Tag: Leeds UK

Comprised of Lucy Jowett (vocals), Joe Clarke (guitar) and Jacob Marston (drums), the up-and-coming Leeds, UK-based art punk trio Dead Naked Hippies formed back in 2016 and since their formation they’ve received praise from BBC Introducing, KCRWDIYClashDORK Magazine, Metro and PRS Magazine for a face melting take on art rock and art punk centered. Adding to a growing profile, the Leeds-based trio have shared stages with Dream Wife, IDLES, Queen Zee and DZ Deathrays, and have played at Live at Leeds and last year’s Leeds Festival.

The trio’s latest single “Rare” will further cement their growing reputation for crafting blistering and furious punk rock centered around a pummeling and angular guitar line, thumping and forceful four-on-the-floor drumming, and a shout along in a sweaty mosh pit worthy hook; but at the core of the song is a rebellious and cathartic rallying yell. As the band’s Jowett explains in press notes, It is a song about self love. I think we’re quick to judge the term & deem it laughable or irrelevant in fear of being arrogant, or weird. But if you take a hard look at the society we live in, it’s clear to see why so many people struggle to feel content in their own minds and their own bodies. I’ve always struggled with myself and it sickens me to think that so many other people feel the same. It needs to change.

“We’re used by advertising companies, so they can make money out of our discontentment. Bombarded with images of fake realities, only to make us feel like ours isn’t enough. We’re made to feel like our creativity and passion will never be as important as serving a functional purpose in society. It’s dull, boring and I’m fucking mad about it. Most importantly, I want people to know that they’re not alone.”

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With the release of recent singles “Holding On” and “Let’s Go Outside” receiving attention across the blogosphere, opening slots with Her’s, Indoor Pets, and whenyoung, and a forthcoming set this month’s Leeds Festival, the up-and-coming Leeds, UK-based trio Far Caspian, comprised of Irish-born, Leeds-based singer/songwriter and guitarist Joel Johnson, Leeds-born and-based drummer and backing vocalist Jof Cabedeo and Leeds-born and-based bassist and backing vocalist Alessio Scozarro have developed a reputation for crafting material centered around Johnson’s transition to life in a new country and the upheavals that ensue paired with their unique take on atmospheric pop, influenced by Real Estate, Grizzly Bear and Band of Horses.

“The Place” off the up-and-coming Leeds-based trio’s forthcoming debut EP slated for release this fall through Dance To The Radio is a jangling and atmospheric track, rooted to percussive and angular drumming, shimmering guitar chords and sinuous hooks — and in some way, the song sounds as though it draws from Vampire Weekend and others but with a breezier, summertime vibe. As the band says in press notes, “We wanted to have a track on the EP that was based more on intricate rhythms but instead we went for a pretty stripped back arrangement so it made sense alongside our other tracks. The song itself is about overthinking things in social situations and feeling like you aren’t contributing enough to conversation because you’re feeling awkward.”

New Video: Introducing the Wiry Post-Punk of Up-and-Coming Leeds-based Trio Drahla

Led by Luciel Brown (vocals, guitars), the Leeds, UK-based trio Drahla have received national and international attention for meshing anxious and wiry post-punk with krautrock-inspired experimentation, featuring angular guitar chords and propulsive and hammering bass, the track is centered by Brown’s half-spoken/half-sung vocals as you’ll hear on “Twelve Divisions,” the band’s Pink Flag-era Wire-like Captured Tracks Records debut.

The recently released video is fully of erratic jump cuts, flickering lights and flickering imagery, the video is full of absurd and at times repetitive imagery and action.   As Brown says of the video, “The video is an abstracted representation of process and routine. This is depicted through the recreation of the cover artwork and repetitive nature of the content used.”

New Video: Moaning Releases Amorphous and Dada-esque Visuals for Slow-burning Album Single “Misheard”

Over the first couple of months of this year, I wrote about the Los Angeles, CA-based indie rock trio Moaning, and as you may recall, the band comprised of Sean Solomon, Pascal Stevenson and Andrew MacKelvie have spent the past few years crafting  and refining a moody and angular post-punk sound that manages to draw influence equally from shoegaze and slacker rock. During that same period of time, the band has received attention both nationally and internationally from a number of major media outlets including The Fader, The Guardian, DIY Magazine,Stereogum, and others.

The trio’s highly-anticipated, self-titled, full-length debut was released earlier this year through  Sub Pop Records, and album singles like the Joy Division/Interpol/Preoccupations-like “Artificial” and the moody and shimmering “Tired,” further cemented their reputation for moody post-punk with enormous, arena rock-like hooks. Unsurprisingly, the mid-tempo ballad “Misheard” continues in a similar vein, as it features angular guitar chords and enormous hooks but finds the band decidedly pushing their sound towards shoegaze and 120 Minutes MTV-era alt rock, centered around lyrics that vacillate between self-loathing, confusion and regret — all familiar emotions that are engendered in the aftermath of an equally confusing and embittering relationship.

Directed by Steve Smith, the recently released video for “Misheard” continues the band’s string of accompanying their songs with surreal visuals — this time with some amorphous, neon-colored imagery that’s like a Dada-esque nightmare.

Comprised of Tom Barr (vocals, guitar), Lachlan Banner (drums), Matt Pownall (guitar, vocals) and Stanley Braddock (bass, vocals), the Leeds, UK-based quartet Party Hardy can trace their origins to when the band’s founder Tom Barr came up with the idea of the band at his house with his buddies Banner, Pownall and Braddock las year. And within their first year together as a band, the British quartet have quickly developed, refined and developed a sound that locals have dubbed as “Blur meets surf rock with a bit of Beach Boys shoved up its arse.” Along with that, the band has also developed a growing reputation for their live set, as they’ve opened for the likes of Trudy & The Romance, Mouses, Bruising, Diet Cig, Cowtown, INHEAVEN and The Magic Gang, among others.

2017 has been a big year for the band as they’ve released two attention grabbing singles “Friendly Feeling” and “Jobs,” which have quickly helped add the band to a growing list of Leeds-based bands receiving attention across the blogosphere, and with the release of their third and latest single of the year, “Mindchanger,” you’ll see why, as the band specializes in walking the tightrope between dreamy and shimmering guitar pop and explosive, power chord-based, anthemic rock, complete with a shout worthy, mosh pit friendly chorus.  Interestingly, as the band explains in press notes “‘Mindchanger’ is an ode to the experiences felt by the parents of the youth of yesterday, Played out through the perspective of a parent struggling with the difficult nature of an anxty (sic) teen, the song takes the listener through a journey of their own personal past, with a new meaning easily discovered upon each listen.”

 

 

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If you’ve been frequenting this site over the past couple of years, you’ve come across a couple of posts featuring  Leeds, UK-based indie rock/post-punk quintet AUTOBAHN. And you may recall that with the release of 2015’s debut effort Dissemble, the British quintet comprised of Craig Johnson (vocals) Michel Pedel (guitar) and Gavin Cobb (guitar), Daniel Sleight (bass) and Liam Hilton (drums) received attention both nationally and across internationally for a sound that was influenced by Joy Division and their legendary producer  Martin Hamett; in fact, the band has openly admitted that they wrote and recorded the album imagining what Hannett would have done with them in the studio. However, as the story goes, sometime before they were about to write and record the material, which would comprise their forthcoming sophomore full-length effort The Moral Crossing, the members of the band decided to give up their long-held practice room, which had doubled as a hardcore punk venue, and build their own space.

They found a former double-glazing firm under a disused bridge in Holbeck, Leeds’ red light district and despite having no real experience building a studio from scratch, they undertook the job. And after finishing the studio, the band’s Craig Johnson then taught himself how to produce and record an album — with the boring desire to create their own sound and be in control of their own artistic vision.  “I was down there nearly every night,” Johnson recalls. “It was pretty horrible at times, but worth the pain to have control over everything. We’ve had the chance to create the sound we want, at times it’s more melancholic, and romantic.” Of course, as they went about changing their overall sound, the band went through a change in songwriting approach, in which they went through a deliberate and painstaking process, where they constructed songs piece-by-piece as they went along rather than working to revise already created songs, as they previously did. . Lyrics came about at the end, and thematically the material finds the band focusing on birth — but in a way that emphasizes that the person “had no choice in the decision. And then it’s about the different outcomes that could happen, Which could be glorious or torturous,” Johnson explains in press notes.

Last month, I wrote about album title track “The Moral Crossing,” a single, which revealed that the band went though a bold and forceful new direction — and while retaining the angular attack of their previously released singles and of Martin Hammett-era Joy Division, the single finds the band crafting some of their most ambitious material to date, as it possesses the swooning and antehmic hooks reminiscent of Snow Patrol paired with prog rock and arena rock-like sensibility. “Future,” The Moral Crossing‘s latest single features familiar, post-punk angular guitars, four-on-the percussion, soaring synths and a rousing hook before dissolving into noisy chaos but where there are similarities between this single and its predecessor, the biggest difference to my ears is that this track reminds me quite a bit of Freedom of Choice-era DEVO or in other words, as though it comes from some brutal and ridiculous post apocalyptic future that kind of resembles our own.

Currently comprised of Leeds, UK-born, Toronto, ON-based founding member Gareth Parry along with Sebastian Buccioni, Jon Hyde, Sly Juhad Kyle Sullivan, the Toronto, ON-based funk act Gareth Parry and The Out of Towners initially was initially conceived as an old-school boogaloo funk trio playing after-hour dance parties back in Leeds and Manchester; however, since then the band’s founder has helped drive the band’s sound, pushing their sound away clear cut genre boundaries, with their sound drawing from deep house, space rock, blues rock and funk — and “The Post That Hurts The Most,” the first single off the band’s soon-to-be released debut effort Skronk is decidedly influenced by the deep fried Southern rock grooves of The Allman Brothers and The Meters, as well as contemporaries like Lettuce and The Texas Gentlemen, complete with a raw, you-were-there, immediacy.

 

 

Earlier this summer, you may have come across a couple of posts featuring  Leeds, UK-based indie rock/psych rock trio The Boxing, and as you may recall, since their formation in 2014, the trio comprised of  Harrison Warke (vocals, guitar), Henry Chatham (bass) and Charlie Webb (drums) quickly asserted themselves as part of their hometown’s growing, contemporary indie rock and psych rock scenes; in fact, they’ve already drawn some comparisons to the likes of W.H. Lung, Eagulls and JOVM mainstays The Vryll Society.

Now, as you may recall “One by One” was a brooding track led by a sinuous bass line and steady drumming paired with a propulsive motorik groove, a soaring hook and  a whispered croon reminiscent of The Horrors’ Faris Badwan, and as the band’s Harrison Warke explained in press notes, “One by One,”  was an elaboration of the sound they developed across their first batch of singles; but perhaps just as important, “One by One” was the first single act the act recorded in a proper, professional studio. Of course, recording in a studio gave the members of the band the ability and freedom to experiment and flesh out the song’s arrangement in a way that they were unable to do before. “Heart of Me,” was released as the B-side (sort of) to “One by One” — and while continuing in a similar vein to its lead single, the track manages to be a slow-burning., moody and stormy bit of shoegaze with a creepy, existential dread at its core.

“Tame,” while being one of the trio’s shortest song to date — it clocks in at a little under 2 minutes and 40 sounds — will further cement their growing reputation nationally and across the blogosphere for crafting moody yet anthemic shoegaze, complete with shimmering, pedal effected guitar chords; however, as the band’s Warke explains “most of our songs are written in a darkroom without windows, but a hint of light managed to creep into this one. There’s a bit of sweet among the usual sour.” And what makes the song interesting is while nodding at a lighter, perhaps airier and arena rock-like fare, the song finds the band doing so while retaining soaring hooks and an enveloping feel.

 

 

With the release of 2015’s debut effort Dissemble, the Leeds, UK-based indie rock/post-punk quintet AUTOBAHN, comprised of Craig Johnson (vocals) Michel Pedel (guitar) and Gavin Cobb (guitar), Daniel Sleight (bass) and Liam Hilton (drums) received attention both nationally and across the blogosphere for a sound that was influenced by Joy Division and their legendary post-punk producer Martin Hamett. In fact, the band reportedly wrote and recorded the album imagining what Hannett would have done, if he were to produce them. However, as the story goes, before they set up to write and record the material that would comprise The Moral Crossing, the band’s forthcoming sophomore effort, the members of the band had decided to give up their practice room. which also doubled as a hardcore punk venue, an build their own space. They found a former double-glazing firm under a disused bridge in Holbeck, Leeds’ red light district and despite having no real experience building a studio from scratch, they undertook the job and when they finished their studio, the band’s Craig Johnson taught himself how to produce and record an album with the burning desire to create their own sound with their own artistic vision.  “I was down there nearly every night,” Johnson recalls. “It was pretty horrible at times, but worth the pain to have control over everything. We’ve had the chance to create the sound we want, at times it’s more melancholic, and romantic.”

In order to go about changing their sound, a change in songwriting approach was necessary — and for their sophomore effort, the band went about a deliberate and painstaking process in which they built songs piece-by-piece as they went along rather than working on completed songs, as they previously did. Lyrics came about at the end, and thematically the material finds the band focusing on birth — but in a way that emphasizes that the person “had no choice in the decision. And then it’s about the different outcomes that could happen, Which could be glorious or torturous,” Johnson explains in press notes.

From album title track “The Moral Crossing,” the Leeds-based quintet’s sophomore effort will be a bold and forceful new direction for the band — while retaining the angular attack of their previously released singles and of Martin Hammett-era Joy Division, the single finds the band crafting some of their most ambitious material to date, as it possesses the swooning and antehmic hooks reminiscent of Snow Patrol paired with prog rock and arena rock-like sensibility.

 

 

 

 

 

 

New Video: Britney Spears, Boy George, and Nicki Minaj in Auditioning for a Gig in New Visuals for Hook Laden, New Track by Up-and-Coming Leeds-based Electro Pop Duo Krrum

Earlier this year, I wrote about the up-an-coming Leeds, UK-based, indie electro pop production and artist duo KRRUM. Comprised of Derbyshire, UK-born Leeds, UK-based producer, songwriter and multi-instrumentalist Alex, who grew up on punk rock and ska and Leeds-born and-based singer/songwriter Harrison, who’s largely influenced by Bon Iver, Radiohead and Thom Yorke. And as you may recall, the duo can trace they their origins to when they met while studying at Leeds School of Music. Within a relatively short period of time, the duo has seen both commercial and critical success — the duo has  had singles land at number 1 on Spotify’s Viral Chart, Hype Machine and Shazam, received regular airplay on BBC Radio 1 and Beats 1, collaborated with with salute and Lao Ra, and have performed at last year’s Pitchfork Paris Festival.

“Moon,” the Leeds-based duo’s first single of the year, found the duo pairing a club banging production featuring enormous, tweeter and woofer rocking beats, stuttering and glitchy electronics, a soaring hook, chopped up and distorted vocal samples with Harrison’s plaintive and soulful vocals giving the song a thoughtful, fatalistic sort of introspection; that shouldn’t be surprising as the song “deals with the ritual of wanting to pursue a relationship withs someone, but not wanting to jump the gun and ruin it. It’s an uncomfortable place to be because you have no control and you’re probably gonna mess it all up, like you always do.” 

Interestingly enough, the duo’s first single “Evil Twin” was their first single and although it caught on virally, the duo reworked and fleshed out the song in a way that makes them feel as though the song is finally completed; in fact, the song features a production consisting of a cinematic, looped horn arrangement, a chopped up, soulful, house music-like vocal sample, tweeter and woofer rocking beats and Harrison’s vocal taking on a gravelly ache. And while the song is rooted upon a  swaggering hook, it possesses an underlying aching uncertainty — the sort of uncertainty of someone who’s swaying between a good life, and a life of sin and vice. Sonically, the track manages to further cement their reputation for crafting hook-laden pop but while gently pushing their sound in an avant-garde leaning direction while remaining playfully accessible. 
As the band’s Alex explains of the song, the song toys “with the duality of wanting to be healthy, productive and find some long-term stability, but wanting to throw all of that away and indulge your vices. Individually, they are comforting but they are always competing with each other to come out.”

Directed by Camille Summers-Valli, the video as the duo’s Alex notes is a strange realization of the competition between one’s good, healthy side and one’s vice-loving, trouble-seeking side, as it stars Britney Spears, Nicki Minaj, Boy George and Michael Jackson lookalikes auditioning for a gig for Krrum’s lead producer and co-vocalist Alex, who appears both unimpressed and confused. Interestingly, the visuals give these world famous superstars a desperate and ridiculous humanity, as they’re auditioning for a role they don’t fit for.