Posts Tagged ‘Heavenly Recordings’

No photo description available.

It’s a pleasure to announce our debut album ‘Working Men’s Club’ will be released on the 5th of June via Heavenly Recordings. It’s been a long road with a lot of sweat put into this album and at points we weren’t sure it would actually get made. However, it did and we’re incredibly proud of it. Produced by our dear friend Ross Orton and Recorded in Sheffield.

A rumble on the horizon. Gritted teeth, nuclear fizz and fissured rock. A dab of pill dust from a linty pocket before it hits: the atom split, pool table overturned, pint glass smashed — valley fever breaking with the clouds as the inertia of small town life is well and truly disrupted. Here to bust out of Doledrum, clad in a t-shirt that screams Socialism and armed with drum machine, synth, pedal and icy stare are Working Men’s Club, and their self-titled debut album.

Their eponymous collection of songs is equal parts Calder Valley restlessness and raw Sheffield steel; guitars locking horns with floor-filling beats, synths masquerading as drums and Minsky-Sargeant’s scratchy, electrifying bedroom demos brought to their full potential by Orton’s blade-sharp yet sensitive production.

Standouts include the nonchalant existential groove John Cooper Clarke — centred around the realisation that yes, even the luckiest guy alive, the Bard of Salford himself, will someday die. The washily-vocalled, Orange Juicily-guitared White Rooms and People, Cook A Coffee which is like a lost Joy Division number from an alternate universe and the frenetic, pew-pewing A.A.A.A.

Working Men’s Club are: Sydney Minsky-Sargeant – Vocals/Guitar/Drum Machine/Synth Liam Ogburn – Bass Rob Graham – Guitar/Synth Mairead O’Connor – Guitar/Keyboards/Vocals

No photo description available.

The Orielles new record “Disco Volador” has landed! Out this Friday, and it’s been flying out on pre-order. Initial pressing is coloured and is very nice, ‪Out on Heavenly Recordings. Hailing from Halifax, The Orielles are sisters Sidonie B and Esmé Dee Hand Halford and their best friend Henry Carlyle Wade whom they met at a house party just a few years ago. The then teenagers bonded over their shared love of alternative US bands from the 90s such as Sonic Youth & Pixies as well as pioneering filmmakers including Quentin Tarantino (The Orielles have cited his work in their songs and consider his work a major lyrical and aesthetical influence). Following the release of ‘Silver Dollar Moment’ the band recruited a new member Alex Stephen’s and released the smash hit single ‘Bobbi’s Second World.’

Released on: January 5th 2020 The Orielles announced their sophomore album Disco Volador back in October with the release of lead single “Come Down On Jupiter.” Now that we’ve entered the album’s year of release, the English psych-pop band is back today with a second advance single — the album’s theme song, in fact. The appealingly lively “Space Samba (Disco Volador Theme)” is five minutes of sleek, danceable music drawing from disco, tropicalia, loungey psychedelia, and of course, samba. Get swept up in it below.

Open uri20200219 26832 qvyfdm?1582112951

Mark Lanegan, the former Screaming Trees frontman and monumental voice has a new
solo album ready called “Straight Songs Of Sorrow”. Here’s the excellent lead single ‘Skeleton Key’. An extended, haunting ballad with an instant hypnotic effect. It’s a self-blaming, melancholic and heavy-hearted reflection. “Ugly, I’m so very ugly inside and out, there’ no denying, why should you love me”. Even after all these years when I hear Lanegan’s vocal I get goosebumps. Strangely enough, the darkness he always creates feels comfortable and inspiring. Another stunning achievement by the genuine troubadour.

When considering any great work of art, be it a painting, a novel, or a piece of music, it’s natural to wonder what might have inspired it: ‘the story behind the song’. Mark Lanegan’s new album flips that equation. Here are 15 songs inspired by a story :Lanegan will be issuing his book of memoir’s called ‘Sing Backwards And Weep’ out this spring.

Following the success of last year’s ‘Somebody’s Knocking’ LP, Mark Lanegan has announced the news of his new solo album, ‘Straight Songs Of Sorrow’, released 8th May via Heavenly Recordings. The album, which is closely aligned to his forthcoming memoir, “Sing Backwards And Weep”, features guest appearances from Greg Dulli, Warren Ellis, John Paul Jones, Ed Harcourt and others.

Straight Songs Of Sorrow combines musical trace elements from early Mark Lanegan albums with the synthesized constructs of later work. The meditative acoustic guitar fingerpicking – provided by Lamb Of God’s Mark Morton – on Apples From A Tree and Hanging On (For DRC) echo 1994’s Whiskey For The Holy Ghost. Yet one of that record’s touchstones was Van Morrison’s Astral Weeks, echoed in the new album’s openerI Wouldn’t Want To Say, where Lanegan extemporises *à la Ballerina over musique concrète wave patterns generated by his latest favourite compositional tool, a miniature computer-synth called the Organelle.

The enchanting spell that Hatchie (aka 26-year-old Australian singer/songwriter Harriette Pilbeam) spins on her stellar dream-pop debut, “Keepsake”, is heady and hard to resist. “Obsessed,” easily the most delicious of ear wormy-y melodies here, gets its host toe tapping along instantly. She sings in earnest of an experience of love so innocent and unselfish: “You are the one who told me to run/Give it a try/Just have a life”—that whatever misgiving the album might harbor is happily forgotten in the whir of jangly guitars and the fuzz-drenched wash of her breathy vocals.

Pilbeam cut her teeth in the Brisbane indie scene, playing bass on other people’s songs. After eight years, she stepped out on her own under the Hatchie moniker with her 2018 EP, “Sugar & Spice”. If she was still unsure of her prowess, a remix of “Sure,” the EP’s standout, by Cocteau Twins’ guitarist Robin Guthrie should have dissipated any doubts.

She has a knack of borrowing from the genre’s best progenitors and current practitioners, but also folds in mainstream pop and emo—musical styles that should be at loggerheads—yet in her capable hands, succeed and soar. Her airy vocals can slide satisfyingly from chesty to high, head tones in one breath; and has a timbre remarkably similar to that of Dolores O’Riordan of The Cranberries. Often, as in “Without a Blush” and “Keep,“ songs are anchored in evocative lyrics, rooted in that desire to give voice to emotions once suppressed or fleeting moments that need to be savored over and over again.

“Fate keeps trying to find me/I’m not the kind of/Girl to let it define me,” she coos on the shimmering “Not That Kind.” It’s beyond just a pithy observation of a girl caught up in the machinations of romantic love; it functions as battle cry for how she regards her career in music.

Australia’s Hatchie has shared the new video for ‘Stay With Me,’ a brand new track from her debut record ‘Keepsake’ to be released on June 21st via Heavenly Recordings.

‘Stay With Me’ is taken from Hatchie’s debut album ‘Keepsake’ out June 21st on Double Double Whammy, Heavenly Recordings and Ivy League,

Stay With Me” may be her most straightforward dance floor pop moment yet.”
– The Fadar – 

Stay with Me” has the pulse of a Madonna hit from the late ’80s and early ’90s, and fits right in with similarly themed “crying-in-the-club tracks” like the entirety of Lorde’s Melodrama and, of course, Robyn’s “Dancing on My Own”.
– Consequence of Sound –

“It’s a Crying-In-The-Club style sad banger, a real bop that fuses her drifting, hallucinogenic guitar effects with something upbeat.”
– Clash Music – 

“The yearning chorus of ‘Stay With Me,’ punctuated with ethereal stabs of ‘90s synth, is delicious in its desperation and incredibly catchy.”
– Paste Magazine – 

No photo description available.

Hailing from the West Country, Katy J Pearson’s music seems to exists in a perfect musical sweet-spot; After previously forming something of a family band with her brother, and recently signed to Heavenly Recordings, Katy has this week shared her first solo offering, “Tonight”.

Tonight is in some ways a classic pop-song, eyes meet over a crowded dancefloor, a romantic spark flashes and vulnerability soars, “sometimes we get away with it, sometimes we get burned, sometimes we can just learn from it, or we just get burnt”. Musically, the story sits atop a shuffling lead guitar, sprightly drum-beat and towards the songs closing some delicious trumpets, like Camera Obscura with a touch of California sunshine.

A hugely impressive jumping off point, this is music to get lost in, and already we can’t wait to hear a lot more from Katy J Pearson.

“Tonight” is out now via Heavenly Recordings.

Working Men’s Club have revealed a brand new single and accompanying video (directed by Jak Payne), along with their second physical release following the vinyl chart-topping single ‘Bad Blood’, now on it’s third pressing ‘Teeth’ sees the band exploring darker, more electronic territory, with driving drum machine and synths dominating the airspace

“It is a metaphor” teases the band’s singer, guitarist and beat-maker, Sydney Minsky-Sargeant. “It could be about going insane or what you see, what you think you feel inside, a lot of things… put through a drum machine… basically we just want to confuse the fuck out of people, in a good way!”
“The quartet’s debut single Bad Blood appears to have been no fluke: “Teeth” is darkly menacing disco, with bracing guitar squall on top.”

“Lyrically preoccupied by the passing of time and subconscious despair, the track sounds like insanity pouring out of an old television set”
Paste Magazine

Released on Heavenly Recordings. Pre-order the 7″ single and 12″ EP featuring remixes from Gabe Gurnsey, out on August 23rd.

pip blom debut album boat 2019

Promising young indie rocker’s Pip Blom are looking to break beyond the canals of their Amsterdam hometown with new album “Boat”. Due out through Heavenly Recordings. “Boat”  was first recorded by Dave McCracken at Big Jelly Studios in Margate on England’s southeast coast. It was then mixed by Dillip Harris in — of all places — a shipping container that sat along the banks of the Thames in East London.

Based on the title and various studio locations, Blom clearly has a fascination with water and travel. But it turns out those themes were already on her mind well before she and her band even began working on their debut LP. “Before we had even made the album I decided that I wanted to call it Boat. I envisioned a really big cruise ship in the 10,000-times bigger ocean. When I think of boats I think of journeys, traveling, going somewhere and having a goal. And I think that that has been what the last couple of years have been for us.”

The bouncy lead single, “Daddy Issues”, and its music video, a “love letter to classic cinema.” Blom broke Boat down Track by Track.

“Daddy Issues”:
We decided to play this song for the second time when we had to play a pretty important gig in London. We had already played it the day before in Manchester, and our managers weren’t the biggest fans. They said, “Are you sure you want to play it in London too?” We were very stubborn and said, “Yes, we are going to make it work.” When we finished the gig, our managers ran up to us and said, “This is such a good song, you guys were right, think it’s definitely a single.” And look where we are now!

“Don’t Make It Difficult”:
There are a few songs on this record that have demo parts in them. Me, Dave and Dilip agreed on the fact that sometimes there’s no point in trying to beat a demo part. The bridge guitar that goes round and round in your ears is the perfect example of that. We tried to record a different one in the studio, but it wasn’t close to this one. I feel quite proud that we’ve used parts that I recorded at home with a crappy amp and a mic hanging from a duct-tape thread. It gives an extra personal touch to the record that means a lot to me.

“Say It”:
We recorded the album in two legs. “Say It” was saved for the last leg. We thought it wouldn’t be too difficult to play that one, but because of all the changes in dynamics and parts it was a hard song to record live. It took more time than expected, but I think we captured the energy from the studio perfectly. I really like the combination between the gentle and soft singing in the verses and the quiet though busy instruments that bring the singing to a next level.

“Tired”:
This song is the most straightforward song on the record if you ask me. When I started off writing songs I didn’t have a clue how many varieties you can have in terms of song structures. “Tired” is one of the oldest songs of the record and thus the most straightforward one. I am really happy that this one has made it to album because it represents us as musicians very well. It’s not about doing the most difficult things, it’s about the melody and the energy.

“Bedhead”:
This is the song we had the most discussions about. Gini is not a big fan of the drum computer. We tried multiple times to rehearse this song without it but it didn’t go anywhere. It sounded very weird and not cool. So after lots of conversations between us, the band, we asked Dave (the producer) what he thought. He immediately said that we should keep the drum computer in. We did, and I think it really works. I am very happy that we had a chance to step away from just the regular band vibes and add something to the album that’s not really common in the indie scene.

“Tinfoil”:
I really tried creating something different with this track. I don’t know a lot about different keys and tempos but I wanted to make song that’s in 3/4 instead of 4/4. I had never tried it before so it was quite the experiment. I always start off with guitar and drums. And after I came up with a guitar part that I liked, i decided I wanted this song to sound ominous and kind of sexy. The rest is history.

“Ruby”:
Al
and Mike were the technicians at the studio. One day Al was in and helped with recording “Ruby.” I was messing around a bit with my crappy Behringer delay pedal when Al turned around and said, “Wow, that’s really cool, you should use that.” Dave came running down the stairs and said, “Yes yes yes! Let’s record this.” We used it in the bridge and I think it really lifts up the entire part. It sounds weird, like aliens, but that’s what I like about it.

“Set of Stairs”:
When we started rehearsing the songs for recording, this was one of the songs that felt right immediately. Especially the verses are so full of energy. We recorded this one in the first leg. But when we went back home and had a listen to all rough edits, I wasn’t happy with the way I sang it. So the first thing we did when we returned to the studio was sing it again. It needed spice.

“Sorry”:
This song is my personal favorite. It was really hard to sing the chorus. I am not a trained singer and this was really high for me. After five takes of the high backings, my voice was completely gone. I loved recording those though; Dave and I were together in one room and his energy helped me so much to nail it in the end. When I wasn’t able to sing it in tune, he turned around with and said with his thick Scottish accent, “That’s awesome. We’re almost there.”

“Aha”:
This was a weird one. I always make demos and send them to everyone else. And when I make those demos, I usually stick to a maximum of two guitar parts because we’ve got two guitarists. I am not sure what happened to “Aha,” but the chorus in the demo had seven guitars playing different stuff. During the recording process we tried to stick to the same rule with just using two guitar parts. But “Aha was the exception. This one needed mayhem. And it’s there.

Blom and her band, called Pip Blom,

No photo description available.

A Heavenly Weekender In Leeds, We’re heading to Brudenell Social Club in Leeds for two days of Heavenly magic on the 14th and 15th of June.

After a great response to our initial announcement – early bird tickets all sold out without any bands revealed! – it’s finally time for us to lift the curtain on the full line-up. Tickets for the individual days are available now too. Saturday kicks off from midday, and DJs will be going until 2am both nights, so bring your dancing shoes.

FRIDAY 14th June

Hatchie
Confidence Man
Heavenly Jukebox DJs

SATURDAY 15th June

Audiobooks
Baxter Dury (solo set)
Boy Azooga
Gwenno
H. Hawkline
Stealing Sheep
Working Men’s Club
The Orielles DJs

Tickets: http://bit.ly/HeavenlySaturday

Hatchie is the world of Harriette Pilbeam. Step inside her mind; a dreamy landscape where cascading synths, jangling guitars, propulsive rhythms and white noise undulate beneath irresistible pop melodies. Rather than focusing on the external world of her life in Brisbane, Pilbeam turns her gaze inwards, making a soundtrack out of her daydreams, setting her emotional life to song.

‘Without A Blush’ is taken from Hatchie’s debut album ‘Keepsake’ out June 21 on Double Double Whammy, Heavenly Recordings

http://

Amber Arcades brand new single ‘Where Do You Go’ is out today, accompanied by the final part of the ‘European Heartbreak’ Trilogy.
A beautiful film written & directed by Eliott Arndt.

Annelotte says the following about the third single ‘Where Did You Go’:

“This song is about the irrational nature of love. You need to keep telling yourself you believe in it in order for it to exist at all. On the other hand, maybe it’s a cool thing because of that. If it were more “real” it would just be another “thing” you can choose, like a brand of peanut butter. And I’m not so sure about whether always being able to choose all the things makes us better or happier in the end.

These Films by Amber Arcades – Part 1 of 3 Music – Goodnight Europe Director – Elliott Arndt “A lot of the themes Annelotte de Graaf has written about for her record struck very close to home. What I found especially poignant in her lyrics is how it’s mostly through a study of herself and a nonchalant look outside her window that Annelotte makes us get a sense of the political turmoil that’s affecting her. In that respect, I was interested in trying to represent this sense of “banality” in a young adult couple in 2018, who are not only the fruit of a vibrant European Union, but also perhaps the ones most directly affected by its dismantling. I wanted to depict a static, homesick, glitchy romance. And here it is, trying all it can to grow against, amongst and beyond the constricting geographical barriers surrounding it.”

Music video by Amber Arcades performing Simple Song. Heavenly Recordings