Posts Tagged ‘UK’

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

The Left Outsides are: Mark Nicholas and Alison Cotton, a husband and wife duo based in London, England whose atmospherichypnotic songs echo Nico’s icy European folk, pastoral psychedelia and chilly English fields at dawn. 

“We’ve probably run out of superlatives with which to shower on wife/husband duo Alison Cotton (viola and voice) and Mark Nicholas (guitar and vocals) . Such is the siren-like allure of this their fifth album (their second on Cardinal Fuzz and which gets a US release courtesy of old ‘Scope mate Byron Coley’s Feeding Tube imprint), though, that we just can’t resist trying to do  it something approaching justice without, hopefully, resorting to too many tired clichés of our own making……..It has a foot in the past and gives a nod to the present, while the Left Outsides have their eye firmly fixed to the future. Nothing here outstays its welcome. Long may it, and they, run”.

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“‘All That Remains’ is the fifth album by The Left Outsides and it is one of those albums which merits full album, in the correct order of songs headphone listening.  The classic way, so to speak. Because that is what this albums encapsulates: ….. “All That Remains” is a classical folk album that is inspired by its creators and imprinted with their unmistakable musical trademark”

False Advertising present ‘Belligerent’, a new album collating tracks the band has recorded over the last two years. Due for exclusive release this April  via 2670records.

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Band Members
Jen Hingley, Chris Warr, Josh Sellers

ISLAND are an Alternative guitar band from London. Their music is arena ready, both explosive and atmospheric with gigantic hooks emotionally build with ambient blues and immersive catchy song-writing

Recorded all in one room in just two weeks with sparing use of overdubs and no click track, London-based Island’s debut album is a sonic document that’s all about feel, all about capturing four musicians at their most unprocessed and uninhibited. A combination of influences ranging from trad-folk to high-octane punk rock and encompassing everything in-between, “Feels Like Air”, with its hook-filled anthemic choruses and inventive drumming simultaneously deploys Island’s rolling melancholy and bottles the lightening of the group’s imperious live shows.

Forming as teenagers when frontman Rollo Doherty’s acoustic bedroom project was treated to the boisterous backing of guitarist Jack Raeder, bassist James Wolfe and drummer Toby Richards in a dingy windowless practice room where they began to painstakingly shape a sound which combined darkly twisting instrumental with a sweetly melodic song-writing nous that belied their age.

Now signed to New York tastemaker label Frenchkiss Records, the band are gearing up to release their hotly anticipated debut album, due April 6th 2018 and entitled ‘Feels Like Air’.

In keeping to their DIY approach to making music, ‘Feels Like Air’ was written and produced entirely by the band and includes all new music. Drawing on influences from their shared love of artists like Fleetwood Mac, Kings of Leon, War On Drugs and Grizzly Bear,
their debut offering, with its hook-filled anthemic choruses and inventive drumming, is a body of work two years in the making.

The eleven-track album progresses through a range of emotions, experimenting with the down-tempo and cinematic and includes their singles ‘Try’, ‘The Day I Die’, ‘Ride’ and ‘Horizon’.

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The band’s live show is fearsomely tight and effervescently energetic through years of playing together week in, week out since their youth. Be sure to catch ISLAND touring Europe and North America in 2018.

“They are very very special, this band” – Huw Stephens BBC Radio 1
“One of the most exciting bands at the moment.” – Wonderland

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Our new album, Stains on Silence, is now available to pre-order on limited edition ultra clear vinyl, and comes with a different colour sleeve and poster. Only 200 copies.

It stands to reason that many vital albums come critically close to never being made. The eight-track upshot of doubt, upheaval and financial strain, Stains on Silence by Girls Names is one such release.
Following 2015’s blitzing Arms Around a Vision, and the parting of drummer Gib Cassidy just over a year later, the Belfast band suddenly found themselves facing down a looming void. “There was a finished – and then aborted  mix of the album, which was shelved for six months,” reveals Girls Names frontman Cathal Cully. “We then took a break from all music and went back to full-time work. We chilled out from the stress of rushing the record and not being happy with it, as well as being skint with no impending touring on the cards and constantly having to worry about rent.” 

The stumbling blocks that proved a strain became the album’s defining breakthrough. Recorded in various locations including Belfast’s Start Together Studio with Ben McAuley, Cully’s home and the band’s practice space, spontaneous creation, cut-up techniques and self-editing took centre-stage for the first time. “We started tearing the material apart and rebuilding, re-editing and re-recording different parts in my home in early Autumn last year,” says Cully. “When we got them to a place we were happier with we went back into Start Together Studio with Ben to finalise the mixes to what they are now.”

Where AAAV proved a brazen statement of intent, Stains on Silence bounds forth as its feature-length comedown. What could have seen the band buckle became an opportunity for approaching things tabula rasa. During its two-year transmutation, Cully, bassist Claire Miskimmin and guitarist Philip Quinn had a single aim for their fourth album: to make an old-fashioned record clocking in around 30 to 35 minutes in length that made the listener reach straight for repeat. From the Bang Bang bar-summoning swoon of opener ’25’ and the submerged disco doom of ‘Haus Proud’ to the rapt, dub-leaning ‘Fragments of a Portrait’, Girls Names have excelled in their goal by forging an LP of synchronous nuance and defiance. 

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Marked by the presence of drum machines and programming throughout, these eight masterfully-woven tales are once again commandeered by band founder Cully, whose words, understated yet defiant, mine purpose and meaning from the mire (“I want to bathe again, I want to swim again / In a pool of twisting bodies, blackened gold.” — ‘25’). But while Stains on Silence came critically close to never being made, having lived with it, reconfigured it, and guided its metamorphosis from flickers of inspiration and half-formed schemes, it’s both a statement of pure perseverance, and a head-on confrontation with ambivalence that couldn’t be more assured. 

Releases May 4th, 2018