Tag: Neil Halstead

Video by William Ruben Helms

New Video: Locust Teams Up with Slowdive’s Neil Halstead and Natasha Morrow on Yearning “Long Distance Lover”

Mark Van Hoen is a London-born and based electronic music artist, who has written, recorded and released music with his best-known project Locust, as well as with Autocreation and under his own name. Originally influenced by Brian Eno, Tangerine Dream and others, Van Hoen’s music career started in earnest back in 1993 when he signed with Belgian-based label R&S. His initial releases as Locust saw him using vintage analog synthesizers and tape recorders. But as his sound moved towards an increasingly vocal orientated approach in the late 1990s, he also began releasing material under his own name.

Van Hoen also collaborated with Slowdive’s Neil Halstead in Black Hearted Brother, a project that released their debut Stars Are Our Home in 2013.

The English electronic music artist’s latest Locust single “Long Distance” features Neil Halstead on guitar and vocals from Irish musician Natasha Morrow. The lush and dream-like collaboration came together over the past few years and features shimmering and pulsating, Giorgio Moroder-like synths, Halstead’s reverb drenched shoegazer textured riffs meticulously draped and sculpted over the synths while Morrow’s yearning delivery expresses a longing for intimacy despite a physical distance.

“The music was recorded back in 2020 originally as a collab between Neil Halstead and I,” Van Hoen recalls. “It sat around for a few years, and I had the idea to send it to Natasha to see if it inspired anything vocally. She came up with the idea of long-distance phone calls between lovers. It struck a chord with me as I had experienced a couple of relationships like that. The idea of repeating these expressions of desire and longing over and over, because you are aching to be together. I had actually never met Natasha, and generally, I find that remote collabs don’t work because there’s a connection missing somehow. But in Natasha’s case, I had several long phone calls with her, and I think we connected that way. Not in any romantic sense, but as musical collaborators, which has its own particular need for a personal connection and understanding. I found it interesting that it related to the song’s lyrics in that she and I established a different kind of personal bond over the phone.”

The accompanying video by Mark Van Hoen features the song’s collaborators in silhouette dipping in and out of the frame, which helps further accentuate the distance, longing and ephemeral nature of the song’s central relationship.

Video by William Ruben Helms

New Video: Slowdive Shares Shimmering and Yearning “alfie”

Slowdive — co-founders  Neil Halstead (vocals, guitar) and Rachel Goswell along with Nick Chaplin (bass), Christian Savill (guitar) and Simon Scott (drums) — will be releasing their highly-anticipated fifth album everything is alive on September 1, 2023 through Dead Oceans. everything is alive is the shoegaze pioneers’ first album in over six years, and the material reportedly sees the British outfit finding ever more contours of its immersive, elemental sound. Individually, each of the album’s songs contain the duality of a familiar internal language mixed with the exaltation of new beginnings.

The record began with the band’s Halstead in the role of writer and producer, working on demos at home. Experimenting with modular synths, Halstead originally conceived everything is alive as a “more minimal electronic record.” The band’s collective decision-making ultimately saw them drawing back to their signature reverb-drenched guitar sound — but the synths seeped their way into the compositions. “As a band, when we’re all happy with it, that tends to be the stronger material. We’ve always come from slightly different directions, and the best bits are where we all meet in the middle.” Halstead says. “Slowdive is very much the sum of its parts,” Goswell adds. “Something unquantifiable happens when the five of us come together in a room.”

The album was recorded over a couple of years, starting in the fall of 2020 at Courtyard Studio, where they’ve historically recorded. Sessions moved to Oxfordshire, and then the Wolds of Lincolnshire and then to Halstead’s Cornish studio. Early last year, the band enlisted Shawn Everett to mix six of the album’s eight tracks. 

Because of their deep and lengthy history, there’s a palpable familial energy to the band — and fittingly to to the album: The album is dedicated to Goswell’s mother and Scott’s father, who both died in 2020. “There were some profound shifts for some of us personally,” Goswell says. Life’s profound shifts and uneasy crossroads are often reflected in the many-layered emotional tenor of their music. And while everything is aliveis informed by some of life’s heaviest experiences, the material sees the band poised, wizened and pitching themselves to hope. Sure, there’s sadness, but there’s gratitude and uplift, coming from the acknowledgement that life is complicated yet profoundly beautiful in itself. 

Thematically, the album is in many ways an exploration into the shimmering nature of life and the universal touch points within it. Sonically, the album reportedly sees the acclaimed British outfit boldly pushing their sound towards the future with the material touching upon the psychedelic soundscapes they’ve long been known for but with 80s electronic elements, and John Cale-inspired journeys.

In the lead-up to the album’s release on Friday, I’ve managed to write about three of the album’s singles:

  • “kisses,” a breathtakingly gorgeous song, which struck me as being a sort of gentle refinement of the classics enveloping Slowdive sound that fans have long adored: reverb-drenched guitar textures,. Goswell’s and Halstead’s uncannily precise, yearning harmonies, soaring hooks and choruses and a gently driving groove — with featuring an emphasis on atmospheric synths. The result is a song that — for me, at least — evokes a waking dream full of intertwined yearning, nostalgia and hope. 

  • “skin in the game,” a slow-burning, forlorn and smudged song built around Halstead’s aching vocal radiating outward from hazy and distorted guitars paired with a narcotic and syrupy rhythm. Much like its immediate predecessor, the song evokes a woozily heartbreaking nostalgia, mixed with regret., unease and uncertainty.

  • “the slab,” one of the album’s heaviest songs and arguably one of Slowdive’s heaviest songs they’ve written or recorded in some time. Built around skittering and thunderous percussion, layers of reverb-drenched guitar fuzz and menacing synths, the song features Halstead’s plaintive delivery buried in the mix, seemingly desperately to burst out from its confines.

The album’s fourth and final pre-release single “alfie” is a breathtakingly gorgeous song that harkens back to the band’s 2017 self-titled album with the track featuring layers of shimmering guitars paired with a steady backbeat, Halstead’s yearning reverb-soaked vocal and the founding duo’s uncannily precise harmonies.

“‘alife’ is one of the first tunes we finished for the record,” Slowdive’s Halstead says. “Shawn Everett did a really nice job with the mix. We tried so many times to figure out a good mix by ourselves and couldn’t do it . . . it sort of had us beaten until Shawn stepped in. We decided if he could handle that one he could probably do the whole record. Our friend Jake Nelson did a really nice animation for this song; it takes some of the imagery from the artwork and digs a little deeper into that.”

Single Review by William Ruben Helms

New Audio: Slowdive Shares Bruising “the slab”

Slowdive — co-founders  Neil Halstead (vocals, guitar) and Rachel Goswell along with Nick Chaplin (bass), Christian Savill (guitar) and Simon Scott (drums) — will be releasing their highly-anticipated fifth album everything is alive on September 1, 2023 through Dead Oceans. everything is alive is the shoegaze pioneers’ first album in over six years, and the material reportedly sees the British outfit finding ever more contours of its immersive, elemental sound. Individually, each of the album’s songs contain the duality of a familiar internal language mixed with the exaltation of new beginnings.

The record began with the band’s Halstead in the role of writer and producer, working on demos at home. Experimenting with modular synths, Halstead originally conceived everything is alive as a “more minimal electronic record.” The band’s collective decision-making ultimately saw them drawing back to their signature reverb-drenched guitar sound — but the synths seeped their way into the compositions. “As a band, when we’re all happy with it, that tends to be the stronger material. We’ve always come from slightly different directions, and the best bits are where we all meet in the middle.” Halstead says. “Slowdive is very much the sum of its parts,” Goswell adds. “Something unquantifiable happens when the five of us come together in a room.”

The album was recorded over a couple of years, starting in the fall of 2020 at Courtyard Studio, where they’ve historically recorded. Sessions moved to Oxfordshire, and then the Wolds of Lincolnshire and then to Halstead’s Cornish studio. Early last year, the band enlisted Shawn Everett to mix six of the album’s eight tracks. 

Because of their deep and lengthy history, there’s a palpable familial energy to the band — and fittingly to to the album: The album is dedicated to Goswell’s mother and Scott’s father, who both died in 2020. “There were some profound shifts for some of us personally,” Goswell says. Life’s profound shifts and uneasy crossroads are often reflected in the many-layered emotional tenor of their music. And while everything is alive is informed by some of life’s heaviest experiences, the material sees the band poised, wizened and pitching themselves to hope. Sure, there’s sadness, but there’s gratitude and uplift, coming from the acknowledgement that life is complicated yet profoundly beautiful in itself. 

Thematically, the album is in many ways an exploration into the shimmering nature of live and the universal touch points within it. Sonically, the album reportedly sees the acclaimed British outfit boldly pushing their sound towards the future with the material touching upon the psychedelic soundscapes they’ve long been known for but with 80s electronic elements, and John Cale-inspired journeys.

So far, I’ve written about two of the album’s singles:

  • “kisses,” a breathtakingly gorgeous song, which struck me as being a sort of gentle refinement of the classics enveloping Slowdive sound that fans have long adored: reverb-drenched guitar textures,. Goswell’s and Halstead’s uncannily precise, yearning harmonies, soaring hooks and choruses and a gently driving groove — with featuring an emphasis on atmospheric synths. The result is a song that — for me, at least — evokes a waking dream full of intertwined yearning, nostalgia and hope.

  • “skin in the game,” a slow-burning, forlorn and smudged song built around Halstead’s aching vocal radiating outward from hazy and distorted guitars paired with a narcotic and syrupy rhythm. Much like its immediate predecessor, the song evokes a woozily heartbreaking nostalgia, mixed with regret., unease and uncertainty.

The album’s third and latest single, album closer “the slab” is built around skittering and thunderous percussion, layers of reverb-drenched guitar fuzz, menacing synths. Halstead’s plaintive delivery is buried in the mix, seemingly desperate to burst out from its confines. It’s one of the heaviest songs on the album that I’ve heard so far — and arguably one of the heaviest songs they’ve written or recorded ins some time.

“This is the heaviest track on the record and as the name suggests we wanted it to feel like a big slab of music,” Slowdive’s Neil Halstead explains. “We wanted it to feel very dense.”