Posts Tagged ‘Brighton’

Winter Gardens - Tapestry 180g Ltd Ed Marble Magenta 12

Taking influence from 80’s post-punk, Factory & Creation era bands, Winter Gardens have developed their own ‘dream-punk’ sound, with all the ethereal haze of shoegaze & dream-pop combined with the energy of punk.

Based out of East Sussex, Winter Gardens caught the ear of many back in 2020 with their debut EP, “Tapestry”. While there are no plans announced for this year yet, it was a collection of tracks that hinted at a band with a very bright future. Released through Austerity Records, a new socially-conscious independent record label part-owned by the band’s guitarist Jamie Windless, Tapestry is a record heavily influenced by the 80’s indie sounds of labels like Creation and 4AD, bands who fused the worlds of dream-pop and the rawness of punk


Across its four tracks, “Tapestry” incorporates moments of lush introspection, such as the Lanterns On The Lake-like title track, as well as moments of ferocious energy, with the excellently titled Zigzanny, reminiscent of The Joy Formidable. Even if no further new music arrives this year, I can only hope 2021 gives the band the opportunity to take this record out to the live environment, and having already played with the likes of Penelope Isles and Say Sue Me, that’s something well worth being very excited about.

New Year, New Lockdown, New Single.“Believer” is coming out soon, We are so excited to share our new song and video with you all! We filmed the video back in the summer of 2019 and have been wanting to show you for aaaages! Black Honey have released their first offering of 2021, new single, ‘Believer’.

‘Believer’, taken from the Brighton-based band’s upcoming second album ‘Written and Directed’, set for release on March 19th, follows the previous ‘I Like The Way You Die’, and is a foot-stomping, cathartic outing. “’Believer’ is a song to accompany your existential crisis,” she explains. “I wanted a religious satire that was eye rolling at all the patriarchal nonsense of spiritual sense of self. I wanna believe in me, the outsider and the underdog. It’s like coming of age, coming out and coming up.”

The accompanying video is set in a dusty, deserted Mexican village, with a ‘dead behind the eyes’ Izzy B. Phillips.

It features the final performance from our beloved Tom Dewhurst, nuns, the desert, a beautiful drag queen and kidnapping. Everything you’d want from a Black Honey video: Set to appear on the band’s upcoming album ‘Written & Directed’, the band’s first release of the year features percussive acoustic guitars, reverb-drenched surf guitar and brass. Speaking of the new LP, lead singer and guitarist Izzy B. Phillips said that she “made this record for young women to feel invincible”.

Written & Directed, the new album released March 19th

Dana Margolin really has a way with words. She likes to roll them ’round and ’round until the meaning flakes off and there’s nothing but feeling left. With their debut record five years in the making, the Brighton collective provided us with an unusual take on somewhat-anachronistic indie, shaped by Dana Margolin’s quaking, often unpredictable vocal delivery. All the memorable peaks on “Every Bad” are characterized by Margolin’s unreliable insistence that, say, “everything’s fine,” while the jarring opener climaxes and ebbs with the repeated, impossibly tense line “Thank you for making me happy.” I don’t think you could possibly adapt the “This is fine.” meme more fluently into song writing.

As many of us have followed them around for years, we predicted big things for these Brighton locals but we never suspected they had something quite this special in them.

Songwriter Dana Margolin’s vulnerability has been her constant strength and despite the nuanced and difficult subjects she takes on in her songs, she’s always had some level of lo-fi production or guitar fuzz to shield her, thanks to the bedroom pop genesis of most of these tracks. however, on ‘every bad’, she unabashedly centres herself and the result is astounding. That’s not to say that the guitar fuzz and lo-fi production have vanished – far from it in fact. ‘Every Bad’ takes cues from nirvana, who mastered underpinning anxiety with abrasion, raincoats in their tendency to twist, turn and change a song without warning and pixies in their ability to turn the aggression of grunge into a diverse and supple sound. so yes, they are clearly inspired by the bands of their youth but on these familiar foundations, something uniquely dynamic has been built. the jagged instrumentation complements dana’s rugged vocals and authentic lyrics perfectly, matching the mood of each song and manoeuvring effortlessly to enhance a lyricist who tackles sensitive, esoteric and existential subjects.

On opener “Born Confused” the singer chants “Thank you for making me happy” for a minute and a half. It starts off a little wistful, then genuine. With about 40 seconds left the edges start to wobble and the mantra becomes a frenzied wash of anguish. By the time the song cuts out, mid-sentence, it sounds like an accusation, if not an attack.

She told Apple Music that the track “captures the feeling of frustration and trying to figure things out”, which is maybe the core of Every Bad. It’s full of direct contradictions, cocksure one second and confused the next. It does an incredible job of transmitting the anxiety of being in your mid-20s. I’m an adult, why am I still adrift? “Oh, I don’t know what I want/But I know what I want/Oh, I don’t know what I want/But…”. Despite this vulnerability, dana never softens her edges or compromises in her lyrics. her pronounced and very forthright uncertainty and confusion comes across as defined and unflinching – the only thing she can be certain of is that confusion. this is not music that moralises or offers answers to life’s big questions – it is here to express raw emotional response with no interest in resolution.
That refusal to offer an easy way out is what makes it both so personal and so relatable. we may not have experienced the same situations, but we’ve felt those same nameless, onerous emotions. these guttural anthems amass into a defining album that’s burst them out of their established Brighton bubble, got them mercury nominated and has firmly planted them in hearts everywhere.

‘Sweet’ by Porridge Radio, taken from their forthcoming album Every Bad released in March . The DIY Brighton outfit were called ‘slacker indie’ when they released their first full album. “Every Bad” shows that description had more to do with the garage they recorded it in than their motivation.


THYLA today bring the curtain down on their 2020 by offering us a look into how their 2021 is beginning to shape up. Locked away, like everyone else this year, the possibilities for a live show’s of any description were of course few and far between, if non-existent. When the chance for the Brighton band to film a live set at the city’s famous Green Door Store venue popped up, it provided the perfect opportunity to bring music from their long-awaited debut album into a live setting for the first time. In fact, this live version of new track “Dandelion” is the first song to be made available from the record.

Lead singer Millie Duthie offers these thoughts on the track: “Dandelion” is the angriest track on the album. It was written from a bass and drum instrumental jam which makes the rhythm section the focal point. Danny actually charted the drums out from the original phone recording and the parts were recorded identically on the album. The lyrical message of the track was inspired by work songs sung by female factory workers during WW2. The women used to sing to the repetitive rhythms of their monotonous labour as a way of coping.

First the heel and then the toe” is the first lyric of the song and it sums up our mantra entirely, keep putting one foot in front of the other and we’ll get there!”

Often found between the bric-a-brac and neon glow of their favourite Brighton drinking and planning den The Bee’s Mouth, as Thyla, Millie Duthie (vocals), Dan Hole (bass), Danny Southwell (drums) and Mitch Duce (guitar) find comfort in the sanctuary of their second home. Out of town, they craft explosive walls of sound from within a dock-side warehouse, culling and tailoring the sonic offspring with immaculate attention to detail.

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)


Releases November 13th, 2020


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.


Image may contain: 4 people, people sitting, car and outdoor

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.


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