Tag: Brighton UK

Comprised of an American, an Englishman and two Swedes, the members of FEWS relocated from London to Malmo, Sweden, where they unearthed its creative underbelly while internalizing the impact and influence of their new surroundings — and they immediately began working on the much-anticipated follow up to 2016’s full-length debut Means.  Interestingly, the band’s latest single “Business Man,” which will be released by Play It Again Sam, follows a self-imposed hiatus of sorts, one that had seen them writing and demoing new material, using the local studio of producer and friend Joakim Lindberg, while quietly returning to the UK to play a handful of well-received shows in London and Brighton. 

Sonically speaking, the explosive song is centered around twinkling Wurtlizer, slashing guitar and bass chords, feedback and distortion, thundering rhythms that fall and tumble around the mix and punchily delivered vocals — and while clearly drawing from Gang of Four, Wire, and Disappears, the song captures the modern day frustration of being caught up in the unending rat race, pointlessly striving for money to buy more shit that you really don’t want, and yet you can’t figure out how to get out the trap. Interestingly, as the band explains, the song “. . . is about people who realise they nee to shape up, get a haircut and suit, and work their asses off trying to please the boss. After a few years, burnout and the realization that the system is completely screwed, sees them lose their shit during the weekends before returning to the conveyor belt of conformity, trudging through the same bullshit week after week . . .”

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With the release of “Helpless,” the first single off Atlas Wynd’s Liam Watson-produced EP, the Brighton, UK-based trio, comprised of Peter Chapman, Harry Sotnick sand Sam Evans quickly received national attention, as they’ve received airplay on Huw Stephens’ BBC 1 Radio show, Tom Robinson’s BBC 6 Radio show, Radio X’s John Kennedy, Amazing Radio’s Elise Cobain, praise from Indie ShuffleCLASH and Alt Citizen and played on Bob Fischer’s BBC Tees Introducing show. Adding to a growing profile, the band’s material has amassed over 100,000 Spotify streams, and they’ve played sets across the UK’s festival circuit, including Glastonbury, The Great Escape and the Y Not Festival among others.

“Shellshock,” the swaggering, latest single from the Brighton-based trio has been a part of their live shows for a while but the recorded version reportedly finds the band adopting a more refined arrangement, centered around heavily distorted, grunge rock-like power chords, thundering drumming, crunchy, downtuned bass lines and anthemic hooks — and while recalling Melvins, Nirvana and others, the song was written about the opinion that people may still have a good reason and justification for their words and actions, although they appear to be outwardly different and difficult to understand, making the song a plea to be a bit more empathetic towards those that the listener may seem as strange.

 

 

New Video: Immersion Returns with a Krautrock-Inspired New Single

Last month, I wrote about the Brighton, UK-based art rock duo Immersion, and as you may recall, the act, which is comprised of husband and wife duo, Wire‘s Colin Newman and Minimal Compact’s Malka Spigel can trace their origins back to when the duo initially collaborated together in the early 90s on a handful of Colin Newman’s solo albums and later as Immersion.  Slated for a June 15, 2018 release, Sleepless is the follow up to 2016’s critically applauded Analogue Creatures Living on an Island and the forthcoming album is reportedly both an extension of its predecessor’s sound and a leap forward sonically. While still deeply influenced by Tangerine Dream and Popal Vuh with a textured, painterly approach, Newman and Spigel have expanded their sonic palette, to incorporate guitars, drums and bass with analog synths; and in fact, the album features the duo collaborating with Holy Fuck‘s Matt Schulz, and Hexenschuss‘ Gil Luz and Asi Weitz.

“Microclimate,” Sleepless’ first single was an lush yet atmospheric composition consisting of gently arpeggiated synths, simmering guitar chords, swirling electronics and a stuttering bass line — and while being meditative and dreamy, the song possesses an cinematic quality, as though it should be part of the soundtrack of a futuristic, sic-fi-leaning drama. The album’s second and latest single “Propulsiod” is a decidedly krautrock-inspired affair, as it’s centered around an appropriately propulsive, motorik groove with squelching and trembling synths and electronics. As the duo says about the song, “The roots of Immersion lie in abstract techno but somehow over the years we’ve acquired the motorik of krautrock without ever consciously deciding on that direction. ‘Propulsoid’ is a kind of propulsive mythical beast, an unholy alliance of Klaus Dinge’s beats and acid squelch filtered through the ever present MS-10. We guess it’s a kind of dance music! The video was made by us in the same spirit as we make the music and write these words. It’s about speed, light & repetition.” Unsurprisingly, the video features footage of relentless transpiration, movement sped up and occasionally in reverse, which emphasizes the sense of repetition and endlessness to it. 

Newman and Spigel will be touring to support Sleepless and it includes a July 14, 2018 stop at Rough Trade. Check out the rest of the tour dates below.

Last year, I had written a bit about the Brighton, UK-based indie rock band, Thyla, and as you may recall the band can trace its origins to when its founding trio of Millie Duthie, Danny Southwell and Dan Hole met back in 2015 while attending college. Quickly bonding over shared musical interests, Duthie, Southwell and Hole formed the band — but with the addition of the band’s newest member, Mitch Dutch, the band began to reimagine their sound and aesthetic, before writing and recording  some new, attention grabbing material, centered around a distaste of what they felt is the stale and boring state of the British recording industry.

Not only have they furthered Brighton’s growing reputation across the UK for producing some of England’s best and hottest, up-and-coming bands, they’ve played with the likes of Dream WifeLuxury DeathMatt Maltese, YonakaHusky Loops and Lazy Day.  Adding to a growing profile, the members of Thyla have been spotlighted alongside Pale Waves, Nilüfer Yanya, and Sorry in NME‘s 100 Essential Acts for 2018, and this year, they’ve shared bills with Sunflower Bean, INHEAVEN and Fickle Friends. Additionally, BBC Radio 1’s Huw Stephens named the band one of his Alternative Tips for 2018 — and that interestingly enough coincides with a headlining spot at BBC’S Biggest Weekend Fringe and a set at The Great Escape Festival.

Produced by Macks Faulkron and mixed by Alex Newport, Thyla’s latest single “Blame” may arguably be one of the more arena rock/festival circuit rock friendly singles they’ve released to date, as the song is centered around angular guitar and bass chords played through a generous amount of reverb, thundering and propulsive drumming and a rousing, anthemic hook meant to evoke the anxious frenzy of neurosis and crippling self-consciousness. As the band explains “‘Blame’ is a about the uncharacteristic choices people make when they’re trying to be like someone else, for the sake of someone else, at a cost to themselves. It’s a neurotic frenzy of guitars with self conscious lyrics about the state of paralysis jealously puts you in; blind anger with no real solution.”

New Video: Wire’s Colin Newman and Minimal Compact’s Malka Spigel Team Up on a Lush and Painterly Track

Comprised of Wire’s Colin Newman and Minimal Compact’s Malka Spigel, the Brighton, UK-based art rock duo Immersion can trace their origins back to when the duo initially collaborated together in the early 90s on a handful of Newman’s solo efforts and later with Immersion. Sleepless which is slated for a June 15, 2018 release is the follow up to 2016’s critically applauded Analogue Creatures Living on an Island and their forthcoming album is reportedly both a logical development and a leap forward — while still deeply influenced by the likes of Tangerine Dream and Popal Vuh with a textured, painterly approach, Newman and Spigel have expanded their sonic palette, to incorporate guitars, drums and bass with analog synths; in fact, the album also features guest appearances from Holy Fuck’s Matt Schulz, and Hexenschuss’ Gil Luz and Asi Weitz. 

Sleepless’ first single, album opener “Microclimate” is an atmospheric yet lush and upbeat composition consisting of gently arpeggiated synths, shimmering guitar chords, gently swirling electronics and a stuttering bass line — and while being dreamy and thoughtful, it’s a decidedly cinematic track that possesses a mysterious quality. 

 

Deriving their name from the Fujiya brand of record players and the famous character Mr. Miyagi from The Karate Kid, the Brighton, UK-based indie act Fujiya & Miyagi, currently comprised of founding members David Best (vocals, guitar) and Stephen Lewis (synths, vocals), along with Ed Chivers (drums), Ben Adamo (bass, vocals) and Ben Farestuedt (bass, vocals) formed in 2000, and since their formation they’ve released a handful of EPs, including a 2016 triptych of EP releases that were designed to all slot into one record sleeve and seven full-length albums — 2002’s Electro Karaoke in the Negative Style, 2006’s Transparent Things, 2008’s Lightbulbs, 2011’s Ventriloquizing, 2014’s Artificial Sweeteners, 2017’s self-titled and Different Blades from the Same Pair of Scissors 

The first few years after their formation were spent in relative obscurity; however, their profile began to expand between 2003 and 2006 as they received praise from NME and Pitchfork. Adding to a growing profile during that period, the British act were featured in an episode of MTV2′s documentary series This is Our Music, while “Uh” was featured in an episode of Breaking Bad and an episode of the British sci-fi series Misfits. “Collarbone” was featured on an episode of the American adaptation of British teen drama Skins while “Vagaries of Fashion” was featured on an episode of How To Get Away With Murder

Interestingly, the members of the Fuyija & Miyagi decided that it was time to revisit their breakthrough 2006 effort Transparent Things and re-issue it on vinyl. As the band’s David Best explains in press notes, “We’ve always regretted not putting it out on vinyl, so over ten years later, it seemed like a good opportunity to correct that. We have explored different ways of making music since its initial release but it remains the album that defines our aesthetic in many ways.” Taking its name from Vladimir Nabokov’s Transparent Things, the album is actually a compilation of their previous standalone singles into one thorough collection — and in a critical sense, the album was part of its zeitgeist while simultaneously looking a bit deeper and further, as the album’s material nodded at krautrock but was also incredibly dance floor friendly. The band will be on a Stateside tour to celebrate the vinyl reissue of Transparent Things that will include a March 31, 2018 stop at Elsewhere.

In the meantime, the British act has released a strutting and funky new single “Subliminal Cuts” that was reportedly inspired by Columbo — and sonically, the track nods at classic disco and LCD Soundsystem-era dance punk as shimmering and arpeggiated synths are paired with a sinuous bass line and some of the most infectious hooks I’ve heard this year; but underneath the self-assured swagger expected of old pros, who know what they’re doing is a sly, self-aware sense of humor paired with an intriguing sense of mystery.

 

 

 

 

 

 

 

 

 

 

 
Tour Dates:
Fri 30th Mar Philadelphia PA Johnny Brenda’s
Sat 31st Mar New York NY Elsewhere
Sun 1st April Washington DC U Street Music Hall
Tue 3rd April Chicago IL Lincoln Music Hall
Wed 4th Apr Seattle WA Chop Suey
Thu 5th Apr Oakland CA New Parish
Fri 6th Apr Los Angeles CA Union (Jewels)

New Video: Dream Wife’s Dystopian Anime-Influenced Visuals for Anthemic New Single “Hey! Heartbreaker”

Deriving their name as a commentary on society’s objectification of women, the London-based punk rock trio Dream Wife, comprised of Icelandic-born, London-based Rakel Mjöll (vocals), Alice Go (guitar, vocals) and Bella Podapec (bass, vocals) met while the trio were attending art school in Brighton, UK — with Mjöll, Go and Podapec forming the band in 2015 as part of an art project conceptualized around the  idea of a band born out of one girl’s memories of growing up in Canada during the 1990s.  And since their formation, the trio quickly developed a national profile, as they’ve received critical praise for their earliest releases and their live shows from the likes of NPR, DIY, Stereogum, Nylon, Entertainment Weekly and others. Adding to a growing profile, the trio have toured across the European Union, opened for Sleigh Bells and The Kills during their respective US tours, and have played a number of the world’s biggest festivals, including SXSW.

Dream Wife’s highly anticipated self-titled debut is slated for a January 26, 2018 release through Lucky Number Music and from the album’s latest single “Hey! Heartbreaker,” the British based punk trio’s sound features stomp and shout in the mosh pit worthy hooks, fuzzy and angular guitar chords and a steady backbeat in a fashion that’s reminiscent of Is Is and Fever to Tell-era Yeah Yeah Yeahs and Elastica, complete with a brassy, kick ass and take names self-assuredness and bratty mischievousness at its core. 

Animated by Joe Prytherch, a former art director of Boiler Room, best known as Mason London, the recently released video envisions a dystopian yet familiar future inspired by anime, Akira, Josie and the Pussycats and Jem, in which the members of the band are depicted as robot performers held in a sleazy bar against their will, where they perform in front of bored customers. But when we catch them in the world of the video, the trio violently escape and lead the police through a breakneck escape from the city. 

As the members of the band said in press notes about the video and its concept, “We were super excited to work with Mason London to bring the world of ‘Hey! Heartbreaker’ to life. Collaboration is integral in our approach to Dream Wife, and we encourage different creative ideas and paths to mix with our own vision.

“It’s uncanny to watch these mechanical, parallel versions of ourselves rock out and then break out. We like to think that in another reality our robot versions are continuing their adventures; perhaps in the forest, perhaps plotting for a robot revolution, perhaps playing wild, secret rock shows to other robos.”

New Video: Mount Kimble’s Playful Visuals and New Single Pushes Their Attention-Grabbing Sound in Trippy New Directions

Comprised of Kai Campos and Dominic Maker, the London and Los Angeles-based production and electronic music artist duo Mount Kimbie can trace their origins to when the. St. Austell, Cornwall-born Campos and the Brighton-born Maker met while studying at London Southbank University, where Campos was having another go at school and Maker was studying film.  And with 2009’s Maybes EP and Sketch on Glass EP, and their  2010’s full-length debut Crooks & Lovers, the duo quickly rose to national attention for pushing dubstep into new, exciting directions, including using field recordings to form major elements of their material paired with glitchy synths and electronics, as well as elements of post-punk and other genres — with some critics hailing them as the pioneers of post-dubstep. Unsurprisingly, Crooks & Lovers appeared on over 30 different “Best of 2010” lists, including NME, Mixmag, Resident Advisor, Pitchfork and Drowned in Sound — and along with that NME listed them at number 22 of their 30 Artists for 2011. Adding to a growing profile, the duo have frequently collaborated with James Blake, King Krule and Micachu and have remixed the The Big Pink, Foals, The xx and Andreya Triana among others.
 
By 2012, the band signed with renowned electronic label, Warp Records, who released their critically applauded breakthrough album Cold Spring Fault Less Youth the following year and their third album Love What Survives, which was released earlier this year. Interestingly, their latest album marks two different and important milestones for the duo — their first studio album in four years and the first album with the duo as a Transatlantic duo with one member in London, the other in Los Angeles. The album’s latest single “You Look Certain (I’m Not So Sure),” feat. Andrea Balency finds the duo pushing their sound in completely new directions — in this case, nodding at breezy surf pop, psych pop and industrial electronica while retaining the glitchy synths and boom bap beats that first caught the attention of the blogosphere while pairing that with Balency’s coquettish and ethereal vocals. And while seemingly self-assured, the song bristles with the narrator’s awareness of their insecurities and faults. 

Directed by Rosie Marks and Frank Lebon, the recently released video is set in Miami and focuses on (and even emphasizes) the insecurities one has while in a new place — especially when you’re someone from far away, trying to figure out what the hell is going on and how you fit in. 

With the release of two early demos “Take It Easy” and “Maybe Next Year,” the Brighton, UK/London, UK/York, UK-based indie rock trio  Johnny Kills, comprised of siblings Tim (guitar, vocals) and Lewis Lloyd Kimmings (bass, keys, vocals), and their best friend and Cameron Gipp (guitar, vocals), quickly received attention across the blogosphere and elsewhere for a sound that draws from surf rock, garage rock and Brit pop. Now, if you’ve been frequenting this site over the summer or the rest of the blogosphere, you’d likely know that the past few months have been incredibly busy for the band as they’ve released their official debut “Let’s Talk About Me,” and two follow-up singles “My Shirt Guy Is High” and “End Game” with drummer Fin S. Woolfson, and each of those singles have managed to cement the up-and-coming trio’s reputation for crafting anthemic, guitar-led pop that focus on the cluelessness, anxieties and uncertainties of being in your early 20s and trying to maneuver — well, everything.

“Not So Bad,” continues in a similar vein as its predecessors as it’s an anthemic power chord driven song delivered with an ironic, self-awareness of one’s own futility and ridiculousness. This shouldn’t be surprising as the band’s Tim Kimmings explains in press notes, ‘Not So Bad’ is about ridiculous conversations you have with your friends at the end of a drunken night. Putting the world to rights, arguing about dumb things, “genuine” epiphanies or just chatting shit. Safe in the knowledge that nothing will have changed in the morning”