Posts Tagged ‘Brighton’

TRAAMS have always wrestled with category. Part motorik drum beats, part discordant guitars, pop melodies and hypnotic bass lines. All are present here. With a collection of three new tracks they have expanded further. Collaborating with friends and new instrumentation, each track is different from the last. But all sound like the inimitable TRAAMS.

The second single to be recorded in Brighton with Theo Verney after a brief hiatus is ‘Intercontinental Radio Waves’. The track was written in Paris, whilst touring with Car Seat Headrest at the tail end of 2017. ‘Intercontinental Radio Waves’ is about change.

Released October 5th, 2020

An explosive electropop collaboration between two of our new favourite bands – the Saint Agnes remix of CLT DRP‘s ‘I Always Like Your Mother Better’. The release heralds the announcement of an exciting remix edition of CLT DRP’s album Without the Eyes, due to release 13th November.

Here’s what the bands had to say about each other , CLT DRP supported us at a show on tour and blew us away. Kitty and I couldn’t wait to get our hands on the music and remix it.

Saint Agnes: We knew early on that we wanted do a remix version of this album. With our sound edging in to that electronic territory it seemed like the natural thing to do. At the start of this project, if you showed us the list of bands that all came together in the end to do remixes for this album; we would have been pinching ourselves. We’re blown away with all the artists input and really excited for everyone to hear our debut album reworked.

CLT DRP: Both bands are sparkling hot stars of Brighton’s Small Pond Recordings – a Brighton indie label serving up some very tasty fish right now (see also LibraLibra and Bitch Falcon)

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Releases November 13th, 2020

CLT DRP

It seems every time guitar music is at risk of getting stale, somebody comes along to give it a much-needed shot in the arm. Innovators like Hendrix, Tony Iommi, The Edge, and Tom Morello have all challenged and reshaped what it means to be a guitarist. And in 2020, it looks as though CLT DRP’s Scott Reynolds is doing his bit to push the envelope.
While that may sound like hyperbole, the Brighton-based trio’s new album “Without The Eyes” is offers a refreshingly different take on the punk formula – coupling aggression with electronic soundscapes and danceable beats, electro-punk seems to be the label most settle on, though it doesn’t paint the full picture.
Loaded with atmospheric dissonance, electro glitches, and almost dubstep-style drops many will be surprised to hear that CLT DRP’s sound is composed solely of guitar, drums and vocals – in a way that reminds you of the ear-defying experience of listening to Rage Against The Machine for the first time and wondering just how they do it.

And just like arch sonic innovator Tom Morello, a lot of the inspiration for Reynolds’ playing comes from outside influences. “When it comes to the music I make, I’m really just trying to make electronic music on the guitar,” he says. “I had been playing guitar since I was seven and I liked a lot of the usual stuff you’d call guitar music, like Guns N’ Roses and Metallica but there was always something about electronic music that just did something for me that standard guitar music didn’t.”

Though he’s an accomplished guitarist with a solid grounding in country, having studied the likes of Albert Lee and Brent Mason, Reynolds has definitely employed a rip-it-up-and-start-again approach to his own style; taking more inspiration from the likes of The Prodigy than contemporary guitar bands.

“It’s just how I see song writing I guess. Some people are really focused on melody and harmony, and focusing on keys. And it’s not like I’m totally neglecting that, but it’s not my focus. My focus is on rhythm, and the sound. But mainly sound.” he says.

“Queens of the Stone Age were like the only band I listened to for ages. But I’ve had this weird thing with them, because I was such a big fan and that sound has become so recycled now, that I just do everything in my power to not sound like Queens of the Stone Age.”
The sound Reynolds was going for in the initial stages of the band was “a combination of Meshuggah and electro house” and while he says he may have failed at that, alongside vocalist Annie Dorrett and drummer Daphne Koskeridou he has crafted something really distinct.

They are heavy and often abrasive, but at the same time incredibly melodic, and at the heart of everything there is an unmistakable groove with beats that change on a dime. They are challenging and uncompromising but also a hell of a lot of fun, which separates them from a lot of their peers.

Meeting at the British and Irish Institute of Modern Music (BIMM) in Brighton in 2017, there was an instant connection the moment the three started playing together.

“We literally wrote a song straight away. Daphne is incredible. The chemistry is amazing, I can just play her a riff and she’ll just find the right groove. And Annie has been amazing at putting these incredible melodies over the top of whatever noise I’ve brought in.”

How Reynolds makes his noise is an interesting process aided by several key tools. Firstly, as there is no bass player in CLT DRP, to get that big low-end sound he is running through a Hartke HA3500 bass head and two 4×10 bass cabs, as well as a Laney GH100L head with a 4×12 custom cab.

Secondly – and perhaps most importantly – is his pedals, of which he counts the Boss SL-20 Slicer and the Strymon Mobius Ring Modulation among his favourites.

“The Mobius was a bit of a game-changer in a lot of ways because there are so many ways you can change the texture of your sound. I can’t really put it into words about just what I love about it so much. I wanted a filter for drops and I remember seeing a really good YouTube demo and I remember thinking the filter just sounded great on it, but it’s just kept giving. It was – and still is – an infinite source of inspiration for different textures.”

A huge fan of stacking, Reynolds’ sound has largely been shaped by how his pedals interact with each other. While he is regularly running his Slicer, Mobius, Boss DD7 and Boss OD-20 alongside each other, he found the Wampler Ego Compressor was actually crucial to the performance of everything.

“I didn’t realise how much it changes the sound of other pedals until I started using it. So when I use it alongside the Mobius, it drastically changes how the ring mod sounds. If you dial back the gain before going into a delay, for example, then it is much more effective than just having it turned full on, so I think that’s basically what the compressor does for me. I didn’t realise how affecting it was until I took it away one day.”

Ultimately it’s Reynold’s distinct use of effects that define the CLT DRP sound and him as a player right now. Traditional guitar playing is just not on his mind. “I’m not really a guitarist in that sense, that stuff takes a back seat in a lot of ways,” he says.

“I’ve had this guitar (Epiphone Les Paul Standard) since I was about 11. If I had the money, I’d love to get a Gibson SG or something, but I don’t yearn for it like I do pedals. For me, spending $300 on a pedal can do a lot more for me than spending $1,200 on a nice new guitar.”

While it may not be for traditionalists, Reynolds’ approach has yielded interesting results and CLT DRP is a stunning example of what guitar music is capable of being today.

Their new album Without The Eyes is out now.

CLT DRP Gear

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Black Honey have shared a new track called ‘Beaches’ The song is the first material to be released from the Brighton outfit since their self-titled debut album, which arrived back in 2018. Clocking in at three minutes, the stomping indie rocker sees frontwoman Izzy B. Phillips express her desire to enjoy some sunkissed seaside fun. “On the beaches/ On the beach“, she repeats in the chorus over bursts of horns.

Beaches is a cheeky twisted collage of all things weird, set to a playground clapping song,” Phillips explained. “It’s all eye rolls, punk gigs and girls in polka dot bikinis. A nonsense filled retro world I wanna disappear into at times like these.” Shot and self-directed under lockdown, the clip is dubbed “a quarantine production”. “No expense was spared in the making of this video,” the band said.

Beaches’ arrives with a vintage-inspired official video, which sees Black Honey lark about in front of various sandy settings, while portraying “Joe Exotic, Dolly Parton’s daughter and Elvis Presley”. It’s not yet known whether the new single will appear on Black Honey’s second studio album

The Band:

Izzy B Phillips, Chris Ostler, Tommy Taylor, Tom Dewhurst,

Slum of Legs are a feminist noise-pop DIY band. We write songs about ghosts, architecture, gender, loneliness, good hair and many other important topics. We are Alex, Emily, Kate, Maria, Michelle and Tamsin. Long-awaited eponymous ‘queer feminist noise pop’ debut album from the Brighton-based Slum of Legs, a self-described ‘giant pop-psych, punk monster with twelve legs’. In their own words, “a manifesto for compassion and defiance in a confusing, unrestful world.”, gender, loneliness, good hair and many other important topics. 

Slum of Legs are a queer, feminist noise-pop DIY band. We are Alex, Emily, Kate, Maria, Mich and Tamsin. We write songs about ghosts, architecture, gender, loneliness and hair envy. You can dance to all of them. Sometimes we sound like The Shaggs, Slant 6 and La Dusseldorf playing at an impromptu party in space.

One of our songs is a live séance. We’ve performed on a Norwegian mountain and in many, many basements. We like pylons and onstage pile-ons. We’re interested in modernist architecture, art & literature.

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We use collage & cut-up in our artwork and this also reflects the fractured nature of our songs and how the 6 of us, who all bring completely different influences to the band, have been stuck into a blender with the controls jammed. We are a giant pop-psych, punk monster with twelve legs. Our songs are melodic and dissonant, anthemic and experimental. The Fall meets The Raincoats in this noisy, bloody minded, defiant, lo-fi collage art-punk. Absolutely brilliant, up there as Album of the Year 2020 with Torres & Porridge Radio.

Our debut album ‘Slum of Legs’ is a manifesto for compassion and defiance in a confusing, unrestful world. As Slum of Legs are currently scattered across continents, we couldn’t film a video all together, so synth player EK put together this little homemade vid out of photos and gifs, featuring ‘Benetint & Malevolence’ from our forthcoming self-titled LP.

Released March 13th, 2020

The Band are:
Tamsin – vocals, backing vocals, drums, shouts
Mich – drums, vocals, backing vocals, guitar, shouts
Maria – violin, vocals, backing vocals, guitar, percussion, glockenspiel, field recordings, shouts
Kate – guitar, backing vocals, drums, shouts
Emily – synths, samples, monotron, piano, glockenspiel, noise, shouts
Alex – bass guitar, shouts

Lyrics by Tamsin Chapman except: 5 – lyrics by Tamsin Chapman and Michelle Steele; 8 – lyrics by Michelle Steele; 10 – lyrics by Maria Marzaioli
All songs by Slum of Legs

Equal parts Neil Young, Cat Power and Blink 182, Porridge Radio’s songs are 2 cups of emotion for every tablespoon of salt. The crisp, golden brown surface of Rice, Pasta and Other Fillers belies a childhood misspent consuming The Carpenters, Supertramp and Guns ‘n’ Roses, with a generous sprinkling of the Cranberries.

After a series of home recorded solo demos, a split EP with West America, a single on CHUD records, and a comp with No Dice records, and the growing legend of their live shows, Rice, Pasta and Other Fillers  is the dragged out remnants of sessions done in the band’s earliest stage (summer 2k15). Many of the songs are full band reworkings of Porridge Radio’s earliest bedroom demos.

Rice, Pasta and Other Fillers  lyrics, title and artwork, as well as the group’s name, brings to mind a certain scrapbook absurdism at the core of Porridge Radio’s work. Faced with the dark abyss of existence, the band scrapes together some value from malarky, baloney and balderdash, and then cling to it, giggling, for dear life. This isn’t revivalism, stylised posturing, or calculated blog fodder. It’s not really anything, other than some sad friends expressing some weird feelings in a way that they like and find fun. I like it a lot too. At the dawn of midnight they sacrifice the goat to satan, praying for the end of mankind and the dawn of a new satanic era.

originally released August 2nd, 2016

Porridge Radio – Vocals and Guitar
Madilda Royale – Bass and Vocals
Sam @yaddlepuss – Drums
gorgus corgi stog – Vocals
Snake Leather – Guitar

“We Are The Plague”  is the debut album from Suzie Stapleton. It is a rallying cry, a howl into the abyss, the defiant call of a generation sold down the river and acutely aware of its own imminent demise – a bold soundtrack to the apocalypse.

The album was recorded at OX4 Studios, produced by Stapleton and mixed by award-winning engineer Dan Cox (Thurston Moore, Laura Marling, Pete Doherty) at London’s Urchin Studios. Bassist Gavin Jay (Jim Jones Revue/Righteous Mind) and drummer Jim Macaulay (The Stranglers) provide a solid, seething backbone to Stapleton’s expressive guitar playing and midnight vocal traversing through alternative rock to gothic-blues through to alt-folk. Includes singles Thylacine and Blood On The Windscreen and nine previously unheard tracks including new arrangements and recordings of Negative Prophet and You Were There.

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“It’s rare that a new artist comes along who genuinely defies easy description, but this is certainly the case with Stapleton… a bright new star in the ascendant.”
– Louder Than War
“A supremely delicate and precise feel for the moment…like hearing Cat Power at her very best.“ – The AU Review
“She sounds like the devil convincing you to sell your soul.”
– Tone Deaf
 

releases July 31st, 2020
The Band:
Suzie Stapleton: vocals, guitar, violin, piano
Gavin Jay: bass, bowed double bass
Jim Macaulay: drums
Gareth Skinner: cello (tracks 6, 10, 12)Written and produced by Suzie Stapleton

 

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Brighton’s indie psych collective Moon Attendant emerge to release their debut LP ‘One Last Summer’. a new band featuring old friends. brothers from critically acclaimed psych-space rock group Black Hearted Brother. Blewett swaps bass duties for vocals and electric guitar and other brother Holton once again provides synths & production. label boss and guest Neil Halstead also wires up his pedalboard and crashes some signature Slowdive sound-waves into this record. the line up is completed by Big Potato mainstay Mccutcheon (Slowdive/ Mojave 3) on percussion & guitarist and songwriter Molyneux. Moon Attendant’s psychedelic grunge pop debut LP wields deranged analogue synths within a cozy jacket of fuzzy guitars and over saturated sonics. imagine if Colin Blunstone & Klaus Schulze had released pebbles-esque garage. words & production walk a starry eyed tightrope between childish endeavour and mature lamentation. songs about death, power, drugs and despair have never felt so pop! “there’s so much going on and it all works, they make it sound simple but it’s very hard to do.

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Psychedelic Grungy Synth Pop from Brighton

Released February 14th, 2020

It seems an age since we saw or heard anything from the duo Fear Of Men playing at SxSW in Austin, and that was before they took a four year hiatus after the release of their sophomore album Fall Forever. With a new track ‘Into Strangeness’, our first song and video in 4 years We made the video ourselves during lockdown, co directed by Mikael Johansson. It’s inspired by 16th Century British witchcraft, uncanny dreamscapes and feminine power.

They are back with a new song, Into Strangeness, a sub-3 minute salvo tightly wound with a post-punk energy that recalls the likes of Section 25 and AR Kane. The song opens up with disorientating atonal saxophone, inspired by the opening credits of 70’s neorealist film Fear Eats the Soul, before Jessica Weiss’ vocals paint an ominous picture of tension, possession and affliction.

The band are donating their first week of sales via Bandcamp to The Audre Lorde Project, supporting LGBTQ+ People of Colour in the New York area.

Released July 1st, 2020
Words and music by Jessica Weiss and Daniel Falvey.
Drums by James Davies.

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Brighton based band Squid are happy to be releasing a new track called “Broadcaster”. It’s one of the few tracks we actually had time to road-test before the lockdown! It’s got a real sci-fi vibe which feels pretty relevant in our increasingly dystopian surroundings. We hope you enjoy it…and how could we forget… it’s being released on vinyl with Sludge.

The Brighton rock group Squid have shared their second single of the year. It’s called “Broadcaster.” Give it a listen below.

“Lyrically the track was inspired by the visual artist Naim June Paik and his TV Garden installation,” the band’s drummer/vocalist Ollie Judge said in a statement. “I thought it blurred the lines between a dystopian and utopian vision. I imagined what it must be like living synonymously amongst nature and technology in the most literal way I could imagine, with TVs towering over me amongst forests.”

Earlier this year, Squid shared “Sludge,” which was their debut song for Warp Records. On June 26th, Squid and Warp will release a 10″ vinyl record with “Sludge” and an extended edition of “Broadcaster.”

Taken from the ‘Sludge/Broadcaster’ Limited edition 10″ Vinyl, released 26 June on WARP Records.