Posts Tagged ‘UK’

The KVB make brilliant, swirling, immersive guitar and synth based Shoegaze epics, blissful and dreamy and all together amazing. This EP is a fine example of what they do, and a great introduction for those who haven’t been lucky enough to already be acquainted with their work. Such a good EP. A must for any KVB fan

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Such a good EP. A must for any KVB fan

Band Members
Nicholas Wood & Kat Day,
Released October 4th 2019,

All songs originally written & recorded by Nicholas Wood & Kat Day (The KVB), in Berlin 2016-2017.

“We Are The Plague”  is the debut album from Suzie Stapleton. It is a rallying cry, a howl into the abyss, the defiant call of a generation sold down the river and acutely aware of its own imminent demise – a bold soundtrack to the apocalypse.

The album was recorded at OX4 Studios, produced by Stapleton and mixed by award-winning engineer Dan Cox (Thurston Moore, Laura Marling, Pete Doherty) at London’s Urchin Studios. Bassist Gavin Jay (Jim Jones Revue/Righteous Mind) and drummer Jim Macaulay (The Stranglers) provide a solid, seething backbone to Stapleton’s expressive guitar playing and midnight vocal traversing through alternative rock to gothic-blues through to alt-folk. Includes singles Thylacine and Blood On The Windscreen and nine previously unheard tracks including new arrangements and recordings of Negative Prophet and You Were There.

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“It’s rare that a new artist comes along who genuinely defies easy description, but this is certainly the case with Stapleton… a bright new star in the ascendant.”
– Louder Than War
“A supremely delicate and precise feel for the moment…like hearing Cat Power at her very best.“ – The AU Review
“She sounds like the devil convincing you to sell your soul.”
– Tone Deaf
 

releases July 31st, 2020
The Band:
Suzie Stapleton: vocals, guitar, violin, piano
Gavin Jay: bass, bowed double bass
Jim Macaulay: drums
Gareth Skinner: cello (tracks 6, 10, 12)Written and produced by Suzie Stapleton

 

BDRMM – ” Question Mark “

Posted: July 6, 2020 in MUSIC
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The West Yorkshire quintet’s long awaited debut lp is an immediately gratifying shot of nocturnal dream-pop and shoegaze that evokes low shutter-speed journeys through infrastructure at midnight.

it’s a hugely accomplished debut and a real step up both sonically and lyrically from their early singles, which were rounded up on 2019’s ‘if not, when’? ep. musically, there are nods to the cure’s Disintegration, Deerhunter and Diiv, while the band reference Ride and Radiohead. there are also echoes of krautrock and post-punk, from the Chameleons to Protomartyr, plus the proto shoegaze of the pale saints’ the comforts of madness, not least in the cross fading of some tracks, meaning the album is an almost seamless listen. “elements of Slowdive, the Cure, Jesus and Mary chain, ride all wrapped up in delicious bitter sweet melancholy of shoegaze and wanderlust, 

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released July 4th, 2019
written by bdrmm

Debut album from promising new UK shoegaze band who have clearly studied the classics, Hailing from Hull/Leeds, shoegazers bdrmm are young but they clearly understand the power and allure of distorted, effects-laden guitars and the loud-quiet-loud dynamic. Following a number of singles and EPs, they’ve now released their debut album, Bedroom”(a title that also serves as a pronunciation guide for their voweless name), which is out via Sonic Cathedral, a label that has all but cornered the market on classic-sounding shoegaze.

I don’t think bdrmm have quite figured out their own sound just yet, but they are currently expert borrowers and have studied the classics, from Disintegration,Nowhere and Siamese Dream, to slightly more obscure groups like The Chameleons, Straightjacket Fits and Clearlake. They’ve got a good handle on dynamics, and show it off as they play through a few different sub-styles: mopey and spacious (“Push/Pull”), bright and propulsive (“Happy”), and the towering skyscraper of guitars (“Time to Celebrate,” “If…”).

Lyrics and vocals seem to be beside the point here, mixed low for the most part, if there at all. Opening track “Momo,” one of the album’s most sweeping songs, is an instrumental. That’s fine, as bdrmm are playing to their many strengths with their guitars saying enough for now.

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Limited-edition clear and black marble vinyl pressing of the debut album by bdrmm. The first 50 copies were posted out with ‘Creating Bedroom’, a photo zine documenting the recording of the album, plus a bdrmm pin badge.

released July 3rd, 2020

Music and words by bdrmm

A band from Belfast inspired by sea glass, bleached grass and ghost guitars. Belfast’s finest purveyors of sun-kissed jangle-pop Sea Pinks will mark 10 years in existence with a new EP. Arriving exactly a decade on from the Neil Brogan-fronted band’s debut single, ‘Japanese Knotwood’, it doubles up as an ending – an inexorable line drawn under the sand – for one of the country’s most prolific and consistently on-form bands.

On the heels of its title track, we’re pleased to present a first listen to the release’s new single ‘Running Down The Clock’. Sure enough, even at the eleventh hour, Sea Pinks are a band that sound like no other. Centering on the onward march of time, and our place within it, it’s a stellar six-minute effort from a band who are now officially on an indefinite hiatus.

Have a first listen to the track – and delve into a wonderfully insightful statement from Neil Brogan regarding the past, present and future of Sea Pinks. Ten years ago this week I uploaded the debut Sea Pinks single ‘Japanese Knotweed’ to Bandcamp. It was home-recorded using Garageband, a Vox Valvetronix amp, a Tascam 4 track of dubious origin, a badly detuned snare drum, and a newly acquired and heavily modified 1966 Fender Mustang, stripped of its original sonic blue by a previous owner to a crudely lacquered slab of alder. Something about the patina of that guitar made me want to write songs that recalled the era it came from and evoked the places it might have been to before it came to me. In short order, a clutch of songs sprang forth with very little summoning on my part, and I recorded as I went along, playing everything myself. That first album Youth is Wasted was made in the living room and box room of the house I was then renting off Woodstock road, east Belfast, between April and June 2010.

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This EP was recorded mostly live in a single one-day session in January this year, and I finished it during lockdown. I’ve now arrived at the point I always arrive at sooner or later, where I hit up against the familiar limitations of money and ability and CPU on my 2008 Macbook (maxed out to 8GB RAM) and finally admit defeat. The moment of release is always an exercise in damage limitation at some level.

I should acknowledge how totally lucky I’ve been to have this band in my life. I’ve played great shows with rooms full of people singing along, played with a ton of great bands, been to places I never would have been, and been lucky to be supported by amazing people, within the band and outside of it, throughout. There are too many of them to name here, but I hope the principals know who they are.

Maybe, when it’s ok to do so, we’ll play these songs for an audience. The recording date in January was actually the last time we were all in the same room together. All things considered it feels like the right time to put the band on indefinite hiatus. We’ve had a good run and ten years feels like a nice round number to draw a line under. But then again, I’ve tried to draw a line under this band before.

To those who have attended a gig, bought a record, put up wth us on social media etc – thank you all for your support and enjoyment of our music over the past decade. Neil Brogan.

releases July 3rd, 2020

Sea Pinks:
Neil Brogan – Guitar, Vocals, Keyboard
Davey Agnew – Drums
Gary Cummins – Bass

Recorded at Start Together, Belfast, January 2020

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One night in Paris, a perfect moment preserved and documented for posterity. If you have been lucky enough to see The KVB on their 2019 North American tour, then this live album captures that same energy, that same space perfectly. I very much look forward to being able to see them perform again, but for now “Live at La Cigale” offers a reminder of what we all have to look forward to. The visionary film-maker Christopher Brown delivers a love letter to Berlin in a new short film ‘Sehnsucht’, the city where the London based brits lived for a year in 2016 and collaborated with the likes of The Brian Jonestown Massacre, The Underground Youth and Neu!, under the Moniker ‘Browzan’. The film scored by The KVB gives us an insight into the dark, creative and the freak show that is Berlin. In this film-poem Brown illustrates his experience living in Berlin between 2016-17. Brown uses collage, still photography, video and boomerangs to re-imagine this dirty paradise as a throbbing visual mosaic. The evocative imagery is harmonised by a dark music score composed by the illustrious duo: The KVB (Invada Records)

In 2020, feeling nostalgic in UK lockdown, Brown reminisced over his time in Berlin and wanted to make a piece that captured his experience living there. His concept was to make a film-poem using still photography, boomerangs and collage techniques.

A long time admirer of British audio-visual duo The KVB (Nicholas Wood & Kat Day), Brown reached out to the band to make an original score – they had been wanting to collaborate for a while and finally the opportunity came to being. Having lived in Berlin also, Brown thought the UK duo were the prefect act to generate the atmosphere that Brown’s imagery evoked.

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‘Live at La Cigale’ LTD Edition silver vinyl available now exclusively via Invada Records UK. Each vinyl purchase guarantees access to our upcoming ‘Dreamspace’ live stream concert.

Recorded on the 29th January 2020 live at La Cigale in Paris.

All songs written and performed by The KVB

It seems an age since we saw or heard anything from the duo Fear Of Men playing at SxSW in Austin, and that was before they took a four year hiatus after the release of their sophomore album Fall Forever. With a new track ‘Into Strangeness’, our first song and video in 4 years We made the video ourselves during lockdown, co directed by Mikael Johansson. It’s inspired by 16th Century British witchcraft, uncanny dreamscapes and feminine power.

They are back with a new song, Into Strangeness, a sub-3 minute salvo tightly wound with a post-punk energy that recalls the likes of Section 25 and AR Kane. The song opens up with disorientating atonal saxophone, inspired by the opening credits of 70’s neorealist film Fear Eats the Soul, before Jessica Weiss’ vocals paint an ominous picture of tension, possession and affliction.

The band are donating their first week of sales via Bandcamp to The Audre Lorde Project, supporting LGBTQ+ People of Colour in the New York area.

Released July 1st, 2020
Words and music by Jessica Weiss and Daniel Falvey.
Drums by James Davies.

Lucy And The Rats return with their second album and produce another fine record of summer-infused power-pop garage full of hooks and harmonies.

Two years have passed since their debut album, and, as the summer slowly starts to kick in, London-based four-piece Lucy And The Rats release another record to soundtrack the hazy days and warm nights.

Lucy, originally from Australian group The Spazzys, has a sugary sweet voice, crystal clear and yet, although the melodies float softy over the stripped-back punk-pop choppy chords, she possesses a strength of personality within the lyrics that belies the first impression. Her songs sing of independence, feelings of settling into a happiness within one’s own skin, but always with a bittersweet touch. At times it’s like hearing a young, and perhaps more timid, Debbie Harry and the overall combination, along with her band, comes closest to that of Nikki And The Corvettes.

Those already familiar with the band will find no surprise in songs like the single September, or in the infectious Time To Time. Simple and catchy, the songs are earworms that quickly work their way into your consciousness and are hard to shake loose. However, the songs that jump out more are those where the band leave the sweetness to one side in favour of a more urgent rhythm and drive. Pinch Myself comes close to a Ramones-style attack and, given that the band that back Lucy up also form the backbone of Johnny Throttle, and have also played in the likes of Thee Tumbitas and The Gaggers, it’s logical that, once let off the leash, the band run with greater verve and energy. It’s in those moments that they call to mind some of Lookout! Records highlights in bands like Pansy Division and The Smugglers.

That said, what also marks the album as a step up from their debut is their ability to balance that sound with altogether much gentler songs such as On Fire and TV on which their fragile delicacy shines through. It’s that equilibrium between the pop and punk that results in a record to keep going back to.

Lucy and the Rats‘September’ from the album ‘Got Lucky’, out July 3rd on Stardumb Records & Surfin’ Ki (LP) and Dirty Water Records

Thurston Moore continues to put out previously-unreleased songs from his vault during quarantine.These previously unreleased songs appear on his Bandcamp page, and he also recently put out a new instrumental and now he announced a proper new album, “By the Fire” its first single, “Hashish” .He made the album with his former Sonic Youth bandmate Steve Shelley on drums, My Bloody Valentine’s Deb Googe on bass and backing vocals, and James Sedwards on guitar (all of whom are also in the Thurston Moore Group), and it also features contributions from Wobbly (aka Jon Leidecker of Negativland) on electronics and Jem Doulton on drums. Thurston calls “Hasish” an ode to the narcotic of love in our shared responsibility to each other during isolation,” and it’s a relaxed yet hypnotic song that sounds like classic Thurston Moore, and is a very promising first taste of this LP.

Thurston also said:
“By The Fire” is music in flames. 2020 is our time for radical change and collective awareness and Thurston Moore has written nine songs of enlightenment, released to a world on fire. Taking a cue from Albert Ayler’s “music is the healing force of the universe”, this recording offers songs as flames of rainbow energy, where the power of love becomes our call.

These are love songs in a time where creativity is our dignity, our demonstration against the forces of oppression. By The Fire is a gathering, a party of peace — songs in the heat of the moment.

Strawberry Moon (for three guitars)
Recorded At Daydream Library 3rd June 2020 London

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a celebration of the strawberry ( full ) moon vibrations – free energy for change.
released June 3rd, 2020

This next one’s a lovely acoustic instrumental called “The Lords and the Ladies” that Thurston debuted on his 2013 UK tour with legendary folk singer Michael Chapman and recorded in London in 2015.

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A midweek offering to greet the summer – this song was written a year or so prior to its recording and was played on the acoustic duo tour I shared with maestro Michael Chapman throughout England. released May 20th, 2020
written and performed by Thurston Moore for eva.

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A soundtrack for our usa sisters + brothers to register as voters today, if you still need to – we can change the world – free all political prisoners – insurrection for common decency – rock n roll consciousness – more to come. “By the Fire” comes out September 25th.Thurston’s Daydream Library Series label

released May 1st, 2020
thurston moore group
bass – Deb Googe
drums – Steve Shelley
guitar – James Sedwards
guitar + vocal – Thurston Moore
recorded by paul epworth at the church London
foto / true love – radieaux radio – in the wilds of oz

Thurston Moore born 25th July 1958 Coral Gables Florida , teenage years spent in Bethel Connecticut then moved to NYC 1977, joins The Coachmen plays CBGB’s, Max’s and downtown art-rock dwellings, Joins Sonic Youth 1980-2014, then Chelsea Light Moving, immigrates to great smoke London, foreva love, solo group action, further free scenes, ecstatic peace library, daydream library, animal liberation

Sonic Youth have also been in the process of putting archival material on Bandcamp (their latest, Perspectives Musicales – Live At Cat’s Cradle 2000, came out on Friday timed with Bandcamp’s as has Lee Ranaldo.

As made clear already by widely-spread preview track “Kill It In The Morning” and first single “Sick,” The Twilight Sad’s third full-length, No One Can Ever Know, marks a sonic shift for the band. Freshly inspired by a listening diet of Cabaret Voltaire, Can, Liars, Magazine, Autechre, and Public Image Limited, the band turn to a dark, synth-heavy sound for No One Can Ever Know; the resulting LP shares thematic and sonic space with the most innovative offerings from Depeche Mode, The Cure, or even Nine Inch Nails. “We wanted to be a lot more spontaneous, get outside our comfort zone – not to fall back into repeating what we’ve done previously,” explains guitarist Andy MacFarlane. “So we moved to London for a month to record at The Pool and got Andrew Weatherall involved to bounce ideas off and to generally reassure us of the direction we were already progressing in – toward a sparser sound, with a colder, slightly militant feel.”

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Under the guidance of Weatherall the band experimented with vintage analogue synths – borrowed from producer Ben Hillier – to work on the core sounds they wanted, finding further inspiration in the distinctive production style of innovators like Factory Records’ Martin Hannett and Cluster‘s Conny Plank.

Originally Released February 6th, 2012