Posts Tagged ‘Andy Hull’

Atlanta-based indie-rock all stars Manchester Orchestra composed of rhythm guitarist-singer-songwriter Andy Hull, lead guitarist Robert McDowell, bassist Andy Prince and drummer Tim Very will shortly release their lush sixth album “The Million Masks of God”. It is a true pleasure and joy to finally share the first piece of music from our sixth full length album “The Million Masks of God”. It’s near impossible to put into words what this album means to us on a personal level. I’m amazed and grateful at how so much hard work from so many incredible people ended up working together to finally get us here. I’m so happy it’s here. This record, what it’s about and what it represents holds a particularly intimate place in our hearts. Writing it, creating it, building it, destroying it and rebuilding it together over the last two and a half years has been the most gratifying challenge of our career so far. I hope that you enjoy it as much as we enjoyed creating it. Thank you for your continued support of our band. We can’t wait to go on this next journey together.

This exclusive vinyl variant is 140g on “sea blue.” The Million Masks of God is limited to only 500 copies, 

Post-hardcore band Touché Amoré released their long-awaited fifth studio album “Lament” via Epitaph Records. The album is produced by Ross Robinson, who’s worked with Glassjaw, Slipknot and Korn. Lead single “Limelight,” which features Manchester Orchestra’s Andy Hull, is as chaotic as Touché’s other songs, though it’s quiet at first, with Bolm’s scratchy vocals making the most noise. Hull’s silky vocals are a great addition to the post-hardcore/emo mess. Touché Amoré’s last studio album was 2016’s critically-acclaimed Stage Four, which reckoned with the death of frontman Jeremy Bolm’s mother. It was powerful and evocative, and Bolm’s poetic lyricism resonated with many. Since then, they re-recorded their album “To the Beat of a Dead Horse”, and they released a live album and some one-off singles.

After extensively grieving his mother on 2016’s Stage Four, Touché Amoré singer Jeremy Bolm just wanted to move on. As Lament makes clear, though, it wasn’t that easy. “It’s not how it was, but it’s not getting lighter,” he yells on “Limelight,” the album’s soaring lead single. Bolstered by an extensive recording session with legendary nü-metal producer Ross Robinson, Touché Amoré fine-tune their trademark brand of post-hardcore on Lament and make every note serve a purpose, from the enormous “Deflector” to the tenderhearted “I’ll Be Your Host.” Bolm may not feel like he’s basking in sunshine just yet, but by the sound of Lament, he’s found the next best thing: the promising warmth of a sunrise and the glimmer of determination that comes with it.

It’s October 9th which means “Lament” is officially out worldwide. We’ve been working on this album on and off for a couple years now and for it to be finally out feels extremely gratifying. Working with Ross Robinson was a dream and a privilege we don’t take for granted. He taught us new things about ourselves every step of the way and this album wouldn’t be what it is if it wasn’t for his most sincere devotion to every decibel of sound any of us made from an incorrect note, embarrassing voice crack or getting something just right. We can’t thank the hard working people at epitaph enough for indulging all our wild ideas with vinyl packaging / flexis / music videos and more. Andy Hull, Julien Baker and Justice Tripp for lending us your voices however big or small, we understand that finding the time and energy in the times we are living in can feel like monumental tasks so to have your energy and grace on this album is something we’ll cherish forever.


Last but not least thank you to the kindness, patience, and understanding of those who have purchased the LP, streamed the album, or shared a kind word about its release. Following Stage Four wasn’t an easy task and often felt unachievable. We are so proud of Lament and we hope you enjoy it as much as we enjoyed making it.  Seldom can a band evolve so organically and still remain relevant,

The sound of pure anguish with a glint of hope.

Released October 9th, 2020
The Band:
Jeremy Bolm – Vocals
Clayton Stevens – Guitar
Nick Steinhardt – Guitar
Elliot Babin – Drums
Tyler Kirby – Bass

All songs written by Touché Amoré except * Written by Touché Amoré & John Andrew Hull

“Limelight” (feat. Manchester Orchestra) by Touché Amoré from the album ‘Lament,’ available now


They may hail from Atlanta, Georgia, but Manchester Orchestra’s British indie rock influences — certainly not limited to their band name — spill out all over their fifth full-length album. Their sound doesn’t derive from the airtight punk influences of decades past; rather, there’s an anthemic, widescreen feel to nearly every song on A Black Mile to the Surface.

Over a decade on from their debut, Manchester Orchestra still easily strike the fear of God into their listeners. The Andy Hull-led project has never been about quiet devastation – it’s about the extremities of the emotional spectrum and the internal conflicts that come with going there. “The Gold” immediately asserted itself as a career-best track for the band in the lead-up to the release of A Black Mile to the Surface. Indeed, as excellent as that record was, it never quite scaled the same heights elsewhere on its tracklisting. Heavenly harmonies, heart-on-sleeve lyrics and strikingly-beautiful arrangements: “The Gold,”

“The Gold” tumbles along with an intricate, syncopated beat, occasionally stopping dead in its tracks as Hull emotes the hook: “I believed you were crazy / You believe that you loved me.” Elsewhere a dark, almost apocalyptic feel invades songs like “The Moth”, where the intertwining guitar and drums loom over the vocals, creating an urgent texture. “There’s a way out / There’s a way in,” Hull repeats insistently.

Manchester Orchestra — singer/songwriter/guitarist Andy Hull, lead guitarist Robert McDowell, bassist Andy Prince, and drummer Tim Very — bring a great deal of skill and vitality to their rock formula.

The band occasionally dials down the dramatics in favor of more low-key arrangements, such as on “The Alien”, where the heavy surrealism of the lyrics is paired up with indie folk tropes like muted drums and a heavy acoustic vibe. The song wraps up with a dream-like coda that somehow evokes the hypnotic harmonies of Elliott Smith. Clearly, Manchester Orchestra have their influences cut out for them. “The Part”, one of the album’s eloquent highlights, is all heavily reverberated vocals accompanied by stark acoustic guitar. The song’s chorus (“I still want to know each part of you”) is simple and unadorned but underscores the deep level of emotion the band is working with.

A Black Mile to the Surface may get knocked for being a downer, an almost self-conscious one. But for all the melodrama, there’s plenty of smart arrangements and well-crafted musical ideas released on July 29th, 2017 through Loma Vista Recordings


It’s just as well then that while A Black Mile to the Surface certainly feels like one of the band’s most expansive, and ultimately uplifting, records, it still harbours the undercurrent of darkness and unease that’s an inherent part of Manchester Orchestra. And with tracks like “The Sunshine” blossoming with an understated optimism, the record’s afforded an emotional balance unseen on previous albums, suggesting a further evolution for a band who refuse to rest on their laurels.

Such is their inability to settle in to a groove, that A Black Mile to the Surface is the product of the band’s writing and recording process being turned completely on its head, purposefully pushing themselves to second guess each decision in a bid to create “an album in a ‘non-Manchester’ way”. As a result, the record feels far more cinematic than anything they’ve released before; the influence of singer/guitarist Andy Hull and co-writer/multi-instrumentalist Robert McDowell’s work on 2016 Sundance film Swiss Army Man evident in the hypnotic ebb and flow of “The Mistake”, or in the finger-picked throb of “The Moth”.

Such a grandiose aesthetic is helped here through the production efforts of John Congleton (Explosions In the Sky) and Catherine Marks (The Killers); the two establishing an equilibrium between the elaborate soundscapes of the former, and the bombast of the latter. Rather than fall in to self-indulgence however, A Black Mile to the Surface feels richly nuanced, offering up something new on every repeat listen.


And you will want to play it again. Probably as soon as you’ve heard it the first time. From the emotive resplendence of opening track “The Maze”, a subtly building opener that gently coaxes listeners in, to the tribal thump of the seven-minute epic “The Silence” that plays the record out, every aspect of A Black Mile to the Surface is ambitious and rarely, if ever, does it falter. And though they’ve certainly succeeded in their goal of making an album in a ‘non-Manchester’ way, it fits perfectly in their Manchester Orchestra canon as a stunning evolution of a band who aren’t afraid to test themselves.

Manchester Orchestra an Indie Rock band formed in Atlanta Georgia, have a new album titled “COPE” out now, they will be playing at Nottingham Rock City on the 29th September 2014 this is the acoustic version of a song off the new album to date they have released four studio albums and several Eps,  check out their YOU TUBE channel for regular Podcast’s about the recording process.


the Atlanta Indie Rock band Manchester Orchestra performed live on the Lettermen show and played a really awesome version of the title song from the new album out this week entitled “COPE” they are also set to tour the album in the UK later this year tickets are on sale now for ROCK CITY in NOTTINGHAM