Posts Tagged ‘Club AC30 Records’

Australian four-piece Flyying Colours are set to release their sophomore album ‘Fantasy Country’ on the 19th February via London-based independent label, Club AC30. Taking inspiration from the early 90s UK psych/shoegaze scene, ‘Fantasy Country’ is rich in sonic texture and shimmering atmospherics with a heavy dose of melody.

Formed in 2011 by school friends Brodie J Brümmer and Gemma O’Connor, Flyying Colours released their debut single ‘Wavygravy’ in 2013 with a self-titled EP following later that year. Honing their explosive sound on the Melbourne live scene and picking up numerous accolades along the way, the ‘ROYGBIV’ EP followed which received heavy rotation across worldwide radio including BBC Radio 6 Music and KEXP.

Having released their critically acclaimed debut album ‘Mindfullness’ in 2016, Flyying Colours have spent much of their time on the road with headline shows across the UK and Europe. “While it’s been a long time seemingly between records it doesn’t feel like that so much for us. We have previously been able to throw ourselves into recording over a period of time, however with this record was about creating that time in between touring and life. We are real people who work to pay our rent and to be able to go on tour,” says Brümmer.

From the swooning, sludgy ‘Goodtimes’ and urgent noise-fest of ‘Big Mess’, to the gorgeous melodic pop of ‘OK’, Flyying Colours look to redefine noise within the context of pop music. Elsewhere, ‘It’s Real’ is perfect, summery dreampop while the crushingly loud ‘White Knuckles’ and chugging ‘Boarding Pass’ is a hazy, echo-laden spaced-out affair.


“This album was supposed to now be 6-12 months old. We take touring and supporting our music live pretty seriously so it would have been very difficult for us to put out this album during the early stages of the pandemic. We are very lucky to be in Australia right now where shows are starting up again, and we of course hope to be touring internationally again soon,” says Brümmer.

Flyying Colours have toured with Johnny Marr, Brian Jonestown Massacre, The Jesus & Mary Chain, The Black Angels and A Place to Bury Strangers and are set to return to the UK in 2021 with a 7-date April tour.

Flyying Colours is Brodie J Brümmer, Gemma O’Connor, Melanie Barbaro and Andy Lloyd-Russell

Releases February 26th, 2021

Portsmouth group Is Bliss are aptly named. The band’s psychedelic sound continually reaches toward the sublime, matching shoegaze tapestries against some beautiful melodies.

Debut album ‘Strange Communication’ lands on June 7th, with Club AC30 stepping in to offer a platform.

Live shows are planned, and with Spring beginning to show its face the time is right for some aural bliss. The group excel on new song ‘All I See Is You’, a wandering, churning, meditative piece of love-lorn songwriting that finds those heavenly harmonies augmented by the merest touches of strings. Formed via a shared love of Slowdive, Spacemen 3 and Verve, the band paint a sprawling, reverb filled sonic landscape mixing hypnotic, drug induced reveries with explosive noise, droning instrumentation and plenty of emotional rawness.

It’s a many splendored jewel, seeming to reflect light in a thousand different ways, a thousand different shades of colour.


Portsmouth based psych aficionados, Is Bliss, their debut album Strange Communication, will be released on the 7th June via Club AC30.

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We’ve said it before and it’s worth repeating again – there are very few bands can match the intensity and ferocity of Black Doldrums. What is even more impressive about the sonic fireworks that come from the darkgaze, psychedelic-rock, post-punk outfit is that they are just two people. Specifically, Black Doldrums are singer and guitarist Kevin Gibbard and drummer Sophia Lacroix, and yet they unleash tidal waves of noise à la Black Rebel Motorcycle Club and A Place To Bury Strangers. Throughout 2018, they released songs that always made us exclaim, “Fuck yeah!”, such as “People’s Temple”“Those With A Rope Around Their Neck (Don’t Always Hang)”, and the absolutely epic “There Is No Eye”.

The duo’s new EP, Sad Paradise, is coming via Club AC30. This is a band that must be seen live (but bring earplugs!). The official video for Black Doldrums ‘There Is No Eye’ exclusive lead track from EP ‘Sad Paradise’ released on Club AC30, Released November 2018.


It’s all change for Pinkshinyultrablast. The shoegaze group are titans of the Russian underground, but vocalist Lyubov recently moving to Los Angeles, the band have been exploring new ways of composing and collaborating. Partnered with a line-up refinement, the new material sees Pinkshinyultrablast go down a more electronic path while experimenting with new sounds. It’s reported the rest of the band have now settled in Los Angeles, the band’ style has undergone a line up refinement, including an emboldened use of electronics.

New album ‘Miserable Miracles’ arrives on May 4th via Club AC30, and they’ve arranged a full UK tour to coincide. The latest track ‘Dance AM’ is a bold departure from their previous material, while remaining recognisable as their work. Electronic-driven and with searing guitar lines, it’s digitally enhanced shoegaze which peers endlessly into the future.

Pinkshinyultrablast are Lyubov – vocals, Rustam – synths and electronics and Roman – guitars.

Originally hailing from a city more synonymous with the State Conservatory than a gang of shoegaze addicts, Pinkshinyultrablast have nevertheless seen great critical and commercial success since their debut album Everything Else Matters and follow-up Grandfeathered. They’ve been compared to bands such as Lush but this is no mere throwback tribute – due to their sharp, icy electronics and ability to subvert the genre, bringing something new to the table. They possess not only the spirit of late 80s/early 90s British bands like Cocteau Twins, but also machine-made sounds of the same era from Sabres Of Paradise or Global Communication, not to mention wider vibrations like Cluster, Popul Vuh, Terry Riley and Philip Glass.

The trio’s third album, Miserable Miracles, is out on 4th May via premiere shoegaze ambassadors Club AC30 (UK) and Shelflife (USA). The band have also announced an extensive UK tour to coincide with this and the 10 year anniversary of their very first show, and very kindly talked us through the ideas behind the new record.

Dance AM

Lyubov: This song opens our third full length and marks us moving in a new direction with sound and production and in some way music genres. For one of the most upbeat and fast-paced songs of the LP we also feel like it’s one of the album’s most lyrical.

Roman: Since the last album we are geographically away from each other and the change in locations has led to us moving in new directions musically too. The sound and its production we feel has progressed. For those people who look to genres, we are maybe in a different one too now. Lyrically expressive, this is one of the albums most upbeat and fast-paced tracks and an introduction to Miserable Miracles.



Lyubov: We revisited the early years of making music as a band with this song and drew from the early inspiration with krautrock we had. It’s nice to play with this genre once again. After listening back to the final version also felt like a tribute to Stereolab in some way.

Roman: For this track, we had a chance to revisit the early years of how we made music. We spent it together as a band and drew on some of our personal earliest inspirations, It certainly touched on krautrock and some of the less known tracks in that musical space too. We found this a super refreshing approach and cared less about recent musical trends and went old school. When the track was done and we listened back to the finished version it also felt like a tribute to Stereolab in some way, a band that influence far more bands than the casual listener probably realises.

Find Your Saint

Lyubov: The first song we started working on from the album. We all had a strong vision early on of what this song should be like and have had quite a bit of back and forths about it. This is a result of a close collaboration and is also one of the singer’s personal favourites.

Roman: One of the favourites of Lyubov, the lead singer, this was the first song we started working on from the album after a small break post-Grandfeathered. We all had a strong vision early on of what this song should be like and had quite a bit of back and forth about it. It was worth it to come up with something we are all so happy with. The main melody of a chorus came to Rustam whilst he was in a bus so he just switched on a laptop and made a fast sketch and it evolved from there. This is a result of a close collaboration and the long gestation period hopefully shows how much care went into it. The video for this was a lot moodier than what had come before, channelling our inner Lynch!


Blue Hour

Lyubov: An intermission on the album, though the conclusion for side A of the LP.

Roman: What started out as a mellow breaking point in the album has ended up being two of our manager’s favourite tracks. He has compared them to Brian Eno, though that is a lofty accolade so they are not our words, ha!. The likes of Brian Eno are obviously great influences as they are for many musicians. This originally was just a part of a jam Rustam played on a Fender Rhodes into pedals and several guitar amps, we were so surprised of sound that we took a small part of this jam into the album.

Earth And Elsewhere

Lyubov: A gateway into the second part of the album.

Roman: Following on from ‘Blue Hour’ this starts off the second half of the album. A record very much designed to be able to be dipped into and consumed as a whole too. Sequentially there was a lot of thought put into the way the album segues and in this digital streaming age, we encourage people to listen through as a whole. The cinematic qualities of both this and ‘Blue Hour’ are sounds we would love to explore further especially with original scores and soundtracks how the likes of Mogwai have managed to combine the two. This track has some crazy Stereolab kind of chords progression and has some cyberpunk anime feeling, Ghost in the Shell or something like this


Lyubov: The song that probably points the most to our interest and continuous exploration of the obscure J-pop of the 1980s. Also a nod to our mutual appreciation of the Japanese artist Chiemi Manabe.

Roman: This is our take on disco style music almost without the guitar involved. If we had to point to one artist that this song is our most mutual appreciation of, it would be Chiemi Manabe.

We are on a mission to continually explore our fervent interest in obscure Japanese music of the 1980’s and our song titles have not hidden that fact across this and previous releases. We realise a band dream of playing in Tokyo, two nights in June of this year, and are looking forward to exploring even more of the sounds and culture whilst we were there, dreams do sometimes come true.

In The Hanging Gardens

Lyubov: At times having a slightly darker and more anxious tone than the rest of the songs on the album, this song manifests our exploration of different ways of vocals – instrument interaction and song dynamics. From parts of acapella to a vocals/keyboards dialogue, to a mix that’s densely layered up, we were looking for new ways to play with different parts and textures of the song.

Roman: This was the song that stands out to us at times of having a slightly darker and more anxious tone than the rest of the songs on the album. The fact that the likes of Andy Bell of Ride and Kurt Feldman from the Depreciation Guild chose to remix it is great too.


Lyubov: This song was the last one we wrote for the album and is named after our keyboardist Rustam’s recently born son Eray.

Roman: It is the last song to have been recorded and a chance for us to be in a contemplative but ultimately upbeat place. To say more words detracts from what we feel is a beautiful thing!


Lyubov: Further experimenting with the mix, here we contrasted an overall light and airy sound with the distorted choruses, clashing the different sides of the spectrum against each other and trying to see what comes of that.

Roman: We close the album out with a bang and a chance to be experimental within our new found musical happy place. Whilst further experimenting with the mix, here we contrasted an overall light and airy sound with the distorted choruses, clashing the different sides of the spectrum against each other and trying to see what comes of that. This is probably the only song on the album that was born from guitar ideas we found among our practice space recordings.

Miserable Miracles is out on 4th May via Club AC30.

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Russian shoegaze band Pinkshinyultrablast were apparently finishing up their third album — the follow-up to 2016’s “Grandfeathered” — when they released “Find Your Saint” a couple months ago. It’s unclear if they’re officially done with it by now, but either way the band has shared a new song to tide us over. The gorgeous “In The Hanging Gardens” finds the group leaning more into gauzy synths than before, but losing none of their epic sweep.


We’re pleased to bring you the premiere of Flyying Colours’ debut album Mindfullness (listen below), being released through Club AC30 Records.

Residing in a dream-world that sits somewhere between psych, indie, grunge and shoegaze, the Australian band’s beautifully dynamic new offering showcases their talent for uniting a delicate vocal melody with a satisfying thick wall of abrasive drums and guitars.

Leading track and first single “It’s Tomorrow Now” further stirs the melting pot. Opening with a chaotic looped squeal, the knockout punch of the frenzied opening riff and steady, driving drums sets the bar high for the nine tracks that are to follow.

“Long Holiday” echoes the sun-tinged indie of the ‘90s, layered with ethereal harmonies and languid, hazy guitars, whilst the phenomenal “1987” is punchy and playful; reminiscent of the intelligent garage-indie of Broken Social Scene. Fuzzy psychedelic track “Mellow” is reverb-drenched, punctuated by distant vocals and dense sonic guitars. The post-rock drone of “Roygbiv” follows, and “Sun Hail and Rain”‘s continuous percussive drive and grooving bassline allows the perfectly aligned male/female vocals to shimmer. Title track “Mindfullness” employs a post-punk sway, buzzing with distorted guitars and power chords.


The St. Petersburg five-piece created something of a stir with their debut album Everything Else Matters in early 2015 and the interest in the release stemmed from more than the fact that nobody had heard a Russian shoegaze band before. Despite its obvious influences, there was a depth to the music that implied Pinkshinyultrablast were a band who weren’t afraid to take a step into the unknown and push at a few boundaries. Their new album “Grandfeathered” shows this indeed to be the case as it is more experimental and powerful than its predecessor, managing to be both exhilarating and captivating. Opener ‘Initial’ begins with a long drawn out single note that gives no hint at the multi-layered gem to come, the song throbbing like a dub remix whilst overlayered in Cocteau Twins’ shimmering vocals. ‘Glow Vastly’ follows in the same pattern, the vocals here just managing to keep to the surface while a heavily distorted barrage of guitars and drums attempts to submerge them, the whole occasionally infiltrated by light bursts of melody that tantalise briefly before disappearing into the depths. ‘I Catch You Napping’ flies backwards and forwards between pop serenity and frenzied distortion and is quite excellent, while ‘Kiddy Pool Dream’ opens to a squeal of feedback and embraces MBV noisescaping, something also witnessed in the crushing ‘Comet Marbles’ and ‘Mölkky’. The single ‘The Cherry Pit’ is also a headrush of contrasting forces, while the closing title track moves between tempos with uncommon grace. From a band who had found themselves embraced by supporters of a very precise genre, this is a brave album, a potent blend of force and fancy. All credit to Pinkshinyultrablast for stepping out of the comfort zone to deliver such a fiercely charged offering and all the more credit for producing one of such quality.


After two critically acclaimed EPs, Flyying Colours are set to release their debut album ‘Mindfullness’ in September on Club AC30. Residing in a dream-world that sits somewhere between psych, indie, grunge and shoegaze, the Australian band’s beautifully dynamic new offering showcases their talent for uniting a delicate vocal melody with a satisfying thick wall of abrasive drums and guitars.

Leading track and first single It’s Tomorrow Now further stirs the melting pot. Opening with a chaotic looped squeal, the knockout punch of the frenzied opening riff and steady, driving drums sets the bar high for the nine tracks that are to follow.

Formed in 2011 in Brunswick by school friends Brodie and Gemma, they played every show they could week in, week out in Melbourne’s bustling inner north to finesse their sound. Debut single Wavygravy (2013) perfectly set the scene by truly capturing the unhinged essence of a Flyying Colours show. But the recent addition of the impressive abilities of Andy on drums and Mel on bass have taken that unhingedness to undreamt-of-levels, making the beautiful trip of their live show, something to truly marvel.

The Melbourne quartet have since spent the last year touring with label mates pinkshinyultrablast as well as Johnny Marr, Brian Jonestown Massacre and A Place To Bury Strangers, whilst singles Not Today and Running Late taken from their second EP, ‘ROYGBIV’ garnered heavy rotation on enormous radio stations worldwide,


“It’s hard not to crush on the extensive, encircling sound of Melbourne’s Flyying Colours”

“Chances are that this tune from Flyying Colours is going to make a fan out of you…these guys are belting out a noise that instantly pricks people’s ears up.”

September release of ‘Mindfullness’, 2016.


Pinkshinyultrablast have a new single available titled  ‘Kiddy Pool Dreams’ due Out on Club AC30 on October 2nd

“A quiet riot of ethereal vocals and lustrous guitars. Pinkshinyultrablast a valid insight into young modern Russia via the early-90s Thames Valley.“Beautifully toned, unconventionally fast, a gutsy effort that makes a big impression” A complex but sumptuous confluence of mathy basslines and waves of melodic ecstasy.

“euphoric and latitudinous shoegaze” ,equal parts shoegaze and electronic art pop.

Hot on the success of their debut album ‘Everything Else Matters’ Pinkshinyultrablast, a five-piece band from Saint-Petersburg in Russia,  The band take their name from an Astrobrite album, an act who were, according to the band, instrumental in how they “researched spaces between ambient, heavy guitar and pop music” .The spaces are what stand out, the production creates a dream-like affair, while space to breathe and reflect on the beauty of the music is accommodated. There is sparseness to the album that in turn gives spaciousness, even expansiveness.

‘Kiddie Pool Dreams is indicative of a forthcoming album full of even more melodic gems and shimmering shoegaze – euphoric with spectral guitars, its sharp edged pop has a radiant charm. To celebrate the release of ‘Kiddy Pool Dreams’ the band will be embarking on a full UK tour on the dates below.

Pinkshinyultrablast are Igor – bass, Lyubov – vocals, Sergey – drums, Rustam – synths and electronics and Roman – guitars.

Pinkshinyultrablast – UK TOUR – AUTUMN 2015
September – 25th – LIVERPOOL – Psychfest –…rnace/856552
September – 27th – GLASGOW – Broadcast –…roadcast/891185
September – 28th – NOTTINGHAM – Spankys –…15-09-28-19-00
September – 29th – MANCHESTER – Night & Day…ight-day/898793
September – 30th – BIRMINGHAM – Institute Temple –
October – 1st – LEEDS – Brudenell –…ltrablast/
October – 3rd – READING – Oakford Social – (FREE SHOW)

October – 4th – CARDIFF – Clwb Ifor Bach –…for-bach/898877
October – 5th – BRISTOL – Lantern –…15-10-05-19-00
October – 6th – LONDON – XOYO –…ast/xoyo/877918
October – 7th – BRIGHTON – Sticky Mike’s Frog Bar –…047?aff=id1safe
October – 8th – LEICESTER – Scholar Bar –…-tickets/188555
October – 9th – 11th – BOGNOR REGIS – Rockaway Beach Festival –…away-beach.aspx

London trio Fever Dream have been dazzling us with their reverb-tinged, distortion-fuelled melodic haze for the past couple of years. Having recently signed to highly revered independent Club AC30, they put out long-awaited debut “Moyamoya” in April. With expectations duly met if not surpassed, their opening set on Friday evening should provide an incendiary introduction to the weekend’s festivities at the Indietracks Festival.

Feted for the urgency and unrest of their live presence, London three-piece Fever Dream have now committed their dark and brittle post-punk-shoegaze noise to tape in the form of debut album, Moyamoya, out April 27th from Club AC30.

Comprised of guitarist/vocalist Adey Fleet, bassist Sarah Lippett, and drummer Cat Loye, Fever Dream make music which stalks the unsettled territory between MBV and PiL: suffused with melody and discordance, unhinged. Via the twitching fragility and freneticism of Fleet’s guitar and vocals, Lippett’s stormy bass, and the propulsive dark heart that is Loye’s drumming, Fever Dream pitch tumultuous swathes of noise against irresistible pop hooks and gentle febrile tonality, arriving at a sound which sharply articulates a disorientating world of panic attacks, tender allegiances, and sweet perversions.


Drawing from shoegaze, slowcore, and alt-rock – basically any form of music that favours distorted guitars and never really had its “moment” in indie rock post-1995 — and for that reason, never really went out of style – Fever Dream manages to successfully sound genreless — despite being referential of half a dozen genres at once — and a seamless, coherent listening experience that remains in memory long after the last note has faded.

All vinyl copies ordered via the Club AC30 site come with free lossless digital downloads – these will unlock on the release date (27th April 2015). Vinyl will ship a week early, presuming we get it in on time.