Tag: Real World Studios

Video by William Ruben Helms

New Video: Puma Blue Shares Surrealistic, Dream-like Visual for “Croak Dream”

London-based producer, singer/songwriter and Puma Blue creative mastermind Jacob Allen will be releasing his sixth studio album, Croak Dreams through Play It Again Sam on February 6, 2026.

Recorded straight to tape at Peter Gabriel‘s Real World Studios, Croak Dream reportedly sees Allen and co-producer and mixer Sam Petts-Davies expanding the project’s sonic world, channeling the project’s sultry, emotional and conceptual complexity with an instinct-led take on experimenting with Allen’s art to find its most evocative form.

Additionally, longtime collaborator Harvey Grant contributed to the textual quality and identity of the album. “Later at Real World Studios, the band and I recorded tape loops over a small fragment of the demo, none of them heard the finished song, and when Sam and I came back to London we cut those improvisations into this Frankenstein’s monster type collage,” Allen says. “We were really leaning into a mutual love for CAN, Aphex Twin and Queens of the Stone Age.”

Croak Dream‘s latest single, album title track “Croak Dream” is a broodingly cinematic and uneasy track that features Allen’s remarkably Thom Yorke-like falsetto croon singing over a hypnotic arrangement of angular, whirring instrumentation paired with industrial-meets-dub-like beats. Seemingly drawing from Bristol-era trip hop — i.e., Portishead, Massive Attack, etc. — and dub with an alt-pop sensibility, “Croak Dream” thematically focuses on an age-old philosophical question: “If you knew how and when you were going to die, how would it change how you decided to live?”

“A Croak Dream is a prophetic dream where you see a vision of how you die. Half the songs on this record allude to how you might decide to live, act, if you somehow knew your awaiting fate. Being daring, romantic… saying what you really mean.” Allen explains. 

“‘Croak Dream’ is about someone I have dreamt of for years. Nightmares really, I just have not been able to shake them yet,” he continues. “I thought maybe what I needed was a sort of exorcism, so I wrote this song unpacking this strange bond that has haunted me, and then put it to bed, or death, at the end. It is a laying of a ghost to rest, I hope.” 

Directed and edited by Allen and featuring animation by Quill, the accompanying video for “Croak Dream” further emphasizes the song’s surrealistic, dream-like logic, featuring Allen and his live bandmates in a PlayStation-inspired video game universe, traversing their individual subconscious in eerie, dream-meets-video game-like adventures.

“I wanted the video to evoke boyhood and be in conversation with the lyrics. The basic idea was to create a PlayStation style game paying homage to RHCP’s ‘Californication’ video, but in a way that carried deep meaning for the band,” Allen says of the video. “I searched high and low for the right person who could capture the nostalgia of games like Silent Hill, Tomb Raider and Pro Skater until I found Quill (@grabmypepsi). I wrote him a script, and he animated it all from scratch. Then it got run through VHS right at the end so that it felt truly like it would if you were playing it in the late 90’s. It felt like a way to honor these friends and, in a strange way, the children we were back then.”

Video by William Ruben Helms

New Video: THE THE Shares Trippy Visual for Slinky and Brooding “Cognitive Dissident”

Acclaimed British post-punk outfit THE THE was founded by singer/songwriter and multi-instrumentalist Matt Johnson back in 1979 and through various iterations and configurations, Johnson and his collaborators have developed a sound and approach that seems to inhabit its own difficult to define genre: music of long shadows, high hopes, channeled anger, feverish passions and sweetly disturbing poignancy that meshes elements of pop, rock, blues, folk and soul among others while spanning alienated electronics to twisted cinematic soundtracks, guitar tumbling swing to crimson ballads, rants and prayers to diaries and hymns. 

Over the course of their 45 year history, Johnson and company have released only five full-length albums of original material, 1983’s Soul Mining, 1986’s Infected, 1989’s Mind Bomb, 1993’s Dusk and 2000’s NakedSelf. Having a long-held reputation for being unpredictable, the band has also tackled covers, such as 1995’s Hanky Panky; film soundtracks, including 2009’s Tony, 2010’s Moonbug, 2014’s Hyena and 2019’s Muscle; art installations, a the Radio Cinéola podcast series; 2017’s moving, 84 minute documentary/multimedia project The Inertia Variations and various book publications including 2018’s Matt Johnson biography Long Shadows, High Hopes: The Life and Times of Matt Johnson & THE THE. 

2017’s The Inertia Variations took inspiration from British poet John Tottenham’s 2005 book of the same name — particularly the idea of “brooding, abstraction and evasion” getting in the way of the creative process. The Inertia Variations eventually resulted in not just the documentary, but also the Radio Cinéola Trilogy triple album box set. 

At the end of The Inertia Variations documentary, Johnson was filmed performing a new song live in his studio, “We Can’t Stop What’s Coming,” an energy to his older brother Andrew Johnson, an artist professionally known as Andy Dog, who died in 2016. “It was not an easy song to write,” he says. “That was the first time I’d sung in many years. I enjoyed it but found it very emotional.”

The experience prompted Johnson to revive THE THE as a live band — and it lead to the sold-out 2018 The Comeback Special world tour. The COVID-19 pandemic delayed the release of the accompanying live film and album until 2021. And of course, the pandemic also delayed the intended start on the writing and recording of first THE THE album in almost 25 years, Ensoulment. Instead, Johnson and company released a series of 7 inch singles that started with 2017’s “We Can’t Stop What’s Coming,” 2020’s “I WANT 2 B U,” and last year’s “$1 ONE VOTE!”

The 12-song Ensoulment is slated for a September 6, 2024 release through Cinéola/earMUSIC. The album reportedly contains echoes of the acclaimed British outfit’s multifaceted and lengthy musical past, however, it’s richly representative of the mercurial band’s here and now. The album continues Johnson’s long-held reputation for being unafraid to tackle the inherent emotional complexity of the human condition — in particular, intimacy in an age of alienation; democracy in a post-truth age; empire and vassalage; the seemingly inexorable rise of AI and more. And yet, the album is rooted in hope. “It’s vital to be hopeful,” Johnson states. “And I hope people get out of the album what we put into it. It was created under very happy circumstances, with a great vibe amongst the band and all the people that worked on it. There was a lot of thought, a lot of work, a lot of love, a lot of laughter!”

The album’s material were further refined in rehearsals, just before a six-day recording sessions at Bath, UK-based Real World Studios, where Johnson was joined by long-standing band members James Ellen (bass), DC Collard (keys), Earl Harvin (drums) and Barrie Cadogan (lead guitar). The album also marks the return of co-producer and engineer Warne Livesey, who worked with the band on Infected and Mind Bomb. The album also features contributions from Gillian Glover (backing vocals), Terry Edwards (horns), Sonya Cullingford (fiddle) and Danny Cummings (percussion).

Ensoulment’s first single, the Matt Johnson and Barrie Cadogan co-written “Cognitive Dissident,” is a brooding and slinky number, anchored around a strutting bass line, bursts of squiggling, reverb-soaked guitar, Johnson’s breathy speak-singing delivery, sultry cooing from Gillian Glover, atmospheric electronics, skittering percussion paired with an equally slinky and remarkably catchy hook. Thematically, the song captures the madly topsy-turvy Orwellian nature of modern life with an uncanny and unsettling attention to detail.

The recently released accompanying video for “Cognitive Dissident” was directed by Tim Pope with editing, VFX and projections People Like Us/Vicki Bennett and Peter Knight — all of whom are longtime collaborators with Johnson and THE THE. The video employs a relatively simple yet trippy premise: Johnson having projections of digital and analog noise, the song’s lyrics and some slick editing.