Posts Tagged ‘Nice Swan Records’

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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.

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Portsmouth-via-London band Hotel Lux have shared their debut EP Barstool Preaching via Nice Swan Records (Sports Team, Pip Blom, Fur). The EP follows a series of singles over the past few years like “The Last Hangman,” “Berlin Wall” and “English Disease.”

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 humor (“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.

“It was good fun working on a release that’s a bit bigger than what we’ve done before,” Duffin says. “The tunes seemed to come in pairs when writing ‘em—we’d make a little playlist of 5-10 tunes as inspiration and go from there. The songs are more introspective lyrically than we’ve been in the past, more personal as opposed to stories so the EP has an air of vulnerability to it—to us at least.”.

‘It was good fun working on a release that’s a bit bigger than what we’ve done before. The tunes seemed to come in pairs when writing ‘em, we’d make a little playlist of 5-10 tunes as inspiration and go from there. The songs are more introspective lyrically than we’ve been in the past, more personal as opposed to stories, so the EP has an air of vulnerablility to it. To us at least.’

‘Barstool Preaching’ EP out April 24th via Nice Swan Records.

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Dublin-based five-piece Silverbacks have slowly been releasing songs throughout the last three years. This past May, they shared the utterly infectious “Pink Tide,” and in 2018 shared further two singles: “Just In The Band,” and “Dunkirk.” These plus 2017’s “Just For A Better View” were produced by fellow Dubliner and Girl Band’s bass player Daniel Fox.

Although they promised their debut album would be out by the end of this year, we still don’t have any news on that front yet. But Silverbacks are ready to share another single, and they’re doing so with another Fox collaboration called “Sirens.” This one proves just as irresistible as the other tracks, and in the way this one utilizes a propelling bass-line, it feels like a grittier take on the B-52’s deep-cut “Give Me Back My Man.” In theory, the use of three different guitars could be a bit overwhelming, however this seamless execution just proves that Silverbacks are focused and ready for bigger things.

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Silverbacks are so indebted to LCD Soundsystem that James Murphy just took their TV away. In fairness, the Irish band acknowledge their influences here, and even ask the band not to sue.

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Dublin’s Silverbacks have dropped their new single, ‘Sirens’, out via Nice Swan Records, with the limited edition AA 7″ dropping on January 31st 2020.

Produced by Girl Band basssist Daniel Fox, the lushly recorded propulsive rhythm section prompts a visceral response from the three guitarists who weave fuzz-laden riffs, and spindly post-punk riffs into the mix, while vocally switching from semi-spoken nonchalance to unabashedly catchy glam punk melodies.

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In ‘Sirens’, the narrator misses riots and important protests taking place in his city because he’s too preoccupied with writing the perfect soundtrack for what is happening,” says singer Daniel O’Kelly. “He’s equally distracted by his relationship issues, tennis, and his obsession with his favourite band.”

FUR – ” Angel Eyes “

Posted: February 22, 2019 in MUSIC
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Brighton quartet Fur have been delivering ’50s and ’60s-influenced pop songs with a sanguine sheen and toe-tapping beat for a few years now. They’ve released six singles to date and their self-titled debut EP is coming out on Feb. 14 via Nice Swan Records. Their recently highlighted their latest single, “Him & Her,” praising frontman Will Murray’s jaunty croon as well as the band’s rollicking guitars and infectious rosiness. Though retro pop and doo-wop are both at play here, their melodious songwriting could easily charm listeners from any decade.

Nice Swan Records, one of the country’s most exciting new labels and landing pad for early releases for the likes of Sports Team, Pip Blom and Sweaty Palms, today announce their latest offering – ‘FUR’, the debut self titled EP from Brighton-based quartet FUR.
The EP, lead by the hook-laden ‘Angel Eyes’, is a collection of warm, nostalgia-inducing yet fresh sounding songs from a band truly coming into their own.

Out on 14th February 2019.

Band Members
Murray/Zwaig/Tav/Flynn

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Brighton-based Fur are not a new band. They’ve been around for a good three years, and their first three singles were viral hits. We, however, have only started paying attention to Murray, Harry, Tav, and Flynn this year, and just in time. On Valentine’s Day 2019, they will release their self-titled, debut EP via Nice Swan Records . If their initial singles were clues as to what to expect, we’ll be in for a jukebox treat.

The quartet are reviving classic rock, specifically the music of the ’50s and ’60s. Their songs would be perfect for Happy Days or maybe a future Quentin Tarantino movie soundtrack numbers that get the hips wiggling and the toes tapping like “Angel Eyes” and “What Would I Do?“. If you dive a little deeper into their music catalogue, they also craft the perfect slow dance tunes (check out “If You Know That I’m Lonely”). Hmmm… maybe we’ll have to sign these guys for a house party one day.

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A strong contender for 2018’s fastest rising newcomer, it would be fair to say Amsterdam-native Pip Blom is having a very good year. Pip’s supported the likes of The Breeders & Franz Ferdinand, garnered radio plays and playlists from every station in the land, and generally made some utterly wonderful records.  As we all await the hotly anticipated debut album, Pip continues to tease with next months release of another EP, Paycheck.

This week Pip has shared the latest track from the EP, in the shape of Come Home. Quite possibly her darkest and most angular-release to date, the track builds around twangy-guitars and rumbling bass, before an almost Radiohead-like drum beat adds some winning propulsion. It’s a track that bristles with tension, Pip’s voice, fuzzy, at times engulfed in the music as she seems to dissect a failing relationship, “I’ve tried hard to keep a distance, not to get too much involved, think that you’re indecisive, I know I have had enough”. It’s a different Pip Blom, a darker, arguably less accessible version than we’ve heard on record before, and she sounds all the more intriguing for it.

Paycheck EPis out October 5th via Nice Swan Records

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Alex Rice, is the frontman of the band Sports Team Sports Team’s live shows speak for themselves. Over the past year, whispers of their performances and the absolute imperative of needing to see Rice and his fellow mischief makers in the flesh have spread like a wildfire – one reminiscent of the sort of word-by-mouth that carried stories of the spectacles put on by Fat White Family or, more recently, Shame.

The band are a compelling live proposition, majestically coordinated yet slightly unhinged, with Rice’s performance elevated by an expressionless, mute key player. As for the music – so far one EP released in January, a year or so after their first London shows – think of the following: a potpourri of the famed dry wit of Stephen Malkmus; Haircut 100 without the brass instruments; a lottery ticket love child of the harmonic and songwriting abilities of Paul Heaton and Jarvis Cocker. Needless to say, Sports Team are in the mold of a gold-medal winner.

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The six-piece met when studying at Cambridge University a few years ago and don’t feel any shame in saying so. The scene in the university town was a strange one; devoid of regular gig nights, the group initially started out playing flat parties and university balls – sometimes finding themselves at the 6AM arse-end of bills that may have included Nero, Loyle Carner and Pendulum earlier in the night. Because their mates largely didn’t want to hear guitar music, Sports Team needed to bring something different. “We would make the show gag-heavy, tell a lot of jokes, dress quite stupid, have a lot of fake guitar solos or fights on stage,” Rice says,

The line-up back then was different. Members jostled for position; at one point they had four lead guitarists. It was, all in all, “a fucking shambles” according to bassist Oli Dewdney. But all six members loved what they were doing and post-university continued to make music in London, using a house that three of them rent in Harlesden as a base. “I don’t think any of us thought we were that great,” remembers Rice, going on to say how things kicked up a gear for them when they were scouted by a management company who convinced them to take things seriously and practice.

A year and several shows later and Sports Team caught the attention of Dave McCracken (Ian Brown, Depeche Mode, Florence & The Machine) who came on board to produce their debut EP Winter Nets. The record is enchanting, equal measures debauched and poetic – it sounds unlike anything you’ll have heard from a British band in years. “Camel Crew” has a little bit of The Pale Fountains about it, if The Pale Fountains ever wrote a chorus that packed a punch. Rice rolls his syllables on “Back to The Point” like a young Heaton pogoing around the microphone in his Housemartins era. These references might make the whole thing seem retrograde but Sports Team take from these influences and assimilate them into an overall new sound, placing them firmly in the Here and Now and as one of less than a finger-full of British bands doing something genuinely interesting.

Take lead single “Beverly Rose” and its video, which we’re premiering above. Shot in and around their Harlesden house, more than anything it’s just really fucking entertaining. Use your eyes and learn about that in full but know this: it includes a bath, the luxurious juice of a fried egg being squeezed from its previous casing and onto a plate and dance moves better than anything you’ve seen on Eurovision. It’s the element of intoxicating excitement, as songwriter Rob Knaggs will attest, that is what the band are all about. “There’s no money in guitar music,” he says. “The press isn’t really looking at it.

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Actually… It was quite funny, there was a recent piece where they called us ‘glam-theatrical,’ which we’re absolutely not, then tried to categorise us alongside this south London scene… saying ‘they hate their surroundings.’ Really? It’s the antithesis to lots of the miserable Fall knock-off stuff that’s going around at the moment, right?”

Debut EP ‘Winter Nets’ Coming Early 2018 | Nice Swan Records

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Amsterdam-based Pip Blom has announced details of her new single, ‘Babies Are a Lie’, the first song on a AA single to be released via Nice Swan Records on 16th October.

Since first airing her angst-ridden brand of lo-fi indie last year, Pip Blom hasn’t been one to hang around. Four singles released in quick succession introduced her music to listeners far wider than her native Netherlands, with airplay across the likes of American radio station KCRW, BBC Radio One and 6 Music ensuring songs Pip had simply uploaded to the Internet hit hundreds of thousands of streams.

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Pip Blom is more than just an underground interest. The effortlessly catchy chorus, even dares to repeat the line, “don’t you want to get it out of my head”, as if something that hook-laden was even possible to shift. With UK dates coming up in October, we should probably get used to Pip Blom never standing still.