Posts Tagged ‘Manchester’

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Taken from their upcoming album Incidental Music, W. H. Lung‘s new release “Second Death Of My Face” establishes them as new players in modern rock.

W. H. Lung‘s first cut “Simpatico People” was a delightful homage to the originators of Krautrock. Their new track sees them pushing beyond the confines of that genre and into synthier, shinier territory.

While still retaining their now-hallmark sense of rhythmic propulsion, “Second Death of My Face” offers a spit-polished, chrome-plated melodic element to their sound – similar to the leap NEU! made between their second record and NEU! 75. The exciting thing about this pair of W. H. Lung tracks is that they’re from the same record.

“I put down some nonsense for melody over an early draft,” says Joseph E. of the band, “and when I listened back it sounded like ‘my face, my face.’ The images that followed seemed filmic and the idea went from there. The chorus came to me as I fiddled on the piano in Central Library. It was big and unashamed and I was thinking of Bowie.

“My phone had died so I couldn’t record it as a voice note. I remember the panic of not wanting to lose the melody and of needing to try the idea out (out loud). I rushed home with my eyes half closed, singing it over and over in my head. It’s about watching your own life lived.”

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This is the second single from the record for you. The bulk of Second Death Of My Face was developed on the piano of Manchester’s Central Library, and it is a five and half minute epic, with cathartic lyrics and soaring crescendos – probably their most anthemic release so far…“Second Death Of My Face” is out now and debut album Incidental Music drops 5th April on Melodic Records.

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The first wave of acts have been unveiled for Dot To Dot Festival 2019; CRYSTAL FIGHTERS, JORDAN RAKEI, SWIM DEEP, THE NIGHT CAFÉ, DREAM WIFE, THE ORIELLES, LAUREN AQUILINA, VIAGRA BOYS, MINI MANSIONS plus loads more will head to Manchester, Bristol and Nottingham on 24-26th May 2019 for its 15th year. The award-winning day long festival will once again feature a line-up full of both established performers and the best emerging artists from the UK and around the world.

CRYSTAL FIGHTERS will headline Dot To Dot 2019, a band who have been an integral part of the alternative dance scene since the release of their debut album ‘Star of Love’ in 2010. Widely adored for their catchy songwriting and penchant for glitter, the English/Spanish trio built upon the momentum created by their debut with the release of 2013’s ‘Cave Rave’ and 2016’s ‘Everything Is My Family’. These follow-ups saw the band evolve their party-fixated electro punchiness, to an evocative, euphoria-inducing summery sound. The group’s endless energy and arsenal of feel-good anthems have made them a magnificent live proposition, helping them to forge a reputation for creating a celebratory party atmosphere wherever they play.

JORDAN RAKEI will be bringing his jazz and hip-hop driven sound to Dot To Dot 2019. The New Zealand born multi-instrumentalist moved halfway across the world to London to pursue a full-time career in music. He has since self-released his debut album, ‘Cloak’, in 2016 followed by critically acclaimed album ‘Wallflower’, released via Ninja Tune in 2017. Jordan has also collaborated with some notable tastemakers including Tom Misch, Disclosure, and more recently, merging the worlds of hiphop and electronica with beautiful ease on ‘Ottelenghi’ with Loyle Carner.

After previously wowing audiences at Dot To Dot in 2015, SWIM DEEP are welcomed back to the lineup this year. An integral part of Birmingham’s B-Town generation alongside Peace and Jaws, the band currently have two album releases to their name; 2013’s ‘Where the Heaven Are We’ and 2015’s ‘Mothers’. With these albums, came a collection of inimitable singles such as ‘Honey’, ‘King City’ and ‘One Great Song and I Could Change the World’. With a sound that encompasses elements of melodic indie, shoegaze and pop, Swim Deep are guaranteed to produce many singalong moments during their Dot To Dot performance.

Liverpool four-piece THE NIGHT CAFÉ’s pop-tinged summer anthems are guaranteed to get the crowd dancing, with their tunes recently daubed as being “bathed in sunshine… poppier than a fizzedup Fanta” by DIY. After being recently named in ‘The NME 100: Essential New Acts For 2019’ and notching up support slots with everyone from The Wombats to Sundara Karma to Circa Waves, there is no doubting that the group will be making a rapturous live show at Dot To Dot that is simply unmissable.

One of the breakout bands of 2018, DREAM WIFE spent the year conquering stages and festivals across the globe with their empowering brand of riff-infused rock. The group formed in 2015 for an art school project whilst studying at Brighton University, and chose their name as commentary on society’s objectification on women. Dream Wife’s self-titled debut, released in 2018 via Lucky Number, saw NME declaring, “Not since Yeah Yeah Yeahs burst out of Manhattan in the early 2000s in a blaze of fishnets and glitter has punk rock been as downright fun”.

Having released their debut album ‘Silver Dollar Moment’ last year, THE ORIELLES have blown away audiences with their refreshing brand of post-disco punkiness, which led to their album featuring on numerous album of the year polls including Q Magazine, BBC 6 Music and Gigwise. Meanwhile, LAUREN AQUILINA is set to enchant audiences with her captivating piano-driven sounds, which have clocked up a staggering 30 million streams on Spotify. She will also arrive at Dot To Dot armed with new material, including her recent release ‘If Looks Could Kill’, showcasing her exciting, new pop direction.

Dot To Dot will also continue its proud tradition of giving up & coming artists a platform to shine across the greatest venues of Manchester, Bristol and Nottingham. Emerging at a rate of knots are Swedish rockers VIAGRA BOYS whose 2018 alternative anthem ‘Sports’ reminds us why heavy guitar music is alive & kicking, they are expected to be one of the most talked about acts of the weekend.

Also set to perform, the first wave announcement includes; 404, ALEX LAHEY, ANGIE MCMAHON, BESS ATWELL, BESSIE TURNER, CROWS, DANCING ON TABLES, DYLAN, FATHERSON, FAYE WEBSTER, HEAVY LUNGS, JAMES GILLESPIE, KOJAQUE, LOVE SICK, MAX RAD, MINI MANSIONS, MISS GRIT, MISSIO, ONR, RACHEL CHINOURIRI, REWS, SONS OF AN ILLUSTRIOUS FATHER, SUN SILVA, SWIMMING GIRLS, WASUREMONO, WOVOKA GENTLE, plus many more to be announced.

Dot To Dot Organiser Anton Lockwood, of DHP Family, said: “We are very proud that Dot To Dot is recognised as a unique and essential event for discovering new music. It might be our 15th year but our passion for emerging talent continues undiminished. For this edition of Dot To Dot we are very happy to welcome relentlessly creative headliners in Crystal Fighters and respected tastemaker Jordan Rakei, backed up with a huge array of the best emerging talent, with even more to be announced.

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Beyond stoked to tell you that ex member of Wu lyf  Francis Lung just signed to Memphis Industries and my first single ‘I Wanna Live In My Dreams’ is out today! , please put your hands together for Francis Lung, the latest addition to the Memphis industries cannon!.

The video was crafted over four months by Francis and follows a young boy who falls asleep and turns into his dream alter-ego ‘ghostface’, as Francis explains:

“Ghostface is a character I’ve been drawing for years, but I’ve never been quite sure why. i thought it would be nice to give him some purpose by creating this story about him. I’ve never made anything like this before but for some foolish reason i thought it would be a good idea to spend four months of my life learning how to animate. it’s a combination of stop motion, keyframe and hand-drawn animation and it’s made up of thousands upon thousands of frames. I nearly pulled out all my hair making it.”

Francis Lung is currently putting the finishing touches to his debut album, expect to hear more from Francis Lung very soon.

CABBAGE – ” Torture “

Posted: February 27, 2019 in MUSIC
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2019 has been a quiet start for Cabbage. A time for ourselves to scribe new notches on the metaphorical checkpad and rise up and start kicking the blessed fruit tree. Where we have arrived is a brand spanking new single out on Thursday 28th February and a spring UK tour.

‘Torture’ our new single, produced by James Skelly, is a combination of some hijacked philosophical crossroads and the belief in the human voice box. It’s our attempt at The Beach Boys if we ran out of money before getting the orchestra in. Nonetheless, with just a dose of pop and a terribly dour theme, it has come out just how we desired.

As for the tour we the reborn quins have a lot of new tricks to show, including the foundation of a brand new record. We don’t have to slag anyone off to sell this or piss on anyone’s chips for that matter, I trust in good faith you’ll believe the sincerity when I say these shows are well bloody worth it. Thank you and keep funding the good fight.

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Afghan Sand Gang, Hailing from the new musical hotspot of Mossley, near Manchester, these have been slowly making their mark in the city and beyond with some very good releases, namely with most recent release An Electronic Lexicon of Stiff, Grounded Beats and Ethereal, Ascending fog. ‘Glistener’, a swooning piece of electronica which is well worth a listen.

Band Members
Paddy Neville (Guitars, Vox)
Matthew Burgess (Synth/Vox)
Will Owen (Bass)

Official video for “Glistener” by Afghan Sand Gang Directed by Danny Satchell

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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”

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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

No photo description available.

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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