Posts Tagged ‘UK’

The Snuts - W.L

West Lothian, band The Snuts, have been shaking up the UK indie scene for over five years now, blending their mastery of sing-along, festival anthems with dissonant guitars and a touch of Laurel Canyon-esque emotion. Their sophomore EP, The Mixtape received widespread acclaim and landed them in the UK Top 20 and at number one on the Scottish charts, whilst also smashing over 30 million streams.  Their ability to switch between stadium-slaying choruses and ‘60s style funk in a heartbeat. Now set to release their debut album proper – where they worked with Tony Hoffer of Supergrass, Beck and The Kooks fame – the band are poised to become one of the most prominent guitar bands in the country. Guitarist Joe McGillveray talks about curating their album, the influence of Zappa and just being happy to get out of the house. “It’s been a long time coming, but we’ve always been super aware of how important a debut record can be for a band. We’ve had songs for years, but we wanted to make sure that the finished product felt like a polished piece of work. It definitely feels like what we have now is representative of who we are, and something we can be proud of.”

It’s testament to the sheer power of The Snuts that they’ve managed to sell several nights at Glasgow’s iconic Barrowlands before they’ve even released their debut album. But give the band one quick listen and you’ll soon realise that the Scottish lads are already experts at crafting everyman anthems that combine love, loss and the mundanity of everyday life with killer choruses. When that album arrives in early 2021, expect those shows to get even bigger.

“We have truly loved working with The Snuts on their new music video for Somebody Loves You. After a tough year full of traumatic events in our community in Glasgow and across the UK and the world, it was a breath of fresh air to be approached by The Snuts to work on this project. Timescales were tight and there were so many people involved, from us to the band, the record label, the artist behind the graffiti, producers and designers and not to mention the incredible new Scots who have shared their lives and stories with us. This is just the beginning of a new chapter. We will be sharing the stories of those who took part over the coming weeks and working closely with the band on a new fundraising campaign focused on love, self-love and acceptance. This project couldn’t have come at a better time and we are so grateful to have been part of it. We hope it will provide you with as much joy as it has given us. No matter how tough things get, always remember that somebody loves you, and we at Scottish Refugee Council are here fighting for you and with you. We’ll get through this together.”

The Snuts are already beginning to craft an undeniably magnetic following, having captured the imagination of fans across Scotland with their early demos and infamously anthemic, all-encompassing live show. 

Our debut record will be released on 19.03.21.
It is a collection of milestones and melodies that time stamp our dream becoming a reality. It’s a lifetimes work and we really hope you love it.

Somebody Loves You by The Snuts was released on February 4th 2021 by Parlophone Records.

Nottingham’s Do Nothing release a 5 Track EP “Glueland” on their own label Exact Truth. The band, comprised of childhood friends vocalist Chris Bailey, guitarist Kasper Sandstrom, bassist Charles Howarth and Andrew Harrison on drums, have had a breakout 2020, with all three singles from debut EP Zero Dollar Bill ‘Contraband’, ‘Fits’ and ‘LeBron James’ – landing on the BBC Radio 6 Music playlist. This new EP was produced by Ali Chant at Toybox Studios in Bristol and mixed by Tom Rees, lead vocalist and guitarist of Cardiff band Buzzard Buzzard Buzzard.

Lead track Glueland is a sleazy and low slung dirty groove monster that hints at The Talking Heads, Arctic Monkeys, LCD Soundsytem and Mark E Smith with lyrics about being stuck in limbo land. It’s an instant golden nugget.

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Released March 12th, 2021

Available for 72 hours only! Help raise money for struggling venues, musicians and other live music professionals who are unable to work (100% of proceeds will be donated to Stagehand UK and Save Our Venues charities).

When coronavirus hit, we suddenly stopped being able to play live together, bringing an abrupt end to all of our live dates and rehearsals. In an effort to stay sane and keep in touch while figuring out what we were going to do with ourselves, we remotely recorded a bunch of DIY covers that we put out on a few Sundays last year, an event that we named ‘Ice Cream Sundays’.

After lots of people asked whether these covers would ever be available for download, we’ve decided to release them for a short time in a way that can hopefully do some good for some very worthy causes. You can download them here from Friday 5th March (0:00 GMT) through to Sunday 7th March (11:59 GMT). 100% of the money that we receive from Bandcamp for downloads will be split between the charities Stagehand UK and Save Our Venues 

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Buy our digital EP “Ice Cream Sundays” this weekend, 100% of profits are going to Stagehand UK and #Saveourvenues to help struggling venues / people in the music industry.

It’s been 15 years since Scottish duo Arab Strap released an album — 2005’s The Last Romance — but Aidan Moffat and Malcolm Middleton have picked up right where they left off for As Days Get Dark. Quite literally. For a band that traffics in sad, lonely people living mundane lives, it’s almost like you can see the discolored dent in the sofa made by the same characters from their debut single “The First Big Weekend,” who’ve just been sitting there doing nothing for a decade and a half.

Well, almost nothing. Moffat still paints lurid portraits of sex, drugs and rock n’ roll, just ones set in neighbourhood pubs, and shitty apartments (sorry, flats) with florescent lighting and drop-ceilings. “It’s about hopelessness and darkness, ” Moffat says. “But in a fun way.” If you know what he means, As Days Get Dark does not disappoint. The scene is set with opening track “The Turning of Our Bones,” a tale of “resurrection and shagging” that is clearly about the band (and also shagging): “I don’t give a fuck about the past, our glory days gone by / all I care about right now is that wee mole inside your thigh.” Moffat’s voice has dropped an octave in the last 15 years, and his thick accented delivery, somewhere between a growl and a whisper, is in full sex machine mode, set against a sleek, sultry mix of drum machines, synths and dark guitar lines.

Moffat and Middleton, working with regular collaborator Paul Savage, luxuriate in this mode for much of As Days Get Dark, making one of their richest sounding records, and bringing a lush faded glamour to these stories about “what people turn to in times of need, and how they can hide in the night.” Nowhere is this theme more apparent than on “Another Clockwork Day” where a man staves off boredom by masturbating while his partner sleeps — he’s given up on porn, though, and has turned to “folders within folders” of unnamed digital photos from their past. Depressing, yes, as he flips through IMGs, but the song also manages to push complex nostalgia buttons too.

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Another vivid highlight is “Kebabylon,” with sweeping strings and soaring saxophones, that makes obvious but effective metaphors out of a late-night street-sweeper crew cleaning the gutters of a bar-crowded neighbourhood: “And you’re already dreaming as I claw up your condom, as your syringe cracks underneath my boot / you’ve crashed on the couch, passed out on the porch, such a lover, such a liar, such a brute.” Also great: “Here Comes Comus!” prowls like peak Sisters of Mercy (big gloomy guitars, bigger drum machines) as Moffat faces “nocturnal excess and my inability to ever refuse him”; and “Fable of the Urban Fox” that shines a light on the racist treatment of immigrants against backing that somehow successfully splits the difference between celtic folk and funky disco.

his is an older, wiser and more weary Arab Strap. There are still rough edges, seedy corners and shocking words, but Moffat and Middleton are more comfortable in their skin and still have something to say. As Days Get Dark is not just a skillful return, it’s also one of their best-ever records.

It’s about hopelessness and darkness,” says Aidan Moffat. “But in a fun way.” Arab Strap are back!

Chaotic and raucously compelling in equal measure, post-punk trio Social Haul announce their arrival with gritty debut effort ‘Wet Eyes’, set for release February 24th via FatCat Records (Honeyblood, The Twilight Sad, We Were Promised Jetpacks).

Partnering up with the cult indie label and fronted by TRAAMS’ Leigh Padley, the group’s first offering provides a firm indication of what to expect from the new project, with its potent lyricism, sprawling vocals and relentless riffage demonstrating their electrifying potential amidst a rip-roaring wall of noise.

Detailing their upcoming release, Padley explained: “‘Wet Eyes’ was inspired by an overheard conversation in the pub. The fellas were riffing on the inherent obsolescence of all human skill and the inevitable deterioration of their individual dreams. They concluded that it was in fact quite liberating to be but a cog in a machine and seemed to recognise their fortune in this understanding, all the while haphazardly navigating their flippant political leanings and the football scores. They had a good night I think, I thought it was quite nice”.

‘Wet Eyes’ by Social Haul. Out now on FatCat Records.

Released February 24th, 2021

“Consolations”, my debut EP, is a collection of songs written over the last year or so, so-called because I wrote them to “console” myself, to find comfort when things were turbulent or when I felt somehow disconnected from world around me.

My music emerged from a world of books, paintings, and poetry, as well as a love of song, and for me, it is a weaving together of those loose strands, an assembling and mending of the fragments of the things I love, that might otherwise have remained scattered across my life and never quite have come together.

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Released February 24th, 2021

Written and composed by Clara Man

“Bad Hair Day” is the first taste of his Francis Lung’s forthcoming second album, “Miracle” which is set for release via Memphis Industries on 18 June 2021.

“Bad Hair Day” is a relentlessly catchy and deceptively upbeat ode to hangovers and missed connections. Sonically, the song arrives as a fusion of power-pop and sunny art-rock where angular guitars dart around glowing melodies and quickfire percussion. “For me, [Miracle] is about the struggle between my self destructive side and my problem-solving, constructive side,” says Francis. “I suppose through a lot of these songs I’m dealing with these emotional problems, acknowledging the negative aspects of my behaviour instead of burying them, and providing an alternative point of view for myself”. Despite its serious subject matter, Miracle is far from austere in sound, marrying the cinematic, dreamlike quality of Francis’s earlier music with the pared-back charm of great singer-songwriters like Judee Sill, Jeff Tweedy and Elliott Smith.

The album opens with ‘Bad Hair Day’, a relentlessly catchy—and deceptively upbeat—ode to hangovers and missed connections. “I’ve been calling on you all night /But I never get through, I just get in the way” Francis laments; “I am a cloud in the sun’s light/Whatever I do, whatever I say.” Elsewhere, the title track finds him pondering the fickle nature of the music industry: “I think of [Miracle] as acknowledging and even encouraging the feelings we’re not supposed to succumb to – giving up, giving in – just because it can be comforting to hear it from someone else. ‘Why am I climbing these social ladders and jumping through the hoops of this creative industry? Does this make me happy?’”

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These themes of longing, and lacking, missing and being missed, reoccur throughout Miracle. “When I die/Will I be missed/Or am I missing the point?” asks ‘Say So’; while ‘Lonesome No More’, inspired by the Kurt Vonnegut book of the same name, begs the question: if loneliness was eradicated, would we miss it? By confronting these feelings, Francis is able to move forward, as triumphant album closer ‘The Let Down’ proves. Its lyrics serve as a call to action, as Francis wills himself (and the listener) to ‘Get up/Get something going/Do something, do it/Do it now’

Miracle was produced by Francis in collaboration with Brendan Williams (Dutch Uncles, Matthew Halsall, Kiran Leonard) and Robin Koob (who co-arranged and performed strings). The opportunity to take creative control was one Francis relished. “I’m quite bad at delegating” he admits, noting that he played every instrument except strings on Miracle. The result is a cohesive, deeply personal record, which is as vital as it is vulnerable. “I don’t want to be defined by my anxiety, my depression or any history of substance abuse,” Francis says, “but I do want to reach out to other people who have had similar experiences, especially if it’s in a way that helps them feel a little better. To me, this music is celebrating healing as much as it focuses on the darker sides of the human psyche.”

Francis Lung, the uber-talented Manchester singer songwriter (& former Wu lyf man), to the dinked fold. Despite its serious subject matter, ‘miracle’ is far from austere in sound, marrying the cinematic, dreamlike quality of Fancis’s earlier music with the pared-back charm of great singer-songwriters like brian wilson or elliott smith & the prog-like maximalism of b.c.camplight or field music. the album opens with ‘Bad Hair Day’, a relentlessly catchy – & deceptively upbeat – ode to hangovers & missed connections & from here on in, we are besotted.

Released February 24th, 2021

Cocteau Twins, former CT bassist Simon Raymonde and Richie Thomas of Dif Juz are gearing up to release their second Lost Horizons albums, In Quiet Moments, on February 26th via Bella Union Records. It’s a double and packed with notable guest vocalists to help them achieve their cinematic vision. The terrific first half, which came out digitally back in November, features guest vocals from John Grant, Porridge Radio, Penelope Isles, former Midlake frontman Tim Smith and more, while Pt 2 features Marissa Nadler, Ural Thomas, The Innocence Mission’s Karen Peris, and more.

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As you’d expect from two men who released records during the ’80s arty heyday of 4AD, the artwork is as important as the music itself. The packaging for the Deluxe Edtion vinyl of In Quiet Moments is especially lovely and comes on ocean blue and green vinyl, with a wide-spinned sleeve on uncoated/reverse board and is housed in a cool PVC outer sleeve with printed text. (There’s also a sticker, for those looking to cover logos on your laptop or decorating your fridge.) We’ve got a special edition in our store where the first 100 orders come with an art print postcard signed by Simon Raymonde.  

While we wait for the whole thing to drop, you can listen toIn Quiet Moments Part 1 now along with the Marissa Nadler song, “Marie,” from Part 2:

Releases February 26th, 2021

Armed with a freer, more collaborative approach to both writing and recording, Telemans  11-track album “Family of Aliens”, is a fluid collection of glorious pop-songs fluent with new electronic textures and united by the sharp lyricism, buoyant guitars and instantaneous melodies that are synonymous with Teleman.

Teleman’s third studio album is the alluringly named Family of Aliens

“We want to keep evolving and keep discovering. This band is one long journey for us, and we never want to stop developing and finding new ways of creating music. I’m always wanting to better what we’ve done before. To go deeper, to find something more beautiful, more catchy, more challenging, more interesting … just more.”

It’s evident the much-loved quartet have evolved, cultivating and honing their sound as a very-welcome and anticipated proposition for 2018.

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Originally released September 7th, 2018

“We had great fun performing the Live From London shows, that streamed online recently. We felt the audio quality was so good that we wanted to pick the best of those tracks, and release them on Bandcamp, I tried to pick an interesting and less obvious selection – hope you like the ones I chose!” Richard’s Live From London recordings from his livestream series in 2020 from Kore Studios in the UK.  This unique shows each with a completely different setlist and all professionally produced and as close to being at a live gig as we can possibly get it! The livestreams will be available for 48 hours after each show. The first show I will be playing my new EP, Bloody Noses, in full as well as classic hits. The second stream will be Fairport Convention Era music with a majority of songs from the 60’s and 70’s. The last show will be all requests so be sure to send in your requests ahead of time! I am very much looking forward to this series and I hope you can join me for one or all three shows

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Released February 5th, 2021