Over the past two years, through the release of a handful of singles and last year’s critically applauded debut EP creeping speedwells, London-based post punk trio deep tan — Wafah (vocals), Celeste (bass) and Lucy (drums) — qickly amassed buzz both nationally and internationally with the band being featured in outlets like NME, DIY, Clash, Loud and Quiet, The Quietus, So Young, Notion, Dork, BrooklynVegan, and countless others.
Their music has been playlisted on BBC 6 Music and Amazing Radio while receiving airplay on Apple Music Beats 1, Radio X, SiriusXM, KEXP, BBC Wales and Amazing Radio USA. And along with that, Steve Lamacq named then band his BBC 6 Music Spotlight Artist last May. Adding to a momentous year, last year the rapidly rising post-punk trio supported their debut EP with extensive touring that included an opening slot for critically applauded post punk outfit Yard Act and the British festival circuit with stops at Dot to Dot, Live at Leads, Wide Eyed Festival, and Manchester Psych Fest. They closed out the year with the Dan Carey-produced “tamu’s riffing refuge,” which was released through Speedy Wunderground.
The rising British outfit’s highly-anticipated sophomore EP diamond horsetail is slated for a May 6, 2022 digital release and a July 22, 2022 physical release. The band will also be releasing an extremely limited “Dinked Edition,” which will feature diamond horsetail and creeping speedwells pressed together on “piss kink yellow” vinyl. (And by limited, we’re talking about 400 copies. So if you’re a fan or collector, and you’re looking for it, good luck!)
diamond horsetail will reportedly see the members of the rising post-punk outfit further establishing their unique take on post punk in which their stripped-back, minimalist approach serves as a vehicle for songs that engagement with contemporary themes and concerns including deepfake revenge porn, surreal meme pages and furry hedonism among others.
The EP’s latest single, the taut “rudy ya ya ya” is a sparse and uneasy song centered around a propulsive and angular bass line, wiry blasts of guitar paired with Wafah’s sultry yet detached delivery in a vicious, yet occasionally veiled, satirical take down of the entirely deserving Rudy Guilliani — and awful men like him. It’s proof that Guilliani has moved on from a man that New Yorkers hate, to someone almost anyone with good sense across the world would hate.
