Posts Tagged ‘Warp Records’

Squid are thrilled to announce their debut album , “Bright Green Field”, already one of 2021’s most highly anticipated albums. Bright Green Field, produced by Dan Carey, will be released 7th May. It’s an album of towering scope and ambition, it is deeply considered, paced and intricately constructed. With all band members playing such a vital and equal role, this album is very much the product of five heads operating as one.

Some bands might be tempted to include previous singles on their debut – and the band already released two more in 2020 via Sludge’ and ‘Broadcaster’ – but instead Bright Green Field is completely new. This sense of limitlessness and perpetual forward motion is one of the the key ingredients that makes Squid so loved by fans and critics alike, from BBC Radio 6 Music who have A-Listed previous singles, ‘Houseplants’, ‘The Cleaner’ and ‘Match Bet’ to publications such as, The Guardian, NME, The Face, The Quietus and countless others. The band was also on the longlist for the BBC Music Sound of 2020 poll.

Bright Green Field
features field recordings of ringing church bells, tooting bees, microphones swinging from the ceiling orbiting a room of guitar amps, a distorted choir of 30 voices as well as a horn and string ensemble featuring the likes of, Emma-Jean Thackray and Lewis Evans from Black Country, New Road.

Ahead of the release of their forthcoming debut record, Bright Green Field (due May 7th via Warp Records), the Brighton, UK five-piece Squid have returned with another stellar single, a banger called “Paddling.”

While much of the material off Squid’s impending debut album was written in the studio, “Paddling” has been in their live arsenal for a while. The track leads with blaring, sci-fi synths and pulsing drums, quickening in pace; an upbeat staple that meshes the chaotic but controlled post-punk tendencies the group is known for, while introducing a more intricate facet of their technical abilities. Lyrically, it tackles the sort of dystopian horror Bright Green Field centers around, wondering if we’re all just cogs in a massive, inescapable machine. “Patient, in control/Dig holes like a mole/Patient, oars in stow/Just do what you’re told,” 

“Written from two different perspectives, ‘Paddling’ is a song about the dichotomy between simple pleasures and decadent consumerism,” say the band. “Recounting a familiar scene from The Wind in the Willows, the song reminds us that although we are humans, we are ultimately animals that are driven by both modern and primal instincts, leading to vanity and machismo around us in the everyday.”

Whilst the album title conjures up imagery of pastoral England, in reality, it’s something of a decoy that captures the band’s fondness for paradox and juxtaposition. Within the geography of Bright Green Field lies monolithic concrete buildings and dystopian visions plucked from imagined cities.   

Squid’s
music – be it agitated and discordant or groove-locked and flowing – has often been a reflection of the tumultuous world we live in and this continues that to some extent. “This album has created an imaginary cityscape,” says Ollie Judge, who writes the majority of the lyrics and plays drums. “The tracks illustrate the places, events and architecture that exist within it. Previous projects were playful and concerned with characters, whereas this project is darker and more concerned with place – the emotional depth of the music has deepened.”

These themes were further embedded and emphasised, almost serendipitously, as Judge began to read more. “Reading Douglas Coupland’s view that we’re living in the “Extreme Present” as well as Mark Fisher and Merlin Coverley’s writings on Hauntology and the slow cancellation of the future made me realise we’ve been living in a dystopian and futurist landscape for a long time.”  However, for all the innovative recording techniques, evolutionary leaps, lyrical themes, ideas and narratives that underpin the album, it’s also a joyous and emphatic record. One, that marries the uncertainties of the world with a curious sense of exploration, as it endlessly twists and turns down unpredictable avenues.

Formed in Brighton, Squid is the brainchild of Louis Borlase (Guitars & Vocals), Ollie Judge (Drums & Lead Vocals), Arthur Leadbetter (Keyboards, Strings, Percussion), Laurie Nankivell (Bass & Brass) and Anton Pearson (Guitars & Vocals).

due May 7th via Warp Records

May be an image of nature and grass

We’re excited to announce our debut album “Bright Green Field”, out Friday 7th May! Here’s the first single ‘Narrator’ , This is the debut album we’ve always wanted to make and without a doubt the most ambitious thing we’ve ever done. We can’t wait for you to hear the whole thing. And especially to be able to play it to you in person……. ‘Narrator’ features the fantastic Martha Skye Murphy on vocals. The music video is directed by Felix Green. The track was inspired by the 2019 film A Long Day’s Journey Into Night, the song follows a man who is losing the distinction between memory, dream and reality and how you can often mould your memories of people to fit a narrative that benefits your ego. Martha Skye Murphy, the track’s guest vocalist, made the point that the unreliable narrator is, more often than not, a male who wishes to portray women as submissive characters in their story. After some discussions with Martha she thought it’d be a good idea that she play the part of the woman wanting to break free from the dominating story the male has set.

One of the most hotly anticipated albums of 2021 is incoming. While the title of Squid’s debut album conjures up imagery of pastoral England, in reality, it’s something of a decoy that captures the band’s fondness for paradox and juxtaposition. Within the geography of Bright Green Field lies monolithic concrete buildings and dystopian visions plucked from imagined cities. Squid’s music – be it agitated and discordant or groove-locked and flowing – has often been a reflection of the tumultuous world we live in. Following two instant sell-out EPs, their debut album is due 7th May on the legendary Warp label, unlike anything you’ve ever heard before. A colossal new force in UK music.
Written in early 2020 and recorded during the intense delirium of a summer heatwave, ‘Bright Green Field’ sees the U.K. five-piece transcend genre, blending together alternative rock, post-punk and experimental electronics into a debut impossible to predict.

‘Bright Green Field’ is a joyous and emphatic coming of age record that’s agitated, discordant, groove-locked and flowing, amplified through dystopian Britain, science fiction and cyberspace – a reflection of the tumultuous world we live in. 
First single ‘Narrator’, is available now, ricochets from funk strut to screeching chaos via the melodic touch of guest vocalist Martha Skye Murphy, and comes accompanied by an expansive video by Felix Green.

Get exclusive updates direct from Squid, including news on music, shows and merch before anyone else → http://squidband.uk/follow

Warp Records reissue. Originally released in 2006, “The Future Crayon” is a collection of Broadcast’s early rarities, B-sides, compilation tracks, and other hard to find material. For Broadcast completists, this release is a must. Our vintage Lab review from the original release: After toiling in Warpscurity for the better part of the late 90s / early 00s, Broadcast have had a quick come-up in the past few years, ever since the Pitchfork massive started catching on. It stands to reason that they’d wanna capitalize on their newfound fanbase with this collection, which features almost 20 tracks, all of which are hard-to-find or just plain out-of-print.

Broadcast were formed in Birmingham in 1995 by Trish Keenan (vocals, keyboards, guitar) and James Cargill (bass). Their musical style blends elements of 1960s American psychedelia with experimental electronica, incorporating samples from various sources, Keenan (formerly of folk duo Hayward Winters) and Cargill met in the mid 1990s at the Sensateria psychedelic club, and formed Pan Am Flight Bag in 1995, renamed Broadcast after several concerts. The band’s first release in 1996, was the 7″ single “Accidentals” (issued on Wurlitzer Jukebox Records), which was written based around a sample from Joseph Losey’s 1967 film Accident. The same year, they released The Book Lovers EP (issued in November by Duophonic Records). In 1996, the band recorded a Peel Session. for BBC Radio.

Warp released a compilation album, Work and Non Work, in June 1997, compiling the EP and two singles. The 1999 Broadcast track “You Can Fall” was included on the soundtrack album for the film Morvern Callar.

You get the entire Extended Play, Extended Play #2andPendulum EPs, plus a handful of B-sides and compilation appearances spanning from 1998 to 2003. Highlights include “Illumination,” “Chord Simple,” the hazy and beautifully psychedelic “Where Youth and Laughter Go” and “Locusts.” Not necessarily a collection for the Broadcast neophyte, but everyone will find something to like here. 18 tracks; 69 minutes.

  • official reissue of Future Crayon, a collection of Broadcast rarities and B-sides
  • originally released in 2006

Trish Keenan died on 14th January 2011 at the age of 42, following complications with pneumonia, which she suffered from after earlier contracting H1N1. Cargill, the sole remaining member, said in a 2011 interview with Under the Radar that a new Broadcast album was in the works, featuring vocals recorded by Keenan shortly before her death. He later said: “Trish left a lot of tapes, four-tracks and stuff, and I’ve been going through those. It’s difficult, and I’m connected to it at the same time. It’s wonderful, but I’m also feeling a sense of loss. The next thing I release with Trish on it will be more like a monument and a tribute to her rather than this obsessive thing I used to have about making albums.” As of 2020, however, the album has still not been released.

Band Members
Trish Keenan
James Cargill

The Debut full length album from Birmingham band Broadcast.  formed in 1995 by Trish Keenan (vocals, keyboards, guitar) and James Cargill (bass). Their musical style blends elements of 1960s American psychedelia with experimental electronica, incorporating samples from various sources, and earned the band a cult following. “The Noise Made By People” came after the band signed to Warp Records and spent nearly three years in the studio. It was time well spent, as they built on the sounds and textures they explored in their earlier singles (archived by Warp on the excellent Work And Non Work). Reared on a heavy dose of vintage British psychedelia, Broadcast drew early (and somwhat lazy) comparisons to their mentors Stereolab. The slick pop song writing and expert production on “Unchanging Window” and “Papercuts” feels vaguely familiar yet hard to pinpoint; in retrospect, more similar to the nostalgic aura conjured by labelmates Boards Of Canada. More experimental tracks like “Minus One” and “The Tower of Our Tuning” reveal influence from The BBC Radiophonic Workshop and similar sound effects units. Considered at the time to be a left-field choice by Warp’s A&R staff, as the indie powerhouse had dealt exclusively with artists working in the fields of techno and dance music, Broadcast’s signing to Warp makes much more sense in hindsight, and it’s hard to imagine them having such a fruitful run on any other label.

This was the group’s debut studio album, The Noise Made by People, was released by Warp Records in March 2000. It was self-produced in the group’s own recording studio after having been through three producers to get a particular sound. Regarding the expensive two year production of the album, Keenan said, “There [were] no financial benefits in getting it right.” The band issued two EPs in the same year, “Extended Play” and “Extended Play Two”.

The Noise Made By People indeed rocks, but there are hardly any noticeable guitars in the mix at any time throughout the course of the record. Their inventive approach to a five-piece band setup and non-purist attitude predates the ubiquity of electronics in indie rock that would follow in their wake. While James Cargill has been working intently on finishing Broadcast’s final album since the tragic and untimely passing of Trish Keenan in 2011, the uncanny brilliance of Broadcast continues to shine most brightly on The Noise Made By People. Recommended.

Broadcast have released three studio albums—The Noise Made by People (2000), Haha Sound (2003), and Tender Buttons (2005)—as well as several EPs and a collaboration album with the Focus Group titled Broadcast and The Focus Group Investigate Witch Cults of the Radio Age (2009).

official reissue of Broadcast’s debut album with gatefold sleeve
originally released in 2000

No photo description available.

Brighton based band Squid are happy to be releasing a new track called “Broadcaster”. It’s one of the few tracks we actually had time to road-test before the lockdown! It’s got a real sci-fi vibe which feels pretty relevant in our increasingly dystopian surroundings. We hope you enjoy it…and how could we forget… it’s being released on vinyl with Sludge.

The Brighton rock group Squid have shared their second single of the year. It’s called “Broadcaster.” Give it a listen below.

“Lyrically the track was inspired by the visual artist Naim June Paik and his TV Garden installation,” the band’s drummer/vocalist Ollie Judge said in a statement. “I thought it blurred the lines between a dystopian and utopian vision. I imagined what it must be like living synonymously amongst nature and technology in the most literal way I could imagine, with TVs towering over me amongst forests.”

Earlier this year, Squid shared “Sludge,” which was their debut song for Warp Records. On June 26th, Squid and Warp will release a 10″ vinyl record with “Sludge” and an extended edition of “Broadcaster.”

Taken from the ‘Sludge/Broadcaster’ Limited edition 10″ Vinyl, released 26 June on WARP Records.

SQUID – ” Sludge “

Posted: May 7, 2020 in MUSIC
Tags: , ,

Squid

When Ollie Judge wailed “there’s a place I go where I’m all alone,” I felt that. Fortunately, Squid’s newest single is riotous enough to slap away the cabin fever, if only for five minutes. “Sludge” is our first release through Warp Records. We’ve been playing Sludge for a while so some of you might be familiar with it. It was kind of written about self-isolation before it was a government enforced lifestyle. The new video for their song “Sludge.” It comprises crowdsourced 360º footage from their fans stuck in isolation.

The band shared a statement about the process:

After looking through all the videos it was really interesting to see how spatially different everyone’s situation is but how they’re all tied together through the same feeling of isolation. Some videos were claustrophobic, others showed deserted cityscapes and some even featured other people but they all had a lingering feeling of loneliness and uncertainty.

“Sludge” is the Brighton punk band’s first single since signing to Warp. Squid released the four-song Town Centre EP last year.

BIBIO – ” Ribbons “

Posted: July 19, 2019 in ALBUMS, MUSIC
Tags: , ,

, The 30 best albums of 2019 so far

Bibio’s back catalogue is a walk through different grounds of experimental sound. Starting his Warp Records journey with Boards of Canada influenced IDM, flirting with folk along the way and eventually falling into ambient textures on 2017’s Phantom Brickworks, Bibio has always pushed the boundaries of his work. This year’s Ribbons album sees him committing fully to dreamy, old-fashioned folk.

“Ribbons” initially feels like exactly the type of easy listening, laidback music that saturates chill Spotify playlists and the mood-based listening that dominates streaming platforms but Bibio’s unique qualities come in the weirdness and experimentation that breathes through his pretty, delicate instrumentation. Bibio’s relationship with British old-style folk isn’t a passing influence used to add another sound to his canon, its a full-bodied embrace and there’s a risk-taking charm in releasing wide-eyed tracks like ‘Erdaydidder-Erdiddar’ and ‘Watch the Flies’ to a Warp audience.

This album has been made very much in admiration of nature yet through a tinted window of manmade escapism. Spending more time in the British countryside, walking, photographing, listening and recording has certainly affected how I’ve been thinking and expressing myself in the studio – recalling the beauty in nature and the sadness of seeing it spoiled.

Yet, Bibio could teach his IDM peers a lesson with the intricate instrumentation and skilled layering exhibited throughout Ribbons. Ribbons brings you on a whimsical journey to another world that you might never want to return from.

Good Time Original Motion Picture Soundtrack

Oneohtrix Point Never’s ‘The Pure and the Damned’ video, starring Robert Pattinson, Benny Safdie, and Iggy Pop. Directed By The Safdie Brothers and taken from Oneohtrix Point Never’s Cannes 2017 award winning ‘Good Time Original Motion Picture Soundtrack’, out now via Warp Records.

A computer-animated Iggy Pop stars alongside Robert Pattinson in the strange new video for Oneohtrix Point Never’s “The Pure and the Damned.” Oneohtrix Point Never and Iggy Pop collaborated on the song as part of the former’s soundtrack for Good Time, the Safdie Brothers’ while Benny Safdie appears in the clip as well.

The clip opens with CGI Iggy Pop standing shirtless – of course – outside a house in the woods, singing the haunting piano ballad. Eventually the animated punk star appears inside the house, sitting on Pattinson’s bed and watching as the actor tries to force Safdie’s character to eat something. “The Pure and the Damned” takes an eerie, synth-heavy turn as Pattinson’s character walks outside and follows a trail of detritus to a strange wolf-like creature feasting on the innards of another animal. Wielding a sword, Pattinson engages the beast in a stare down that’s tense yet tinged with a sense of camp and melodrama.