“Cabbage are the real deal – and 2017 just got a lot more interesting” Evening Standard
“Cabbage might just be the most exciting live band in the UK right now” Drowned In Sound
“…the natural heirs to the Happy Mondays’ wonky crown” Marc Riley, BBC 6Music
Cabbage have today released their new single ‘Gibraltar Ape’, available to stream and download now and impacting on March 24th. Recorded at Parr Street Studios in Liverpool and produced by James Skelly (of The Coral) and Richard Turvey, ‘Gibraltar Ape’ follows the Manchester band’s three four-track EP’s released in late 2016: ‘Uber Capitalist Death Trade’ (whose title track was playlist by BBC 6Music), ‘Necroflat In The Palace’ and ‘Terrorist Synthesiser’. A compilation of the three EPs – ‘Young, Dumb and Full of…” is available to stream now on Spotify
‘Gibraltar Ape’ is a “Conversational pub paradox. A tireless crusade to be freed of inner constraints. Starring John Hall and the town of Huddersfield,” says Cabbage’s Lee Broadbent.
With all dates of their current headline tour sold-out, their V05 NME Awards tour supporting Blossom’s sold-out, and their April headline dates also sold-out, Cabbage have announced their three biggest headline shows to date:
Thurs 29th June London Scala
Fri 30th June Birmingham O2 Institute3
Sat 1st July Manchester O2 Ritz
Cabbage will be supported by The Blinders (main support) and Strange Bones (Opener)
Tickets on general sale from 10am today
Cabbage are Lee Broadbent (lead vocals), Joe Martin (vocals, guitar), Eoghan Clifford (guitar), Stephen Evans (bass), and Asa Morley (drums).
Neighbourhood On Tour, Feb 2017 – remaining dates
Feb 10 Liverpool EBGBS – SOLD OUT
Feb 11 Manchester Gorilla SOLD OUT
Feb 15 Oxford The Bullingdon – SOLD OUT
Feb 16 Reading Purple Turtle – SOLD OUT
Feb 17 Southampton Joiners – SOLD OUT
Feb 18 Bristol The Thekla – SOLD OUT
Feb 22 Newcastle Think Tank – SOLD OUT
Feb 23 Leeds Brudenell Social Club – SOLD OUT
Feb 24 Scunthorpe Café Independent – SOLD OUT
Feb 25 Glasgow Stereo – SOLD OUT
Mar 2 – 4 By:Larm, Oslo, Norway
V05 NME Awards Tour 2017, supporting Blossoms
Mar 16 Keele, University Ballroom – SOLD OUT
Mar 17 Liverpool Olympia – SOLD OUT
Mar 18 Brighton Dome – SOLD OUT
Mar 20 Lincoln Engine Shed – SOLD OUT
Mar 21 Exeter Lemon Grove – SOLD OUT
Mar 23 London Roundhouse – SOLD OUT
Mar 24 O2 Academy Bristol – SOLD OUT
Mar 25 Cardiff Trashed – SOLD OUT
Mar 27 Norwich The Nick Rayns LCR UEA – SOLD OUT
Mar 29 Birmingham O2 Academy – SOLD OUT
Mar 30 Leeds O2 Academy – SOLD OUT
Mar 31 Newcastle O2 Academy – SOLD OUT
April 1 Glasgow O2 Academy – SOLD OUT
April 26 The Witchwood, Ashton Under Lyne – SOLD OUT
April 27 London Dingwalls – SOLD OUT
April 28 Manchester Academy 2 – SOLD OUT
June 29 London Scala
June 30 Birmingham O2 Institute3
July 1 Manchester O2 Ritz
|IDLES – BRUTALISM
OUT MARCH 10TH ON BALLEY RECORDS
No.1 on Spotify Viral charts with “Well Done”
Record Of The Week – Huw Stephens | #NewMusic with Annie Mac
Praise for IDLES:
“IDLES are hard to capture, because they’re not Fat White Family, they’re not Sleaford Mods, they are very much their own incarnation of uncompromising rhythmical punk rock. Lyrically, a mixture of dry obsessional humour and poetic slogans. But, best of all, they really get the adrenalin pumping“.
Guardian’s Ones To Watch 06/01/17
“IDLES stand alone”
“Blunt and to the point…(Well Done) is a visceral anthem that’s timed weirdly well for 2016’s madness”
“A beast of a debut album”
“Politically charged and furious…bruising, lacerating.”
“Wilder than a very wild thing marked wild in the wild shop in the middle of the wild wild wood. An IDLES live show is not quite like anything that you have ever seen or heard. Its got all the ingredients taken from rock n roll’s rich history but the synthesis is entirely their own. The wild men of Bristol“.
Politically charged, refreshingly confrontational and infectiously volatile, IDLES are a band like no other. Bringing the unsettling reality of the world we live in into their frantic assault on the senses, they are a band that until now could only be truly understood by witnessing in a live environment – but with “Brutalism” it surely feels like they have captured the intensity of that live sound. Bottled up here are the abrasive, memorable lyrics of Joseph Talbot delivered with all of the spite and wry humour he puts across on the stage.
Dedicated in part to the loss of his mother, who adorns the record’s cover, and partly to a perceived decimation of society, from the NHS to public services across Britain, “Brutalism” is a deadly serious indictment on popular culture – Mary Berry, Trevor Nelson and Rachel Khoo are just some of the names referenced here, often alongside the unpleasant, but always amongst the real.
The November release of single “Well Done” saw the band rise to no.1 on Spotify’s Viral Charts & paired with intensive radio support from Huw Stephens, Annie Mac, Steve Lamacq and regular Radio 6 play has brought them to the forefront of ones to watch. NME, CRACK, DIY and more have tipped them over the festive period and the quality here suggests there will be more plaudits to come when the album reaches the shops in March.
From the propulsive opener, “Heel / Heal”, and many highlights (“Well Done”, “Mother”, “Date Night”, “1049 Gotho”, “Stendahl Syndrome” just some) to the rare respite of the closer “Slow Savage”, the album marks the arrival of a true British talent – and in a musical world that can seem increasingly benign, one with so much to say.
Full tour dates below:
Monday 3rd – Stoke-On-Trent – The Sugarmill
Clap Your Hands Say Yeah! – ‘The Tourist’
Clap Your Hands Say Yeah’s 2005 self-released debut album set a precedent for how bands might begin to approach making music independently. The record — which vocalist/multi-instrumentalist/songwriter Alec Ounsworth wrote entirely by himself— received widespread critical acclaim and was named one of “The 50 Most Important Recordings Of The Decade” by NPR.
In the ensuing years, Ounsworth has continued pushing himself creatively, releasing three additional Clap Your Hands Say Yeah full-lengths (for which he again wrote all of the music and lyrics) and issuing two solo projects. The group has also grown a robust international fanbase: In 2015 alone, Clap Your Hands Say Yeah toured in Latin and South America, Japan and Europe. All of these experiences have helped Ounsworth refine his vision for Clap Your Hands Say Yeah, as the group heads into its twelfth year and the release of its fifth album, The Tourist.
Like previous Clap Your Hands Say Yeah records, The Tourist nods to Ounsworth’s musical heroes—a group that includes artists such as John Cale, Robert Wyatt, Tom Waits and Nick Cave. However, this album also shows a natural progression from previous records. “Better Off” and “The Vanity Of Trying” are lush, keyboard-augmented songs, while “A Chance To Cure” and “Ambulance Chaser” are rhythmically askew, and the sighing “Loose Ends” is delicate, acoustic-based folk-rock.
No matter what the style, however, The Tourist’s arrangements are laser-sharp and deliberate, without feeling labored-over. For example, “Down (Is Where I Want To Be)” combines piano flickers with anxious keyboards, gnarled electric guitars and teeth-baring drums—but yet feels cohesive, not chaotic.
The Tourist emerged from a period where Ounsworth was doing a lot of intense soul-searching, and processing personal events that irrevocably shaped his life and future. But although most of these songs came together during this time of reflection, he considers the record to be cathartic—an exhale of sorts, rather than a collection of songs where he was indulging in self-pity or letting things stagnate or fester.
“The album was a type of purge,” he says. “A purge of certain emotional confusion that manifested itself in the last several years. It was not an easy album to make, by virtue of the fact that it was an emotional time for me.”
Appropriately, The Tourist’s lyrics reflect how complex upheaval can be (“We can beat around this bush together/Sometimes it’s all I think of/Other times I can forget”) and explore the imperfect nature of blame (“The car left the road and was found without its mirrors/You play the victim/And I’ll play the blind man”). Other songs try to make sense of the present time (“Now that the past is on fire/How can I look around and find I can’t remember who I was”) or employ clever wordplay— “Black cat let’s not split hairs/I’m tethered to the weather/I assure I don’t care about no lucky streak”—for effect.
“I wanted to experiment with packing lyrics,” Ounsworth says. “On this album, the lyrics and vocal melody effectively carry the songs, maybe more than anything else. Elvis Costello does this really well on his song ‘Beyond Belief,’ as does Paul Simon on his solo albums. I wanted not to overdo it lyrically, but do try to squeeze as much as I could out of certain phrases.”
Ounsworth spent about a week recording The Tourist at Dr. Dog’s Philadelphia-based studio with a drummer and bassist. After that, he and engineer Nick Krill spent a few months “tidying things up” and recording additional embellishments: backup vocals, keyboards, guitars and more percussion. That gives The Tourist more of a band feel than the last album, and contributes to why the record possesses a musical lightness. The dreamy opening track “The Pilot” especially has a lilting edge, courtesy of Smiths-reminiscent acoustic guitars strums and Ounsworth’s hiccupping, conspiratorial vocals.
The Tourist was then mixed by Dave Fridmann, who also worked on two previous Clap Your Hands Say Yeah albums, 2007’s Some Loud Thunder and 2014’s Only Run. Ounsworth says he and Fridmann are on the same musical wavelength, which makes their long-time working relationship an anchor of sorts. “Dave and I don’t necessarily stick with what’s easiest which is fine and anxiety-inducing, in a good way,” he says. “He challenges me to do something a little bit different.”
Having that space and freedom to explore as part of Clap Your Hands Say Yeah is crucial to Ounsworth and a vital part of the band’s identity. As anyone who’s seen him perform a living room show will attest, this mindset also often results in songs with dramatically different arrangements. But as a musician and leader of an independent project, Ounsworth prides himself on honesty across all aspects of the band, from live performances to the studio.
“I am a relatively solitary person and seem to work best alone,” he says. “I do count on others to help the project as the process of making and releasing an album moves forward, but if it doesn’t match what I have in mind, it’s hard for me to really be there for it. I guess this is one reason why the project has been independent all this time. Trust me, I understand that thinking this way is both an asset and a liability.”
However, this stubborn independence also reflects Ounsworth’s commitment to musical integrity. Clap Your Hands Say Yeah’s career arc is all about building on previous successes while staying true to a core artistic vision. And although The Tourist may have emerged from challenging times, it reflects Ounsworth’s uncanny ability to move forward, no matter what the circumstances.
“I’d rather not say that it was a dark time, but it was a difficult time in my life—among the most difficult,” he says. “But I needed and need to try to let it go. And this is how I let things go. Though it’s the same for any album—this one probably more than the others.
“But I have to try to do something each time that’s new and engaging for me,” he adds. “I mean, I could very well just write songs the way they were early on. But I don’t think that people would appreciate listening to someone just going through the motions. We have to build something to last, rather than just build it because it looks good at the moment.”
“Ones to watch” – The Guardian
“The indie pop record of our dreams” – Wonderland
“Can 2017 be the year dream-pop returns? And can we nominate Analog Candle to take the lead?” – Nylon
ANALOG CANDLE are pleased to share their latest single, ‘Scarlett’s Webb’ taken from the ‘Winter ’15’ EP which is out now!
Hailing from New York City via England, Chicago, New Orleans and Boston – ANALOG CANDLE is an expressionist, avant-garde dream-pop collective formed by producer and songwriter Callum Plews.
Originally from England, Callum was inspired to create ANALOG CANDLE after collaborating with an array of musicians while living in the magic and bustle of New Orleans. The project began over six years ago, after Callum realised he was more comfortable with the concept of others performing and interpreting his creations than he was embodying them completely himself. Bringing together performers from the realms of avant-garde, folk and emo, the initial group began recording at Callum’s bedroom studio, and self-released a number of songs online under the moniker, ANALOG CANDLE (a reference to the Arcade Fire album ’Neon Bible’).
Influenced by the early albums of Animal Collective and Broken Social Scene, experimental-pop outfit Xiu Xiu (Callum has worked with Angela Seo in the past), acts like Arcade Fire, Beach House and the surrealist and absurdist creations of literary heavyweights like Haruki Muramaki, Franz Kafka and Sylvia Plath – the ‘art-rock’ collective is also largely dedicated to the hybridization of pop music and production technique. In this way, after settling in NYC, the Winter ’15 EP became the culmination of a variety of cultural and musical viewpoints.
In terms of the EP itself, and conversely given the circumstances in which it was born, the lyrical content reflects Callum’s apprehensions on personal relationships, as well as the uncertain fragility that followed him around during his first winter in NYC. Each song is intended to provide a small window into how that winter progressed, as well as mapping the chronology of a doomed relationship.
Album opener ‘Scarlett’s Web’ features delicate female vocals that hover above shimmering electronic effects, while its lyrical themes allude to the beginning of the end of a love affair, “I see where my body is / But my heart’s far away”. Elsewhere, ‘Trier’, a wavy slice of electronic pop, explores flashes of real life pain – ‘Lying aimless in bed / With all the books that stay unread’ juxtaposed with buoyant electronic currents.
Themes of reminiscence and rejection sit alongside concepts of expressionism, and throughout the EP, heightened emotion is given a front seat over exact realism in the form of piercing lyrics that twist and linger like smoke-trails.
Callum says: “Living in a brand new city can grind one to dust very quickly – work, love, friendship – it all gets distilled and intensified. I sought to recruit the most talented indie musicians in NYC, and bring life to these difficult, common experiences. The Winter ’15 EP lies squarely between the ‘experimental’ and ‘pop’ music genres, and is intended to be a lyrically driven ‘audio’ mosaic – a recorded art project of sorts.”
The EP concludes with the ghostly ‘Space Dreams Of You Too’ and with lyrics like ‘I’ll see you in another life’… the next incarnation of ANALOG CANDLE promises to be just as ethereal and fluid as the present one…
ANALOG CANDLE is:
Emma T. and Jake S. (from Brooklyn band, Pop and Obachan)
Mori E. (from Brooklyn band, Mori)
(All songs produced and mastered by Callum Plews)
With a bang, Austria’s ultimate rock band TURBOBIER just topped the austrian albumcharts!
Now it is official TURBOBIER are the number one!
The new album “Das Neue Festament” was released on 27th of January
via Pogo’s Empire /Hoanzl /Broken Silence.
The Amadeus Music Award (the Austrian Grammy) winners from Vienna –Simmering who danced the “Irokesentango” (Iroquoi Tango) – name of their début album- are now embarking on their own religious crusade:
the beer denomination. Not only does this foursome change shandy into proper beer – NO! Also non- believers or strugglers are shown the way towards a better, respectively a more luxuriant life by faith leader Marco Pogo. And it works out great, as the number one shows!
Now enjoy the new video for their song “A Mensch is A Mensch”
(“A human is a human”)
Russian riot grrrl / punk band Mirrored Lips come to these shores for their debut UK tour in March and they’ll be touring with Newcastle label mates, Fret!
They are landing at The Blue Moon for a free gig, Cambridge on 17 March.
Mirrored Lips are the trio of Lusya, Ksusha and Sasha, who hail from Russia’s fifth largest city Nizhny Novgorod. Operating for over 2 years now, they make what to the casual listener could be deemed as riot grrrl music, mostly stemming from improvisation. Dig a little deeper though and you’ll find that they manage to combine the weird pop sensibilities of Kleenex, tight punk grooves of As Mercenárias or Delta 5 whilst also channelling the loose feel of English post punk acts such as The Fall and PIL. After six self-released albums, they made their UK debut on Cruel Nature Records in 2016 (reviewed by Tristan Bath in his Spool’s Out column http://thequietus.com/articles/21186-tape-review-acid-fountain-the-tapeworm-miles-cooper-seaton-mai-mai-mai-graham-dunning)
This Newcastle based trio play great little Touch and Go recordings style ditties. You know, the discordant kind, which make you want to move your arse; that start and stop but without the beards and wanky algebra you associate with math rock. The recent “Killing Nico EP” saw them throwing in elements of early Swans dirge, creepy David Lynch vibes and Ennio Morricone making a pasta salad in the background. New album “Through The Wound The Light Comes In” is expected in March.
The full tour will be visiting:
13 March: Old Police House, GATESHEAD
14 March: Empty Shop HQ, DURHAM
15 March: Chunk, LEEDS
16 March: Birthdays, Dalston, LONDON (free gig)
17 March: The Blue Moon, CAMBRIDGE
18 March: South Street, READING
19 March: Old England, BRISTOL
You Flexi Thing Vol 2
to be released by R*E*P*E*A*T Records
22nd April 2017 for Record Store Day
Available from independent record stores and from R*E*P*E*A*T
Saltfen – Keeper
SIAH – HIPSTER
You Flexi Thing Vol 2 is a 2 track flexi disc to be released on Record Store Day, April 22nd, and available nationwide from that day in Independent Record Stores.
Flexi discs are vinyl records made of much thinner vinyl than conventional discs, which means they are flexible and also cheaper to produce. They play on a turntable and produce a warm, full sound which many prefer to a MP3s. Flexis were common in the past but then went out of production for several years as the last pressing plant machine was dismantled; however Pirate Press in California recently rediscovered the plans and rebuilt a machine. Flexis have subsequently started to become a rather cool yet relatively cheap way for bands to release music. You can read about the history of the flexi disc on Wikipedia here https://en.wikipedia.org/wiki/Flexi_disc
You Flexi Thing Volume 1 was released for Record Store Day 2016 and featured young bands Deep City and Matty and the Bullsharks. It received national radio play, positive reviews and quickly sold out. Take a look and listen here
Volume 2 features two more 6th form bands, Saltfen from Ely and Siah from Bury St Edmunds (Rock City). It was also recorded in the R*E*P*E*A*T Records Big Badger Music Shack by Rosey R*E*P*E*A*T and is another totally DIY production. It will be pressed on clear vinyl with black text, and will come with a free download code and possibly a limited edition badge.
Here’s some blurb:
You Flexi Thing Vol 2, rotating in the grooves of the quickly sold out Vol 1, brings together two of the most innovative and exciting young bands in the Cambridge and Bury St Edmunds area. Both Saltfen and SIAH have been energising the teen crowds and getting the mosh pits heaving, with older punters looking on wistfully and approvingly.
Saltfen “Like The Strokes, but if they were from some next village in the middle of nowhere,” https://www.facebook.com/Saltfen
SIAH – Post-punk/indie rock from Bury St Edmunds’ thriving scene – https://www.facebook.com/SIAHbury
Proposed artwork is by Phil Rose esq and pays homage to the clean and striking designs of early Buzzcocks and Joy Division releases:
The flexi will be launched with live performances from both bands at Relevant Records in Cambridge and Vinyl Hunter in Bury during the day time of Record Store Day, April 22nd.
If you can’t wait that long, you can catch SIAH at Cambridge Junction on Feb 10th and supporting the incredible Superglu at The Hunter Club in Rock City (Bury St Edmunds) on 25th February, while Saltfen are in Bury on Feb 17th and at then The Junction on April 14th.
The flexi things….
More info firstname.lastname@example.org