Posts Tagged ‘Spring King’

Meadow Meadow: Meadow Meadow: Signed Exclusive Translucent Green Vinyl EP in PVC Sleeve

Meadow Meadow is the debut collaboration from former Spring King members, James Green and Peter Darlington. After the breakdown of their previous band, their writing together became a meditative, healing process. Sharing demos between Manchester and London, the pair developed a distinct musical palette, using creativity as a “constant source of peace and catharsis”. Themes of childhood nostalgia and the natural world are juxtaposed with a sense of loss and dystopian malaise. “Memory is strange, it connects seemingly disparate experiences together to form a storyline that you then carry with you”.

Gently swaying, meditative pastoral indie from two former members of Spring King, their new name taken from a line in a Silver Jews song.

Tracklisting: Bonzo, Fireworks, TwoTwo, Neberdine, Sca


Written, Performed and Produced by Meadow Meadow. From ‘Meadow Meadow’ EP – out 19/8/20 on Practise Music Limited run of 50 cassettes

2 Fireworks  
3 TwoTwo  
4 Neberdine  
5 Sca

Last month they shared the track ‘Animal’, now Spring King have aired another new track from the forthcoming album ‘Us vs Them’.

“I never thought much about the old haunts and memories until now. Reliving moments gone, and seeing how much life has changed. Now I really see the way in which time has passed, and where I stand today is the consequence of everything I once did. I can feel my whole world changing, softly in the morning sun,” says guitarist Pete in relation to the muscular, scuzzed-up, coming-of-age anthem, where reflective lyrics meet skyscraper-sized riffs.

The band have also announced details of their second album, the follow-up to 2016’s ‘Tell Me If You Like To’, along with a September UK tour with September 26th NOTTINGHAM Rescue Rooms.

‘A Better Life’ is arriving on August 17th, with Tarek Musa in the production hot seat.

We are proud to announce we are releasing a new album this year. For everyone who has supported us, come to see us play, and made this journey so exciting and memorable up to now, this is for you.

We hope you can share this far and wide, with everyone you think would love this record. We hope you can join us for the next step in the world of Spring King.

Your boys...Tarek, Pete, James and Andy x

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Having just completed their biggest headline tour to date, culminating in a triumphant show in London, Spring King release the video to new single ‘City’. One of the most loved songs taken from their debut album Tell Me If You Like To, the video release follows a monumental year in 2016 for the Manchester garage-pop band.

The new ‘City’ clip, directed by Jack Whiteley, follows on directly from where their ‘Detroit’ video left off. In the first video, the band play different characters on a TV dating show called Euro Lover. In the ‘City’ video, the successful contestants Bartek (played by singer/drummer Tarek Masa) and Penelopete (played by guitarist Pete Darlington) go on a romantic yet doomed trip to Detroit… played by Margate.

In 2015, ‘City’ gained huge exposure as the very first track to be played by Zane Lowe on Apple’s global radio station Beats 1. Spring King have since gone on to release an acclaimed debut album, enjoyed a slew of BBC Radio 1 playlisted singles, perform on Later… With Jools Holland, tour across UK, Europe and Australia, as well as receiving a nomination for Best Breakout Band at this years Q Awards and winning ‘Live Act of the Year’ at the AIF Festival Congress Awards.

Spring King are currently on their first US tour. While in the States, the band joined Zane Lowe in the Beats 1 studio for a live interview. Spring King’s singer/drummer Tarek Musa says: “It was really exciting to meet up with Zane Lowe on our first tour of the US and talk music. It feels like everything has come full circle with ‘City’ coming out again as part of our album too.”

Track By Track: Spring King Run Us Through Their Anticipated Debut Album ‘Tell Me If You Like To’

Garage rock four-piece Spring King have just released their anticipated debut album ‘Tell Me If You Like To’, . The UK outfit have toured with Courtney Barnett, FIDLAR and Slaves, and have proved exactly why they’re grabbing everyone’s attention by dropping one hell of an album.

Singer Tarek Musa, bassist James Green and guitarist Peter Darlington have run us through each track, giving us a pretty good insight into what makes them tick. Earlier in the year, they also told us all about the gear that went into making this album.
Tarek: ’City’ was recorded at my house early last year when we were recording the They’re Coming After You EP. It was originally half the speed when I did the demo of it on my iPhone. I wanted it to be really simple and kinda like a White Stripes song, very stripped-back and raw. When it came down to recording it I decided to try it double the tempo and it just felt a lot more exciting. I tracked it in the house using an SM57, an SE2200A and a C1000 mic, as well as a really cheap drum mic pack which consisted of three microphones for toms and kick drum. The whole song was recorded that day but took a couple of days to mix.

Tarek: I wrote the chorus to ‘Detroit’ a while ago, maybe around February 2015. It was sitting on my iPhone for a long time, but every time I played guitar at home I’d always end up playing that chorus, which for me meant I should try and approach it as a song at some point. We recorded this one at Chapel Studios, multi-tracked and just like ‘City’, very quickly. The drums were done in the main live room (I asked the studio for an external monitor and keyboard so I could edit right next to the kit) with me on producing and engineering duties. We didn’t have any external engineers, except for a cool assistant Jonny Swailes who probably thought I was a bit nuts taking it all on myself. All of Pete’s guitars on this track (and the album for that matter) were recorded upstairs in one of the studio bedrooms; we felt a lot more at home up there, a lot more like how we’d do things back in the house.

Tarek: ’Who Are You?’ was done over at my house too, and was an earlier single that we self released. When it came to putting it on the album, I remixed it a little so that it fit in nicely with the rest of the tracks sonically. I’m always challenging myself as a mixer, and getting this track to fit was tricky at first as there wasn’t such a nice room to record in back home. The bass on this was DI’d and the guitars too, but going through my Golden Age Pre 73 super hot. I love the preamp, it does the job well.

Tarek: ’It’s So Dark’ came about in 2012. It was one of the first songs I wrote for Spring King and I remember writing it on my Yamaha Electone Organ. It was meant to be the kind of thing someone would say to a friend in need, but spoken bluntly and honestly

James: I’ve been itching to play this live for such a long time, I remember tracking the backing vocals in the chorus in the studio absolutely losing our minds. The majority of the time I spent in the studio I had that chorus stuck in my head.

Tarek: Pete played the drums on this song which was funny at the time but it worked! I was in the control room doing some edits and I could hear him playing that beat. We recorded it to a click track pretty quickly – I think I might have already had the rough guide guitar parts in a session for playback. It’s a bit surf at times in terms of guitar tones, and I love the way James plays bass on this one, super palm-muted and plucked. James actually plays some piano on this track too.

James: This song was such a nice change up to a lot of the other tracks on the album, with a lot of scope for more dynamic playing and quite a sparse arrangement. The piano parts were so much fun, if a bit Elton John at times!

Pete: ‘Demons’ is an old one for us – it originally came out on our first EP of the same name. When it came to deciding what tracks would make the album, we kept returning to it as lyrically and sonically it fit the feel we wanted to create. I’ve also always felt that it never quite receeved the attention it deserved. The guitar solo after the first chorus is one of my favourite passages of music we’ve ever released.

Pete: Weirdly this song started life on the piano. Tarek played what would become the main riff a few times but then kind of left it there. It stuck in my head so I worked it out on a guitar and played it over and over again. When Tarek came back in, he started jamming along on the drums. I think at that point we both realised that it had potential. I had no idea it would be the first single though!

Tarek: I love playing this song live. Pete’s guitars for this whole album were done using my cousin’s Gibson SG and I can really hear it on this track. We did try many other guitars first but always came back to the SG for his rhythm parts. This one was written in the studio when me and Pete were jamming. He was on the drums while we had a break from recording and I picked up his guitar, and that’s how the rhythmic guitar stop and starts came about.

Tarek: The chorus for this song was written so long ago, I’d say 2012/2013 at some point. In the past we’d rehearsed various versions of this song but never got it down so we left it to one side. When the album was coming round we decided to revisit it, and try to rewrite it. It was always heavily inspired by the songwriting of Brian Wilson, as well as some Springsteen tunes.

James: This is another personal favourite from those recording sessions. Pete’s absolutely nailed this; from the chugging guitar lines to the anthemic vocals in the chorus and middle eight, it seemed like a perfect way to round off the album.

Pete: I wrote the chorus for this song while I was living in New York about five years ago. At the time I was living in Queens with friends and sleeping on a mattress on the floor. Every night before I fell asleep I would write a little journal entry… sometimes I would just draw something, other times I would write pages and pages of stuff. This one night I came home drunk and wrote ‘Heaven is when you know yourself’. I woke up to it the next day and it’s stuck with me ever since.

Couple With Records

As Colvin & Earle, longtime friends and admirers Shawn Colvin and Steve Earle have united to record their self-titled debut, a true standout in careers already filled with pinnacles and masterpieces. Produced by the masterful Buddy Miller and recorded in his living room studio, Colvin & Earle contains six co-written originals plus some truly inspired covers, including The Beatles’ “Baby’s In Black,” the Rolling Stones’ “Ruby Tuesday,” and Emmylou Harris’ “Raise the Dead.” Few things can touch the magic of artists so in tune that they seem to be able to read each other’s minds, and Colvin & Earle is a prime showcase for the duo’s inimitable vocals and mesmerizing guitar playing – a flawless example of the creative process gelling into a gorgeous, cohesive whole. For this pair, both considered to be among America’s greatest living songwriters, Colvin & Earle showcase one of the finest records of these hardcore troubadours’ storied careers.


Very Limited copies come with a A3 Band Of Horses print. Everyone’s favourite American indie export, Band of Horses, are finally Back and bigger and better than ever! Releasing their fifth studio album on the 10th year anniversary of the incredible ‘Everything All The Time’ is fitting as it hearkens back to the vulnerability present on the first album but this time is shaped by the experience of writing at home in between caring for his four daughters. The album was produced by Jason Lytle from alt-rock icons Grandaddy and spurred on by Rick Rubin. ‘Why Are You Ok’ combines universal sentiments with expertly crafted storytelling wrapped in lush melodic textures that have long been the bedrock of Band of Horses‘ sound.
LP – Heavyweight vinyl with download code.


Shelflife Records is proud to bring you the Limited Blue vinyl 10″ ‘Black and Blue EP’, the first release by London and Brighton-based group The Fireworks since their debut LP, 2015’s ‘Switch Me On’. Following a handful of fantastic 7″ singles and a self-titled EP, the quartet exceeded already high expectations on their debut album. ‘Switch Me On’s 13 tracks soar by in a blur of warm, fuzzed-out feedback, infectious hooks and pure unadulterated energy.  Fans old and new of The Fireworks will not be let down by their new ‘Black and Blue EP’. The release may only be four tracks long, but you’ll be needing to take a breather after it’s done. These songs mark the most rocking we’ve heard The Fireworks thus far, while still keeping the catchy melodies and pop sensibility we’ve come to expect from them. The driving opener ‘All the Time’ is an instant favourite, and the dynamic track tells listeners right off the bat that this is no mellow, passive listen. ‘The Ghost Of You’ features jangly guitar work and fantastic dual vocals from Matthew Rimell and Emma Hall, making the track a shimmering pop gem. Of course, the distortion that smattered ‘Switch Me On’ is still present, and tracks like ‘Bury Me’ will have you jumping around in a fit of uncontrollable vigor (perhaps why they chose to name this the ‘Black and Blue EP’). The band touches down on all bases on this new release, making it an essential listen whether or not you’ve been a fan in the past. For fans of: Razorcuts, Buzzcocks, Girls At Our Best!, Revolving Paint Dream, The Shop Assistants, Meat Whiplash, Bubblegum Splash. Vinyl with Download.

vImage of Spring King - Tell Me If You Like To

Whipping up a frenetic, fun-filled brew of surf pop and garage rock, this Manchester quartet have been creating quite a stir with a handful of great 7″ singles and high octane live shows over the last few months.

“Tell Me If You Like To”, is their debut album and it’s choc full of garage-punk gems (including their three 7″ single tracks) as you’d expect – think The Ramones covering The Beach Boys, OD-ing on Haribo’s!
“the most promising band of 2016”

Image of Christine And The Queens - Chaleur Humaine - Clear Vinyl Edition

Christine And The Queens is Nantes-born Héloïse Letissier. Moving to London to study in 2010, Letissier instead found herself drawn to the art and theatre underworld of Soho, where she met the drag queens of Madame JoJo’s who inadvertently helped birth Christine And The Queens. The following year she released the first of a series of three EPs, each one building praise and demand for her utterly individual brand of pop. Chaleur Humaine, her French-language debut album produced by Ash Workman (Metronomy) with multi-instrumentalist brothers Michael Lovett and Gabriel Stebbing, arrived in 2014 and has already gone more than five-times platinum to propel Letissier – named Female Artist of the Year at the Victoires de la Musique earlier this year – to phenomenon status in her homeland.

Already coveted by those in the know, last year Christine And The Queens took a step further into the international spotlight with a number of high profile European shows and scene-stealing performances at SXSW, a major 16-date North American run with Marina and The Diamonds and a solo sold-out headline show at New York’s Webster Hall. She capped a stunning year by joining one of her all time heroes Madonna on stage in Paris last week. She released her debut, self-titled UK EP in November and now ‘Chaleur Humaine’ makes its long-awaited UK debut. The album features EP tracks ‘Jonathan’ (feat. Perfume Genius) and ‘No Harm Is Done’ (feat. TunjiIge), and has been completely reworked for its UK release, featuring all-new English versions of French runaway hits ‘Saint Claude’ and ‘Christine’, amongst others.

Image of Augustines - This Is Your Life

“This is Your Life”, the new album from anthemic rock trio, Augustines, is an urgent, resonant wakeup call, taking stock of where we are now and what the future holds… an open road ahead.

‘A Youthful Dream’ the debut album from Yung is a revelation. Angst makes space for wisdom, youthful exuberance begins channelling road-tested experience, and a blur of basement shows and self-produced bromides becomes something more. Where the previous releases such as ‘These Thoughts Are Like Mandatory Chores’ found Silkjær masterfully running through buzzsaw riffs, recalling The Replacements and Jay Reatard, ‘A Youthful Dream’ finds Silkjær reshaping his DIY vocabulary and experimenting with a larger sonic palette, in ways that may make fans do a double take. Richer melodies, pianos, and even trumpets made their way into the recording sessions at Sound Studio in Sweden, where Silkjær, Frederik Nybo Veile (drums) and Tobias Guldborg Tarp (bass) decamped with a handful of guest musicians. Consider the airy, self-referential ‘The Child,‘ a reverie or languid guitar lines punctuated by a horn line; the mid-tempo swagger of ‘Uncombed Hair,’ suddenly amping up without losing control; or the slow build of ‘The Hatch,’ its anthemic scope and chugging drums lines showing a new compositional mastery without losing the immediacy and energy of past efforts.
LP – Black Vinyl with Download.
LP+ – Limited Clear Coloured Vinyl with Download.

Remastered reissue of the original ‘It’s Too Late to Stop Now’. The three-month tour, which launched just months before Morrison released his 1973 LP ‘Hard Nose the Highway’, featured the singer backed by the 11-piece Caledonia Soul Orchestra, Morrison’s tight knit backing band. ‘It’s Too Late to Stop Now’ is a live album that was originally released in 1974. Frequently named as one of the best live albums ever recorded, ‘It’s Too Late to Stop Now’ was recorded during what has often been said to be Morrison’s greatest phase as a live performer. The double album is composed of performances that were recorded in concerts at the Troubadour in Los Angeles, California, the Santa Monica Civic Auditorium and at the Rainbow in London from a three-month tour with his eleven-piece band, the Caledonia Soul Orchestra, from May to July 1973.

Van Morrison’s 1973 tour that spawned the singer’s classic live album ‘It’s Too Late to Stop Now’ is the focus of an 3CD / 1DVD archival release. Titled ‘It’s Too Late to Stop Now… Volumes II, III, IV and DVD’, the collection boasts three previously unreleased concerts from Morrison’s trek – recorded at Los Angeles‘ the Troubadour, the Santa Monica Civic Auditorium and London’s Rainbow Theatre – along with a July 24th London gig that was filmed for a BBC Sight and Sound special but never commercially released.

Spectres release their new album, ‘Dead’, on Sonic Cathedral, and it sees the songs from the Bristol band’s hugely acclaimed debut ‘Dying’ nailed to the cross by Mogwai, Factory Floor, Hookworms, Richard Fearless (Death In Vegas), Andy Bell (Ride), Robert Hampson (Loop) and many more. The only instruction was “kill our songs”, and so here are the remains, served up on two mortuary slabs of vinyl (and CD and download) as a stunning, 13-track album that builds on the original’s feeling of claustrophobia and dread, but recasts it across everything from brutal techno (Blood Music’s ‘This Purgatory’) to New Order-meets-Animal Collective euphoria (Andy Bell’s ‘Sea Of Trees’). It’s an occasionally punishing, but always rewarding listen that begins somewhere in the depths of a K-hole, courtesy of Vision Fortune’s ‘Drag’, and ends somewhere rather beautiful, with the celestial synths of Mogwai’s ‘This Purgatory’. (It’s worth noting that Mogwai’s classic ‘Kicking A Dead Pig’ was a big inspiration here.) “We see Spectres as something that can work in a variety of contexts,” says frontman Joe Hatt, as he explains the motivation behind ‘Dead’. “Our musical interests spread out in different angles and we are always thinking of ways for what we do to evolve and mutate. We put together a list of artists who we admired, and thought would deliver a varied and eclectic mix. Some were close friends who are conveniently making some of the best music around, and others were pipe dreams that we thought would never happen. It was both nerve-wracking and fun waiting for each of the artists’ versions to arrive in our inbox, and some definitely surprised us; but none disappointed.” ‘Dead’ serves as an important reminder of what a special band Spectres are, something that can be easy to forget with their anti-industry stance and extra-curricular activities often grabbing the headlines more than their music (“We’ve always been like this, and we won’t cease,” threatens Hatt).

Bob Mould returns with his next solo album titled ‘Patch the Sky’ via Merge Records. It is both his darkest and catchiest work. While written in solitude, Mould is backed on the record by longtime drummer Jon Wurster (Superchunk, Mountain Goats) and bassist Jason Narducy (Split Single). The first side of the LP is simple and catchy whilst he back-half of the record heavier in spirit and tone.
CD – Digipak (blue foil) plus poster insert.
LP – Standard black vinyl LP in Blue foil sleeve with full album download coupon.
LP+ – Lmited Clear coloured vinyl LP in Blue foil sleeve with full album download coupon.

A return to the fiery cauldron of ‘Fits’ for the new look White Denim, stuffed with sprung-steel riffs, quicksilver solos and scudding swamp boogie. Plus a couple of cool R&B interludes from James Petralli’s inner soul man. ‘Stiff’ is White Denim’s sixth record and they teamed up with the legendary Ethan Johns (Paul McCartney, Laura Marling, The Staves) to produce their first truly live record.
LP – 140 Gram Vinyl housed in Gatefold Sleeve with CD Version.
CD – Digipack.

Limited 7″ and tipped. West-London five-piece Babeheaven release their beautiful debut single ‘Heaven’ through Handsome Dad / B3SCI. Currently on tour with BBC Sound Poll nominee Loyle Carner, the band have already opened for Liss, supported Formation around the UK and kicked off the year playing DIY’s ‘Hello 2016’ shows at The Old Blue Last. Babeheaven were born out of a long-standing friendship between singer Nancy and guitarist Jamie, who started spending time together in earnest whilst working on the same street in Ladbroke Grove (she in her grandmother’s antique shop, and he in a soul-destroying stint at an organic farm store). Musically, Babeheaven’s tastes were similarly neighbouring: bonding over a love of trip-hop, soul and ethereal electronics (everything from Portishead and James Blake to Stevie Wonder), a typical evening spent hanging out turned into an attempt to write a song together. Their tribute to Domino’s Pizza may never see the light of day, but in finding drummer Harry, keyboard / guitarist Milo and bassist Hugo, the foundations of Babeheaven were formed instead. Debut single ‘Heaven’ is a gentle but insistent introduction, blending hazy guitars, atmospheric synths and flashes of local colour (from the steel pans to nu-soul vocal) into broader emotional resonance. Lyrically, the track was at first inspired by Nancy’s Mum – who passed away when she was young – and the different meanings heaven has for different people: it’s since evolved, say the band, into something “about the front you put up and break down in front of people, and how things might’ve been different with someone else around.”

Since their 2011 self-titled debut LP much has been written about the influence of 1990’s alternative rock on Yuck – the bands Dinosaur Jr. and Sonic Youth have been invoked repeatedly on music sites and in print publications across the world. On their third studio LP, ‘Stranger Things’, the young London based quartet make it clear that they have come into their own. The 11 tracks on ‘Stranger Things’ effortlessly wrap the divergent influences of Fifties Rock n Roll, Sixties Psychedelia, Seventies Supergroup Ballads, and Dark Eighties Pop, in the warm fuzzy blanket of harmonic distortion they are known for – and to masterful effect. ‘Stranger Things’ make the case that Yuck is now operating, not under the influence of, but in the very echelon of these bands of old they have long been noted as being descendants of.
CD – Digipack.
LP – Limited White Vinyl Version with Download.

20 year old Kiran Leonard releases his debut album, ‘Grapefruit’ on Moshi Moshi “A boy, in his attempt to gain an elusive masculine identification, often comes to define this masculinity largely in negative terms, as that which is not feminine or involved with women. There is an internal and external aspect to this. Internally, the boy tries to reject his mother and deny his attachment to her and the strong dependence upon her that he still feels. He also tries to deny the deep personal identification with her that he has developed during his early years. He does this by repressing whatever he takes to be feminine inside himself, and, importantly, by denigrating and devaluing whatever he considers to be feminine in the outside world.”
2LP – Double LP With Download.

The Cosmic Dead return with their first full length album since 2014’s Easterfaust. For the uninitiated The Cosmic Dead are a quartet from Glasgow, Scotland, making some of the best raging freak out psych right now. ‘Rainbowhead’ is a brand new LP, featuring four tracks of spaced out, heavy psych formed from insane chugging bass, trippy synth blasts, krautrock infused metallic guitar riffin’ and furious cascading drum cycles. The band’s constant positive vibes have led to them touring all over the UK and Europe, playing the prestigious Liverpool Psych Fest and the band are due to play Psycho Festival in Las Vegas in August alongside Sleep, Candlemass, Yob, Mudhoney, Death and more. ‘Rainbowhead’ follows records on Cardinal Fuzz, Evil Hoodoo, Who Do You Trust?, Sound of Cobra and some of the best underground labels around.

The Joy Formidable release their third album, ‘Hitch’. The follow up to 2013’s ‘Wolf’s Law’ is released through the Welsh trio’s own label C’Mon Lets Drift. ‘Hitch’ was self-produced by the band, and mixed by the legendary Alan Moulder. The new release showcases the evolution of the trio’s sound and musicianship. The commanding guitar and lead vocals of Ritzy Bryan coupled with bassist Rhydian Davies and the stalwart stylings of drummer Matt Thomas perfectly align on the band’s latest endeavor. From the atmospheric, Twin Peaks murk of ‘The Gift’ to the woozy rush of ‘Running Hands With the Night’, ‘Hitch’ is an album that fizzes with thrilling self assurance.
CD – Digipack.
2LP – 180 gram LP Set.


Limited Red Vinyl 7″. Manchester garage-poppers Spring King release ‘Rectifier’, a brand new single and the band’s first since signing to Island Records. Jumpy and fidgety as ever, it’s a track that sees the group up the ante on that early promise. Pairing shifty atmospherics with their frenetic pace, it’s a promising hint at their debut album.

Spring King – They’re Coming After You EP,  out? April 20th currently on tour as support with Courtney Barnett Manchester’s Spring King might feature a singing drummer but there’s nothing gimmicky about them. New EP ‘They’re Coming After You’ proves this with feral garage-rock excellence.

Photo: Daniel Topete/NME

Tipped by Kieran Shudall,from Circa Waves: “Spring King are a four piece based in Manchester. They make cool garage rock and they’re among the best new live bands in the country currently supporting Courtney Barnett on tour. So much energy! It’s like four people screaming down the microphone at once. Check out their track ‘Mumma’.


Their debut single, “Mumma”, oozes with energy, fuzz, memorable vocals and a killer chorus that gives promises of a packed, sweat-filled live performance. Not only is it danceable, but after one listen you can question January’s dreariness and attempt to push winter away and welcome the summer.




Liverpool Band Tarek Musa and his band Spring King,