Posts Tagged ‘The Blinders’

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Inspired by a painting in the Imperial War Museum, The Blinders have shared their new single and video, “Mule Track”, the latest to be taken from their upcoming album Fantasies Of A Stay At Home Psychopath, out on 17th July via Modern Sky UK.

A brooding blend of driving guitars and distorted vocals, the track weaves between explosive crescendos of volatile intensity and woozy passages which plunge into a dark and ethereal ambience, before igniting once again with blistering intent.

The darkly surreal video matches the raw, frenetic energy of the song perfectly.

The Blinders announced their new album, “Fantasies Of A Stay At Home Psychopath”, A dark blues-waltz underpinned by propulsive bass and evocatively prosaic lyricism, the track straddles the lines between ode and lament while addressing life’s confusing crossroads. The track is accompanied by an arresting video, which cuts between the band performing and wandering the atmospherically bleak landscape.

The Album will be the follow-up to their critically acclaimed debut album, “Columbia”, released in 2018, the album explores existential despair, mental health and society’s ills in a time of planetary crisis, and is both a riposte to, and commentary on, the rise of populist ideology. Delivering a blistering collection of powerful tracks, “Fantasies Of A Stay At Home Psychopath” is imbued with the visceral energy of IDLES, the twisted melodies of solo-era Lennon and the darkness of the Bad Seeds.

Taken from the album ‘Fantasies Of A Stay At Home Psychopath’. Out July 17th 2020.

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The Blinders release their new album, “Fantasies Of A Stay At Home Psychopath”, via Modern Sky UK. A dark blues-waltz underpinned by propulsive bass and evocatively prosaic lyricism, the track straddles the lines between ode and lament while addressing life’s confusing crossroads. The track is accompanied by an arresting video, which cuts between the band performing and wandering the atmospherically bleak landscape of the Peak District.

Fantasies Of A Stay At Home Psychopath, was recorded at Manchester’s Eve Studios alongside producer Rob Ellis (PJ Harvey, Anna Calvi), and mixed by Adrian Bushby (Foo Fighters, Muse).

The follow-up to their critically acclaimed debut album, Columbia, released in 2018, the album explores existential despair, mental health and society’s ills in a time of planetary crisis, and is both a riposte to, and commentary on, the rise of populist ideology. Delivering a blistering collection of powerful tracks, Fantasies Of A Stay At Home Psychopath is imbued with the visceral energy of IDLES, the twisted melodies of solo-era Lennon and the darkness of the Bad Seeds.

In the shadow of Brexit and the climate crisis, The Blinders return with their unique brand of outspoken anthemicism and a sensational album to rouse awareness and inject vital energy into a bleak 2020. Combined with their blistering live energy, get ready for The Blinders to accelerate furiously into the limelight.

Due to the ongoing Covid-19 crisis, we have had to take the decision to postpone the album release date. ‘Fantasies of a Stay at Home Psychopath’ will now be released on July 17th.

The global pandemic has meant that, logistically, we cannot currently guarantee the release of the album in May. We also hope that the album will now be released at a time when it can fully be enjoyed and celebrated by everyone in the way we all hoped.

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The Blinders unleash their brand new track, ‘Lunatic (With A Loaded Gun’), lifted from their upcoming full-length ‘Fantasies Of A Stay At Home Psychopath’, which is now scheduled to be released on July 17th via Modern Sky UK.

The fiery anthem of defiance addresses the ascendance of the likes of Donald Trump, who are out to destroy the world for profit, and the guilt of the complicit societies that vote for them.
“’Lunatic (With A Loaded Gun)’ is a song that was written as a consequence of the USA’s separation policy and the resulting images of children being placed in cages separate from their families,” the trio comment.
“It is perhaps one of the more literal songs we’ve ever produced where we allowed ourselves to take the images directly from the evening news and put them straight into the song. It is, however, not just an expression of anger at the policy, the complete collapse in morality that it represents or the administration that implemented it, but is also meant to spark a question of personal responsibility – questioning whether we can do more as individuals to prevent such abuses of power and humanity.”

Taken from the album ‘Fantasies Of A Stay At Home Psychopath’. Out 17th July 2020.

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Just announced! The Blinders return with their second album, “Fantasies Of A Stay At Home Psychopath, due May! Pleased to announce we have this super limited Dinked Edition pressed on deep red vinyl, with a signed and numbered print, limited to only 500.

The Blinders have announced their new album, Fantasies Of A Stay At Home Psychopath, will be out on May 8th via Modern Sky UK. The band have also shared ‘Circle Song’, the first single to be taken from the album, as well as a run of live dates throughout May. In the shadow of Brexit and the climate crisis, The Blinders return with their unique brand of outspoken anthemicism and a sensational album to rouse awareness and inject vital energy into a bleak 2020. Combined with their blistering live energy, get ready for The Blinders to accelerate furiously into the limelight.

A dark blues-waltz underpinned by propulsive bass and evocatively prosaic lyricism, the track straddles the lines between ode and lament while addressing life’s confusing crossroads. The track is accompanied by an arresting video, which cuts between the band performing and wandering the atmospherically bleak landscape of the Peak District.

The track is the first to be taken from their album which was recorded at Manchester’s Eve Studios alongside producer Rob Ellis (PJ Harvey, Anna Calvi), and mixed by Adrian Bushby (Foo Fighters, Muse). The follow-up to their critically acclaimed debut album, Columbiareleased in 2018, the album explores existential despair, mental health and society’s ills in a time of planetary crisis, and is both a riposte to, and commentary on, the rise of populist ideology. Delivering a blistering collection of powerful tracks, Fantasies Of A Stay At Home Psychopath is imbued with the visceral energy of IDLES, the twisted melodies of solo-era Lennon and the darkness of the Bad Seeds.

Following the album’s release, the band will head out on a run of intimate dates, with shows in Edinburgh, Hull, London and Southampton, between slots at festivals including Live At Leeds, Sound City, Hit The North and Sonic Wave, with much more to be announced.

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Nasty Man Creations presents The Blinders Columbia. Doncaster bred and Manchester based, The Blinders are Thomas Haywood (guitar, vocals, word), Charlie McGough (bass guitar), Matthew Neale (drums, backing vocals). Influenced as much by the daily news as music, their impact, even at this early stage, cannot be over stated. The trio met at school and were originally inspired by local heroes Arctic Monkeys, though for Columbia, which was produced by Gavin Monaghan at Magic Garden Studios in Wolverhampton, they draw on influences as diverse as The Smiths, Nick Cave and The Bad Seeds and Kanye West. Columbia is bracingly thrilling debut which firmly places The Blinders at the vanguard of a new generation of politically engaged British guitar bands. Loosely based around the concept of Columbia as “an alternate world informed by reality”, on the album The Blinders display a ferocious intelligence, as influenced by history, literature and art as they are by Britain’s current political and economic woes.

Thomas sat down for an acoustic rendition of I Can’t Breathe Blues featured on our forthcoming LP.

Brave New World (acoustic)

Thomas sat down for an acoustic rendition of Rat In A Cage featured on our forthcoming LP.

The Blinders released their highly-anticipated debut album, Columbia, earlier this year via Modern Sky. Originally from Doncaster, this now Manchester-based trio takes lyrical inspiration from dystopian science fiction, beat poets, modern-day political turmoil and societal outcasts while echoing the doomy musical mannerisms of Nick Cave and the sinister desert rock of Humbug-era Arctic Monkeys. One of their earliest tracks “ICB Blues” commemorates the brutal killing of Eric Garner by police while “Brave New World” pays homage to the Huxley novel of the same name and pokes fun at Trump’s ludicrous border-wall proposal. Frontman Tom Heywood’s clever, offbeat growls position him as prophetic town crier while vigorous guitars circle around him like a pack of hungry wolves. Columbia is what you get when a young rock band grows up on Bob Dylan, but decides to make something saltier and with an added pinch of danger.

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Escape these end times. Free yourself from mind control. Prepare to celebrate the new world order. ‘Columbia’, the debut album by The Blinders, is ready. Nominally, it’s the work of three young men living in Manchester by way of Doncaster. Spiritually, ‘Columbia’ is the beacon to show a better, freer life. Past cult leaders have promised spiritual awakening, true. But the way of The Blinders is more benign and relies only on possessing open ears to gain enlightenment.

You may well have already heard them on Radio 1, Radio X or 6 Music, who playlisted recent single ‘L’Etat C’est Moi.’ You may have seen The Blinders supporting Idles, The Charlatans or Cabbage, or at festivals including Reading And Leeds, Isle Of Wight, Kendall Calling, TRNSMT, Festival No 6 and Neighbourhood Weekender, where they drew a huge crowd to their headline slot at the new bands stage. They’re impossible to miss live, where singer/guitarist Thomas Haywood dons warpaint to assume the fearless persona of Johnny Dream, whose tribal gaze adorns the sleeve of ‘Columbia.’ “Once the warpaint is on, we become monsters, thunder riders,” says Haywood of his alter-ego. “As Johnny Dream, I can totally lose myself in the music and become a shamanic Jim Morrison character. We can do anything, be anyone.”

That shamanic, compelling mood is captured perfectly in ‘Columbia’. Ably produced by Gavin Monaghan (Editors, The Sherlocks, Goldblade), the album sees childhood friends Haywood, bassist/co-writer Charlie McGough and drummer Matt Neale follow Johnny Dream on his spiritual awakening, from the coruscating swagger of the opening ‘Gotta Get Through’ to the raw, beautiful and ultimately redemptive finale ‘Orbit (Salmon Of Alaska)’. Inspired as much by literary touchstones such as George Orwell and Jack Kerouac as much as Nick Cave, Kanye West and The Wytches, ‘Columbia’ is often as dark as you’d expect from an album named after the utopia Charles Manson promised his Family. But, as Haywood notes: “We didn’t want the album to be totally negative. We’re holding a mirror up to society, and there is good in society, so it was absolutely important to end on the optimism of Rat In A Cage and Orbit.”

The latter song was recorded after a schoolfriend of the trio committed suicide. “We’d been struggling to get the song right and were on the verge of abandoning it,” Haywood recalls. “But we read over the lyrics after what happened to our friend and realised we had to get it down. The vocals are one-take.”

Having grown up in Doncaster, The Blinders moved to Manchester to go to University Of Manchester after their A-Levels, though Haywood and Neale soon dropped out to leave McGough to complete his degree in politics and history this spring. “We’d been in bands before, but we’d only just started The Blinders when we finished sixth form,” the bassist recalls. “We felt there was something there, and Manchester was the perfect next step to live a more creative lifestyle. I don’t think it matters where we’re from, ultimately. We say we’re from Doncaster and we love the place, but the community spirit among bands in Manchester who’ve helped us out has been a godsend to us.”

McGough speaks fondly of university giving him both structure when The Blinders aren’t on tour, and of bringing fresh ideas to bring to his songwriting – he studied the Spanish Civil War as part of his degree, with Orwell’s writing a recurring influence on Columbia, not least the eerie campfire feel of ‘Ballad Of Winston Smith’. (“A song you could sing after the apocalypse,” notes Haywood.)

The album contains a reworked version of 2016 debut single ‘I Can’t Breathe Blues’, but daringly leaves off ‘Swine’, the appropriately infectious single which had critics raving. Early Blinders songs were inspired by specific outrages, with ‘I Can’t Breathe Blues’ written after the chilling recording of police brutality victim Eric Garner in New York was made public. The trio’s writing has since become broader in scope, without losing that feeling of rage. “We didn’t know when we started that there’d be such a theme to our songs,” admits McGough. “It was fascinating seeing that narrative come together once we’d recorded the album, realising that even early on in our songs we were expressing that yearning and that hope.”

McGough and Haywood share songwriting duties, with the latter noting: “If you listen closely, you can tell which songs are mine and which are Charlie’s. His songs are more poetic, while I’m always trying to slip a chorus in, but lyrically I’m more ambiguous and Charlie is straight to the point. The credits just list them as being written by the three of us: that equality is the philosophy we preach, and it was important to put that into practice in our own small way.”

Drily witty drummer Neale adds: “With two writers, you’re not defaulting to one vision. And it helps that we’re a trio, because if there are any arguments, it’s going to be two against one. So we’re always a democracy. The fact we’re so loud as a three-piece on stage? That’s partly down to the secret of reverb. But as a trio, you can’t have any unnecessary elements. If you take any one element out, it all collapses.”

Although there’s a timeless power to The Blinders’ songs, the trio are keenly aware of needing to express the malaise at the heart of Western society. “We try to write about the times we’re in, and we try to write daily,” says McGough. “We’re always going to want to get our songs out to the world as soon as possible, so that the events we’re inspired by aren’t out of date. Then again, the nature of social media and 24-hour news channels means the news cycle moves impossibly quickly.” That’s a frustration expressed in ‘Ballad Of Winston Smith’, where Haywood sings: ‘Forgotten stories on the news, a week or so and it’s adieu.’ “It’s one of the reasons we’ve moved slightly away from specific issues,” McGough nods. “We want justice in general, not just for specific topics.”

That sense of injustice is there in the title of ‘Columbia’, drawn from The Blinders’ fascination with cult leaders. Haywood explains: “The rise of populism here and in America means you can draw a line from Trump to Mussolini to Stalin, then through to cult leaders like Jim Jones and Charles Manson. Also, we’re a fan of one-word album titles, like ‘Humbug’ by Arctic Monkeys. One word can strike you, and you can draw so much from it.”

‘Columbia’ was recorded in a month at Gavin Monaghan’s studio Magic Garden in Wolverhampton, with Haywood enthusing: “Beautiful moments happen all the time with Gavin. He takes our ideas and makes them even more epic.” McGough continues: “We’re so hungry, we didn’t need anyone pushing us further than we push ourselves. Gavin was that calming influence on us that we needed.”

‘Columbia’ moves from the brutal brevity of ‘Free The Slave’ and ‘Et Tu’ to the seven-minute sprawling epic ‘Brutus’. “’Free The Slave’ and ‘Et Tu’ are short, sharp shocks,” says Haywood. “They say what they need to.” As for ‘Brutus’, Neale admits its initial inspiration is a mystery to the band too. “That song has changed so much, even we’ve no idea where it came from,” the drummer laughs. “Some of our older songs, we feel like we’re covering them when we play them. It’s the centrepiece of our shows, so it was important to get it right in the studio. It could have gone on for 25 minutes, let alone seven, but as with the other songs, it only says what it needs to say.” McGough admits ‘Brutus’ psychedelic atmosphere was initially tough to capture. “We’d just come off tour when we recorded it,” he recalls. “We went at ‘Brutus’ far too fast, and it sounded awful. The key to getting it right was slowing it down just enough.”

‘Columbia’ also features the powerful ‘Brave New World’, familiar from its use in a William Hill TV advert. “We thought about doing it for a long time and we were initially sceptical,” says Haywood. Adds Neale: “Ultimately, there are few quicker ways of getting your message out there than in a huge TV campaign. You can’t just preach to the converted and get your message out there to people who already support you. You need to reach out to people. That said, it’s a nightmare when the ad comes on when we’re back in Doncaster watching football with our mates. You have to go for a long piss during the ad breaks to avoid your mates ripping it out of you.”

It’s that feeling of being mates, united against the world, that helps the essentially hopeful message of The Blinders and ‘Columbia’. There’s a powerful gang mentality in danger of vanishing in an increasingly gentrified music society, but an elixir which The Blinders possess in abundance. They talk of wanting to move quickly in music, babbling excitedly about new songs they’ve written already since Columbia was recorded. “We’re very certain we’ll be even more ambitious, lyrically and musically,” vows Haywood.

For now, the next chapter will have to wait. Dive into ‘Columbia’. A tangible utopia awaits.

The Blinders live + signing

Wednesday, 26th September 2018  Rough Trade Nottingham

Doors 4:30pm
On-stage 5:30pm
Signing after show

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The Blinders lead the charge, with the band moving to Manchester to pursue their carnage-laden assault in the moribund state of popular culture. ‘Brave New World’ is another anthemic single from the band as it packs a punch with its powerful punk sound leaving you ready for more.

The Blinders have released the video for their new single ‘Brave New World’.  Out now via Rock Art Records, the single comes ahead of the band’s summer festival slots including TRNSMT, Blackthorn Festival and Kendal Calling Festival.

Speaking of their new video, the band said: “You won’t find us in it, because we feel like we don’t need to be.The film focuses on the cult leaders of mindless nations, mass slaughter and exploitation, and the desolation of the world… not the mental self-fornication of three boys in a band.”

The taste-makers at This Feeling have long been entranced by the band’s fetid charms and by their outlandish live shows and pointed political statements. With each member still in their teens, The Blinders are the voice of youth: raw, untutored, and telling it like it is.

The Blinders 
Thomas (vox, guitar), Charlie (bass), Matt (drums).

 

 

The Blinders

The latest single from The Blinders, now available on all major distribution platforms.

The Blinders, Manchester-based three-piece formerly of Doncaster, are arguably one of the most vital of the current crop of emerging new artists, combining visceral political punk rock with enigmatic, psychedelic rawness and poetic overtones.
The band’s three members – Thomas Haywood (vocals/guitar), Charlie McGough (bass), Matt Neale (drums/percussion)
For a band who’s cracked such a wicked song as ‘Swine’, and the ‘Hidden Horror Dance’ EP

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The EP for the band was something brand new and we’d never tried a sound like that before. Everything before that was very middle of the road. We felt like it wasn’t getting anywhere, we enjoyed playing it, but it wasn’t getting anywhere. Then we listened to a band called The Wytches, plus got into ‘Humbug’ by Arctic Monkeys, and then through there we developed a sound from that.  Me and Charlie got dead into politics at school and through that, it came into the music, you know? You write about what you know. From there, we had the EP and especially the single ‘Swine.’ That’s a sort of manifestation of all of that put together. That’s our proudest work.

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The Blinders are raging, angry, hell bent driven on a mission to to stamp their punkadelic politicised soul onto mainstream consciousness. The band attempts to be in your face at all times, smelting loud and visceral political punk rock with enigmatic, psychedelic poetry and tones.

Their diverse, unique combination of raw music creates the ‘Punkadelic’ sound which forces the trio to give everything they’ve got in their frenzied performances, leaving only blood-stained instruments behind. One of the most exciting new bands to emerge try and catch them live in 2017. Following up their ‘Hidden Horror Dance’ EP from earlier this year, the trio – Thomas Haywood (vocals/guitar), Charlie McGough (bass), Matt Neale (drums/ percussion) – worked with renowned’ producer Gavin Monaghan at his Magic Garden Studio in Wolverhampton on ‘Swine’. Imbued with a ferocious, visceral punk rock energy that is as in-your-face as you could get, the track is dealt a further winning hand by a liberal dose of Yorkshire swagger by Haywood

Fellow 2017 ones to watch Cabbage recently tweeted about The Blinders: “this band should be championed by all. UP THE BLINDERS. Spectacular”, which is a pretty singing and dancing endorsement.

Originally from Doncaster but now calling Manchester home, The Blinders stomp like late stage Arctic Monkeys  a sound they quite accurately call ‘punkadelic’ with oodles of Link Wray rumble thrown in. They’re as unapologetically brutal and honest as Cabbage in their charged lyrics, and as they even admit in their official biog, they’re earning something of a reputation for “frenzied performances, leaving only blood-stained instruments behind”.

If that doesn’t get you out of the house, nothing will check their tour dates here.

The Blinders are a three-piece alternative group from Doncaster who are now based in Manchester.

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