Posts Tagged ‘London’

“All That Remains” is the fifth album by Walthamstow’s finest duo The Left Outsides since at least the halcyon days of Bevis Frond’s Inner Marshland.
Hard to pin down with any certitude, the music created by The Left Outsides varies from track to track and even moment to moment. Alison Cotton’s vocals, harmonium and viola blend with Mark Nicholas’s voice, bass, guitar, piano and drums in ways that recall everything from Kendra Smith and David Roback’s drony duo, Opal (on “Down to the Waterside”), to PJ Harvey covering an old Blondie tune as a dirge (on “Naming Shadows Was Your Existence”).
But the basic pulse of All That Remains most often reminds me of either current work by Massachusetts’ estimable Damon and Naomi, or the sound of Pearls Before Swine around the time of their third LP, These Things Two. Like those combos, The Left Outsides manage to swap and mix male and female vocals without altering the elegiac dream-heft of their overall sound. They do this while maintaining a vibe that feels indebted to the mists of wood and dale far more than the bustle of London. 

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And the instrumental arrangements are never too far from the light touch of the folk-rock classicism perfected in the UK and Holland as the ’60s slid into the ’70s. Most of the sounds seem more like meditations upon this period than any attempt at recreation, however, which also aligns the band with certain threads that emerged in the ’80s uk psych underground just before raves took over.
All of which makes this a beautiful and outstanding record, and one that especially rewards the deep concentration of what is euphemistically called “late night listening.” It’s a very special spin. 

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VALUE VOID

Young London-based trio Value Void share the intriguing first glimpse into their forthcoming debut LP, due later this year on Tough Love Records. On their sneakily infectious debut single “Back in the Day“, the group, comprised of Paz Maddio (guitar + vocals), Marta Zabala (drums), and Luke Tristram (bass), rides that taut, moody post-punk groove into a soaring chorus that feels like pure, sweet catharsis. The brief parting of the clouds is fleeting, though, as Maddio’s almost sunnily anthemic kiss-off — “Without any rules, I don’t want to play” — is enveloped by the return of her wiry riff, the song sliding back into tension and uncertainty. Listen below + grab the song now on Value Void’s bandcamp page:

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London five-piece Post Louis’ new self-produced track “Stress Fracture” is fuzzy lo-fi washed in a neon purple light, and its forceful, jangly groove is perfect for driving fast or stomping down the street. Frontwoman Stephanie Davin’s otherwise confident vocals still allow for tiny cracks of messy emotion; for example, each time she wonders the line “will you come and see me?” her usually rich voice becomes more delicate and airy with every drawn-out repetition.

Compared to their old stuff, there’s a darkness to “Stress Fracture,” a broken, painful energy packed into this new iteration of their classic indie sound. Their art rock influences come through during surges of a scattered sax or a short, dissonant guitar solo.

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Davin speaks of the song’s experimental flare:

We wanted Andy’s backing vocal and Alex’s saxophone parts to tumble in out of nowhere, like a car falling off a highway. This song tracks the moment when panic sets in, temperature rises and emergency begins – when something fundamental gives way entirely, whether a bone or a belief.

Listen to “Stress Fracture” below, where you can also hear recent single “Little Jack.”

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For the final lullaby recording during South by Southwest 2018, the London-based singer Nilüfer Yanya for her performance in the memory-filled world of Uncommon Objects. It’s a shop in Austin, Texas dedicated to sentimental curiosities of a world gone by. With that in mind, the relatively new musician with a bright future tackles a tune about something old and familiar: fond memories overwhelmed by the pain of love gone wrong.

“Baby Luv” can be found on Nilüfer Yanya’s 2018 release Do You Like Pain?The EP’s title is a line she repeats multiple times on “Baby Luv,” while her choppy guitar punctuates a weary, clock-like rhythm. That ticking beat is then amplified by the saxophone of her bandmate, Jazzi Bobbi while a camera pans a literary world of books that all seem blood-red. Objects once shiny and proud are worn and somewhat torn, with a future as uncertain as the love in this song

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Teenage sensations Girl Ray draw heavy influence from the classic indie era of C86 and bring all that lofi goodness bang up to date. The North London indie trio specialising in wan, winsome heartache have ambitions to rival the song writing greats. Having just released their first LP , they now headline their shows giving you the chance to hear the new material live. Catch them live .

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This last summer saw the release of their debut album Earl Grey. Released through cult indie label Moshi Moshi, it is receiving widespread critical acclaim and is becoming the underground album of the year.

The idea that actual teenagers made an album this sharp and sophisticated and interesting is the kind of thing that should make the rest of us feel bad. – Stereogum

Girl Ray tickets

New song ‘Lord Luck’ taken from forthcoming E.P ‘Suggestive Listening’:

Ulrika Spacek have always been strong believers in a long play format when it comes to making records, but for this new release they decided it was time to explore the ‘extended play’ format. The Suggestive Listening EP will be released on April 21st as part of this year’s Record Store Day.

The band started working on the new record in January 2017, “in that empty space when you’re waiting for your last record to come out”. Recording began at KEN, their shared house – a former art gallery so named because of a cryptic inscription found above the front door. Not just a studio and home, KEN is essentially the band’s hub, a space in which the surrounding ephemera of videos, artwork and even band photos are all created. After this, work for the EP moved to France where the band explored recording live for the first time and here the band worked with now-full-time member, Syd Kemp.

In an act of self-awareness, Ulrika Spacek chose to make something that killed the ‘three-part interweaving guitar’ characteristic that partly defined Modern English Decoration. The intention was to deconstruct the standard three guitar, bass and drums line-up used on the first two albums, aiming to strip back the overall sound whilst simultaneously bringing certain elements to the foreground. Very few guitar effects pedals are present on the record, and a different computer was deliberately used in order to steer away from the plug-ins employed on previous albums.

Lyrically this release came out of a time of common late 20’s existentialism, a time of huge self doubt and questioning in many aspects of our lives”. In contrast to the generally veiled form of lyrical expression on the band’s first two records, Suggestive Listening displays an interest in ‘literalism’, “In a time where we were struggling to find clarity we wanted our music to express the opposite”. This is also reflected in the choice of artwork for the release, which not only bears the record’s lyrics, but also song lengths and the very definition of an E.P itself. Additionally, fans may note that there are two different coloured front covers, one pink, one blue, each limited to 500 copies.

This change in approach was foreshadowed around the release of Modern English Decoration, when they claimed that, “We won’t return to this sound again. Though as fanatical fans of music, we feel the beauty lies in how these different offshoots go on to inform our future records”. As such, Suggestive Listening, might be continued an evolution more than a wholesale shift in focus.

In preperation of its release, Oysterland, a night curated by Ulrika Spacek, will take place the night before at Doomed Gallery in London. The E.P will be played back-to-back in exhibit form, with the layers of instrumentation played on separate speakers. Audience members are invited to make their way around the gallery allowing a personal and unique listening experience. Speakers will be positioned inwards so that audience members can either walk through the musical layers of the E.P or position themselves in the middle of the room where all parts come together.

Released 21/04/18 via Tough Love Records as part of Record Store Day 2018. Available from all good record shops. Please note: there are two versions of the record sleeve, one blue, one pink, each limited to 500 copies.

‘Suggestive Listening’ will be played back-to-back in exhibit form the night before release at Doomed Gallery Dalston. Layers of instrumentation will be played on separate speakers. Audience members are invited to make their way around the gallery allowing a personal and unique listening experience

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Tracklist,

A1 No. 1 Hum
A2 Black Mould
B1 Freudian Slip
B2 Lord Luck
B3 Wave to Paulo, he’s not there

Also available digitally:
Bandcamp: https://goo.gl/BzReB4

Upcoming Live Dates:
25th April – Corsica Studios, London,
10th May – Psych over 9000, Gent, BE
11th May – Eden, Charleroi, BE
12th May – Le Beau Festival, Paris, FR
19th May – Kulturclub Schon Schön, Mainz, DE
20th May – Volksbühne Berlin, DE (with Cavern of Anti-Matter)
12/14 Oct – Desert Daze Festival, CA

The Left Outsides are: Mark Nicholas and Alison Cotton, a husband and wife duo based in London, England whose atmospherichypnotic songs echo Nico’s icy European folk, pastoral psychedelia and chilly English fields at dawn. 

“We’ve probably run out of superlatives with which to shower on wife/husband duo Alison Cotton (viola and voice) and Mark Nicholas (guitar and vocals) . Such is the siren-like allure of this their fifth album (their second on Cardinal Fuzz and which gets a US release courtesy of old ‘Scope mate Byron Coley’s Feeding Tube imprint), though, that we just can’t resist trying to do  it something approaching justice without, hopefully, resorting to too many tired clichés of our own making……..It has a foot in the past and gives a nod to the present, while the Left Outsides have their eye firmly fixed to the future. Nothing here outstays its welcome. Long may it, and they, run”.

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“‘All That Remains’ is the fifth album by The Left Outsides and it is one of those albums which merits full album, in the correct order of songs headphone listening.  The classic way, so to speak. Because that is what this albums encapsulates: ….. “All That Remains” is a classical folk album that is inspired by its creators and imprinted with their unmistakable musical trademark”

Our Girl share new single ‘I Really Like It’

Rising London-based three-piece Our Girl have shared new single ‘I Really Like It’.

It’s been a busy few months for the band, touring with Pale Waves, The Magic Gang, and more. ‘I Really Like It’ contains their precocious live energy, a raw recording that allows their heartfelt songwriting to rise unhindered to the surface. That nagging chorus will stay lodged in your cranium for days – it’s aptly named, for sure. Singer Soph Nathan explains:

“It’s one of our newest songs. I was initially quite nervous to share it because it feels quite different to the others. I’d never written about love in this way before. It has the inevitable moments of craziness and longing that can come with falling in love, but mainly it’s just a really happy song.”

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ISLAND are an Alternative guitar band from London. Their music is arena ready, both explosive and atmospheric with gigantic hooks emotionally build with ambient blues and immersive catchy song-writing

Recorded all in one room in just two weeks with sparing use of overdubs and no click track, London-based Island’s debut album is a sonic document that’s all about feel, all about capturing four musicians at their most unprocessed and uninhibited. A combination of influences ranging from trad-folk to high-octane punk rock and encompassing everything in-between, “Feels Like Air”, with its hook-filled anthemic choruses and inventive drumming simultaneously deploys Island’s rolling melancholy and bottles the lightening of the group’s imperious live shows.

Forming as teenagers when frontman Rollo Doherty’s acoustic bedroom project was treated to the boisterous backing of guitarist Jack Raeder, bassist James Wolfe and drummer Toby Richards in a dingy windowless practice room where they began to painstakingly shape a sound which combined darkly twisting instrumental with a sweetly melodic song-writing nous that belied their age.

Now signed to New York tastemaker label Frenchkiss Records, the band are gearing up to release their hotly anticipated debut album, due April 6th 2018 and entitled ‘Feels Like Air’.

In keeping to their DIY approach to making music, ‘Feels Like Air’ was written and produced entirely by the band and includes all new music. Drawing on influences from their shared love of artists like Fleetwood Mac, Kings of Leon, War On Drugs and Grizzly Bear,
their debut offering, with its hook-filled anthemic choruses and inventive drumming, is a body of work two years in the making.

The eleven-track album progresses through a range of emotions, experimenting with the down-tempo and cinematic and includes their singles ‘Try’, ‘The Day I Die’, ‘Ride’ and ‘Horizon’.

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The band’s live show is fearsomely tight and effervescently energetic through years of playing together week in, week out since their youth. Be sure to catch ISLAND touring Europe and North America in 2018.

“They are very very special, this band” – Huw Stephens BBC Radio 1
“One of the most exciting bands at the moment.” – Wonderland

At only 18-years of age, London singer-songwriter Emma McGrath has a ton of talent already bursting out of her. We first discovered her through her latest single “Love You Better,” taken from her sophomore EP Silent Minds.   Emma McGrath is an singer-songwriter heralding from Harpenden, North London. Writing her own material since the age of 12, Emma self released her first EP, The Judgement, in November 2014. This was followed up in December 2015 with the self released single Sit With Me, which caught the attention of key media including BBC Introducing

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“Butterfly,” another track also taken from the EP, is another promising slice of indie rock that has some elements of pop mixed with delicate traces of folk-rock that give it a good ebb and flow. Check out the session clip of McGrath performing “Butterfly” live at Urchin Studios.