Posts Tagged ‘London’

North London’s Gengahr have today dropped a new single, ‘Heavenly Maybe’.

Premiered as Annie Mac’s Hottest Record In The World on BBC Radio 1, the track is lifted from their album ‘Sanctuary’, due out on January 31st 2020.

The David J. East visuals for ‘Heavenly Maybe’ is the second of a two-part video zeries the band made in Berlin earlier this year.

Band Members
Felix, Danny, John, Hugh

“Heavenly Maybe” is taken from Gengahr’s new album “Sanctuary” – out Friday January 31st, 2020. Transgressive Records

Expanded 40th anniversary edition, featuring newly discovered live tracks and notes from Pentangle bandmate (and Avocet collaborator) Danny Thompson. Bert Jansch was often quoted as saying “I’m not playing for anyone, just myself” and this feels no more apparent than on 1979’s ‘Avocet’, his beautifully meditative paean to British birds. This isn’t to say that Jansch was throwing commercial success to the wind, or was unaware of his audience, more that this album feels like a uniquely personal reflection of him. (The subject of British birds is one that Jansch held close to his heart. Indeed, just preceding this album was his 1978 split 7” single with Shirley Collins – with proceeds in aid of the RSPB.)
For fans of Jansch this is often the album that is singled out as his best work. The freedoms of a post-Pentangle career are much in evidence; folk rock and even trad folk give way to an album that is not only without lyrical accompaniment but really quite orchestral, classical even, in its composition. There are surprises in particular in ‘Lapwing’ (a dirge-like waltz that wouldn’t be out of place on a Nils Frahm album) and ‘Bittern’ (which speaks of Arthur Russell’s more experimental pieces).
Featuring ex-bandmate Danny Thompson, alongside Martin Jenkins (Dando Shaft, amongst others) with sleeve notes by Jansch aficionado Colin Harper (author of ‘Dazzling Stranger: Bert Jansch and the British Folk and Blues revival’). This new edition also comprises three never-before heard tracks, recorded live in Italy in 1977 with Martin Jenkins (‘Bittern’; ‘Kingfisher’; ‘Avocet’), as well as Danny Thompson’s recollections of the making of ‘Avocet’, recorded by Dave Thompson (Mojo Magazine) in typical style. Remastered by Brian Pyle from original tapes.
released November 15th, 2019

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London-based five-piece HMLTD are gearing up to an early New Year drop with the announcement of their long-awaited debut album, ‘West of Eden’, set to arrive on February 7th 2020 via independent label Lucky Number.

The expansive, labyrinthine debut has been several years in the making; a daring collection of songs created to incite conversation about proposed new visions of masculinity, the decadence of western capitalism and the violence of insecurity and repression. Across its 15 tracks, the band’s artistic vision is realised in full technicolour, with all shades of their sonic palette used to create an album that is equal parts lush and abrasive.


HMLTD also have shared the video for new single and album opener, ‘The West Is Dead’. Shot by Niall Trask, it continues the band’s run of thought provoking yet beautiful visual outings.

“This is not dystopia, but a mirror up to late capitalism; where we are and where we’re headed,” says singer Henry Spychalski of the track. “Sick dolphins lap at the tide, the insects have all dropped from the skies and the global economy enters free fall. Ecological catastrophe guaranteed. The West is dead. Atomised, alienated and apathetic”

Our debut album, West of Eden, will be released on 7th February 2020. It is a chronicle of struggle, born of struggle. Bringing it into the world has been the single greatest pain and privilege of our lives. Dust we are, and to dust we will return.
With all our love,

HMLTD head out on a UK/EU tour next February.

Warmduscher return. Heavy metals. Disco Peanuts. CCTV in the break room.

A little something to get you through the week. There’s enough to go around. Revenge is a dish best served bold. Melt in the mouth disco basslines on a fragrant bed of feedback. Try it with the boom bap tapenade. Here for a good time, not a long time.

If you made your way out of Whale City with your faculties intact, this one’s for you. Clams Baker, Lightnin’ Jack Everett, Mr Salt Fingers Lovecraft and The Witherer have been joined by Quicksand on cutting board and cheese wire and commis chef Cheeks on vibes. They’ve been cooking. Michelin stars. The finest ingredients money can buy: Kool Keith and Iggy Pop. Funk, punk, hip-hop and lounge rock. Love is real.

Band biographer and revered botanist Dr Alan Goldfarb describes the album as “a sample hole through which to taste another universe. A dramatic warning. A gilded aroma. It is a tale of wanton desire and limitless treachery. A tale of disillusionment – the refusal of exploitation.”


If you can’t stand the heat, get out of the kitchen.

Band Members
Clams Baker Jr,
Lightnin’ Jack Everett,
Mr. Saltfingers Lovecraft,
The Witherer Aka Little Whiskers,
Mr. Wulu aka The Shine,
The Clench,
released November 1st, 2019
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PIN UPS – ” Lunchtime “

Posted: October 28, 2019 in MUSIC
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Featured in back in February with ‘Lunchtime’, London grunge-pop-with-attitude trio Pin Ups
are back with an ace new eight-minute gem, ‘Lazy”.

Here it is people: our new single ‘Lazy’ is out now across all major sites. When we entered the studio with Richard James with the intention of recording this 8 minute long monster, we weren’t entirely sure what the final outcome would be. It’s turned out to be, in our opinion, the most ambitious, exciting and sonically adventurous record we have produced yet.

Produced by Richard James (Foals), bassist Louis Baker takes on lead vocals on the lyrical drug/sleep induced dream world track.

‘Lazy’ opens on a psychedelic, dreamy drift, before veering off into an extended, mind-bending instrumental jam, combining an infectious groove with soaring guitars and synths – the like of which will knock all else into a cocked hat this week!

Pin Ups have really come into their own here, and I wouldn’t be at all surprised to see them featuring on a few ‘ones to watch’ lists for 2020.

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This week North London band Sorry shared a new song, “Right Round the Clock,” via a video for the track. The new single is taken from the band’s forthcoming debut album, “925”, which is due out in spring 2020 via Domino Recordings. The exact release date and other album details are to be announced. The band’s Asha Lorenz directed the video alongside frequent collaborator Jasper Cable-Alexander.

Lorenz had this to say about the video in a press release: “The video is supposedly a daydream hallucination we did with our friend Jasper. Bit sexy bit silly, make what you like of it hope you enjoy!”

Sorry is led by childhood friends Asha Lorenz and Louis O’Bryen and the lineup is rounded out by Lincoln Barrett on drums and bassist Campbell Baum. Previously the band’s track “Jealous Guy” (not a John Lennon cover), was their debut.

British experimental musician Anna Meredith has released a new album, “Fibs”, via Black Prince Fury . Now that the album is out, we can highlight one of our favorite album tracks that wasn’t already a pre-release single: “Killjoy.” The eagerly anticipated second studio album, Fibs, due for release on 25th October via Moshi Moshi/Black Prince Fury.

Arriving three and a half years on from the release of her Scottish Album of the Year Award-winning debut studio album Varmints, FIBS is 45 minutes of technicolour maximalism, almost perpetual rhythmic reinvention, and boasts a visceral richness and unparalleled accessibility.


Previously Meredith had shared Fibs’ first single, “Paramour,” via a hypnotic video for the track featuring a Lego train traveling around Meredith and her band as they perform the song. It’s surely one of the best music videos of the year. Then she shared another song from the album, “moonsmoons,” as well as an Augmented Reality app for the song that uses Spatial Audio so that you can place various instrumental parts of the song in various areas in whichever space you are in. Then she shared “Inhale Exhale,” in which she sang the song in a carwash.

FIBS is the follow-up to her acclaimed 2016-released debut album, Varmints. Since then she has kept busy, doing the soundtrack to the Bo Burnham-directed film Eighth Grade and working as a classical composer. And, a press release points out, that she “was recently named a Member of the Most Excellent Order of the British Empire in the Queen’s birthday honors list for services to music, making her Anna Meredith MBE.”

Of the album title FIBS, in a previous press release Meredith said fibs are “lies – but nice friendly lies, little stories and constructions and daydreams and narratives that you make for yourself or you tell yourself.”

released October 25th, 2019

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A remixed and pumped-up version of ‘Heat Rises’ from Yanya’s superb debut LP Miss Universe results in ‘H34T Rises’. Not that we needed convincing on the original cut but this new edit gives the track a beefier, more electro driven feel. Peep the video shot in Istanbul too.

She emerged in May 2016 with an elegant take on the Pixies “Hey” and followed it up with two stunning songs of her own, “Small Crimes” and “Keep On Calling”. In the space of three songs she outlined her aesthetic – sparseness, deftly intricate guitar and vocal melodies and brilliantly observational lyrics.

Yanya cites Nina Simone, Jeff Buckley and Connan Mockasin amongst her influences She grew up in West London and her parents are both artists, coming from a multi-cultural heritage of Turkish, Irish and Bayan. Yanya started learning the piano at the age of six but at twelve realised a long held ambition to learn the guitar. Her Mother encouraged her to take up the cello at the same time, which Yanya persevered with for a few years, but the practical issues of carrying it, coupled with her emotional attachment to the guitar led her away from classical music.

Inspired by her sister’s CD collection, in her early and mid-teens Yanya developed a taste for skater-rock and indie bands but discovering a passion for Jazz was the eureka moment, the trigger for the type of expression she was looking for as a songwriter. After taking her A Levels Yanya got a scholarship, started performing her songs and now, is one of the most exciting new talents around.

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What If”, Rhys Lewis addresses this often-detrimental rumination in a way that’s earnestly emotional and touchingly impassioned. Although his lyricism is stunning, with just his vocal performance Lewis manages to convey both the emotions behind his painful reflections on lost love and the intense adoration he once felt. It’s perhaps in the track’s second verse that Lewis reaches his most earnest detailing in previous inability to see in himself what his ex-girlfriend saw in him.

Love can be a boundless feeling. It can lock us into an armored bubble, keeping us from harm. Although it has its magic, love can break hearts and it can silence the clash of two pairs of lips. Dreaming of love will never be as intense as the real coming together of two honest chasers of passion. We all need affection to live a purposeful life. We also need to pick ourselves up when love begins to lose its flame.

Singer/songwriter Rhys Lewis embarks on creating fables within his songs. The young musician tantalises with new track “What If”. It’s a multi-layered, triumphant, cathartic ballad of sorts. Throughout the track, he conveys a sense of loss, describing that he must patch up love’s stricken body, and that he must bring the girl back into his world.

The descriptions are poignant. Lewis’s ability to stir up emotion makes him such a unique songwriter. He dazzles but also seeks redemption, and he implements into everything he produces, a light. This light may not always be brighter than the sun, but it’s always there.

“What If” is yet another forward thinking track. It doesn’t raise hell, but the subject matter is eventful and the arrangements are intricate. Lewis knows how to construct chords and compelling lyrics which intertwine to create a showpiece.

The Londoner plugs in the synths for a journey into the supernatural. Natasha Khan’s latest is a synth-pop love letter to the ’80s sci-fi and fantasy films of her youth. “Lost Girls” is the fifth studio album by Natasha Khan, known professionally as Bat for Lashes. It was released on 6th September 2019 through AWAL  Recordings. It is Khan’s first album since 2016’s The Bride. The lead single “Kids in the Dark” was released on 10th June 2019.

Lost Girls is no less fantastical. Loosely centered around a new character (Nikki Pink) and a gang of biker women who roam the sunset streets of an eerie, make-believe vision of LA, it’s essentially a love letter to the ’80s sci-fi and fantasy films of her youth. She wrote the songs while working on a script of her own, and the starry-eyed, big-screen synth-pop of “Kids in the Dark” sounds like the soundtrack to the big romantic clinch in her own coming-of-age flick.

Khan has cited 1980s music and cinema as an inspiration for the record, citing artists such as Bananarama, Cyndi Lauper and The Blue Nile as well as film composer John Williams.

released September 6th, 2019

Bat For Lashes rarely makes anything less than a big statement with each of her releases—even the one-off side projects—and Lost Girls is not an exception. In some respects it feels like a paring down; the songs are shorter, the concept a bit less cosmic or emotionally overwhelming, but the final product remains grand, a rich headphone experience as much as it is a backdrop for some particularly elaborate daydreams.