Tag: London UK

New Video: Los Bitchos Play a Surreal Game Show in New Visual for Trippy “Good to Go”

Rising, London-based instrumental act Los Bichos — Australia-born, London-based Serra Petale (guitar); Uruguay-born, London-based Agustina Ruiz (keytar); Sweden-born, London-based Josefine Jonsson (bass) and London-born and-based Nic Crawshaw (drums) — features individual members with different upbringings, who have developed a unique, retro-futuristic sound that blends elements of Peruvian chicha, Argentine cumbia, Turkish psych and surf rock, as well the music each individual member grew up with: The Uruguayan-born Ruiz had a Latin-American music collection that the members of the band fell in love with. The Swedish-born Jonsson “brings a touch of out of control pop,” her bandmates often joke. And the London-born Crawshaw played in a number of local punk bands before joining Los Bitchos. “Coming from all these different places,” Serra Petale says, “it means we’re not stuck in one genre and we can rip up the rulebook a bit when it comes to our influences.”

The band can trace its own origins through its members meeting at all-night house parties or through various friends. The London-based outfit’s highly anticipated Alex Kapranos-produced full-length debut,  Let The Festivities Begin! is slated for a February 4, 2022 release through City Slang Records

Recorded at Gallery Studios, Let The Festivities Begin! further establishes Los Bitchos’ reputation for crafting maximalist and Technicolor, instrumental party jams with a cinematic quality. The celebratory title is something you might say while toasting dear friends, families and even strangers at the end of this horrible period to usher in a period of carefree debauchery. “It’s about being together and having a really good time,” Los Bitchos say in press notes.

Last month, I wrote about “Las Panteras” a funky, mind-bending jam featuring shimmering synths bongos, cowbell, cabasa and wiry post punk meets Nile Rodgers and surf rock-like guitars and a sinuous bass line. “Good to Go,” Let The Festivities Begin!‘s second and latest single is another mind-bending, genre-blurring composition: Starting with a decidedly Western-tinged intro with shimmering and twangy and reverb-drenched guitar, the composition quickly turns into a trippy yet chilled out Latin funk meets Turkish psych affair with glistening synths, handclaps and a blazing guitar solo.

Directed and edited by Tom Mitchell, the recently released video for “Good to Go” continues the story began with the visual for “Las Panteras” left off: Los Bitchos have been arrested in their battle against their arch nemesis Los Panteras. The video features album producer and Franz Ferdinand frontman Alex Kapranos as a game show host meets trial judge from hell. The members of the band are trapped in this surreal game show meets court show, where they literally spin a wheel of fortune for their very freedom.

Trapped in a surreal courtroom gameshow and spinning the wheel of fortune for our freedom. This song has always made us think of a ‘70s game show with its light, fun mood coupled with an intriguing western style intro,” the rising London-based act explain in press notes. “We got all our friends to be our jury and our producer Alex to host/judge the show. We had so much fun making this video.” 

Post punk outfit Sei Still — Sebastián Rojas (organ, synths), Mateo Sánchez Galán (guitar), Jerónimo Martín (drums, percussion) and Lucas Martín (vocals, guitar) — can trace its origins to when the members of the band decided to take a random trip to some desolate woodlands outside of Mexico City to work on a couple of songs. Those sessions were so productive that it led to the quartet starting the band in earnest. 

With just a couple of singles under their collective belts — 2017’s “Oto” and 2019’s “Tacticas de Guerrilla Urbana” — the band quickly earned a rapidly growing profile in their native Mexico, sharing stages with StereolabKikagaku MoyoInstitute, and Lorelle Meets The Obsolete. As a result of the growing buzz surrounding them, the Mexican post-punk outfit signed to London-based label Fuzz Club Records, who released their self-titled full-length debut last year. The album quickly solidified a new European fanbase for the Mexican post punk outfit, while selling out its initial vinyl pressing. 

The band’s highly-anticipated sophomore album El Refugio is slated for a November 26, 2021 release through Fuzz Club Records, and the album marks a number of major changes for the Mexican post-punk quartet: The band relocated to Berlin, where they wrote and recorded El Refugio. And sonically, the album represents an evolution in the now-Berlin-based band’s sound. Whereas their self-titled debut was heavily indebted to the Krautrock sounds of Can and Neu!El Refugio reportedly sees the band eschewing the expansive and hypnotic tendencies of their previously released work for a wiry, post-punk inspired sound, that’s still centered around a motorik pulse. Additionally, the songs are shorter and unapologetically to the point, while bristling with tension and anguish.

“The biggest influence on this record was the fact that our personal lives had a radical change and we felt the need to do something different, to dig deeper into the possibilities of what the band was about,” the members of Sei Still explain. “We never wanted to make the same record twice.” Understandably, the move from Mexico to Germany would normally be a massive upheaval culturally, emotionally and personally — but the band managed to move a few weeks before COVID-19 struck across the world and forced shutdowns and lockdowns. And as a result, the material possesses a visceral unease,

More expressionist than psychedelic, the and explains that El Refugio thematically  “alludes to childhood, dreams, desire, loneliness, paranoia and hope. A longing for a different reality that breaks the monotony of daily life. It’s more about sensations than something you can describe in words. I think what makes music great is that it has to be experienced so we try to part from a specific mood or emotion, which is something very abstract that people can interpret in their own way.”

Last month, I wrote about “Extraradio,”a brooding,  Joy Division-like take on post-punk centered around Lucas Martín’s dry sprechgesang delivery in Spanish, an angular bass line, bursts of wiry, delay pedaled guitar and an insistent motorik pulse. The song to me managed to evoke the profound loneliness of being an Other in a foreign land and surrounded by a culture and language you can’t speak or understand.

El Refugio‘s latest single “Exilo” is a taut and brooding bit of post-punk centered around a relentless motorik pulse, wiry bursts of guitar, glistening synths, mathematically precise electronic drum paired with forceful kick drum paired with Martín’s dry vocal delivery. Reportedly indebted to Spanish New Wave, “Exilo” personally reminds me of endlessly gray, German skies, damp rainy nights in Frankfurt’s Romer and Haupwatche sections with the seemingly permanent costume of foreigner, of man from far away.

New Audio: Rising Production Duo Blue Lab Beats Teams Up with Kofi Stone and Tiana Major9 on a Soulful Meditation on Love

Rising, London-based Jazztronica production duo Blue Lab Beats — producer NK-OK and multi-instrumentalist Mr, DM — had rather humble origins, as bedroom producers, who remixed tracks by the likes of Dua Lipa, Rag ‘N’ Bone Man and others. The duo’s sound quickly morphed to incorporate jazz, soul and hip-hop influences while staying true to their British/London roots. Although they’ve started with very humble origins, the British production duo have also quickly exploded into the national and international scenes: they’ve played Glastonbury — and they’ve opened for the likes of the legendary Roy Ayers and Thundercat. They’ve also contributed a remake of Bobby Henderson‘s Blue Note Records‘ classic “Montara,” which appeared on last year’s Blue Note Re: imagined compilation. And adding to a growing profile, the duo’s work has amassed over 25 million streams to date.


2021 has been a busy year for the rising British production duo: They’ve released a handful of critically applauded singles including “Dat It,” “Blow You Away (Delilah)” and “Sensual Loving,” which have seem them collaborating with the like of Stones Throw Records affiliate Kiefer and Afrobeats star Ghetto Boy. Those three singles will appear on the duo’s forthcoming album, currently slated for an early 2022 release.

But in the meantime, the duo’s latest single “Labels” is centered around a The Midnight Hour meets J. Dilla-like production featuring soaring strings, boom bap beats and a sinuous bass line. The production serves as a lush and mesmerizing bed for thoughtful and lovelorn verses from London-based emcee Kofi Stone that find him questioning the need for labels to define what his romantic relationship is to others. Sometimes, love is just that that — and that’s all it has to be. The song also features a soulful hook by London-based vocalist Tiana Major9.

“Originally ‘Labels’ started out with my chord progression that I was sitting on for about 6 months and then I gave the rough idea to Mr DM for him to have input on.” Blue Lab Beats’ NK-OK explains. “We then built the track from there. Before getting the vocalists we wanted on this song we got Stephen Hussey to arrange the strings and record the string section and when we heard it back it honestly was so crazy to have live strings on our music. For the vocalist we wanted UK talent on this and so we automatically hit up one of our favourites Tiana Major9. We worked with Tiana in her early recording days so we know how amazingly talented she is. Then it was down to Kofi Stone to deliver the Rap and once again when working with him we all thought ‘this guy is incredible!’”

“A lot of the time we over complicate things. Especially at the early stages of a relationship. You don’t always have to rush for a label cus you think that’s the right thing to do,” Tiana Major9 says of her guest spot. “Learn, love then decide.”

“I was going through what I spoke about on the record so it was good to get off my chest,” Kofi Stone adds. “Working with Blue Lab Beats was a great experience. They are two incredibly talented gentlemen. I just love the musicality they bring and I felt right at home in the studio with the guys.”

New Video: DG Solaris and Jeremy Tuplin Team Up on the Gorgeous and Meditative “Idle”

London-based singer/songwriter and guitarist Danny Green may be best known for being the frontman of acclaimed British folk pop act Laish. With Laish, Green wrote and recorded four critically applauded albums released through French indie label Tailres, which he and his bandmates supported with extensive touring across the UK, the European Union and the States. 

In 2019 Green went through a number of major life changes: That March, he met Leanna “LG” Green — and by December they got married. For their honeymoon, Leanna and Danny Green decided to spend six months across South America with a simple recording setup that they carried with them in a backpack. During their trip, the couple wound up writing and recording demos that would become the earliest material of their recording project together DG Solaris.  “In between swimming with sea-lions, exploring sacred plant medicines and climbing mountains, we had been searching for beautiful spaces to set up our backpack studio,” the Greens explained in press notes. “All of our recordings feature the sounds of birds, cicadas and crickets.”

Returning home to London after their honeymoon, Danny and Leanna recruited Tom Chadd, Matt Canty and Matt Hardy to help flesh out the material they demoed during their honeymoon. The end result was the act’s full-length debut, last year’s Spirit Glow, which drew from and meshed elements of 70s psych pop, synth pop, krautrock and prog rock in a unique and playful fashion — with the album’s material written as a textural journey through emotional realms. “We wanted to explore the idea of two voices, two spirits, two creative minds and see where this dynamic could take us,” DG Solaris’ Leanna Green says in press notes. Danny Green adds, “It has been an incredibly inspiring trip. We came back with over forty songs and it has been a challenge to chose our favourites for this first album.”

Recently Green has been collaborating with Somerset, UK-born, London-based singer/songwriter  Jeremy Tuplin. With the release of his full-length debut 2017’s I Dreamt I Was an Astronaut Tuplin’s sound and approach gradually evolved with the Somerset-born, London-based singer/songwriter incorporating indie rock and psych music into what he has semi-ironically dubbed “space folk.” 2019’s Pink Mirror was released to critical acclaim with the album being lauded by The Line of Best fit, Loud & Quiet Magazine, BBC Radio 6 and Rumore Magazine. As a result of Pink Mirror‘s success, Tuplin received funding from PRS’ Open Fund to record last year’s Violet Waves

So far Green and Tuplin have collaborated on two singles together:

Ocean/Are You Weird Enough?” which, came about from some unusual circumstances: Although Green and Tuplin have been writing and recording albums during the past decade, they’ve only been vaguely aware of each other’s existence. One night in Peru, following an intense shamanic ceremony, Green had a vivid dream that he and Tuplin were floating high above the ocean. The next morning, Green contacted Tuplin to share his strange astral encounter — and the pair began a correspondence.

Written and recorded during the middle of a pandemic — which created its own challenges — “Ocean/Are You Weird Enough?” is centered around a sparse yet haunting arrangement of acoustic guitar, atmospheric synths, shuffling drums serving as a gentle and ethereal bed for a gorgeous melody — and some equally gorgeous harmonies. And while sounding a bit like a cross between The Church and Nick Drake, the song as Green explains thematically explores the oneness and weirdness of people within a collective whole. 

In The Name of Love” which continued a run of meditative material centered around atmospheric synths, strummed acoustic guitar serving as a sumptuous bed for the pair’s mellifluous vocals and equally gorgeous harmonizing. Much like its predecessor, “In The Name of Love” brings The Church’s “Under the Milky Way” but while also nodding at Nick Drake. Thematically, the song tackles chaos theory, the nature of the cosmos and our tendency to distort the truth in the name of love. But underneath the seriousness of the song, there’s a a delicately wry sense of humor over the fact that everything in the cosmos may ultimately be up to chance.

The pair’s third single together “Idle” is a bittersweet yet mischievous song that’s one part aching and earnest love song, one part ironic meditation on being an artist, one-part mournful meditation on the passing of time centered around shimmering acoustic guitar, atmospheric synths and the pair’s mellifluous vocals.”Idle came to us in early 2020. A natural process that came from two artists who were almost strangers to each other, meeting in a room, trying to write a song together for the first time. Little did we know that this moment would launch a year-long collaboration,” Green and Tuplin explain.

The video by Jeremey Tuplin stars his cat Kimchi, being — well, a cat. And it’s just adorable. We need more of this, please!

New Video: Sei Still Releases a Trippy Visual for Tense and Brooding “Extraradio”

Post punk outfit Sei Still — Sebastián Rojas (organ, synths), Mateo Sánchez Galán (guitar), Jerónimo Martín (drums, percussion) and Lucas Martín (vocals, guitar) — can trace its origins to when the members of the band decided to take a random trip to some desolate woodlands outside of Mexico City work on a couple of songs. Those sessions were so productive that it led to the quartet starting the band in earnest.

With just a couple of singles under their collective belts — 2017’s “Oto” and 2019’s “Tacticas de Guerrilla Urbana” — the band quickly earned a rapidly growing profile in their native Mexico, sharing stages with Stereolab, Kikagaku Moyo, Institute, and Lorelle Meets The Obsolete. The members of the Mexican post punk outfit signed to London-based label Fuzz Club Records, who released their self-titled full-length debut last year. The album quickly solidified new European fanbase for the Mexican post punk outfit, while selling out its initial vinyl pressing.

Slated for a November 26, 2021 release through Fuzz Club Records Sei Still’s highly-anticipated sophomore album El Refugio marks a number of major changes for the Mexican post-punk outfit: The band relocated to Berlin, where they wrote and recorded El Refugio. And sonically, the album represents an evolution in the now-Berlin-based band’s sound. Whereas their self-titled debut was heavily indebted to the Krautrock sounds of Can and Neu!, El Refugio reportedly sees the band crafting a somewhat skeletal effort: while still centered around a motorik pulse, El Refugio‘s songs sees the band eschewing the expansive and hypnotic tendencies of its predecessors for a more wiry, post-punk sound. The song are much shorter and unapologetically to-the-point, while brimming with tension and anguish.

“The biggest influence on this record was the fact that our personal lives had a radical change and we felt the need to do something different, to dig deeper into the possibilities of what the band was about,” the members of Sei Still explain. “We never wanted to make the same record twice.” Naturally, the move from from Mexico to Germany would have been a massive upheaval both personally and culturally, but the rising post punk outfit managed to do so a few weeks before pandemic-related shutdowns and quarantines, which gives the material a visceral feel.

Expressionist rather than psychedelic, the band explains that El Refugio “alludes to childhood, dreams, desire, loneliness, paranoia and hope. A longing for a different reality that breaks the monotony of daily life. It’s more about sensations than something you can describe in words. I think what makes music great is that it has to be experienced so we try to part from a specific mood or emotion, which is something very abstract that people can interpret in their own way.”

El Refugio‘s latest single is the brooding, “Extraradio.” Centered around Lucas Martín’s dry sprechgesang delivery in Spanish, an angular bass line, bursts of wiry, delay pedaled guitar and an insistent motorik pulse, “Extraradio” bears a resemblance to Joy Division while evoking the profound loneliness of being an Other in a foreign land with a culture and language you can’t understand.

Directed by Pilar Gost, the recently released video for “Extraradio” evokes the lonely and paranoid feel of the song, capturing the band’s members dancing, vamping and brooding in strobe light.

New Video: Jess Chalker Returns With a Trippy Visual for Sultry “Cynical”

Sydney-born, London-based singer/songwriter and producer, Jess Chalker started her music career as the frontman of Aussie New Wave act We Are The Brave. And since We Are The Brave’s breakup, Chalker has become a highly sought-after collaborator: She has worked with Sam FischerVintage Culture, IsamachineGold Kimono, and Passenger — and she was part of the Grammy Award-winning songwriting and production team that cowrote Lisa Loeb‘s lead single on the acclaimed artist’s kids record Feel What U Feel. Additionally, the Aussie-born, British-based artist wrote “Darkest Hour” for the Amazon Original series Panic, performed by Tate McRae.

Chalker finally steps out into the spotlight as a solo artist with her full-length debut Hemispheres. Slated for a November 5, 2021 release through her own imprint 528 Records, the album was completed under the massive weight of the pandemic, and as Chalker grappled with the loss of her day job and heartbreaking health issues. 

Much like countless others across the globe, she found herself spiraling and turned to music for the creative outlet she needed. Collaborating with friends across Sydney, Los Angeles and London, including Dan Long, Josh Humphreys and Chalker’s former We Are The Brave bandmate Ox Why, Chalker wound up finishing what would turn out to be a deeply emotional album. And interestingly enough, she managed to find much longed-for freedom in the process: “Releasing this album is terrifying and thrilling to me,” the Aussie-born, British-based artist says in press notes. “I grew up in a religion that discouraged us from pursuing career success, where women weren’t allowed on stage to address an audience directly. I think it’s why I’ve always tried to avoid the spotlight but, after the year we’ve all had, my perspective on things has changed quite a lot. I’m not wasting any more time doubting myself.”

Sonically, the album reportedly finds Chalker and her collaborators crafting material featuring guitar-driven hooks and retro synths paired with the Aussie-born, British-based artist’s expressive vocals. Thematically, the album deals with themes that explore the dichotomy between depression and hopefulness, self-doubt and self-love and more. 

In the lead up to the album’s forthcoming release, I’ve managed to write about two of the album’s previously released singles:

  • The Chalker, Rich Jacques and Martjin Tinus Konijnenburg co-written “Don’t Fight It.” Centered around glistening synth arpeggios, reverb-drenched drums. Chalker’s expressive vocals, the track hints at Peter GabrielKate Bush and Prince, while full of the bittersweet longing and uncertainty of a narrator who’s physically and emotionally lost. 
  • The breezy and defiantly upbeat “Stupid Trick.”Centered around shimmering guitars, atmospheric synths, Chalker’s plaintive vocals, the song thematically focuses on the innocence and desperately intense feelings of teenaged love, before gradually learning what love really is and what it really means. And while bringing up memories of Pat Benetar‘s “Love is a Battlefield,” Rod Stewart‘s “Young Turks” and others, the song continued a run of material driven by Chalker’s unerring knack for paring earnestly written material with a razor sharp hook. 

“Cynical,” Hemisphere‘s latest single is a smoky pop song centered around Chalker’s achingly tender vocals, twinkling keys, atmospheric synths, a sinuous and propulsive bass line, and a bluesy guitar lines. But while being sultry and full of longing, “Cynical” possesses an underlying tension, tumult and tension that should feel familiar to anyone, who has been in a complicated, dramatic relationship full of fiery passion that will burn out or blow up in everyone’s faces,

“Musically this song feels quite drama-filled,” Chalker says, “There’s a tension in it that’s familiar, like the tumult of being in one of those relationships you know won’t go the distance but feels good in the moment.”

Directed by Thomas Calder, the recently released video for “Cynical” is part lyric video, part music video in which we see Chalker rendered in blown out, psychedelic colors,.

Pre-order the album now via Bandcamp (https://jesschalker.bandcamp.com)

New Video: Rising Artist Alewya Returns with a Sultry and Playful Banger

Dubbed “this decade’s triple threat” by Love Magazine, Alewya is a rapidly rising London-based singer/songwriter, producer and visual artist. Born in Saudi Arabia to an Egyptian-Sudanese father and an Ethiopian mother, Alewya has spent her life surrounded and nurtured by diaspora immigrant communities: she grew up in West London and after spending several years in New York. she returned to London. Upon returning home, the rising British artist developed and honed her ear for music through the sounds of the Ethiopian and Arabic music of her parents and the ambient alternative rock albums of her brother. 

The translation of the Saudi-born, Ethiopian-Sudanese, British-based artist’s name from Arabic to English into “most high” or “the highest,” and interestingly enough, her work generally is thematically concerned with transcendence. She sees her music as an accessible space for her and her listeners to connect on a deeply spiritual level — with her work challenging the listener to remember the last time that they felt truly connected to themselves and their emotions. “I want to move people to themselves. I want them to feel the same way that I felt when I had a taste of a higher power and felt there was a presence over me,” Alewya says. “I want people to feel that.” 

Last year, Alewya had an attention-grabbing feature on Little Simz‘s “where’s my lighter,” which caught the attention of Because Records, who signed the rising artist and released her The Busy Twist-produced debut single “Sweating,” a forward-thinking Timbaland-like mesh of trap, reggae and electro pop. The rising London-based quickly followed that up with “Spirit_X.” Centered around a forward-thinking production featuring skittering, tweeter and woofer rattling beats and arpeggiated synths paired with Alewya’s punchy delivery that saw her alternating between spitting fire and sultry crooning, the song is indebted to the relentless energy of classic drum ‘n’ bass.

Alewya will cap off a big 2021 with her highly anticipated debut EP Panther In Mode. Slated for a November 18, 2021 release through Because London Records, the seven-song EP will feature three of her previously released, critically applauded, singles — the aforementioned Busy Twist-produced “Sweating,” the drum ‘n’ bass-informed “Spirit_X,” and “Jagwa.”

The EP’s fourth and latest single “Play” continues the rising British artist’s collaboration with Busy Twist. Featuring a sultry production featuring wobbling bass, skittering beats, glistening synths that rise and fall around Alewya’s self-assured and equally sultry crooning, “Play” continues a run of slickly produced, forward-thinking club bangers centered around positive messages — while being defiantly feminist. “’Play’ is a song about my love and gratitude for pleasure and play and how it has and can unlock deeper feelings of connections,” Alewya explains in press notes. “It’s overtly feminine and innately primal and most of all light and fun!”

Co-directed by Alewya and Jack Bowden, the recently released video for follows a collection of beautiful Black people, who get together at sunset to dance all night. Each person is having the unadulterated, joyous fun that is sorely missed.

New Video: Rising London Instrumental Act Los Bitchos Solve Crimes, Dance and Kick Ass in New Visual for Expansive “Las Panteras”

Rising, London-based instrumental act Los Bichos — Australia-born, London-based Serra Petale (guitar); Uruguay-born, London-based Agustina Ruiz (keytar); Sweden-born, London-based Josefine Jonsson (bass) and London-born and-based Nic Crawshaw (drums) — features individual members with different upbringings, who have developed a unique, retro-futuristic sound that blends elements of Peruvian chicha, Argentine cumbia, Turkish psych and surf rock, as well the music each individual member grew up with: The Uruguayan-born Ruiz had a Latin-American music collection that the members of the band fell in love with. The Swedish-born Jonsson “brings a touch of out of control pop,” her bandmates often joke. And the London-born Crawshaw played in a number of local punk bands before joining Los Bitchos. “Coming from all these different places,” Serra Petale says, “it means we’re not stuck in one genre and we can rip up the rulebook a bit when it comes to our influences.”

The band can trace its own origins through its members meeting at all-night house parties or through various friends. And interestingly enough, the London-based outfit’s highly anticipated Alex Kapranos-produced full-length debut, Let The Festivities Begin! is slated for a February 4, 2022 release through City Slang Records.

Recorded at Gallery Studios, Let The Festivities Begin! further establishes Los Bitchos reputation for crafting maximalist and Technicolor, instrumental party jams with a cinematic quality. The celebratory title is something you might say while toasting dear friends, families and even strangers at the end of this horrible period to usher in a period of carefree debauchery. “It’s about being together and having a really good time,” Los Bitchos say in press notes.

The album’s first single “Las Panteras” is an expansive disco funk strut featuring wiry post punk meets Nile Rodgers funk meets surf rock-like guitars, a sinuous bass line and shimmering synths paired with bongos, cowbells and cabasa that hits at Turkish pop and 80s rock. It’s funky and mind-bending jam that will get the party started y’all.

Directed by Tom Mitchell, the recently released video for “Las Panteras” features the members of the band as a part of the cast of a crime-fighting and crime-solving unit, like Charlie’s Angels. Fittingly, while the quartet is busy trying to find their new arch enemy, Las Panteras, there is some some sassy choreographed dance breaks that add even more levity to the affair.

“We wanted to show the mystery of the song combined with sassy dance moves. Inspirations for the video are Kill Bill, Scooby Doo & Spice Girls’s ‘Wannabe’ video,” Los Bitchos’ Agustina Ruiz explains in press notes. “The huge battle climax at the end is a Bram Stoker Dracula inspired fight which will leave you hanging for what’s in store next, between Las Panteras and the girls. A tacky ‘70s show in which the band must solve the mystery of Las Panteras, taking a break now and then to bust out some sassy choreographed dance sequences to keep their spirits up! To be continued… “

New Video: White Lies Release a Mesmerizing Visual for an Anthemic Yet Intimate Exploration of Vulnerability

Acclaimed London-based post-punk act and JOVM mainstays White Lies — Harry McVeigh (vocals. guitar), Charles Cave (bass, vocals) and Jack Lawrence-Brown (drums) — can trace their origins to a band that they started while they were all in high school called Fear of Flying. Although the band’s Charles Cave has publicly described Fear of Flying as a “weekend project” and one of many bands that each of the individual members were involved in at the time, Fear of Flying managed to release two Stephen Street-produced double A-side singles released through Young and Lost Club Records. 

Building upon the initial buzz surrounding them, Fear of Flying earned opening slots for The MaccabeesJamie T, and Laura Marling. They completed a national tour as an opener, and they played the inaugural Underage Festival. 

Two weeks before the trio were to start college, they decided that they would take a second gap year to write and perform new material, which coincidentally they felt didn’t quite suite their current project. “I felt as though i couldn’t write about anything personal, so I would make up semi-comical stories that weren’t really important to anyone, not even me,” Charles Cave reflected on that period. Fear of Flying broke up in 2007 with a MySpace status that read “Fear of Flying is DEAD . . . White Lies is alive!,” before introducing a new name that the trio felt better represented their newfound maturity — and a much darker sound.

Officially forming in October 2007, the members of the then-newly formed White Lies delayed their first live shows for five months to build up media hype. And as the story goes, a few days after their live debut, the band signed with Fiction Records, who released the band’s first two singles — “Unfinished Business” and “Death,” which quickly drew comparisons to Joy Division, EditorsThe Killers and Interpol. As a result of the buzz that their first two official singles earned, the London-based JOVM mainstays toured across the UK and North America, including a headlining BBC Radio 1 Big Weekend Festival set, a slot on 2009’s NME Awards tour, and number of appearances across the international festival circuit.

2009 saw the release of the act’s breakthrough, full-length debut To Lose My Life, which was released on the heels of being prominently featured in multiple “ones to watch” polls for that year, including BBC’s Sound of 2009 poll and the BRIT Critics’ Choice Award. To Lose My life earned the trio the distinction of being their first #1 album on the British Charts, and the first album by a British act that year to debut at #1.

White Lies third album, 2013’s Ed Bueller-produced Big TV was a critical and commercial success with the album debuting at #4 on the UK charts. The album’s material was centered around a narrative structure that followed a romantic couple, who leave a provincial area for a big city. Thematically, the material focused on equality and equity within a relationship. Interestingly, album single “Getting Even” landed at #1 on the Polish Singles charts.

The band’s fifth album, 2019’s aptly titled FIVE continued a run of material that found the band deftly balancing an ambitious arena rock friendly sound with enormous hooks and swaggering bombast with intimate and confessional, singer/songwriter pop lyrics. Album singles like “Time to Give,” “Tokyo” “Jo” and “Believe It” describe relationships on the brink of collapse and/or suffering through one of both parties’ dysfunction while rooted in the uncertainty, confusion, heartache and bitterness that romantic relationships often engender. And it all comes from a very lived-in, real place that should familiar to most, if not all of us.

FIVE also continued a remarkable and enviable run of commercially and critically successful material, with the album landing on UK Charts’ Top 15. The band supported the album with an extensive bit of touring that included a headlining stop at Irving Plaza. The London-based JOVM mainstay capped off a big 2019 with standalone single, the Andrew Wells-produced “Hurt My Heart,” which was recorded during a hiatus from touring.

White Lies’ highly anticipated sixth album, the Ed Bueller and Claudius Mittendorfer co-produced As I Try Not To Fall Apart is slated for a February 18, 2022 release through [PIAS]. Along with the album announcement, the trio and their long-time label home released the album’s latest single, album title track “As I Try Not To Fall Apart.” Featuring glistening synth arpeggios, thunderous boom bap-like drumming, McVeigh’s plaintive vocals, a hypnotic motorik-like groove, bursts of twinkling keys and their unerring knack for crafting an enormous hook “”As I Try Not To Fall Apart” is a psychologically precise character study of a desperate man, who feels stuck in a prescribed gender role while trying to accept and be comfortable with his vulnerability and weakness.

“We wrote this song quickly, late one night, and often the songs which come quickest are written from the gut and the heart, not with the head,” the members of White Lies explain. “We wanted the melody to feel like a hymn, to give the confessional lyrics weight despite being wrapped up as a pop song. It’s about accepting vulnerability as a man, and knowing it’s ok to be broken. There’s never been a more pressing time to spread the message that it’s ok to not be ok.” 

Directed by James Arden, a.k.a. The Trash Factory, the recently released video features the band’s frontman Harry McVeigh broodingly sitting on an ornate chair in a room with couple of inches of sand. As McVeigh sings the song, more sand is dumped on him.

“The track made me think of people trying to lift themselves out of emotional spirals – navigating feelings of fragility and fighting everyday pressures just so they can keep it together – and it made me think about how we can be buried and overwhelmed by our feelings and emotions, and how we could explore that, visually,” James Arden explains in press notes.

White Lies’ Harry McVeigh adds, “Being buried in sand was too mad to pass up. The sensation was really chilling and I was picking sand out of my ears for days, but I’m thrilled with the video, it really carries the message of the song and it looks beautiful.”