Back in July, Pye Corner Audio (aka analogue synth wiz Martin Jenkins) released “Let’s Emerge!”, an album that traded his usual dark, retro electronic soundscapes for bright psychedelia, and half of the album’s 10 songs featured guitar and vocals by Ride’s Andy Bell (they’d collaborated before). Now Jenkins has handed over a few of that album’s songs to Sonic Boom (aka Pete Kember formerly of Spacemen 3) to work his magic on. These songs were already pretty blissed-out, but Kember sets the controls for the heart of the sun for what is at times the aural equivalent of the last 20 minutes of “2001: A Space Odyssey“. Coolest of the bunch: “Saturation Point,” which Kember refashions into Morricone-esque cinematic drama.
Pye Corner Audio releases an EP of remixes by Spacemen 3 legend Sonic Boom. “Let’s Remerge!” takes three tracks from the recent album“Let’s Emerge!” – which went to Number One in the Official Charts’ dance chart following its release in July – and gives them all appropriately weird and wonderful twists. ‘Haze Loops’ gets turned inside out, the smoke clearing to reveal some new shoots; Andy Bell’s guitar is brought to the fore on ‘Saturation Point’, keeping things together as the rest of the track spins out of control in the background, like a cross between Khruangbin and Ennio Morricone; previous single ‘Warmth Of The Sun’ is put through an acid blender, blurring all the edges and giving us one much-needed final hit of serotonin as the summer recedes into the distance.
Ride’s discography up through the early-’90s is pretty spotless, including their classic debut album “Nowhere”, one of the touchstone records of the OG shoegaze movement; their underrated second album, “Going Blank Again”, that found them expanding their sonic palette and emphasizing their voices as much as their guitar pedals; and four EPs that range from the youthful rush of “Ride” and“Play“, to the growing ambition of“Fall”, and the maturity and experimentation of“Today Forever”.
All are essential and have just been reissued by the band’s current label Wichita Records. All of these originally came out when vinyl was on the decline and more care was probably put into CDs than the records (and none of them got vinyl releases in the US at the time). “These are my favourite pressings ever of these albums,” Andy Bell told us. “Creation was an amazing record label but they didn’t press on the greatest vinyl. I’d rather have one of these new ones than an original any day.”
These reissues, which are also on CD, mark the first time the four EPs have been collected into one complete (triple album) set, and “Going Blank Again” now comes with four great b-sides from the era, including the song “Going Blank Again.” The biggest downside is they are currently UK-only, as the North American rights are controlled by Warner Music (they were signed to Sire in the U.S.). Hopefully they’ll see release here sooner than later, but for those who want it now will have to fork over for international shipping.
Caitlin Rose has shared another taste of her first album in nearly 10 years, “Cazimi”, and it’s a dose of breezy, upbeat Americana.
We’re two weeks away from the release of Caitlin Rose’s first album in nine years, “Cazimi”, and today brings new single “Getting It Right,” an infectious alt-country song that finds Caitlin harmonizing with Courtney Marie Andrews. “Several years ago, I fell in love with Courtney’s first album,” Caitlin said. “I had been doing co-writes for a while, but realized I needed to start focusing in on the writers and artists I really wanted to collaborate with.
In February of 2020, singer-songwriter Caitlin Rose settled in at Nashville’s Sound Emporium Studios for a week of tracking with William Tyler, Brian Kotzur, Jack Lawrence, and Luke Schneider. After a seven year absence following the release of her sophomore LP, “The Stand-In”—a self-described Sisyphean nightmare of false starts and career blocks—Rose was ready, with the encouragement of close friend and producer Jordan Lehning, to give the rock a final push. “It happened so fast that there was no time to worry about what could go wrong; all I walked in with was the excitement,” she says. When she and Lehning planned to return for overdubs in early March, neither expected that the world would turn on its head in little more than a week, that a tornado would soon wipe half of east Nashville off the map, or a global pandemic would, as it has for so many others’ projects, further delay completion.
I wasn’t really being set up on things that were fulfilling that desire so I snuck into her DM’s and proposed a write whenever she was in town. Luckily she was already in town and we spent an extremely hot afternoon on the patio talking astrology and music and walking away with what I always thought of as a bit of a banger.”
Paradoxically, though, sitting with her songs a little longer turned out to be exactly what Rose needed. “I had all the pieces,” she says. “It just took a while to make them fit. The initial charge of going into the studio with people I trusted and seeing it through was so inspiring, and then the world just stopped. It was a terrifying shift, but Jordan set the path for us and figured out how to utilize this new uncomfortable freedom of time. It led to a process more joyful than any I’ve experienced making music.”
Taking its title from the astrological term for when a planet is in such close, specific proximity to the sun that it’s considered to be in the heart of it, “Cazimi”finds the listener at the moment with its examination of trauma, chronicling “the slow motion unraveling of somebody’s life” in the aftermath. The thing about cazimi is that it’s fleeting, accidental, even—a moment of exaltation that goes just as fast as it comes. It’s a phenomenon that Rose could relate to: “I was never prepared to take on everything that happened to me in my early twenties. Being all of a sudden thrust into spotlights that I had little business being under was rarely empowering, often more so debilitating, and being in the rush of it all, I never could quite catch up,” she explains. “I was living that ‘combust to the sun’ narrative and the burnout was inevitable”
Caitlin Rose’s new album ‘Cazimi’ which is out everywhere November 18th.
Squeeze’s new EP, “Food For Thought”, is raising money for independent UK food banks. It features new and live recordings of five of their songs, and the title track is a new one, written by Chris Difford and Glenn Tilbrook. “It’s terrible and wrong that so many people have no choice other than the help that food banks provide to feed their family,” Glenn says. “That there are so many people who have to choose between food and heating is a disgrace.”
As we prepare to embark on our Food For Thought 25 date UK tour, we’re excited to announce the release of a new six track EP on November 4th 2022. The title track, ‘Food For Thought’, is a brand new song written by Chris Difford and Glenn Tilbrook, that is a pithy commentary on society, the cost of living crisis, and the increasing reliance on food banks.
“It’s terrible and wrong that so many people have no choice other than the help that food banks provide to feed their family. That there are so many people who have to choose between food and heating is a disgrace,” said Glenn Tilbrook.
Also included on the EP are new recordings of ‘The Very First Dance’ and ‘Electric Trains’ as well as live recordings of ‘In Quintessence’, ‘Slap and Tickle’ and ‘The Day I Get Home’ recorded at the Liverpool Philharmonic.
Profits from the EP, which will be released digitally world-wide and sold on CD at the upcoming UK shows, will go to independent UK food banks.
Right now, millions of people across the country are facing a cost of living crisis as food and energy prices soar and families are feeling the biggest squeeze on incomes in a generation. That’s why attendees on the tour are being invited to bring along food donations to the shows, where there will be collection points across the venue each night. There will also be collection buckets for any cash donations. All donations will be distributed to people in crisis across the 1,300 food bank centres in the Trussell Trust network. Here is a link to information on the items that are requested: https://www.trusselltrust.org/get-involved/ways-to-give/donate-food/. Previous tours by Squeeze and Glenn Tilbrook have raised tonnes of food and thousands of pounds for the charity.
Emma Revie, CEO of The Trussell Trust, said“The cost of living crisis is impacting all of us, but for people on the lowest incomes it means they cannot afford the essentials such as heating or food. We are extremely grateful to Squeeze and all of their fans for kindly donating to the Trussell Trust from their tour, their generosity will help us ensure that food banks across the UK are able to continue delivering vital support this winter.”
“Food for Thought” on Love Records Released on: 2022-11-04
Everclear have released their first new song in seven years, “Year of the Tiger,” and more so than their last album, this one really seems like it’s channelling the sound of Everclear’s ’90s days. It also makes reference to Nirvana smiley face shirts and MAGA hats.
Everclear’s politically-charged single ‘Year of the Tiger’ marks the band’s first new song since the release of their 2015 album, “Black Is The New Black”. “After all of the events of the last almost 3 years with Covid, worldwide shutdowns, the political debacle of 2020…emanating from in and outside of MAGA world, I felt I needed to write a song that not just explained my anger and frustration, but a song that served as a mission statement,” shares Alexakis, who was also born in a Year of the Tiger in 1962. “I feel like the tiger should be the new symbol of the new Democratic party. We will not back down, we will not forget, we hit back, we challenge lies, and we refuse to be intimidated by ignorance or loud voices. To quote the song’s lyrics, ‘Here we are in the Year of the Tiger, we are where we are because of all the big lies.’ Tigers are everywhere.”
Everclear single ‘Year of the Tiger’, now available
Gladie, the current band fronted by former Cayetana vocalist Augusta Koch, will release new album “Don’t Know What You’re In Until You’re Out” on November 18th via Plum Records, the label started by Cayetana. It’s Gladie’s first with a set full-band line-up, including co-founding member Matt Schimelfenig (who also recorded and mixed it) on guitars, keyboards, and vocals, as well as guitarist Pat Conaboy (Spirit of the Beehive), bassist Dennis Mishko (ex-Tigers Jaw), and drummer Miles Ziskind (Honey, Witching). It also features horns by Mike Park and Brian Lockrem, and cello by AJJ’s Mark Glick.
The new full-band setup really comes alive on lead single “Nothing,” which finds Gladie leaning into their loud, lively punk side. It’s a ripper, it’s super catchy, and it’s got us excited to hear the rest of this album. “This song came from a thought experiment based on what ultimately ended up being the chorus of the song ‘What would it feel like to want Nothing?'”, Augusta told us. “Basically, in all aspects of life, whether its relationships, consumerism, or any other constant desire, there is always this push from external and internal forces telling you, ‘More, More, More’ but is that really a healthy way to live? Maybe it’s more fruitful to actually want less to make you appreciate that what you do possess is greater than it seems.
Along with an early stream of the full album, Augusta Koch breaks down the second album from her post-Cayetana project track by track.
“Don’t Know What You’re in Until You’re Out”, the second LP from Augusta Koch’s project Gladie, seems to explore every facet of this idea, from Koch’s new (literally) sober perspective on her adult years to the fact that a considerable faction of the record was rescued from previous recordings that were, in Koch’s own words, “not good.”
Working in their own studio granted the five-piece the time and space to fully explore the musical and lyrical ideas that comprise these 11 tracks about hitting the replay booth and analyzing the footage from a new and slightly removed vantage point, totally unmoored from the strong feelings that proved overwhelming in the moment. “We decided to name the record this because it deals a lot with the theme of shifting into a new mindset, and with that change you can objectively look back and see what you were going through without your thought processes being clouded by being in the thick of it,” Koch explains.
1. “Purple Year” Perhaps not the most original idea, but very relevant to the title, the record begins how it ends. The same chords and cello (played by our very talented friend, Mark Glick) that are in “Something Fragile” are present here, just a little more stripped down and with an uneasy feedback swell slowly swallowing any form that the song started with. We thought this would be a cool way to signal to the listener [hacker voice] “I’m in.” I don’t know, The Weakerthans did it on “Reconstruction Site” and they literally can do no wrong.
2. “Born Yesterday” “Born Yesterday’” was written about eight months into not drinking anymore. I felt like I was experiencing a second adolescence. I was completely overwhelmed and flooded with emotions.
3. “Mud” “Mud” is about moving through life as a late bloomer. There’s kind of this trope about late bloomers being a negative thing, but personally I find it to be the opposite. To me, all good things take time to marinate, and we should embrace the fact that people move on different timelines. Nature doesn’t all bloom at the same time.
4. “Hit the Ground Running” I did a lot of evaluating what love means during this time. While reading bell hooks’ book All About Love I was inspired to think of my own love ethic. I landed on “to love in a way that the other person still feels free.” I want to love and be loved in a way that doesn’t feel restrictive, and where there is always room for growth. My favorite part about this song is the horn part that Mike Park and Brian Lockerm created.
5. “Nothing” I kept kind of coming back to this idea of not wanting anything—not in a depressing way or necessarily a nihilistic way, but just of taking the word “want” out of my vocabulary. How that feels to not always be forcing a progression, that constant American agenda to push and push and push and push until you die.
6. “Soda” “Soda” is a love song, maybe not your typical love song. The song at its root is about being around people who make you feel comfortable in your skin. I use the word “normal” in jest because a lot of what our society deems as “normal” behavior is kind of, in my opinion, wrong and isolating to a lot of people. We are taught to hate ourselves, that we aren’t enough, love has conditions, etc. “Soda” imagines a world where we can create our own “normal” when we’re around the people that make us feel seen.
7. “Heaven, Someday” “Heaven, Someday’” was written during the height of the 2020 doomscroll-bad-news factory, when we were all putting in overtime. It’s about trying to combat the fear of the outside world and your inner demons at the same time. There’s still some hope to hold onto, though, and it’s important to remember that even both the inside and outside feel inhabitable.
8. “Fixer” This was a song I [Matt] wrote a couple years ago, but it never got a proper recording/release and it felt like it fit with the theme of the record, so we decided to include it. It’s about recognizing parts of your past that can make your present feel shaky and your future feel uncertain. Sometimes you need to look back to understand what’s ahead of you, even if there’s some difficult reconciliation to be done.
9. “Smoking” “Smoking” was written about having a panic attack in a gas station parking lot in the town I grew up in. More thoughtfully, though, it’s about having one of those huge life moments when you know everything’s about to change forever and you have to gear up and just let it happen.
10. “For a Friend” “For a Friend” is about having to witness someone you love grieving the life of someone they love. Acknowledging the fact that there’s not much you can do for someone who’s experiencing that type of pain except for sitting with them through it.
11. “Something Fragile” This song is about coming out of a bad place and acknowledging the fact that depression can create blinders in your relationships. I felt like it made sense being the last track because it encapsulates so much of what the record is about. Can we move through huge life changes, in relationships with the ones we love, while allowing them to also grow and change at the same time?
Augusta Koch – guitar, vocals Matt Schimelfenig – guitar, keyboard, vocals Pat Conaboy – guitar Dennis Mishko – bass Miles Ziskind – drums
“Don’t Know What You’re In Until You’re Out” on November 18th via Plum Records
New York City legends the Bush Tetras have been making paranoid, groove-centered post-punk since 1979, when Pat Place left James Chance and The Contortions to found the group with singer Cynthia Sley, bassist Laura Kennedy and irreplaceable drummer Dee Pop, who died last year. The band’s last played live to a crowd of 5000 in Mexico City at the NRMAL festival in support of their “Hum” 7″ on Third Man Records.
Bush Tetras’s ‘Beauty Lies’ LP is available digitally for the first time released by the 90’s indie powerhouse, Tim/Kerr Records, ‘Beauty Lies’ finds Bush Tetras in top form. Cynthia Sley’s jagged vocals have lost none of their primal force, while Pet Place’s slash-and-burn guitar work is as riveting over the jagged rhythm section of drummer Dee Pop and bassist Laura Kennedy.
One of the most important band’s to surface from New York City’s Lower East Side music scene in the 1980’s, the Bush Tetras were pioneers of the indie movement before the term existed. Their first single. “Too Many Creeps,” released on 99 Records, a label record store owner Dave Bahlman ran out of his Manhattan shop sold 30,000 copies putting it on Billboard’s dance chart. A follow up single, “Can’t Be Funky,” charted as well. The Bush Tetras reputation also grew through legendary live performances highlighting their gritty blend of garage punk and African Rhythms.
They’ve also just shared a video for “Heart Attack” which is on their remastered, career-spanning “Rhythm & Paranoia” box set.
About ‘Rhythm and Paranoia: The Best of Bush Tetras’
Flashes of light rarely burn for long. Bush Tetras exploded into New York in 1979 and flamed out just a few years later. Yet somehow this lightning-quick band have risen from their own ashes again and again for four decades. The spark that ignited BushTetras tapped into a deep grid of power, fueled by guitarist Pat Place, singer Cynthia Sley, and drummer Dee Pop.
That chemistry is palpable on ‘Rhythm and Paranoia: The Best of Bush Tetras,’ which features 29 songs across 3 LPs pressed onto 180-gram vinyl and remastered by Carl Saff, plus a 46-page book with never-before-seen photos, an original essay on the band by Marc Masters, and micro essays by Sonic Youth’s Thurston Moore, R&B legend Nona Hendryx, The Clash’s Topper Headon, & more.
From the band’s earliest recordings to their current, vital-as-ever incarnation, “Rhythm and Paranoia” – for the first time ever – show- cases the their unique, influential, and body-shaking meld of rock, punk, funk, reggae, and more in one cohesive, immersive, and meticulously constructed box set.
Nottingham band The Mighty Lightweights are Paul Greevy (bass) and Jem Woolley (guitar, vocals). Their debut album “Object Permanence” was released in March 2022.
Released March 26th, 2022
All words and music by Mighty Lightweights
Jem Woolley: vocals, guitars and keyboards Paul Greevy: bass guitars
With Tony ‘Doggen’ Foster: lap steel guitar on ‘Belle’ – appears by kind permission of Spiritualized
It’s hard to stand out in the teeming English rock scene. Some follow the vehement footsteps of Idles, others more meditative of Fountains D.C. Mush chose to look at it out of the corner of his eye, a mischievous smile on his lips. These troublemakers prefer to have fun with irony of the situation, claiming as much the post-punk of Wire or Gang of Four as the rock slacker of Pavement.
Mush resent their own sonic idiosyncrasy. It’s a sound that blurs the lines of abstract surrealism, existentialism and social commentary; utilising guitars as tools in 2020 to stave off malaise whilst simultaneously commenting on the nation’s ability to fall into such dire straits. It’s a sensory overload of wiry tones that zig- zag between punk, prog and sardonic-funk with a relentless ability to reflect society’s faults and apathy in a unique and acerbic manner.
Having garnered local attention in the early days for their unhinged and often calamitous live shows in Leeds, it was the unlikely radio hit “Alternative Facts“, (clocking in at an uncompromising ten minutes) that brought the Mush to the attention of a wider audience. The song, one of the last releases for the legendary Too Pure Singles Club saw early support from Marc Riley and others on BBC 6music with them playing multiple sessions, and the follow up single, “Gig Economy” hopping onto the 6music playlist. Roaming further afield from their hometown, Mush spent the first half of 2019 heading out around the UK, earning a reputation for their intense live performances, supporting the likes of Girl Band, The Lovely Eggs, Yak, Shame and Stereolab, as well as releasing the ‘Induction Party’ EP to great acclaim. At the tail end of summer of 2019 Mush headed to Leeds’ Green Mount Studio and with Andy Savours (Dream Wife, Our Girl, My Bloody Valentine) manning the mixing desk, their debut LP, “3D Routine” was born.
3D Routine
“3D Routine” has arrived. Following on from their “Induction Party E.P”, Mush are circulating their own sonic mythology, blurring the lines between abstract surrealism, existentialism and social commentary. Like its predecessor “3D Routine” is a sensory overload of clattering, hooky, guitar work. However, this time space emerges between the onslaughts and in this respite, room is found for new emotional depth. More expansive than ever before, “3D Routine” manages to maintain the rawness of a classic debut but it’s experimentation and variety portray a band unlikely to rest on their ‘guitar band’ chops.
Songwriter Dan Hyndman explains the genesis of the band as being “fairly boiler plate” a combination of friends old and new converging in Leeds post-uni to form a band predominantly united in their mutual affection for the Pavement back catalogue. Finally settling on a lineup of Nick Grant (bass), Tyson (guitar) and Phil Porter (drums) the band’s progression has taken them far beyond this original vision.
The way in which the album brazenly moves from polished 3- minute punk tracks, to avant-garde spoken word, to sardonic- political funk, whilst sounding like the same band is testament to an uncompromisingly unrefined ethic and compounds the jarring nature of Mush. Together, the songs form a unified, abrasive, emotive, frenetic and entirely beguiling concoction of sound and opinion, a fast-moving snapshot of current times, relatable, politically minded and incredibly personal. Music for those who want their guitars loud and weird, and their political commentary a little less ‘on the nose’
Like its predecessor ‘3D Routine’ is a sensory overload of clattering, hooky, guitar work. However, this time-space emerges between the onslaughts and in this respite, room is found for new emotional depth. More expansive than ever before, ‘3D Routine’ manages to maintain the rawness of a classic debut but it’s experimentation and variety portray a band unlikely to rest on their ‘guitar band’ chops.
First single, ‘Eat the Etiquette,’ described by Hyndman as “a bit of a stream of consciousness type rant”, takes aim at the use of ‘common sense’ as societal weapon; the “sick laughing track of malicious intent”making a mockery of progressive ideas, while “manufactured sense” helps maintain the underlying and iniquitous structures of wealth and power.
Great Artisanal Formats
Following hot on the heels of their debut album “3D Routine”, Leeds upstarts Mush released “Great Artisanal Formats” – a 5 track EP for Record Store Day 2020. It’s another collection of off- kilter guitar licks and wry observational takes on modern society.
Two weeks on from announcing their second album “Lines Redacted” and sharing the lead single “Blunt Instruments”, Mush confirmed the passing of their guitarist Steven Tyson.
Mush confirmed the news in a Facebook post , writing, “It is with deep regret that we must announce we have lost an irreplaceable piece of the MUSH family. Steven Tyson, our beloved friend and bandmate has passed away. Tyson had an inexplicable gentle power that was captivating to be around. His generosity and intelligence as a guitar player was indicative of his character as a whole: putting the needs of the music first, as he put others first.”
The band ended their post by writing, “Musically he penned some of our best riffs, notably “Alt Facts”, a song which used to drive him mad to play at the end.
Lines Redacted
Leeds-band, Mush, their feverish second LP,Lines Redacted via Memphis Industries. The release, which finds the group recruiting Lee Smith (The Cribs, Pulled Apart By Horses) on mixing duties, arrives just under a year after their debut LP, “3DRoutine”, capping off what has been an obviously tumultuous, but remarkably prolific year for the band. With any prospect of live shows decimated, the group, led by songwriter, Dan Hyndman, has found the time to release two EPs (“Great ArtisanalFormats” and “Yellow Sticker Hour”) and now a duo of full-length albums.
Whereas the band’s debut was very much a product of its time, something part-inspired by the political atmosphere of mid-2019 and a genuine moment of optimism when the prospect of a socialist government in the UK was on the cards, this new record uses tongue-in-cheek cynicism as a coping mechanism for the environment that we now find ourselves in. From one song to the next, “Lines Redacted” introduces a string of different narrators with each providing a different reflection on the Armageddon scenario that we are slowly entering, whether that’s bemoaning it or gleefully willing it along.
“3D Routine” presented a bed of scathing political jibes latching onto themes and decisions of the time. Lines Redacted mutates these ideas into something slightly more sinister whilst maintaining all of Hyndman’s razor-sharp wit that permeates the album.
Down Tools
Leeds art-rock group Mush return with album “Down Tools” via Memphis Industries. The new record marks the prolific band’s third album in as many years, following hype-building early singles ‘Alternative Facts’ and ‘Gig Economy’, 2020’s debut LP “3D Routine” and 2021’s acclaimed “Lines Redacted“, which pushed their sound further.
On “Down Tools”, this voice grows again into a more brilliantly singular sound. It sees Mush getting loose, moving away from the defined moods and textures of “Lines Redacted” with a musical openness, straddling genres while avoiding pastiche. Hyndman says of the lyrics on ‘Down Tools’ that “there was a conscious decision to retreat further from an observational approach” with vocals being ad-libbed lending the record a more abstract feel. Hyndman continues: “this album is less dark than the previous one. The Armageddon obsession has eased, or at least the symptoms have become milder due to saturation. Musically there’s a lot more chill on the record – there’s a few more mellow tracks out there and the most astute listener may even be able to decipher some of the words, fingers crossed.”
While grief and work balance form themes on the record, Hyndman’s approach is largely made up of abstract, disconnected streams of consciousness and lines liberally taken from books, paintings, films and beyond. On “Human Resources”, Hyndman dramatically retells a battle he had with an HR department at a job in a David and Goliath style. The song ‘Group Of Death’, a phrase chillingly familiar to any football fan, is emblematic of the turn towards softer, more considered sounds. Hyndman says: “In my warped imagination it just sounds like a Paul McCartney song, but it won’t to others. I initially had the idea of doing a World Cup song called ‘Group of Death’, but by the time it was written nothing beyond the title had any relevance to football. Anyway, the next World Cup is in Qatar so fuck that shit.” “Northern Safari” meanwhile is a song about the way the North of England has been portrayed in the media and used as a mirror to reflect some of the nastier elements of what’s going on in society, in particular vox pops around Doncaster, portraying a particular narrative of the collapse of the red wall and the disgruntled ex-miners.
“Down Tools” then sees Mush idiosyncratically ping-pong from finger picked looseners to noise-rock bangers to brilliantly entertaining effect, avoiding post punk saturation with an easy style and wit.
“Alternative Facts”. Possibly one of the greatest songs ever recorded. Thank you for the three truly excellent albums, “Induction Party”, and for the numerous times seeing you play.
Hey thanks for all the kind messages about our untimely demise. For those still looking for a fix, this is what i’ll be doing for now. The band is called Tulpa and you can track our movements here. New music and live dates to follow
Lime Garden – four friends jumping over genre boundaries to create a sound that is uplifting yet laid-back. Harnessing catchy melodies and earworm hooks into an almost nonchalant net of lo-fi sounds, sprinkled with a dry-wit to bring their world to life. It’s a world of late-night conversations and observations that strike a chord.
Coming originally from a place of loneliness and fear for the future, Singer and co-songwriter Chloe Howard explains: “Writing the song helped us find the beauties all around us, even when we were feeling stuck in a rut. The song writing process began when we were split miles apart due to the various lockdowns, meaning this song came from a completely new way of writing for us. Sending logic files back and forth, piecing together the song bit by bit, made it feel like a collaborative being that we were all looking after to help grow, this is also true in the fact that you can hear a little bit of each of us throughout the song. We feel it’s the perfect reflection on how we have grown as a band to be inspired by each other’s writing and influences.” Inspired musically by the likes of LCD Soundsystem and melodically by toplines from Caroline Polachek the song shows a softer, more open side to the band.
Lime Garden are a four-piece band jumping over genre boundaries to create a sound that is uplifting yet somehow laid-back. They achieve this neat trick by harnessing catchy melodies and earworm hooks into an almost nonchalant net of lo-fi sounds, which is then sprinkled with a dry-wit to bring their world to life. It’s a world of late-night conversations and observations that strike a chord. The band came together via a twist of fate when Chloe Howard and Annabel Whittle, friends on social media, found out they’d just enrolled at the same college. Here they met Leila Deeley and the three bonded over a love of Talking Heads, the lyrics of Courtney Barnett and the flourishing UK underground gigging scene, along with note taking trips to gigs at the Boileroom in Guildford.
