Posts Tagged ‘Brighton’

Orchards have announced their debut album. ‘Lovecore’ is due to arrive on March 13th via Big Scary Monsters, with the band’s debut headline UK and European tour set to follow in April. They said:

“It’s our statement, a flag in the ground letting people know we’re here and this is exactly what we’re all about. It’s the product of years of touring, meeting new people, hard times, good times, loss, friendships and growth. We’re starting a party and everyones invited.”

Alongside the announcement of the record, the quartet have shared a new single. “Sincerely Overwhelmed” features their unique, upbeat blend of math-rock and pop, complete with endearingly candid lyrics.

Band Members
Sam Rushton – (Guitar)
Dan Fane – (Bass/BVs)
Will Lee-Lewis – (Drums)
Lucy Evers – (Vocals)

Tue April 07th 2020 – NOTTINGHAM Bodega Social

Brighton post-punk act Thyla has dropped the music video for “Lenox Hill” where we see frontwoman Millie Duthie hit various spots across the city in funky outfits. The video looks like Millie is the only earthling existing and she’s having a grand time cavorting cements to grass. It’s chic and feels like every hermit’s dream come true:

“The urge to put ‘Lenox Hill’ to video was too strong to ignore so we decided to try and shoot something essentially for free. We bought a gimbal stabiliser off amazon and used Danny’s iPhone to shoot the whole thing, turns out all you need is some outfits, a willingness to look a bit silly to passers by and a whole load of patience for editing in iMovie and you’ve got yourself a music video! We had a lot of fun making it and we hope it sheds some light on the song and how it makes us feel,” shared Millie.

“Lenox Hill” is from Thyla’s sophomore EP Everything at Once, which will be out on February 7th.

With the release of their exceptional debut EP, “What’s On Your Mind” and a second one on the way, things are only looking up for Brighton four-piece ThylaWhat’s On Your Mind highlights like “Only Ever” and “Blue” cultivate a misty dream-pop wonderland with frontwoman Millie Duthie’s enigmatic lead vocals as their euphoric centerpiece. Then add a framework of palatial, lush guitars and a dash of moody post-punk for good measure, and you have all the bearings of a band worth obsessing over.

 

we are throwing a release party where it all began at Brighton Electric – this year has been about focus and channeling everything that Thyla has become. Big thanks to Joy. for helping us curate what we promise to be a statement of intent for 2020.

single’s from “What’s On Your Mind” EP out 1st February 2019 on REX Records.

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British trio Our Girl stopped by Paste’s Atlanta Studio to perform songs from their debut album “Stranger Today”, out now via Cannibal Hymns. Paste included Stranger Today in our list of 10 Great Albums You Might’ve Missed in 2018, and we also premiered their “Being Around” music video.

Our Girl are currently touring the U.S. with The Japanese House, and they popped into our Atlanta HQ to perform three songs: “I Really Like It,” “In My Head” and “Two Life.” Lead vocalist and songwriter Soph Nathan also discussed the origins of the band and filming their video for “I Really Like It” in her living room. Completed by drummer Lauren Wilson and bassist Josh Tyler, Our Girl’s tender lyrics and steamy guitar squalls are an incredibly effective paradox.

Setlist : “I Really Like It,” “In My Head” and “Two Life.”

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Self-released ‘Two Sense’ from Brighton’s Thyla is, as they say, possibly their “boldest cut yet.” Awash with dreamy guitars and sprightly, echoing percussion, ‘Two Sense’ follows the quartet’s debut EP ‘What’s On Your Mind?’ which was released earlier this year, and is the first track to come from their second EP, ‘Everything At Once’, due out early in 2020.

“’Two Sense’ is about the short-term sacrifices we make in order to create space for long-term gains,” explains frontwoman Millie Duthie. “It’s a song about growing up and claiming your right to self-determination. We’re really proud of the direction we’ve taken both in terms of the writing and production, it feels like our boldest cut yet; the vocals are purposefully front and centre and the message is clear.”

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Songwriters: Millie Duthie, Mitch Duce, Danny Southwell, Dan Hole

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UK band Penelope Isles released their terrific debut album, “Until the Tide Creeps In”, back in July. Led by siblings Jack and Lily Wolter, they make jazzy, shoegazy indie rock that is at times complex but feels effortless, aided by lush harmonies and swelling arrangements.

The band have now made a video for “Round,” which was directed by Jack (who wrote the song, too) and features a tour through Penelope Isles’ hometown of Brighton via a blobby alien. “‘Round’ was the first song I wrote when I moved to Brighton a few years ago,” says Jack. “I wrote it on a Danelectro 12-string, which I had to sell to pay the rent. We played the song constantly when we first started gigging and ended up leaving it out of the set for a while. We revisited it, as it felt weird to not include it on this record. We made the video in Brighton on one of the hottest days of the year. It consists of footage of Lily, dressed in a large round blow-up suit that pulsates with bright psychedelic colors and floating images of the band. We had a laugh making this one!”

Penelope Isles will soon be on their first-ever North American tour.

The band also have their own web series, Penny Isles TV, that features life on tour, and other behind-the-scenes fun.

Squid

Squid have fast become one of Britain’s most exciting new bands .Open the tabloids and it’s all avocado toast and selfie sticks, but there’s far more to millennial life than the papers would have you believe. Just ask Squid – the Brighton band whose breakout single ‘Houseplants’ has made them the unassuming spokespeople of young frustration.

A frantic, punky ode to the indecision and anger that drives the lives of British youth, ‘Houseplants’ has deservedly racked up radio play and near-universal praise. Atop an incessant, stomping beat, the five-piece’s drummer-vocalist Ollie Judge barks his way through oh-so-relatable topics with a rolling-eyed delivery: “We speak about our days, yeah, we speak about a raise / Everybody’s bored, we’re just too afraid to say,” he snarks, before turning his attention to the rise in houseplant ownership amongst the younger generations – often pinned as a replacement for children, pets, or other such responsibilities: “Houseplants, houseplants / We squeeze it at night, oh, we squeeze it so tight.”

Maybe one of the most hyped bands and deservedly so, in the country right now, partly due to their breakout single ‘Houseplants’, but mainly because of their unbelievably tight live show. It’s an exhilarating and breathtaking onslaught of funky basslines, intense vocals and zippy guitars. Miss them at your peril.

“It’s been really surprising, and we’ve felt so warm towards the people who’ve played it, or shown it to people, or heard it once and then come to shows,” says Ollie. “I was living in London without and money,” he says of its creation, “Getting paid pretty well, but then having to put over half my earnings into just having a house, and having to live on like £200 a month. I was very pissed off with the state of things,” he shrugs.

“It could be perceived to be quite a chaotic, shouty, fun song,” says percussionist and keyboardist Arthur Leadbetter, “but the subject matter is far from fun. And also, the music is hysterical.It’s what we’re all feeling.” Guitarist Louis Borlase agrees: “We were all working full-time, and we’d only have two, maybe three hours to get in a rehearsal space and write something. That urgency probably shaped the way it feels.”

Unusually for a song with quite so much radio love, ‘Houseplants’ is also undeniably weird. Completed by Laurie Nankivell on bass and brass, and second guitarist Anton Pearson, Squid’s breakout hit is a sprawling, hulking mass of gloopy sounds, dissonant guitar-work and Ollie’s throat-shredding yell, all capped off with a Pandora’s Box of odd percussion and electronic addition – as such, it’s the perfect introduction to the oddball band. Bonding over left-field bands like Neu! and This Heat, Squid’s love of the avant-garde was cemented from day dot. It’s their lyrical relatability which sets them apart from those groups, though. “I’ve definitely always liked bands which might be quite out-there instrumentally, but keep it all in one spot lyrically,” says Laurie. “I think keeping it accessible, but still weird, is definitely the goal,” says Ollie.

With those inspirational oddities in mind, it’s perhaps unsurprising that, their go-to producer Dan Carey (Black Midi, Kate Tempest) and the band opted not to cover the usual Live Lounge fodder. Instead, they took on experimental composer Steve Reich’s ‘Clapping Music’ – a poly-rhythmic piece designed, as the title suggests, to be performed anywhere, simply by whacking your hands together. Squid being Squid, though, have adapted it for their full-band set-up, horns and all. Oh, and they added lyrics, which are taken from an interview Reich did on the piece, years ago.

“I’ve always been aware of the piece, and always wanted to perform it with somebody – and then I saw the app,” grins Arthur, referencing an app designed specifically to help budding clappers nail ‘Clapping Music’’s odd rhythm.  “It changed my… life, really,” ha adds, to a tableful of laughter. That app helped them through – or possibly contributed to – the madness of the band’s SXSW schedule in March, which saw them performing six shows in just five days, all across Austin, Texas. In between those shows, they’d collectively sit on the porch of their Air BnB, clapping away. “I think it contributed to the madness, definitely,” laughs Ollie.

Madness is where Squid thrive, in fairness. Their two singles to date, ‘Houseplants’ and last year’s ‘The Dial’, were recorded and released by Speedy Wunderground – the label-meets-studio-space of Dan Carey. Not content with the typical route of recording a new guitar band, Dan goes full bonkers with the recording process, insisting the bands play everything live, in a single day, in complete darkness, and filling the room with smoke and lasers. Your typical bedroom studio, this is not.

The combination of Carey and Squid seems like a match made in heaven. It all kicked off from a doting email from Ollie to the South London wunderkind producer (“I think I said, ‘Our recordings are shit, can you make them better?’” says Ollie, “We didn’t even email anyone else”), and has now culminated in Squid’s new EP to be the first non-single release on Speedy Wunderground.

Recording the EP over four days, rather than one, allowed for the bells, whistles and odd instrumentation that make Squid shine to really come into their own – particularly on a day in the studio they dubbed ‘Arthur Day’. “There were about 16 layers of cello,” Arthur laughs. “I actually really wanted a cigarette all day, but every time I’d finish tracking something, there’s another part that relied on me.”

“I always call percussion the ‘fish sauce’ of music,” says Arthur. “If you take the percussion out of a song, it’s never gonna sound the same. But the untrained palette won’t know what’s missing. I love Brazilian percussion instruments – my favourite percussion instruments are the ones that aren’t just percussion, but are also a rhythm,” he adds, citing the cuica, the berimbau and the güiro as particular favourites in his box of oddities.

“It’s quite experimental,” says Dan Carey of the record. “It’s all contained within accessible frameworks, but there’s a lot going on. Having a bit more time enabled us to go a bit deeper. And the fact we’re doing it for our label means we can do literally whatever we want.”

There’s some “real tender moments” on the record too, they tease. “Are the Yorkshire post-punks gonna like it?!” quips Ollie, to another table-wide laugh.

It’s a record that, with the band’s reputation for bolshy bangers like ‘Houseplants’ and ‘The Dial’ now firmly established, is sure to turn some heads. Squid are confident in their ability to push boundaries though.

“We formed over that love of ambient music, and jazz music, and stuff like that,” says Laurie, “and I think this EP’s the perfect blend – the punky, but the more thoughtful experimental music, too. I think it’s a good way of being – not influenced by any one scene too much; just doing the weird shit.”

Squid’s new EP will be released via Speedy Wunderground.

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One of the weird and/or fun aspects about new bands (loosely) playing into some kind of post-punk lineage is trying to locate all the through lines, piecing together the DNA that gave them their individual sound. Recently, one buzzy London-based band called Black Midi perhaps provided the greatest Rorschach test in this vein, some people hearing Talking Heads and some people hearing something as far removed as King Crimson. But another buzzy London (by way of Brighton) guitar band called Squid.

The intro rhythm — you’ve heard that before. It’s pretty similar to the tightened groove that opens LCD Soundsystem’s “Us V Them,” a callback to another band deeply indebted to late ’70s and early ’80s music and deeply committed to playing fast and loose with those influences. Ollie Judge’s squawking vocals recall early Liars. But it isn’t all filtered through a previous generation’s interpretation of bygone glory days — the synths in the beginning sound like early ’80s Prince, the melodic parts kinda like Wire, and the droning strings of the outro like Nick Cave.

None of this is meant to reduce “The Cleaner” to its touchstones. In quoting all those older artists, the young band came out with a shape-shifting epic, frenzied and twitchy at first then at times genuinely pretty or trippy. And all along the way, it gets right in your bloodstream. “So I can’t dance,” Judge yelps. But it’ll make you want to.

Sure, there’s plenty of great post-punk knocking about on the shores of the old Blighty, but Squid separate themselves with multiple lead vocalists and additional instrumentation—horns, synths, cowbell, triangle, a guiro and god knows what else. They only have a few singles to their name, but tracks like “The Dial” and “Houseplants” are the kind of nervy, spunky art punk tunes that are supremely enjoyable and memorable in both their studio and live forms. Plus, everyone loves a good singing drummer and the London via Brighton five-piece have a great one at that.

Band Members
Louis, Ollie, Anton, Arthur, Laurie,

From the forthcoming ‘Town Centre’ EP – out on Speedy Wunderground digitally on 6th September,

We have previously covered Cultdreams back when they went under the name Kamikaze Girls who released one of favourite albums of 2017. This week the band have announced their long awaited return, with their new album, Things That Hurt, will be coming in August. The band also shared the first new material from it, “We Never Rest”, which features Katie Dvorak and David F. Bello of The World Is A Beautiful Place & I Am No Longer Afraid To Die.

Discussing the upcoming record, vocalist and guitarist, Lucinda Livingstone has suggested it’s a record that is more political than it’s predecessor, a look at modern Britain, and how it can be hard to find a place in it. We Never Rest, in particular, looks at the difficulty of balancing life in a bubble, and the reality of the world outside it. As Lucinda explains, “I very much live in a bubble—people couldn’t care less about how I live, who I live with, how much money I do or don’t earn, what I look like, or how I choose to spend my time, but then it’s so easy to get used to the bubble, and once you’re out it’s not like that anymore.” If the record is taking on less personal themes, musically it’s as affecting as ever, drummer Conor still hits the drums harder than anyone we’ve ever heard, Lucinda’s guitar work and passionate vocal howl remain very much in place. A bold next step, from a band who remain one of the most exciting bands the UK has to offer.

Things That Hurt is out August 16th via Big Scary Monsters.

The latest addition to Elektra’s long-running alternative music imprint Fueled By Ramen is Yonaka, a fiery English guitar band gearing up for its debut full length.

Fueled By Ramen broke the news sharing Yonaka’s latest single “Don’t Wait ’Til Tomorrow.” It’s the title track from the four-piece’s forthcoming album, due today (May 31st). In the weeks following, they’ll play a pair of Stateside shows: June 11 at Rough Trade in Brooklyn, NY and June 13 at Los Angeles’ House of Machines.

Based out of Brighton, England, Yonaka debuted with 2017’s “Heavy” EP and released another pair of EPs last year, most recently October’s “Creature” .

Fueled By Ramen will serve as Yonaka’s U.S. label; they’re with Warner Music Group’s Asylum Records in the UK.

Fueled By Ramen has enjoyed immense commercial success in recent months from the likes of Panic! At the Disco and Twenty One Pilots.

Yonaka’s official music video for their song ‘Don’t Wait ‘Til Tomorrow’ from their album Don’t Wait ‘Til Tomorrow – available May 31st.