Posts Tagged ‘UK’

An explosive electropop collaboration between two of our new favourite bands – the Saint Agnes remix of CLT DRP‘s ‘I Always Like Your Mother Better’. The release heralds the announcement of an exciting remix edition of CLT DRP’s album Without the Eyes, due to release 13th November.

Here’s what the bands had to say about each other , CLT DRP supported us at a show on tour and blew us away. Kitty and I couldn’t wait to get our hands on the music and remix it.

Saint Agnes: We knew early on that we wanted do a remix version of this album. With our sound edging in to that electronic territory it seemed like the natural thing to do. At the start of this project, if you showed us the list of bands that all came together in the end to do remixes for this album; we would have been pinching ourselves. We’re blown away with all the artists input and really excited for everyone to hear our debut album reworked.

CLT DRP: Both bands are sparkling hot stars of Brighton’s Small Pond Recordings – a Brighton indie label serving up some very tasty fish right now (see also LibraLibra and Bitch Falcon)

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Releases November 13th, 2020

There are 1,271 words on this record but it’s hard to find the right ones to send it into the world with. I’ve been waiting for this day to come for a long time and it feels surreal to say that “Breach” is yours now — I hope it gives you something. it’s given me a lot. Isolation is nothing new for Fenne Lily – in fact, she’s written an album of songs all about it. “It’s kind of like writing a letter, and leaving it in a book that you know you’ll get out when you’re sad – like a message to yourself in the future,” she says, referring to Breach, her Dead Oceans debut she wrote during a period of self-enforced isolation pre-COVID. It’s an expansive, diaristic, frequently sardonic record that deals with the mess and the catharsis of entering your 20s and finding peace while being alone.

Fenne was born in London and moved to Dorset as a toddler, where she grew up in the picturesque English countryside. She was a “free range kid,” as she calls it, after her parents took her out of school for a period at the age of seven. Over the following year, they taught her while the family travelled Europe in a live-in bus. Even after she returned to traditional school at 9, her home education never ended, extending to music. Her mother gifted Fenne with her old record collection, through which she discovered her love for T-Rex and the Velvet Underground and Nico.

Soon after she fell for the strange genius of PJ Harvey and came to worship Nick Drake, Joni Mitchell, and the richly crafted worlds of Feist, which inspired Fenne to pick up a guitar. It’s that journey to find peace inside herself that underpins the whole of Fenne’s second album. Its title, Breach, occurred to Fenne after deep conversations with her mum about her birth, during which she was breech, or upside down in the womb. The slippery double-sidedness of the word – which, spelled with an “A”, means to “break through” – drew her in. “That feels like what I was doing in this record; I was breaking through a wall that I built for myself, keeping myself safe, and dealing with the downside of feeling lonely and alone. I realized that I am comfortable in myself, and I don’t need to fixate on relationships to make myself feel like I have something to talk about. I felt like I broke through a mental barrier in that respect.” Even though it also carries implications of awkwardness, rebellion, and breakage, it’s a widereaching word, representing new beginnings and birth.

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Breach is out on Dead Oceans
thank you to everyone who worked on this with me,

Released September 18th, 2020

TRAAMS have always wrestled with category. Part motorik drum beats, part discordant guitars, pop melodies and hypnotic bass lines. All are present here. With a collection of three new tracks they have expanded further. Collaborating with friends and new instrumentation, each track is different from the last. But all sound like the inimitable TRAAMS.
Written and recorded over a brief hiatus, ‘The Greyhound’, a near ten minute kaleidoscope of sounds, sees the band expanding further than ever. Recorded in Brighton with Theo Verney, and featuring Lewis Evans (Black Country, New Road) on Saxophone, the track builds from the offset into a hypnotic, driving, post rock blow out. Themes of repetition, life cycles, pursuing ones path, growth & education, fulfillment and closure.

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Released August 11th, 2020

Initially I just wanted to record a version of Brooklyn Gurls after it being requested a lot during my livestreams b/c a definitive version didn’t exist. So it’s a new version of the song, it’s called Brooklyn Gurls. though technically, it’s old. it was one of the first ‘Francis Lung’ songs – it’s debut was live on BBC Radio 1 during a somewhat infamous session WU LYF did for Huw Stephens in 2011. We were so rude and disrespectful to Huw during our interview and I still feel bad about it. We didn’t really mention that it was a Francis Lung song so this live version of it has existed on Youtube as a WU LYF song since then. During lockdown I played some streaming ‘concerts’ and people started requesting it, which inspired me to record a definitive version of it, which in turn inspired me to record some of the other songs played during the ‘concerts’ in this stripped back way. ‘Songs From A Living Room’ is a sort of memento of this bizarre, singular moment in our lifetime When I’d finished I asked fans on Instagram which other songs/versions they’d enjoyed and I half listened/half did what I wanted and thusly the track listing was born. I hadn’t recorded anything completely alone at home since my Vol I EP (2015) so I wanted to dust off my engineering chops. It was recorded on a Yamaha MT8X Cassette 8 track & Logic, and features vinyl samples of various classical records (which may or may not be in the public domain), and I also stole an intro from a punk compilation featuring my English teacher’s old band.

There are mellow versions of Up & Down & Unnecessary Love from A Dream Is U for sad people who hate drums, an electric cover of J Mascis’ acoustic guitar bummer ‘Several Shades of Why’, completely undanceable versions of Dance 4 Sorrow & A Selfish Man and a bluegrass cover of Paul Westerbergs ‘Androgynous’ dedicated to every non-binary kid out there struggling, growing up in a world that doesn’t want them to have rights. I guess that for better or worse, this is a pivotal time and I wanted to put out a record that was a snapshot of this moment, like a piece of wedding cake that sits in the freezer for 30 years and ends up lasting longer than your marriage.

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Released August 27th, 2020

Crake are an alt-folk four piece from the city of Leeds in northern England who write melodic and (sometimes) hopeful songs about flora, fauna, anxiety and the tough stuff. Formed on the cusp of 2016/17 after a New Year’s Eve pact, Crake spent their first couple of years playing locally with loose-line-up changes, self-releasing two EPs – 2017’s By the Slimemould and 2018’s The Politics of Lonely.

Led by singer/guitarist Rowan Sandle, Crake blend shimmering alt-folk and indie-rock, featuring an increasing density of guitars, tape-loops and synth blankets. Their songs provide a more sonically reassuring but equally intimate bed for Sandle’s poetic lyrics.

In late 2018 the band supported Big Thief’s Buck Meek on the Leeds date of his solo tour, impressing the guitarist so much that he invited them along for Big Thief’s forthcoming tour across the UK and Europe. Those three weeks spent travelling and playing with their musical heroes saw Crake go from a small, beloved act who’d barely left their hometown, to finding themselves with a legitimate fanbase of their own. Their third 3-track EP Dear Natalie was subsequently released in 2019, also marked by the addition of lead guitarist Russell Searle, joining Rob Slater on drums and Sarah Statham on bass. The EP was the sound of Crake finding their feet on a larger stage, both literally and figuratively, with opening track ‘Glycerin’ shining a spotlight on Sandle’s ever-confessional words.

Since the Big Thief tour and the Dear Natalie EP the band have focused solely on writing and demoing new music, assembling in garages, practice rooms and the beloved Greenmount Studios in Leeds (The Cribs, Pulled Apart By Horses) where drummer Rob Slater works.

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The first results of this focused time away can be heard on Enough Salt (For All Dogs) b/w Gef, a brand new, two-track single which will be released on 7” vinyl via Saddle Creek’s ongoing Document Series. Their first self-produced effort, the new single is Crake at their most confident. Exploring the depths of their sound while staying rooted in Rowan Sandle’s brilliant songwriting and captivating lyrics.

Releases September 18th, 2020

2020 Saddle Creek Records.

One of Bert Jansch’s later recordings, ‘Crimson Moon’ is some of his finest work and sees the musician at the top of his game, with appearances from Johnny Marr, Bernard Butler and many more. Earth Recordings revisits the album on its 20th Anniversary with its first standalone cut to vinyl.

Originally released in 2000, there is a brooding resonance in ‘Crimson Moon’ centred around his accomplished guitar style that brings his contemplative song writing to the fore. Traditional ballads have touches of jazz and blues adorned by contributions from guitarists Johnny Marr, Bernard Butler and Johnny “Guitar” Hodge along with guest vocals from Bert’s wife Loren Auerbach (‘My Donald’).

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The addition of electric guitar subtly compliments Bert’s percussive fingerpicking bringing new depth to his compositions.
Title track ‘Crimson Moon’ is a take on traditional song ‘Omie Wise’ and was written about his wife Loren, ‘Caledonia’ conjures pastoral images of Scotland alongside covers of The Incredible String Band’s ‘October Song’, Guy Mitchell’s ‘Singing The Blues’ and Owen Hand’s ‘My Donald’. Otherworldly tale ‘Neptune’s Daughter’ sees a mermaid-like creature recount the death of her relatives from a poison in the sea. Passionate about nature, the song carries an underlying ecological message.

Released in his 60s, ‘Crimson Moon’ proves Bert Jansch to still be an innovator and a unique talent.

Releases October 9th, 2020

Cardiff five-piece Rosehip Teahouse (Faye, Tony, Will, Josh and Teddy), will capture your heart and set it free. The band’s music emanates and fluctuates, between feelings of sadness and happiness, with a hint of sparkle thrown in. The bands single ‘Same Sky’ is a track that sits quietly between the coexisting realms of happy and sad, with gorgeous, heart breaking vocal harmonies, swirling, twinkly guitars, while been driven by a head- bobbing bass line. Leading you though a journey of intricacy, complexity, and all with beautifully subtle tones. All neatly woven together, to build a tender, tear jerking atmosphere. Arriving via Sad Club Records, the latest single from Rosehip Teahouse is one hell of a charmer. Lilting melodies and glittering bells give ‘Thought Number 3’ an almost transcendental melancholia, as singer Faye Rogers vocals echo atop the band’s crystal horizons.

Of the track, Rogers says: “I wrote this song a couple of years back now. I was really struggling with my mental health, and this song was my expression of feeling as if my problems were stopping me from being able to live my life in the way I wanted to.

“The version of this song on the EP is the one I recorded the day I finished writing the song in 2017, miserable in my room at my parents’ house using a cheap microphone and garage-band on an old macbook that I was putting off returning to my ex. It feels like a long time ago now, but every time I hear it, it feels like 3am in that room that was too warm again.”. Faye from Cardiff-based group Rosehip Teahouse talks about their upcoming EP and what inspires their wonderfully ethereal indie-pop.

Chillin in the Void by Rosehip Teahouse The new Rosehip Teahouse single is out on 31st August ahead of the EPs September release via Sad Club Records.

Tramms have always wrestled with category. Part motorik drum beats, part discordant guitars, pop melodies and hypnotic bass lines. All are present here. With a collection of three new tracks they have expanded further. Collaborating with friends and new instrumentation, each track is different from the last. But all sound like the inimitable Tramms.
Written and recorded over a brief hiatus, ‘The Greyhound’, a near ten minute kaleidoscope of sounds, sees the band expanding further than ever. Recorded in Brighton with Theo Verney, and featuring Lewis Evans (Black Country, New Road) on Saxophone, the track builds from the offset into a hypnotic, driving, post rock blow out. Themes of repetition, life cycles, pursuing ones path, growth & education, fulfillment and closure.

Adam, Stuart & Leigh formed TRAAMS in late 2011 via their shared love of groups like Television, Battles, The Stooges, Can & Women. Having released EP Ladders & LP Grin via FatCat Records in 2013 – produced by Rory Attwell (Test Icicles) & MJ (Hookworms) they saw through the year playing shows with bands such as Wire, Fidlar, Parquet Courts, & Temples.

2014 saw TRAAMS support Drenge on a sold out UK tour, before venturing to the states for SXSW and releasing the Cissa EP.

Released August 11th, 2020

It’s been a while. We are very happy to announce that our 3rd LP It’s Never Going To Happen And This Is Why will be released on Hallow’s Eve Eve, via our new DARK HABITS imprint. It will have been three and a half years since “Condition” and it really has felt a lot longer…but let’s save all that for another time and cut to the chase. Spectres return with ‘It’s Never Going To Happen And This Is Why’, their bluntest, most bludgeoning LP yet. The oft sprawling and trance-inducing explorations of feedback and terror featured on their previous two critically acclaimed albums ‘Dying’ (2015) and ‘Condition’ (2017) have been supplanted by a rifle chamber of condensed noise nuggets firing in at three minutes or less. Spectres have gone pop.

Recorded by Alex Greaves at The Nave, a 19th century Methodist church in Leeds, and released on their own new Dark Habits imprint in Europe / Little Cloud Records in the USA, the mischievously titled album sees Spectres at their most radical and playful, splattered with guest spots from experimental artists Klein, Elvin Brandhi, Ben Vince and French Margot.

The video for the initial taster, An Annihilation Of The Self, can be seen from 10am on Friday by clicking on the still below.

The video is a collaboration between Joe and Adrian from the band. Joe in the fix of his own Blair Witch and Adrian bringing the words to illustrative strife with inimitably grim effect.

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Slightly indulgent but something we have been wanting to do for a while. A square 12″ wooden box that will contain a test pressing of the album, all artwork from the album as a 12″ printed booklet, a copy of Dark Habits zine, signed one off original artwork and a few surprise extras plus hand painted lid. We’ll be hand building these so expect a few exciting defects, and they may well come nailed shut, like a real coffin. Limited to 10.