Posts Tagged ‘Leeds’

There was a Leeds music scene at the time that revolved around the Leeds University Art Department, and local bands The Gang of Four and The Mekons were doing well. Kelvin had briefly replaced Hugo in The Gang of Four and was recommended to Delta 5 as a drummer. Kelvin and I played in a band in York together so I went along to audition and joined in May 1979.

First release “Mind Your Own Business” / “Now That You’ve Gone” – 1979. The Gang of Four were recording their album, Entertainment, in the WorkHouse in the Old Kent Road and they decided that they could help us out at the same time. We stayed with them on a houseboat on the Thames at Cheney Walk, Chelsea and their manager Rob Warr arranged for us to go in and record whilst they were out at a Madness/Specials gig in Camden.

“You” was supposed to be the first recording but it wasn’t happening so we changed tack and recorded both songs in about 8 to 10 hours. We had only been together a few months and done about 3 or 4 gigs by this time. Rob took the tapes to EMI who were paying for the studio but they passed – no surprise there – so Rob went to Geoff Travis at Rough Trade. Geoff came to see us at The Global Village (later Heaven) and we met him afterwards and agreed to a deal on a handshake.

John Peel was given a pre-release copy and he decided to play it twice that night. The next day we got a call asking if we’d like to do a session for him – yes please!! Then, we were off and running.

“Delta 5” and “Make Up” included on this CD are from that session of February 1980. We recorded a follow-up, “Anticipation” / “You” in February 1980. We were gigging more often at this point and “You” turned out pretty well. More gigging in Europe and the UK; around 1980 – 81, we played quite a bit at The Lyceum in London and shared the bill with The Gang of Four a few times, Echo and the Bunnymen, B52s, Specials, Teardrop Explodes and U2 to name a few. We toured with The Gang of Four and Pere Ubu in 1980.

In September 1980 we did our second Peel session, which included “Triangle,” which is included on this CD. Later in September 1980 we went to the USA.

We played New York and all along the East Coast. Then we went West, and “Shadow,” “Circuit,” and “Journey” are all from a show we did at the Berkeley Square in Berkeley, CA. Back to England in October and we recorded “Try”/ “Colour” with the Bad Manners horn section who we had met at a festival In Finland. In February 1981 we toured Holland and Belgium. In March 81 we signed with the Pre record label in April we went into Rak Studios in St John’s Wood to record an album. Rak was Mickie Most’s studios and The Animals, Hot Chocolate and Sweet had recorded there.

We experimented quite a bit on the album and perhaps we should have just recorded the songs as they were – the session versions included here are more a reflection of how we were live as they were all recorded quickly in one or two takes.

None of us really liked the title of the album but it was a compromise – I think we argued quite a lot back then. We did a UK tour culminating in a headline gig at The Venue London. We even had a horn section including Rico on trombone.

We went back to the USA for a few shows on the East Coast in May and came back to England in June. We recorded “Innocenti,” “Train Song,” “Final Scene” and “Singing The Praises” for a Richard Skinner session in July 1981.

The album came out somtime late in 1981 and we went to Holland in October – I decided it was time to leave when we got back – I think Julz and then Kelvin left and Bethan & Ros made one more single with new personnel before calling it a day in 1982.

The early days were the best and although we did argue a lot, (what band doesn’t!), we also had a lot of laughs – for a couple of years we got to play live and make some records, and then that was enough.

A “must have” best of by this influential 1980’s Leeds, UK group that is still name-checked and covered by current bands.

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Elk - Beech

Elk is 21 year old Leeds based multi-instrumentalist Joey Donnelly, whose brooding and beguiling work on debut
album “Beech” marries up the sound of Daudi Matsiko, Florist and Talons with the lyrical depth of Phoebe Bridgers.
“I love how dark and honest her lyrics are at times,” says Joey of Bridger’s writing, “and I tried to use that whilst writing the Elk songs.”

Working with brother Mikey in his band Miles, Joey began writing the music that would become Elk. Mikey did what all good big brothers do and kicked Joey out of the band. “He made me do my own stuff, so he’s to thank for Elk. I’ve learnt a lot from him over the years about song-writing and just being a good person.”
The 7 songs that make up Beech were written and recorded at the family home in York, over a 6-month period.

“Yue” written and performed by Elk – taken from the album “Beech” released by Bad Paintings 28th June 2019.

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Mush, the Leeds band who specialise in wryly-observational, exquisite lo-fi guitar pop, have signed to Memphis Industries and release their debut EP. Recorded at Glasgow’s thriving Green Door Studio with Ronan Fay (also guitarist of ascendant Scottish rockers Sweaty Palms), the EP’s six tracks follow the proud lineage of art-rock from both sides of the pond. Mush cite Pavement, Sonic Youth, Television and The Fall as their primary influences.

There’s both consolidation and progression at play on Induction Party. The four-piece are now cemented as more of a song writing entity than the “noise project” they would describe their early incarnation. Debut single Alternative Facts (released on a Too Pure Singles Club 7”) received regular radio play from Marc Riley, Steve Lamacq and Matt Wilkinson despite clocking in at a glorious ten minutes. Much of Induction Party hones Alternative’s Facts and follow-up single, the BBC 6 Music-playlisted Gig Economy’s slanted take on social and political trends

Mush’s super fun lo-fi art-rock EP ‘Induction Party’ is out today. You can pick up ‘Induction Party’ from one of your favourite indie shops

Mush have idiosyncrasies all of their own and Induction Party is far more than an endearing homage to the bands listed above. Hyndman’s excitable half-sung, half-yelped vocal snipes and lolls around each song as though sometimes even he doesn’t know where the melody’s going to go next. There’s a sense that not a second of music’s been wasted, a refinement in the band’s song writing process that means nothing clocks in at over four minutes. On Litvinenko and Induction Party they prove themselves truly as a product of our time.

The new EP ‘Induction Party’ is out May 31st via Memphis Industries.

Catch Mush live, including tonight at the Brudenell Social Club in Leeds and at All Points East Festival on 2nd June in London:

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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

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The second single from Drahla’s debut album, ‘Useless Coordinates’, out May 3, 2019. Drahla have already answered all the boring questions. In the video for their prickly single “Stimulus for Living” the droll Leeds punks elucidated the whens and the whys and the particulars of their formation and their motivation as a band. Sort of. Fuzzy tape rolls as a droll voice intones a series of questions (“How did the band form?”; “Drahla, what does it mean?”) and the band answer in cryptic abstractions (“In holy matrimony”; “It’s just letters from the alphabet”). This goes on a little over a minute; throughout the bit, their intentions remain opaque.

“The interview at the start of the video asks standardized questions, that have the same copy and paste answers every time,” says singer/guitarist Luciel Brown. “There’s far more interesting things to explore. Within the lyrics, the same [idea] has been applied to the everyday [observations] and points of interest that have stood out to me in regular situations, highlighting that there’s interest everywhere, you know, there is a stimulus.”

This mentality is part of what’s made them work as a band over the last couple of years. They work in a pretty traditional format—guitar, bass, and drums—but they’re able to wring a little more out of it because of their insistence on digging deeper. Browns riffs are abstract and pointillist, like something you might expect from the great grayscale post-punk records of the late 70s, or no wave’s idiosyncratic squalls. The muscular monochromes of Rob Riggs’ bass work are unpredictable and elastic. Mike Ainsley’s geometric drum work is reliable, but reactive, pushing the other players into woolier territory. They’re able to take familiar parts but push at their edges. It’s all part of trying to find access magnificent in the mundane.

“Pyramid Estate” Released by: Captured Tracks Single release date: 9 April, 2019

Bee and Rose Festival tickets

CRAKE – ” The Politics of Lonely “

Posted: December 7, 2018 in ALBUMS, MUSIC
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Crake is the project of singer/songwriter Rowan Sandle who sings of ‘flora, fauna and the tough stuff’, backed up byestablished veterans of the Leeds indie scene (members from Mi Mye, The Spills and Fig by Four). ‘By the Slime Mould’ was Crake’s debut EP 

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Released May 25th, 2018

All songs written by Rowan Sandle.
Performed by Rowan Sandle (guitar, vocals), Sarah Statham (bass guitar, backing vocals), Rob Slater (drums, backing vocals), Emily Ingham (keys, brass, backing vocals).