It will likely turn a few heads that ‘The Mirror’, a dark, brooding track around halfway through this latest from Hey Colossus, features an appearance by the one and only Mark Lanegan. A bonafide alternative rock titan, his reputation for collaborative work is well known, but so are his exacting standards. Only working with the best, the fact he’s even here says volumes about where this shapeshifting, hardcore-cum-post punk noisemakers are at.
Dances / Curses is loud when it needs to be, for example the growling riffs of Tied In A Firing Line, or the stadium-filling, doom-laden frenzy of Dead Songs For Dead Sires, but isn’t afraid of intimacy either. Stylites In Reverse’s delicate melodies, or Blood Red Madrigal’s hazy, woozy, melancholic air. A broad brushstroke that confirms Hey Colossus are among the most vital we’ve currently got.
Hey Colossus is an English rock band formed in London in 2003. Since its inception, the band has undergone several line-upchanges, revolving around founding members Joe Thompson and Robert Davis. Longterm Hey Colossus fan Mark Lanegan makes an appearance amidst the languid and sun-soaked denouement of ‘The Mirror’, the existential gravitas of his tones entirely at home in these revelatory surroundings.
The band is characterised by its ‘heavy’ sound, DIY ethic, prolific output, and stylistic experimentation.
New double album ‘Dances / Curses’ on Ltd Clear 2LP/2CD/DL released on November 6th via Wrong Speed Records (UK/Euro) & Learning Curve Records (US).
At last, a new studio album from superb London duo, The Left Outsides, to follow up on 2018’s amazing All That Remains.
The basic building blocks remain the same — half of the sound is Alison Cotton and her viola and keys, the other half is Mark Nicholas with a stunning array of guitars — but the structures they create this time are darker and more forbidding than their antecedents. This album feels very much a piece of the season in which it is being released, as the leaves strip themselves from trees and the sky grows colder, greyer by the hour. More than once while “Are You Sure I Was There” spun I was put in mind of the classic Rainy Day LP, masterminded by Kendra Smith back in 1984. The Left Outsides possess the same sure grasp of that place where sorrow, ecstasy and psychedelics meet in a shower of dying stars.
The tunes here are wonderful. Most are new, although a few have been heard before in different forms (if you knew where to listen.) “The Wind No Longer Stirs the Trees” (with its glorious blend of backwards and forward motion) was on a 7” lathe, backed with “As Night Falls” (a beautiful ode to the promise of winter.) The track “Seance” was first recorded as part of a celebration of Help the Witch, the debut novel by former music critic Tom Cox (whose words were used for most of the lyrics.) And “My Reflection Once Was Me” (which recalls The Trees’ epic tunes by combining massive blocks of raging guitar with Alison’s steady vocals) was featured on the live A Place to Hide LP.
The other compositions are all-new and utterly great. The tunes that Mark sings tend to evoke a certain ’60s whisp. Whether it’s the Floydian lilt of “Only Time Will Tell,” the freakbeat pop of “November on My Mind,” or “Pictures of You,” which stacks a dreamy ’60s overlay upon contempo pop structuring. Alison’s vocals often display a more folky essence. “The Stone Barn” has a vibe very similar to some of Sandy Denny’s later solo work, grounded by stately piano chords. “Things Can Never Be the Same” centers on a gorgeous mid-paced vocal performance, encased in spinning webs of very elegant guitar. And the conjoined vocals on “A Face in the Crowd,” sit atop a huge fuzz riff, sounding like the perfect anthem for the new Slow Music Movement. They wont back down!.
And you shouldn’t either. I’m not exactly sure where anyone gets their records these days but wherever that is, you should march there tout de suite (even if only figuratively) and demand a copy of Are You Sure I Was There? today. And yes, I am sure. Today!
Following last year’s Humble Pie’s “Official Bootleg CollectionVolume 1” double LP comes the “Official Bootleg Collection Volume 2”, collating rare and previously (officially) unreleased live shows that were illicitly recorded between 1971 and 1981.
Originally emerging from the remnants The Small Faces, Humble Pie formed in 1969 when guitarist and vocalist Steve Marriott joined forces with Peter Frampton, drummer Jerry Shirley and bassist Greg Ridley, and began their assent to conquering the theatres and then arenas of North America, culminating in 1972’s double live “Performance: Rockin’ The Filmore”. Frampton left in 1971 for a highly successful solo career, replaced by Colosseum’s Clem Clempson, and it was this line-up that was captured in New York in 1971 at one of Clem’s first shows with the Pie.
The extemporisations of “Performance: Rockin’ The Filmore” became the basis for much of Humble Pie’s live repertoire for the remainder of the 1970s, but this 1971 New York show does include their unique take of Eddie Cochran’s ‘C’mon Everybody’ and ‘I Wonder’ from the soon to be released “Smokin’” LP. Side Two find The Pie backed up by the soulful backing vocals of The Blackberries; Venetta Fields, Clydie King & Billie Barnum, who appear on ‘Oh La-De-Da’, ‘I Don’t Need No Doctor’ and ‘30 Days In The Hole’ Humble Pie split in 1975 following their Street Rats LP, but not before Side Three’s Philadelphia show on March 15, 1975, featuring ‘Four Day Creep’ and ‘I Don’t Need No Doctor’.
The Pie would eventually reform for 1980’s “On To Victory” comeback record, this time with a line-up featuring Bobby Tench from the Jeff Beck Group on guitar and vocals and bassist Anthony “Sooty” Jones. Side Four from Privates Club, N.Y.C. on March 25, 1981 features the epic 23 minute take of ‘30 Days in the Hole’ / ‘I Walk on Gilded Splinters’.
Housed in a gatefold sleeve, as well as plenty of rare memorabilia, the booklet features an essay from based on new interviews with Pie drummer, Jerry Shirley.
Whilst every effort has been made to produce the best possible audio, limitations in the material drawn from various, non-standard, and un-official sources means that the quality may not be up to the standard usually expected. All tracks have been included for their historical importance, and to present an anthology of Humble Pie live on stage from 1971- 1981.
The Official Bootleg Collection Volume 2 is a raw testament to what this band did best; playing bluesy, gutsy, soulful hard rock, live on stage.
Drawn from a variety of mainly audience recordings that have previously only been available as “under the counter” pirate releases, this is an honest, often unforgiving, tribute to a classic and much missed ’70s supergroup. Housed in a gatefold sleeve, the artwork features two essays, one of which is based on new interviews with Humble Pie drummer, Jerry Shirley.
“Eel Drip” is a 4 track EP on digital and solid white 12″ vinyl https://hth.lnk.to/eeldrip“‘Eel Drip’ Is about honouring the dead, the passing of lives within you and beyond you” Trappes explains. “It’s about physical or emotional change, acknowledging fears, and being true to yourself… reaching your full potential.” Eel Drip sees fragile arpeggiated electronics and hazy vocals swell to a celestial hallow. It sets a delicate, unhurried sense of peace that flows throughout the EP’s four tracks – both sparse and gentle, yet rushing with light and emotion. The accompanying video was directed by Agnes Haus and inspired by artist Francesca Woodman’s 1970s series of nude self-portraits with Eels.
Of the video, Trappes comments: “In the process of changing and shedding past notions of myself, there is another world between the past and the future. An eternal state, unknown, warped, slippery, free. Submitting to change, dying… being reborn.”
‘Eel Drip” sees fragile arpeggiated electronics and hazy vocals swell to a celestial hallow. It sets a delicate, unhurried sense of peace that flows throughout the EP’s four tracks – both sparse and gentle, yet rushing with light and emotion. She is a shapeshifter known for being a goddess of war and battle, the cycle of life and death, and is also associated with wisdom and prophecy, magic and the land. Often portrayed as a trio of sisters who appeared as a crow, she was the keeper of fate, teller of secrets and purveyor of prophecy.
Of the video, Penelope comments: “In the process of changing and shedding past notions of myself, there is another world between the past and the future. An eternal state, unknown, warped, slippery, free. Submitting to change, dying… being reborn.”
if this were any further up our street, it’d be in our living room! Trappes‘ brooding dreamscapes are just impossible to resist.
summoning the great ghosts of vintage 4ad and kranky, the Australian singer and producer makes inky dream pop that’s as heavy and welcoming as a weighted blanket in winter. ‘Eel Drip’ is referencing the celtic goddess of war and death, Morrigan, the phantom queen. she is a shapeshifter known for being a goddess of war and battle, the cycle of life and death, and is also associated with wisdom and prophecy, magic and the land. often portrayed as a trio of sisters who appeared as a crow, she was the keeper of fate, teller of secrets and purveyor of prophecy. …in her tales and prophecies there were crows, ravens, wolves, vultures, eels and cows. fans of grouper, Hilary Woods and Cross Record will love this.
The Left Outsides are: Mark Nicholas and Alison Cotton, a wife and husband duo based in London, England whose atmospheric, hypnotic songs echo Nico’s icy European folk, pastoral psychedelia and chilly English fields at dawn. Released October 9th, 2020 All songs by The Left Outsides (Alison Cotton / Mark Nicholas) Produced by Mark Nicholas. At last, a new studio album from superb London duo, The Left Outsides, to follow up on 2018’s amazing All That Remains.
The basic building blocks remain the same — half of the sound is Alison Cotton and her viola and keys, the other half is Mark Nicholas with a stunning array of guitars — but the structures they create this time are darker and more forbidding than their antecedents. This album feels very much a piece of the season in which it is being released, as the leaves strip themselves from trees and the sky grows colder, greyer by the hour. More than once while “Are You Sure I Was” There spun I was put in mind of the classic Rainy Day LP, masterminded by Kendra Smith back in 1984. The Left Outsides possess the same sure grasp of that place where sorrow, ecstasy and psychedelics meet in a shower of dying stars.
The tunes here are wonderful. Most are new, although a few have been heard before in different forms (if you knew where to listen.) “The Wind No Longer Stirs the Trees” (with its glorious blend of backwards and forward motion) was on a 7” lathe, backed with “As Night Falls” (a beautiful ode to the promise of winter.) The track “Seance” was first recorded as part of a celebration of Help the Witch, the debut novel by former music critic Tom Cox (whose words were used for most of the lyrics.) And “My Reflection Once Was Me” (which recalls The Trees’ epic tunes by combining massive blocks of raging guitar with Alison’s steady vocals) was featured on the live A Place to Hide LP.
The other compositions are all-new and utterly great. The tunes that Mark sings tend to evoke a certain ’60s whisp. Whether it’s the Floydian lilt of “Only Time Will Tell,” the freakbeat pop of “November on My Mind,” or “Pictures of You,” which stacks a dreamy ’60s overlay upon contempo pop structuring. Alison’s vocals often display a more folky essence. “The Stone Barn” has a vibe very similar to some of Sandy Denny’s later solo work, grounded by stately piano chords. “Things Can Never Be the Same” centers on a gorgeous mid-paced vocal performance, encased in spinning webs of very elegant guitar. And the conjoined vocals on “A Face in the Crowd,” sit atop a huge fuzz riff, sounding like the perfect anthem for the new Slow Music Movement. They wont back down!
And you shouldn’t either. I’m not exactly sure where anyone gets their records these days but wherever that is, you should march there tout de suite (even if only figuratively) and demand a copy of Are You Sure I Was There? today. And yes, I am sure. Today!
Thurston Moore (ex-Sonic Youth) is releasing a new album, “By the Fire”, on September 25th via Daydream Library. This week he shared a new song from it, the 12-minute long “Siren.” At first you wouldn’t be blamed for thinking it’s an instrumental track, but then Moore’s vocals come in later in the song.
By the Fire also features Deb Googe (My Bloody Valentine) on bass and backing vocals, Jon Leidecker (aka ‘Wobbly’ of Negativland) on electronics, James Sedwards on guitar, and Jem Doulton amd Sonic Youth’s Steve Shelley alternating on drums. It is Moore’s seventh solo album and recorded in North London earlier this year, just before the COVID-19 quarantine.
Moore and Daydream Library have released this statement about the album: “By the Fire is music in flames. 2020 is our time for radical change and collective awareness and Thurston Moore has written nine songs of enlightenment, released to a world on fire. Taking a cue from Albert Ayler’s ‘music is the healing force of the universe,’ this recording offers songs as flames of rainbow energy, where the power of love becomes our call. These are love songs in a time where creativity is our dignity, our demonstration against the forces of oppression. By the Fire is a gathering, a party of peace—songs in the heat of the moment.”
Thurston Moore started Sonic Youth in 1980. Since then Thurston Moore has been at the forefront of the alternative rock scene since that particular sobriquet was first used to signify any music that challenged and defied the mainstream standard. With Sonic Youth, Moore turned on an entire generation to the value of experimentation in rock n roll.
Based out of London, Laura Fell is a songwriter by night, and a psychotherapist by day. Laura is the first signing to the fabulous music-blog, turned soon-to-be fabulous record label, Ballon Machine, and is gearing up to the November release of her debut LP, “Safe From Me”, a record described as, “a search for answers from a woman always expected to have them to hand”. This week Laura has shared the first single from the record, “Bone Of Contention”.
“Bone of contention is an exercise in anger”, explains Laura, a song about, “allowing myself to sit with my anger, and ending up finding clarity and power within it”. While Laura started her creative journey writing poetry, it’s arguably the skilled arrangement here that shines brightest, as Laura’s lithe lyricism is combined with steady acoustic guitars, the warm pulse of upright bass and the contrasting flutter of lightweight synths, that dance atop the mix like leaves blown around by the wind. Ambitious musicality, sitting alongside an undeniable way with words and a voice every bit the match of Nadine Shah or Aldous Harding: on this evidence Laura Fell is a talent the world won’t be able to ignore for long.
Fell’s dedication to this journey of self-discovery was unquestionable from the off, so much so that her peers questioned her sanity. Holding down three jobs to fund the record, Fell was determined that the songs would go far beyond their acoustic guitar genesis, assembling classically trained musicians to fully realise her vision.
Safe From Me is out November 20th via Balloon Machine.
Post-punk band Sourdough have released their exhilarating new single ‘My Lines’ via Vandalism Begins At Home Records, A song born out of frustration but soon breaks out from any barriers creating a defiant punk song. Sourdough were formed in summer 2018 but since then the trio have gained quite a reputation from audiences in London & surrounding cities. Combining catchy hooks with fuzzy guitars & a fluent rhythm section the trio have definitely made their impact on the live music scene playing various festivals including Wilkestock Festival. The band now seem to be turning their attentions to writing impressive songs in the studio with what will be their 3rd single ‘My Lines’.
‘My Lines’ is a Nick Cave inspired Molotov cocktail of eloquent self reflection & incendiary riot starting. The opening line ’I wish I was a vampire; I’d suck the soul out of every situation I’ve ever been involved in’ is a reference to a Nick Cave quote which pays homage to a creative genius but also broods anarchy straight from the off. The song is played at a blistering pace and is accompanied by loud & raw vocals which fit the theme of the song superbly.
Here’s our new thrasher, My Lines. Brought to you by Vandalism Begins At Home Records. With their talented song writing & punk rock sound Sourdough will definitely be a band to keep your eyes on in future as they continue to branch out to wider audiences. Would highly recommend for fans of Fontaines DC & IDLES.
One of Bert Jansch’s later recordings, ‘Crimson Moon’ is some of his finest work and sees the musician at the top of his game, with appearances from Johnny Marr, Bernard Butler and many more. Earth Recordings revisits the album on its 20th Anniversary with its first standalone cut to vinyl.
Originally released in 2000, there is a brooding resonance in ‘Crimson Moon’ centred around his accomplished guitar style that brings his contemplative song writing to the fore. Traditional ballads have touches of jazz and blues adorned by contributions from guitarists Johnny Marr, Bernard Butler and Johnny “Guitar” Hodge along with guest vocals from Bert’s wife Loren Auerbach(‘My Donald’).
The addition of electric guitar subtly compliments Bert’s percussive fingerpicking bringing new depth to his compositions.
Title track ‘Crimson Moon’ is a take on traditional song ‘Omie Wise’ and was written about his wife Loren, ‘Caledonia’ conjures pastoral images of Scotland alongside covers of The Incredible String Band’s ‘October Song’, Guy Mitchell’s ‘Singing The Blues’ and Owen Hand’s ‘My Donald’. Otherworldly tale ‘Neptune’s Daughter’ sees a mermaid-like creature recount the death of her relatives from a poison in the sea. Passionate about nature, the song carries an underlying ecological message.
Released in his 60s, ‘Crimson Moon’ proves Bert Jansch to still be an innovator and a unique talent.
Portsmouth-via-London band Hotel Lux shared their debut EP “Barstool Preaching” via Nice Swan Records (Sports Team, Pip Blom, Fur). The five-track release spans slow-crawling, introspective rock (“Charades”), self-aware post-punk (“Loneliness of the Stage Performer”) and even jubilant organ-led guitar-pop (“Ballad of You & I”). There’s self-deprecating humour (“I scroll through pages upon pages on eBay to find the biggest ego and I beat the highest bidder”), stark frankness (“It’s just another day / Wasting our lives away”) and moments of clarity (“Sometimes I forget the people I meet are not the people for me / You see”). It’s also just a jolly good time with rollicking guitar lines and frontman Lewis Duffin’s cloak-and-dagger vocals.
Our ‘Barstool Preaching’ EP has landed! We hope you enjoy it as much as we enjoyed making it. Thanks to Dave McCraken for producing the EP and being the referee during this process and thanks to all you lot for your continued support. Stream away here and let us know what you think. Onwards and upwards!.
The songs radiate youthfulness but Duffin’s precision-like lyrical scalpel ensures it maintains the mature, theatrical and visual edge that the earlier songs possessed and as a result, the songs now feel even bigger. Huge nights out and failed relationships feel almost mythic as the music maintains the sense that it’s on the edge of chaos, especially during opener “Tabloid Newspaper”, “Eddie’s Gaff” and “Loneliness of the Stage Performer”. It’s music to while away the night to, drinking, singing, dancing and only remembering parts of it in the morning.
There remain elements of those bands on the ‘London band’ playlist in the instrumentation and vocals, but other sounds leak through; Brit-pop pub staples such as Blur, Pulp but most notably The Libertines and Pete Doherty. “I always listen to Pete Doherty when I struggle for lyrics,” says Duffin. “He’s got everything, great lyrics, great melody and great hooks.”
The five-track EP culminates with “The Ballad of You & I”, an accomplished recounting of being dumped, filled with great lyrics, great melody and, you got it, great hooks. It rattles with the raw energy of those potent first releases; balancing it with the richness of blazing horns and organs oozing seaside nostalgia that build to the cathartic finale reminiscent of early Beirut or The National. Duffin sees “The Ballad of You & I” as the shape of things to come. “It’s definitely my favourite song on the EP,” explains Duffin, “and I think musically that is the sort of song that we would like Hotel Lux to be writing – that sort of vibe.”
The Last Hangman has just hit a million streams on Spotify!. Thanks to the people behind Peaky Blinders for choosing the track for the latest series of the show and to everyone who has followed us.
The Prospect of Whitby is London’s oldest riverside pub, having hosted earlier chroniclers of every-day London life such as Charles Dickens and Samuel Pepys. It’s also where Hotel Lux shot their music video for 2017 break-out “The Last Hangman”, a song depicting the enigmatic 20th-century British hangman Albert Pierrepoint. Duffin still appears stunned by the synchronicity. “It was absolutely perfect. This pub was literally around the corner from our flat in Wapping and we were in there one day and we just noticed the noose. We said we have to film the video there.”
“The Last Hangman” is reflective of Hotel Lux’s other early releases “Envoi” and “Daddy” that caught attention; songs built on irresistibly mythic characters, most notoriously, the unsettling pedophilic character in “Daddy”. These grand sweeping tales are backed by swirling sounds that grow to a rousing chaos: Sam Coburn and Jake Sewell’s bluesy roots rock guitar lines ping and permeate, Cam Sims’ bass taunts and dominates and Craig Macvicar’s drums prance and trot before bursting into unsolicited gallops. When the jaunty keys and organ sounds reminiscent of The Doors and Dr. Feelgood get thrown in by Coburn, the music becomes almost mesmeric.
“The Last Hangman” and “Envoi” were crafted in Fareham, a market town just outside Portsmouth where they grew up. When asked how they all met, Duffin skips over his, Coburn & Macvicar’s first band Clues, insisting “they mostly tried to rip-off The Clash” and mentions they knew Sims from other bands playing in Portsmouth and Duffin knew Sewell from college.
Barstool Preaching’ EP out April 24th via Nice Swan Records.
The Fat Angel Sings 