Posts Tagged ‘Bella Union Records’

BEACH HOUSE – ” Once Twice Melody “

Posted: November 9, 2021 in MUSIC
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They say no one listens to albums anymore,  it’s important to expand that life cycle in the name of content. A few weeks back Johnny Marr had unveiled plans to slowly rollout his new LP in EP-sized doses, and now Beach House are doing the same, releasing new album “Once Twice Melody” on February 18th, but not before a string of four digital chapters that begins today (November 10th) with four new songs, including the title track and the wildly magical “Superstar.”

After four years in the wilderness, this week saw the return of one of indie music’s most intriguing bands, Beach House. The duo of Victoria Legrand and Alex Scally this week confirmed details of their self-produced new album, “Once Twice Melody“, which will be released in February via Sub Pop, as well a slew of dates on both sides of the Atlantic.

Beach House formed seventeen years ago in 2004, when the newly graduated pair met on the music scene of Baltimore, Maryland. The pair began making music with almost deliberate limitations, using just an Organ, programmed drumbeats and slide-guitar to create a sound that wasn’t quite like anything I’d ever heard before. They stuck largely to those rules for both their 2016 self-titled debut and the 2008 follow-up Devotion, both released via Car Park Records.

While the band were already causing quite the buzz on internet messages boards (remember them!) at the time, their big break came in 2010, when they teamed up with both Sub Pop (US) and Bella Union (UK) for the release of their acclaimed album, “Teen Dream“. Although not exactly a chart sensation, the album took the band to a whole new level, impressing everyone from Pitchfork to musical power-couple Jay-Z & Beyonce, who were spotted at their shows. The band would go on to far greater chart success with both 2012’s “Bloom” and 2015’s “Depression Cherry“, which went top twenty on both sides of the Atlantic. Although their more recent offerings haven’t quite hit those heights, they’ve continued to be both critical darlings, and a much loved fixture of the alternative scene.

What Beach House possess as a band is a certain alchemy, an ability to take the simplest musical ingredients and turn them into audio-gold. They went from lo-fi beginnings, early single Master Of None while utterly delightful does sound a bit like it was recorded underwater, through to the most luxuriant neo-psychedelic sounds of songs like Lazuli or Wild. Beach House have never been a band afraid of stretching their sound, yet they’ve also never been one that lose any element of who they are, or what makes them so uniquely brilliant.

A welcome return for Beach House is a reason to be very cheerful, and thankfully they feel just the same, as Alex recently told Rolling Stone, “I think I’m going to weep when I’m in a crowd of people, shoulder-to-shoulder, hearing loud sound coming from a stage”. A band who love music, every bit as much as you love them – now that’s something worth cherishing.

Acclaimed dream pop duo Beach House follow the excellent ‘7’ with their first double album, self-produced entirely by the band. Set for release almost four years after the psychedelic-leaning ‘7’, ‘Once Twice Melody’ hears Alex Scally and Victoria Legrand bringing in a live string section. We haven’t been given too much info on the press release, bar there’s eighteen tracks within, and Alan Moulder and Dave Fridmann are among those who have mixed it. Given it’s a double, we reckon there’s going to be plenty of their most adventurous sounds, trialling of new genres, and influences we’ve never heard in their music before.

On 2CD, 2LP, and a limited box set ft. a pair of gold/clear records, white faux leather with gold foil details, a 32-page booklet, and two pull-out posters. An 18 song double album and we are releasing it in 4 Chapters over the next 4 months. The first chapter hit earlier today at midnight, and the rest of “Once Twice Melody‘s” 18 tracks will be released monthly 

As mentioned, Beach House will be sharing songs from their upcoming new album “Once Twice Melody” in monthly “chapters.” The first chapter has just dropped with the album’s opening four songs and you can watch the animated music videos for them below.

Things begin with the stunning title track that mixes low-fi electronics with baroque touches and a stirring string section. You can hear echos of Broadcast, Stereolab and Spacemen 3 (whose Sonic Boom produced their last album, 7). The hand-drawn animated lyric video, directed by Annapurna Kumar, is great too.

From there, it’s the pulsing, kaleidoscopic “Superstar” (video by Nicholas Law), the neon dread of “Pink Funeral” (full of strings right out of a horror film and a video by Scott Kiernan), and the melting arpeggiations of “Through Me” (with a video by San Charoenchai). The visuals for all four song are fantastic, very different, but majorly psychedelic.

“Once Twice Melody” is out February 18th via Sub Pop Records. You can preorder it on Gold and Silver edition vinyl and cassette; “Depression Cherry” also just got reissued on vinyl. Grab that along with the new album and others on cassette, and black and colour vinyl.

This latest effort from Beach House is the Baltimore dream-pop duo’s eighth studio album, and follows 2018’s “7″. It’s the first Beach House album to be produced entirely by themselves, and was recorded at Pachyderm studio in Cannon Falls, Minnesota; United Studio in Los Angeles; and Apple Orchard Studios in Baltimore. It was mixed by Alan Moulder with additional mixing by Caesar Edmunds, Trevor Spencer, and Dave Fridmann.

MIDLAKE – ” For the Sake of Bethel Woods “

Posted: October 26, 2021 in MUSIC
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Midlake will be back with “For The Sake of Bethel Woods”, their first new album in nearly a decade, on March 22nd via ATO/Bella Union. Their fifth album, it marks the first time the band have worked with an outside producer, John Congleton, who also engineered and mixed the album.

The album is named for the site of the 1969 Woodstock festival and the town is where flautist/keyboard player Jesse Chandler grew up. The album cover is an illustration based on his father at the original Woodstock. “At age 16 my father and his friend hitchhiked from Ridgewood, NJ to the Woodstock festival in 1969,” says Chandler. “This image of him with his hand to his face appears in the 1970 Woodstock documentary, as the camera pans across the crowd during John Sebastian’s set. My father actually ended up moving to Woodstock, NY – where I grew up – in 1981. For me, the picture of that kid, my dad, forever frozen in time, encapsulates what it means to be in the throes of impressionable and fleeting youth, and all that the magic of music, peace, love, and communion bring to it, whether one knows it at the time or not. (I think he knew it).”

The first single from the album is “Meanwhile…,” which is a typically lush Midlake creation and a wink towards the band’s absence. “’Meanwhile…’ is a song referencing the time in between what transpired leading up to our hiatus in ‘14, and what inspired us to reconvene in ’20,” says singer/guitarist Eric Pulido. “The former being an unhealthy and unsustainable place that called for pause and the latter a serendipitous visit from Jesse’s late father (Dave Chandler, depicted on the album cover) in a dream encouraging him to reunite with the band. Everyone had their respective experience during the uncertain time apart culminating in a confident and celebratory return to form.”

It’s been almost a decade since we’ve heard from them, but now Midlake are set to return with their unique take on folk rock. ‘For the Sake of Bethel Woods’ is their first since 2013’s ‘Antiphon’, and drops next year on Bella Union. The Texan outfit are known for mid-2000s classics including ‘The Trials of Van Occupanther’ and their sound which mixes Laurel Canyon folk with indie rock, psychedelia, and chamber pop.

Loss and hope, isolation and communion, the cessation and renewal of purpose. Timeless and salient, these themes echo throughout the fifth album from Midlake, their first since “Antiphon” in 2013. Produced to layered, loving perfection by John Congleton, “For the Sake of Bethel Woods” is an album of immersive warmth and mystery from a band of ardent seekers, one of our generation’s finest: a band once feared lost themselves by fans, perhaps, but here revivified with freshness and constancy of intent.

LOST HORIZONS – ” In Quiet Moments “

Posted: February 12, 2021 in MUSIC
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Cocteau Twins, former CT bassist Simon Raymonde and Richie Thomas of Dif Juz are gearing up to release their second Lost Horizons albums, In Quiet Moments, on February 26th via Bella Union Records. It’s a double and packed with notable guest vocalists to help them achieve their cinematic vision. The terrific first half, which came out digitally back in November, features guest vocals from John Grant, Porridge Radio, Penelope Isles, former Midlake frontman Tim Smith and more, while Pt 2 features Marissa Nadler, Ural Thomas, The Innocence Mission’s Karen Peris, and more.

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As you’d expect from two men who released records during the ’80s arty heyday of 4AD, the artwork is as important as the music itself. The packaging for the Deluxe Edtion vinyl of In Quiet Moments is especially lovely and comes on ocean blue and green vinyl, with a wide-spinned sleeve on uncoated/reverse board and is housed in a cool PVC outer sleeve with printed text. (There’s also a sticker, for those looking to cover logos on your laptop or decorating your fridge.) We’ve got a special edition in our store where the first 100 orders come with an art print postcard signed by Simon Raymonde.  

While we wait for the whole thing to drop, you can listen toIn Quiet Moments Part 1 now along with the Marissa Nadler song, “Marie,” from Part 2:

Releases February 26th, 2021

A.A. WILLIAMS – ” Nights In White Satin ” (The Moody Blues Cover)

Posted: February 2, 2021 in CLASSIC ALBUMS, MUSIC
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A.A. Williams

Making her stage debut in April 2019 and selling out her first headline show at London’s prestigious Southbank Centre less than a year later, A.A. Williams has hit the ground running. Similarly, the acclaim for her performances and her music has been unanimous from the start. After one self-titled EP and the 10” vinyl collaboration “Exit in Darkness” with Japanese post-rockers MONO, the London-based singer-songwriter has signed to Bella Union and made a stunning debut album, “Forever Blue”.

A rapturous blend of post-rock and post-classical, Forever Blue smoulders with uncoiling melodies and haunted atmospheres, shifting from serenity to explosive drama, often within the same song. Williams is a fantastic musician as well as songwriter, playing the guitar, cello and piano, and her voice has the controlled delivery of a seasoned chanteuse whilst still channelling the rawest of emotions.

Forever Blue is named after a song that didn’t make the album’s final cut, “but it still encapsulated these songs,” Williams explains. “It sounded timeless and in the right place.” The album’s threads encapsulate the anxieties and addiction of love and loss with haunting detail, for example ‘Glimmer’(“I wasn’t meant to see the sun washed out and pale / I wait undone / I wasn’t meant to be the one hollow and hurt and meant for none”), though Williams admits the theme was shaped more by her subconscious than any grand plan.

Therapy is intrinsic to Williams’ approach: to not just express and unpick her feelings of longing and loss but to work through them. “Verbalising something, you feel a weight has been lifted,” she says. The transition can be mirrored in the dynamic shift from ‘quiet’ to ‘loud’, as on ‘Glimmer’ and arguably at its most euphoric on ‘Melt’. “There’s something very satisfying and elating about songs that have that drop in them, to stomp on the guitar pedal on and let it all out.”

Forever Blue will spread the news of A.A. Williams’ extraordinary talent far and wide – and once lockdown is over, she and her band will be taking the next steps on her journey by touring the record. She’s already come so far but this story is only just beginning. For the past year or so, dark singer/songwriter A.A. Williams has been releasing gloomy, minimal covers that put a hauntingly beautiful spin on the originals, and here’s another great one. She makes the ’60s prog-pop hit sound like something that could’ve come out on ’80s 4AD.

Taken from the album ‘Songs From Isolation’ by A.A. Williams

LOST HORIZONS feat MARISSA NADLER – ” Marie “

Posted: January 27, 2021 in CLASSIC ALBUMS, MUSIC
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Lost Horizons

Lost Horizons are back with another preview of their “In Quiet Moments” album, this time teaming up with Marissa Nadler for “Marie“. The new track arrives with a video created by Nadler, with editing and direction by Penelope Isles’ Jack Wolter. Lost Horizons say of their new outing, “I don’t think there was ever a second I wasn’t going to find a song for Marissa to sing on the new album track. So much cool stuff came out of our last collaborations on Ojalá, indeed I think we ended up recording four songs from the original idea of doing one! Marissa is a really great & generous collaborator as she really throws herself in deep and commits to it fully. That is a rare and beautiful gift and Richie and I appreciate it enormously.”

“Marie” marks Lost Horizons’ second release of 2021 after Ural Thomas collaboration “In Quiet Moments” that landed earlier this month.

They add, “It was a beast of a track to mix I’ll be honest, and that had nothing to do with Marissa’s vocals, in fact they were a breeze to mix. But the initial music that Richie and I improvised in our basement studio in Brighton was a bit messy and we didn’t use a click or anything to keep tempo so fixing anything later was a lost cause, but it is such a cool piece that I loved creating (I think i put 4 maybe 5 bass parts on with my old trusty Fender VI string bass guitar!) that even when it’s kinda falling apart during that instrumental section near the end, I still love it. It probably sounds like it took half an hour to mix but the truth is it took weeks of starting it, scrapping it, starting over, scrapping it, etc. And yes, I fully intend to ask Marissa to contribute to our next one too.”

In Quiet Moments, which will follow 2017’s Ojalá, will also feature previous outings “One For Regret” featuring Porridge Radio, “Grey Tower” featuring Tim Smith of Midlake, Then there is the John Grant collaboration “Cordelia” and “I Woke Up With An Open Heart” featuring The Hempolics.

Lost Horizons is a rare sighting of two gifted musicians who, for different reasons, have been largely absent from music-making for the last 20 years. Yet their debut record Ojalá is proof of a telepathic relationship through music, established when the pair first became collaborators and friends in the eighties.  Raymonde was the bassist of the seminal Cocteau Twins, where the vein of melancholia went very deep. Even before the band had signed to 4AD, the label were releasing records by the instrumental quartet Dif Juz, arguably the first word in post-rock, 15 years before it became a trend: Richie Thomas was their anchor; the engine room of their wondrous free-flow. The two bands became friends, and toured together.

Taken from the album ‘In Quiet Moment’s’ due 26th February via Bella Union Records:

HILANG CHILD – ” Every Mover “

Posted: January 10, 2021 in CLASSIC ALBUMS, MUSIC
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Proof rings out with force and feeling on Hilang Child’s superlative second album, “Every Mover”, released on Bella Union Records. In 2018, Riman delivered a serene, textured debut album in Years, rich in sound and feeling. The “lonely, pressured” aftermath of Years found Riman grappling with “rough self-esteem and anxiety issues”, amplified in part by social media’s ‘fulfilment narratives’. Duly, he set out to navigate and overcome these mindsets, drawing deeply on his own insecurities and those he recognised in others.

These themes converge emphatically on Every Mover, an album steeped in everyday emotional states and crafted for cathartic, communal performance. Drawing on a rich spread of collaborators, sounds and themes, Riman uses his frustrations as the impetus to transform the brimming promise of Years into upfront and expansive new shapes.

Good to be Young serves swift notice of this leap, its banked synths and twinkling sound clusters leading to an assertion of fresh force when the main beat lands and a congregation of friends – AK Patterson, Paul Thomas Saunders, Dog in the Snow, Ellen Murphy, members of Penelope Isles – unite for the gang-vocal refrains. “It’s all iridescent colour I’m on,” Riman exults, a claim lived up to on the full-flush folktronica of Shenley. A reflection on spiralling insecurity,Seen the Boreal ups the ante again with its monk-ish chorales, looping samples, spectral woodwinds (from multi-instrumentalist John ‘Rittipo’ Moore, of Public Service Broadcasting and Bastille previous) and ecstatic chorus, Riman transforming a meditation on hindsight’s limiting effects into a spur to look forwards. And surge forwards he does with the glittering synths, spacey guitars, and Krautrock propulsion of King Quail, developed in jam sessions with dream-pop wonder Zoe Mead (Wyldest) in her basement studio.

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Riman’s sounds are enriched wherever you turn, from the epic prog-tronica of The Next Hold to the vocal release and layered arrangement of “Play ’Til Evening”; a kind of summit meeting between Surrender-era Chemical Brothers and Fleet Foxes in the high church of ecstatic sound. The treated chorales of Magical Fingertip and naked lyrics of the festival-sized “Anthropic (Cold Times)” showcase a fertile push-pull of lush arrangements and wide-open emotions in Riman’s sound; on the latter, Rittipo’s horns brim with expressive power.

Brought to a sublime close with Steppe, the resulting album projects its own epiphanic force. The birth was not always smooth: due to Covid-19, tours were cancelled and studios closed. Thankfully, most of the main parts were recorded pre-lockdown between East London, Gateshead, Brighton, Wandsworth and elsewhere, before mixing proceeded remotely.

That sense of passion lights up Every Mover, an album that hymns the redemptive qualities of richly expressive music crafted in simpatico unison with friends.

Over the moon that my new album Every Mover is out TODAY via Bella Union/PIAS!! It’s available on 180g red vinyl (with signed print), CD or digital download. 

Also check out the music video for ‘Pesawat Aeroplane (English)’ on YouTube or at the bottom of this email, featuring some trippy mountain visuals using stunning footage captured in Komodo by Tobias Brent and Lifted Imaging. Thank you to Everyone who was involved in the making of this album, from the bottom of my heart. You helped me make something I’m proud of and focus my energy during a difficult time. Onwards xxx

Taken from the new album Every Mover, available on vinyl,

The INNOCENCE MISSION – ” See You Tomorrow ” Best Albums Of 2020

Posted: December 19, 2020 in CLASSIC ALBUMS, MUSIC
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Lancaster, PA’s Innocence Mission have been making delicate dreampop for longer than that descriptor has existed, with Karin Peris’ heartbreaking voice forever the star of the show. Draped in aching melancholy, “See You Tomorrow” is among the group’s finest in a span over a 30 year plus career. Alternative folk act The Innocence Mission first gained recognition in 1989, when they found chart success with their self-titled debut album. By the time the band released their third album, Glow, in 1995, they had earned a zealous cult following that remains loyal to them to this day. Their songs tend to be exquisitely crafted, featuring ethereally beautiful acoustic-based music and hauntingly introspective and thoughtful lyrics, all combining into a sound that is at once delicate yet intense. The band, led by married couple Karen Peris (vocals, guitar, piano, organ) and Don Peris (guitars, drums vocals), originated when they first met in high school. Now, more than thirty years later, they (along with bassist Mike Bitts) are preparing to release their twelfth studio album,

Love. Connection. Community. Understanding. Most of us experience these aspects through the prism of family and friends. But not everybody can turn those feelings into song, especially not with the beauty and sensitivity of Pennsylvania trio the innocence mission, fronted by Karen Peris and husband Don. Following their Bella Union album debut “Sun On The Square”, which won the band some of their best-ever reviews, they have made another exquisite and touching album, “See You Tomorrow“.

This is a record steeped in awe and wonder, intense longing, sadness and joy; a rich sequence of songs that attempt to describe the essence of what makes us human. Sufjan Stevens, who has covered the innocence mission’s classic Lakes Of Canada, once called their music “moving and profound. What is so remarkable about Karen Peris’ lyrics is the economy of words, concrete nouns which come to life with melodies that dance around the scale like sea creatures.” The band recorded See You Tomorrow in the Peris’ basement (and the dining room where the piano sits). Karen wrote and sang ten of the album’s eleven songs, and plays guitars, piano, pump organ, accordion, electric bass, melodica, mellotron, and an old prototype strings sampler keyboard. Don contributes guitars, drums, vocal harmonies, and one lead vocal on his song Mary Margaret In Mid-Air. Fellow founder member Mike Bitts adds upright bass to four songs including On Your Side, the album’s first single.

With wistful strings and distant acoustic guitar, “On Your Side” sounds like the first chill of autumn.

The FLAMING LIPS – ” American Head ” Best Albums Of 2020

Posted: December 15, 2020 in CLASSIC ALBUMS, MUSIC
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Once Wayne Coyne saw Runnin’ Down a Dream, a 2007 documentary on Tom Petty, he became fixated on a stop Tom Petty made through Tulsa, Oklahoma in 1974 and his recording in that city with the earliest inception of the Heartbreakers—along with Belmont Tench and Mike Campbell—as Mudcrutch.  Manoeuvering through imagined scenarios and what-ifs, the Flaming Lips frontman became caught in some imaginary realm between his Oklahoma upbringing, the current state of America, and an imaginary jam session with the late rock legend. Imagine if the Lips were a local Oklahoma band that befriended Petty in his pre-Heartbreakers days—or what if Tom and company were pulled into the seedier side of Tulsa, shifting the course of rock history as we know it?

Running down a rabbit hole of reflections, the Lips’ sixteenth album “American Head” drifts through the singer’s wild imagination, exploring addiction and mental health in its drug-induced Americana. “As we destroy our brains / ’Til we believe we’re dead / It’s the American dream,” Coyne sings on “At the Movies on Quaaludes” before the more revelatory “Now I see the sadness in the world / I’m sorry I didn’t see it before” on “Mother I’ve Taken LSD.” Following up  Lip$ha, a proposed 2014 album with Kesha, and collaborating on the psych-pop experiment Miley Cyrus & Her Dead Petz in 2015, for American Head, the Lips cozied up to Kacey Musgraves for some feminine texture on three of the record’s tracks. Only The Flaming Lips could conjure up their American Head narrative, mixing loosely based recollections, romanticized tales…and the state of the country as we think we know it.

American Legends The Flaming Lips are pleased to announce the release of their 21st studio album, American Head released on September 11th via Bella Union. The album is comprised of thirteen new cinematic tracks, produced by long time collaborator Dave Fridmann and The Lips. Among them, “God and the Policeman” featuring backing vocals from country superstar Kasey Musgraves. American Head takes on a welcome temporal shift that occupies a similar space to that of The Soft Bulletin or Yoshimi Battles The Pink Robots and just may be their most beautiful and consistent work to date

American Head finds The Flaming Lips basking in more reflective lyrical places as Wayne Coyne explains in a longer form story titled “We’re An American Band.”  Excerpt below:

“The Flaming Lips are from Oklahoma. We never thought of ourselves as a band. I know growing up (when I was like 6 or 7 years old) in Oklahoma I was never influenced by, or was very aware of any musicians from Oklahoma. We mostly listened to the Beatles and my mother loved Tom Jones (this is in the 60’s)… it wasn’t till I was about 10 or 11 that my older brothers would know a few of the local musician dudes.

So… for most of our musical life (as The Flaming Lips starting in 1983) we’ve kind of thought of ourselves as coming from ‘Earth’… not really caring Where we were actually from. So for the first time in our musical life we began to think of ourselves as ‘AN AMERICAN BAND’… telling ourselves that it would be our identity for our next creative adventure. We had become a 7-piece ensemble and were beginning to feel more and more of a kinship with groups that have a lot of members in them. We started to think of classic American bands like The Grateful Dead and Parliament-Funkadelic and how maybe we could embrace this new vibe.

The music and songs that make up the American Head album are based in a feeling. A feeling that, I think, can only be expressed through music and songs. We were, while creating it, trying to NOT hear it as sounds… but to feel it. Mother’s sacrifice, Father’s intensity, Brother’s insanity, Sister’s rebellion…I can’t quite put it into words.

Something switches and others (your brothers and sisters and mother and father…your pets) start to become more important to you…in the beginning there is only you… and your desires are all that you can care about…but… something switches.. I think all of these songs are about this little switch.”

The Flaming Lips return on Bella Union Records with American Head, their 21st studio album. They’ve pulled off a masterstroke here, it retains all of their bubbling psychedelics, whilst sounding more introspective or reflective than they have in years. It’s a cracking set of songs and very pretty too.

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LANTERNS ON THE LAKE – ” Spook The Herd ” Best Albums Of 2020

Posted: December 11, 2020 in CLASSIC ALBUMS, MUSIC
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Lanterns On The Lake‘s Hazel Wilde has spoken to NME about their nomination for Hyundai Mercury Prize. The Newcastle band have scored their first Mercury nod with their acclaimed fourth album ‘Spook The Herd’ – which sees them employing their unique brand of atmospheric indie to dissect the hell-scape that we’re all living through. Rising nationalism and entire countries being let down by their leaders are all pertinent themes on the record, but they are always tackled with a degree of impressive subtlety.

“We never do sit down and say ‘this is what we’re going to write a record about’, because it feel too forced and not natural,” said Wilde.

“But that stuff, climate change and global politics is just what you see when you’re flicking through the news. Those things are on my mind and they’re the things we talk about as a band. It seeps into the music.” She continued: “We’re not political with a ‘capital P’ in the songs, but not in a social commentary kind of way – it’s a personal point of view. We’re not trying to lecture anybody or proclaim that we’ve got the big answers to massive questions. It’s coming from the point of view of people who are just living in these weird times.”

“We’ve just discovered that there’s been a big leak in our rehearsal room and a load of stuff is knackered. It would come in pretty useful for that! But we’re not thinking of the winnings – we’re just chuffed to be on the shortlist and have the album heard by more people,” Hazel explained.

And while fans had to wait five years for the arrival of ‘Spook The Herd’, it seems that the follow-up could be here sooner than expected. She added: “I’m really itching to get started on the next one. We do have a few ideas that we started on, but that had to take a backseat at the start of this lockdown. I’m itching to just getting cracking on the next one, I’m sure it will find its own way.”

Mercury Prize nominees Lanterns on the Lake released a live rendition of their beguiling track When It All Comes True ahead of their album and had us hooked. Of the track vocalist Hazel Wilde says: ‘Sometimes when you write a song you are creating a world in the same way a film maker or an artist painting a scene would. This is a twisted coming-of-age love story where we’re let in on the thoughts of what seems like a deranged narrator with a premonition.’

“Spook the Herd” was the fourth studio album to come from Lanterns on the Lake. It was released on 28th February 2020 under Bella Union Records.

LANTERNS ON THE LAKE – ” The Realist ” EP

Posted: October 14, 2020 in CLASSIC ALBUMS, MUSIC
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Having earned a mercury music nom for their stunning lp earlier in the year, Lanterns on the Lake are back already with a 5-track ep of dream-pop bliss. if you’re new to them & yet to hear what all the fuss is about, this’ll be the perfect snapshot of a band whose understanding of engrossing melodies & captivating atmospheres is second to none.

The ep includes four brand new tracks as well as a new reworked stripped-back arrangement of the single “Baddies”. of the track and ep vocalist Hazel Wilde says: “the realist is a song about being a dreamer, clinging to a vision and following your heart – even when that path can seem deluded to others. it was one of the songs that didn’t make it onto the album spook the herd as it didn’t fit sonically or narratively. it felt like it came from another place. so we began putting together this ep. we wanted to sculpt an intimate “Headphones” record. one for the introverts and dreamers, the ones that still find beauty and magic in things. recording some of the songs over lockdown in our homes helped in creating that world.”

Taken from The Realist EP out 11th December 2020 on Bella Union Records.

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