“Axiom’ is a statement of intent, a hit back against the apathy of modern living, an attack on idolisation and a call for all the marginalised to take the helm.
Foundations built upon a love for pop music, while leaning into their obsession over the golden era of dischord records & 90s college fuzz sounds. since 2014, the band have put out releases through well established labels, including their EP ‘A Lifetime Apart’ and their frst full length ‘No Discordance’ which followed in 2018 to critical acclaim – becoming a powerful punk/emo shot to the arm for the UK’s indie scene, seeing the band go on to support the likes of the Wildhearts, Mercy Union & Spanish Love Songs as well as a string of UK and international tours including a successful tour of Japan in 2019.
2021 brings their sophomore effort ‘Axiom’ – recorded by producer Bob Cooper, and mastered by Alan Douches (japandroids liars, frightened rabbit) the new album cuts into the state of modern living, discussing themes on isolation, social class and environmental change. not content with sitting still in their punk-pop bubble and retracing steps, Harker have pushed against the grain with ‘Axiom’ – a middle finger to force fed algorithm produced pop.
This release sees Harker at their most experimental yet, delving into new sonic territories evolving out of the bands earlier radio-popfuzz rooted sound – pulling in more left field infuences, such as sonic youth, jets to brazil & Black Sabbath.
Harker are a 4 piece ’emogaze’ band from Brighton,
Hailed by Rolling Stone as “one of the most intoxicating acts to come out of Australia in years,” Byron Bay power trio Skegss deliver their new Catherine Marks (Manchester Orchestra, PJ Harvey, The Killers) produced album “Rehearsal”. A thrill ride through the band’s laissez-faire lifestyle and sun kissed narratives of love, friendship and youthful musings, they combine surf, garage, and slacker elements to create their dynamic sound here. The trippy cover art comes courtesy of frequent collaborator Jack Irvine
Released today, the highly-anticipated album from the Byron Bay rockers offers up 13 tracks of garage rock goodness.
Described as a “thrill ride through the band’s laissez-faire lifestyle and sunkissed narratives of love, friendship and youthful musings,” the second full-length record from Skegss sees the trio create a collection of tracks that “push the band’s ethos of rolling with the punches and making it out on top.”
Now that the album is finally out in the world, we thought we would celebrate it with everyone by running a very special Skegss giveaway!
Thanks to Loma Vista Recordings and Caroline Australia,
New album “Rehearsal” Under exclusive license to Loma Vista Recordings. Distributed by Concord.
Singer songwriter John Murry is gearing up to release his next record, following the success of A Short History of Decay, which was praised by Uncut, Q Magazine, The Quietus, MOJO Magazine and Sunday Times. First from the upcoming album is ‘Oscar Wilde (Came Here To Make Fun Of You)’, a cryptic Americana single that walks the line between the comedic and the serious.
Out now. Both the track and video for Oscar Wilde (Came Here To Make Fun Of You), directed by Aiden Gillan is out now. Really glad to be getting new music out there and hope you’re digging it.
Y’all know we love music that’s left-of-centre here at Unrecorded. Stick indie or alternative before a genre and no doubt we’ll be giving it a spin. One sub-genre that doesn’t get enough light on the blog is alternative Americana and so we were stoked when John Murry‘s new single ‘Oscar Wilde (Came Here To Make Fun Of You)’ made it’s way into our inbox.
It’s a hard hitting piece of song writing that derives inspiration from some of life’s darkest moments, but as we can see from the music video, this doesn’t mean Murry takes himself too seriously. Directed by Irish actor Aiden Gillen (who you may know from The Wire, Game of Throne or Peaky Blinders), the visuals are obscure and avant-garde, making space for the watcher to figure out the meaning behind it all for themselves.
“We had been talking about various ideas for videos for a while,” Gillen says, “And I had this idea of John floating around my house – or did that happen in real life? – anyways I liked the idea of a John puppet floating around upside down and mentioned this to him, His ex had made this puppet with an uncanny likeness and I used whatever technology I had to hand – a phone camera, a stabilising gimbal and a two-euro macro lens to try and make something that looked nice for the puppet part. I mean, it’s not all in focus, but there a bit too much of that these days. I was asked for the puppet back, but I’d already lost it somewhere.”
‘The Stars are God’s Bullet Holes’ is not an album for an ordinary world, because it’s not an ordinary album.
It’s an album to dive deep into and submerge yourself in, and to emerge from aware that this world is a remarkable place, and that John Murry is a remarkable artist. John Murry’s third album is starlit and wondrous, like being wrapped in the softest black velvet. it’s an album of startling imagery and insinuating melodies, of cold moonlight and searing heat. it’s a record that penetrates to the very heart of you, searing with its burning honesty, its unsparing intimacy and its twisted beauty.
John Murry is gearing up to release his next record, following the success of A Short History of Decay,
Reissue of Bambara’s “Shadow On Everything“, released in 2018 to widespread critical acclaim, the album represented a decisive step forward for twin brothers Reid and Blaze Bateh – frontman and drummer, respectively – and their childhood friend, bassist William Brookshire.
Bambara is a grimy noise-rock band whose release “Shadow on Everything” is a cinematic achievement. The loose concept record mashes cowboy jangle with aggressive post-punk to form a scummy, empty landscape for characters to inhabit. Laced throughout is a winding, poetic tale of relationship strife and vignettes from the character’s hometown.
While prior to its release they had always been adept students of noise rock and post-punk, mining the work of bands like Swans and The Birthday Party to construct what NPR called “beautifully dynamic nightmares,” on “Shadow On Everything”, they boldly redefined their sound to create an album that clearly transcended their early influences and dramatically quickened the pace of their ascent from the underground. Consistent with their frenetic live set, the musical centre of Shadow On Everything is Bambara’s impossibly tight rhythm section, with Blaze’s manic drumming and William’s rock-steady bass-lines serving as the perfect canvas for Reid’s wild guitar squalls and howled vocals.
But the album’s recording marked the first time that Reid’s voice was pushed to the front of the mix, highlighting the damaged characters and seedy locales that interact and overlap throughout its 12 songs. A stridently experimental record, Shadow features everything from violin to saxophone arrangements, and is meticulously interspersed with outré ambient noise loops distilled down from hours of manipulated vocal collages.
Just two years after its release Shadow On Everything may seem like it was the logical next step for a band with experimental and punk origins that would go on to construct the intricate compositions displayed by its follow up Stray. In fact, Shadow On Everything memorialises Bambara putting everything on the line, because they knew they could be more than what anyone may have seen in them up to that point in time.
In 1978, The Clean were the seeds of New Zealand punk. In the years since, they have carved out a big sandbox for everyone to play in, and their influence resonates not only in NZ but around the world. A group that thrives when free of expectations, The Clean’s Robert Scott, Hamish Kilgour, and David Kilgour are, as Tape Op described, “a casually wonderful band.” This is a double reissue on the Merge Records label from The Clean’s ‘Unknown Country’ and ‘Mister Pop’ on vinyl. Originally released in 1996 and 2009, respectively.
“The Clean have always exuded a casual grace that suggests they’d still be making the same records even if no one was listening, employing the same set of devices ramshackle locomotive rhythms, buoyant basslines, swirling organ lines, and wide-smile melodies irrespective of prevailing fashions, technological developments, or geopolitical unrest. And yet, the Clean’s periodic resurgences serve as a reminder that, in a world of uncertainty, there are still some things you can rely on.”
David Kilgour on Mister Pop: “Mister Pop began in Brooklyn, NY, at Gary Olson’s Marlborough Farms studio and was completed in the basement hall of First Church Dunedin. There is more synthesizer on this album than the others, mainly an old Juno synth. I do remember having a bath in Brooklyn while Robert was downstairs singing and writing. I thought he was singing “he’s a factory man,” so I dried off and went down and wrote “Factory Man” while thinking heavily of The Kinks. Rainy and Geva from Haunted Love did some great work on backing vocals for “Loog” and “Dreamlife.” And old friend and longtime Clean collaborator Alan Starrett makes an appearance on “Moonjumper.”
Robert Scott on Mister Pop: “I remember thinking at the start of the NY sessions with Gary Olson, “Is this the start of a new album?” We were coming up with quite a bit of new stuff, and of course, Gary is great to work with. We carried on at Burlington St in Dunedin with (engineer and Heavy 8) Tex Houston at the controls, good fun from what I remember, lots of mucking around with keyboards and synths. We were going for that Krautrock groove and we sure got it on “Tensile,” one of my faves along with the pure pop of “Dreamlife.” “Loog” was a fun song to put together. “Asleep in the Tunnel” is written about being stuck in traffic in a tunnel under the Hudson River in NY.”
There are two notable moments of self-indulgence here, namely the hypnotic and repetitive buzzdrone of “Moonjumper,” which sounds—aptly, given the format of this re-release—a bit like a persistently skipping record, and the insistent, trippy groove of “Tensile,” which similarly gets stuck in a rut it can’t quite get out of, albeit for a much shorter time than the former song.
Still, Mister Popis a veritable demonstration of the idiosyncratic charms of these Kiwis, and a reinforcement of their rightful place in the pantheon of quirky alternative rock. Will it spur them on to make another record? We can only hope. This reissue is a timely reminder of their influence, but 22 years since it originally came out is more than a long enough wait for new music.
Though The Clean formed in 1978, in that four-plus decades the New Zealand band has only put out six full-length studio albums.Mister Pop was the last of these, first released in 2009 but only now—alongside the simultaneous reissue of 1996’s experimental Unknown Country—finding a home on vinyl in the U.S. for the first time.
In 1978, The Clean were the seeds of New Zealand punk. In the years since, they have carved out a big sandbox for everyone to play in, and their influence resonates not only in NZ but around the world. A group that thrives when free of expectations, The Clean’s Robert Scott, Hamish Kilgour, and David Kilgour are, as Tape Op described, “a casually wonderful band.”
This is a double reissue on the Merge label from The Clean’s ‘Unknown Country’ and ‘Mister Pop’ on vinyl. Originally released in 1996 and 2009, respectively. The Clean – one of the most overlooked yet influencial acts of the 1980’s with bands such as Pavement, Guided By Voices and Yo La Tengo acknowledging their debts to the New Zealand group. This track (‘Wipe Me, I’m Lucky’) comes from their 1996 release ‘Unknown Country’ (Flying Nun Records.)
“The Clean have always exuded a casual grace that suggests they’d still be making the same records even if no one was listening, employing the same set of devices ramshackle locomotive rhythms, buoyant basslines, swirling organ lines, and wide-smile melodies irrespective of prevailing fashions, technological developments, or geopolitical unrest. And yet, the Clean’s periodic resurgences serve as a reminder that, in a world of uncertainty, there are still some things you can rely on.”
David Kilgour on Unknown Country: “The Clean always wanna try something different, but on this LP, we were obsessed with the idea. Tracks like “Wipe Me, I’m Lucky” and “Franz Kafka at the Zoo” are fine examples of the approach, I reckon. Quite a long way from “Tally Ho!” and “Beatnik”!
I remember we generally left vocal ideas to last, after the tracks were recorded, so we never really knew where we were headed. Might also explain all the instrumentals! Made during the Balkan War, hence the reference. And for the freaks, I think “Balkans” is the only Clean track ever to not actually feature The Clean playing. It’s all Alan Starrett, as we removed the backing track.”
Robert Scott on Unknown Country: This album is very different from our other albums. We didn’t go into the studio with many “song” ideas—a lot of it was written on the spot. I really enjoyed recording this as it was free of expectation. We weren’t playing much live at the time. It does contain some of my favourite Clean songs such as “Twist Top,” “Wipe Me, I’m Lucky,” and “Valley Cab.” Certainly our most experimental album.
The idea that you never get a second chance to make a first impression—that’s only partly true. But when you’ve made as strong an impression as Tokyo Police Club did with their first record and a half—2007’s Lesson in Crime EP and 2008’s Elephant Shell it can be sneakily difficult to change the narrative, especially if the narrative has been good to you so far. But in deference to and celebration of its tenth birthday—that’s at least 50 in rock years—it is time to re-celebrate and re-examine Champ, the Canadian band’s fantastic-yet- underserved sophomore album.
“Champ” is something of a lost classic of new-millennium indie-pop and deserves to be hoisted to the special place in your collection physically or mentally, that you keep the good stuff. “Boots of Danger,” the single, is every bit as catchy as the Strokes’ “Last Nite,” though it trades New York cool for youthful Ontario exuberance. And it’s not just the hits that drive Champ: Its bench is deep, from the insistent, twitchily bouncer “Big Difference” to the sombre sorta-ballad “Hands Reversed,” which could be a cousin to the best Walkmen songs.
Released Through Memphis Industries + Limited Edition Red Splatter Vinyl & Exclusive Bonus 7”.
“Discover Effortless Living” is the much-hyped debut LP from young ones-to-watch Bull. Heavily influenced by Pavement and YLT without flying too close to them.
Since signing to EMI Records in conjunction with, York based label, Young Thugs the band have been growing apace. At radio the band are already being championed by the likes of Chris Hawkins and Steve Lamacq at 6Music, Huw Stephens at BBC Introducing Clara Amfo, as well as being acclaimed by fellow musicians like Elton John on his Beats 1 show and Declan McKenna during his recent appearance on the Radio 1 Future Artists mix tape.
The album combines the new title track with Bull’s three 2020 singles: the fuzz-rocking Disco Living, the noisy pop of Bonzo Please and the summer high of Green.
Billed as a “brilliant slice of indie maximalism”, Love Goo hooks sweet pop melodies onto a ramshackle jangle rock template, with spritely xaphoon lines (a kind of pocket saxophone), tin whistle and piano to the fore.
“It’s a song about getting along with people,” explains wry-humoured Bull songwriter and singer Tom Beer. “It looks at my relationship with my family as well as my own feelings of ‘sticky love goo’, when thinking about people in my life and from my childhood.
“It’s about the difference between people, universal truth, gender fluidity, peace and love, understanding and all of that stuff.”
Tom penned Love Goo in 2018. “It’s one of my more recent songs on our upcoming album, in fact it’s the newest one on there. Out of the 13 songs, it’s the freshest,” he says. “It was written before all of what’s gone on this year but that now adds to it.
Formed in 2011 by vocalist and songwriter Tom Beer and guitarist Dan Lucas, Bull’s mission is simply to make the music they wanted to listen to, inspired by their 90’s heroes such Pavement, Yo La Tengo and the Pixies. The rest of the band came together through a mix of friendships and happenstance. Drummer Tom Gabbatiss joined after he and Tom jammed together in bars while they were back-packing around Thailand, and Kai West had previously used to jump up on stage with the band and “Bez” (verb meaning to dance badly while intoxicated) before they eventually let him play bass.
Looking ahead, the album is scheduled for March release and a tour is booked in for April for Beer, Lucas, West and drummer Tom Gabbatiss. “We’ve decided to go ahead, even if the gigs have to be socially distanced. We’ll be headlining at The Crescent [in York] and we’re going to play Leeds Brudenell Social Club, which is a dream come for me. It’s my favourite venue,” says Tom.
A unique group within the city’s already eclectic scene, the band’s sound mixes together their alt-rock influences along with Tom’s down-to-earth song writing and a particularly wry sense of humour that comes naturally to the four Yorkshiremen.
Cheval Sombre just released “Time Waits for No One” and he’s not waiting for anyone to release his next album “Days Go By” will be out May 28th via Sonic Cathedral. Like the first, Time Waits for No One was produced by Sonic Boom and features appearances by Dean Wareham of Galaxie 500 and Luna. The two records are very much of a piece but if Time was a rumination on mortality, Days Go By has a more buoyant feel, from the breezy strings to the cover art that is similar to Time but notably lighter.
“It’s strange, this life – isn’t it? You’ve got all these songs around conceptions of time, it’s over eight years since your last album, you decide to release twin records, and their release dates somehow fall perfectly in line with the unfolding present,” says Chris Porpora, Cheval’s secret identity. “When folks say that the stars conspire to make things happen, I tend to believe it.Time Waits for No One is a dark record, already reminiscent of the shadowy days of winter, of the trials of the pandemic. If Days Go By can coincide with the promise of springtime, bringing with it light, lifting spirits – then I know my work has been done.
The first single from Days Go By is “We’ll It’s Hard,” which Cheval describes as “gentle blues” for “the sensitive souls who’ve got to muster all they’ve got to go out into it all, each day. The strings swell in the second half as an homage to folks’ bravery, & also the inevitable beauty of life. Despite all our trials, light does and must break through.” The video for the song was made by Lucas Moreira and Cristiana Figueiredo, which Cheval says “captures all of this thoughtfully and subtly, where despite representations of human weariness and solitude, unexpected glimpses of light flicker — in an unexpected breeze, in the elegant choreography of nature, through visions of our humanity and music itself .
The Antlers’ “Hospice” is one of the greatest introspective rock records of all time. Peter Silberman’s achingly brittle heartbreak from inaudible whispers to thunderous falsettos is one of the most devastating listens. Falling ill himself and requiring surgery to remove his vocal cords, Silberman had to retrain himself to sing – their first album in seven years is one we never thought we’d be able to hear, but we’ve never needed it more.
Perhaps what distinguishes ‘Green to Gold’ from the rest of The Antlers’ canon is its, well, sunniness. Conceived and written almost entirely in the morning hours, ‘Green to Gold’ is the band’s first new music in nearly seven years, and easily their most luminous to date.
“I think this is the first album I’ve made that has no eeriness in it,” Silberman asserts. “I set out to make Sunday morning music.” Unlike other Antlers albums, Silberman didn’t feel compelled to turn a human experience into a circuitous mythology. He chose a more direct approach: documenting two years in his life, without overthinking or obscuring what the songs were about. “Most of the songs on ‘Green to Gold’ are culled from conversations with my friends and my partner. It’s less ambiguous about who’s speaking and who’s listening,” says Silberman resolutely.
Here’s what they say about it: “Hello again, friends. At long last, we’re proud to announce our new album, ‘Green to Gold’ will be released on March 26th via Anti / Transgressive Records! You can pre-order the new album via Bandcamp.
And today, we’ve got a new song to share with you. This one’s called “Solstice”. “Solstice” is a flashback to the infinite days of peak childhood summer, innocent barefoot hikes, staying outside all afternoon and late into the evening, well past it being too dark to see. But it’s remembered from the vantage of a present day that feels unbearably long rather than joyously endless. It’s an invocation of those simpler times, an attempt to conjure the lightness of youth, before life got so damn complicated.
Eager to share the rest of ‘Green to Gold’ with you this spring. Thank you for listening.
“I think the shift in tone is the result of getting older,” Silberman added. “It doesn’t make sense for me to try to tap into the same energy that I did ten or fifteen years ago, because I continue to grow as a person, as I’m sure our audience does too. Green to Gold is about this idea of gradual change,” he sums up. “People changing over time, struggling to accept change in those they love, and struggling to change themselves. And yet despite all our difficulty with this, nature somehow makes it look easy.”
Written by Peter Silberman & Michael Lerner Produced and Engineered by Peter Silberman
Vocals, guitar, bass, pedal steel, piano, and organ by Peter Silberman Drums and percussion by Michael Lerner
Bass clarinet on “Wheels Roll Home” by Jon Natchez Violin and viola on “Solstice” by Will Harvey Cello on “Stubborn Man” by Brent Arnold Banjo on “Just One Sec” and “Volunteer” by David Moore Slide Guitar on “Just One Sec” by Dave Harrington Baritone saxophone, flute, clarinet, and french horn on “It Is What It Is” by Kelly Pratt Guitar on “Green to Gold” by Tim Mislock
“Just One Sec” by The Antlers from the album ‘Green To Gold’, available March 26th
The Fat Angel Sings 