Posts Tagged ‘London’

The RAMONES – ” Live The Roundhouse ” London, England 4th July 1976 (First Show In the UK)

Posted: July 5, 2018 in MUSIC
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The Ramones performing at the Roundhouse in England, 1976

On this day in 1976, the Ramones perfomed their first UK show at the Roundhouse in London, where they are credited with bringing the punk genre to the mainstream in England.

Just four months after the release their highly-influential self-titled debut, the Ramones made their international debut, performing in England as a support for The Flamin’ Groovies on a bill that also includes The Stranglers.

While legend states that members of The Clash and the Sex Pistols were in attendance (in actuality, the former were playing their debut show in support of the latter that same evening), a number of other musicians, including members of The Damned, were in fact there, and the gig is considered as one of the most influential moments in punk history.

A sold-out show the following night does manage to attract members of The Clash, the Sex Pistols, The Damned, and Chrissie Hynde of The Pretenders, marking the moment at which punk went mainstream, and the aforementioned musicians found themselves able to break down the barriers that held them back, eventually changing the face of music forever.

CARMODY – ” Singing Your Love “

Posted: June 5, 2018 in CLASSIC ALBUMS, MUSIC
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New from London singer-songwriter Carmody is Singing Your Love, an uptempo love song that represents a further string to the bow of this versatile new artist.

Of the inspiration behind the song, Carmody says: “‘Singing Your Love’ feels like my first love song. I read somewhere that songwriters are always documenting each phase of their lives through their music. I had never thought of it like that before, but it felt important to write about a moment beyond the battles that can exist when you fall in love. I’ve always struggled to write about happiness without stumbling into cliché, but it felt like something worth celebrating, something worth dancing about, beyond the scrutiny that I usually put my relationships under.

“It also came from a conversation I had on the Are We Live podcast, where I started talking about how there are no songs that objectify men, no videos with men washing cars in little cute boxers. So it also stemmed from a desire to see and write about the male form as a muse and sexual object.”

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Carmody has recently appeared at festivals including The Great Escape in Brighton and Liverpool’s Sound City, with appearances at Barn on the Farm and Wilderness still to come this summer.

TELEMAN – ” Cactus “

Posted: May 29, 2018 in CLASSIC ALBUMS, MUSIC
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London’s Teleman have long been favourites, and now the foursome have unveiled details of their third studio album; Family of Aliens, set for release in early September

To mark the occasion, they have offered another insight into their flourishing electronic-inspired sound, with new single Cactus. Flaunting the harmonious marriage of their classic pop sensibility accompanied by pulsating electronic undertones, the single is anchored by an unrelenting riff that crescendos to a cacophony of thrashing guitars and unbridled synth-sounds, bound by a palpitating, monotonous drum-loop. It’s danceable, psychedelic and completely infectious, burbles of synth and distorted guitar competing for space over the disco groove at its core.

The video  ‘Cactus’. Directed by Prosper Pictures and Lone Taxidermists, it’s a warped Frankenstein tale that sees a mass of wires, cables, rubber gloves and god knows what else form itself into a gigantic half-dancing, half-flailing cactus monster. Set in what looks like the basement level of a car park and created using a mix of physical and digital animation the creature’s birth is a sight to behold with floating astroturf and strange amorphous blobs abound.

‘Cactus’ from Teleman’s forthcoming new album ‘Family of Aliens’

The LEFT OUTSIDES – ” All That Remains “

Posted: May 15, 2018 in CLASSIC ALBUMS, MUSIC
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“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. 

VALUE VOID – ” Back In The Day “

Posted: May 10, 2018 in MUSIC
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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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POST LOUIS – ” Stress Fracture / Little Jack “

Posted: May 2, 2018 in MUSIC
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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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NILUFER YANYA – ” Baby Luv ” South X Lullaby Session

Posted: May 2, 2018 in MUSIC
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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

GIRL RAY – ” The Way We Came Back “

Posted: April 23, 2018 in MUSIC
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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

ULRIKA SPACEK – ” Suggestive Listening ” EP Record Store Day Release 2018

Posted: April 22, 2018 in CLASSIC ALBUMS, MUSIC
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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 – ” All That Remains “

Posted: April 21, 2018 in CLASSIC ALBUMS, MUSIC
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The Left Outsides are: Mark Nicholas and Alison Cotton, a husband and wife duo based in London, England whose atmospheric, hypnotic 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”

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