Posts Tagged ‘Hull’

Hull / Leeds-based shoegazers bdrmm follow their hugely acclaimed debut album “Bedroom” with “The Bedroom Tapes”, a limited-edition 12” EP that rounds up remixes and lockdown live sessions. The first side features stripped-down versions of “Gush, A Reason To Celebrate” and “Forget The Credits” from the album, plus a version of 2019 single “Question Mark”. Originally recorded at home by the band’s Ryan and Jordan Smith for various radio sessions, these versions feel fragile and expose the feelings that are buried under the noise of Bedroom.

The flip features Andy Bell’s radical reworking of “A Reason To Celebrate” under his GLOK guise, which finds the previously unexplored middle ground between the late Andrew Weatherall and underrated 4AD outfit Ultra Vivid Scene. It is joined by Ditz’s dynamic deconstruction of If.… and International Teachers Of Pop’s almost obscenely cheerful ‘de-mix’ of Happy.

A selection of remixes and live sessions

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Releases October 23rd, 2020

Music and words by bdrmm

BDRMM – ” Gush “

Posted: August 28, 2020 in ALBUMS, MUSIC
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bdrmm have shared a brand new short film to accompany their single, ‘Gush’, which is released on all digital platforms today.

“Gush” – A Short Film is available to watch on YouTube and the band’s Instagram TV account now. It was filmed by Sam Joyce at Gorilla Studios in Hull, and features a performance of the single as well as candid interviews with the band about the genesis of the song.

“‘Gush’ is an honest track, so I wanted a video to reflect that by understanding the interpretations of the people who helped create it,” explains singer/guitarist Ryan Smith.

He continues: “It’s a very personal track, probably the most I’ve ever delved into my own life. As much as I would love to share this topic, I feel it’s too much. I shared something very special with somebody which we lost. It was a very upsetting couple of months for us, but we got through it. The track is filled with optimism because things do get better, no matter how bad they get. Be there for your loved ones, always.”

To coincide with the single release, a new limited-edition red vinyl version of the band’s debut album, Bedroom, is available now from selected indie shops: buy a copy now. bdrmm have rearranged their UK tour dates for 2021. Tickets for the original dates remain valid, and further shows will be announced soon.

April 2nd – Nottingham – Chameleon Arts Cafe

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The freshly released debut album by these Brits isn’t reinventing any wheels. In fact it could have also been released in the early 90s sounding exactly like this and you can take that as a compliment. bdrmm sound like the lost love child of Slowdive and The Cure, mixing mighty shoegaze moments with dark wave spirit. If you love the sound of those classics and also new groups like DIIV then “Bedroom” is the album for you. It’s a record for the hopelessly romantic indie kid in you, one that chooses a certain nostalgic timelessness over state-of-the-art innovation. bdrmm are doing a great job in recreating this very specific sound and personally I don’t need any innovation here as long as the music is as good as on this one.

With an awkward, vowelless name that has to be constantly explained, it is unsurprising that the titling of Hull / Leeds-based quintet bdrmm’s debut album is eponymous. “We have been pronounced as Boredom, Bdum and my old boss actually thought we were a ska band called Bad Riddim. We’re all sarcastic cunts, so Bedroom spelt correctly seemed like the perfect title,” explains frontman Ryan Smith. Widely praised for their innovative approach to shoegaze in their early singles, the group have taken a sonic and lyrical step up from last year’s If Not, When? EP. With named influences such as RIDE, Radiohead, The Cure, Deerhunter, Slowdive, Beach House, Alex G, Björk, John Maus and DIIV, the album spans krautrock, post-punk, proto-shoegaze and their cross-fading of some tracks means the album is an almost seamless listen.

As intimate as the name suggests, the whole album spans the violent ups and downs of being in your early twenties: “mental health, alcohol abuse, unplanned pregnancy, drugs… basically every cliché topic that you could think of,” reveals Smith. “But that doesn’t mean they ever stop being relevant. It’s a fucker growing up, but I’m lucky enough to have been able to project my feelings in the form of this band, surrounded by four of the best people I’ve ever met.” These four include his younger brother and bassist, Jordan, an old bandmate, Joe, synth player Dan, and drummer Luke. Ranging in age from teenagers to their mid-30s, they played incessantly over the last couple of years, supporting the likes of Fat White Family, Her’s and Viagra Boys. They found themselves on the radar of indie label Sonic Cathedral last January, who initially offered them a show at The Social and asked if they’d be up for contributing to the Sonic Cathedral Singles Club series of 7”s. From there, they went on to release debut EP, If Not, When? and it hit a nerve with BBC Radio presenters, critics and their peers from the palpable and universal feeling of “everything being too good, that it’s inevitably going to come to an end” (Smith). 

Four months in and out of the studio resulted in something truly remarkable, at once elating and dark. More than just a genre record, as something stamped with the label ‘shoegaze’ so often is, Bedroom works its way from fuzzy indie-pop to heavier dirges via sound collages and a distorted sample of a Megabus driver. We’ve been sent this exclusive track by track of the album, so delve into bdrmm’s world as you listen:

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Momo

‘Momo’ is named after a pretty fucked-up online hoax – a viral game that allegedly got sent to students’ phones that would goad them into violence and suicide. Our manager works in a school and he got really convinced that it was real, and to this day we’ll never let him live it down. It seemed only fitting that it be cemented in history as the first track on an album he helped create. I’ve always been a fan of instrumental openings to albums, I feel they’re like the opening credits, and set the mood of what the listener is in for.

Push/Pull

We really wanted to make an album that flowed seamlessly throughout, so hearing ‘Momo’ going into ‘Push/Pull’ like it does is something special. It’s not an album filled with random tracks, it’s meant to be listened to in full, in order. We spent so much time deciding on the tracklisting, there were so many different combinations. ‘Push/Pull’ is a recollection of the first time you meet somebody. It’s quite dark as it’s not a generic ‘how I met the love of my life’ story. It’s remembering them from the End.

A Reason To Celebrate

A reason to celebrate was actually going to be the name of the album. This is our ode to the genre, I think; we wanted to make a proper shoegaze record. I was sat in my old house about two years ago just messing about on an acoustic guitar with five strings and came up with the chord progression and sent it onto Joe [Vickers, bdrmm guitarist]. We agreed it needed to be something. It’s about proudly, yet stupidly, letting go. It’s the voice in your head giving you all the different reasons why you should. I love this track, it’s a personal favourite. When we play it live, we never want to stop.

Gush

‘Gush’ is a very, very, very old song. It’s a very personal track, too, probably the most I’ve ever delved into my own life with a track. As much as I would love to share this topic, I feel it’s too much. I shared something very special with somebody, which we lost. It was a very upsetting couple of months for us, but we got through it. This track is filled with optimism because things do get better, no matter how bad they get. Be there for your loved ones, always.

Happy

Ahhh, ‘Happy’. This is our song. We have been playing it live, practicing it, working on it since we started playing together. It’s one of the first tracks I ever wrote and has proudly stood the test of time. I actually have a video of the first show we ever played which includes it. This song is all about bitterly yet humbly wishing somebody who has hurt you the best. You’re sick of fighting, you’re tired, you just want to move on, and if that means you have to be the bigger person, so be it. You deserve to be.

(The Silence)

(The Silence)’ was created in the studio. It was a day when it was just me and Alex [Greaves, producer], working on some guitar parts and some extra synth. I think we got a bit carried away in dragging out the ending of ‘Happy’, which can happen when you’re working with a Space Echo. They’re like crack for anybody making this kind of music. Alex added layers and layers of synth, and a beautiful guitar line. Nothing about it is in time, it’s very disjointed, especially when the drums come in. We’re both huge Deerhunter fans, so took a lot of inspiration from them. I went into the vocal booth and it was a proper turn all the lights off moment. The vocals were recorded in pitch darkness. “The silence, you speak, in my ear. Proves that, you can’t, be here”.

It’s literally about somebody having nothing to say. There’s nothing to be heard.

(Un)Happy

We always follow ‘Happy’ with a little jam, which is playing the same chords in half time, kinda just trudging along. It’s very moody. I didn’t expect it to make its way on the album, but I’m so glad it did. It’s a part of ‘Happy’ now. ‘Happy’, ‘(The Silence)’ and ‘(Un)Happy’ are a trilogy. There is a sample underneath at the end which you can hear which is a voice recording I took of the driver of the Megabus from Manchester to Leeds. I’d had the worst night, I had to steal a phone charger from Poundland to book a coach home because I had no money. I was stealing food from Tesco, it was raining and it was a real low point for me. I had a real problem with alcohol and drug abuse, this was the day I realised it needed to sort it out, which I’m definitely on the road with. But when I was on the bus home, the driver was having a conversation on the phone with his mate about meeting up after his final journey. It brightened up what was a very bleak day, I’m glad I stole that charger now.

If….

This track is named after the 1968 Lindsay Anderson film If….. Not because it’s about Malcolm McDowell or school shootings, but because I watched it a lot during the period when I was getting over somebody. Its sheer bleakness made me realise that there are a lot more fucked up things in the world than getting out of a relationship, so stop moping about and do something about it. It’s now become one of my favourite films of all time. I’m a big film enthusiast, so I am indebted to who showed me it. She’s great, too.

Is That What You Wanted To Hear?

This is the first track we completely finished in the studio. It all came together so beautifully; it was a symphony of one-takes. This is another one we love playing live, it’s got all the parts to be a really pretty song, but it’s not. It’s about standing up for yourself. “Fine, you win, I never felt what you felt. Is that what you wanted to hear?”. After constantly reassuring someone that you love them, but they don’t believe it, you just give up. There’s only so much truth telling you can withstand before you start lying to yourself.

Forget The Credits

This was originally just called ‘Forget’. It’s almost like a weight being lifted from your shoulders. The chords drift off into space taking everything that’s just happened with it. It was always meant to be the last song on the album. I remember when I recorded the first demo, it was the first time I played drums for a track. It’s very open ended. It’s the end of a chapter, not the end of the story.

bdrmm release debut full-length album Bedroom on Sonic Cathedral on 3rd July 2020.

BDRMM – ” Question Mark “

Posted: July 6, 2020 in MUSIC
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The West Yorkshire quintet’s long awaited debut lp is an immediately gratifying shot of nocturnal dream-pop and shoegaze that evokes low shutter-speed journeys through infrastructure at midnight.

it’s a hugely accomplished debut and a real step up both sonically and lyrically from their early singles, which were rounded up on 2019’s ‘if not, when’? ep. musically, there are nods to the cure’s Disintegration, Deerhunter and Diiv, while the band reference Ride and Radiohead. there are also echoes of krautrock and post-punk, from the Chameleons to Protomartyr, plus the proto shoegaze of the pale saints’ the comforts of madness, not least in the cross fading of some tracks, meaning the album is an almost seamless listen. “elements of Slowdive, the Cure, Jesus and Mary chain, ride all wrapped up in delicious bitter sweet melancholy of shoegaze and wanderlust, 

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released July 4th, 2019
written by bdrmm

Debut album from promising new UK shoegaze band who have clearly studied the classics, Hailing from Hull/Leeds, shoegazers bdrmm are young but they clearly understand the power and allure of distorted, effects-laden guitars and the loud-quiet-loud dynamic. Following a number of singles and EPs, they’ve now released their debut album, Bedroom”(a title that also serves as a pronunciation guide for their voweless name), which is out via Sonic Cathedral, a label that has all but cornered the market on classic-sounding shoegaze.

I don’t think bdrmm have quite figured out their own sound just yet, but they are currently expert borrowers and have studied the classics, from Disintegration,Nowhere and Siamese Dream, to slightly more obscure groups like The Chameleons, Straightjacket Fits and Clearlake. They’ve got a good handle on dynamics, and show it off as they play through a few different sub-styles: mopey and spacious (“Push/Pull”), bright and propulsive (“Happy”), and the towering skyscraper of guitars (“Time to Celebrate,” “If…”).

Lyrics and vocals seem to be beside the point here, mixed low for the most part, if there at all. Opening track “Momo,” one of the album’s most sweeping songs, is an instrumental. That’s fine, as bdrmm are playing to their many strengths with their guitars saying enough for now.

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Limited-edition clear and black marble vinyl pressing of the debut album by bdrmm. The first 50 copies were posted out with ‘Creating Bedroom’, a photo zine documenting the recording of the album, plus a bdrmm pin badge.

released July 3rd, 2020

Music and words by bdrmm

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Last year, LIFE broke their Humberside confines to become a truly national, if not international, sensation after their second album ‘Picture Of Good Health’ saw them established as a real force to be reckoned with through a marriage of punk anger and post-Britpop appeal. Adapting the left-wing politics of the first LP ‘Popular Music’ and framing them through their own personal everyday experiences with the distinct gritty texture of living in Hull, their second record chimed with British audiences and listeners across the continent as they gigged heavily, hit the European festival circuit and played support on IDLES world tour.

Continuing to develop their sound, Life have once again returned to the studio and returned with new single ‘Switching On’ which embraces greater experimentation and seems to take its quest from such tightly lacerating yet claustrophobic bands as Suicide and Big Black.

“After completing ‘A Picture of Good Health’ I felt like I belonged in the world, lyrically painting over the bone – eating demons, I wanted to express why this was. I wanted to scratch it out like people do on woodland trees or moorland rocks. It was love; I found love. ‘Switching On’ is my lyrical attempt of charting that journey; the initial giddy, nervous and pinch – me moments, the wanting to be accepted, the lust and the incredible feeling of finding that person and falling in love. The band wanted to be open to all aspects of musicality so that the lyrics were given an aural heart. We wanted to be brave, bold and exciting as we evolve our sound and rhythms by bringing in elements of synths, pads, machines and pure bass and guitar experimentation. ‘Switching On’ is a nod to where we want to be and where we are going; the future.” – Mez Green

Accompanying the single is the post punk upstarts answer to Wes Anderson in the form of a promotional video adapting the colour palettes and symmetrical shots for which the acclaimed cult director is famed. The mini movie was made with the help of local filmmaker and long term visual collaborator Josh Moore who have succeeded in capturing the tension of the track, as told through the suffering of plants losing at love and life in a sequence of desperate video dates.

Currently causing chaos in NYC, they return to plagued Europe to tour next month with dates around the UK in April.

Led by brothers Mez Sanders-Green (vocals) and Mick Sanders (guitar),  UK four-piece LIFE make snarling, gleefully hyper punk with a pop sensibility and a heap of attitude. Their second album, “A Picture of Good Health”, was released last fall and is recommended to fans of McLusky, Fontaines DC and IDLES (with whom they’ll be on tour in the UK in April). Known for their fiery live shows, Music video by Life performing “Bum Hour”Life are at the crest of the current wave of UK guitar music alongside other scene champions . they channel bands such as The Fall, Blur and Parquet Courts. Their focus on community and witty, off-centre social commentary underscores everything they do. The band hail from Hull in England’s North East. Energetic frontman Mez jumps and dances around the stage with a death glare like Jarvis Cocker making love to Frank Sidebottom and the Sultans of Ping.

Life released their second album – A Picture Of Good Health – in September 2019 in partnership with PIAS and recorded with Luke Smith (Foals, Everything Everything, Depeche Mode) and mixed by Claudius Mittendorfer (Parquet Courts, Yak, Weezer). It was BBC 6 Music’s Album Of The Day, BBC Radio 1’s Album Of The Weekend and was one of BBC 6Music’s Albums of The Year; all four singles from the album were play-listed at 6Music.

New music, out now. We are so proud to give you “Switching On” our latest single taken from “A Picture of Good Health”. Watch our Wes Anderson influenced video created by ourselves

The new album is more personal, about mental health and inner turmoil. I think all of us had a breakdown at some point while making it” – Mez, Life.

Hull’s post-punk absurdist polemics LIFE made quite an impact with their DIY debut album. 2017’s Popular Music was championed by BBC 6Music’s Steve Lamacq and won firm fans (and friends) in fellow post-punkers Idles. Most unexpectedly, Popular Music even ended up in BBC Radio 1 Albums Of The Year list, where Life’s gnarly, Humberside riffs and scattergun wordplay kept unlikely – but deserved – company with the likes of Jay-Z, Skepta, the xx and Wolf Alice. Two years on, their eagerly awaited, dryly-titled second album, A Picture Of Good Health, ups the ante musically and lyrically.

Album available through Afghan Moon the album ‘A Picture Of Good Health’, released on the 20th of September 2019,

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Moral Fibre and Hollow Thing the first two singles taken from the new album are out now! with a further single scheduled from album #2 – produced by Luke Smith (Foals, Everything Everything, Depeche Mode) and mixed by Claudius Mettendorfer (Parquet Courts, Yak, Weezer). A follow-up to LIFE’s successful, self-released debut ‘Popular Music’ which was included in Radio 1’s best albums of 2017.

A Picture Of Good Health’ – will be with you on the 20th of September & released on own label Afghan Moon in partnership with PIAS.

“this record is indispensable” – DIY (4.5/5)
“tightly wound guitars and lyrical zingers combine for maximum ’80s Peel session effect” – MOJO (4/5)
“it’s the album the Hull punks deserve” – Upset (4/5)
“a thunderous reminder of why guitar music is mankind’s greatest creation” – Dork (4/5)
“One of the only saving graces of the omnishambles of a time we live in is the emergence of bands that have something to be genuinely angry about. Few bands better epitomise that than LIFE” – NARC (4.5/5)

Band Members
Mez – Vox
Lydia – Bass
Mick – Guitar
Stew – Drums

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Following the release of excellent recent single “Moral Fibre”, Hull based outfit LIFE have now announced details of their much anticipated second album “A Picture Of Good Health”. Alongside this announcement the band have also shared a new single taken from the record called Hollow Thing.

Whereas the band’s excellent debut album Popular Music was broadly political, the new album takes a more personal approach with some beguilingly honest and brave lyrics that are bold in both sound and feeling, whilst also retaining the core DNA of their previous material. Hollow Thing has the band homing in on a bigger and more focused sound whilst also channelling the lyrical content inwards.

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Hollow Thing is about tackling isolation and fixing yourself. It’s about letting go of something in your life, something that’s passed.

‘’Wait for the past to fade, wait for that hollow thing…’’ Hollow Thing is about moving on and overcoming hurt, taking the hits but getting through it.

‘’Wade through a sea of beige, choke on great clods of dirt…’Hollow Thing is embracing your worth.

‘’I look much better than you, I love much deeper too.’’Hollow Thing is littered with lyrics that reference something ending and then something beginning again. It’s a twisted pick me up!

‘Hollow Thing’ is the second single to be taken from LIFE’s new album. Produced by Luke Smith (Foals) and mixed by Claudius Mittendorfer (Parquet Courts), the band home in on a bigger and more focused sound .

Going on to speak about the album Mez says “A Picture of Good Health is not a collage of work but rather a snapshot of time; our time and the time of those around us. It’s political, but in a personal way. It’s a body of work that explores and examines the band’s inner-selves through a precise period; a period that has brought pain, loneliness, blood, guts, single parenthood, depression and the need for survival and love. It is the sense and need for belonging that is the resounding end note!”

New album out on 20TH SEPTEMBER 2019 via Afghan Moon.

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Channelling the defiantly DIY spirit of their hometown HullLife are back following the release of their rampaging debut album ‘Popular Music’ with the first taste of their second as-yet-untitled LP; ‘Moral Fibre’. Once again exhibiting their supreme skill for condensing a hell of a lot of pissed off polemics into an accelerated rush of guitar riffs and Beat Poet lyrics, ‘Moral Fibre’ is a take-down of those looking to adopt phoney poor aesthetic to try and steal some authenticity.

Singer Mez Green explains; ‘Moral Fibre’ is a stinging and frenzied shut up and step aside – a tongue in cheek reflection on the music industry, that beige scene, those that pimp poverty from Mummy’s detached house, those that trade in fair-trade cocaine and those that preach behind their keyboard. I’m taking the piss, but I’m deadly serious!”

The newly released video sees the politically astute post punks’ team up with local artist Anna Bean. Known for her dark and twisted surreal edge, Bean has given a real visual punch to the songs sardonic message; “We chose to reflect on when we lived and dined as the ants that took the sugar mountain from an empire built on Teletubbie colours and 70s shit-disco. Once again re-uniting with our friend behind the lens Josh Moore we present to you a piss-take of a piss-take that’s a little bit tongue and hella-lot of cheek and a ton of pissant. Shot in Hull and shot for fun let Moral Fibre get in in your bones.

Having just completed a tour of mainland Europe with their good mates IDLES, Life look forward to a massive year leading up to the release of their second full length which includes headline Firebug as part of the massive all-day festival Handmade which hits Leicester on Sunday 5th of May. They also appear at The Great Escape Festival down in Brighton that runs from Thursday 9th until Saturday 11th of May.