Posts Tagged ‘UK’

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Following a recalibration and consolidation with their recent electronics-inflected album, 2018’s U.E.F., The Oscillation is back with their sixth and most ambitious album to date, Wasted Space. A meditation on the nature of existence in the face of what can be insurmountable odds, Wasted Space finds The Oscillation painting from the darker shades of the kaleidoscopic scale.

“The origins of Wasted Space go back to Monographic in 2016,” muses Demian Castellanos – the mastermind behind The Oscillation. “That was a very bleak and heavy record and I really needed to move out of that mindset. Making U.E.F freed me up to write a coherent collection of narrative songs and compositions. Wasted Space is a partial continuation of a journey started with U.E.F., but one that re-incorporates more song-based ideas again.”

What’s immediately apparent is that Wasted Space sets it stall well away from the prosaic third-eye tropes that have become orthodoxy. Album opener ‘Entity’ establishes the pace with a focus on the dancefloor as much as on the navigation of existence. Fusing muscular grooves with an industrial wall of sound, these are bold steps into wholly new territories. “There’s an irony at play here,” considers Castellanos. “It’s a twisted party song, albeit a party for one.” But what a party it is. The mutant disco is bolstered by the rhythmic call-and-response of ‘Drop’, a track that eschews conventional methods of dance sensibility for more instinctive and primal urges. This is music that calls out to the suitably attuned. “We’re reaching out on an innate level,” says Castellanos. “It’s a form of wordless communication that transcends the limitations of verbal language and thought processes.”

Wasted Space’s more somatic moments are tempered and balanced by episodes of contemplation and reflection. Fuelled by dreamy, orchestral sweeps and mournful, sustained notes, ‘The Human Shell’ is a deceptive yet redemptive piece that at first glance appears to be resigned to the futility of existence. But look once again and there you’ll find hope. “People will be able to relate to this song,” states Castellanos. “There’s a lot of love and empathy in there and it reaches out to say that we’re not alone, that we don’t have to exist independently of each other.”

Bringing Wasted Space to an emphatic conclusion is the epic instrumental ‘Luminous Being’. Ambitious in scope and delivery, it methodically and unequivocally slow releases repressed emotions to throw the wider world into sharper focus. Hedonistic yet reflective, Wasted Space is an album that moves purposely along a high wire as it finds the perfect balance between dealing with life and escaping it. The Oscillation’s finest album yet, Wasted Space is the area to which you’ll return to again and again. 
Wasted Space is due for release September 21st.
released September 21st, 2018
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Scream Thy Last Scream” is a song by Pink Floyd, written by frontman Syd Barrett and scheduled to be the band’s next single after “See Emily Play” , Its first official release was on The Early Years 1965-1972 box set in November 2016. The song features several changes in tempo, a sped-up double-tracked vocal part by Barrett, while drummer Nick Mason simultaneously sings the normal part (one of only 4 moments he ever sang on a Floyd record),a range of bells, crowd noises, an instrumental section that continually increases in speed featuring wah-wah guitar solos and keyboards, and surreal lyrics. Barrett is only clearly audible on one line in the song, “she’ll be scrubbing bubbles on all fours”

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“Scream Thy Last Scream’ has lead vocals by Nick Mason,” noted David Gilmour in 2002. “We did actually perform that one a few times in my very early years with Pink Floyd. I don’t know if they ‘Scream Thy Last Scream’ and ‘Vegetable Man’ were ever finally mixed.

  • Nick Mason – lead vocals, drums
  • Syd Barrett – guitar, sped-up double-tracked vocals, vocals (one line)
  • Richard Wright – keyboards
  • Roger Waters – bass guitar

Idles’ 2017 debut Brutalism proved to be a DIY breakthrough. The UK band’s intense, socially conscious yet frequently snarky first set spread quickly via word of mouth, on the strength of tracks like the powerful “Mother.” Their follow-up not only lives up to that outstanding debut but builds on it, expanding their sound while exploring topics ranging from the personal to the political. On the single “Danny Nedelko,” they shout-out a friend of the band in a pro-immigrant anthem, while “Colossus” is as imposing and intense as they’ve ever sounded, all with the promise of putting homophobes in coffins. Idles are the kind of band that can make heavy, loud sounds feel like a much-needed dose of comfort in troubled times, and Joy As An Act of Resistance has arrived just when we need it most.

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What do you do when your long term relationship grinds to a halt? If you’re lifelong friends Lily Rae and Alex Wisgard then you form Fightmilk. Coming together in 2015 as a heady mix of angst, alcohol and Kirtsy MacColl, the duo set about writing the songs that would soundtrack their break-ups and, reference It’s Always Sunny In Philadelphia wherever possible. Following two well received EP’s the band are set to take the full-length plunge in November, with the release of their debut album, Not With That Attitude.

Ahead of Not With That Attitude’s release, the band have this week shared their brand new single, Four Star Hotel. The track details how, towards the end of both their relationships, Lily and Alex had independently booked holidays to Amsterdam, which ended with the same conclusion, a holiday will never save a relationship. As Alex explains,“almost every line is based on one of our two true stories, from the shit-eating grins in the holiday photographs to having to push two twin beds together in a hotel room”.

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Their tales of sexless nights in swanky hotel rooms, fleeing from weed cafes and, “kissing for the camera”, are set to their usual blend of ferocious riffing, and pounding drum beats. With a sound equal parts Weezer and Diet Cig, and lyrics so acerbically comic that Art Brut would be proud of them, Fightmilk are bringing a fresh take on the oldest, angstiest subject known to songwriting, and it sounds wonderful.

10 songs about crushing hard, acting out, and running away to solve crimes in Sweden, available on GORGEOUS pink vinyl thanks to the good folks of Reckless Yes Records.

Hull’s garage-rock outfit, The Black Delta Movement come in an aggravated form on their newest single “Let The Rain Come.” Eloquently washed in distortion, high pulsated guitar screeches, and heavy drums, “Let The Rain Come” is a raw styling of rock with a small social punch. Frontman Matt Burr explains, “I never really get too political in songs because I think it’s boring, however ‘Let The Rain Come’ was more a jab at people who DO get political,” cuing the opening line from the track, “Vultures circling the road and they’re all just watching as we pick at the bones.” Propelling this into motion, the track’s visual counterpart is equally as satisfying as the track.

Directed by Matt J. Molson, the video’s usage of a continuous one-shot pulls a viewer right into motion. Focusing on a distressed man, with what we can assume is being chased by someone or something, the video heightens his anxiety at the touch of the political jabs, being haunted by a self-inflicted force. The high propelled delivery of the track pairs perfectly with the video, as “Let The Rain Come” simply becomes a favorite all across the board. Taken from their debut album, Preservation, due for release August 3rd via Clubbed Thumb (distributed via Non Delux/Cargo) and “Let The Rain Come” will also be released on 7” on July 27th, 2018.

Garage Rock & Roll outfit from Kingston-Upon-Hull, England. Est. 2010.

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Pigs Pigs Pigs Pigs Pigs Pigs Pigs – the Newcastle based maximalists whose riffs, raw power and rancour have blazed a trail across the darker quarters of the underground in the last five years, have made a second album in King Of Cowards which does its damnedest to take consciousness to its very limits.

Vocalist and synth player Matt Baty notes “In terms of how the theme came together I’d relate it to throwing paint at a canvas in a really physical and subconscious way, then stepping back to analyse it and seeing it all as one piece. It wasn’t until then that I saw there was this continual thread of sin and guilt in the lyrics throughout the album. For a long time I’ve questioned how and where guilt can be used as a form of oppression… When can guilt be converted into positive action? After typing all of the lyrics up I realised I’d unwittingly referenced every one of the seven deadly sins throughout the album. That’s the fire and brimstone Catholic teachings I picked up at school coming into play there!”

The period since Pigs’ Rocket Recordings 2017 debut Feed The Rats  a mighty tsunami of rancorous riffage and unholy abjection that wowed critics and wreckheads alike has seen the band build on their incendiary live reputation far and wide, from the sweatiest of UK fleapits to illustrious festivals like Roskilde. Perhaps the most relentlessly head-caving outfit of an alarmingly fertile scene operating in Newcastle at present, the band have all been busying themselves in a variety of activities, with Baty running Box Records (home of underground luminaries like Lower Slaughter, Casual Nun and Terminal Cheesecake) and both himself and bassist John-Michael Hedley playing in Richard Dawson’s band – indeed Dawson himself guests on King Of Cowards, both on synth and as part of a vocal ensemble on the opening “GNT” – moreover, guitarist Sam Grant has been working hard on a new incarnation of Blank Studios, which began its life with the recording of this very album.

This opus sees the band entering a new phase as a sleeker yet still more dangerous swineherd, with ex-Gnod and Queer’d Science drummer Chris Morley joining the ranks and a new approach being taken to its creation. The Iggy-esque drive to dementia, Sabbath-esque squalor and Motörhead-style dirt may still be present and correct yet the songs are leaner, the longdrawn-out riff-fests sharpened into addictive hammer blows and the nihilistic dirges of yore alchemically transformed into an uplifting and inviting barrage of hedonistic abandon.

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Against all odds, the writing of this record entailed encounters with actual pigs. “We hired a remote, converted barn in the Italian countryside and spent a week there writing the bulk of the album and trying to make friends with wild boar.” notes Adam Ian Sykes. “The results are shorter, more concise songs with, I guess, a little more focus, especially thematically. We wanted to shift slightly from our old jam-based way of working. In places, the album gets darker than Feed the Rats, especially lyrically but we also tried to get a fair amount of levity in there.”

“The creatures outside looked from pig to man, and from man to pig, and from pig to man again; but already it was impossible to say which was which.” So George Orwell noted at the end of a certain slim volume. King Of Cowards is nothing less than just such a metamorphosis, one in which – in a blur of primal urges and beastly physicality – this band shows us just which animalsare really in charge of the farm.

Releases September 28th, 2018
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Manchester trio Beach Skulls are back with their second album Las Dunas, the follow-up to the acclaimed debut album Slow Grind from 2016 which brought the band the attention of the likes of The Line of Best Fit, Clash, GoldFlakePaint and Under the Radar. Summery garage pop mixed with psych and dream pop influences, Las Dunas finds Beach Skulls refining and expanding their sonic palette, coupled with their strongest set of tracks yet.

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Ry Vieira – vocals, electric guitar, acoustic guitar (all tracks)
Jordan Finney – drums, percussion, backing vocals (all tracks)
Dan West – bass guitar, backing vocals (all tracks)
Lara Boundy – backing vocals (tracks 2, 6 and 10)
Lucy James – backing vocals (track 6)

Released June 1st, 2018

“All That Remains” is the fifth album by Walthamstow’s finest duo The Left Outsides since at least the halcyon days of Bevis Frond’s Inner Marshland.
Hard to pin down with any certitude, the music created by The Left Outsides varies from track to track and even moment to moment. Alison Cotton’s vocals, harmonium and viola blend with Mark Nicholas’s voice, bass, guitar, piano and drums in ways that recall everything from Kendra Smith and David Roback’s drony duo, Opal (on “Down to the Waterside”), to PJ Harvey covering an old Blondie tune as a dirge (on “Naming Shadows Was Your Existence”).
But the basic pulse of All That Remains most often reminds me of either current work by Massachusetts’ estimable Damon and Naomi, or the sound of Pearls Before Swine around the time of their third LP, These Things Two. Like those combos, The Left Outsides manage to swap and mix male and female vocals without altering the elegiac dream-heft of their overall sound. They do this while maintaining a vibe that feels indebted to the mists of wood and dale far more than the bustle of London. 

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And the instrumental arrangements are never too far from the light touch of the folk-rock classicism perfected in the UK and Holland as the ’60s slid into the ’70s. Most of the sounds seem more like meditations upon this period than any attempt at recreation, however, which also aligns the band with certain threads that emerged in the ’80s uk psych underground just before raves took over.
All of which makes this a beautiful and outstanding record, and one that especially rewards the deep concentration of what is euphemistically called “late night listening.” It’s a very special spin. 

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Teenage sensations Girl Ray draw heavy influence from the classic indie era of C86 and bring all that lofi goodness bang up to date. The North London indie trio specialising in wan, winsome heartache have ambitions to rival the song writing greats. Having just released their first LP , they now headline their shows giving you the chance to hear the new material live. Catch them live .

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This last summer saw the release of their debut album Earl Grey. Released through cult indie label Moshi Moshi, it is receiving widespread critical acclaim and is becoming the underground album of the year.

The idea that actual teenagers made an album this sharp and sophisticated and interesting is the kind of thing that should make the rest of us feel bad. – Stereogum

Girl Ray tickets

New song ‘Lord Luck’ taken from forthcoming E.P ‘Suggestive Listening’:

Ulrika Spacek have always been strong believers in a long play format when it comes to making records, but for this new release they decided it was time to explore the ‘extended play’ format. The Suggestive Listening EP will be released on April 21st as part of this year’s Record Store Day.

The band started working on the new record in January 2017, “in that empty space when you’re waiting for your last record to come out”. Recording began at KEN, their shared house – a former art gallery so named because of a cryptic inscription found above the front door. Not just a studio and home, KEN is essentially the band’s hub, a space in which the surrounding ephemera of videos, artwork and even band photos are all created. After this, work for the EP moved to France where the band explored recording live for the first time and here the band worked with now-full-time member, Syd Kemp.

In an act of self-awareness, Ulrika Spacek chose to make something that killed the ‘three-part interweaving guitar’ characteristic that partly defined Modern English Decoration. The intention was to deconstruct the standard three guitar, bass and drums line-up used on the first two albums, aiming to strip back the overall sound whilst simultaneously bringing certain elements to the foreground. Very few guitar effects pedals are present on the record, and a different computer was deliberately used in order to steer away from the plug-ins employed on previous albums.

Lyrically this release came out of a time of common late 20’s existentialism, a time of huge self doubt and questioning in many aspects of our lives”. In contrast to the generally veiled form of lyrical expression on the band’s first two records, Suggestive Listening displays an interest in ‘literalism’, “In a time where we were struggling to find clarity we wanted our music to express the opposite”. This is also reflected in the choice of artwork for the release, which not only bears the record’s lyrics, but also song lengths and the very definition of an E.P itself. Additionally, fans may note that there are two different coloured front covers, one pink, one blue, each limited to 500 copies.

This change in approach was foreshadowed around the release of Modern English Decoration, when they claimed that, “We won’t return to this sound again. Though as fanatical fans of music, we feel the beauty lies in how these different offshoots go on to inform our future records”. As such, Suggestive Listening, might be continued an evolution more than a wholesale shift in focus.

In preperation of its release, Oysterland, a night curated by Ulrika Spacek, will take place the night before at Doomed Gallery in London. The E.P will be played back-to-back in exhibit form, with the layers of instrumentation played on separate speakers. Audience members are invited to make their way around the gallery allowing a personal and unique listening experience. Speakers will be positioned inwards so that audience members can either walk through the musical layers of the E.P or position themselves in the middle of the room where all parts come together.

Released 21/04/18 via Tough Love Records as part of Record Store Day 2018. Available from all good record shops. Please note: there are two versions of the record sleeve, one blue, one pink, each limited to 500 copies.

‘Suggestive Listening’ will be played back-to-back in exhibit form the night before release at Doomed Gallery Dalston. Layers of instrumentation will be played on separate speakers. Audience members are invited to make their way around the gallery allowing a personal and unique listening experience

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Tracklist,

A1 No. 1 Hum
A2 Black Mould
B1 Freudian Slip
B2 Lord Luck
B3 Wave to Paulo, he’s not there

Also available digitally:
Bandcamp: https://goo.gl/BzReB4

Upcoming Live Dates:
25th April – Corsica Studios, London,
10th May – Psych over 9000, Gent, BE
11th May – Eden, Charleroi, BE
12th May – Le Beau Festival, Paris, FR
19th May – Kulturclub Schon Schön, Mainz, DE
20th May – Volksbühne Berlin, DE (with Cavern of Anti-Matter)
12/14 Oct – Desert Daze Festival, CA