Posts Tagged ‘London’

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London Indie-pop quintet Night Flowers have released a new video for the track ‘Head On’, taken from their widely praised spring album Wild Notion. Further reinforcing the band’s creeping move into a moodier sonic territory, the video is a swirling jolt to the system with a heavy heartbeat, with vocalist Sophia Pettit’s remarkable control building and building as the song climbs to an epic crescendo, complete with bittersweet, triumphant brass. Directed by the band themselves and shot by film maker Daisy Dickinson, (Benny Page, Adrena Adrena), the wandering camera finds singers Sophia Pettit and Greg Ullyart lost in London twilight, in a short cinematic story that echoes the song’s themes of communication breakdown, isolation and reconciliation.

It’s been a pretty special year for London indie-pop quintet Night Flowers. Their debut album, Wild Notion, drew near universal acclaim, they’ve toured up and down the country (and up and down and up and down again probably) and played a series of stellar festivals. The band also played what might just be their biggest headline show in London to date at the Moth Club,

“Head On” was one of Wild Notion’s stand-out moments; a brooding and intense number, propelled by swaggering bass and swirling synths. Singer, Sophia Pettit’s vocal is pretty much faultless throughout, wringing every drop of emotion from the tale of communication break-down, isolation and fighting to make things work, before the intense burst of brass brings things to a thrilling close. The cinematic video, which to our mind looks like Singing In The Rain filmed in the style of House Of Cards, mirrors the song’s themes, as Sophie and Greg walk the London streets, searching for a connection that so nearly comes to pass. A triumphant sign off to a year where Night Flowers have moved up a gear, and sit poised and ready for a giant leap forward.

Wild Notion is out now via Dirty Bingo Records.

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Something of a lo-fi underground super-group, Cheerbleederz have this week put out their debut EP, Faceplant, on the ever reliable Alcopop! Records. The London-based trio, comprising members of Fresh, Happy Accidents and Finish Flag,  bonded over a shared experience of being, “the only women in our main bands”, and formed Cheerbleederz, “to make a band that explores being women together”.

Ahead of the EP’s release the band shared the first single from it, Cabin Fever. A reflection on, “being unable to tell someone how you feel, and in turn feeling trapped by that situation”, Cabin Fever is an emotive blast of harmonies, pulsating bass and clattering guitars. The whole things builds to a wonderfully melancholic outro as the members chime in unison, “I think that we’re all doomed”, in disarmingly harmonic unison. On their debut EP, Cheerbleederz seem to have hit on something hugely promising; at once reminiscent of their other projects, yet different enough to sound fresh and exciting, it’s a hugely promising place to start.


Faceplant is out now via Alcopop! Records.

Folk/alt-country duo Ferris & Sylvester are a London-based band preparing to release their debut EP The Yellow Line. Ferris & Sylvester are songwriters – With clear references in their catchy setup to the mid-60s sounds of Greenwich Village combined with their meatier blues tones, Ferris & Sylvester sit somewhere between Jack White and First Aid Kit. Their clever combination of blues, folk and rock n roll has created a distinctive genre of their own.

The London-based pair met two and a half years ago and have since won over the capital with their ever-growing live presence and songwriting. This year, the duo released their highly anticipated EP ‘Made In Streatham’ which they self-produced in their South London flat. Released through their own label ‘Archtop Records’, the EP has clocked up over 2 million Spotify streams, rose to No.1 on the iTunes Singer-Songwriter chart and received widespread praise across the board.

They’re the first signing to legendary producer Youth [Killing Joke, Crowded House, Paul McCartney, The Verve]’s new publishing company Painted Word Music, and recorded their EP at his Space Mountain Studios in Spain.

The Video featurs a stunning animation of ‘Sometimes’ by Neil Pymer & Shinyeye

We’re also premiering the beautiful video for their new single ‘Berlin’ which was filmed at Battersea Arts Centre in London

Band Members
Issy Ferris and Archie Sylvester

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London based singer songwriter Laurel is releasing her new album ‘DOGVIOLET’ on Friday (24th August), and we’re sharing the preview of the record – the brilliantly emotional track, cutting ‘Adored’.

Set around crunchy guitars and gorgeously echoed vocals, the track is incessant in its energy and intensity, impossible to not be enveloped in. It’s a largely one-dimensional track, but instead of becoming negatively repetitive, it slowly starts to show its colours via the addition of swirling backing vocals and woozy extra layers of guitar, becoming a whirlwind of noise by its conclusion.

‘DOGVIOLET’ comes out on 24th August via Counter Records. It’ll be supported on a UK tour in September and October.


The new album ‘DOGVIOLET’, comes out on 24th August via Counter Records. It’ll be supported on a UK tour in September and October.

This second EP from this London band was always destined to be a ball-breaker, especially with a new drummer taking up the mantle. The perfect mix of four lads with focussed intent and pure malice in the form of scathing sub-textual lyrics. Following a thrilling 18 months where they’ve lit up sweaty basement venues or big festival stages alike see it, say it, sing-it-like-they-mean-it Sisteray have announced the release of their brand new EP Sisteray Said’ featuring the track‘Wannabes’ starts with a fade in of drums 70s style which adds urgency to Niall Rowan’s vocal with Dan Connolly’s guitar hitting all the low notes as it thrashes through what is a perfect 2.35 minute energy song.

With Mick Hanrahan’s bass thumping away, ‘Rumour Mill’ has more depth to it with lots going on and building up to a crescendo of guitar fuzz and attitude. A song about lies and deceit played by the world leaders of today using all their media tools to mislead. ‘Algorithm Prison’ also picks up the guitar thrash along with Niall’s bile of complaint against social media advertising groups. A fast-paced song with attitude that has it all, and if you need to get riled up for any reason, then this song will give you a good kick in the balls to get you started.

The EP title track starts with Mick’s bass pumping away till new boy Callum Landau’s drums kick in, with guitars flailing away throughout and velocity pumped vocals from Niall. At just over two minutes long it’s a bit more of a ‘throwaway’ song than the others, but it’s enjoyable nonetheless.


Overall, ‘Sisteray Said’ leaves you with the sense you’ve been on a ‘eyes opened’ journey due to the subject matter and this motley crew have just imparted some of their wisdom loudly in your ear.

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London-based artist Laurel’s debut album is a powerful collection of meditations on love and the pursuit of romantic interests. Entitled Dogviolet, the album is mostly comprised of the artist’s siren-like vocal’s and her melodic guitar accompaniment. It’s indie rock but stripped down to the absolute essentials. The overdriven wail of a guitar and the croonings of an artist delving into the sinister side of passion. Recorded entirely in the artist’s home studio, Dogviolet retains a strong sense of lo-fi production sensibilities.

It’s an album that lives and even thrives on its own imperfections. Laurel is indeed a powerful singer, yet when she really touches off the mainline her voice can strain. Take the album opener ‘Life Worth Living’, a song that comes from the depths of infatuation. The repeated refrain of “Take what you need darling / I’m just here for you” is a touch on the pitchy side and the guitar a tad stabby too. Instead of this being to the album’s detriment, moments like these give Dogviolet it’s strong personality.

Comparisons will invariably be made to Florence Welch, indeed both artist’s share a similar vocal timbre and two musical sounds not opposed to one another. However, Laurel’s output is far less filtered than anything Florence & the Machine have done. Also, where Welch’s lyricism is vague and often faux-mystical, Laurel’s lyrics are streamlined and always cut close to the bone.

At times, like in the wonderful ‘Same Mistakes’ and ‘Hold Tight’, it sounds like the artist is struggling with a sort of frantic mania, one which verges on obsession. When she screams “I don’t want you/ But I still want you to love me”, it’s the sound of a human caught up in the ugly side of love. Powerful stuff indeed.

From the album ‘DOGVIOLET’, released 24 August 2018 on Counter Records:

Lazy days

Weird Cool is the new single of the London lo-fi dreamy grunge quartet Lazy Day. Biting, groovy and soaring, the new single is pressed on 300 limited edition orange flexi discs. Weird Coolwas recorded by Oliver Betts (The Duke Spirit) at The Crows’ Nest Studios and mixed by Adrian Hall (Anna Calvi /Goldfrapp) at Clever Pup Studios

Weird Cool is the new single released by Art Is Hard Records on the 9th March 2018.

What do you do when your long term relationship grinds to a halt? If you’re lifelong friends Lily Rae and Alex Wisgard then you form Fightmilk. Coming together in 2015 as a heady mix of angst, alcohol and Kirtsy MacColl, the duo set about writing the songs that would soundtrack their break-ups and, reference It’s Always Sunny In Philadelphia wherever possible. Following two well received EP’s the band are set to take the full-length plunge in November, with the release of their debut album, Not With That Attitude.

Ahead of Not With That Attitude’s release, the band have this week shared their brand new single, Four Star Hotel. The track details how, towards the end of both their relationships, Lily and Alex had independently booked holidays to Amsterdam, which ended with the same conclusion, a holiday will never save a relationship. As Alex explains,“almost every line is based on one of our two true stories, from the shit-eating grins in the holiday photographs to having to push two twin beds together in a hotel room”.


Their tales of sexless nights in swanky hotel rooms, fleeing from weed cafes and, “kissing for the camera”, are set to their usual blend of ferocious riffing, and pounding drum beats. With a sound equal parts Weezer and Diet Cig, and lyrics so acerbically comic that Art Brut would be proud of them, Fightmilk are bringing a fresh take on the oldest, angstiest subject known to songwriting, and it sounds wonderful.

10 songs about crushing hard, acting out, and running away to solve crimes in Sweden, available on GORGEOUS pink vinyl thanks to the good folks of Reckless Yes Records.

Bruce Springsteen is continuing his ongoing Archive series.  Last month, he released a concert from 1978 that was promoting theDarkness on the Edge of Town album.  This month, he jumps forward three years to a gig to promote The River album: June 5th, 1981 at Wembley Arena in London, England.

The River was released on October 17th, 1980.  Springsteen and the E Street Band spent nearly a year on tour to promote the double album which had been their first to top the charts.  The first two legs of the tour had concentrated on the U.S. and Canada.  The third leg, which kicked off in April, 1981 saw the band playing dates in western Europe.  This was their first foray overseas since 1975 and the first time they had played a significant amount shows in the area.  Many European fans were introduced to Springsteen during this tour and he and the E Street Band have played overseas frequently in the decades since.

The June 5th concert was the final concert of a six-show stand at Wembley Arena and came at the very end of the European leg of the tour (only two shows in Birmingham, followed this concert).  The setlist of course features many cuts from The River album, but also throw in some interesting covers.  The first is a re-imagined version of Elvis Presley’s “Follow That Dream,” taken in a stark fashion with some new, original lyrics and an interpolation of Roy Orbison’s “In Dreams.”  Springsteen would record a studio version the tune during the Born in the USA sessions but ultimately leave it in the vaults.  Bruce would then further eulogize Presley with “Johnny Bye-Bye.”  The song is based upon Chuck Berry’s “Bye Bye Johnny,” taking a few lines from that tune.  A studio version would later show up as the B-side to “I’m On Fire.”

The band also tackles Creedence Clearwater Revival’s “Who’ll Stop The Rain?,Woody Guthrie’s “This Land Is Your Land,” another Presley tune with “Can’t Help Falling in Love” and “I Fought The Law,” made famous by The Bobby Fuller Four and covered by The Clash just a couple of years prior.  Another cover was that of the traditional Cajun song “Jole Blon.”  Springsteen had played on and produced Gary U.S. Bonds’ version of the song for Bonds’ Dedication album earlier in 1981.  The show wraps up with the familiar “Detroit Medley.”  Please note that the last 95 seconds of this medley are taken from a fan recording as the multi-track recording had stopped.

Perfect mix, super powerful performance. Almost every song sounds fresh and new. The ballads are full of feeling, the rockers are sung like there is no tomorrow. Bruce phrases the lyrics different at times, the band plays slightly different riffs

The concert was recorded live with the Mobile One Recording truck by Andy Rose with assistance from Tim Wybrow.  It has been mixed by Jon Altschiller from a 24 track 2″ 30 IPS tape source with additional engineering by Danielle Warman.  It has been mastered to DSD and PCM by Adam Ayan at Gateway Mastering in Portland, ME.

  • Bruce Springsteen – Lead vocals, guitar, harmonica; Roy Bittan – Piano; Clarence Clemons – Tenor and baritone saxophones, percussion, backing vocal; Danny Federici – Organ, glockenspiel; Garry Tallent – Bass, backing vocal; Stevie Van Zandt – Guitar, backing vocal; Max Weinberg – Drums

All previous volumes of The Bruce Springsteen Archive Series are available at Springsteen’s official live store for download and physical purchase.

Bruce Springsteen, Wembley Arena, London, 1981

Earlier in the decade there was one band championing the South London scene. That band was Palma Violets and with their brand of swashbuckling indie-punk they paved a way for many others south of the river. The band though, after some work on maintaining their ‘ones to watch’ status, sadly went down the Thames with many others before them.

That hasn’t stopped Sam, Will and Phil of the band finding their sound again, and now with the help of guitarist Adam Brown alongside The Big Moon’s Celia Archer, they’ve got a brand new project underway by the name of Gently Tender. They arrive with some new tricks, some old traits and a brand new song, ‘2 Chords Good’.

Luckily, the project is still dabbled with the chaos and ramshackle charm of Palma Violets, but are offering more melody and texture as the spoken-word croon details the nugget of truth at the centre of their new song.

Sam explained “The song is essentially me replaying that moment in my mind, and almost kicking myself about my average and weak response [‘Probably yeah’] to her question, ‘Are you going to put some more chords on your new album?’”


He continues: “The song is me talking to myself … and making excuses like I was feeling ‘kinda stressed that day’. I had been suffering with anxiety at the time of the meeting, but as I gradually formulate what the answer should have been, I cultivate pictures in my mind of visions and scenes that move me; memories of ‘golden evenings’ and ‘sunlit canals’ and songs that I have loved.”