Posts Tagged ‘Bristol’

“Consolations”, my debut EP, is a collection of songs written over the last year or so, so-called because I wrote them to “console” myself, to find comfort when things were turbulent or when I felt somehow disconnected from world around me.

My music emerged from a world of books, paintings, and poetry, as well as a love of song, and for me, it is a weaving together of those loose strands, an assembling and mending of the fragments of the things I love, that might otherwise have remained scattered across my life and never quite have come together.

http://

Released February 24th, 2021

Written and composed by Clara Man

Spectres return with ‘It’s Never Going To Happen And This Is Why’, their bluntest, most bludgeoning LP yet. The oft sprawling and trance-inducing explorations of feedback and terror featured on their previous two critically acclaimed albums ‘Dying’ (2015) and ‘Condition’ (2017) have been supplanted by a rifle chamber of condensed noise nuggets firing in at three minutes or less. Spectres have gone pop. Recorded by Alex Greaves at The Nave, a 19th century Methodist church in Leeds, and released on their own new Dark Habits imprint in Europe / Little Cloud Records in the USA, the mischievously titled album sees Spectres at their most radical and playful, splattered with guest spots from experimental artists Klein, Elvin Brandhi, Ben Vince and French Margot.

http://

Massive album! Powerful sound. Hard to say which is my favourite track. Playing it both in track order and randomly brings loads of energy.  Spectres can do no wrong to my ears. Been a big fan since “Dying”. I was lucky enough to see them live a few years back and they blew me away. This album is as good, if not better than anything they’ve released to date. A lot of the tracks are considerably shorter than their previous work, but no less powerful. An excellent piece of work and already one of my faves from this year.

Released October 30th, 2020

A new face on the thriving Bristol Music Scene, Clara Mann first came across music when growing up in the South of France surrounded by Classical sounds, including everything from choral pieces to chamber music. Inspired Clara went on to become classically trained in both piano and voice, elements she incorporates into her new-found sonic world, which could be loosely classified as folk music. Teaming up with Sad Club Records, Clara recently shared her debut single, “I Didn’t Know You Were Leaving Today”, the first taste of an EP, due later this year. Clara Mann’s luscious new single ‘Thoughtless’ is out 20th January with her beautiful EP ‘Consolations’ out 24th February.

Recorded in an isolated collaboration with the help of Benjamin Spike Saunders and Bugs’ Alice Western, I Didn’t Know You Were Leaving Today is a slice of beautifully gentle folk, as Clara’s rich vocal is accompanied initially by a gentle flutter of acoustic guitar, before being joined by the warm buzz of distant violins. It’s a sound akin to contemporaries like Dana Gavanski or Shannon Lay, yet like those artists it also has a timeless quality, equally indebted to Shirley Collins or Molly Drake. Despite the lofty comparisons, there’s a freshness and an integrity to Clara Mann, a voice bringing something new to a genre as old as the hills, and quietly marking herself out as an artist with a hugely bright future.

thanks Fortherabbits

 

Of all the new music I heard during the height of the initial lockdown. ‘Ultra Mono’ was an album that I was already extremely excited to hear; and the stream of songs released during Lockdown only served to raise that excitement to a fever pitch.

Thankfully IDLES didn’t disappoint and when the album arrived it was a pure masterpiece. It shows a natural progression on the bands first two records and grows the bands sound. It still captures what made us all fall in love with the band but by incorporating new elements into the bands sound the album shows that IDLES are no one trick pony.

Above all other releases this year and those that feature in this list, this was the album that we needed this year. In a year where we have all been knocked down one way or another, IDLES and ‘Ultra Mono’ has been a call to arms, to pick ourselves up, dust ourselves down and keep going.”

IDLES third LP, Ultra Mono, was released earlier this year to critical acclaim. The video for “Kill Them With Kindness” was directed and designed by James Carbutt and animated by Pip Williamson, inspired by the working men’s clubs of Barnsley. Brutal guitar work flips between Bowen and Kiernan on a Travis Bean and Esquire respectively, revealing again why they’re the two most important players in the UK today.

Another single from the Bristolian band’s acclaimed third LP on Partisan Records, it begins with a monstrous bass riff that twists around the snare drum, before bellowing into the chorus with pulsating, glistening guitars and the odd bit of ring-modulator thrown in for good measure.

 

The Bristol, U.K. punk outfit are releasing their third studio album Ultra Mono this last year. IDLES recorded Ultra Mono in Paris, working with producers Nick Launay (Nick Cave, Yeah Yeah Yeahs, Arcade Fire), Adam “Atom” Greenspan (Anna Calvi, Cut Copy) and Kenny Beats (FKA Twigs, DeBaby, Vince Staples). Per a press release, “‘Ultra Mono’ was sonically constructed to capture the feeling of a hip-hop record.” The album also features guest vocals from Jehnny Beth (Savages), and contributions from Warren Ellis (Nick Cave and the Bad Seeds), David Yow and Jamie Cullum.

In 2020 there were certainties: third IDLES album, third time among the best fifty of the year. On Ultra Mono we hear a sharper and smoother IDLES than before. A band that takes steps to keep developing its sound, which takes a hip-hop producer under its arm, once worked its crown with the cracks and moments later comes across songs like “Grounds” or “Reigns”. The British are going to be wonderfully retamful about this drive for innovation and the ability to remain fully IDLES. (Post)punk has its heyday again, and part of the answer to the question shines on the chest of the Bristol fivesome.  Ultra Mono also includes a lot of discs that live on a swirling, roaring mass, while a band has the mob on a raise.

Formed before lockdown and planned to really make a go of it. By early 2020, they’d nabbed a few support slots, released a couple of respectable singles, and signed to Specialist Subject Records. Then, the world stopped. However, Hamburger‘s sizzle didn’t come to a cool. Instead, they’ve built on the momentum. Their most recent release, “Supersad,” is a single that spells big things from their debut EP “Teenage Terrified,”

Hamburger is Tom, Katie, Liv, Fearghall, Mike and Doug. We are a good band, he new Hamburger EP is officially out today! 6 tracks of sweet indie pop, each song shows a distinct change in style. They’re a special band and I’m stoked to be helping with their first proper release, excited to see where they go from here!

Unfortunately the 12″ is slightly delayed but we’re still hoping to have them shipped before Christmas. So for now give it a listen, it’s streaming everywhere you’d expect! 

http://

Released December 11th, 2020.
Music by Hamburger
Lyrics by Fearghall Kilkenny and Tom Kelly

 

Black Foxxes exorcise themselves for a final time

The trio’s debut album, I’m Not Well was a brooding grunge quagmire vocalising founder Mark Holley’s struggle with his mental health.
 Follow-up Reiði focused in on creating a vaster expanse through reverberated guitar lines amidst a slight withdrawal of the grunge bite. Now, two years after its release, and a line-up change (with bassist Tristan Jane and drummer Ant Thornton both leaving earlier this year), the band’s self-titled third effort is a last chance saloon of sorts. It’s Black Foxxes with the chains removed, ready to snarl at the world that all of this has been about more than being the next big thing. 

It’s been a pretty hectic time for Bristol based indie rockers Black Foxxes – so much so that singer Mark Holley is now the sole remaining original member. Whilst the drama may have been enough to bring an abrupt end to other bands, Holley has chosen to swim rather than sink and returned with a second self-titled album which takes a darker more mature direction and signals a fresh new start.

“We wanted to make something incredibly different. But it was also important not to alienate people completely. So we felt a good way of doing that would be to write everything for ourselves, and to use all these crazy dynamics and different sounds, but to…pull it together in a familiar way.” – Mark Holley

Black Foxxes debut album is out now on Orange Vinyl which they promote with a huge tour across the UK in March 

See the source image

Milly is a rock band from Los Angeles fronted by songwriter and multi-­instrumentalist Brendan Dyer. Their sound melds together elements of classic shoegaze, slowcore, and lo-­fi indie rock, coalescing into an intense, singular musical impression. Milly began as Dyer’s home recording project in his hometown of Bristol, Connecticut before finally taking its current form as a band in Los Angeles. “Star Thistle Blossom,” from MILLY’s new EP ‘Wish Goes On’ coming 2021.

The band is fresh out of the gate, running at a fast pace with two singles being released from their contribution to the Microdose series via Dangerbird Records.

Milly also recently announced that they have been picked to support shoegaze/dream-rock veterans Swervedriver on tour. In support of this exciting news, Milly are releasing a cassette comprised of their two Microdose singles, the sonically shape-shifting “Talking Secret” (with entrancing B-side “Crazy Horse”), and their first-ever two songs, including the hypnotically droning “People Are Forever”.

This cassette EP will come out on November 6th, and in the meantime we are pleased for the premiere of the video for “People Are Forever”, a track that showcases the budding potential of this young group. 

The video (and the song as well!) is a dreamily yearning, slowcore treat, focusing at the start on Dyer and a girl he seems to be interested in. He moves through a market, gazing at a plethora of items for sale while she picks out a particularly yummy-looking ice cream cone to munch on.
The video lens soon fades on those scenes and shifts its attention to the band performing in someone’s living room, conjuring up laid-back ’90s indie rock vibes. The footage then alternates between these two environments, spotlighting the music life of the outfit/Dyer, as well as life outside the sometimes insular world of being in a band.

released October 9th, 2020

Written and performed by Brendan Dyer, Spencer Light, Yarden Erez, and Zach Capitti Fenton

Following Brutalism (2017) and Joy as an Act of Resistance (2018), two releases that garnered global critical acclaim, IDLES return with their highly anticipated third album – “Ultra Mono”. Sonically constructed to capture the feeling of a hip-hop record (including production contribution from Kenny Beats), the album doubles down on the vitriolic sneer and blunt social commentary of their past work. Not far beneath the surface of their self-admitted sloganeering lies a deeply complex and brutally relevant album that chews up clichés and spits them out as high art for the masses. This is momentary acceptance of the self. This is Ultra Mono.

Since their 2017 debut Brutalism, British punks IDLES have seemed like a band on a mission. Release a record, tour hard, write more songs, make another album, do it all again. Their new record Ultra Mono is their third in four years, which is impressive when you see the band’s immense pre-pandemic touring schedule. “We never stop writing,” says frontman Joe Talbot,

The band have a method for writing an album that goes well beyond standing in a room and playing. They are organised and focused, which ensures their records remain centred on a theme. “With every album, we start with the title – and artwork normally comes to mind – with a theme around it, and then I kind of build the idea around the album,” Talbot says. “Then we start writing the songs specifically to those ideas, with the idea that if we’ve got boundaries, we can all work within them and work together better, because we’re very different people.

“It’s important for us to understand each other moving forward, because we write democratically. We don’t want it to be some sort of autocracy. We all pitch in.m This time around, Talbot wanted to write about internal struggles. The frontman admits to struggling with certain sides of fame, notably the understanding that his work will now be noticed by more people than ever. Such a profile comes with pressure, and feelings that threaten to inhibit creativity. “I was going through a lot of self-doubt around writing,” he says. “There’s a lot of eyes and ears on us, way more than before Joy… [2018 album Joy Is An Act of Resistance] came out.

“So, I just wanted to focus on that idea of self-awareness as a way of progress and understanding what self-care really meant.” So, Ultra Mono became a record about accepting yourself for who and what you are.

KEXP.ORG presents IDLES sharing songs recorded exclusively for KEXP and talking with Kevin Cole. Recorded Thursday, October 1st, 2020.
Songs:
Model Village
Mr. Motivator
War
Grounds

http://

Ultra Mono will be released on 25th September 2020 on Partisan Records.

Released September 25th, 2020

There are 1,271 words on this record but it’s hard to find the right ones to send it into the world with. I’ve been waiting for this day to come for a long time and it feels surreal to say that “Breach” is yours now — I hope it gives you something. it’s given me a lot. Isolation is nothing new for Fenne Lily – in fact, she’s written an album of songs all about it. “It’s kind of like writing a letter, and leaving it in a book that you know you’ll get out when you’re sad – like a message to yourself in the future,” she says, referring to Breach, her Dead Oceans debut she wrote during a period of self-enforced isolation pre-COVID. It’s an expansive, diaristic, frequently sardonic record that deals with the mess and the catharsis of entering your 20s and finding peace while being alone.

Fenne was born in London and moved to Dorset as a toddler, where she grew up in the picturesque English countryside. She was a “free range kid,” as she calls it, after her parents took her out of school for a period at the age of seven. Over the following year, they taught her while the family travelled Europe in a live-in bus. Even after she returned to traditional school at 9, her home education never ended, extending to music. Her mother gifted Fenne with her old record collection, through which she discovered her love for T-Rex and the Velvet Underground and Nico.

Soon after she fell for the strange genius of PJ Harvey and came to worship Nick Drake, Joni Mitchell, and the richly crafted worlds of Feist, which inspired Fenne to pick up a guitar. It’s that journey to find peace inside herself that underpins the whole of Fenne’s second album. Its title, Breach, occurred to Fenne after deep conversations with her mum about her birth, during which she was breech, or upside down in the womb. The slippery double-sidedness of the word – which, spelled with an “A”, means to “break through” – drew her in. “That feels like what I was doing in this record; I was breaking through a wall that I built for myself, keeping myself safe, and dealing with the downside of feeling lonely and alone. I realized that I am comfortable in myself, and I don’t need to fixate on relationships to make myself feel like I have something to talk about. I felt like I broke through a mental barrier in that respect.” Even though it also carries implications of awkwardness, rebellion, and breakage, it’s a widereaching word, representing new beginnings and birth.

http://

Breach is out on Dead Oceans
thank you to everyone who worked on this with me,

Released September 18th, 2020

It’s been a while. We are very happy to announce that our 3rd LP It’s Never Going To Happen And This Is Why will be released on Hallow’s Eve Eve, via our new DARK HABITS imprint. It will have been three and a half years since “Condition” and it really has felt a lot longer…but let’s save all that for another time and cut to the chase. Spectres return with ‘It’s Never Going To Happen And This Is Why’, their bluntest, most bludgeoning LP yet. The oft sprawling and trance-inducing explorations of feedback and terror featured on their previous two critically acclaimed albums ‘Dying’ (2015) and ‘Condition’ (2017) have been supplanted by a rifle chamber of condensed noise nuggets firing in at three minutes or less. Spectres have gone pop.

Recorded by Alex Greaves at The Nave, a 19th century Methodist church in Leeds, and released on their own new Dark Habits imprint in Europe / Little Cloud Records in the USA, the mischievously titled album sees Spectres at their most radical and playful, splattered with guest spots from experimental artists Klein, Elvin Brandhi, Ben Vince and French Margot.

The video for the initial taster, An Annihilation Of The Self, can be seen from 10am on Friday by clicking on the still below.

The video is a collaboration between Joe and Adrian from the band. Joe in the fix of his own Blair Witch and Adrian bringing the words to illustrative strife with inimitably grim effect.

http://

Slightly indulgent but something we have been wanting to do for a while. A square 12″ wooden box that will contain a test pressing of the album, all artwork from the album as a 12″ printed booklet, a copy of Dark Habits zine, signed one off original artwork and a few surprise extras plus hand painted lid. We’ll be hand building these so expect a few exciting defects, and they may well come nailed shut, like a real coffin. Limited to 10.