Posts Tagged ‘Manchester’

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W. H. Lung is a recording project founded in Manchester in mid-2016. Its first single to yield is the dream-like and shifting ‘Inspiration!’, recorded at The Nave in Leeds and produced by Matt Peel (Eagulls). A song that speaks to the ideas of eternity, belonging and meaninglessness, it takes the shape of a kraut/psych peregrination; persevering but never dull, and bringing it home before the break. The motorik nature of the track stems from W. H. Lung’s writing ethic which, with an Alesis drum machine at its core, aims to create a surrounding maelstrom of ethereal circuits and hypnotic rhythms. W. H. Lung continue to write and record. The debut album ‘Incidental Music’ drops 5th April 2019 on Melodic Records.

The first single taken from W. H. Lung’s debut album ‘Incidental Music’ out 5/4/19.


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Magazine an English post-punk band active from 1977 to 1981, then again from 2009 to 2011. The band was formed by Howard Devoto . Devoto had decided to create a more progressive and less “traditional” rock band. Devoto formed Magazine in Manchester, he met guitarist McGeoch, then an art student, and they began writing songs, some of which would appear on the first Magazine album. They then recruited Barry Adamson on Bass, Bob Dickinson on keyboards and Martin Jackson (previously of the Freshies) on drums, forming the first lineup of the band. After signing to Virgin RecordsMagazine’s front man, Howard Devoto had co-formed Buzzcocks with Pete Shelley after the pair had seen The Sex Pistols in early 1976 and promoted the now legendary Manchester Lesser Free Trade Hall gigs. Devoto left the band in 1977, after the seminal ‘Spiral Scratch’ EP had been released, and created Magazine.

Magazine reunited in 2009 for a UK tour, with almost all the remaining members of the “classic” lineup, with the exception of guitarist John McGeoch, who died in 2004.

Enduringly credible, Magazine have always been the connoisseur’s choice and frequently name checked by some of the most gifted musicians of recent years including Radiohead, Morrissey, Jarvis Cocker and U2. The NME rate Magazine in a poll as one of the most influential bands of all time. Magazine’s front man, Their first record was the post-punk anthem ‘Shot By Both Sides’.

Initially, the departure from punk was not complete. “Shot by Both Sides,” the band’s first single, was based off an old riff given by Devoto’s Buzzcocks partner Pete Shelley, and the guts of follow-up single “Touch and Go” were rather basic rev-and-vroom. And, like many punk bands, Magazine would likely cite David Bowie, Iggy Pop, and Roxy Music. However — this point is crucial — instead of playing mindlessly sloppy variants of “Hang on to Yourself,” “Search and Destroy,” and “Virginia Plain,” the band was inspired by the much more adventurous Low, The Idiot, and “For Your Pleasure.” That is the driving force behind Real Life’s status as one of the post-punk era’s major jump-off points. Punk’s untethered energy is rigidly controlled, run through arrangements that are tightly wound, herky-jerky, unpredictable, proficiently dynamic.

The rapidly careening “Shot by Both Sides” (up there with PiL’s “Public Image” as an indelible post-punk single) and the slowly unfolding “Parade” (the closest thing to a ballad, its hook is “Sometimes I forget that we’re supposed to be in love”) are equally ill-at-ease. The dynamism is all the more perceptible when Dave Formula’s alternately flighty and assaultive keyboards are present: the opening “Definitive Gaze,” for instance, switches between a sci-fi love theme and the score for a chase scene. As close as the band comes to upstaging Devoto, the singer is central, with his live wire tendencies typically enhanced, rather than truly outshined, by his mates. The interplay is at its best in “The Light Pours out of Me,” a song that defines Magazine more than “Shot by Both Sides,” while also functioning as the closest the band got to making an anthem. Various aspects of Devoto’s personality and legacy, truly brought forth throughout this album.

Magazine’s second album, “Secondhand Daylight”, was released in 1979, reaching the UK Top 40. The album featured a greater use of synthesisers. That same year, McGeoch, Adamson and Formula joined electronic project Visage, recording and releasing the single “Tar”.

Secondhand Daylight, the second Magazine album, sounds like it must have been made in the dead of winter. You can imagine the steam coming out of Howard Devoto’s mouth as he projects lines like “I was cold at an equally cold place,” “The voyeur will realize this is not a sight for his sore eyes,” “It just came to pieces in our hands,” and “Today I bumped into you again, I have no idea what you want.”

You can picture Dave Formula swiping frost off his keys and Barry Adamson blowing on his hands during the intro to “Feed the Enemy,” as guitarist John McGeoch and drummer John Doyle zip their parkas. From start to finish, this is a showcase for Formula’s chilling but expressive keyboard work. Given more freedom to stretch out and even dominate on occasion, Formula seems to release as many demons as Devoto, whether it is through low-end synthesizer drones or violent piano vamps. Detached tales of relationships damaged beyond repair fill the album, and the band isn’t nearly as bouncy as it is on Real Life or The Correct Use of Soap — it’s almost as if they were instructed to play with as little physical motion as possible.

The drums in particular sound brittle and on the brink of piercing the ears. Despite the sub-zero climate, the lack of dance numbers, and the shortage of snappy melodies, the album isn’t entirely impenetrable. It lacks the immediate impact of Real Life and The Correct Use of Soap, but it deserves just as much recognition for its compellingly sustained petulance. Even if you can’t get into it, you have to at least marvel at “Permafrost.” The album’s finale, it’s an elegant five-minute sneer, and as far as late-’70s yearbook scribbles are concerned, “As the day stops dead, at the place where we’re lost, I will drug you and f*ck you on the permafrost” is less innocuous than “All we are is dust in the wind.”

After the release of “Secondhand Daylight”, Devoto decided to change producers. He chose Martin Hannett, who produced their next album, “The Correct Use of Soap”, released the following year and again making the Top 30. Following its release, McGeoch decided to leave the band, tired of Magazine’s low sales and their less guitar-oriented songs. He soon joined Siouxsie and the Banshees. To replace him, the band hired Robin Simon, who had been in Ultravox and Neo. That lineup toured across Europe and Australia, recording their next release, the live album “Play”. Simon made some initial recordings and rehearsals for what would be the next Magazine album, including co-writing the song “So Lucky”, but he left the band before the album was released so that he could record the John Foxx solo album The Garden.

This is something of a return to standard operational form for Magazine, who thawed after recording Secondhand Daylight to throw together an energetic batch of colorful and rhythmically intricate songs. It’s an unexpected move considering that they enlisted Martin Hannett the master of the gray hues, as the producer. A looser, poppier album than its predecessors — somewhat ironically, a cover of Sly & the Family Stone’s “Thank You (Falettinme Be Mice Elf Agin)” is the most subdued song — it features the rhythm section of John Doyle and Barry Adamson at their taut, flexible best and guitarist John McGeoch at his most cunningly percussive. Save for the called-for razzle-dazzle on “Sweetheart Contract,” keyboardist Dave Formula takes more of a back seat, using piano more frequently and no longer driving the songs to the point of detracting from the greatness of his mates, as the most frequent complaint of Secondhand Daylight goes. Howard Devoto’s lyrics are also a little less depressive, though they’re no less biting.

The closing “A Song from Under the Floorboards” — another near-anthem, an unofficial sequel to “The Light Pours Out of Me” — includes sticking Devoto-isms like “My irritability keeps me alive and kicking” and “I know the meaning of life, it doesn’t help me a bit.” His themes of distrust and romantic turbulence remain focal, evident in “You Never Knew Me” (“Do you want the truth or do you want your sanity?”) and “I Want to Burn Again” (“I met your lover yesterday, wearing some things I left at your place, singing a song that means a lot to me”). “Because You’re Frightened” is the closest they came to making a new wave hit, zipping along with as much unstoppable buoyancy as Lene Lovich’s “New Toy” or the Teardrop Explodes’ “Reward,” yet it’s all fraught nerves and paranoia: “Look what fear’s done to my body!” Song for song, the album isn’t quite on the level of Real Life, but it is more effective as a point of entry.

Again without a guitarist, Devoto called in his former college friend at Bolton, Ben Mandelson (a former Amazorblades member). This lineup completed the 1981 recording of the band’s fourth studio album, “Magic, Murder and the Weather”, but Devoto himself quit in May of the same year, months before its release, and the remaining members decided to disband. Magazine’s final studio album, Magic, Murder and the Weather, finds Dave Formula’s washes of cold, brittle keyboards dominating the bitter and cynical music. Occasionally, Howard Devoto’s weary lyrics surface through the icy mix, but it’s clear that Devoto and Magazine have both had better days. It’s not a graceful way to bow out, but the album has enough strong moments to prevent it from being an embarrassment as well.

A year later, “After the Fact”, the first Magazine compilation, was released.

Four ground breaking albums later and the band had parted company, leaving behind an influential body of work which was re-released by Virgin EMI in 2008

In February 2009, original members Howard Devoto, Dave Formula, Barry Adamson and John Doyle were joined by former Luxuria collaborator Noko on guitar to play a handful of concerts across the UK. It was the first time Magazine had played live together since 1980.

In October 2011 Magazine released their 5th studio album, ‘No Thyself’ – their first new material since 1982, and embarked on a UK tour in November which ended at Shepherds Bush Empire on November 11th.

Magazine were the most criminally underrated band in the past 25 years of British pop . Howard Devoto was a total pop genius, but he was a slightly misshaped pop star and I think nobody really got him. Simple Minds should not have been big, but Magazine should have.

Magazine – Peel Session 1978,

The complete session recorded by Magazine on 14th February 1978 for the John Peel show on BBC Radio 1 and broadcast on the 20th of that month.

Tracklist: 1. Touch And Go (0:07) 2. The Light Pours Out Of Me (2:57) 3. Real Life (Definitive Gaze) (7:16) 4. My Mind Ain’t So Open (11:19)

Magazine – Peel Session 1979

The complete session recorded by Magazine on 8th May 1979 for the John Peel show on BBC Radio 1 and broadcast on the 14th of that month. This recording is taken from the repeat on 5 June 1979.

Tracklist: 1. Thank You (Falettinme Be Mice Elf Agin) (0:18) 2. TV Baby (4:28) 3. Permafrost (8:19)

Magazine – Peel Session 1980,

The complete session recorded by Magazine for the John Peel show on BBC Radio 1 on 7 January 1980 and first broadcast a week later on the 14th. Produced by Tony Wilson.

Tracklist: 1. A Song From Under The Floorboards (0:07) 2. Twenty Years Ago (4:24) 3. Look What Fear Has Done To My Body (7:22) 4. Model Worker (11:18)

Band Members
Howard Devoto – Vocals,
John Doyle – Drums,
Dave Formula – Keyboards,
Noko – Guitar,
Stan White – Bass.
They also served :
Barry Adamson – Bass,
John McGeoch – Guitar,
Robin Simon – Guitar,
Ben Mandelson – Guitar,
Martin Jackson – Drums,
Paul Spencer – Drums,
Bob Dickinson – Keyboards.

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We Started Nothing is one of the best pop albums of the  (featuring mega hits ‘That’s Not My Name’ and ‘Shut Up and Let Me Go’). This album takes a dark visual and sonic dark, but still yields plenty of subtle rewards at every turn.

Official video for the the second single ‘Estranged’ taken from The Ting Tings 4th studio album ‘The Black Light’out now!

We have been overwhelmed by the love and support from you all. We are very proud of this independent release of our 4th album ‘The Black Light’. Connecting directly with you all on these songs continues to inspire. Thanks to all involved: Jon Foster, Dennis Dicker, Ditto Music, Sony Músic Japan, Mushroom (Liberator) , Sony/ATV Music Publishing, Dave Spain, Geoff Pesch, all the remixers, all our friends and families.

Band Members
Katie – vocals, guitar, bass drum/keys
Jules – drums, vocals, guitars/keys

Keep an eye out for more news in Jan 19

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Fuzzy Sun

Ths Stockport five-piece who dabble in psychedelica-tinged glossy indie pop. 2019 is looking very nice – June sees them perform on the bill at Blossom’s massive Edgeley Park homecoming show and in July they’re playing Manchester’s Castlefield Bowl with The Wombats. Take a listen to their latest track, “Heavy“, featuring a video shot on their most recent tour

Fuzzy Sun’s brand new music video shot during their Winter Tour 2018. “Heavy” is the lead track taken from their most recent EP “Warm Evening / Cold Morning”


A journey through melodic pop is what’s to be expected from Stockport five-piece, Fuzzy Sun. The freshly formed line-up, fronted by the lulling vocals of Kyle Ross, sees a distinct and original take on chorus-heavy reveries. Daisy Valentines bold and melancholic synth, coupled with sweet and seductive harmonies is equally complemented by Lewis Jobson & Mitch Bancroft’s strong soothing groove through the rhythm section. Fuzzy Sun bring you contemporary pop, infused with psychedelia, dipped in naughties R’n’B nostalgia, with just a hint of disco flare.

Band Members
Kyle Ross – Vocals/Guitar
Daisy Valentine – Keys/Synth/Vocals
Lewis Jobson – Bass
Raffaele Pani – Guitar
Mitch Bancroft – Drums/BV’s

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Goth-poppers Pale Waves turned in a debut album that was honest, exciting and packed to the brim with shimmering indie-disco classics.

If you’re into sleek guitar pop, Manchester four-piece Pale Waves will be right up your alley, particularly if that’s a charmingly dark alley out of a Tim Burton movie. The distinctly ’80s goth look of frontwoman Heather Baron-Gracie is striking and their smooth, jangly guitars call to mind indie-pop bands of yesteryear as well as the glossy pop of today. Pale Waves released their debut album,My Mind Makes Noises, earlier this year via U.K. indie giant Dirty Hit, best known for The 1975 and Wolf Alice. The 1975’s Matty Healy and George Daniel also co-produced this album with Pale Waves’ drummer Ciara Doran and recording engineer Jonathan Gilmore. “One More Time” is indicative of their heartfelt soaring choruses that make dancing inevitable, “Noises” features a life-affirming guitar solo and “Eighteen” has those lyrics that will transport you inside the mind of an angsty teenager, regardless of your actual age.

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New Luna are a young four-piece band with only a handful of releases so far, but an abundance of promise. They released their self-titled debut EP back in 2016 and a string of new singles this year—“Opinionated,” “Knew Too” and “Red Music.” New Luna play a blend of noisy alternative rock, hazy dream pop and transportive post-rock, and their frontman Tommy Deedigan’s spirited vocals are the warm, benevolent ying to their frenetic guitar yang. They’ve supported bands like Happyness, Her’s and Sløtface, and their latest single “Red Music” was self-produced and mastered by Pete Maher (Jack White, Pixies). “Red Music” has a steady, taut build up of tension, but the payoff is monumental. Deedigan’s vocals are numinous and earnest ,while Zack Bamber’s guitars radiate with so much humanity—you’ll find withering pain, intensifying joy and reckless abandon all within the same coda.

New Luna Released on: 2018-12-06

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Luxury Death are a duo made up of Ben Thompson (formerly of Nai Harvest) and Meg Williams and their latest release was last year’s single, “Diluted,” backed with “Kids of the Club.” They put out three singles and their 2017 debut EP on Stockholm, Sweden’s PNKSLM Recordings.

Official music video for Luxury Death’s Glue, taken from the debut EP Glue, due February 24 via PNKSLM Recordings on baby pink vinyl (ltd to 500 copies worldwide)

Their debut EP Glue was a microcosm of their penchant for sparkling pop and synth-rock exultation and candid lyrical vulnerabilities (“Your body aches for another fake embrace”). “Diluted” and “Kids of the Club,” on the other hand, take more cues from New Wave and electro-pop—glistening with bright pop melodies, spacey synth riffs and contagious boy-girl vocals with a punky delivery.

New single out now via PNKSLM Recordings.

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Rock three-piece False Advertising don’t care that the music they make isn’t necessarily fashionable any more, but their noise-pop and grunge is worthy of your ear space any way. Their last release was a critically acclaimed 2017 EP, I Would Be So Much Happier If I Just Stopped Caring, though they also released a compilation of tracks from their last two years as a band for a Japanese exclusive album, Belligerent (also available digitally on Bandcamp). Their songs are hazy, hook-centric and bursting with elated fuzz and youthful, turbulent angst. Songs like “Hey You” and “Not My Fault” fuse scintillating grunge-pop with melodic alternative rock a la Garbage or Veruca Salt. As of now, there’s no word on a forthcoming album release.

Hey You is taken from the EP ‘I Would Be So Much Happier If I Just Stopped Caring’

ILL – ” Bears (Tiiva Remix) “

Posted: November 6, 2018 in MUSIC
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ILL present a new reworking of their menacing and atmospheric slow-burner ‘Bears’ by electronic artist Tiiva. It’s the perfect soundtrack for a dark winter’s night.
ILL is a genre-evading band which believes in the power of disobedient noise. With a repertoire of precarious pop songs and frequent improvised departures, ILL revel in the right to be weird, exploring the borders between the funny and the sinister, the personal and the political, the mundane and the surreal.

Tiiva enjoys stretching the boundaries of organic and synthetic, fusing sampled vocals with intricately crafted rhythms – a real nod to the darker edges of pop. After a debut album this year, Tiiva is now remixing other artists, relishing in chopping up vocals, applying growling bass lines and unique drum samples to create a whole new picture from the music that inspires them.

Released November 6, 2018

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We have been described as Mancunian electronica 4 piece ‘future-pop’ and a cross between Xtrmntr-era Primal Scream, New Order & Portishead with comparisons made to Bowie and The Verve. Make of that what you will.

Hailing from Manchester, this exciting four-piece have reignited the flame that was left burning from Primal Scream’s Xtrmntr. Also taking influences from A Certain Ratio and The Happy Mondays, their debut album is a belting compilation of expertly composed compositions.

narcissus – the window (official video) taken from forthcoming album ‘a sense of place’.