Posts Tagged ‘UK’

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.


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.


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Long-time misery botherer and harbinger of melancholy Josienne Clarke brings you a new collection of rare early demos and song-writing sketches. It contains fragments and songs previously unreleased and entirely unheard by ears other than Josienne’s, alongside some early originals of well-known Clarke Classics.

A real collector’s collection, or “the contents of a folder that should have gone directly into a f**king skip” as the artist herself explains. “It’s the audio sketchbook for most of the stuff I’ve ever made. I record song ideas and sketch arrangement/production ideas, either sung in or attempted on the instruments I have to hand, before showing them to anyone. If I’m selling these off, then things have got pretty bad or I’ve gone f**king mental.”

Spanning the many years of her career, it starts with a recovered low-grade recording of the artist aged 3 doing an early cover version then wends its way non-chronologically through the various years’ releases and unreleased compositions in a double volume of 53 tiny songs at a total running time of 85 minutes.

Tracks such as ‘i never learned french – original demo’ expose the roots of Josienne’s production ideas and choices, such as the hummed string lines and mouth trumpet solo, that would later appear re-packaged on the 2015 release ‘Nothing Can Bring Back The Hour’. A treasure-trove of original ideas, a burgeoning song-writing talent, brimming with Clarke’s irrepressible originality.

This is the artist alone in her bedroom-studio-office, it’s where the magic lives, the bits you don’t normally get to hear, that first spark of an idea as it appears, complete with missteps and mistakes and the frisson with which such creativity is charged. It hisses and crackles with pure, imperfect, creative endeavour, the nearest you’ll get to seeing how it’s really done. Take a peak over the fourth wall, behind the stage curtain, way beyond the dressing room and into her home to take a seat with a view over her shoulder as she pens some of the finest songs in her catalogue, a catalogue which is among the finest original song-writing this country has to offer.

“It is a candid and exhausted documentation of a whole life spent in song and how utterly, beautifully pointless that is.” says Josienne.

The cover of Historical Record Vol 1 & 2 was designed by photographer & videographer Alec Bowman, using a photograph taken of Josienne in 2009 during a shoot for her debut album ‘One Light Is Gone’. Alec explains “Josienne is almost lost in a fog of digital degradation, but not quite; she’s standing, still, defiant in the face of all the noise. I used a hex editor to violate the integrity of the file & create the impression of a slow data collapse out of which Josienne appears, a quiet ghost in a static roar.’


Historical Record vol. 1 & 2 will be released on Corduroy Punk Records on 15th May 2020. It will only be available as a digital download & only on Bandcamp. “It will not be available on any streaming services, I’m sick of other people making more money from my creative endeavour than I do…”

All songs written, composed, arranged & recorded by Josienne Clarke
Vocals – Guitar – Recorders – Clarinet – Josienne Clarke

Released May 15th, 2020

This is ‘Hell’s Teeth’ the new single by Pigs Pigs Pigs Pigs Pigs Pigs Pigs.

The track is one of the many highlights of the latest album ‘Viscerals’. With its headbanging, foot stomping, driving, low-slung guitar rhythm, booming drums and ‘Let’s Rock!’ moniker, the single is an ode to metal bands through the ages.
And that is not all – the b-side features an exclusive rework of “Hell’s Teeth’ by fellow Rocket artist J.Zunz.
J. Zunz is the solo project from Lorena Quintanilla – one half of Mexican duo ‘Lorelle Meets The Obsolete’ and is releasing her latest album ‘Hibiscus‘ via Rocket Recordings on 21st August. 2020


Released July 31st, 2020

Blue Rose Code is Edinburgh-born songwriter Ross Wilson. At the edge of contemporary alt-folk, Wilson’s music evokes a meeting of Van Morrison and a young John Martyn, both shipwrecked with a bunch of Motown records. The music of Blue Rose Code is not simply music to listen to… But music to engage with in an emotional transaction that will tear your heart out, dance on it, repair it, replace it and somehow leave you feeling richer for the experience. I was introduced to the soul stirring and joyous experience that is Blue Rose Code some years ago, I think after the second single and have followed his music since. Ross Wilson is an exceptional composer and musician, his songs invoke strong feelings of passion for home and the land, for loyalty and love.

Ross’ soft Scottish brogue combines with some of the most emotive music you are ever likely to hear, he doesn’t write songs, he creates moments of musical wonder and beauty. Ross Wilson has spent most of his musical life curating; he sculpts his band to every mood and temperament in order to create the perfect happening. I find it so hard this artist has not made it to the bigger echolons of the music scene.

Nine songs, nine stories, nine perfect moments frozen in time, ‘With Healings Of The Deepest Kind’ is, perhaps, Ross’ greatest creation yet. Each track will take your heart and soul an a wondrous musical journey and lead you to place of peace, calm and love.

The highlights for me are the lilting, laid back charm of opener You’re Here And Then You’re Gone, the absolute grace of The Wild Atlantic Way and Starlit, the humble bare charms of Red Kites and the folk/blues/americana humble wonder of closing track Riverstown.

When it comes to music that salves the soul and gives joy to the heart, this album has few peers. An utter musical joy and one that everyone should listen to at least once, it has an honesty and innocence that is rare in the music industry these days.

Released July 17th 2020


Released July 17th, 2020


The freshly released debut album by these Brits isn’t reinventing any wheels. In fact it could have also been released in the early 90s sounding exactly like this and you can take that as a compliment. bdrmm sound like the lost love child of Slowdive and The Cure, mixing mighty shoegaze moments with dark wave spirit. If you love the sound of those classics and also new groups like DIIV then “Bedroom” is the album for you. It’s a record for the hopelessly romantic indie kid in you, one that chooses a certain nostalgic timelessness over state-of-the-art innovation. bdrmm are doing a great job in recreating this very specific sound and personally I don’t need any innovation here as long as the music is as good as on this one.

With an awkward, vowelless name that has to be constantly explained, it is unsurprising that the titling of Hull / Leeds-based quintet bdrmm’s debut album is eponymous. “We have been pronounced as Boredom, Bdum and my old boss actually thought we were a ska band called Bad Riddim. We’re all sarcastic cunts, so Bedroom spelt correctly seemed like the perfect title,” explains frontman Ryan Smith. Widely praised for their innovative approach to shoegaze in their early singles, the group have taken a sonic and lyrical step up from last year’s If Not, When? EP. With named influences such as RIDE, Radiohead, The Cure, Deerhunter, Slowdive, Beach House, Alex G, Björk, John Maus and DIIV, the album spans krautrock, post-punk, proto-shoegaze and their cross-fading of some tracks means the album is an almost seamless listen.

As intimate as the name suggests, the whole album spans the violent ups and downs of being in your early twenties: “mental health, alcohol abuse, unplanned pregnancy, drugs… basically every cliché topic that you could think of,” reveals Smith. “But that doesn’t mean they ever stop being relevant. It’s a fucker growing up, but I’m lucky enough to have been able to project my feelings in the form of this band, surrounded by four of the best people I’ve ever met.” These four include his younger brother and bassist, Jordan, an old bandmate, Joe, synth player Dan, and drummer Luke. Ranging in age from teenagers to their mid-30s, they played incessantly over the last couple of years, supporting the likes of Fat White Family, Her’s and Viagra Boys. They found themselves on the radar of indie label Sonic Cathedral last January, who initially offered them a show at The Social and asked if they’d be up for contributing to the Sonic Cathedral Singles Club series of 7”s. From there, they went on to release debut EP, If Not, When? and it hit a nerve with BBC Radio presenters, critics and their peers from the palpable and universal feeling of “everything being too good, that it’s inevitably going to come to an end” (Smith). 

Four months in and out of the studio resulted in something truly remarkable, at once elating and dark. More than just a genre record, as something stamped with the label ‘shoegaze’ so often is, Bedroom works its way from fuzzy indie-pop to heavier dirges via sound collages and a distorted sample of a Megabus driver. We’ve been sent this exclusive track by track of the album, so delve into bdrmm’s world as you listen:



‘Momo’ is named after a pretty fucked-up online hoax – a viral game that allegedly got sent to students’ phones that would goad them into violence and suicide. Our manager works in a school and he got really convinced that it was real, and to this day we’ll never let him live it down. It seemed only fitting that it be cemented in history as the first track on an album he helped create. I’ve always been a fan of instrumental openings to albums, I feel they’re like the opening credits, and set the mood of what the listener is in for.


We really wanted to make an album that flowed seamlessly throughout, so hearing ‘Momo’ going into ‘Push/Pull’ like it does is something special. It’s not an album filled with random tracks, it’s meant to be listened to in full, in order. We spent so much time deciding on the tracklisting, there were so many different combinations. ‘Push/Pull’ is a recollection of the first time you meet somebody. It’s quite dark as it’s not a generic ‘how I met the love of my life’ story. It’s remembering them from the End.

A Reason To Celebrate

A reason to celebrate was actually going to be the name of the album. This is our ode to the genre, I think; we wanted to make a proper shoegaze record. I was sat in my old house about two years ago just messing about on an acoustic guitar with five strings and came up with the chord progression and sent it onto Joe [Vickers, bdrmm guitarist]. We agreed it needed to be something. It’s about proudly, yet stupidly, letting go. It’s the voice in your head giving you all the different reasons why you should. I love this track, it’s a personal favourite. When we play it live, we never want to stop.


‘Gush’ is a very, very, very old song. It’s a very personal track, too, probably the most I’ve ever delved into my own life with a track. As much as I would love to share this topic, I feel it’s too much. I shared something very special with somebody, which we lost. It was a very upsetting couple of months for us, but we got through it. This track is filled with optimism because things do get better, no matter how bad they get. Be there for your loved ones, always.


Ahhh, ‘Happy’. This is our song. We have been playing it live, practicing it, working on it since we started playing together. It’s one of the first tracks I ever wrote and has proudly stood the test of time. I actually have a video of the first show we ever played which includes it. This song is all about bitterly yet humbly wishing somebody who has hurt you the best. You’re sick of fighting, you’re tired, you just want to move on, and if that means you have to be the bigger person, so be it. You deserve to be.

(The Silence)

(The Silence)’ was created in the studio. It was a day when it was just me and Alex [Greaves, producer], working on some guitar parts and some extra synth. I think we got a bit carried away in dragging out the ending of ‘Happy’, which can happen when you’re working with a Space Echo. They’re like crack for anybody making this kind of music. Alex added layers and layers of synth, and a beautiful guitar line. Nothing about it is in time, it’s very disjointed, especially when the drums come in. We’re both huge Deerhunter fans, so took a lot of inspiration from them. I went into the vocal booth and it was a proper turn all the lights off moment. The vocals were recorded in pitch darkness. “The silence, you speak, in my ear. Proves that, you can’t, be here”.

It’s literally about somebody having nothing to say. There’s nothing to be heard.


We always follow ‘Happy’ with a little jam, which is playing the same chords in half time, kinda just trudging along. It’s very moody. I didn’t expect it to make its way on the album, but I’m so glad it did. It’s a part of ‘Happy’ now. ‘Happy’, ‘(The Silence)’ and ‘(Un)Happy’ are a trilogy. There is a sample underneath at the end which you can hear which is a voice recording I took of the driver of the Megabus from Manchester to Leeds. I’d had the worst night, I had to steal a phone charger from Poundland to book a coach home because I had no money. I was stealing food from Tesco, it was raining and it was a real low point for me. I had a real problem with alcohol and drug abuse, this was the day I realised it needed to sort it out, which I’m definitely on the road with. But when I was on the bus home, the driver was having a conversation on the phone with his mate about meeting up after his final journey. It brightened up what was a very bleak day, I’m glad I stole that charger now.


This track is named after the 1968 Lindsay Anderson film If….. Not because it’s about Malcolm McDowell or school shootings, but because I watched it a lot during the period when I was getting over somebody. Its sheer bleakness made me realise that there are a lot more fucked up things in the world than getting out of a relationship, so stop moping about and do something about it. It’s now become one of my favourite films of all time. I’m a big film enthusiast, so I am indebted to who showed me it. She’s great, too.

Is That What You Wanted To Hear?

This is the first track we completely finished in the studio. It all came together so beautifully; it was a symphony of one-takes. This is another one we love playing live, it’s got all the parts to be a really pretty song, but it’s not. It’s about standing up for yourself. “Fine, you win, I never felt what you felt. Is that what you wanted to hear?”. After constantly reassuring someone that you love them, but they don’t believe it, you just give up. There’s only so much truth telling you can withstand before you start lying to yourself.

Forget The Credits

This was originally just called ‘Forget’. It’s almost like a weight being lifted from your shoulders. The chords drift off into space taking everything that’s just happened with it. It was always meant to be the last song on the album. I remember when I recorded the first demo, it was the first time I played drums for a track. It’s very open ended. It’s the end of a chapter, not the end of the story.

bdrmm release debut full-length album Bedroom on Sonic Cathedral on 3rd July 2020.

A London-based independent label . Founded in 1984, Fire Records continues its history of maverick and inspired A+R. The turn of the millennium has seen Fire rise, phoenix like, under the watchful eyes and ears of A&R supremo James Nicholls and through a series of acclaimed reissues and new releases, revitalising the careers of indie royalty along the way, the label has a raft of new releases from the outer reaches of the sonic spectrum, combining the cosmic pop of Jane Weaver, Virginia Wing, Islet and Pictish Trail with the haunting ambience of Death And Vanilla and the uncategorizable mind-melting Vanishing Twin to become the industry’s leading Psychedelic Pop label

Fire has simultaneously developed one of the most impressive rosters of influencial alternative artists, at the top of their creative game.  Amongst the labels many established artists are The Lemonheads, Howe Gelb and Giant Sand, Kristin Hersh and Throwing Muses, The Bevis Frond,  Half JapaneseSebadoh, The Black Lips and The Chills

After the success of last years ‘Outer Limits’ label sampler (and festival) we bring you ‘Auteur Limits’ a @bandcamp exclusive follow up with a suitably dystopian feel and a little light at the end of the tunnel. Painstakingly compiled and sequenced by A&Rs James Nicholls. Hassled and hurried along by Fire Italia/Jonathan Clancy. Enjoy !


Released June 5th, 2020

Slum of Legs are a feminist noise-pop DIY band. We write songs about ghosts, architecture, gender, loneliness, good hair and many other important topics. We are Alex, Emily, Kate, Maria, Michelle and Tamsin. Long-awaited eponymous ‘queer feminist noise pop’ debut album from the Brighton-based Slum of Legs, a self-described ‘giant pop-psych, punk monster with twelve legs’. In their own words, “a manifesto for compassion and defiance in a confusing, unrestful world.”, gender, loneliness, good hair and many other important topics. 

Slum of Legs are a queer, feminist noise-pop DIY band. We are Alex, Emily, Kate, Maria, Mich and Tamsin. We write songs about ghosts, architecture, gender, loneliness and hair envy. You can dance to all of them. Sometimes we sound like The Shaggs, Slant 6 and La Dusseldorf playing at an impromptu party in space.

One of our songs is a live séance. We’ve performed on a Norwegian mountain and in many, many basements. We like pylons and onstage pile-ons. We’re interested in modernist architecture, art & literature.


We use collage & cut-up in our artwork and this also reflects the fractured nature of our songs and how the 6 of us, who all bring completely different influences to the band, have been stuck into a blender with the controls jammed. We are a giant pop-psych, punk monster with twelve legs. Our songs are melodic and dissonant, anthemic and experimental. The Fall meets The Raincoats in this noisy, bloody minded, defiant, lo-fi collage art-punk. Absolutely brilliant, up there as Album of the Year 2020 with Torres & Porridge Radio.

Our debut album ‘Slum of Legs’ is a manifesto for compassion and defiance in a confusing, unrestful world. As Slum of Legs are currently scattered across continents, we couldn’t film a video all together, so synth player EK put together this little homemade vid out of photos and gifs, featuring ‘Benetint & Malevolence’ from our forthcoming self-titled LP.

Released March 13th, 2020

The Band are:
Tamsin – vocals, backing vocals, drums, shouts
Mich – drums, vocals, backing vocals, guitar, shouts
Maria – violin, vocals, backing vocals, guitar, percussion, glockenspiel, field recordings, shouts
Kate – guitar, backing vocals, drums, shouts
Emily – synths, samples, monotron, piano, glockenspiel, noise, shouts
Alex – bass guitar, shouts

Lyrics by Tamsin Chapman except: 5 – lyrics by Tamsin Chapman and Michelle Steele; 8 – lyrics by Michelle Steele; 10 – lyrics by Maria Marzaioli
All songs by Slum of Legs

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“On Heart’s Ease”, Shirley delivers a record even stronger than Lodestar having completely regained her confidence, and singing so well that you can’t believe she was away for so long. As Shirley put it, “Lodestar wasn’t too bad, was it? But when I listen to it, it does sometimes sound rather tentative. I had to record it at home because I was just too nervous to sing in front of somebody I didn’t know. This time I was far more relaxed – even though I went into a studio.” Recorded at Metway in Brighton, Heart’s Ease is as compelling and original as Shirley’s great albums from the Sixties and Seventies. There are traditional songs, of course,  from England and the USA, but there are also more new songs than in the past (four non-traditional tracks) and there’s even a burst of experimentation that hints at possible new directions to come.

Shirley Collins – “Sweet Greens and Blues”, from ‘Heart’s Ease’, released 24th July 2020 on Domino Recordings.