Posts Tagged ‘Fiction Records’

The Big Moon

If life were fair, then things would be easier the second time around. But music history is littered with bands who have clattered headfirst into the hurdle marked ‘sophomore slump’. Not The Big Moon, though. You’ll find them soaring clear in the outside lane.

The London quartet’s debut LP, Love In The 4th Dimension, rode a quirky wave of guitar-pop to a Mercury Prize nomination back in 2017, and its follow up Walking Like We Do is a worthy successor that melds controlled experimentation with a road-tested understanding of what makes the band tick. Its fresh palette – soaring synths, ringing piano intros, stacked vocal harmonies – is a perfect fit that took a little getting used to.

“It was a new experience writing for an audience that already exists and expects something,” vocalist and guitarist Jules Jackson admits. “For a few months, I put too much pressure on myself. After a while, we realised we could make any kind of music, and we didn’t have to copy the first album. We could do anything. I felt a lot more freedom after that.”

After wrapping up touring on Love In The 4th Dimension, The Big Moon pressed pause. Guitarist Soph Nathan released an excellent record with Our Girl – an experience she equates to swapping brains – while Jackson eventually settled back into writing mode. The initial roadblocks she describes came from a place of over-familiarity. Specifically, they came from her guitar.

“It was quite a long process of trying to find new ways to write songs,” she says. “Every time I sat down and tried to write in the way that I always have done, I would write the same kind of song. Your hands go to the same shapes on the guitar, and you have the little things that you instinctively do. I started playing the piano a lot more.”

At the same time, Jackson was adjusting to writing from a fresh perspective. Like the rest of us, her world isn’t the same as it was three or four years ago, and Walking Like We Do acknowledges the weird, frightening landscape outside its window. “I don’t think I wanted to write an album that was all about distraction and forgetting,” she says. “There is definitely a time and a place for the right song to come into your life and give you a bit of a break from thinking or trying to articulate things, but you always crash down to earth in the end.

“When I was writing the first album I was falling head over heels in love, and that was all I cared about. Those songs were the sound of me trying to process that. The last couple of years, it feels like I’ve grown up and the world has changed. Things got a lot stranger, and I think this album is us trying to process that and translate it into something that makes sense. It doesn’t.”

Aided and abetted by Nathan and the rhythm section of Celia Archer and Fern Ford, who have parlayed their roles as bassist and drummer into multifaceted synth and sample work, Jackson eventually assembled an ambitious, melodically florid set of songs. With so much going on, room had to be made for the guitars that provided such a giddy rush on album one.

In a canny move, they sought to isolate them in empty pockets of space, dropping droning distortion over the outro of the opener It’s Easy Then, or twisting corkscrew riffs into the pop confection Why. On the loping, addictive single Your Light, the guitars are a clean, rhythmic counterpoint to the song’s driving pace. “Each guitar line has a reason behind it,” Nathan says. “With the first album, the instinct was to keep layering them.”

Jackson adds: “We really wanted to try new things, which does lead to picking and choosing where you put the guitar. On It’s Easy Then, there are none for the whole thing until the very last chorus. When Soph starts start playing – it’s like two notes – there’s so much emotion and joy because you haven’t had it yet. When you get a taste of it, it’s the best. It’s better than if you had played it for the whole song.”

Walking Like We Do was recorded in Atlanta with producer Ben H Allen III, who has worked alongside everyone from Deerhunter to Belle & Sebastian in the past. “We got on the phone and he was so excited about all of our demos,” Jackson says. “He had listened to them really deeply and sincerely loved them. He became like a fifth member of the band.” Nathan adds: “He was asking Jules about the lyrics, what they meant, what the intentions were for each song. He got into it before we even fully decided to go.”

Jackson and Nathan took their beloved guitars – a Gibson Les Paul Special Double Cut and a G&L ASAT Classic respectively – along for the ride and, when in the studio, also mingled with a handful of Telecasters, including one kitted out with a Bigsby tailpiece.

“They had the head of a Twin and a Vox AC30 in the control room,” Nathan says. “They’d link it up with different cabs. It was nice to be in the room and have the control with the head but also be able to just switch it out with lots of cabs and make different sounds. We normally use our own amps, but it just felt like there were so many options. You’d just keep going until you got the sound that felt right.”

Walking Like We Do is the sort of record that vindicates the choices made along the way. It doubles down on certain elements of The Big Moon’s style while boldly changing things up elsewhere. It feels right. “We’ve learnt we can be anything,” Jackson says. “As long as it’s us singing and us writing the lyrics and us writing the songs, we can play anything and do anything. It’ll sound like The Big Moon.”

Walking Like We Do by The Big Moon is out on 10th January on Fiction Records.

Taken from their forthcoming second album, the John Congleton-produced ‘Devastation’, due out November 8th via Fiction Records, Pumarosa have released new cut, ‘I See You’.

“The song is about having the confidence to look back into the face of the guy who is talking you down, or taking your space, and saying “I see you!” I’m not going to be silent or make myself small so that you can feel ok. It’s not ok! And it can be fun!” explauns frontwoman Isabel Muñoz-Newsome.

“There is a swagger to enjoying power, And it can be fun! Theres is a swagger to enjoying power, and you can feel that in the verses of the track. and you can feel that in the verses of the track. The lyrics to ‘I See You’ ware inspired by the experience of me and my girlfriends. And also by the #MeToo movement.”

New album Devastation, out 1st November,

Another Sky’s Catrin Vincent has the sort of voice – peculiar, powerful, androgynous – that’ll stop you in your tracks. It is perhaps the most striking thing about Another Sky, who also comprise drummer Max, bassist Naomi and guitarist Jack (they haven’t given their second names) – though there are plenty of other things too.

Take their single “Avalanche”, for example. Its condemnation of toxic masculinity, police brutality and violence against women, channelled through that arresting voice, is hugely affecting. Another Sky used to perform in total darkness, wishing to be anonymous. They don’t do that anymore. They’re ready to step into the light.

Music video by Another Sky performing Avalanche. © 2018 Universal Music Operations Limited

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In August of 1985 The Cure released their 6th studio album “The Head On The Door”, and album that takes its title from the single Close to Me. this day in 1985

This record marks the return of bassist Simon Gallup who had departed after touring for the band’s 4th album Pornography . The album also saw Porl Thompson officially rejoin the band, as he had played guitar during the Malice and Easy Cure days. Also added to the lineup was drummer Boris Williams who had previously worked with the Thompson Twins, The album also included The hit singles  “Close To Me” and “In Between Days” With its variety of styles, it allowed the group to reach a wider audience in both Europe and North America. In the United Kingdom, it quickly became their most successful album to date.

The album was the first to to be released by singer/songwriter/guitarist Robert Smith after he had left Siouxsie and the Banshees in May of 1984 Smith has stated that the Banshees album “Kaleidoscope” was a strong influence of the wide variety of tracks on The Head On the Door: be it Kyoto Song’s Japanese flavor or  The Blood’s Spanish style played in a Flamenco style. The piano tune in the track Six Different Ways was evolved from from the single Swimming Horses. The last song of the album, “Sinking”, was reminiscent of the band’s Faith era, while Close To Me was described as a disco type thing”

The Head on the Door is the first Cure album where all the songs were composed solely by singer and guitarist Robert Smith.

Following the ill informed controversy between The Cure’s The Walk, and New Order’s Blue Monday, is the even stronger similarity between The Cure’s single from this record “In Between Days to New order’s “Dreams Never End” Regardless of what you believe from the rivalry above, the video only single A Night Like This admittedly reuses previous material by reworking the original melody from the early Easy Cure track Plastic Passion.

‘A Night Like This’  “I’m coming to find you, if it takes me all night / A witch hunt for another girl / For always and ever is always for you / Your trust, the most gorgeously stupid thing I ever cut in the world.”

One of Robert Smith’s greatest breakup songs, ‘A Night Like This’ (from 1985’s ‘The Head on the Door’) is filled with regret, sadness and a looming hopelessness that’s bound to repeat itself over and over again. The sax solo drives it home.

Here included is the full “Les Enfants du Rock” program from 1985 where The Cure are promoting “The Head On The Door”. Note that at 6 minutes and 45 seconds, Robert half jokingly derides founding member and keyboardist Lol Tolhurst for his alcoholism a subject that is addressed at length in Lol’s book “Cured The Story Of Two Imaginary Boys.

In 2006, the album was re-released by Fiction Records/Polydor Records labels, digitally remastered with various demos and live tracks from the era. Included were demos of the four B-Sides from the era (“The Exploding Boy”, “A Few Hours After This”, “A Man Inside My Mouth” and “Stop Dead”) and four previously unreleased songs. The remaining tracks included demos or live versions of all 10 songs from the first disc. One of the four new songs, “Mansolidgone”, is similar both musically and lyrically to another demo, “A Hand Inside My Mouth” (not to be confused with “A Man Inside My Mouth”) which appeared on “The Top”Deluxe Edition. Both songs, and the uncovered demo “Lime Time”, contain lyrics which would be later used in the songs “In Between Days” and “Six Different Ways.”

Tracklist:

1. In Between Days
2. Kyoto Song
3. The Blood
4. Six Different Ways
6. The Baby Screams
7. Close to Me
8. A Night Like This
9. Screw
10. Sinking

thanks to post.punk.com

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We have been fans of Day Wave since day one. Jackson Phillips (AKA Day Wave) debut LP The Days We Had, the albums is full of dream-pop, sunshine sound, emotional and honest,  Jackson Phillips has been making music for a long time, the Oakland based musician came to our attention in 2014 when his dream-pop sound captured our imaginations and made us a little queasy with idea of butterfly sunshine, and candy floss love. It felt like a first date in many a confusing way. Phillip’s displayed on several occasions with tracks such as ‘Drag’, ‘Total Zombie’ and ‘Come Home Now’ his incredible ability to write piercing hooks and simplistic, heartfelt pop songs. They all felt like love letters ‘To Jackson, From Jackson’. There was something special in the simplicity, but this debut LP, released via Fiction Records and out now, was his next big step.

The ethereal pop bliss he brings is what dreams are intricately sewn up with and the lyrics tend to paint the skies of them.

He has now released ‘Untitled’ another alt-pop gem and perfect for a beautiful day like today. The track is released alongside the new LP The Days We Had which is out now on Fiction Records.

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We were worried that Day Wave would never match up to their earlier efforts as they had a lo-fi veracity that is hard to do twice, but tracks such as ‘Gone’ and ‘Drag’ are now a golden memory, while ‘Untitled’ and ‘Something Here’ are the present. Phillips and co have made another powerful step into the limelight.

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Pumarosa album

It’s two years since Psych pop band Pumarosa formed, but you’d be forgiven for thinking they hadn’t spent a day apart. Razor-sharp and accomplished, they play like they’ve rehearsed for years without pause. Isabel and Nicholas started the band by chance. A friend was eager to start a new music project and invited the two to come and play, but said friend never showed up. Instead, the pair were left to lay the foundations of what would become Pumarosa. When an album lands, it’s set to encompass the journey Pumarosa have taken so far. From stuffy practice rooms to disused cinemas, right through to every stage they’ve graced in the past year, there’s been a learning process, and that will in part inform an eventual full-length. These songs have always been alive, in a way. Instead of being written, recorded and put to bed, they’ve re-developed, changing in scope as the band have progressed. The album encompasses the journey Pumarosa have taken so far. It sounds like PJ Harvey or Patti Smith together with the groove-led and nocturnal electronics of The Knife and Cocteau Twins.

2LP – Double heavyweight black vinyl, Gatefold, inner bags and download code.

2LP+ – Rough Trade Shop and Band Exclusive. Double heavyweight red translucent vinyl, Gatefold, inner bags and download code. 500 Copies only.

‘The Witch’ is out 19th May via Fiction Records

 

'Love In The 4th Dimension'

As we anticipate the upcoming album , The Big Moon seems to have been around a fairly long time the band must have played a huge amount of shows, They now have released fan favourite ‘Sucker’ as a big hunk of a single. The track has been around for quite a while now but the new release shows just how good it is.

Thicker and fuller than before the newly developed ‘Sucker’ is still the hit it was. Benefitting from the extra production sees the band hint at just how good their debut LP will be, due out on April 7th, might well be. Raspy vocals and big riffs with a snarling attitude would probably vehemently tell us that this is going to be the hit of 2017.

“We spent twelve gorgeous summer days in the studio,” says Jacklin, “experimenting and noodling and shredding and hitting things until all the right noises happened at once. We’ve been playing these songs for two years now, and it’s a dream come true to finally immortalise them on record. It’s like having eleven tiny babies all at once, all with their own little faces and voices and personalities, and now we’re ready to throw them out of our nest and into your ears.”

Already-heard jams “Sucker” and “The Road” have been spruced up for Love In The 4th Dimension, which will also feature big-hitting belters “Cupid” and “Silent Movie Susie”.

The band have also been recording for singer songwriter Marika Hackman on her new album.

One of the best bands of the year have given us hope for the next with the announcement of their debut album “Love in the 4th Dimension” which is due out 7th April 2017 via Fiction Records. The record will feature stand out tracks “Cupid”‘Sucker’ and ‘The Road’ as well as the below single ‘Formidable’.

Speaking of the album, Juliette Jackson said: “We spent twelve gorgeous summer days in the studio hanging out with the brilliant producer and super babe Catherine Marks, experimenting and noodling and shredding and hitting things until all the right noises happened at once.

“We’ve been playing these songs for two years now, and it’s a dream come true to finally immortalise them on record. It’s like having eleven tiny babies all at once, all with their own little faces and voices and personalities, and now we’re ready to throw them out of our nest and into your ears.”

‘Formidable’ has been a crowd favourite for a while so it feels like a real ‘moment’ for the band as the debut album comes ever closer.

Pre-order the debut album ‘Love In The 4th Dimension’ on signed CD & Vinyl out 7th April via Fiction Records

Get ‘It’s Over’ instantly when you pre-order ‘So Long Forever’ the new debut album from the band Palace the first taster is the track “It’s Over” which came together during a difficult situation,” Palace explain. “It comes from feeling the need to accept what will be, no matter how bad things are. It’s the realisation that things that seem so solid can be so brittle.”

As we edge closer to the release of their long-awaited debut full-length So Long Forever – due 4th November via Fiction Records – the London four are anything but brittle.

Ever since they appeared with the attention-grabbing track “Veins” back in 2014, Leo Wyndham (guitar, vocals), Rupert Turner (guitar), Will Dorey (bass) and Matt Hodges (drums) have been filling something of a gap in the UK scene with increasing assurance.

“It’s Over” it’s filled with the elements we have come to love from Palace: Wyndham’s distinctive, guttural vocal paints the gently melancholy picture above intricate, interweaving layers of guitar, splashing percussion and warm, rumbling bass. The increasingly impassioned refrain is cleverly coloured with a splash of hope as the track builds to its falsetto-lead climax.

Another wholly impressive, brilliantly returnable outing from a band whose journey you feel is far from over.

PUMAROSA – ” Honey “

Posted: September 9, 2016 in MUSIC
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And so after about one minute of the track “Honey” by Pumarosa I was checking to see what the nearest date was to Nottingham so I could get the chance to see them live again.

“Honey” is brilliant. It’s  pretty much everything I like wrapped up into five minutes, slow-building, brooding and commanding track that shimmers, soars and thrills in equal measures amongst tight guitars and captivating vocals

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Released 7th December on Fiction Records, a division of Universal Music