation, he formed two bands, which were signed to EMI and SIRE respectively. During this time, Sheppard co-wrote material with other songwriters.

    Upon deciding to focus on songwriting full-time, Sheppard went on to achieve 14 top 3 single positions in the United Kingdom and Europe, including his second UK number-one single, “Don’t Stop Movin'” by S Club 7. This single also secured Solomon a BRIT Award for “Song of the Year”.

    After returning to song-writing in the United States Sheppard began co-writing cuts with artists such as Britney Spears, Kelly Clarkson, Celine Dion, and Enrique Iglesias. He then went onto write Ryan Cabrera’s “True” which charted at #4 CHR Pop and won Solomon a BMI award for Best Song.

    Sheppard wrote the song “Shiver” for Natalie Imbruglia which went onto be a #1 Pan European airplay hit and Paris Hilton’s first single “Stars Are Blind” which was a worldwide top #5 single. He has been also working with American singer Jessie Malakouti.

    In 2011 Sheppard’s releases include the UK Top 10 radio track Wonderland’s ‘Not a Love Song,'(Mercury UK) One Direction’s ‘Tell Me a Lie,’ (Syco UK) and J-Lo’s ‘Everybody’s Girl’ from the Love Album (Island Def Jam).

    To date, Sheppard has had 140 of his songs recorded and released worldwide.

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    Shirley Collins

    Posted on 20 May 2020

    Shirley Collins – legendary folk singer and one of England’s most respected song collectors –  has announced her return to recording after 38 years. With her new album, Lodestar, Shirley has created the unlikeliest release of the century so far.

    Lodestar is a collection of English, American and Cajun songs dating from the 16th Century to the 1950s, recorded at Shirley’s home in Lewes by Stephen Thrower and Ossian Brown of Cyclobe and produced and musically directe...

    Shirley Collins – legendary folk singer and one of England’s most respected song collectors –  has announced her return to recording after 38 years. With her new album, Lodestar, Shirley has created the unlikeliest release of the century so far.

    Lodestar is a collection of English, American and Cajun songs dating from the 16th Century to the 1950s, recorded at Shirley’s home in Lewes by Stephen Thrower and Ossian Brown of Cyclobe and produced and musically directed by Ian Kearey.

    The first track to be shared from Lodestar is ‘Cruel Lincoln’. Shirley explains the history of the song: “This is an ancient ballad, found only rarely in England. The theory is that Cruel Lincoln was a mason who was not paid for the work he did for ‘the Lord of the Manor’ and so extracted a terrible revenge”. It also features bird song recorded at the back of Shirley’s cottage. 

    Born in Hastings in 1935, Shirley was fascinated by folk songs as she was growing up, songs she heard on the radio or sung by her grandparents in Anderson shelters. She left home for London to immerse herself in the burgeoning folk scene; at a party held by Ewan MacColl she met Alan Lomax, and in 1959 she joined him in the USA on the renowned field trip ‘Southern Journey’, recording American folk songs and blues, a formative journey for her personally and professionally.

    On her return to England, Shirley cemented her role at the forefront of the Folk Revival,  recording over a dozen albums including the influential Folk Roots, New Routes with avant-garde guitarist Davy Graham, and No Roses, from which The Albion Country Band was formed. However, in the 1980s, Shirley lost her singing voice – later diagnosed as a form of dysphonia – and withdrew from performing live. It was only in 2014, after coaxing from David Tibet (Current 93), that Shirley sang in public for the first time since 1982.

    Though Shirley Collins (MBE) has been absent from the music scene for many years, her impact has not diminished, the likes of Graham Coxon, Jonny Greenwood, Stewart Lee and Angel Olsen laud her and a documentary The Ballad of Shirley Collins is currently in progress. Additionally, she was given the ‘Good Tradition’ award at the BBC Radio 2 Folk Awards in 2008, elected President of the English Folk Dance & Song Society in the same year and was awarded an Honorary Doctorate in Music from Sussex University this year. Shirley released her first memoir, America Over the Water, in 2004 and is currently working on her second book.

    Now Shirley Collins has sung once more (with a mischievous delight in defeating expectation), the accepted canon of her great recordings will have to be comprehensively recalibrated, yet again. 

    “Shirley is a time traveller, a conduit for essential human aches, one of the greatest artists who ever lived, and yet utterly humble” Stewart Lee

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    Silicon

    Posted on 20 May 2020

    Simon Armitage

    Posted on 20 May 2020

    Simon Armitage was born in Marsden, West Yorkshire. As well as being a poet, he is a playwright, librettist, broadcaster and songwriter, who also writes extensively for theatre, television and radio.

    Over the past three decades he has received numerous accolades including the Sunday Times Young Author of the Year, one of the first Forward Prizes, an Eric Gregory Award, a Cholmondeley Award, a Lannan Award, the Keats-Shelley Poetry Prize, the Hay Poetry Medal and a prestigious Ivor Novello Awa...

    Simon Armitage was born in Marsden, West Yorkshire. As well as being a poet, he is a playwright, librettist, broadcaster and songwriter, who also writes extensively for theatre, television and radio.

    Over the past three decades he has received numerous accolades including the Sunday Times Young Author of the Year, one of the first Forward Prizes, an Eric Gregory Award, a Cholmondeley Award, a Lannan Award, the Keats-Shelley Poetry Prize, the Hay Poetry Medal and a prestigious Ivor Novello Award for his lyrics in the BAFTA-winning television film ‘Feltham Sings’.

    Armitage is Professor of Poetry at the University of Leeds and between 2015 and 2019 was Professor of Poetry at the University of Oxford. In 2019, he was Visiting Professor at Princeton University in the United States of America and was elected Honorary Fellow at Trinity College, Oxford.

    Simon Armitage recently published his twelfth full collection of poetry, Sandettie Light Vessel Automatic. He is also the author of two novels and three best-selling memoirs, All Points North, Walking Home and Walking Away. His acclaimed modern translation of Sir Gawain and the Green Knight has sold over 100,000 copies and his translation of the medieval poem Pearl won the international PEN America Award for Poetry in Translation.

    Armitage has written for over a dozen television films and presented documentary films on subjects ranging from new technology to Homer’s Odyssey. He has made up to fifty radio dramas and features for BBC Radio 4, including Black Roses: The Killing of Sophie Lancaster, which opened subsequently as a stage play at Manchester’s Royal Exchange and was produced as a BBC film. His theatre works include The Last Days of Troy, performed at Shakespeare’s Globe in 2014. Armitage writes and performs with the band Land Yacht Regatta (LYR) whose debut album Call In The Crash Team is released in May 2020.

    In 1999 Simon Armitage was named the Millennium Poet. In 2004 he was elected a Fellow of the Royal Society of Literature. In 2010 he was made CBE for services to poetry. In 2018 he was awarded the Queen’s Gold Medal for Poetry, and in May 2019 was appointed Poet Laureate.

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    Simon Liddell

    Posted on 12 October 2022

    Simon Liddell is a member of Olympic Swimmers, Frightened Rabbit and Poster Paints. Simon’s latest project, Poster Paints, is a Glasgow based duo with Carla J Easton. Poster Paints create visceral dream pop and shoegaze; the perfect amalgamation of Liddell’s wondrous guitar work and Easton’s dreamlike vocals to stargazing effect.

    Simone White

    Posted on 20 May 2020

    Born in Hawaii, in a family of artists. Her mother was a folk singer, her father a sculptor, her grandmother a burlesque performer, her grandfather a poet, her aunt wrote pop songs in the 50s.
    Simone White lived in Los Angeles, Eugene, Seattle and London and worked as a writer, actor and photographer but it wasn’t until she moved to NYC in 2000 did she start recording and performing her music onstage.

    Simone White has released three albums and one EP on the British label Honest Jon’s; mad...

    Born in Hawaii, in a family of artists. Her mother was a folk singer, her father a sculptor, her grandmother a burlesque performer, her grandfather a poet, her aunt wrote pop songs in the 50s.
    Simone White lived in Los Angeles, Eugene, Seattle and London and worked as a writer, actor and photographer but it wasn’t until she moved to NYC in 2000 did she start recording and performing her music onstage.

    Simone White has released three albums and one EP on the British label Honest Jon’s; made two self-released albums and has been a featured vocalist and songwriter on a number of collaborations. She has had several songs featured in film and tv, notably- an award winning world wide television campaign for the Audi R8 and an Omega watch ad featuring actress Nicole Kidman.
    She has toured with and opened for Little Dragon, Victoria Williams, Mark Eitzel, Andrew Bird, Nouvelle Vague, Thao, The Honest Jon’s Chop Up with Damon Albarn, John C Reilly & Friends and others.

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    Siouxsie and the Banshees

    Posted on 20 May 2020

    Siouxsie and the Banshees were among the longest-lived and most successful acts to emerge from the London punk community; over the course of a career that lasted two decades, they evolved from an abrasive, primitive art punk band into a stylish, sophisticated unit that even notched a left-field U.S. Top 40 hit.

    Throughout its numerous lineup changes and textural shifts, the group remained under the leadership of core duo Siouxsie Sioux, born Susan Ballion on May 27, 1957 and Steven Severin, b...

    Siouxsie and the Banshees were among the longest-lived and most successful acts to emerge from the London punk community; over the course of a career that lasted two decades, they evolved from an abrasive, primitive art punk band into a stylish, sophisticated unit that even notched a left-field U.S. Top 40 hit.

    Throughout its numerous lineup changes and textural shifts, the group remained under the leadership of core duo Siouxsie Sioux, born Susan Ballion on May 27, 1957 and Steven Severin, born Steven Bailey 25 September 1955. The Banshees’ initial lineup emerged from the Bromley Contingent, a notorious group of rabid Sex Pistols fans. In addition to bassist Steven Severin and guitarist Marco Perroni, the first one-off lineup included drummer John Simon Ritchie, who assumed the name Sid Vicious; they debuted on the 20 September 1976 at the legendary Punk Festival held at London’s 100 Club, where their entire set consisted of a savage, 20-minute rendition of The Lords Prayer

    Their grim, dissonant first LP, The Scream, followed in 1978. With ex-Magazine guitarist John McGeoch on board, the band returned to the studio for 1980’s Kaleidoscope, a subtler and more melodic effort than their prior records; on the strength of the U.K. Top 20 smash Happy House, the album reached the Top 5. A year later, the Banshees released the psychedelic juju, along with Once Upon a Time, a collection of singles; at the same time, Sioux and Budgie formed The Creatures, an ongoing side project. Following 1982’s experimental A Kiss in the Dreamhouse, McGeoch fell ill, and Smith temporarily rejoined for the group’s planned tour; a pair of 1983 performances at London’s Royal Albert Hall were recorded and later issued as Nocturne.

    In 1991 – the year in which Sioux and Budgie married – the Banshees performed on the inaugural Lollapalooza tour; their concurrent LP, Superstition was their most commercially successful, spawning their lone U.S. Top 40 hit, Kiss Them for Me. Another singles collection, Twice Upon a Time, followed in 1992 before the group returned after a long absence with 1995’s stylish The Rapture, produced in part by John Cale.

    A year later, the nostalgia surrounding the reunion of their former heroes the Sex Pistols prompted Siouxsie and the Banshees to finally call it quits.

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    Sky Larkin

    Posted on 20 May 2020

    Sky Larkin are Katie Harkin (vocals and guitar), Doug Adams (bass) and Nestor Matthews (drums). Formed in Leeds, Yorkshire, Sky Larkin began life with long time friends and school mates Katie and Nestor rehearsing in bedrooms and garages before adding Doug to their ranks.

     

    From then on, their ascent has been rapid and exhilarating. Refusing to be musically pigeonholed or viewed as a provincial concern, there’s a timeless, international scope to their music, echoing the likes of Th...

    Sky Larkin are Katie Harkin (vocals and guitar), Doug Adams (bass) and Nestor Matthews (drums). Formed in Leeds, Yorkshire, Sky Larkin began life with long time friends and school mates Katie and Nestor rehearsing in bedrooms and garages before adding Doug to their ranks.

     

    From then on, their ascent has been rapid and exhilarating. Refusing to be musically pigeonholed or viewed as a provincial concern, there’s a timeless, international scope to their music, echoing the likes of The Breeders, Violent Femmes, Yeah Yeah Yeahs and more. To compare Sky Larkin directly to any singular band or record however, would be doing the trio a grave injustice. Certainly this non-UK centric outlook is why it makes perfect sense that the band chose to spread their wings and record their debut album as far afield from the UK as Seattle, Washington.

     

    Honed by the skills of neo-legendary producer John Goodmanson (Sleater Kinney, Death Cab for Cutie, Nada Surf), they’ve created an ageless record that is punchy and razor sharp yet layered, intriguing and complex. Much of the credit for this can be put down to the fascinating stories and similes that surround the record. Full of oblique references, lyrical twists and heart-bursting couplets, it’s an engrossing and compelling listen. Sonically married to sharp guitars, crushing rhythms and soaring choruses it all comes together to create an undeniably fantastic LP of dense and rewarding pop songs.

     

    Prior to recording their debut album, the band were all studying far away from each other, journeying to meet regularly in Leeds, London and beyond in order to play shows with the likes of Broken Social Scene, The Gossip, Menomena and to tour with new label mates Los Campesinos!. Following the completion of their various studies, Sky Larkin regrouped in Leeds to be quickly offered a deal with Wichita Recordings (Bloc Party, The Cribs, Les Savy Fav) and sent straight to Seattle to record the fruits of their labour. On their return this summer, they were invited to showcase their talents at various events including theGlastonbury and Latitude festivals.

     

    The rest of 2008 has seen the release of their first full single release ‘Fossil, I’ and a pair of European tours with Conor Oberst and Los Campesinos! respectively. In addition, Sky Larkin have been performing shows with both Hot Club de Paris and Swedes Those Dancing Days. Recently, the band returned to the United States to play hugely acclaimed shows in New York and to record the extraordinary video for their forthcoming debut single, Beeline.

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    Slint

    Posted on 20 May 2020

    SLINT began in Louisville, KY in 1986 with drummer Britt Walford, guitarist David Pajo, guitarist/vocalist Brian McMahan, and original bassist Ethan Buckler. In 1987, SLINT recorded their first album, Tweez, in Chicago with Steve Albini (Pixies, PJ Harvey, Nirvana), which was released on the minuscule Jennifer Hartman Records and Tapes label in 1989, and later reissued by Touch and Go Records in 1993. With new bassist Todd Brashear, SLINT recorded their second album, Spiderland, ove...

    SLINT began in Louisville, KY in 1986 with drummer Britt Walford, guitarist David Pajo, guitarist/vocalist Brian McMahan, and original bassist Ethan Buckler. In 1987, SLINT recorded their first album, Tweez, in Chicago with Steve Albini (Pixies, PJ Harvey, Nirvana), which was released on the minuscule Jennifer Hartman Records and Tapes label in 1989, and later reissued by Touch and Go Records in 1993. With new bassist Todd Brashear, SLINT recorded their second album, Spiderland, over four days in August of 1990 and the world would never again sound the same. Produced by Brian Paulson and released by Touch and Go Records in 1991, the six songs on Spiderland methodically map a shadowy new continent of sound. The music is taut, menacing, and haunting – its structure built largely on absence and restraint, on the echoing space between the notes, but punctuated by sudden thrilling blasts of unfettered fury. Spiderland spawned a whole new genre, frequently called Post-Rock, and came to be regarded as one of the most important and influential records of the past thirty years. In 2010, Spiderland was enthroned in the popular and acclaimed 33 1/3 series of books about seminal record albums. SLINT broke up shortly before Spiderland was released, but have since reunited for several high-profile performances, including All Tomorrow’s Parties and Pitchfork Music Festival.

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    Slumberjunkie

    Posted on 06 February 2024

    Slumberjunkie is the project of Somerset-born, London-based Jed Hampson. Using both bases as a constant source of inspiration, teenage years in the West Country attending drum n bass and dubstep free parties evolved into the club-centric London nightlife.

    Slumberjunkie is the culmination of over 15 years of writing and recording under various different aliases, with his distinctive style marrying jungle and bass music with the ethereal soundscapes of artists such as Cocteau Twins. Recent supp...

    Slumberjunkie is the project of Somerset-born, London-based Jed Hampson. Using both bases as a constant source of inspiration, teenage years in the West Country attending drum n bass and dubstep free parties evolved into the club-centric London nightlife.

    Slumberjunkie is the culmination of over 15 years of writing and recording under various different aliases, with his distinctive style marrying jungle and bass music with the ethereal soundscapes of artists such as Cocteau Twins. Recent support has come from the likes of Gilles Peterson on BBC 6 Music, Bandcamp’s New & Notable section and Ransom Note which features a fast & furious DJ mix and interview.

    His releases on Silver Bear, Ratface Records and Technical Glitch show that he focuses heavily on the fast and the melancholy, which is further explored on his monthly AAJA Radio slot.

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    Smith Westerns

    Posted on 20 May 2020

    Smith Westerns consists of Cullen Omori (vocals), Max Kakacek (Guitar), and Cameron Omori (Bass). All members range in age from 19 to 20. Since forming in 2007, Smith Westerns have managed to tour both the United States and Europe while supporting the likes of MGMT, Florence and the Machine, Belle and Sebastian, Girls, and Passion Pit. Their self recorded “lo-fi” debut Smith Westerns released in 2009, garnered critical acclaim for their youthful and glam rock tinged approach to po...

    Smith Westerns consists of Cullen Omori (vocals), Max Kakacek (Guitar), and Cameron Omori (Bass). All members range in age from 19 to 20. Since forming in 2007, Smith Westerns have managed to tour both the United States and Europe while supporting the likes of MGMT, Florence and the Machine, Belle and Sebastian, Girls, and Passion Pit. Their self recorded “lo-fi” debut Smith Westerns released in 2009, garnered critical acclaim for their youthful and glam rock tinged approach to pop music. In 2010, Smith Westerns teamed up with Chris Coady (Yeah Yeah Yeahs, TVOTR, Beach House) and current record label Fat Possum to record their sophomore effort in a proper studio. The result was a cleaner/higher quality recording of lush, layered timeless pop songs.

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    Smudge

    Posted on 20 May 2020

    Tom Morgan fronted Aussie stalwarts Smudge, a tremendous ‘slacker pop’ trio who he formed in 1991 with drummer Alison Galloway. They quickly became known for the melodic, mini-pop masterpieces of Tom Morgan with colourful lyrics and their low-fi approach to recording, releasing three albums (plus a collection of B sides and unreleased covers), a mini-album, a handful of singles, and appearing on several compilation albums. The albums Real McCoy, Wrong Sinatra and Manilow were reissued is ...

    Tom Morgan fronted Aussie stalwarts Smudge, a tremendous ‘slacker pop’ trio who he formed in 1991 with drummer Alison Galloway. They quickly became known for the melodic, mini-pop masterpieces of Tom Morgan with colourful lyrics and their low-fi approach to recording, releasing three albums (plus a collection of B sides and unreleased covers), a mini-album, a handful of singles, and appearing on several compilation albums. The albums Real McCoy, Wrong Sinatra and Manilow were reissued is 2010 by Fire Records. Tom established himself as one of the finest lyricists of a generation, which was brought to wider attention when he paired with Lemonheads frontman Evan Dando for the albums It’s a Shame About Ray and Come on Feel The Lemonheads. With Tom’s lyrical dexterity and ear for a perfect pop song, their meeting proved timely when Evan was looking for inspiration as he began the more ‘pop’ direction of his career. Some Lemonheads songs of that era were direct covers of Smudge songs, such as single b-side and live classic “Outdoor Type”. Morgan wrote “It’s a Shame About Ray” with Dando and the two of them collaborated more extensively on “Come on Feel The Lemonheads”.

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    Snapped Ankles

    Posted on 05 October 2021

    They came from the trees. Now settled in fertile east London, Snapped Ankles maintain the feral energy of the forest.

    Snapped Ankles outsider status has always allowed them to hold a mirror up to society. Now the boundaries are not so clear. In the seven years since Come Play The Trees was released, their cult has flourished. Second album, Stunning Luxury, saw the band invited to play the BBC 6 Music Festival and a KEXP session on the back of a sold-out UK tour which culminated with two night...

    They came from the trees. Now settled in fertile east London, Snapped Ankles maintain the feral energy of the forest.

    Snapped Ankles outsider status has always allowed them to hold a mirror up to society. Now the boundaries are not so clear. In the seven years since Come Play The Trees was released, their cult has flourished. Second album, Stunning Luxury, saw the band invited to play the BBC 6 Music Festival and a KEXP session on the back of a sold-out UK tour which culminated with two nights at Village Underground in London. As those who have witnessed the shamanic ritual of their live shows will attest, they are a truly unique, communal experience. Forest Of Your Problems saw the woodwose bring their ancient forest rhythms and high-wire, multi-media live act to ever bigger stages – including Camden’s iconic Roundhouse and SXS Wand Desert Daze festivals.

    2025 sees the release of new album Hard Times Furious Dancing and their most extensive UK and European tour to date, which includes a London show at legendary nightclubFabric. It showcases the ‘Forest Rayve’ sound they’ve been road-testing at their club nights and select shows in 2024.

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    Snuff

    Posted on 11 March 2024

    Dominated by fast tempos, simple but hooky tunes, shout-along choruses, and lyrics full of quirky wit, Snuff typify a certain strain of old-school U.K. punk while also showing a truly distinct personality of their own. Led by drummer and vocalist Duncan Redmonds — the only constant member throughout their career — the band’s speedy approach suggested the influence of American hardcore as well as second-division U.K. punks like the U.K. Subs and the Exploited, while the addition of a tro...

    Dominated by fast tempos, simple but hooky tunes, shout-along choruses, and lyrics full of quirky wit, Snuff typify a certain strain of old-school U.K. punk while also showing a truly distinct personality of their own. Led by drummer and vocalist Duncan Redmonds — the only constant member throughout their career — the band’s speedy approach suggested the influence of American hardcore as well as second-division U.K. punks like the U.K. Subs and the Exploited, while the addition of a trombone player added a hint of ska to their music. Snuff stormed out of the gate in 1989 with their debut album Snuff Said (the title was a Cockney variant on “enough said”), and connected with the 1992 album Reach before going on hiatus. After returning to action in 1995, Snuff showed they were still in fighting shape on 1997’s Potatoes & Melons Wholesale Prices Straight from the Lock Up, and while they packed it in again from 2004 to 2007, they were just as strong as ever upon their return, and 2019’s There’s a Lot of It About ranked with their best recorded work.

    Hailing from the Hendon section of Northern London, Snuff — their name was a Cockney contraction of “That’s enough” — debuted in 1986 as a three-piece featuring Simon Wells on guitar, Andy Crighton on bass, and Duncan Redmonds on drums. The band initially made their name through live work before they teamed up with the U.K. punk label Workers Playtime to issue their first EP, 1989’s Not Listening. A few months later, Snuff delivered their first full-length album; best known as Snuff Said, the official title was a lengthy bursts of phonetic East London patter, Snuffsaidbutgorblimeyguvstonemeifhedidntthrowawobblerchachachachachachachachachachachayouregoinghomeinacosmicambience. They came back with an EP in 1990, Flibbiddydibbiddydob, in which they put their own spin on a batch of covers running from Charged G.B.H. to Simon & Garfunkel, along with tunes from several well-known TV commercials. The EP introduced the fourth member of Snuff, Dave Redmonds on trombone, and in 1992 they presented their fans with a second album, Reach, which would be their first effort released in the United States, through the idiosyncratic Pacific Northwest label K Records. However, by the time the album was in shops, Snuff had broken up, with the members working with the bands Leatherface and Guns N’ Wankers.

    In 1994, Snuff rose from the grave, with Simon Wells, Andy Crighton, Duncan Redmonds, and Dave Redmonds joined by keyboard player Lee Murphy. Before they could cut their reunion album, Wells chose to leave the group, and 1996’s Demmamussabebonk introduced guitarist Loz Wong. Fat Wreck Chords picked up the album for release in the United States, and it earned positive reviews, while 1997’s Potatoes & Melons Wholesale Prices Straight from the Lock Up fared even better in the punk press. The disc also documented more lineup changes, with Lee Erinmez (aka Lee Batsford) taking over on bass from Andy Crighton. 1998 brought another album, Tweet Tweet My Lovely. In 2000, Snuff grew to a sextet as Paul Thompson stepped in as a rhythm guitarist, and new keyboard player Terry Edwards took over from Lee Murphy alongside Duncan, Dave, Batsford, and Wong. This edition of the band cut the album Numb Nuts that same year, though in 2001, Sarah de Courcy took over the keyboard spot while Terry Edwardsjoined Dave Redmonds on brass. The release of 2003’s Disposable Income saw de Courcy out and Edwards back on keyboards; a year later, Greasy Hair Makes Money arrived in time for Snuff to once again call it a day.

    After Duncan Redmonds pursued other projects for a few years, Snuff came back for a series of live dates in 2008. This time around, they were a five piece, with Terry Edwards out and Dave Redmonds doubling on trombone and keyboards. It wasn’t until 2013 that they found time to cut a new album, 5-4-3-2-1-Perhaps? By that time, Dave Redmonds had parted ways with Snuff, and Oliver Stewart had been recruited to play trombone. It would be another six years before Snuff’s fans would get another album, but 2019’s There’s a Lot of It About made clear the wait was worth it. As their followers had come to expect, the LP also revealed more personnel changes for Snuff, as Wes Wasley picked up the bass after Lee Erinmez moved on.

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    Soft Hair

    Posted on 20 May 2020

    Soft Hair are Connan Mockasin and Sam Dust (LA PRIEST / Late of The Pier). 

    The album’s recording took place over five years amongst the pair’s solo careers and outside lives. After the dispersion of Late of the Pier, whom Connan supported on tour in 2009 (the first time the two met), Sam travelled in the far east, Africa, Europe and elsewhere, spending time inventing his own instruments, producing and directing, and re-emerging as LA PRIEST in 2...

    Soft Hair are Connan Mockasin and Sam Dust (LA PRIEST / Late of The Pier). 

    The album’s recording took place over five years amongst the pair’s solo careers and outside lives. After the dispersion of Late of the Pier, whom Connan supported on tour in 2009 (the first time the two met), Sam travelled in the far east, Africa, Europe and elsewhere, spending time inventing his own instruments, producing and directing, and re-emerging as LA PRIEST in 2015 with debut solo album Inji.

    Connan meanwhile released the albums Forever Dolphin Love and Caramel and toured the world extensively, working with artists such as James Blake, Charlotte Gainsbourg and Vince Staples.

    The songs on this album were written and recorded in a wide array of locations using methods that neither Mockasin nor Dust had used previously, developed by the pair from the start of its creation. As a result, the record gives the listener a view into an exotic world with a blend of familiar, unfamiliar and unconventionally attractive sounds.

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    Son Lux

    Posted on 20 May 2020

    Son Lux is the grand genre-less dream of Los Angeles composer Ryan Lott brought to roiling, vivid life with the help of two New Yorkers, guitarist Rafiq Bhatia and drummer Ian Chang. Each is a writer, producer, and performer with omnivorous taste and a penchant for wild improvisation. The band’s unique mix of electronic pop, unusual soul, and outright experimentalism feels more inviting than ever on their fifth album, Brighter Wounds. The songs therein leave behind Son Lux’s typical unive...

    Son Lux is the grand genre-less dream of Los Angeles composer Ryan Lott brought to roiling, vivid life with the help of two New Yorkers, guitarist Rafiq Bhatia and drummer Ian Chang. Each is a writer, producer, and performer with omnivorous taste and a penchant for wild improvisation. The band’s unique mix of electronic pop, unusual soul, and outright experimentalism feels more inviting than ever on their fifth album, Brighter Wounds. The songs therein leave behind Son Lux’s typical universal themes for deeply personal fare. While making Brighter Wounds, Lott became a father and lost a family member to cancer. Days of “firsts” were also days of “lasts,” and the normal fears that accompany parenthood were compounded by a frightening new reality—Lott’s son arrived shortly after Election Day. These songs draw on all of that: warm reflections of a fading past, pain wrenched from a still-present loss, and a mix of anxiety and hope for a future that is promised to no one.

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    Sorry

    Posted on 20 May 2020

    Sorry are a new London band centred around Asha Lorenz and Louis O’Bryen, two 19 year-old childhood best friends. Along with Lincoln Barrett (drums) and Campbell Baum (bass) Sorry have been making a name for themselves on London’s underground circuit since 2015.

    Although starting life with a conventional rock band set up, Sorry’s tastes are wide-ranging and reflect their age and omnivorous YouTube-era musical upbringing where rock, hip hop, noise, electronic soundscapes, grime and folk ...

    Sorry are a new London band centred around Asha Lorenz and Louis O’Bryen, two 19 year-old childhood best friends. Along with Lincoln Barrett (drums) and Campbell Baum (bass) Sorry have been making a name for themselves on London’s underground circuit since 2015.

    Although starting life with a conventional rock band set up, Sorry’s tastes are wide-ranging and reflect their age and omnivorous YouTube-era musical upbringing where rock, hip hop, noise, electronic soundscapes, grime and folk all sit side-by-side and without confusion. Accordingly, all these influences and more form the band’s unique nascent musical universe – a bold, ambitious and at times irreverent canvas onto which the symbiotic intensity of Lorenz’s and O’Bryen’s emotional and hyper-melodic songwriting is projected.

    ‘Wished’ is their debut studio recording and follows the recent self-release of Home Demo(ns) Vol. 1, an eclectic, homespun 13 track audio/visual mixtape. Recorded by Sean Oakley (Rick Rubin, Frank Ocean) and mixed by Andrew Savours (My Bloody Valentine), it is an enticing first document of the band’s effortlessly emotive songwriting and command of atmosphere which will be familiar to anyone who has seen their visceral live shows so far, as well as a glimpse at in-studio production possibilities to be explored in their future work.

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    The Specials

    Posted on 20 May 2020

    The Specials were the fulcrum of the ska revival of the late ’70s, kick-starting the 2-Tone movement that spurred a ska-punk revolution lasting for decades. As influential as they were within the realm of ska, the group and its impact can’t be reduced to that genre alone. The Specials were one of the defining British bands of new wave, expanding the musical and political parameters of rock & roll. Protest was an integral part of the group, particularly their initial lead songwriter Je...

    The Specials were the fulcrum of the ska revival of the late ’70s, kick-starting the 2-Tone movement that spurred a ska-punk revolution lasting for decades. As influential as they were within the realm of ska, the group and its impact can’t be reduced to that genre alone. The Specials were one of the defining British bands of new wave, expanding the musical and political parameters of rock & roll. Protest was an integral part of the group, particularly their initial lead songwriter Jerry Dammers, who chronicled the tensions of the Margaret Thatcher era on such hit singles as “Ghost Town.” The Specials balanced these barbed messages with an inspired rallying call to party and impeccable sense of style embodied by Terry Hall, a lean, laconic singer who split vocal duties with the nore exuberant Neville Staple. Hall left the group in 1982, prompting the band to rebrand itself as the Special AKA — one of many lineup changes that sometimes coincide with alterations in the group’s name. The Specials split in 1984, and while Dammers never returned to the fold, Staple, Lynal Golding, Horace Panter, John Bradbury, and Roddy Radiation revived the Specials a number of times before Hall came back aboard in 2008, prompting a reunion that lasted for years.

    The Specials, headed by Golding, Panter, and Hall, released Encore — their first album of new material since their reunion — in early 2019.

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    Spectrals

    Posted on 20 May 2020

    In 2011 Spectrals signed to Slumberland (in North America) and Wichita (for the rest of the world) and those labels released the debut album, ‘Bad Penny‘. Recorded by Richard Formby (Wild Beasts, Spectrum etc.), the album was critically acclaimed, with Pitchfork giving it a 7.5 and described it as having “a youthful spirit but rooted in a classic sound”, whilst the NME gave it a 7, welcoming “another intelligent, funny, soul-baring songwriter to the fold”. They als...

    In 2011 Spectrals signed to Slumberland (in North America) and Wichita (for the rest of the world) and those labels released the debut album, ‘Bad Penny‘. Recorded by Richard Formby (Wild Beasts, Spectrum etc.), the album was critically acclaimed, with Pitchfork giving it a 7.5 and described it as having “a youthful spirit but rooted in a classic sound”, whilst the NME gave it a 7, welcoming “another intelligent, funny, soul-baring songwriter to the fold”. They also named Louis as “the Slacker Poet… a mantle not lightly bestowed” in a more recent article  about their favourite recent lyricists.

    ‘Sob Story’ (2013) sees Spectrals back and better than ever, brimming with confidence and the best songs of the Jones brothers’ careers so far.

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    Speedy Ortiz

    Posted on 20 May 2020

    “Necessary brattiness” is the motto for Speedy Ortiz’s dauntless new collection of songs, Twerp Verse. The follow-up to 2015’s Foil Deer, the band’s latest indie rock missive is prompted by a tidal wave of voices, no longer silent on the hurt they’ve endured from society’s margins. But like many of these truth-tellers, songwriter, guitarist and singer Sadie Dupuis scales the careful line between what she calls being “outrageous and practical” in order to be heard at all.
    “...

    “Necessary brattiness” is the motto for Speedy Ortiz’s dauntless new collection of songs, Twerp Verse. The follow-up to 2015’s Foil Deer, the band’s latest indie rock missive is prompted by a tidal wave of voices, no longer silent on the hurt they’ve endured from society’s margins. But like many of these truth-tellers, songwriter, guitarist and singer Sadie Dupuis scales the careful line between what she calls being “outrageous and practical” in order to be heard at all.
    “You need to employ a self-preservational sense of humor to speak truth in an increasingly baffling world,” says Dupuis. “I call it a ‘twerp verse’ when a musician guests on a track and says something totally outlandish – like a Lil Wayne verse – but it becomes the most crucial part. This record is our own twerp verse, for those instances when you desperately need to stand up and show your teeth.”
    Twerp Verse was tracked in Brooklyn DIY space Silent Barn, mixed by Omaha legend Mike Mogis (Bright Eyes, Rilo Kiley) and mastered by Grammy-nominated engineer Emily Lazar (Sia, Haim, Beck). The record pulls from the most elastic pop moments in Squeeze’s Argybargy and the seesawing synth-rock of Deerhoof and the Rentals. With Dupuis on guitars, vocals, and synths, supporting guitarist Andy Molholt (of psych pop outfit Laser Background) now joins Speedy veterans Darl Ferm on bass and Mike Falcone on drums – and together they accelerate the band’s idiosyncrasy through the wilderness of Dupuis’ heady reflections on sex, lies and audiotape.

    Dupuis, who both earned an MFA in poetry and taught at UMass Amherst, propels the band’s brain-teasing melodies with her serpentine wit. Inspired by the cutting observations of Eve Babitz, Aline Crumb’s biting memoirs, and the acute humor of AstroPoet Dorothea Lasky, Dupuis craftily navigates the danger zone that is building intimacy and political allyship in 2018. Now as public pushback against the old guards reaches a fever pitch – in the White House, Hollywood and beyond – the band fires shots in disillusioned Gen Y theme “Lucky 88,” and casts a side-eye towards suitors-turned-monsters in the cold-blooded single “Villain.” Closing track “You Hate The Title” is a slinky traipse through the banality of this current moment in patriarchy – in which survivors are given the mic, but nitpicked over the timbre of their testimonies. “You hate the title, but you’re digging the song,” Dupuis sings wryly, “You like it in theory, but it’s rubbing you wrong.” Tuned smartly to the political opacity of the present, Twerp Verse rings clear as a bell.

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    Spencer Cullum

    Posted on 18 January 2023

    British-born, Nashville based Cullum returns with his second Coin Collection record in April’23. Featuring Yuma Abe, Dana Gavanski, Caitlin Rose, Erin Rae and many others, Coin Collection 2 is a kaleidoscopic journey through folk music’s past, present and future. Growing up in the large East London town brought Spencer early exposure to classic pub rock by way of his father such as Dr. Feelgood and Thin Lizzy, and farther-flung music by way of his mother, such as Talking Heads and Lou Re...

    British-born, Nashville based Cullum returns with his second Coin Collection record in April’23. Featuring Yuma Abe, Dana Gavanski, Caitlin Rose, Erin Rae and many others, Coin Collection 2 is a kaleidoscopic journey through folk music’s past, present and future. Growing up in the large East London town brought Spencer early exposure to classic pub rock by way of his father such as Dr. Feelgood and Thin Lizzy, and farther-flung music by way of his mother, such as Talking Heads and Lou Reed. However, it was learning pedal steel from legendary English player B. J. Cole that set him on the path he still walks today. After touring with Nashville-based groups and hearing tales of “seasoned Nashville steel players”, the young musician upped sticks and found a “nice little crowd of weirdos” in his chosen city. 2020 saw him release his debut solo effort, Spencer Cullum’s Coin Collection. Although …Coin Collection’s modus operandi was “a very quintessential English folk record, but with really good Nashville players”, Cullum says of …Coin Collection 2 that “I wanted to be different. I wanted to try and pull away from wearing my influences on my sleeve. You can never escape your musical influences but I wanted them to be more hidden sub-consciously than upfront.” Though you can pick out the odd similarity to other things here and there – The Beach Boys’ Friends LP, perhaps, or The Incredible String Band, or Joni Mitchell – the thing is decidedly Cullum’s own.

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    Spinning Coin

    Posted on 20 May 2020

    Over the space of three years, two singles and countless gigs, including tour supports with Teenage Fanclub and Real Estate, Spinning Coin have determinedly made their music heard: beautifully rough-hewn guitar pop that takes in frustration and escapism, but also gracefulness and splendour. Their first album, Permo, recorded with Edwyn Collins at his AED Studios, and at Glasgow’s Green Door with Stu Evans, captures this balance perfectly. It’s an album both of bold steps and of si...

    Over the space of three years, two singles and countless gigs, including tour supports with Teenage Fanclub and Real Estate, Spinning Coin have determinedly made their music heard: beautifully rough-hewn guitar pop that takes in frustration and escapism, but also gracefulness and splendour. Their first album, Permo, recorded with Edwyn Collins at his AED Studios, and at Glasgow’s Green Door with Stu Evans, captures this balance perfectly. It’s an album both of bold steps and of simple gestures, coming from a group who have found, seemingly effortlessly, a confident, unpretentious way of working together.

    It’s partly down to their history. Starting out in 2014 as a four-piece – Sean Armstrong (guitar, vocals), Jack Mellin (guitar, vocals), Cal Donnelly (bass) and Chris White (drums) – the members of Spinning Coin have all been involved in collective, DIY music-making. They may have formed out of Armstrong’s project, the Sean Armstrong Experience, but their unique sound coalesced quickly, with Armstrong and Mellin both bringing songs to the group. Sometimes, their material is sculpted from jamming in their practice room: it’s an egalitarian way of working, a politic reflected in much of the members’ other music too, whether White’s involvement with the Winning Sperm Party collective, Donnelly’s membership of Breakfast Muff, or Mellin’s time with Smack Wizards.

    Spinning Coin released a few cassettes in 2015, but made their first forays into wider consciousness with two seven-inch singles, 2016’s “Albany / Sides” and this year’s “Raining On Hope Street / Tin”, both released on The Pastels’ Domino imprint, Geographic Music. Taken together, they sketched out some parameters for the group’s songwriters – Armstrong more melancholic, Mellin’s songs full of nervous energy – with Donnelly and White framing the melodies with deft touches. But initial appearances can be deceiving, and one of the revelations of Permo is its breadth, the way both Armstrong and Mellin are happy to experiment, to take a risk on the next melody, and to see it take flight in unexpected ways.

    The fourteen songs on Permo trace all kinds of terrain, though the overarching story might be that of a group looking for escapism, somehow and anyhow, in the midst of a social and cultural climate that’s closing down possibilities for difference and community. It opens with the gorgeous “Raining On Hope Street”, an Armstrong song that dates back a number of years – there’s an undercurrent to the song, too, as Armstrong reflects that he wanted to write something “slightly spooky, ambiguous and open to interpretation”. “Tin” follows, one of many Mellin songs that looks to the outside world and finds things wanting. 

    ““Tin” is trying to look at the two extremes of privilege and under-privilege,” he says. It’s a theme that Mellin returns to, with variation, over the course of the album – from the deceptively spry “Money Is A Drug”, whose flecks of country-soul charm conceals lyrics calling out ‘class war’ and ‘stupid rules’, through to “Powerful”, where Mellin takes on the possibilities of self-empowerment: “I’m talking about people that do have the ability to maybe quit their shit job and do something a bit better for a while. I know not everyone can do that.” What gives Spinning Coin’s songs nuance, though, is their self-awareness. “I’m really singing to myself, to be honest,” Mellin reflects, and there’s nothing didactic about these songs. Spinning Coin write from lived experience, grounding their songs in an understanding that we’re all finding our way through the world, trying to figure out what the hell is going on out there. 

    Armstrong takes on similar themes with “Starry Eyes”, and its blunt lines about how it’s not ‘the right time to celebrate, when people in the world are dying at the hands of the government’, but he also writes some of the album’s more peaceable songs, like the sleepwalking reverie of “Metronome River”, or the driftwork of “Floating With You”. His songs pour out as stream-of-consciousness: from there, Armstrong continues, “I’m usually trying to say something positive. I think there’s value in being critical, but I don’t think I’m very good at it.” It’s an important counterpoint to Spinning Coin’s more political moments.

    They’ve also just welcomed new member Rachel Taylor, who appears on the album, offering, amongst other things, ghostly backing vocals on “Running With The World”. That’s a typically Spinning Coin development: a group fiercely engaged with community, welcoming new experience into their orbit, and looking for ways to move forwards with a warmth for humanity. It’s writ large across Permo – finding better ways to live, and to be together in the world, against the odds.

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    Steelism

    Posted on 20 May 2020

    New to Nashville’s music scene are two extraordinary young musicians—one American, one Englishman—at the helm of instrumental band Steelism. Jeremy Fetzer on guitar and Spencer Cullum on pedal steel are joined by a team of the finest young musicians in Nashville. Following in the traditions of instrumental artists such as Herb Alpert & the Tijuana Brass, Ennio Morricone and Booker T. & the M.G.’s, Steelism let their instruments do the talking, creating intoxicating...

    New to Nashville’s music scene are two extraordinary young musicians—one American, one Englishman—at the helm of instrumental band Steelism. Jeremy Fetzer on guitar and Spencer Cullum on pedal steel are joined by a team of the finest young musicians in Nashville. Following in the traditions of instrumental artists such as Herb Alpert & the Tijuana Brass, Ennio Morricone and Booker T. & the M.G.’s, Steelism let their instruments do the talking, creating intoxicating melodies and hooks that are thoroughly modern, with a nod to their instrumentalist forebears.  Their debut album 615 to FAME is set for release this fall on the Muscle Shoals, Alabama based Single Lock Records.

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    Stef Chura

    Posted on 20 May 2020

    “For most people who create art I would assume there is some kind of deep unanswerable hole in your soul as to why you’re making it…” So says Stef Chura ahead of the release of Midnight, her gritty, vehement new album – recorded and produced by Will Toledo of Car Seat Headrest – and her new collection of songs for the Saddle Creek label. Illuminating that search for answers with a fevered sense of exploration, Midnight is a bold leap forward from Messes, Stef’s contagious debut ...

    “For most people who create art I would assume there is some kind of deep unanswerable hole in your soul as to why you’re making it…” So says Stef Chura ahead of the release of Midnight, her gritty, vehement new album – recorded and produced by Will Toledo of Car Seat Headrest – and her new collection of songs for the Saddle Creek label. Illuminating that search for answers with a fevered sense of exploration, Midnight is a bold leap forward from Messes, Stef’s contagious debut album, with every aspect of her new work finding bold ways to express itself as it rips through twelve restless and relentless new tracks.

    A couple of years on from the release of Messes, Stef is still based in Detroit, that most singular city which has seen it all, from the no-mans-land of its initial collapse through to the resurgent place it is now. Stef found inspiration from the people she surrounded with herself with, more so than the place itself. It’s no surprise that Midnight is testament to those kind of characteristics; a rugged and robust burst of defiance.

    Equal parts thrilling and angsty, Midnight is a testament to the collaborative process, a record that makes the very most of those who came together to make it, but more than that, it’s a firm statement of tenacity and perseverance, of not resting on your laurels but leaping forwards no matter the situation you find yourself in. From out of one day and into the next.

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    Stereolab

    Posted on 20 May 2020

    After forming in 1990, Tim Gane, Laetitia Sadier, Simon Johns, Joseph Watson and Julien Gasc dedicated their time to creating alternative rock music, often likened to such artists as The Velvet Underground, Sonic Youth and My Bloody Valentine. Being signed to Duophonic/Elektra for nearly the whole of their active years, Stereolab released 10 studio albums, the latest being released after their disbanding in 2010, going by the name ‘Not Music’ and consisting of previously unreleased materi...

    After forming in 1990, Tim Gane, Laetitia Sadier, Simon Johns, Joseph Watson and Julien Gasc dedicated their time to creating alternative rock music, often likened to such artists as The Velvet Underground, Sonic Youth and My Bloody Valentine. Being signed to Duophonic/Elektra for nearly the whole of their active years, Stereolab released 10 studio albums, the latest being released after their disbanding in 2010, going by the name ‘Not Music’ and consisting of previously unreleased material. In 2009 Stereolab announced that they would be going on a period of ‘indefinite hiatus’.

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    Steve Mason

    Posted on 20 May 2020

    Once a founding member of The Beta Band, Steve Mason is now best
    known as an artist with a rare melodic gift and an urge to experiment. From his
    debut solo album, the elegantly melancholy Boys Outside, to his latest release About
    The Light, Mason has never taken a step back, continually investigating where
    the boundaries between the craft of song writing, technology and free
    expression meet.

    Steve Reid

    Posted on 20 May 2020

    Born: January 29, 1944 Bronx, New York (USA) Began playing professionally at age 16. Recorded first record with Martha & Vandella`s (Motown) at age 17, working in the Apollo Theatre house band, under the direction of Quincy Jones. Worked his way through college (Aldelphi University- Garden City, New York) playing jazz six nights a week. Graduated 1965 – B.A. Degree. Went to Africa for three years – performing with various African bands ( e.g. Guy Warren, Fela Ransome Kuti, Alp...

    Born: January 29, 1944 Bronx, New York (USA) Began playing professionally at age 16. Recorded first record with Martha & Vandella`s (Motown) at age 17, working in the Apollo Theatre house band, under the direction of Quincy Jones. Worked his way through college (Aldelphi University- Garden City, New York) playing jazz six nights a week. Graduated 1965 – B.A. Degree. Went to Africa for three years – performing with various African bands ( e.g. Guy Warren, Fela Ransome Kuti, Alpha Jazz Band, Leone Starrs, Black Star Tour) for the governments of several African nations including Nigeria, Liberia, Senegal, Ivory Coast, Congo, Morocco and Egypt. First jazz musician to receive first of several grants from the National Endowment for the Arts, under the chairmanship of Nancy Hanks. Documented in the appendix to “This Business of Music” published by Billboard. Steve Reid´ s style is heavily influenced by African rhythms and modal harmonics of twelve tone explorations of John Coltrane. Steve Reid is a member of Broadcast Music Inc.(BMI), the American Federation of Musicians Local 802 of the AFL-CIO, card OR4488, since 1965,Black Music Association, and the Jazz Foundation. Began working with various artists. Worked in various productions (The wiz) on and off Broadway, (Don’t Bother Me I Can´t Cope, The Connection).Began travelling extensively in Europe (tour for Swedish government, French government, Israel) playing in Belgium, England, France, Germany, Italy, Japan, Poland, Holland, Norway, Denmark, as well as Greenland Canada. In the 1970’s owned and managed Mustervic Sound Records, an independent jazz label. Served as Co-director of Musicians of Brooklyn Initiative (MOBI). Served as musical director of Sounds in Motion, a dance troups. Steve Reid has played with: Freddie Hubbard, Jackie McLean, Martha Raye, Dionne Warwick, T-Bone Walker, Archie Shepp, Chief Bey, *Olatungi, Arthur Blythe, Lester Bowie, Walter Davis, Charles MacPherson, Dexxter Gordon,Gary Bartz, Curtis Fuller, James Brown, Martha Reeves, Dee Dee Bridgewater, Les Walker, David Murray, Sam Rivers, Peggy Lee, Leon Thomas, Guy Warren, Fela, Randy Weston, Mal Waldron, Marion Macparland, Chaka Chan, Cbo Didley, Fats Domino, Henry Threadgill, Miles Davis, Warren Smith, SUN RA, Loonie Smith Horace Silver, Barnum & Bailey Circus, Sound, In Motion Dance Troupe, amongst others.

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    Steve Reid Ensemble

    Posted on 20 May 2020

    Steve Reid: Dakar 2007 – Getting Jiggy…”I knew how much Trane wanted to go to Africa and he inspired me to go. Art Blakey, my first inspiration, also spent a lot of time in Africa because it was the root. So, I went on a freight liner, it was carrying diesel engines, it only cost 75 dollars. I took my drum set… it was really strange, we got to the Canary Islands and changed to another boat, I remember it was called African Moon on Pharaoh Lines. This guy came running up to m...

    Steve Reid: Dakar 2007 – Getting Jiggy…”I knew how much Trane wanted to go to Africa and he inspired me to go. Art Blakey, my first inspiration, also spent a lot of time in Africa because it was the root. So, I went on a freight liner, it was carrying diesel engines, it only cost 75 dollars. I took my drum set… it was really strange, we got to the Canary Islands and changed to another boat, I remember it was called African Moon on Pharaoh Lines. This guy came running up to me and said, “Are you the drummer?”… as they were unloading my drums had fallen in to the sea and I was like ‘Oh no…’ but then, to me, it was like a baptism. I thought, this is heavy ’cause to me I was like recreating the slave journey backwards. I was reversing history.” Steve Reid is never short of a good story. The man has lived life and the reminiscence above, lifted from a Straight No Chaser interview, illuminates the spiritual and political dimensions that define his life in music. In the hope of capturing just a smidgeon of his immense spirit I feel honored to write a few notes about this brand new collection of rhythmic ideas captured during his first visit to Africa in over four decades.

     

    I first came across Steve whilst delving through the lesser fingered racks of the jazz avant garde. You see, as well as having accompanied the greatest of the greats, from James Brown to Chaka Khan via Miles Davis and Sun Ra, Steve has also remained one of the true independent innovators. His ‘Nova’ and ‘Rhythmatism’ LPs on the Mustevic label have long been essentials for the beat purveyor – and of course with renewed fandom came the Soul Jazz reissues plus the ‘Spirit Walk’ album, so thankfully his music can now be found more widely!

     

    Today, it is from Lugano, Switzerland that he usually embarks on his travels in a constant quest to ‘keep in the rhythm’! Determined to get his music over to a new generation, he has sought out like minded musical souls and his recent collaborations, live and recorded, with electronica wiz, Kieran Hebden aka Four Tet, have won them both critical acclaim and alerted a new audience to Steve’s innovative back catalogue. So, for Steve Reid to return to the home of the drums in January 2007 was a natural trip. What is it with drummers, Tony Allen, Art Blakey, Elvin Jones… so much energy! It¹s fitting that the drummer should choose Dakar, the rhythm capital of Africa, to document his return but don¹t expect this album, ‘Daxaar’, to be a drum fest where traps meet the rattling polyrhythmic, sabar and tama drums that underpin Senegalese Mbalax. This is one groove based, funky affair with touches of ‘Bitches Brew’ and Ra, that connects the Bronx to Dakar (check: ‘Dabronxaar’). He’s enlisted Kieran’s skills on electronics and as album producer. He’s also given sonic keys-man, Boris Netsvetaev, the job of musical director.

    Gilles Peterson – May 2007



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    Steven Severin

    Posted on 20 May 2020

    A key member of the infamous “Bromley contingent” which helped to redefine fashion and culture in Seventies England, Steven Severin formed Siouxsie and the Banshees in 1976 with Siouxsie Sioux.

    Steven was featured on all 16 albums and 30 singles as co-lyricist and songwriter during their two decades long career. Since the split of Siouxsie and the Banshees, Steven Severin has been busy working on various solo projects and collaborations – such as the original motion picture sondtrack fo...

    A key member of the infamous “Bromley contingent” which helped to redefine fashion and culture in Seventies England, Steven Severin formed Siouxsie and the Banshees in 1976 with Siouxsie Sioux.

    Steven was featured on all 16 albums and 30 singles as co-lyricist and songwriter during their two decades long career. Since the split of Siouxsie and the Banshees, Steven Severin has been busy working on various solo projects and collaborations – such as the original motion picture sondtrack for ‘London Voodoo’ and the re-imagined soundtrack to the silent horr classic ‘Vampyr’ – as well as continuing to produce artists and writing articles on arts and areas of intrigue for English publications such as The Guardian and The Independent.

     

     

     

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    Sunny War

    Posted on 25 September 2023

    Sunny War enlivens traditional folk and blues by freshening her musical attack and writing lyrics that reflect 21st century concerns. Her first album, “Worthless”, arrived in 2014, and she continued to gain attention as she built up a cult following that crested with the release of 2018’s “With the Sun”.

    Born Sydney Lyndella Ward to a single mother in Nashville, the singer/songwriter spent her childhood moving around the United States with her parent, spending significant time in bo...

    Sunny War enlivens traditional folk and blues by freshening her musical attack and writing lyrics that reflect 21st century concerns. Her first album, “Worthless”, arrived in 2014, and she continued to gain attention as she built up a cult following that crested with the release of 2018’s “With the Sun”.

    Born Sydney Lyndella Ward to a single mother in Nashville, the singer/songwriter spent her childhood moving around the United States with her parent, spending significant time in both Nashville and the Detroit suburb of Rochester. During this time, she learned to love a wide variety of music, picking up the guitar at the age of 13. After she spent a rough period combating substance abuse and poverty, she gravitated to blues and folk and relocated to California settling in Venice Beach.

    Adopting the performing name Sunny War, she’d sometimes moonlight with her punk side band Anus Kings, but it was her folk-blues showcased on a self-released album that began to gain notice from local scenesters – including critics at LA Weekly. After a few years, she released her official debut, “Worthless”, which appeared in 2014. A second independent record, “Red White and Blue”, arrived in 2016.

    In 2018 Sunny War released, via Hen House Studios, “With the Sun”, After that album, she moved from Venice Beach to downtown Los Angeles, quickly delivering her next LP also on Hen House “Shell of a Girl”, the following year. Her critically acclaimed EP “Can I Sit With You” premiered in 2020.

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    Superorganism

    Posted on 20 May 2020

    Occasionally, along comes a band that perfectly captures so much of what is thrilling about music right now. In 2017, mining the golden moments of pop’s past, sights firmly set on the giddy possibilities of music’s future, emitting an infectious sense of wonky fun and producing a kaleidoscopic riot of sound and visuals, that band could well be Superorganism.

    Superorganism is a sprawling, multi-limbed collection of international musicians and pop culture junkies. They number eight in tota...

    Occasionally, along comes a band that perfectly captures so much of what is thrilling about music right now. In 2017, mining the golden moments of pop’s past, sights firmly set on the giddy possibilities of music’s future, emitting an infectious sense of wonky fun and producing a kaleidoscopic riot of sound and visuals, that band could well be Superorganism.

    Superorganism is a sprawling, multi-limbed collection of international musicians and pop culture junkies. They number eight in total – recruited from London, Japan, Australia and New Zealand – seven of whom now live together in a house-stroke-DIY studio-stroke-band HQ in Homerton, east London.

    It was in this house, in January 2017, that the collective had their Big Bang moment. Though they’d previously created music and visuals together, this was something distinctly fresh. They sent the track to their friend Orono, a Japanese student who at that time was studying at high school in Maine, New England. Orono wrote and recorded a vocal part and pressed ‘reply’. What came back across the Atlantic was an intoxicating piece of idiosyncratic, technicolor pop. That track was ‘Something For Your M.I.N.D.’. Superorganism was born.  

    At that point it’s unlikely any of the members would have expected to hear that track – or its follow up AA single  ‘It’s All Good’ / ‘Nobody Cares’ – played by Frank Ocean or Vampire Weekend’s Ezra Koenig themselves on their respective radio shows.  Or that the band’s identity would be the subject of so much speculation. Or that they would sign a deal with the legendary independent Domino label. Or that there’d be such demand to see Superorganism live that their debut UK show would take place at London’s 700 capacity Village Underground venue. But over the last few months, such is the trajectory of this unique band, that that is exactly what has happened.

    “They will fuck with your brain, turn it inside out, make you question what you knew to be possible from the art of using instruments to make music” – Noisey

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    Sweat

    Posted on 20 May 2020

    Sweat emerged tentatively out of the shadows of South-East London in 2016 with the filmic Be Complete / Tambourine “double-B side”. With support from Annie Mac on BBC Radio 1 and a few notorious semi-legal shows leading to lots of ‘hype’ in the UK and ultimately the Pink Love World EP. Re-emerging with a slightly altered lineup, even more ambitious visuals and a sound that is recognizably them but sounds like their previously staunchly analog aesthetic has been marinated in a digital ...

    Sweat emerged tentatively out of the shadows of South-East London in 2016 with the filmic Be Complete / Tambourine “double-B side”. With support from Annie Mac on BBC Radio 1 and a few notorious semi-legal shows leading to lots of ‘hype’ in the UK and ultimately the Pink Love World EP. Re-emerging with a slightly altered lineup, even more ambitious visuals and a sound that is recognizably them but sounds like their previously staunchly analog aesthetic has been marinated in a digital glaze, Sweat return with new material in the form of ‘What Men Want’.

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    Sworn Virgins

    Posted on 04 March 2022

    The table has been flipped over, the wine spilled on their custard coloured linen suits, and the pudding squitted all over their dumbfounded faces. A new chapter has been written, one dedicated to the unwanted. Love songs for losers, a dance with the undesirables, a five minute walk in the park after dark while the kids sleep cozy.

    Sworn Virgins, school never taught us these valuable lessons, but life taught us good. Elbows deep in the adventure, eyes closed while driving. Strip yourselves do...

    The table has been flipped over, the wine spilled on their custard coloured linen suits, and the pudding squitted all over their dumbfounded faces. A new chapter has been written, one dedicated to the unwanted. Love songs for losers, a dance with the undesirables, a five minute walk in the park after dark while the kids sleep cozy.

    Sworn Virgins, school never taught us these valuable lessons, but life taught us good. Elbows deep in the adventure, eyes closed while driving. Strip yourselves down and slather yourselves up in it.

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    Sydney Minsky Sargeant

    Posted on 06 December 2023

    Sydney Minsky Sargeant is a Yorkshire based singer-songwriter, composer and producer, also the mind behind the band – Working Men’s Club.

    Tall Tales and the Silver Lining

    Posted on 20 May 2020

    Tall Tales and the Silver Lining is a Los Angeles-based band led by songwriter Trevor Beld Jimenez. Beld Jimenez grew up on the sounds of ‘70s AM radio, along with L.A. classics like Jackson Browne, Court and Spark-era Joni Mitchell, Neil Young & Crazy Horse, and The Byrds. His music incorporates all of that – classic songwriting, great playing, simple, hook-heavy arrangements and thoughtful production – but updates the sound for today. It’s straightforward, heartfelt rock & r...

    Tall Tales and the Silver Lining is a Los Angeles-based band led by songwriter Trevor Beld Jimenez. Beld Jimenez grew up on the sounds of ‘70s AM radio, along with L.A. classics like Jackson Browne, Court and Spark-era Joni Mitchell, Neil Young & Crazy Horse, and The Byrds. His music incorporates all of that – classic songwriting, great playing, simple, hook-heavy arrangements and thoughtful production – but updates the sound for today. It’s straightforward, heartfelt rock & roll, ten songs of love and loss, ocean-scented breezes and the hum of the open road beneath your wheels.

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    The Television Personalities

    Posted on 20 May 2020

    Ask anyone. Anyone with even just a slightest interest in pop music and they will all have a different take on The Television Personalities… Someone will mention that they were Kurt Cobain’s favourite band. Someone else will go on about how they were the inspiration behind Creation Records and Alan McGee’s biggest heroes. And a third person might call them the Original Babyshambles, from across the room someone will ask if they really did support Pink Floyd on the back of their ‘I Kno...

    Ask anyone. Anyone with even just a slightest interest in pop music and they will all have a different take on The Television Personalities… Someone will mention that they were Kurt Cobain’s favourite band. Someone else will go on about how they were the inspiration behind Creation Records and Alan McGee’s biggest heroes. And a third person might call them the Original Babyshambles, from across the room someone will ask if they really did support Pink Floyd on the back of their ‘I Know Where Syd Barrett Lives’ single. And didn’t they have the cheek to call an album They Could Have Been Bigger Than The Beatles? You see, Daniel Treacy is not your typical boy…

     

    Born in Chelsea, London, Dan Treacy is The Television Personalities. Ever since releasing their first DIY-single in 1977, ”14th Floor”, and the classic follow up ‘Part Time Punks’ later the same year, The TVP’s have always been about Dan’s songwriting, his honest words and unique voice. Regrets, he’s had more of them than most. They’re there for everyone to see in every line of his songs. Sometimes Dan’s songs scare me because they’re so helpless, seldom have songs about loss and love been so defenceless and therefore so true. It doesn’t even feel like they’ve actually been written – they’re just part of life, they just needed to happen. Just like falling in or out of love. They capture something you can’t plan, something so strong that you can’t ever wish to lock it up and throw away the key. If you’ve seen or read The Collector you know you can’t put love in a basement and keep your fingers crossed it’ll understand.

     

    Luckily, in Dan’s music there’s always a sense of humour present. Rarely does it feel as important, as necessary, as when you hear someone who’s been to hell and battled his way up again being able to be something as simple as cheerful. You’ll hear it in songs like ‘She Can Stop Traffic’, the almost tin pan alleyish homage to The Velvet Underground called, well, ‘The Velvet Undeground’ and in the upbeat spoken word of ‘They’ll Have To Catch Us First’. But ever since his first nervous breakdown (yes, also a title of a TVPs song), the dark and sad side of Dan’s songwriting is the one that seem impossible to shake off. It’s always been there, at first hidden behind a mod attitude or under the sweetest melodies, but for every year She’s been away Dan’s become one of his generations – if not The – most perceptive chroniclers of heartbreak, jealousy and lost love. He wouldn’t like us calling his songwriting confessional or honest. But he’d accept it’s real. Because, like most of us, he just wants someone to share his life with. In the 1990s Dan lost the plot. Drugs took over his life. He disappeared, no one knew where he was and for a while he was even presumed dead.

     

    Two summers ago he turned up. While serving a prison sentence on a boat on the shore of Southwest England he googled his own name and posted a note saying he was OK on a website devoted to his music. Something had happened while Dan was away. The history of The Television Personalities was being revised, rewritten by a new generation of fans and artists. They heard something else, something far deeper and much more important, in Dan’s music and words. Slowly a new story of The Television Personalities emerged. Beneath the 60’s imagery of the artwork and album titles like ‘I Was A Mod Before You Was A Mod’ there was a darkness that very few wanted – or were even able – to see or accept at the time. Dan Treacy was always out of time. He never fitted in. Even when punk was just starting to happen he was already mocking it, moving on. He still is. My Dark Places is the first Television Personalities album in 11 years. It’s the record some of us always knew he’d do one day. It’s as sad as it is uplifting, as genteel as it is noisy. And lyrically, you won’t hear anything else that touches you more than ‘No More I Hate You’s’ or ‘There’s No Beautiful Way to Say Goodbye’. Does he fit in today? With ‘All the young children on smack’ in the news yet again? It’s not really the point. Why should he? The only point is Dan Treacys words. And his voice, still that of a bullied catholic London schoolboy, as full of dreams and expectations as it was when it first broke at 13. Andres Lokko, November 2005.

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    Terry Malts

    Posted on 20 May 2020

    Since 2010 and over 2 albums and a slew of singles and tapes, Terry Malts have been exploring the murky area where hope meets disgust, an area populated with anger, hatred, exhaustion, delusion, seclusion, consumption, life, death, breathing, eating and a host of other conflicting and confusing ideas. Their records to date have a been a refreshing blast of catchy punk, pop-influenced but also chaotic, noisy, shredding. Imagine Bubba from Void sitting in with Descendents and and you’re part ...

    Since 2010 and over 2 albums and a slew of singles and tapes, Terry Malts have been exploring the murky area where hope meets disgust, an area populated with anger, hatred, exhaustion, delusion, seclusion, consumption, life, death, breathing, eating and a host of other conflicting and confusing ideas. Their records to date have a been a refreshing blast of catchy punk, pop-influenced but also chaotic, noisy, shredding. Imagine Bubba from Void sitting in with Descendents and and you’re part of the way there. Fall 2013’s Nobody Realizes This Is Nowhere was their most concise release yet – a concentrated blast of melodic bile that cast a long look at life and didn’t always like what it saw. Now Terry Malts are releasing their first new material in almost a year. The Insides EP might be their most “pop” record yet, but don’t let that make you believe that they’ve given up on the blazing, verge-of-feedback guitars or pummeling rhythms. “Let You In” is classic power-pop revved up and played LOUD – a pogo party in under two minutes. “Grumpiest Old Men” is an ode to telling those damn kids to get off your lawn, showcasing guitarist Corey Cunningham on vocals. “Don’t” is a stop/start thriller, dark and driving but as always sporting a melody that most pop bands would slay for. Wrapping up the EP is a fine version of New Zealand legends The Chills’ “Hidden Bay,” giving some insight into the varied influences that feed into Terry Malts and help explain why “pop” and “punk” don’t adequately describe what they do.

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    Test Icicles

    Posted on 20 May 2020

    Sounding like a bootleg Def Jam t -shirt at the end of a sweaty party the Test Icicles trio made a sound already casting a long shadow of influence among their peers and a new generation of messy hyper-hormoned kids. The trio of 25-year-old Rory Atwell and 19-year-olds Sam Mehran and Devonté Hynes burst out of underground file sharing sights and into messy one off gigs in friend?s houses in a riot of shredder guitar solos, beatbox rhythms, fringes and drainpipes. Whilst many bands claim...

    Sounding like a bootleg Def Jam t -shirt at the end of a sweaty party the Test Icicles trio made a sound already casting a long shadow of influence among their peers and a new generation of messy hyper-hormoned kids. The trio of 25-year-old Rory Atwell and 19-year-olds Sam Mehran and Devonté Hynes burst out of underground file sharing sights and into messy one off gigs in friend?s houses in a riot of shredder guitar solos, beatbox rhythms, fringes and drainpipes. Whilst many bands claim to be “into a bit of everything” Test Icicles sounded like everything they’d ever heard, spewed out and re-wired for a different type of moshpit etiquette, a brand new teenage riot. The tracks on their debut album For Screening Purposes Only sounded like mash-ups of themselves and the single Circle, Square, Triangle became a modern nightclub staple. Their live shows were an eruption of metal poses, injury, boy and girl crowd surfacing and air punching – a spectacle that any award winning stylist would have trouble improving Just as mainstream media were beginning to get their heads around peer to peer networking and the power of MySpace the band that had truly evolved out of below the radar networking did the unthinkable and split – and left a perfect mess of themselves on record.

     

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    These New Puritans

    Posted on 20 May 2020

    Since their debut Beat Pyramid, the brothers Jack and George Barnett have operated in their own singular, creative space. Domino released both Beat Pyramid and its follow up Hidden.

    These New Puritans began playing music together as children – writing songs on a massively over-sized guitar and a pair of bongos from a charity shop. “We’d learn Captain Beefheart songs together,” says Jack. “And I would slow down Aphex Twin songs to analyse them, then create copies, to learn how to...

    Since their debut Beat Pyramid, the brothers Jack and George Barnett have operated in their own singular, creative space. Domino released both Beat Pyramid and its follow up Hidden.

    These New Puritans began playing music together as children – writing songs on a massively over-sized guitar and a pair of bongos from a charity shop. “We’d learn Captain Beefheart songs together,” says Jack. “And I would slow down Aphex Twin songs to analyse them, then create copies, to learn how to make those kinds of sounds.”

    Together they began to create their own musical world and in the years since they’ve successfully blurred the distinctions between pop, classical, electronic, rock and experimental music, earning rave reviews and praise from artists as diverse as Björk, Massive Attack and Elton John along the way.

    2008’s debut Beat Pyramid, released when the brothers were still in their teens, was a circular work of fast rhythms, repetitive lyrics, and fractured field recordings, stood out like a sore thumb amongst the conservative, guitar-based music of the period. The follow-up, Hidden (2010) defied expectations and garnered numerous ‘album of the year’ accolades. After appearing on Björk’s Bastards remix album, the band released the cinematic Field of Reeds in 2013. Since then, Jack and George’s desire for new sonic challenges saw them produce the musical score for the first authorized theatrical production of Aldous Huxley’s Brave New World. Reverting to the original duo of brothers Jack and George Barnett, These New Puritans open a new chapter with Inside The Rose. Writing sessions began in Essex in 2015 and were completed in Berlin after they relocated there; the majority of recording was done in a former Soviet broadcasting studio in the city’s industrial suburbs.

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    The Third Eye Foundation

    Posted on 20 May 2020

    The grandly named Third Eye Foundation is of course just one person, Matt Elliott. Conversley, The Third Eye Foundation sound like a group of like-minded musicians, closely turned in to the moment, but each with their own stylistic nuances. Maybe this makes him a little bit schizo, or maybe it just shows the care and attention that’s gone into making this compelling music.

    Thomas Bartlett

    Posted on 20 May 2020

    Thomas Bartlett (born October 13, 1981), also known as Doveman, is an American pianist, producer, and singer, known for his work with Yoko Ono, St. Vincent, The National, Rhye, Norah Jones, and many others. He produced Sufjan Stevens’ Carrie & Lowell, and three songs for the film Call Me by Your Name including “Mystery of Love” (nominated for the Academy Award for Best Original Song in 2018); and for the final season of Game of Thrones he produced Florence + the Machine’s “Jenny...

    Thomas Bartlett (born October 13, 1981), also known as Doveman, is an American pianist, producer, and singer, known for his work with Yoko Ono, St. Vincent, The National, Rhye, Norah Jones, and many others. He produced Sufjan Stevens’ Carrie & Lowell, and three songs for the film Call Me by Your Name including “Mystery of Love” (nominated for the Academy Award for Best Original Song in 2018); and for the final season of Game of Thrones he produced Florence + the Machine’s “Jenny of Oldstones”. He has released four solo albums as Doveman, four albums as a member of the acclaimed Irish band The Gloaming, and duo albums with the composer Nico Muhly and the hardanger d’amore player Caoimhín Ó Raghallaigh.

    Bartlett, who was born and raised in Putney, Vermont, studied piano as a teenager in London with the legendary teacher Maria Curcio, and has lived in New York City since 2000.

    IMDb

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    Thomas Ragsdale

    Posted on 20 May 2020

    Yorkshire based composer Thomas Ragsdale melds cinematic electronica with immersive soundscapes and blissful techno workouts.

    Spending his formative years composing a varied catalogue of music for TV, film and advertising companies, his gradual shift into the world of performing music is one that’s quickly won acclaim from the likes of Resident Advisor and FACT. His music has been featured with great effect in two groundbreaking BBC documentaries by Adam Curtis including the acclaimed ‘Hy...

    Yorkshire based composer Thomas Ragsdale melds cinematic electronica with immersive soundscapes and blissful techno workouts.

    Spending his formative years composing a varied catalogue of music for TV, film and advertising companies, his gradual shift into the world of performing music is one that’s quickly won acclaim from the likes of Resident Advisor and FACT. His music has been featured with great effect in two groundbreaking BBC documentaries by Adam Curtis including the acclaimed ‘HyperNormalisation’, where his track ‘Warning Mass’ was featured extensively alongside the likes of Brian Eno, Burial and Aphex Twin. His music has also found its way onto commercials by BMW, Prada and Twitter.

    Having composed and released soundtracks for feature films premiering at Film4’s prestigious FrightFest and EPs with lavish packaging backed with personally intimate subject matters, Thomas’ music evokes spacious resonance and emotional response. Thomas so far shared stages on tours and supports with a diverse array of musicians, such as Tropic Of Cancer, Daniel Lanois, Esben & The Witch, Einstürzende Neubauten and Kara-Lis Coverdale.

    Supporters of his music include heavyweights Daniel Avery, Solomun and Baikal to name but a few and his DJ sets are focused on rhythm and emotion, with an emphasis on immersing audiences within a deep spacious atmosphere. He also hosts the monthly radio show Soundtracking The Void on Bloop London Radio, playing a mix of sounds across the board from experimental electronica to minimalist classical.

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    Tiberius B

    Posted on 28 October 2021

    Original, unfiltered and radiating tenacity, Tiberius b is a singer and producer adept at both emboldening audiences and offering them catharsis through diaristic songwriting. 

    Raised in the woods on a remote island in Western Canada, Tiberius’ take on pop music is as raw and electrifying as these early surroundings. After relocating to their birthplace of London, England in 2017, they traded the synths for a borrowed B.C. Rich Warlock guitar and swaggering downtempo beats, calling on infl...

    Original, unfiltered and radiating tenacity, Tiberius b is a singer and producer adept at both emboldening audiences and offering them catharsis through diaristic songwriting. 

    Raised in the woods on a remote island in Western Canada, Tiberius’ take on pop music is as raw and electrifying as these early surroundings. After relocating to their birthplace of London, England in 2017, they traded the synths for a borrowed B.C. Rich Warlock guitar and swaggering downtempo beats, calling on influences from their parent’s CD collection like Portishead, Massive Attack and Blur for debut EP Stains.

    In early 2020, while society spiraled out thanks to the newly-proclaimed global pandemic, Tiberius got a call from their uncle asking them to take care of their elderly grandmother in the remote Welsh countryside. Eventually, when she was moved to hospital, they found themselves alone in her house for six long weeks, during which their music came to be. 

    Lacking their usual set-up, a local villager lent the electric guitar, and they went about relearning old synth songs on it, accompanied by logic preset beats. Pent up feelings and power chords combined, drawing Tiberius towards a new sound animated by the throws of isolation-cultivated adolescent angst.

     

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    Tirzah

    Posted on 20 May 2020

    As Tirzah, English singer/songwriter Tirzah Mastin pairs her down-to-earth vocals with the experimental productions of her friend Mica Levi. Rooted in U.K. garage, grime, and British R&B, the duo’s collaboration evolved from the disarming dance-pop of 2013’s underground hit “I’m Not Dancing” to the raw R&B of her 2018 debut album, Devotion. Even as her sound changed, the intimacy and honesty of Tirzah’s music remained.

    When she was 13, Mastin earned a scholarship to attend...

    As Tirzah, English singer/songwriter Tirzah Mastin pairs her down-to-earth vocals with the experimental productions of her friend Mica Levi. Rooted in U.K. garage, grime, and British R&B, the duo’s collaboration evolved from the disarming dance-pop of 2013’s underground hit “I’m Not Dancing” to the raw R&B of her 2018 debut album, Devotion. Even as her sound changed, the intimacy and honesty of Tirzah’s music remained.

    When she was 13, Mastin earned a scholarship to attend the Purcell School for Young Musicians in Watford, an English town north of London. While studying harp at the school, she and Levi — who was studying violin, viola, and composition — struck up a friendship. They soon began making music together, recording sketches of Mastin’s songs with Levi on guitar in the school’s tech room. However, Mastin felt constrained by the school’s intensive program, and after graduation she opted to study textiles at the London College of Fashion; meanwhile, Levi went on to form Micachu & the Shapes and become a renowned composer. The duo continued to record for fun, and started releasing music in the early 2010s.

    On the 2013 single “I’m Not Dancing,” Tirzah blended garage beats and an odd recorder sample into something ear-catching. That year, the I’m Not Dancing EP arrived via Greco Roman, also home to more polished acts like Disclosure. Levi and Mastin returned in April 2014 with the No Romance EP, a slightly more streamlined version of their distinctive electropop. The following year, Tirzah issued another EP on Greco Roman, Make It Up, and appeared on a limited-edition 12″ with Micachu, Mumdance, and Nozinja. Mastin also appeared as a guest vocalist on Dels’ Petals Have Fallen in 2014 and Baauer’s Aa in 2016. She and Levi then formed the dance side project Taz & Meeks, working with Brother May and Coby Sey on 2018’s Curl EP. That year also saw the release of Tirzah’s full-length debut for Domino Records, Devotion. Once again produced and mixed by Levi (with additional mixing by Kwes.), the album featured another collaboration with Sey as well as a gentler, R&B-inspired sound and more confessional lyrics.

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    Torche

    Posted on 03 December 2020

    15 years into their career, TORCHE have established themselves as a cornerstone of American heavy rock. Their highly anticipated new album, Admission, sees the band expanding on the themes and songwriting prowess that have always reverberated with music fans throughout their critically acclaimed discography. Everything about Admission feels like an elevation. TORCHE’s guitar work is loaded with powerful, refreshing riffing and an array of profound textures, proving to be more versatile and...

    15 years into their career, TORCHE have established themselves as a cornerstone of American heavy rock. Their highly anticipated new album, Admission, sees the band expanding on the themes and songwriting prowess that have always reverberated with music fans throughout their critically acclaimed discography. Everything about Admission feels like an elevation. TORCHE’s guitar work is loaded with powerful, refreshing riffing and an array of profound textures, proving to be more versatile and crushing than ever before. The band’s unforgettable vocal harmonies are met with hook-driven, pop sensibilities that propel the music to new heights. Tracks such as “Slide”, “Times Missing”, and the monumental title track see TORCHE hone in on these very elements to create one of 2019’s most captivating albums. Admission is a triumph, as it launches TORCHE forward into the next chapter of their already inimitable career.

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    Touts

    Posted on 20 May 2020

    TOUTS are a three piece teenage punk band from Derry, Northern Ireland. The unhinged, angry and visceral teens are Matthew Crossan, Jason Feenan & Luke McLaughlin. “A singer that can’t sing, A mod that can’t play bass & a drummer that can’t see”.

    The toils and tribulations of small town life is a path well trodden, but not in the way Touts do it, they’ve dug the path up and set fire to the rubble. Inspired by dodgy politicians, shitty school life and the s...

    TOUTS are a three piece teenage punk band from Derry, Northern Ireland. The unhinged, angry and visceral teens are Matthew Crossan, Jason Feenan & Luke McLaughlin. “A singer that can’t sing, A mod that can’t play bass & a drummer that can’t see”.

    The toils and tribulations of small town life is a path well trodden, but not in the way Touts do it, they’ve dug the path up and set fire to the rubble. Inspired by dodgy politicians, shitty school life and the sort of weekend politics that fries any teenage brain. This results in a set of incendiary two minute sub culture anthems.

    “TOUTS WILL BE SHOT” an all too familiar slogan on the walls of Northern Irelands which preached fear in the hearts of community’s has now been reclaimed by three teenagers. Inspired in some ways by their predecessors on the 40th anniversary from punk’s day dot. They’ve harnessed Stiff Little Fingers Jake Burns infamous lyric about an ‘Alternative Ulster’ with a modern interpretation, one that shoots fire at anything that stands in its way be it political or not.

    The band’s live reputation in Northern Ireland has spread like wild fire and has seen them sell out venues to masses of kids throughout the province without releasing any music. There’s a revolution on the dance floor and on the street and they will be chorused by the debut singles ‘Sold Out’ and ‘Political People’ from Touts. 

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    Traams

    Posted on 20 May 2020

    Few bands are as capable as being as heart-on-sleeve, direct and real as TRAAMS. The trio, who formed in 2011 after first meeting in a club night in Bognor Regis at which guitarist and vocalist Stuart Hopkins was the DJ, have been on a journey which has led them far from their small-town origins. It was Grin, the group’s 2013 debut album, which first documented their breakout: brimming with anger, angst and frustration, the record was about more than just a literal urge to escape – it do...

    Few bands are as capable as being as heart-on-sleeve, direct and real as TRAAMS. The trio, who formed in 2011 after first meeting in a club night in Bognor Regis at which guitarist and vocalist Stuart Hopkins was the DJ, have been on a journey which has led them far from their small-town origins. It was Grin, the group’s 2013 debut album, which first documented their breakout: brimming with anger, angst and frustration, the record was about more than just a literal urge to escape – it documented the emotional and psychological impact of an immense personal tragedy for Hopkins’ – one which haunts the album with distortion and unabating entropic rhythm.

    Scheduled for release via FatCat Records on November 13th 2015, TRAAMS’ second album Modern Dancing is a hugely significant next step in the band’s life. The record explores the way people connect, looking outward at life from a new perspective, one filled with energy, honesty and hope; it is a brilliant antidote to the poisonous brilliance of Grin’s uneasiness. The album’s title summarises a recurring trope within Hopkins’ lyrics on the record, examining life as a sort of all encompassing dance. “The album is all about interaction,” comments Hopkins, “Everything feels in sync. Everything feels connected, like a big dance”. The album doesn’t celebrate the happiness in life so much as paint a picture of its great variety – the rituals of interaction which form the ‘dance’. As ever with TRAAMS, it is the relentless rhythmic duo of bassist Leigh Padley and drummer Adam Stock which provides the sonic backdrop to this unique snapshot.

    Modern Dancing was recorded in January 2015, with the group temporarily relocating to Leeds in order to reunite with producer and Hookworms frontman MJ (The Line Of Best Fit’s ‘Producer of the Year – 2014’) at his studio, Suburban Home. In contrast to Grin, which compiled recordings from multiple sessions with Rory Attwell (formerly of Test Icicles) and MJ, this time the trio entered into the process of creating an album well aware of what they intended to achieve. “As a band we felt more focused this time, we had a clearer idea of what we wanted”, says Padley of the group’s approach to their second LP, “recording Modern Dancing felt like making an album proper.” Discussing the decision to reunite with MJ for their sophomore album, Hopkins says he was the obvious choice: “MJ knows how to get the best out of you. He drills you.”

    Hopkins’ vocals, interesting and endearing in equal measure, have evolved beyond the distorted and impassioned barks and yelps of Grin. He comments:

    “The vocal parts are more difficult and adventurous [on Modern Dancing]. It’s tempting to distort your vocals and hide. I probably would have slathered the vocals in distortion on this record as well if it wasn’t for MJ. He brought me out of my shell. Lyrically it’s still very personal, very close to home. I struggle with putting myself out in that way, it’s terrifying. It’s exposure.”

    It’s a brave move, demonstrating a new level of confidence which resonates throughout Modern Dancing in its variety. TRAAMS typically write instrumental songs together first (Hopkins then crafts lyrics stemming from stream of consciousness writing), and their shared input can be felt throughout the album. Opener and album single ‘Costner’ sets the pace of things to come, with Padley’s bass playing leading the segue into ‘AnB’, creating an immersive introduction to the record. The title track with its hypnotic, linear, lethargic structure (reminiscent of ‘How Soon Is Now’) originated from Stock’s staccato drumbeat, which subtly varies and builds throughout in unison with the bassline. ‘Gimme Gimme Gimme (Love)’, TRAMMS’ “blow out song” according to Hopkins, is drenched in agitated urgency, whilst ‘Car Song’, an eerie ninety-second crooked lullaby, sits at the other end of the spectrum but is no less impactful. Separated from the rest of the album by ‘Car Song’’s unsettling interlude is the final track ‘Bite Mark’. “You can’t get rid of a bite mark and you can’t hide what it is”, comments Hopkins, “but in time it’ll fade.” There is a message here which underscores Modern Dancing, defining this bold next step for TRAAMS: scars heal, skies clear, and we fall in love again

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    Trailer Trash Tracys

    Posted on 20 May 2020

    Trailer Trash Tracys – aka Suzanne Aztoria, Jimmy Lee, Adam Jaffrey and Dayo James – rose to prominence with the spiralling debut “Candy Girl/ You Wish You Were Red”, which went on to be championed by the likes of Guardian and Dazed and Confused. Taking their cues from wide, varied influences and interests such as ‘solfeggio harmonics, the transitionary period of analogue to digital in Western pop music and Sufi Poetry'”, the quartet make kaleidoscopic yet otherwo...

    Trailer Trash Tracys – aka Suzanne Aztoria, Jimmy Lee, Adam Jaffrey and Dayo James – rose to prominence with the spiralling debut “Candy Girl/ You Wish You Were Red”, which went on to be championed by the likes of Guardian and Dazed and Confused. Taking their cues from wide, varied influences and interests such as ‘solfeggio harmonics, the transitionary period of analogue to digital in Western pop music and Sufi Poetry'”, the quartet make kaleidoscopic yet otherworldly pop songs, a beautiful clash of exquisite and dissonant, loaded with tension and seemingly hovering on the brink of collapse. With their signing to Double Six, they join a roster which includes the likes of Spiritualized, Jon Hopkins and John Cale, the shimmering taster track “Dies in 55” is the first tantalising teaser of what’s to come.

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    Trevor Beld Jimenez

    Posted on 20 May 2020
    Born in Southern California in the 80s, raised on a steady diet AM radio Trevor absorbed it all, like a sponge. Add his uncle’s Bob Dylan songbook at his side,  at 12 years old he understood where he wanted to go and what he wanted to do.  Exploring the coasts, hiking the hills, and Little League soon gave into a full-time obsession of music. An obsession that wouldn’t just selfishly exist as someone looking for the fast track to stardom but rather a truly giving multi instrumentalist...
    Born in Southern California in the 80s, raised on a steady diet AM radio Trevor absorbed it all, like a sponge. Add his uncle’s Bob Dylan songbook at his side,  at 12 years old he understood where he wanted to go and what he wanted to do.  Exploring the coasts, hiking the hills, and Little League soon gave into a full-time obsession of music. An obsession that wouldn’t just selfishly exist as someone looking for the fast track to stardom but rather a truly giving multi instrumentalist. An accomplished songwriter looking to enrich and relate to hearts and ears the world over.If you’ve been paying any attention to the southern California music scene the last decade or so, you already know Trevor from his bands Tall Tales & Silver Linings and Parting Lines. He’s contributed to projects from the likes of Fruit Bats, Kacey Johansing, and DIOS; and plays a key role as co-writer and drummer for GospelbeacH.
    Trevor’s debut solo work, I Like It Here, is a classic Southern California rock record that weaves between guitar solo-driven power anthems, and softer rock ballads. Songs like “Get Ready to Fly” and “TRS” are bound to be danceable crowd-pleasers, while tracks like “I Believe in You” and “When Your Love Surrounds Me” showcase Trevor’s sensitivity and prowess as a wordsmith. “Saying Goodbye” is a beautiful tribute to Neal Casal. Trevor’s songs are infused with honey-colored melodies and old soul lyricism, inspiring hope in the hearts of listeners. Trevor believes in every word he’s singing – peace and true love, beauty, family, grace – and for a moment, the listener does too. I Like It Here was created while balancing being a husband and father, a worker, and band member; between transatlantic tours, global pandemics, and civil unrest, I Like It Here shines with unclouded optimism that true love will see us through.But as the saying goes, ‘talking about music is like dancing about architecture’. Listen to the album, close your eyes and become engulfed into this world. But remember, this is not nostalgia. It is the soul of yesterday, today.
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    Trevor Powers

    Posted on 20 May 2020

    Trevor Powers (born March 18, 1989 in San Diego, CA) is an American musician, producer, and composer based in Boise, ID. He began recording music in 2011, releasing a trilogy of albums under the moniker Youth Lagoon before announcing the end of the project in 2015. While taking crash courses in classical theory, jazz, and ancient modes throughout the time that followed, Powers started making music experiments inspired by the visual works of artists such as Francis Bacon, Sister Gertrude Morga...

    Trevor Powers (born March 18, 1989 in San Diego, CA) is an American musician, producer, and composer based in Boise, ID. He began recording music in 2011, releasing a trilogy of albums under the moniker Youth Lagoon before announcing the end of the project in 2015. While taking crash courses in classical theory, jazz, and ancient modes throughout the time that followed, Powers started making music experiments inspired by the visual works of artists such as Francis Bacon, Sister Gertrude Morgan, and Harry Clarke. Lining his walls in crude print-outs of pictures, he found graphic saturation helped inform the social and spiritual themes of his music.

    For two years, Powers crafted his own library of sounds, grotesque and bewitching, to serve as the backbone to the poetry he had been writing while traveling between Europe, Asia, and the United States. Embracing a combination of noise, beauty, and mercurial avant-pop atmospheres, he began molding these experiments into songs highlighting the intersection of unity and chaos, nightmares, and the invisible forces at war within the human self.
    Retreating to Tornillo, Texas, Powers brought his songs and a handful of contributors to Sonic Ranch, a residential studio complex in the middle of a 2,300 acre orchard, to record Mulberry Violence – the debut album under his birth name. The six-week tracking process consisted of fusing together and manipulating elements recorded over the previous two years with textures, arrangements, and programming created at the ranch. The album was mixed in Los Angeles by frequent Beyoncé collaborator Stuart White.

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    The Triffids

    Posted on 20 May 2020

    Like some unholy trinity, The Triffids, along with Nick Cave and The Go Betweens seemingly conspired to change people’s attitude towards Antipodean rock in the mid-eighties, never before taken even remotely seriously. I984 was the pivotal year when The Go Betweens released Spring Hill Fair, Cave debuted with From Her To Eternity and, in late August, The Triffids arrived in the UK with two albums in tow, Treeless Plain and the mini-lp Raining Pleasure, recorded and released in Australia for ...

    Like some unholy trinity, The Triffids, along with Nick Cave and The Go Betweens seemingly conspired to change people’s attitude towards Antipodean rock in the mid-eighties, never before taken even remotely seriously. I984 was the pivotal year when The Go Betweens released Spring Hill Fair, Cave debuted with From Her To Eternity and, in late August, The Triffids arrived in the UK with two albums in tow, Treeless Plain and the mini-lp Raining Pleasure, recorded and released in Australia for Hot Records and, before the year was out, released in the UK by Rough Trade. The Triffids – David McComb (lead vocals, guitar, keyboards): Rob McComb (violin, guitar): Alsy McDonald (drums, vocals): Martyn Casey (bass) and Jill Birt (keyboards, vocals) – arrived in London with a wad of cash they’d saved up and 5 return plane tickets scheduled to expire by Christmas. They’d given themselves three months to make inroads in the UK as a band, or have fun trying, and unequivocally, they succeeded to a point where they graced the first NME cover of 1985 which it predicted would be ‘The Year Of the Triffids’.

     

    They released their first single as The Triffids in 1981. After one or two changes, Marty and Jill completed the now familiar line up before recording their debut album, ‘Treeless Plain’, in 1983.

     

    After disbanding, the group returned to Australia where, Alsy, Jill and Rob took proper jobs as lawyers, architects and teachers respectively, and settled down, Alsy and Jill marrying, Marty joined Nick Cave and Graham, continued to do sessions and live work in Australia. Graham’s steel guitar features prominently on the KLF’s groundbreaking Chill Out album and other KLF material. TheTriffids (sans David) also backed The KLF’s Bill Drummond on his only ever solo album, The Man, released by Creation in 1990. David continued writing and performing, releasing just one tortured solo album, ‘Love of Will’, for Mushroom in 1994, an album that inevitably bore many of the Triffids’ hallmarks of style and quality. Tragically, David who suffered regular, serious health problems, undergoing a heart transplant in 1996, died in February 1999, following a car accident. The Triffids music will live on as resonant now (perhaps more so) as then and a testament to a unique group and, in David McComb, one of the finest songwriters to come out of Australia – or anywhere, if it comes to that. They could have been contenders but, somehow, their epitaph was destined to be the music itself and David’s songwriting and never a wall-full of Gold discs. Mick Houghton The Triffids’ Publicist from August 1984-1989


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    Tristen

    Posted on 08 June 2023

    Making rock and roll music in Nashville, the mononymous songwriter, Tristen, has established herself as a prolific and introspective musician over the past decade. With a “knack for penning an infectious hook” (Entertainment Weekly), she has collaborated with artists like Vanessa Carlton (she co-wrote Carlton’s latest album Love is an Art) and Jenny Lewis (playing in the Voyager touring band), and opened to critical acclaim for artists ranging from Robyn Hitchcock to Television.

    Tunng

    Posted on 20 May 2020

    Mercury Music Prize winning producer, Mike Lindsay is most known for being the co-founder, composer and producer of UK acid folk band Tunng. Releasing six albums worldwide since 2005, with their sixth record Just released in August 2018. Tunng are considered pioneers of the “Folktronica” genre, defining a sound that went on to inspire the Nu folk/Acid folk movement.
    Mike has co-written and produced many albums for a wide range of artists who come to him for his sonic wonk! Including Spee...

    Mercury Music Prize winning producer, Mike Lindsay is most known for being the co-founder, composer and producer of UK acid folk band Tunng. Releasing six albums worldwide since 2005, with their sixth record Just released in August 2018. Tunng are considered pioneers of the “Folktronica” genre, defining a sound that went on to inspire the Nu folk/Acid folk movement.
    Mike has co-written and produced many albums for a wide range of artists who come to him for his sonic wonk! Including Speech Debelle’s Mercury Music prize winning album “Speech Therapy”, Jon Hopkins, Gotan Project, Farao, DuBlonde, Low Roar, Jae Tyler, Beth Jeans Houghton, Serafina Steer, Hannah Peel, Cibelle and Laura J Martin. He also scored the critically acclaimed feature documentary Mission to Lars amongst other feature films and shorts. In 2012 he released a solo album under the name Cheek Mountain Thief, which was composed and produced in Iceland with local musicians. In 2016 Sam Genders (Tunng co founder, Diagrams) and Mike released Throws, a Mash up of vintage synths and Northern Soul. In 2018 Mike collaborated with Laura Marling on their cyclical drone journey album called LUMP which won critical acclaim and made the Rough Trade top 10 albums of the year. So far in 2019, the acclaimed single “One By One” by Dana Gavanski and new albums by Douglas Dare and Low Roar have been produced in his new Margate studio.

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    The Twilight Sad

    Posted on 28 May 2024

    Originating from Scotland, The Twilight Sad are a dynamic presence in the indie rock scene. Their debut album, “Fourteen Autumns & Fifteen Winters,” released on Fat Cat in 2007, established their distinctive sonic identity, effortlessly merging post-punk and shoegaze with haunting melodies and emotionally charged lyrics.

    Their latest album, “It Won/t Be Like This All The Time,” released via Rock Action Records, received critical acclaim and commercial success, peaking at number 17...

    Originating from Scotland, The Twilight Sad are a dynamic presence in the indie rock scene. Their debut album, “Fourteen Autumns & Fifteen Winters,” released on Fat Cat in 2007, established their distinctive sonic identity, effortlessly merging post-punk and shoegaze with haunting melodies and emotionally charged lyrics.

    Their latest album, “It Won/t Be Like This All The Time,” released via Rock Action Records, received critical acclaim and commercial success, peaking at number 17 on the UK Official Albums Chart and number 1 on the UK Vinyl Chart. The album garnered rave reviews from The Guardian, NME, Q, The Independent I, Drowned in Sound, Clash, DIY, Loud and Quiet, and more.

    Recently, the band has toured extensively with The Cure in the UK, EU, and North America and is currently working on their sixth studio album.

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    Ty Segall

    Posted on 20 May 2020

    Ty Segall has been playing music and producing records since 2005, producing over a dozen albums under his own name and multiple other headings, including Epsilons, The Traditional Fools, Fuzz, GØGGS and The CIA. His music has been heard in movies and he has composed several television theme songs as well as playing on most of the late night shows currently on the air. His most recent album, Deforming Lobes, was recorded on the Freedom’s Goblin tour of North America, in support of one h...

    Ty Segall has been playing music and producing records since 2005, producing over a dozen albums under his own name and multiple other headings, including Epsilons, The Traditional Fools, Fuzz, GØGGS and The CIA. His music has been heard in movies and he has composed several television theme songs as well as playing on most of the late night shows currently on the air. His most recent album, Deforming Lobes, was recorded on the Freedom’s Goblin tour of North America, in support of one his most popular collections yet – all of his last four solo album have landed in the Billboard Top 200.

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    Ulrika Spacek

    Posted on 20 May 2020

    Ulrika Spacek are an English alternative rock band formed in 2014 currently composed of singer-guitarist Rhys Edwards, guitarist Rhys Williams, guitarist-keyboardist Joseph Stone, bassist Syd Kemp and drummer Callum Brown. Edwards and Stone were previously members of Reading band Tripwires, with Williams having previously toured with the band as an additional guitarist and releasing material under the Viscous Liquid moniker.

    In Spring 2014, Edwards began working on new material in Berlin with...

    Ulrika Spacek are an English alternative rock band formed in 2014 currently composed of singer-guitarist Rhys Edwards, guitarist Rhys Williams, guitarist-keyboardist Joseph Stone, bassist Syd Kemp and drummer Callum Brown. Edwards and Stone were previously members of Reading band Tripwires, with Williams having previously toured with the band as an additional guitarist and releasing material under the Viscous Liquid moniker.

    In Spring 2014, Edwards began working on new material in Berlin with Reading school friend Rhys Williams. On returning to England, they re-located to Homerton, East London where they completed the album at a shared house named KEN. Soon after saw the formation of ‘Oysterland’, a self-curated night that combined the band’s earliest live performances with a series of art exhibitions. They released “The Album Paranoia” in February 2016 .

    Second album “Modern English Decoration” followed in June 2017, previewing songs via the answering machine of KEN. Initial copies of the album on vinyl came with a bonus 7″, which neglected to include a tracklisting. One of the tracks was later confirmed to be a cover version of a song by Parsley Sounds entitled Ease Yourself And Glide. Commenting on plans for forthcoming releases, frontman Rhys Edwards stated that “We see our first two albums as brother and sister records and think it will be nice to leave them both out there for a little while before we think about putting out another record”.

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    Una Rose

    Posted on 29 November 2022

    The solo project of Una Rose (Rosie) Long Decter from shoegaze duo Bodywash, Myth Between finds her trading walls of sound for delicate synths, crystalline vocals and deft lyricism. Far from an exercise in apathy, the EP probes the ineffable—the way feelings circulate and stick, laughter builds and dies—seeking hope in passing impressions. Long Decter was named after her two grandmothers, Una Decter, a social activist in Winnipeg, and Rose Long, a music teacher in St. John’s. She grew u...

    The solo project of Una Rose (Rosie) Long Decter from shoegaze duo Bodywash, Myth Between finds her trading walls of sound for delicate synths, crystalline vocals and deft lyricism. Far from an exercise in apathy, the EP probes the ineffable—the way feelings circulate and stick, laughter builds and dies—seeking hope in passing impressions. Long Decter was named after her two grandmothers, Una Decter, a social activist in Winnipeg, and Rose Long, a music teacher in St. John’s. She grew up harmonizing at Newfoundland kitchen parties, playing open mics in Toronto, and studying the songwriting of Joni Mitchell and Neil Young. A move to Montreal at 17 drew her towards dream pop and experimental music, and she founded Bodywash with Chris Steward in 2014. In 2019, they released their debut full-length Comforter via Luminelle Recordings with a follow-up forthcoming in 2023. Long Decter has also refined her musicianship as a band member for rising local acts like Helena Deland and Magi Merlin. Bringing these experiences together, Long Decter approaches the singer-songwriter tradition from an experimental bent, drawing inspiration from Julianna Barwick’s ambient echoes and Cate Le Bon’s unknowable moods, as well as Sara Ahmed’s theorizations of affect. Composing in her bedroom via synth and voice, Long Decter wrote Myth Between from 2019-2021. She then enlisted the help of electronic producer Yoon Rachel Nam, longtime collaborator Steward, and percussionists Andy Mulcair and Ryan White to flesh out the arrangements. Mixed by Steve Eldon-Kerr and mastered by Tom Nixon, the EP’s six tracks blend the grounded storytelling of folk with otherworldly atmospherics, lifting Long Decter’s lyrics into a space between real and imagined. Beginning with her personal experiences and observations, the lyrics expand outward. “Partly” tells a story of desire on its way out the door. “Resolutions” is a reflection on phone calls back and forth with her father; “In the Garden Digging” a tribute to her mother’s pandemic planting. The songs are held together by a guiding sense of curiosity, an interest in the sensations that shape who and how we are with each other. “What good comes?” is less a cynical retort than a prompt. Good is in a painting on the wall, an unexpected chord, the decision to leave something wrong, a story on the cusp of being told.

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    UPCHUCK

    Posted on 20 July 2023

    Upchuck is a band called together by lead guitarist Michael Durham, who took almost a year dedicating his time to composing songs and searching for rhythm guitarist- Alex “Hoff” Hoffman, bassist- Armando Arrietta, drummer- Chris Salado, and vocalist- Kaila “KT” Thompson who combined are inventively raucous and revolutionary. The black vocalist demanding to be heard, explains to listeners the past, present, and future traumas as a black woman that not only pains her but many other blac...

    Upchuck is a band called together by lead guitarist Michael Durham, who took almost a year dedicating his time to composing songs and searching for rhythm guitarist- Alex “Hoff” Hoffman, bassist- Armando Arrietta, drummer- Chris Salado, and vocalist- Kaila “KT” Thompson who combined are inventively raucous and revolutionary. The black vocalist demanding to be heard, explains to listeners the past, present, and future traumas as a black woman that not only pains her but many other black and brown people. Upchuck shakes the minds and bodies of those seeking a release. With lyricism to prove their intentions, songwriter KT screams haunting tales of discrimination, ignorance, and life in a doomed generation. Only the wise and relentless will thrive in a revolutionised world, and upchuck is sternly handing the fuel to a new generation.

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    The Vaselines

    Posted on 20 May 2020

    Formed in Glasgow in 1987, The Vaselines released two singles and one album, Dum Dum, on the 53rd & 3rd label. Splitting up in 1989 (in the same week their album was released), they might have faded into obscurity but for the intervention of a certain band from Seattle. Nirvana covered three Vaselines songs, helping to fuel a growing after-the-fact appreciation of their seedy, two-and-a-half chord, garage pop manifesto.

     

    Eugene Kelly went on to tour as Captain America aka Euge...

    Formed in Glasgow in 1987, The Vaselines released two singles and one album, Dum Dum, on the 53rd & 3rd label. Splitting up in 1989 (in the same week their album was released), they might have faded into obscurity but for the intervention of a certain band from Seattle. Nirvana covered three Vaselines songs, helping to fuel a growing after-the-fact appreciation of their seedy, two-and-a-half chord, garage pop manifesto.

     

    Eugene Kelly went on to tour as Captain America aka Eugenius and finally as a solo artist. Frances McKee worked with with Painkillers and Suckle though both collaborated intermittently in the intervening years. They toured jointly and played a few of the old songs together in the wake of their respective solo project releases in 2006. But an acclaimed, unannounced appearance at a fundraiser in Glasgow’s Mono for Malawi Orphan Support in 2008 was the real catalyst for their latest, exciting bout of creativity.

     

    In 2010 and 2011, back together on the road, The Vaselines “re-connect” with wildly appreciative audiences who had blinked and missed them the first time round. Buoyed by the success of their live return, the two punk rock chums decided to go back into the studio. Recorded outside Manchester at the Analogue Catalogue studio in Mossley with Julie McLarnon engineering and produced by Jamie Watson who produced that first album Dum Dum, Sex With An X was recorded the old-fashioned way: twelve songs in thirteen.

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    Vashti Bunyan

    Posted on 20 May 2020

    Now based in Edinburgh, Vashti’s story tells of the thwarted promise of early fame, disenchantment, long-term exile and eventual rediscovery. In the mid-‘60s, after quitting art school to concentrate on music, she was discovered by The Rolling Stones’ guru, Andrew Loog Oldham, signed to Decca and recorded a single written by Jagger / Richards. Reviews touted her as ‘the new Marianne Faithful’ or the ‘female Bob Dylan’ (though Vashti claimed to be neither), yet further singles re...

    Now based in Edinburgh, Vashti’s story tells of the thwarted promise of early fame, disenchantment, long-term exile and eventual rediscovery. In the mid-‘60s, after quitting art school to concentrate on music, she was discovered by The Rolling Stones’ guru, Andrew Loog Oldham, signed to Decca and recorded a single written by Jagger / Richards. Reviews touted her as ‘the new Marianne Faithful’ or the ‘female Bob Dylan’ (though Vashti claimed to be neither), yet further singles remained unreleased, leading to a sense of despair and a rejection of the music industry.

    After living under canvas in the bushes behind Ravensbourne College of Art, she bought a horse and cart and set off in 1968 with her boyfriend for the dream of a creative colony that the singer Donovan was setting up on the Scottish Isle of Skye. It took them nearly two long years to get there, by which time Donovan had left, but the experience formed the songs for ‘Just Another Diamond Day’, the album recorded by Joe Boyd (and featuring members of The Incredible String Band and Fairport Convention) in November ‘69, during a trip back to London.

    On the album’s muted release, rather than hang around to promote the record, Vashti left the city again to live with the Incredible String Band in the Scottish Borders, and then (with horses, wagons, dogs and children) on to Ireland and obscurity. The record slipped out in a tiny pressing and was rapidly forgotten, yet gradually over the years accrued a cultish currency as a lost English classic. In the late ‘90s, typing her own name into an internet search engine, Vashti became aware of this interest, and after tracking down the masters / rights, ‘JADD’ was re-released on the Spinney label – almost thirty years after she had “abandoned it and music forever” – to huge critical acclaim (The Observer Music Monthly placed it at 53 in their ‘Top 100 British albums’).

    A host of young, new admirers emerged citing her influence, and Vashti has since recorded with Piano Magic, The Cocteau Twins’ Simon Raymonde, Devendra Banhart, and with Animal Collective on the ‘Prospect Hummer’ EP that FatCat instigated in 2003 and released this spring. Following our contact with Vashti, we began chatting and offering advice on some new songs she was writing and looking for a home for. After a while, it occurred to us that instead of advising her on other labels, maybe FatCat could be that home. Vashti happily agreed and the result was her new album, the truly beautiful ‘Lookaftering’.

    With a new journey starting here, ‘Lookaftering’ achieved huge critical success, and saw Vashti once again taking to the road for a string of successful live shows and radio and TV appearances across Europe, North America, Australia and Japan. Following months of discussions, searching for masters and attempting to obtain clearance for them, in October 2007, we released the stunning double CD, ‘Some Things Just Stick In Your Mind’, a lavishly-packaged collection of Vashti’s early singles and demos, dating from the period pre-‘Just Another Diamond Day’, 1964-67, the second disc containing material on a tape she’d accidentally discovered, which was from her first ever recording session. Vashti will be playing more shows in 2008 and is currently writing material for her next album.

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    Vilde

    Posted on 20 May 2020

    VILDE is the solo project of Australian born, Stockholm based, Thomas Savage. After the disbanding of his prior UK group, Kins, Thomas relocated to Stockholm where he began writing & working on what would become VILDE. The debut song released, Produce, was written during a week of complete isolation in the Swedish countryside of Dalarna in the midst of winter. Thomas acknowledges this particular week as his most productive since he can remember, due to the lack of an internet connection.

    Villagers

    Posted on 20 May 2020

    The depth of emotion communicated in the songs of Conor O’Brien is reflected in his two Ivor Novello awards, for Best Song – “Becoming A Jackal”, and Best Album – Darling Arithmetic, which formalised his reputation as one of the leading songwriters of his generation. Of even greater significance is the relationship Villagers have built with their audience, one coloured by a great sense of communal catharsis and the capacity for articulating the affairs of the heart that are too oft...

    The depth of emotion communicated in the songs of Conor O’Brien is reflected in his two Ivor Novello awards, for Best Song – “Becoming A Jackal”, and Best Album – Darling Arithmetic, which formalised his reputation as one of the leading songwriters of his generation. Of even greater significance is the relationship Villagers have built with their audience, one coloured by a great sense of communal catharsis and the capacity for articulating the affairs of the heart that are too often left unspoken.

    Following the success of Villagers’ fifth album, Fever Dreams (2021), O’Brien returns in 2024 with his sixth studio album, the intimate That Golden Time. The new album unfurls his trademark melodic flair, showcasing his gift for composing arrangements that are both vivid and subtle. His lyrics couch hopes, fears, and dreams in richly absorbing poetry.

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    Visuals (Andrew Fox)

    Posted on 20 May 2020

    A singular songwriter and producer from New York City, Andrew Fox is a mercurial and versatile artist whose diverse body of work represents his distinctly surreal, cinematic sensibility. 

    After several releases on art-house electronic labels  as VISUALS (Nicolas Jaar’s Other People, Bruno Pronsato’s The Song Says), in 2019 Fox dropped the pseudonymous handle to release his 2019 LP Shock By Shock under his own name.  Taking cues from David Bowie’s Young Americans and Shuggie Otis’...

    A singular songwriter and producer from New York City, Andrew Fox is a mercurial and versatile artist whose diverse body of work represents his distinctly surreal, cinematic sensibility. 

    After several releases on art-house electronic labels  as VISUALS (Nicolas Jaar’s Other People, Bruno Pronsato’s The Song Says), in 2019 Fox dropped the pseudonymous handle to release his 2019 LP Shock By Shock under his own name.  Taking cues from David Bowie’s Young Americans and Shuggie Otis’ classic Inspiration Information, Fox’s debut self-titled album is a ‘psychedellic cross country road trip through the mind’.  

    After a stint writing new material in Mexico City, Andrew Fox returned to the music scene in 2020 with “Only Now” – an uplifiting, cosmic fusion of his dancefloor days in Europe as VISUALS, and the widescreen production and songwriting flourish of Shock By Shock, released by Brooklyn based label House of Feelings.

    As a writer, he contributed to Liam Gallagher’s (Oasis) 2017 hit “Wall of Glass”, which became the top selling vinyl single in the UK.  He has worked with various artists as a producer and mixer, including Innov Gnawa, Lights Flourescent, and Ang Low.  As an instrumentalist, Fox tours internationally with The Dave Harrington Group.

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    Wand

    Posted on 20 May 2020

    Wand is the shifting but unmistakable collaboration between Sofia Arreguin (keys, vocals), Cory Hanson (guitar, vocals), Robert Cody (guitar), Lee Landey (bass), and Evan Burrows (drums). This is a band that has lived, feuded, thrived, and grown together through years of dedicated jamming, touring, and recording across western and eastern states, continents, and mindsets. In a world that insists we must increasingly rely upon ourselves, Wand listens to each other, and this is their sound.

    Warm Drag

    Posted on 20 May 2020

    As Warm Drag, Los Angeles’ Paul Quattrone and Vashti Windish blend their garage rock roots with a record store’s worth of influences — including dub, hip-hop, harsh noise, and minimal synth — into a sexy, subterranean sound on releases such as their 2018 self-titled debut album. Quattrone, a drummer for Thee Oh Sees and a former member of !!! and Modey Lemon, reconnected with Windish, a vocalist formerly of Golden Triangle and K-Holes, by chance in Los Angeles. The pair soon began mix...

    As Warm Drag, Los Angeles’ Paul Quattrone and Vashti Windish blend their garage rock roots with a record store’s worth of influences — including dub, hip-hop, harsh noise, and minimal synth — into a sexy, subterranean sound on releases such as their 2018 self-titled debut album. Quattrone, a drummer for Thee Oh Sees and a former member of !!! and Modey Lemon, reconnected with Windish, a vocalist formerly of Golden Triangle and K-Holes, by chance in Los Angeles. The pair soon began mixing her commanding vocals with his sampling skills, and Warm Drag were born. After spending some time gigging and DJ’ing around the city, in August 2018 the duo released Warm Drag on In the Red records.

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    Warmduscher

    Posted on 20 May 2020

    Warmduscher is:
    Clams Baker (Mutado Pintado/Paranoid London)
    Lightnin’ Jack Everett (Fat White Family)
    The Saulcano (Insecure Men, Fat White Family)
    Mr Salt Fingers Lovecraft (Childhood, Insecure Men)
    The Witherer aka Little Whiskers (Paranoid London

    The Wave Pictures

    Posted on 20 May 2020

    Inspired by the tongue-in-cheek confessionalism of the Smiths, solo Morrissey, and the scrappy D.I.Y. aesthetic of the C-86 school, the Wave Pictures began in 1998 in the tiny rural village of Wymeswold in northern Leicestershire, in Great Britain’s East Midlands. Heavily influenced by their parents’ classic rock record collections and John Peel’s indie-centric radio show, lead singer and guitarist David Tattersall, bassist Franic Rozycki, and drummer Hugh J. Noble were first called Bli...

    Inspired by the tongue-in-cheek confessionalism of the Smiths, solo Morrissey, and the scrappy D.I.Y. aesthetic of the C-86 school, the Wave Pictures began in 1998 in the tiny rural village of Wymeswold in northern Leicestershire, in Great Britain’s East Midlands. Heavily influenced by their parents’ classic rock record collections and John Peel’s indie-centric radio show, lead singer and guitarist David Tattersall, bassist Franic Rozycki, and drummer Hugh J. Noble were first called Blind Summit, then changed to the Wave Pictures when Noble left the band for university.

    With the addition of drummer Jonny “Huddersfield” Helm, the Wave Pictures took their final form. While the three members attended different universities for the first eight years of their career, the band was a part-time affair that stuck to the D.I.Y. circuit, recording albums that were self-released in tiny CD-R pressings sold at gigs and traded with like-minded artists like Herman Düne, the Mountain Goats, Jeffrey Lewis, and Darren Hayman, all of whom the Wave Pictures collaborated with live and on record. In 2006, with Tattersall, Rozycki, and Helm all out of school, the Wave Pictures moved to London and signed with the indie label Moshi Moshi Records, which released the trio’s first proper album, Sophie, the same year. The Wave Pictures’ second album, Instant Coffee Baby, arrived in 2008 and began the band’s remarkably prolific release schedule. The following year marked the arrival of If You Leave It Alone, while 2010 saw the release of the Europe-only album Susan Rode the Cyclone and the Sweetheart EP, as well as solo EPs from Helm and Tattersall. For 2011’s Beer in the Breakers, the Wave Pictures recruited old friend Hayman as producer and recorded the album in one day. That year, the band also issued the Little Surprise, In Her Kitchen, and Blue Harbour EPs, while Tattersall and Rozycki released the album How to Draw Sandwiches as the Last Swimmers. The Wave Pictures returned in 2012 with the Salt EP and the Tattersall-produced full-length Long Black Cars, and kept up the pace in 2013 with no less than three releases: Through the Static and Distance: The Songs of Jason Molina, a tribute album benefiting the late singer/songwriter’s family, arrived that March, followed by September’s Lisbon EP and the full-length City Forgiveness, which the band wrote while on tour with Allo Darlin’ in the U.S. — that October. In 2014, the group paid homage to one of their heroes, Daniel Johnston, by covering his album Artistic Vice; in 2015, they collaborated with another hero, Billy Childish, on Great Big Flamingo Burning Moon, a set of original songs borrowing some of Childish’s snarling garage rock as well as his vintage amps, drums, and guitars. The same year, the group also acted as backing band for frequent collaborator Stanley Brinks, formerly of alt-folk band Herman Düne, on his record My Ass. 2016 proved to be a characteristically prolific year for the group, as they released A Season in Hull and Bamboo Diner in the Rain. The former was an acoustic record made in basic circumstances with no mixing, and was released exclusively on vinyl. The latter was the band’s reaction to “machine music” and was steeped in garage rock and blues traditions. In keeping with their tradition of minimal recording setups, the band returned in 2018 with their 17th effort, Brushes with Happiness. The album was recorded to tape in one evening with the instrumentation written immediately prior to recording. The band kept busy and returned the following year with 18th LP Look Inside Your Heart — a more surf rock-esque effort with reflective lyrics.

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    Waxahatchee

    Posted on 20 May 2020

    Waxahatchee is the musical project of American musician Katie Crutchfield, a critically acclaimed songwriter and storyteller signed to Merge Records has released five studio albums: American Weekend (2012), Cerulean Salt (2013), Ivy Tripp (2015), Out in the Storm (2017) and Saint Cloud (2020).

    Her latest LP, Saint Cloud is an intimate journey through the places she’s been, filled with the people she’s loved. Written immediately in the period following her decision to get sober, th...

    Waxahatchee is the musical project of American musician Katie Crutchfield, a critically acclaimed songwriter and storyteller signed to Merge Records has released five studio albums: American Weekend (2012), Cerulean Salt (2013), Ivy Tripp (2015), Out in the Storm (2017) and Saint Cloud (2020).

    Her latest LP, Saint Cloud is an intimate journey through the places she’s been, filled with the people she’s loved. Written immediately in the period following her decision to get sober, the album is an unflinching self-examination. From a moment of reckoning in Barcelona to a tourist trap in Tennessee to a painful confrontation on Arkadelphia Road, from a nostalgic jaunt down 7th Street in New York City to the Mississippi Gulf, Crutchfield creates a sense of place for her soul-baring tales, a longtime staple of her storytelling.

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    Wayward

    Posted on 05 June 2020

    London based duo, Wayward have gained some serious steam in recent years. They’ve co-crafted cuts for artists across a spectrum of genres. From studio sessions with Grammy-winning creative giant Skrillex, to Ninja Tune’s Park Hye Jin, and alt-indie enigma Chelou. Firmly establishing themselves as broad respected producers. Releases have come through Fort Romeau’s Cin Cin Records and Australian-based Beats Of No Nation and Silver Bear’s recent catalogue is the work of the disce...

    London based duo, Wayward have gained some serious steam in recent years. They’ve co-crafted cuts for artists across a spectrum of genres. From studio sessions with Grammy-winning creative giant Skrillex, to Ninja Tune’s Park Hye Jin, and alt-indie enigma Chelou. Firmly establishing themselves as broad respected producers. Releases have come through Fort Romeau’s Cin Cin Records and Australian-based Beats Of No Nation and Silver Bear’s recent catalogue is the work of the discerning duo as they have taken the helm as A&Rs, a label for tastemakers alike.

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    We Are Catchers

    Posted on 20 May 2020

    There’s over five thousand miles between Liverpool and Los Angeles. One vast expanse of ocean and no direct flights. Land wise, there’s Ireland, Newfoundland and then a continent’s worth of cities, towns, lakes, rivers and rocks. A chaos of wi-fi connections and errant mobile signals; weather systems and colloquial differences. On one side, Big Sur. The Pacific Coast Highway. On the other, Crosby Beach. The M62. The similarities aren’t immediately obvious. Yet…

    ...

    There’s over five thousand miles between Liverpool and Los Angeles. One vast expanse of ocean and no direct flights. Land wise, there’s Ireland, Newfoundland and then a continent’s worth of cities, towns, lakes, rivers and rocks. A chaos of wi-fi connections and errant mobile signals; weather systems and colloquial differences. On one side, Big Sur. The Pacific Coast Highway. On the other, Crosby Beach. The M62. The similarities aren’t immediately obvious. Yet…

     

    Listen as the piano starts. The notes roll in gently like waves lapping at soft sand. A voice sighs from somewhere along the Water’s Edge… “From the sky, I can see the birds fly…” It’s transportational. It’s a trip. It’s the sound of the Mersey opening out into the Pacific Ocean.

     

    The debut album from We Are Catchers flips effortlessly through time and space as it tiptoes a musical ley line stretching from the North West of England to the West Coast of America. It weaves the harmonic threads left by the likes of the Wilson Brothers, Arthur Lee and Buffalo Springfield, threads that were picked up and pulled along by people like the Head Brothers, the Coral and their former guitarist Bill Ryder-Jones. It draws patterns and shapes in the dust Lee Mavers ordered for the mixing desk back in Eden Studios in the late ’80s while conjuring beautifully basic rhythm tracks that sound like someone kicking against the floor to keep a beat going.

     

    Timeless and out of time, We Are Catchers is a long player that easily could have come about in 2014 or 1966. Wistful and hopelessly romantic, it’s the soundtrack to the city of Liverpool daydreaming under a different sky, a record that makes sense of the undeniable melodic and rhythmic connections that link two of rock’n’roll’s richest wellsprings.

     

     

    We Are Catchers is Peter Jackson (vocals and piano). The album was recorded with a little help from Bill Ryder-Jones, Austin Murphy, Richard Formby & Henry Broadhead. It was recorded in Eve Studios and in Peter’s house and produced by Peter, Bill Ryder-Jones and Darren Jones. 

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    Wesley Gonzalez

    Posted on 20 May 2020

    British singer/songwriter Wesley Gonzalez first made a name for himself as the enigmatic leader of Let’s Wrestle, a sharp-witted London trio whose tuneful and eccentric punk earned critical accolades and a devoted audience. Gonzalez, along with bassist Mike Lightning and drummer Darkus Bishop, formed Let’s Wrestle in 2005 when he was 15 years old. They earned a somewhat fiery reputation both as a wily live band and for their three LPs, ‘In the Court of the Wrestling Let’s’ (2009), ...

    British singer/songwriter Wesley Gonzalez first made a name for himself as the enigmatic leader of Let’s Wrestle, a sharp-witted London trio whose tuneful and eccentric punk earned critical accolades and a devoted audience. Gonzalez, along with bassist Mike Lightning and drummer Darkus Bishop, formed Let’s Wrestle in 2005 when he was 15 years old. They earned a somewhat fiery reputation both as a wily live band and for their three LPs, ‘In the Court of the Wrestling Let’s’ (2009), ‘Nursing Home’ (2011), and ‘Let’s Wrestle’ (2014). Over the course of their ten-year run, the band achieved moderate commercial success, but earned the distinction as a reliable critic’s fave but decided to call it a day, playing a final show at London’s 100 Club in 2015.

    After disbanding the group Gonzalez wasted little time forging a solo career for himself in the wake of his former band’s demise. He assembled a live band for his solo work that included Euan Hinshelwood. Expanding from the guitar-driven music of his former band, he fielded an interesting concoction of classic ’70s-influenced pop, soul, and indie rock, which he described as being influenced by Donny Hathaway and Sly & the Family Stone.

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    Wet Leg

    Posted on 22 June 2021

    moisturizer. Active ingredients: kinship, Davina McCall, tourburn, ketamine, true love, every Alien film, Dan Carey, devotion, the Solent, CPR dolls, rapid success, Jennifer and Needy, obsession, guitars, lesbian sex, Suffolk, and cabin fever. The ripping second album by Wet Leg, the Isle of Wight five-piece founded by Rhian Teasdale and Hester Chambers is fun and freaky and fabulous, an unbridled display of the live muscle they built up over a few years of non-stop touring. Punchier, prettie...

    moisturizer. Active ingredients: kinship, Davina McCall, tourburn, ketamine, true love, every Alien film, Dan Carey, devotion, the Solent, CPR dolls, rapid success, Jennifer and Needy, obsession, guitars, lesbian sex, Suffolk, and cabin fever. The ripping second album by Wet Leg, the Isle of Wight five-piece founded by Rhian Teasdale and Hester Chambers is fun and freaky and fabulous, an unbridled display of the live muscle they built up over a few years of non-stop touring. Punchier, prettier and more perverted where it counts, moisturizer is an album of manic love songs and well-timed kiss-offs, delivered by a clan of the UK’s most beloved oddballs. Apply liberally.

    In a sense, work on moisturizer began before Wet Leg’s self-titled 2022 debut album even came out. Touring with Ellis Durand (bass), Henry Holmes (drums), and Joshua Mobaraki (guitar, synth), Wet Leg developed into a taut, caustic live operation that made good on that album’s success: #1 chart placements at home and abroad, three Grammys, two Brits and over half a billion streams. If success presents a fork in the road for any new band – to “go pop” or keep following your muse – Wet Leg emphatically chose the latter path. They arrive into 2025 a peerless, road-tested unit, with a new willingness to bare their fangs in the form of abrasive guitar lines and brash, heavy-mettle beats.

    moisturizer is out July 11th via Domino Recording Co.

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    The Whip

    Posted on 20 May 2020

    Between that bewildering news bite and the bitter breakup of New Order, one has to wonder: Who the hell is making important music in Manchester these days? Well, The Whip, for starters. Just ask the Parisians who run Kitsuné Records—a taste-making label/lifestyle company that dropped The Whip’s “Divebomb” 12-inch in 2007. Or anyone who’s been swept up in the band’s limb-loosening gigs over the past year, including a festival-conquering Glastonbury appearance and buzz-stirring sho...

    Between that bewildering news bite and the bitter breakup of New Order, one has to wonder: Who the hell is making important music in Manchester these days? Well, The Whip, for starters. Just ask the Parisians who run Kitsuné Records—a taste-making label/lifestyle company that dropped The Whip’s “Divebomb” 12-inch in 2007. Or anyone who’s been swept up in the band’s limb-loosening gigs over the past year, including a festival-conquering Glastonbury appearance and buzz-stirring shows at CMJ and SXSW.

    Sure enough, Mixmag has already linked The Whip to their Mancunian ancestors, calling them “the best example of dance and rock since Happy Mondays.” And the NME, well, they’ve declared the band “the best thing to happen to dance music since James Murphy’s delusions of time-travel.” While such comparisons are clear starting points for understanding how their songwriting has evolved, The Whip is much more than a rock band that just discovered synths or New Order for the iPod generation.

    “We’ve been doing dance music for a long time,” says vocalist/guitarist Bruce Carter, “And while we love the beats and the energy of it, we’re also obsessed with Fleetwood Mac’s RUMORS. Every part has its place in a record like that, you know?”

    Indeed. That’s why Carter and The Whip’s primary synth/slinger/co-songwriter, Danny Saville, were determined to make their debut album (X MARKS DESTINATION) such a winding collection of 180’s. Take “Trash,” the group’s debut single in the states. While it started as a “story about not wanting to meet people’s expectations,” Saville and Carter eventually remixed it entirely “to make it more punchy.” And by punchy, Carter means looped lyrics and hypnotic hooks, washed down with chug-a-lug chords and the well-oiled rhythm section of drummer Fiona Daniel and bassist Nathan Sudders. With that dynamic duo providing The Whip’s heartbeat, and Carter and Daniel coloring in all the lines, the quartet also tackles prickly power ballads with the frayed electronics and nerves of “Save My Soul” and “Sirens,” robot rock that brings to mind scuffed leather on “Blackout,” midnight drives on “Frustration,” and dance floor detonators complete with laser-guided melodies and glimpses of guitar with “Sister Siam” and “Fire.”

    X MARKS DESTINATION was produced by Jim Abiss, best known for his work with Björk, Arctic Monkeys and Kasabian. “The album was 90-percent done before we spent a month with Jim,” explains Carter. “He was lent a fresh set of ideas and pushed us to make certain bits better, though. Like we wanted to make the end of ‘Blackout’ a techno wig-out, but he pushed us to go all psychedelic with it.”

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    White Fence

    Posted on 20 May 2020

    ‘For the Recently Found Innocent’ (2014 Drag City) is many things — the fifth White Fence album, the first White Fence album to be recorded outside the bedroom fence (with live drumming!), the first White Fence record to be produced for Drag City Records. Plus also, a sophomore pump: the second time that Tim Presley and Ty Segall (also Domino Publishing) have met to record music (does anyone remember Hair?), this time pure and simply committed in the name of White Fence. Inevitably, the...

    ‘For the Recently Found Innocent’ (2014 Drag City) is many things — the fifth White Fence album, the first White Fence album to be recorded outside the bedroom fence (with live drumming!), the first White Fence record to be produced for Drag City Records. Plus also, a sophomore pump: the second time that Tim Presley and Ty Segall (also Domino Publishing) have met to record music (does anyone remember Hair?), this time pure and simply committed in the name of White Fence. Inevitably, the collision at the intersection of all these winding roads is a beautiful pileup of deep impacts, graceful lines and open space embodied in sound, White on White, compacted for your eyes and ears to believe. White Fence’s previous release, ‘Cyclops Reap’ (Castle Face 2013) demonstrated a process being executed at the top of its game (which, we know, is NOT a game). ‘For the Recently Found Innocent’ surges forth with fresh set of elaborately crafted songs, harmony vocalizations and trippin’ guitar tones that strike the face and viscera with an equal (easy) blow. White Fence conjure a fantasy about reality, of the world as it is and should always be; their songs are alterna-hits played out in green sun, in blue air, on repeat, relentless, RIGHTEOUS in the privacy of front-parlor and yes, bedroom — White Fence, full-circle, from the cradle to the grave!

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    White Lung

    Posted on 20 May 2020

    After the critically acclaimed release Deep Fantasy (2014), White Lung return with their fourth album Paradise. Vocalist Mish Barber-Way, guitarist Kenneth William and drummer Anne-Marie Vassiliou, reconnected in Los Angeles to work with engineer and producer Lars Stalfors (HEALTH, Cold War Kids, Alice Glass). In October of 2015, White Lung spent a month in the studio, working closely with Stalfors to challenge what could be done with their songs. Bringing all the energy, unique guitar work a...

    After the critically acclaimed release Deep Fantasy (2014), White Lung return with their fourth album Paradise. Vocalist Mish Barber-Way, guitarist Kenneth William and drummer Anne-Marie Vassiliou, reconnected in Los Angeles to work with engineer and producer Lars Stalfors (HEALTH, Cold War Kids, Alice Glass). In October of 2015, White Lung spent a month in the studio, working closely with Stalfors to challenge what could be done with their songs. Bringing all the energy, unique guitar work and lyrical prowess Rolling Stone, Pitchfork, NME have praised them for in the past few years, White Lung curated their songs with a new pop sensibility. Mixed by Stalfors and later mastered by Joe LaPorta, Paradise is their smartest, brightest songwriting yet.<

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    White Williams

    Posted on 20 May 2020

    Joe Williams, the Cleveland born 24-year old behind White Williams, played piano from a young age, often being scolded by his piano teacher for making his own sounds and messing with the pedals. By the age of 15 he was drumming for a noisy scream band whose first show was opening up for Black Dice and the Rapture. Playing in DIY venues exposed Joe Williams to a wild party lifestyle of fires, noise bands, art and performance. With a growing interest in electronic music, he started making music...

    Joe Williams, the Cleveland born 24-year old behind White Williams, played piano from a young age, often being scolded by his piano teacher for making his own sounds and messing with the pedals. By the age of 15 he was drumming for a noisy scream band whose first show was opening up for Black Dice and the Rapture. Playing in DIY venues exposed Joe Williams to a wild party lifestyle of fires, noise bands, art and performance. With a growing interest in electronic music, he started making music on his computer incorporating samples, triggered drums and machines, and formed his first electronic music project, So Red, in 2001. Since then White Williams has toured with Gregg Gillis’ Girl Talk and Dan Deacon, and found himself gravitating towards pop music with the use of vocals and physical instruments. White Williams became enamored with learning about the studio situations of his favorite albums of the 70’s and 80’s. This shows up in Smoke, where many of the sounds are algorithmically generated, guitars and vocals repitched, copied and pasted, and sometimes heavily edited or not edited when they should be. The result is a truly modern – yet at certain moments nostalgic – collection of irresistible pop songs.

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    Wild Beasts

    Posted on 20 May 2020

    “On the last day of making Boy King I had a minor breakdown in knowing what part of myself I was revealing. It’s a bit ugly, a bit grubby, arrogant,” says Hayden Thorpe, reflecting on the recording of Wild Beasts’ fifth album, their most naked and direct to date and a marked change from the optimistic aesthetics of 2014’s Present Tense. If that album found Thorpe, Tom Fleming, Ben Little and Chris Talbot in reflective mood, absorbing a fascination with online culture and electronic ...

    “On the last day of making Boy King I had a minor breakdown in knowing what part of myself I was revealing. It’s a bit ugly, a bit grubby, arrogant,” says Hayden Thorpe, reflecting on the recording of Wild Beasts’ fifth album, their most naked and direct to date and a marked change from the optimistic aesthetics of 2014’s Present Tense. If that album found Thorpe, Tom Fleming, Ben Little and Chris Talbot in reflective mood, absorbing a fascination with online culture and electronic music, Boy King has them, as Fleming puts it, “back to being pissed off”. Wild Beasts’ ever-present knack for sensual melody via Thorpe and Fleming’s duetting vocals, Little’s sinuous guitar groove and Talbot’s potent rhythm section carries in Boy King an aggressive, snarling and priapic beast that delves into the darker side of masculinity and Thorpe’s own psyche. As Hayden himself says, “After five records there had to be an element of ‘what the fuck?'”. Wild Beasts decided to find their way into the follow-up to Present Tense with a complete change in how they approached their craft. This moment of realisation that they needed to change how they wrote songs was, says Thorpe, hugely liberating: “The only thing you can do from that point onwards is turn your vehicle into traffic and play chicken with yourself, and do all the things you said you’d never do.”

    This was the pressure that Wild Beasts put themselves under when they began sessions writing from nine to five in their London studio. Thorpe says that he had a combination of the soulful pop of Justin Timberlake and industrial grit of Nine Inch Nails as touchstones as to where he wanted the record to go, an eclectic ambition that ultimately ended being pushed even further by a friendly rivalry between he and Fleming that developed during writing. “He arrived at the rehearsal room early on with a white Jackson guitar and started shredding”, as Thorpe puts it, “over what I’d always intended to be a soul album.”

    Far from being problematic, however, this creative friction proved key to unleashing the unique pop sensibility of Boy King – Fleming’s more visceral experimentation unlocking new dimensions in Thorpe’s own writing as the sessions went on. “I began to hear a lot more aggression in what he was bringing – a lot more forward-facing, less pensive stuff,” Fleming explains. “Every time I did something ridiculous, everyone responded well, which enabled us all to push everything further and have more fun with it. Everything I thought was guilty came across really well in the rehearsal room”.

    After spending a whole year finessing this new found impetus in East London, the band emerged with a collection of songs ready to take to Dallas and producer John Congleton. “We wanted to find the most insensitive way of finishing it, the most crude, hack-handed,” as Thorpe explains. “It had to be guttural, the absolute opposite of Present Tense – that was the only way of keeping it alive”.

    Both Thorpe and Fleming credit that trip to Dallas with teasing out the raw power of Boy King. In the studio, the band kept up the intensity of the office hour routine they’d employed during writing sessions and, they say, responded well to Congleton’s sober discipline. “He made us get in there, get on and do it,” Fleming says. “English politeness never featured.”

    “John just said ‘come with an open heart and an open mind’,” enthuses Thorpe. “Just asking that simple thing, among all the noise and the superstition of making a record, was for me quite profound. I thought ‘OK, this is a very human experience’, and it’s a human record in that sense. It’s a bit sloppy, it’s a bit glitchy, it’s a bit unkept. That for me is what’s so heartening about it – we’ve allowed the ugliness to show.” 

    The raw pop of Boy King‘s songs are the perfect foil to Thorpe’s libidinous lyricism: “it became apparent that that guitar almost became the character within the songs, that phallic character, the all-conquering male,” he says. “I’m letting my inner Byron fully out, I thought I’d tucked him away, but he came screaming back like the Incredible Hulk.”

    The flawed and unsettled nature of the male condition has obsessed and imbued Wild Beasts since their earliest days. Yet on Boy King it finds this obsession realised with a bracing honesty. Fleming and Thorpe feel this is rather timely in an age where male identity seems to be in crisis. “There’s a lot of ‘he protests too much’ you stick your chest out and think what a big dick you’ve got, but really? Do you believe that?” Fleming says, admitting that, initially, they mocked those men… “but then we realised we were that, that we’re part of the joke”.

    Thorpe describes Boy King as “a record for the Tinder generation” where everyone has a license to have a few sexual identities for reality (IRL), or online. Yet it’s also a time when perhaps some of the more primitive urges that he’s allowed out on the album are suppressed and find their outlet in things like… shopping. Get My Bang for instance, was inspired by the orgy of commercialism that happens every Black Friday. “It’s all about the horrific lengths you have to go to to get gratification in today’s society where we can’t live out these Byronic characters, so we have to go shopping and fight each other over TVs to satisfy the id, that primal part – that’s how people get off.” 

    How few groups could manage to make a record so intense that, at times, sounds so sweet. Here lies Boy Kings’ greatest success. ‘2BU’ sees a Fleming vocal, drum machine and a glittering synth chorus reminiscent of David Sylvian’s Japan rising together in yearning over, contrastingly, some of the darkest lyrics on the record, about being “the kind of guy who wants to watch the world burn.” For all the leering, gimlet-eyed funk rock of ‘Tough Guy’, ‘Big Cat’ and ‘Get My Bang’ and lyrics that slide between prowling aggression and interior darkness, there are glorious, gorgeous moments. So ‘Celestial Creatures’ powers forward with an engine fueled as if by amphetamines, a celebration of the communal powers of the dancefloor, and marks one of the finest tracks Wild Beasts have yet written.

    It all ends, as Wild Beasts albums are wont to do, with a stripped back moment of reflection that ties the rest of the record together, and provides a moment of quiet acceptance. So it is with the processed vocals of the quietly elegiac Dreamliner. “That’s the point the inner Byron realizes his own vulnerability, and becomes a boy again”, explains Thorpe. It’s a beautiful end to yet another incomparable Wild Beasts record, a visceral, sensual and jolting body of work that acts as a remarkable soundtrack to the early 21st century male malaise. Or as Thorpe puts it: “I think Boy King is an apocalyptic record. It’s about swimming in the abyss. When you think about sex, you’ve got to think about death, they’re one and the same.”

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    Wild Smiles

    Posted on 20 May 2020

    Wild Smiles are Winchesters’ very own Chris Peden, Joe Peden and Ben Cook. In 2013 they released their debut A/A ‘Sweet Sixteen/Tangled Hair’ on Geoff Barrow’s Invada Records. A 5 track EP soon followed which gained attention from the likes Zane Lowe and Huw Stephens and then the band hit the road. Wild Smiles had by this point ditched the debut album they already had completed and took time out to concentrate on honing their song-writing, determined that every track would be a classi...

    Wild Smiles are Winchesters’ very own Chris Peden, Joe Peden and Ben Cook. In 2013 they released their debut A/A ‘Sweet Sixteen/Tangled Hair’ on Geoff Barrow’s Invada Records. A 5 track EP soon followed which gained attention from the likes Zane Lowe and Huw Stephens and then the band hit the road. Wild Smiles had by this point ditched the debut album they already had completed and took time out to concentrate on honing their song-writing, determined that every track would be a classic. Their debut ‘Always Tomorrow’ was released in 2014 via Sunday Best.

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    Wilma Archer

    Posted on 20 May 2020

    Wilma Archer (nee Will Archer) is a London-based writer, producer, composer and performer who has been creating and releasing music in various forms since his early teens. Signed to Domino Recordings, he’s released two solo records, one under the name Slime and a second as Wilma Archer. Outside of his own work, Archer has proven himself an active collaborator, working with a range of artists including MF Doom, Sudan Archives, Sam T. Herring of Future Islands, Jessie Ware & Celeste, alon...

    Wilma Archer (nee Will Archer) is a London-based writer, producer, composer and performer who has been creating and releasing music in various forms since his early teens. Signed to Domino Recordings, he’s released two solo records, one under the name Slime and a second as Wilma Archer. Outside of his own work, Archer has proven himself an active collaborator, working with a range of artists including MF Doom, Sudan Archives, Sam T. Herring of Future Islands, Jessie Ware & Celeste, alongside working extensively on all three Nilufer Yanya albums as writer and producer, and making two records with former Odd Future member Pyramid Vitra as Wilma Vitra.

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    Wilsen

    Posted on 20 May 2020

    Wilsen is the creation of 27-year-old London native Tamsin Wilson. Forged in the burgeoning creative quarters of Brooklyn, Wilsen’s fragile, seductive sound sits at odds with the transient cultural moods of her adopted neighbourhood, instead sharing a closer creative affinity with the timeless sonic textures of European dream pop.

    Alongside Wilsen bandmates Johnny Simon Jr and Drew Arndt – both songwriters & producers in their own right – Tamsin Wilson’s passion is for the...

    Wilsen is the creation of 27-year-old London native Tamsin Wilson. Forged in the burgeoning creative quarters of Brooklyn, Wilsen’s fragile, seductive sound sits at odds with the transient cultural moods of her adopted neighbourhood, instead sharing a closer creative affinity with the timeless sonic textures of European dream pop.

    Alongside Wilsen bandmates Johnny Simon Jr and Drew Arndt – both songwriters & producers in their own right – Tamsin Wilson’s passion is for the detail; each Wilsen song is tirelessly sculpted over time, building an atmosphere, a mood, a state of mind. Simon Jr’s minimalist guitar melodies and Arndt’s rhythmic basslines create a platform for the gossamer vocals of Tamsin Wilson, by turns ethereal and earthy, and the rich driving force behind Wilsen’s gentle rise.

    Wilsen’s debut release was eight-track mini-album ‘Sirens’. This was followed by EP ‘Magnolia’ and a couple of standalone singles, ‘Garden’ & ‘Centipede’. The debut Wilsen album is due for release in spring 2017.

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    The Wolfgang Press

    Posted on 01 September 2022

    One of 4AD’s longest serving acts, The Wolfgang Press were formed by Michael Allen (vocals, bass) and Mark Cox (keyboards) in 1983. The pair had previously played alongside future Adam And The Ants guitarist Marco Pirroni in Rema-Rema, who cut one EP for the label in 1980. They then briefly reunited in Mass, who managed a single and an album before disbanding (Mass colleagues Gary Asquith and Danny Briottet went on to form Renegade Soundwave). The Wolfgang Press’ debut album, The Burden ...

    One of 4AD’s longest serving acts, The Wolfgang Press were formed by Michael Allen (vocals, bass) and Mark Cox (keyboards) in 1983. The pair had previously played alongside future Adam And The Ants guitarist Marco Pirroni in Rema-Rema, who cut one EP for the label in 1980. They then briefly reunited in Mass, who managed a single and an album before disbanding (Mass colleagues Gary Asquith and Danny Briottet went on to form Renegade Soundwave). The Wolfgang Press’ debut album, The Burden Of Mules, ploughed a similar post-punk furrow to Rema-Rema and Mass. It featured guest contributions from fellow 4AD signings Richard Thomas (Dif Juz) and David Steiner (In Camera), plus, crucially, guitarist Andrew Gray. The latter soon joined the group full-time. 1985’s The Legendary Wolfgang Press And Other Tall Stories compiled remixed and alternate versions of tracks from the Scarecrow, Water and Sweatbox EP trilogy, which had been produced by Robin Guthrie of the Cocteau Twins. The trio’s range was expanding to include both poppier and more experimental material. Their second album proper, Standing Up Straight, arrived in May 1986. An intense blend of industrial and classical tropes, it also featured the inimitable guest vocals of Cocteau Twin Elizabeth Fraser on ‘I Am The Crime’. Two years later, Bird Wood Cage saw the band take a bold step into more melodic territory, incorporating wah-wah funk, female backing vocals and a tinge of dub reggae. The Wolfgang Press’ transformation from moody post-punkers to avant-dance groovers was completed by 1991’s Queer, which featured ex-Throwing Muses bassist Leslie Langston. Heavy use of samples led to copyright issues in America, resulting in the entire record being re-recorded or remixed for its Statesside release. The trio’s fifth and final album came out in January 1995. Aptly titled Funky Little Demons, it was entirely devoted to dancefloor-friendly fare. This most enigmatic and underappreciated of groups disbanded shortly afterwards. In 2001, 4AD issued the retrospective compilation Everything Is Beautiful, featuring key tracks and rare mixes from all stages of The Wolfgang Press’ lengthy career. The following year, Andrew Gray released a solo album, Homegrown, under the name Limehouse Outlaw. This featured guest vocals from Michael Allen, who re-emerged himself in June 2005 with Geniuser, a collaboration with The Orb associate Guiseppe De Bellis.

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    The Wytches

    Posted on 20 May 2020

    Formed in November 2011 after moving down from Peterborough, this Brighton based Surf/Doom three piece comprise of guitar/organ/lead vocalist Kristian; semi-professional poker playing drummer Gianni, and fiercely eloquent bassist Dan, who is currently writing a science fiction novel by the name of The Curious Adventures of Charlie Revel. They released their first single, the AA-side ‘Beehive Queen/Crying Clown’, via HateHateHate Records on June 3rd 2013, which sold out almost immedia...

    Formed in November 2011 after moving down from Peterborough, this Brighton based Surf/Doom three piece comprise of guitar/organ/lead vocalist Kristian; semi-professional poker playing drummer Gianni, and fiercely eloquent bassist Dan, who is currently writing a science fiction novel by the name of The Curious Adventures of Charlie Revel. They released their first single, the AA-side ‘Beehive Queen/Crying Clown’, via HateHateHate Records on June 3rd 2013, which sold out almost immediately. Following the success of ‘Beehive Queen’, the band re-released ‘Digsaw‘ as a limited white label 7”. In November 2013, the band released a second AA side single, ‘Robe For Juda / Wide At Midnight’ again with HateHateHate records. This has gained them more radio play from the likes of Zane Lowe and Huw Stephens (for which the band recorded a live session at Maida Vale) at BBC Radio 1, and Marc Riley on BBC 6 Music who has had them in for live sessions twice this year.

    The second Wytches album was released on Heavenly Recordings in 2016 and was titled ‘All Your Happy Life.’ The album was recorded by Jim Sclavunos (Nick Cave and The Bad Seeds / Grinderman) in Chapel Studios in Lincolnshire and then Toe Rag in East London, and mixed by Sclavunos and Mikey Young (Total Control Eddy Current Suppression.)

    Watch the video for ‘C Side’ below.

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    Yo! Majesty

    Posted on 20 May 2020

    “This is about being real. Straight up. We believe in what’s just, what’s right, what’s real…” – Shunda K of YO! MAJESTY

     

    When YO! MAJESTY’s self promoted Yo EP surfaced in 2006, everyone who heard it couldn’t help raising an eyebrow along with a fist. With a quickness, the liberating chant of “fuck dat shit” – echoed in the standout track “Club Action” – spread throughout the world as listeners began ...

    “This is about being real. Straight up. We believe in what’s just, what’s right, what’s real…” – Shunda K of YO! MAJESTY

     

    When YO! MAJESTY’s self promoted Yo EP surfaced in 2006, everyone who heard it couldn’t help raising an eyebrow along with a fist. With a quickness, the liberating chant of “fuck dat shit” – echoed in the standout track “Club Action” – spread throughout the world as listeners began to wonder, “Just who the hell are these girls and what the hell is their deal?” As the story got out and the group’s music and reputation spread, the curiosity only deepened. The two ladies straightening this amalgam of hip hop, hard rock, gospel, electronica and whatever the hell Parliament was, are Shunda K and Jwl. B, motivating listeners to confront their personal concept of reality from festival stages, Brooklyn loft parties and exclusive rooftop soirees “dripping with billionaires” where the newly initiated are left squirming on the floor. As the group’s outspoken Shunda K states in an impromptu interaction with a fan on YouTube, “Ain’t nobody doing it like YO! MAJESTY. There’s no competition.”

     

    Much was made of YO! MAJESTY’s 2007 shows at the South by Southwest music conference where the swampy, humid air of their hometown of Tampa seemed to follow them, and where Jwl. B was moved to toplessness during most of her performances. Jwl. explained away this historic occurrence in the pages of the New York Times stating “…your boy 50 Cent does his show with his shirt off. Why can’t I? God made me who I am, and I’m comfortable in it. I want people to know you don’t have to look glamorous to be an inspiration.” “Fuck him,” Shunda K defiantly responded to a similar comment about 50 in URB Magazine. “This ain’t no fairytale shit.” AMEN.

     

    Now, with the upcoming release of YO! MAJESTY’s much anticipated, never to be duplicated full-length, Futuristically Speaking… Never Be Afraid (out on the 29th of September 2008), listeners will find themselves with just as many questions as answers. Shocking lyrics, deep spirituality, matter of fact sexuality (these girls dig on girls), and an overriding commitment to consciousness elevation are brought together on a record that cannot be ignored, and regardless of perception, will be received as an instant classic. Prince’s whole career has been built on cornerstones of God and sex, Marvin Gaye said both “What’s Going On” and “Let’s Get It On,” and like these legends, the women of YO! MAJESTY have lent their intensely unique perspective to this conflicting conversation. And you know you’re listening!

     

    Signed to Domino Records in 2007, Shunda K and Jwl. B have spent the last year performing around the world and hooking up in the studio with the world’s freshest producers including Basement Jaxx, Sunship, Radio Clit, Dee Kline, Germany’s CLP, Switzerland’s Mercedes and with what has become the YO! MAJESTY home team, Hard Feelings UK. The resulting album is not a mere debut – it’s more of a debut philosophy, a debut mantra, a debut that takes hip hop back to the muthafucking people and rips, tears and destroys preconceived notions about all manner of topics, including those that have formed about Shunda K and Jwl. B themselves – two women that managed to fight through the bullshit to be here with you today when they are most needed.

     

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    Yorkston/Thorne/Khan

    Posted on 20 May 2020

    The second Yorkston/Thorne/Khan album represents a confluence of currents, among them the north Indian sarangi; jazz-tinged bass, reminiscent in places of Danny Thompson; acoustic guitar that owes a debt to Elizabeth Cotton, Dick Gaughan and Mississippi John Hurt; and three very different vocalists. The combination is unusual: YTK’s Everything Sacred, released in 2016, may be the only precedent. Yet while, on paper, the constituent elements might seem disparate, the new album is, if any...

    The second Yorkston/Thorne/Khan album represents a confluence of currents, among them the north Indian sarangi; jazz-tinged bass, reminiscent in places of Danny Thompson; acoustic guitar that owes a debt to Elizabeth Cotton, Dick Gaughan and Mississippi John Hurt; and three very different vocalists. The combination is unusual: YTK’s Everything Sacred, released in 2016, may be the only precedent. Yet while, on paper, the constituent elements might seem disparate, the new album is, if anything, even more coherent than its predecessor. It also basks in a truly magnificent title: Neuk Wight Delhi All-Stars. Just don’t call it fusion.

    ‘The last Yorkston/Thorne/Khan album was seen by some as fusion,’ says James Yorkston, ‘and I can see that. There are elements of jazz and Indian classical tradition coming together with acoustic song. But the word fusion suggests forethought, an attempt to combine the most disparate elements possible, and YTK wasn’t like that. Suhail and I met purely by chance and became friends. We’re pals. I just see it as a band.’

    YTK also doesn’t qualify as fusion, laughs Yorkston, because he’s not that kind of guitarist. ‘Fusion implies polite, well played. Suhail and Jon are virtuosos, but what I do is not always pretty. I bring more of a punk energy. It’s like that Leonard Cohen quote about the cracks that let the light in.’ This is, he laughs, a pretty cracked album.

    YTK released their first album, Everything Sacred, in 2016, but they are hardly lacking in experience. Yorkston’s 2002 debut was named Rough Trade’s album of the year and he has gone on to work with everyone from Kieran Hebden (aka Four Tet) and Hot Chip’s Alexis Taylor to Martin Carthy and Bert Jansch. He has also released a total of seven acclaimed solo albums for Domino alongside many other Fence Records releases. There’s also been a book of tour diaries and, in 2016, the novel Three Craws. The bassist and composer Jon Thorne, who came to prominence with Lamb, has also worked with Iron And Wine, Robert Fripp, Donovon, Sam Lee, Vashti Bunyan and Green Gartside. He and Yorkson have been playing together since 2009. YTK took root when Yorkston met Suhail Yusuf Khan, the award-winning sarangi player and singer from New Delhi, backstage at a gig in Edinburgh. Khan is part of several groups including Advaita, an eight-piece Indian band recorded by John Leckie. His grandfather, Ustad Sabri Khan, played with George Harrison, Pandit Ravi Shankar and Yehudi Menuhin.

    Together, they walk on untrodden ground.

     

    ‘The combination of a singer-songwriter, a jazz bassist and an Indian classical sarangi player is totally unheard off,’ says Khan. ‘For me, the lack of percussion, especially, gives me the freedom to do loads more sonically. I can be minimalistic and more extravagant at the same time. YTK is also different to anything else I’m involved in because I am constantly responding to the musical energies of James and Jon, trying to absorb the influences they bring to the table and react to that. It’s a process of sharing and learning.’  

    ‘I see YTK as an extension of the musical relationship James and I have already established,’ agrees Thorne, ‘but made unique by blending it with Suhail’s Indian sounds. It’s my first experience playing with saranghi and Indian classical singing. Best of all, this is the first time, to my knowledge, that this combination of instruments has ever been recorded. It’s very exciting.’ 

    What the three musicians share is a love of improvisation:

    ‘I was in bands in my 20s,’ says Yorkston, ‘and I remember one band that played the same set night after night. That killed it for me. What I like in my own shows is the freedom to go off-piste a little bit. I love that element of improvisation, and of course it’s there in Indian classical music as well as in jazz.’

    The trio have continued this semi-improvised approach in the studio, with most tracks recorded live, some with very little rehearsal.

    ‘I’ve known the Anne Briggs version of Recruited Collier for years,’ says Yorkston, ‘and I sang it live a while ago. When we tried it in the studio, Suhail added this singing, which I really wasn’t expecting. It just gives this adrenaline boost.’

    False True Piya, similarly mingles traditions: from Britain, via the Appalachian Mountains, and from India.

    ‘Piya is a word in the Hindi language, meaning beloved,’ explains Khan. ‘The Hindi lyrics of the song were composed and written by me. They talk about a lover who is longing for a beloved, devastated by pain. A point comes when the lover starts hallucinating that the beloved has arrived and starts having conversations with this hallucination. There is a strange feeling of dark happiness: the beloved is there, but only as a hallucination.’

    ‘When Suhail explained the Hindi lyric to me,’ Yorkston continues, it reminded me of the great old song The Daemon Lover, also known as The House Carpenter, so I sang a fragment of Annie Watson’s version to introduce the piece.’

    All three members contribute vocals to Neuk Wight Delhi All-Stars. Tracks sung by Yorkston include Bales and The Blues You Sang; those sung by Khan include Jaldhar Kedara (Wedding Song), an old Indian piece he picked up from his grandfather. Thorne, finally, sings his own One More Day, Yorkston’s The Blue of the Thistle and the Ted Sheldrake number Just A Bloke.

    ‘One More Day was a song I wrote during the session,’ says Jon. ‘I actually only finished writing it on the last day. I wrote it as a love letter to my wife and family. I get homesick on the road and wanted a song about homecoming to sing every night next time we tour to ease it.’

    There’s a real sense, in all these pieces, that Neuk Wight Delhi All-Stars represents a step on from Everything Sacred.

    ‘You can hear a greater unity in our sound from having played together for a year,’ says Thorne. ‘The first album came very quickly after we got together and we were finding our way more at that point. Also, James has pushed me far out of my comfort zone this time, making me sing on a couple of numbers.’

    ‘This record is more together in comparison to the previous one,’ agrees Khan, ‘though I’m not saying the last one wasn’t together. We’ve understood each other’s personalities and musicalities slightly more. The songs sound a bit tighter, though they have the same rawness as the last one. In one line, I’d say we’ve almost cracked the YTK sound on the new record.’

    That sound sits more or less at the edge of song form. ‘Chori Chori is an example of how elastic the process can be,’ says Yorkston. ‘There is a basic structure there but we had no idea how long the bit in the middle would be.’ Halleluwah, meanwhile, was an improvised jam, based around a D minor drone. It is named after the Can song, just as Everything Sacred featured Knochentanz, named after the Faust composition.

    Neuk Wight Delhi All-Stars does not only bring together Indian classical music and jazz, then, but kosmische too; Yorkston also cites dub reggae, Uilleann pipes and the Madagascan guitarist D’Gary as influences. That breadth, says Thorne, is critical: ‘I think YTK is a fine example of how music operates without boundaries as a common international language and a source of cross-cultural unity. It’s an important message in the times that we live in.’

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    Young Magic

    Posted on 20 May 2020

    Young Magic is Jakarta born Indonesian-American vocalist Melati Malay, and Sydney-born songwriter-producer Isaac Emmanuel. The pair met in New York City in 2010 and began collaborating above a speakeasy in Brooklyn. Alongside original member Michael Italia, the trio signed to Carpark Records (Toro Y Moi, Beach House, Dan Deacon) on the strength of one single (Sparkly/You With Air) and a wave of positive press. Touring in Europe and North America began after a series of limited edition 7″ re...

    Young Magic is Jakarta born Indonesian-American vocalist Melati Malay, and Sydney-born songwriter-producer Isaac Emmanuel. The pair met in New York City in 2010 and began collaborating above a speakeasy in Brooklyn. Alongside original member Michael Italia, the trio signed to Carpark Records (Toro Y Moi, Beach House, Dan Deacon) on the strength of one single (Sparkly/You With Air) and a wave of positive press. Touring in Europe and North America began after a series of limited edition 7″ releases in 2011. The following year brought new visibility, acclaim, and artistic achievement with the release of the group’s full-length album debut, Melt.

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    Your Friend

    Posted on 20 May 2020

    Since the release of her debut self-recorded EP, Jekyll/Hyde, in early 2014 via Domino, Taryn Miller (Your Friend) brings us her debut album Gumption. 

     Miller began writing the songs that would become Gumption at her studio space and apartment in Lawrence, KS after returning from touring in mid-2014. Recorded with producer Nicolas Vernhes (The War on Drugs, Deerhunter) at the Rare Book Room in Brooklyn, Your Friend fulfilled a penchant for drones, loop...

    Since the release of her debut self-recorded EP, Jekyll/Hyde, in early 2014 via Domino, Taryn Miller (Your Friend) brings us her debut album Gumption. 

     Miller began writing the songs that would become Gumption at her studio space and apartment in Lawrence, KS after returning from touring in mid-2014. Recorded with producer Nicolas Vernhes (The War on Drugs, Deerhunter) at the Rare Book Room in Brooklyn, Your Friend fulfilled a penchant for drones, loops and found sounds. “I paid attention to textures,” Miller says. “I was trying to remove myself from an approach that I had followed before, but to be able to bring in that melodic element that is most inherent to me, and marry it with a more sonically meditative landscape.”

    Gumption deals with growing pains that come from self-inducing this sense of quiet that can be uncomfortably revealing. “I was sitting with myself so much, I got to know myself in ways I liked and ways I didn’t like,” Miller admits. Gumption is a record of courage, as its title suggests – of having the willingness to make necessary shifts, and to have a sense of self-awareness that ultimately leads to growth.

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    Youth Lagoon

    Posted on 20 May 2020

    In 2023, Trevor Powers released the acclaimed Heaven Is a Junkyard, an album of warped Americana that brought his focus back home. “I realised everything worth writing about is happening inside my house or right next door,” he says. “There’s an eternity of secrets in the American suburbs.” With Pitchfork awarding it “Best New Music” and The Guardian dubbing it a “masterpiece,” Youth Lagoon’s first album in eight years pushed the project into a neo-western realm that is bot...

    In 2023, Trevor Powers released the acclaimed Heaven Is a Junkyard, an album of warped Americana that brought his focus back home. “I realised everything worth writing about is happening inside my house or right next door,” he says. “There’s an eternity of secrets in the American suburbs.” With Pitchfork awarding it “Best New Music” and The Guardian dubbing it a “masterpiece,” Youth Lagoon’s first album in eight years pushed the project into a neo-western realm that is both deeply literary and musically vast, centred around an upright piano and static-coated electronics. In 2024, Youth Lagoon, the prized moniker of the Idaho-based songwriter, returns with the new single “Lucy Takes a Picture.

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    Zomby

    Posted on 20 May 2020

    Dubstep producer Zomby has created music almost completely anonymously since 2008, with his debut ‘Where Were U in ’92?’ Earning himself a cult following in Electronic music circles, He returns in 2013 with the 4AD release ‘With Love’, the follow up to ‘Dedication’ (2011).
    A record divided into two volumes, ‘With Love’ moves seamlessly between the dance floor and after-hours emotional introspection, serving as a love letter to the soulful dance music of his past.

    ...

    Dubstep producer Zomby has created music almost completely anonymously since 2008, with his debut ‘Where Were U in ’92?’ Earning himself a cult following in Electronic music circles, He returns in 2013 with the 4AD release ‘With Love’, the follow up to ‘Dedication’ (2011).
    A record divided into two volumes, ‘With Love’ moves seamlessly between the dance floor and after-hours emotional introspection, serving as a love letter to the soulful dance music of his past.

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