Tag: Luxury Death

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.”

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Comprised of founding trio Millie Duthie, Danny Southwell, Dan Hole who all met in 2015 while attending college. Quickly bonding over music, the trio formed the Brighton, UK-based band, Thyla. But with the addition of the band’s newest member, Mitch Duce, the newly constituted quartet found their sound. The quarter spent the better part of 2016 reimagining their sound and aesthetic, and then writing and recording new material, rooted around a distaste of the stale state of the British music industry — all while furthering Brighton’s growing reputation for producing some of England’s hottest, up-and-coming bands, including some you’ve likely come across on this site. Adding to a growing profile, the members of Thyla have played with the likes of Dream Wife, Luxury Death, Matt Maltese and Yonaka, and over the next few months, they will be opening for Husky Loops and Lazy Day.

“Pristine Dream,” the Brighton-based quartet’s latest single is a rousing and towering track that draws equally from early 90s Brit Pop, shoegaze and early 80s New Wave as the band pairs layers upon layers of shimmering, pedal effected guitars, thundering drumming and anthemic and arena rock-friendly hooks with Duthie’s ethereal and beguiling vocals; but while drawing from familiar and beloved sources, the up-and-coming quartet is an inspired, contemporary take on it.

 

 

 

 

Comprised of Millie Duthie (vocals, guitar), Mitch Duce (guitar), Dan Hole (bass, vocals) and Danny Southwell, the Brighton, UK-based indie rock quartet Thyla had a big year last year, as they received quite a bit of praise from British tastemakers and opened for the Dream Wife and Luxury Death before spending the last few months of the year revising their sound and songwriting approach before writing new material, which included their first single of this year, “Ferris Wheel.” While thematically focusing on the fear of not being good enough in the eyes of those most important and those close to you, the band’s sound manages to nod at 80s post-punk acts like The Smiths and Sioxsie and the Banshees, thanks to shimmering guitar chords paired through distortion and reverb pedals, a driving rhythm, a rousingly anthemic hook, the song possesses the earnestness of (presumably) being inspired by a personal experience that’s fairly universal.