Posts Tagged ‘London’

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Chorusgirl’s second album Shimmer And Spin, is a record that emerged from the darkness of insecurity to become an anchor in the gloom. The record was written at a time when, at almost every turn, things seemed to get worse for the band; from family illness, through anxiety and the end of their previous record label, somehow Chorusgirl managed to scramble and create a record that not only managed to exist, but to thrive and push their music into new and fascinating directions.

As opening lines go, “there’s always someone else who looks more popular or clever it’s true, more confident than anyone, but certainly not better than you”, is an undeniably intriguing place to begin, and that’s where Chorusgirl began on the sublime, In Dreams. Much of Shimmer And Spin continues in a similar vein, laced with self-doubt and insecurity, yet fighting against them, battling to believe in yourself, to believe your dreams are worthy of pursuit. It’s not a battle always won, sometimes life overwhelms; there’s moments of resignation, as on Stuck, when Silvi sings, “the future, turned past now, well it was never ours”, and moments where self-doubt takes control, as they sing on Not Yours, “my brain keeps broadcasting clips of doom, my introversion is strong”. If lyrically it was a record of personal reflection, musically it was a bold step into new musical territory, the glistening guitars more sharp and shimmering, the rhythm section more solid and creative, the newly discovered vocal harmonies, a subtly perfect.  There’s one particular moment on Shimmer And Spin, we find we just keep coming back to, a brief perfect collection of just a few seconds, it comes just short of three minutes into Stuck, as Silvi sings, “stuck in my mind, stuck for all time”, and for just maybe 20 seconds all sense of control is lost; the guitars become an overwhelming rush of feedback, the drums a clattering chaos, and beneath it all, the perfect bass-line pins it together, carrying on as if nothing had even changed, then as quickly as it arrived it is all gone. You almost have to rewind to check it actually happened, yet it did and it has the same effect listen after listen after listen. Shimmer And Spin is a record that emerged from the darkest of places to glisten and sheen, a triumphant celebration of just about getting through, a record even better than we ever thought it could be.

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Released November 16th, 2018

Demon Baby and Love is Like written by Faith Taylor
Other songs written by Silvia Wersing

 

Following her debut album ‘Penelope One’ for Optimo Music, antipodean vocalist, musician and soundscaper Penelope Trappes presents sophomore longplayer ‘Penelope Two’, for Houndstooth.

Elements from multiple sources are subsumed by Trappes’ sonic presence; one hears Badalamenti and Julee Cruise’s work for ‘Blue Velvet’ and ‘Twin Peaks’, Slowdive’s dreampop, the scorched comedowns of early Primal Scream, Colin Newman’s dark melancholia, plus contemporaries like Tropic Of Cancer and Sky H1.

These distilled, rarefied creations take echoes as their starting point, with Trappes summoning swathes of tones, textures and emotions into something ethereal but also powerful, like an evocation of spirits. It’s also deeply melodic, with her intimate, maternally-tender voice floating in the middle of each three dimensional, womb-like sonic space. Originally from the Northern Rivers of NSW, Australia before moving to New York and developing experimental electronic projects Locke and Priscilla Sharp, plus her best-known incarnation with partner Stephen –The Golden Filter. 

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Referencing Scott Walker and This Mortal Coil, Trappes uses a minimal palette to frame her spellbinding, spectral songs in a starkly beautiful sound, suggesting a collaboration between Mazzy Star and Leyland Kirby, or Felicia Atkinson writing for Lynch.  

Released October 26th, 2018

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Optimo Music presented the debut solo album from The Golden Filter’s Penelope Trappes “One” in early June.

We like to let our artists speak for themselves about their music whenever possible so asked Penelope to tell us about her album –

“In 2016. I rented out a small piano studio in East London for nearly the whole year and set out to write an introspective, trendless, and mostly beatless album. Inspired by albums from This Mortal Coil and Scott Walker, who also sought freedom to work outside of the expectations of their previous work, I limited the instrumentation to mostly an acoustic piano and effects, which left space to expose a lot of emotional vulnerabilities about myself and people close to me. Writing lullabies about being a mother in a dystopian world, with pensive words about swimming against the current as a female artist, I felt free enough to tell untold truths that I’ve never felt comfortable talking about within music. Free, liberated, empowered. naked.”

Released June 16th, 2017

‘Closer To God’, as with all TVP albums, is mightily personal. Dan Treacy provides the antidote to the opening of the ill-fated Disneyland Paris and the first McDonald’s in China – it’s a white knuckle ride through his innermost hopes and fears with off stage giggling, half heard dialogue and feedback that sounds like an opera is expiring in an adjoining L-shaped room. ‘Closer To God’ is a spiritual rollercoaster that sounds as poignant and pressing as ever.

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Remastered double LP on limited edition on marbled black and white vinyl. 1500 copies.

Hull’s artistic renaissance continues apace. Last year saw it taking on the mantle of UK City of Culture and drawing three-and-a-half million visitors in the process; Now, they can add Night Flowers to the admittedly humble list of Humber hometown heroes, albeit ones that have done something that most provincial bands can’t afford to these days and moved to the capital. If they hadn’t, though, there would be no Night Flowers, or certainly not the iteration that’s made this charming debut record; it was in London that the group recruited their singer, Sophia Pettit, who hails from Boston (not the one in Lincolnshire, whilst we’re on the topic of the regional United Kingdom).

This transatlantic lineup of the band toured the country with The Pains of Being Pure at Heart last May and it’s not difficult to understand why somebody thought the two groups would complement each other; Pettit’s vocals are as clear as a bell and very much in the same vein as The Pains’ revolving lineup of female singers, A Sunny Day in Glasgow’s Jen Goma and Fear of Men’s Jess Weiss among them.

Pettit’s warm tones are front and centre on Wild Notion and provide the record with its primary sonic and emotional throughlines, although that isn’t to say that you get the impression that the rest of the band were waiting for the right vocalist to come along to act as an anchor for their instrumental impulses. Night Flowers nod to dream-pop and psych at points on Wild Notion but they never get lost in them; the soundscapes are carefully controlled, with handsome, chiming guitars ringing out over undulating beds of synth.

There’s nothing musically or thematically ground-breaking about this collection of songs and it leaves a slightly sour taste in the mouth that, in the album’s press release, somebody felt it necessary to note that the Hackney studio that the record was cut at is about to be bulldozed ‘to make way for luxury apartments as the gentrification of London continues’. Wild Notion does a good line in endearing melancholy but it’s of the timeless variety; this isn’t a political record and it’s all the better for it.

“Wild Notion” is at the soft end of the collection, but really nice. The female fronted indie rock reminds me on Rough Trade bands from the 90s,

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Released April 13th, 2018

Written and performed by Night Flowers 

Four-piece Teleman are something of a strange proposition in 2018: an English art-pop band, formed in their early thirties, who have built up a keen fanbase and substantial critical acclaim across their last two albums without any gimmicks, just great songs and excellent live gigs.

After rising from the ashes of Reading’s underrated Pete & The Pirates in 2012, the quartet of vocalist Thomas Sanders, bassist Pete Cattermoul, synth/keys player Jonny Sanders and drummer Hiro Amamiya added metronomic Krautrock rhythms and cosmic synths to the indie-garage of their former work. Bernard Butler produced their debut, Breakfast, so it was naturally a glossy, sleek thing – yet Family Of Aliens, this their third album, produced by Boxed In’s Oli Bayston, is, if anything, even more electronic. Submarine Life is driven by aquatic Vocodered vocals, while the synth-pop of Cactus sounds like prime Ladytron or Hot Chip at their most relaxed. Starlight, conversely, is a loping six-minute ballad driven by woozy synths, like something from Gorillaz’s debut album, while Sea Of Wine springs from rippling piano and a vocal melody that recalls Gorky’s Zygotic Mynci or Robert Wyatt.

The band’s musical progression works throughout, though, highlighting Thomas Sanders’ wry, subdued vocals and enigmatic lyrics. “Use your imagination,” he mutters in the opening title track, and it’s almost a key to understanding his bookish lyrics. Family Of Aliens itself is a propulsive delight with an almost motorik beat, but this isn’t the Autobahn – instead Sanders is “driving along the M1… I saw the lights calling me onwards…”

Somebody’s Island looks at love and support: “I could have just left you dancing on your own/I could have just run but I didn’t know where to go…” Teleman clearly have no such problem – for those who haven’t heard them yet, it may be time to turn on and tune in.

Armed with a freer, more collaborative approach to both writing and recording, Teleman’s new 11-track album “Family of Aliens”, is a fluid collection of glorious pop-songs fluent with new electronic textures and united by the sharp lyricism, buoyant guitars and instantaneous melodies that are synonymous with Teleman.

“We want to keep evolving and keep discovering. This band is one long journey for us, and we never want to stop developing and finding new ways of creating music. I’m always wanting to better what we’ve done before. To go deeper, to find something more beautiful, more catchy, more challenging, more interesting … just more.”

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It’s evident the much-loved quartet have evolved, cultivating and honing their sound as a very-welcome and anticipated proposition for 2018.

Released September 7th, 2018

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All Art Brut’s frontman Eddie Argos wants is to reassure you. He wants you to know that no matter how bleak things look, no matter how bereft your life appears, whether you’ve been through a bad break-up or you’re on bedrest, everything’s going to be alright. He even says so on “Hooray!”, the opening song from the band’s first album in seven years, Wham! Bang! Pow! Let’s Rock Out!, a title that promises nothing but pure, unadulterated good times and delivers on that promise. “Everything’s gonna be alright!” Argos hollers over the crack of Charlie Layton’s snare drum, the buzz of Toby MacFarlaine’s and Ian Catskilkin’s guitars, the thick hum of Freddy Feedback’s bass. If Wham! Bang! Pow! Let’s Rock Out! is a ramble, it’s an infectious ramble, too much fun not to rock out to; you’ll pick out bits and pieces of The Mr. T Experience, Descendents and Ted Leo in the record’s texture, but then again, you may be too busy bobbing your head along to care about such paltry things as influence. The very title is a goddamn invitation. Don’t hold Art Brut’s joie de vivre against them; we need it as much as they live it.

Band Members
Eddie Argos,
Ian Catskilkin,
Freddy Feedback,
Stephen Gilchrist,
Toby Macfarlaine,

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Here’s your new favourite band: The Wild Things. They’re a London big-guitar big-voice four-piece, and listening to the storming banger ‘You’re Really Something’, the title single from their upcoming debut album, we suspect they’re going to do big and exciting things in 2019.

Rob Kendrick (guitar, vocals), who directed and edited the video says:

“The story of the song is so vivid that to copy it would detract from both pieces, so instead we chose to focus on a different kind of love story. We were toying with ideas when we found our amazing location, an old flat hidden in the centre of London that hadn’t been touched since the 70’s. The story came immediately – we wanted to tell the story of a girl in the 70’s and the battles in love that exist through time.”

The vintage-inspired video was styled by The Wild Things front-woman and local-fashionista, Sydney Rae White, star of the hit Netflix/BBC show ‘Uncle’ & blockbuster movie ‘American Assassin’.

‘You’re Really Something’ is the second single from the upcoming 12-track album of the same name, which will be released on 23rd November via AWAL. The album was recorded in the basement of a castle in West London, produced by the band’s very own Cam White (bass, vocals), and engineered / mixed by Adrian Hall at London’s Metropolis Studios.

Band Members
Syd, Cam, Rob, Pete

Find The Wild Things:
Website – www.thewildthings.com

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The Wild Things are a British rock band fronted by lead singer Sydney Rae White, star of the hit Netflix/BBC show ‘Uncle’ & blockbuster movie ‘American Assassin‘. The band do everything themselves because they have a clear, definitive idea of who they are. They’ve sold out venues such as the Lexington and Islington Academy, are Kerrang! Magazine’s ‘Ones To Watch’, were featured artists on BBC Introducing/Radio 1 and have been premiered in the music bible Clash Magazine.

Band Members
Syd, Cam, Rob, Pete

upcoming debut album, ‘You’re Really Something’.

London-based alt-rock four-piece, The Wild Things have released a stripped-back music video for ‘Better Off Alone’, the fourth track to be released from their upcoming debut album.

The song, which was released last week, is an acoustic heart-breaker about falling madly in love with the man of your dreams… And then losing him to the woman of his dreams.

The video shows siblings Sydney Rae White (vocals, guitar) and Cam White (bass, vocals) performing a stripped-back version of the track outside the studio where they recorded their debut album earlier this year.

The 12-track record ‘You’re Really Something’ will be released on 23 November via AWAL. The album was recorded in the basement of a castle in West London, produced by the band’s very own Cam White (bass, vocals), and engineered / mixed by Adrian Hall at London’s Metropolis Studios.

THE WILD THINGS ARE:
Sydney Rae White – vocals, guitar
Cam White – bass, vocals
Rob Kendrick – guitar, vocals
Pete Wheeler – drums

‘Better Off Alone’ by The Wild Things. out November 23rd.