Posts Tagged ‘Newcastle’

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Half Truths is out today! I’m excited to see the singles I’ve released have a little family around them, they feel like they are at home now. They were all written in a similar time and I see them as me throwing off expectations I had of who I am as a person, woman, what my music is meant to be, what life is meant to be. I hope they can bring something new and cathartic to your worlds.

Newcastle-singer songwriter based Grace Turner’s ‘Half Truths’ is a poetic six-song collection that cuts through the noise, making sense of her thoughts by simply singing them aloud.

Powerful and poetic is Grace Turner’s “Half Truths”, her first EP released August 7th, 2020. Written and recorded over the past three years in collaboration with good friends, this six-song collection sets Turner apart, cutting through the noise and making sense of her thoughts by simply singing them aloud.  “I wrote ‘Disdain’ while driving and singing and crying – a terrible combination. I wasn’t driving anywhere in particular, just to feel like I was physically able to leave what I was going through in my life. The original opening line was ‘I want to watch the blood drain from my body’. I sung it live once and my Dad was in the crowd and I just couldn’t do it, so I found a new line which I think is better anyways.

Though based in Newcastle, Australia, Turner wrote and recorded Half Truths in a variety of locations, from bedrooms to studios. And even still, the EP is remarkably cohesive, with key embellishments from her friends Mat Taylor and Shanna Watson, among others; glueing it all together is Turner’s trademark lyricism and self-introspection. “I write music because of the continual untangling of mind, emotions, experience and trying to understand the world at all its micro, meso and macro levels. Sometimes I feel with this collection of songs I am earnestly screaming something at the world and at the same time trying to take it all back again,” Turner says.

Intensely personal, Half Truths echoes Turner’s sentiments and intent. The EP begins poetically and drum-driven with “Disdain,” sparking the vision of a late night drive, and the feeling of darkness dissipating, replaced by some sense of gratitude for the ordinary. ‘Disdain’ is such an intense word and meaning and I’m glad to have gotten it into a song. To think of oneself as unworthy. Eventually I took it to a jam with my drummer and he encouraged me a lot that it was a keeper. My guitarist wrote the killer riff for this one. We think it’s so good that when we were in the post production phase of making the record we decided to repeat it after every vocal chorus making it a kind of instrumental chorus. I think it really makes the song.

The chords don’t ever change in this one and melodically it’s pretty subtle in its movement. In post production we also decided to cut the band out in the bridge. I like bringing more intensity to the line ‘what a time to be alive, steadily walking towards our demise’. It feels pretty apt for 2020. I like having a heavy song lyrically that is up beat, it’s really cathartic to play this one with the band. It’s one of my favourite tracks off the record and I’m glad that it’s become a favourite for people too.”

Standout track “Half Light” is instrumentally steady, while Turner belts a brilliant kind of diary entry about the way life is often made up of parts that don’t always fit together. And triple-j featured “Dead or Alive” brings the EP to its most upbeat point; though the lyrics are relative dark, the danceable chorus acts as a push out of that darkness and into warmer, brighter days.

“I chose the title Half Truths as I was going through such a turbulent time and the songs were written whether I stood by what they meant or not, they were spat out of me. I was shedding off expectations of who I thought I was as a musician, woman, friend, lover; questioning it all,” Turner says of the EP. While the six songs on Half Truths do question the world extensively, they also powerfully declare hope for the future. Ending with these words on “Get Your Head Straight,” “try to be good try to be kind, do your best to find peace of mind,” Grace Turner leaves us, and herself, in the sunlight.

Experience Half Truths wherever you listen to music, and take a peek into the full EP 

Grace Turner “Half Truths” Released on: 2020-08-07

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Lanterns On The Lake‘s Hazel Wilde has spoken to NME about their nomination for Hyundai Mercury Prize. The Newcastle band have scored their first Mercury nod with their acclaimed fourth album ‘Spook The Herd’ – which sees them employing their unique brand of atmospheric indie to dissect the hell-scape that we’re all living through. Rising nationalism and entire countries being let down by their leaders are all pertinent themes on the record, but they are always tackled with a degree of impressive subtlety.

“We never do sit down and say ‘this is what we’re going to write a record about’, because it feel too forced and not natural,” said Wilde.

“But that stuff, climate change and global politics is just what you see when you’re flicking through the news. Those things are on my mind and they’re the things we talk about as a band. It seeps into the music.” She continued: “We’re not political with a ‘capital P’ in the songs, but not in a social commentary kind of way – it’s a personal point of view. We’re not trying to lecture anybody or proclaim that we’ve got the big answers to massive questions. It’s coming from the point of view of people who are just living in these weird times.”

“We’ve just discovered that there’s been a big leak in our rehearsal room and a load of stuff is knackered. It would come in pretty useful for that! But we’re not thinking of the winnings – we’re just chuffed to be on the shortlist and have the album heard by more people,” Hazel explained.

And while fans had to wait five years for the arrival of ‘Spook The Herd’, it seems that the follow-up could be here sooner than expected. She added: “I’m really itching to get started on the next one. We do have a few ideas that we started on, but that had to take a backseat at the start of this lockdown. I’m itching to just getting cracking on the next one, I’m sure it will find its own way.”

Mercury Prize nominees Lanterns on the Lake released a live rendition of their beguiling track When It All Comes True ahead of their album and had us hooked. Of the track vocalist Hazel Wilde says: ‘Sometimes when you write a song you are creating a world in the same way a film maker or an artist painting a scene would. This is a twisted coming-of-age love story where we’re let in on the thoughts of what seems like a deranged narrator with a premonition.’

“Spook the Herd” was the fourth studio album to come from Lanterns on the Lake. It was released on 28th February 2020 under Bella Union Records.

e4444e has just released his long-awaited debut album, “Coldstream Road” Written, performed and produced entirely by the 22-year-old Australian from Newcastle artist Romy Church, “Coldstream Road” is a stunning showcase of the artist’s refined grasp of melodic, affecting songwriting. The 48-minute sojourn that is Coldstream Road snakes its way through cyclic chord changes and bucolic melodies to invoke a world that is both elemental and full of curiosity. “It’s the sound of me relating to instruments, to melodies, to lyrics. It has a very natural, earthy, wet green feeling to me,” says Church.

With his electro-acoustic musings – influenced by Pavement, Buck Meek and Michael Hurley   and previously compared to the likes of (Sandy) Alex G and Animal Collective – e4444e creates a soundscape that is as celestial as it is grounded in the earth. On Coldstream Road, Church casts aside his samplers and drum machines in favour of acoustic instruments like guitar, piano and drum kits. As writer, performer and producer, opting for a simpler and more traditional approach provided him with an avenue to sound more exciting and unique than ever.

And yet Coldstream Road almost never came to fruition. After having finished most of the tracking and mixing, the hard-drive containing the album’s project files was left on the roof of Church’s car before driving into the night. Along with his phone and wallet, the hard-drive was found a few days later, smashed to pieces by the side of the road. Everything was lost save from the bare acoustic and vocal takes. Rather than wallowing in loss, Church was spurred into action and re-recorded the majority of the album at home in just four days. “I was working pretty much as soon as I got up till about six in the afternoon.”
Channelling Jack Kerouac, a-la his mythical three-week writing binge for On the Road, Church set to re-creating the album with a dogged determination and Zen-like calm. “It didn’t feel rushed, I just knew exactly what I wanted to do and did it. I think it kind of needed to happen. It made the album what I wanted it to be, just me letting the songs dress themselves.”

Coldstream Road, Romy’s debut album. Released in mid-June, it’s a spiralling fifty minutes of transcendent song-writing and forward-thinking creativeness; an adventure through highs and lows – mountains and valleys – that pluck the beauty out of avant-garde minimalism and amplify them ten-fold. It’s something accomplished to the degree you’d expect from someone like Nicholas Jaar – a mastermind of a more electronic-rooted sound – but e4444e, despite being a Newcastle-based musician only just releasing his debut album, is ready to give it a shot.

In many ways, Coldstream Road was a long time coming. It’s less the follow-up to his 2018 EP Mr Dover and The Endless Rovers– which almost feels like an album in itself – but an extension of it, taking the foundations of the past record and pushing it further. “I almost wish I made Mr Doverlonger and built it into an album,” Romy admits, spending 20 minutes on the phone after running off to a Newcastle record store to drop prints of the album, before returning to a nearby pub to soundcheck for a socially-distanced launch. “I had a lot of ideas and I knew what I needed to build the album in a sense, but didn’t do it until this time around.”

Such dedication to his craft has seen the young artist self-release 4 x EPs and a handful of well-received singles, cut his teeth supporting acts like Jens Lekman, GUMBody Type and Hatchie and garner a loyal following.

Pigs x7

The Newcastle band with the best name in the UK right now were clasped to the bosom of the psych scene back in 2016, Now thanks to their giant, Sabbath-level cosmic riffs– and could end up creating the kind of swaggering anthems that sent Queens of the Stone Age and Royal Blood into the big time. Demonstrating the band’s newfound fervour, Viscerals, is the third LP from Newcastle’s Pigs Pigs Pigs Pigs Pigs Pigs Pigs, provides even more porcine intensity than their 2018 breakthrough King Of Cowards.

Opener Reducer, for instance, is vicious in its presentation, powered by roaring krautrock-style drums and Sabbathian guitars. The northern porkers may not be the metal band that many expected to be driving the genre forward in 2020 but they are absolutely the band we need right now. Guitarist Adam Ian Sykes dissects his five favourite Viscerals guitar moments.


“It’s easily the scrappiest song we’ve written to date. It was birthed more or less fully formed from just the drums and bass, and gave us an excuse for a healthy bit of self-indulgence. It makes strong use of a Fuzz War pedal from Death By Audio. Having bought it not long before tracking the album, I found some Japanese psych-rock lead tones buried in that pedal that I was desperate to use.”

World Crust

“It was time we tried our hands at thrash. As is often the way, what came out was a Cronenbergian mutation of our initial intentions, a sort of pseudo-thrash track. Though the main riff is as simple as it gets – it spends most of its time on the C with a short run down at the end of each phrase – it was a bit of a deviation from our usual fare. The bridge riff slows it down and offers a breather, which is something we do often. It’s a typical cheap Pigs trick.”

Halloween Bolson

“This track had a few iterations before we found the final arrangement. It all ended up coming together on a 7/4 ‘chorus’ riff that arrived late in the writing process. This riff is one of those that has a knack for falling onto itself in a loop; it’s fairly simple but the signature gives it an interesting twist. Just as importantly, it did the job of joining up what were previously two fairly disparate sections: the galloping riff of the first half, and the jilted riff of the outro. Working well within the context of both, it gave the track a focus and a structure, and ultimately a place on the album.

“Initially, the lead parts were a lot more reserved on this track, less hook-based and more meandering. After sitting with it for a while, we decided it needed something more direct, especially with its longer runtime. So, I went back in the studio to vomit up some borderline hair-metal licks that seemed to give the parts more focus.”


“When it comes to guitar, this track is all about the simple rundown melody – four notes from the B♭ to the E. With this album, we wanted to have more dynamics, melody and harmony in places from the two guitars. This gave us all three. We could harmonise to the run in the verses, and it could also provide a juxtaposition to the all-in riffing, offering a bigger dynamic and a better sense of weight when the riff does land. It also pivots over the bridge, from the lightness in the verses to a dark minor run as the bridge takes the track into a heavier place.”

New Body

“New Body is one of the heaviest tracks we’ve released. It gave us the opportunity to focus more on the guitars throughout the closing three minutes, when the song becomes instrumental. Working from a simple four-note loop on the bass, where the phrasing is the focus, the repetition allowed us to make slow and measured steps in harmony on the rhythm, while the lead pushed towards a more noisy, skronky solo. It takes the mood closer to the edge, almost like an ascending Shepard tone, which adds a vital bit of unhinged energy.”

Pigs Pigs Pigs Pigs Pigs Pigs Pigs’ album “Viscerals” is out now on Rocket Recordings.

“Could Ya Do The Woo Woos?”

A Withered Hand LIVE Bootleg


Recorded at The Cumberland Arms, Newcastle.

The Band:

Dan Willson – Guitar and Vocal
Malcolm Benzie – Electric Guitar and BVs
Fraser Hughes – Bass
Owen Williams – Drums
Pete Liddle – Keyboard and BVs

Released May 1st, 2020

Special love and thanks to: The band and our families, all friends and fans, Chris Trew at Prancy Dog for being a true believer, Chinny Reckon for the laffs, Ian, Peter and Joe for capturing us all lost in song that night. Always a pleasure, see you all farther along…

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“You said, do I have hope and I said I don’t… but I do,” riddles Hazel Wilde on the Newcastle band’s fourth album. Surveying the gathering storm, here’s an end-of-the-world address that finds stirring beauty and defiance in humanity’s final acts. To mark the occasion of our album coming out today we are sharing another live session video. ‘Swimming Lessons’ was recorded and filmed live at Blast Studios in Newcastle.

While the songs are Lanterns On The Lake’s’ leanest yet, fusing dreamy pop melodies with Paul Gregory’s soaring post-rock guitar, it’s Wilde’s lyrics that quicken the pulse. On Swimming Lessons, she marvels at “Vincent’s starry night with the colour drained”.

 Blue Screen Beams laments mobile phone addiction, while lead single Every Atom is a potent shot of glorious romanticism.If we are sleepwalking towards apocalypse, Lanterns On The Lake are here to sing us out in style. “The waters are rising/ our leaders unhinged,” sighs Wilde in majestic 3/4 on Before They Excavate. “Let’s break out the good stuff and toast to the end.” .

The Spook Sessions: When It All Comes True Recorded live at Blast Studios, Newcastle Upon Tyne

When It All Comes True is taken from the album ‘Spook The Herd’ is now out in the world.

This album is an important one for us. We are extremely proud of it and we have been bowled over by the responses so far.Thanks, as always, for all the love and support you’ve given our music over the years. It means more than you could ever know. ‘Spook The Herd’ is available on lush 180g vinyl,

Band Members
Hazel Wilde, Paul Gregory, Ol Ketteringham, Bob Allan, Angela Chan

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Indie rock trio Demob Happy return with explosive new single ‘Mother Machine’, their first new music for 2020.

Following 2019 single releases ‘Autoportrait’ and ‘Less Is More’, ‘Mother Machine’ sees the former Artist Spotlight band Demob Happy complete the trilogy delving headfirst into futuristic sonic realms, rewiring sprawling space-rock with a fierce and direct dynamic energy. Speaking of the track, frontman Matt Marcantonio states: “These last three singles have been like a trilogy, expressing things I’ve felt over the most intense year of touring I think we’ll ever do, and things I’ve learned about where we’re all going. “I wanted to leave ‘Mother Machine’ ’til last as there’s a lot of new sounds in it, and I like what it says about the future.”

Mother Machine’ debuted on Jack Saunders’ BBC Radio 1 show as the first Maida Vale session of 2020. Fans can also expect performances of ‘Autoportrait’, ‘Be Your Man’ and a special rendition of ‘Less Is More’ also featuring a cover of Daft Punk’s ‘Robot Rock’.

Demob Happy are currently recording the anticipated new album to follow 2018’s ‘Holy Doom’.

The band have also announced their first shows of 2020 with UK headline dates in collaboration with DIY Magazine for Independent Venue Week.

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Atmospheric Newcastle based indie rock band Lanterns On The Lake already had everyone eagerly awaiting fourth album ‘Spook the Herd’ with beautifully stark song ‘Every Atom’. Now that first taste is followed by powerful second single ‘Baddies’ which unveils frontwoman Hazel Wilde’s frustration with the domination of the rich and powerful, maintaining their control stoking up prejudice.

Baddies is a song about the rising tide of anger and hate in the world that seems to have been unleashed over the last few years, with those in positions of power and influence actively encouraging it for their own ends, and the polarisation of society as a result. It is about the need for the individual, the underdog, to stand up to it, but the fact that in doing so we become part of it. We become someone else’s baddie.”

Baddies is the new single taken from our upcoming album ‘Spook The Herd’ out on 21st February 2020

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We’re very excited to announce our third album ‘Viscerals’ will be released on Friday 3rd April 2020. Their brand new album is on the way, and have shared a raucous first cut to get us even more excited.

Set to land on 3rd April, new album ‘Viscerals’ promises to be full of riffs and dynamic melodies, proving what a monumental force the Newcastle quintet are. And if you need more convincing it’s going to slap, have a glimpse at the record’s first offering ‘Reducer’ which is an absolute face-melter.

“This is the first taste of our new album ‘Viscerals’” announce the band. “It’s called ‘Reducer’ and it has a very strong flavour. It’s one of the songs that came together quickest during the writing process. It’s immediate and unruly and has that cathartic edge we seek out from the music we make together. It’s going to be a hell of a lot of fun to play live. Let’s rock.”

Head over to where you’ll find links to preorder the album and book tickets to our album launch tour, including some newly announced dates.

Pigs Pigs Pigs Pigs Pigs Pigs Pigs“Reducer” Taken from the album ‘Viscerals ‘ on Rocket Recordings