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The Plainviews debut EP out 11 May 2018

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EP release: 'A Million Different Ways of Saying Nothing At All' by The Plainviews
Release date: 11 May 2018
Label: Invisible Llama Music
More info: Band Soundcloud

  • Idles side project band The Plainviews release new single 'Bladerunner'. Watch the video here.
  • EP launch with Heavy Lungs, Twisted Ankle and Sugar Horse. Pre-order the EP here.

The Plainviews have announced that their debut EP 'A Million Different Ways of Saying Nothing At All' is due out on May 11th via Bristol DIY label Invisible Llama Music. The Plainviews feature members of IDLES (Adam 'Dev' Devonshire+Jon Beavis) and The St Pierre Snake Invasion (Damien Sayell) and were formed through friendship, some form of functional alcoholism, and a proclivity for the inane.

The Plainviews have gained recognition in Bristol for their acerbic and visceral ‘alt-rock’ songs about nothing. To celebrate the upcoming EP, the band have released an accompanying video for lead single ‘Bladerunner’, illustrated and directed by the wonderfully talented Tommy Norm.

The band say: "Here's the video for our first single, Bladerunner, all because we thought it would be funny to make an animated video for a song with one line."

Live Dates

  • May 11th - Exchange, Bristol  w Heavy Lungs, Twisted Ankle + Sugar Horse
  • June 20th - The Shacklewell Arms, London w Heavy Lungs + TBA

 
 

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LICE announce ‘It All Worked Out Great' Volume 1 & 2

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Album and EP release: 'It All Worked Out Great' Volume 1 & 2 by LICE
Release dates: 5 April 2018
Label: Balley Records
More info: Band Facebook

Today satirical art-punk band LICE announce 'It All Worked Out Great', a two-part ‘early years’ collection re-recorded and to be released as two EPs and as an LP collecting both together. In frontman Alastair Shuttleworth's own words "it could not have been made by perfect people, and does not expect any to be listening."

You can pre-order the collection HERE

Outside of their release of IDLES' own 'Brutalism', LICE are the first signing to Joe Talbot's Balley Records and further strengthens IDLES relationship with  both LICE and what is becoming a burgeoning, powerful scene in their hometown of Bristol. Joe says the following about LICE:

"As we watch the world seemingly burn; solace is found in the boundless passions of our peers and the hard workings born from that. LICE are a force  beyond the rabble. We are in love. Up the open-minded and up the open-hearted."

Watch the video for lead single 'Stammering Bill' HERE 

"The track is a crazed, furious offering, threatening to fall apart at the seams and being all the more thrilling for it." - DIY

The band will support IDLES on their April tour.

Drawing sounds and aesthetics from an abrasive clutch of early-eighties post-punk groups (particularly The Fall, The Pop Group and The Birthday Party), together with elements of noise-rock and warped country & western, IAWOG is a sharp, provocative and unpredictable monument to the burgeoning age of misanthropy. With a fevered imagination, it returns again and again to the palette of human hatred: misogyny, racism, and (most prominently) the hatred we direct at ourselves, both as flawed members of a parasitic race and as products of a destructive empire.

Through dramatic monologues, darkly-humorous short stories and bizarre characters, the lyrics are designed to confront listeners with their own hateful biases, impulses and vices; the instrumentation around them churns with spindly, searing guitar-work, progressive rhythms and thunderous basslines. The songs were all originally written in 2016, with early versions of four having appeared on NUTMILK: The Basement Demos; over two years and two recording sessions, they have been changed, honed and finally completed. With this release, LICE finally cements and seals-up a moment in their sound with a declarative final scream, as they prepare to explore new sounds, aesthetics and subjects.

This is reflected in the artwork for the two covers. The Vol.1 cover depicts the one-armed farmer from ‘Stammering Bill’ (created in the likeness of the cowboy from ‘The Human Parasite’ single cover) stood in the band’s former basement practice space, where the songs were written and (in some cases) originally recorded for NUTMILK. The Vol.2 cover depicts the horse from the NUTMILK cover lying dead on the floor of The Malthouse Studio, where the songs were honed and completed. With this double EP, these songs and the other releases that came out this moment in the band’s sound are finally ‘finished off’, as the group prepare for the next chapter.

Volume 1 opens with lead single ‘Stammering Bill’; over rolling toms peppered with blasts of industrial noise, the song is comprised of three tragicomic short stories in which a character has their life destroyed by a different neurotic obsession. ‘Voyeur Picture Salesman’ is a warping of George Formby’s ‘When I’m Cleaning Windows’ in which a window cleaner sells photographs he has taken on his round of unsuspecting women, leading to clashes with a distressed client and a rival photographer. The subdued, lounge-esque ‘Ted’s Dead’ (featuring a cornet solo from local no-wave jazz hero Iceman Furniss), tells the story of a recent divorcee who- after being diagnosed terminally ill- murders his ex-wife in what he believes to be his final weeks alive; when he turns out to have been misdiagnosed, he is caught and sent to live out the entirety of his life in prison. ‘Love Your Island’ is a monologue attacking English people as governed by complacency, fear and hostility; the English are painted as an innately-destructive race of liars, resorting to cruel, cynical humour to disguise their failure to produce an authentic culture of their own. In this, LICE reflect on national guilt, but also self-deprecatingly hint at how these flaws have found their place in this record; it could not have been made by perfect people, and does not expect any to be listening.

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Daudi Matsiko double EP due 26 May 2017

EP release: 'An Introduction To Failure' by Daudi Matsiko
Release date: 26th May 2017
Label: Naim Records
More info: Artist website

The confessional, folk sound of guitarist Daudi Matsiko is much in demand, after his collaborations with electronic acts Booka Shade and Kyodai, an appearance at Red Bull Music Academy, and tours with Keaton Henson, GoGo Penguin and Portico Quartet. 

The mellow fingerpicking guitar of Daudi Matsiko really gets to you. Listen to one of his disarming songs from his double EP for Naim Records, and it’s like a personal performance; as if he’s stood in front of a microphone on the other side of the room, his melancholy melodies ringing out with absolute accuracy. Hear his song ‘Take Me Old’, and enter a hushed gig venue, all ears and eyes entranced by the music unfolding before them. Daudi’s music hypnotises with an economy of elements. It’s with just guitar, autobiographical lyrics, hints of saxophone and synth that he weaves a magic spell. 

This artist’s songs are taking him places. Daudi recently travelled to Montreal to take part in prestigious music making workshop Red Bull Music Academy, while two of the most renowned acts in underground dance music, Booka Shade and Kyodai, have come calling for collaborations. 

Daudi’s first two, self-released EPs, ‘the Lingering Effects of Disconnection’ and ‘A Brief Introduction to Failure’ have been collected on his eight-track long-player debut for Naim. The words of these songs, startling in their tales of personal experience, intensify his warm tones. Highlight ‘You Can Do Better Than Me, But I Hope You Don’t’ details with heart-breaking directness the decline of a relationship. Each of his songs has a therapeutic purpose. “My songs all have a cathartic intention in some way,” Daudi has said. 

Daudi was born in the UK to Ugandan parents, and became hooked on guitar at a young age. Encouraged by a great music teacher and friends he’d later form a band with. He grew up with eclectic influences, from Radiohead to the jazz of John Coltrane and Miles Davis, post-rock bands Mogwai and Slint, and trip-hop fusioneers Cinematic Orchestra. While he was attracted to heavy sounds as a teenager, he came to favour sparse, quiet arrangements instead. The direct simplicity of guitar and voice became his medium of expression. 

Daudi’s music rings out with a dazzling brightness that will delight lovers of quality sound. That’s partly thanks to the mixing of Wah Wah 45s recording artist Adam Scrimshire, who tunes his acute ears to Daudi’s songs and brings their intimacy to the fore, capturing the living ambience that makes Daudi’s music such a pleasure to listen to. “He’s really good at bringing out the warmth I’m looking for and general size,” Daudi has commented. 

It’s playing live that Daudi feels most at home, and his recordings admirably evoke this elusive, vivid quality. “Once you’re sat in front of those people you can’t leg it, you’ve got to go for it,” Daudi said. “That adrenaline is nice to have.” 

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The Molochs new EP due 3 March 2017 and tour dates

EP Release: “AVG Sessions” by The Molochs
Release date: 3 March 2017 3rd
Label: Innovative Leisure
More info: Band website

After the release of their new album 'America’s Velvet Glory' on Jan 13th, LA band The Molochs return with a new EP for Innovative Leisure, titled 'AVG Sessions', a track from which can be heard today at Loud & Quiet

The band’s Lucas Fitzsimons comments; "Hidden Spoon is about revolutionaries imprisoning and executing their King in Paris in 1793. it's just a good story and can apply to any period of time. The song is a vivid ballad.. something that can bring the story to life in someone's head." 

The band also today announce a big run of UK and EU tour dates, as well as SXSW appearances. 

The Molochs – Live 2017

March

15 Barracuda Backyard, SXSW, USA

May

14 Broadcast, Glasgow, UK
15 The Cluny, Newcastle, UK
16 Brudenell, Leeds, UK
20 Q Factory, Amsterdam, NL
22 Shacklewell Arms, London, UK
23 Montague Arms, London, UK
24 La Mecanique Ondulatoire, Paris, FR
25 Nuits Sonores Festival, Lyon, FR
26 La Parenthese, Nyon, CH
27 Spazio Morel, Lugano, CH
29 Passport, Athens, GR
30 Fuzz'Yon, La Roche Sur Yon, FR
31 La Nef, Angouleme, FR

June

1   Primavera Sounds festival, Barcelona, SP
6   Doornroosje, Nijmegen, NL
7   Bassy Club, Berlin, DE
9   Molotow Club, Hamburg, DE
10 Pumpehuset, Copenhagen, DK

Press reaction to date

"The perfect soundtrack to pulling on your Chelsea boots and black crew-neck sweater" - The Guardian 

"One of the year’s best. Which year? Any year" - MOJO 

"Anxious indie-rockers playing up like a reborn Modern Lovers" - Uncut 

"steeped in jangly Eighties rock, with flecks of psychedelic folk and surfer nonchalance" - DiS 

"the album feels like you’re travelling through the US in a beat-up old car, and casually tuning in and out of a dozen different radio stations... a barnstorming record." - NME 

“The Molochs’ latest track is hazy folk with a revolutionary message …The ghosts of Lou Reed and Syd Barrett don’t so much as linger but crawl all over the sound.” – Loud & Quiet

"You & Me evokes a kind of hair-raising nostalgia and perfectly complements the 60s jangle-pop vibes" - Noisey 

"These latest Stateside sounds will put you in a spin" - Shindig! 

"Garage-rock revived with conviction" - Classic Rock 

"Full of rock n roll swagger and referential aplomb" - The Mirror 

"Fitzsimons channels the ramshackle spirit of The Modern Lovers brilliantly" - Sunday Express 

"The Molochs can lay claim to one of 2016’s strongest singles" - The 405

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Wayde 'Lucky Aide' EP due 3 March 2017

EP release: 'Lucky Aide' by Wayde
Release date: 3 March 2017
More info: Band Soundcloud 

Having only released one previous single (‘Eleanor’), which earned them plaudits from the likes of DIY, The 405, BBC 6 Music and more, Essex four piece Wayde are now ready to unleash their new 'Lucky Aid'e EP. Recorded in guitarist/vocalist Tyrone Foster’s flat in Stoke Newington, in between the banging on ceilings and floors from disgruntled neighbours, Wayde’s sound is an amalgamation of sardonic indie, enveloping shoegaze and psych-infused grunge. 

Channelling influences from the likes of The Rentals, Hüsker Dü, Teenage Fanclub and Pavement, there is a nostalgic comfort amongst Wayde’s combination of warm guitars, mid-tempo grooves and vocals, which are lyrically sharp, saccharine and melodically contagious. The new EP draws on a beguiling familiarity throughout but despite its evocative nature it remains atypical and unbridled. This is exemplified in tracks such as ‘easy’, which oscillate between laid-back yet acidulous vocally driven sections and crushing, overdriven grunge-infused choruses. Whilst elsewhere, Wayde’s heavier guitar led sections on tracks such as ‘doser’ and ‘incomplete’ call to mind The Pixies ‘Debaser’-era riffs, if they’d have had the same production of Smashing Pumpkin’s ‘Cherub Rock’. The delivery is heavy, pretty and deceptively straightforward. 

Speaking about the themes behind the forthcoming EP, Miles Shawyer (bass) said, “There’s no consciously imprinted themes on the EP, however the songs were all written in a period when we were all just about to finish university and the anticipation of having to become real people and getting jobs was looming. So there’s an almost entirely unintentional coming of age/fear of adulthood theme running throughout the EP.” 

It’s this charming yet almost serendipitous honesty that resonates the loudest throughout every track on the EP. The themes come naturally and candidly, whilst Wayde place their focus entirely on infectious hooks, reverb and fuzz, only abating to take rapid turns into hazy garage-punk and feedback-laden grunge.

Having dipped their toes in water with their first single, Wayde are now ready to take the plunge with a consummated EP, which will appeal to many both on and beneath the surface.  

Press reaction to date

“Racing through a collision course with the likes of Ty Segall and Pond by their side, they still hit heights that other have yet to cross, rinsing a trusty sound and sourcing something original at the same time.” - DIY

“A noisy and abrasive yet relaxed and pretty slice of modern rock.” – The 405

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Vandana EP ‘Nox Anima’ out 21 April 2017

EP release: ‘Nox Anima’ by Vandana
Release date: 21 April 2017
More info: Artist website

Fusing elements of disquieting electronica with alternative pop, Vandana’s angular, intense music embraces womanhood and otherness as if from inside the mouth of a cave. Her multicultural lifestyle, from India to London to Brooklyn, has influenced her wildly eclectic and self-assured material, which arrives steeped in the knowledge of ancient Indian traditions and fables as well as in assorted vehicles of abstract art and thought. 

Inspired by musical pioneers like Aphex Twin, Thom Yorke and Miles Davis as well as the vibrancy of Bollywood, the Gothicism of The Cure and the evocativeness of Fever Ray, Vandana also takes her cues from purveyors of subversion like Edgar Allan Poe, Lars Von Trier and Henry Miller. In this latest material, the naturally introverted singer brings her insular and mysterious writing process to life via slow-dripping, throbbing synths, creating an atmosphere that’s arcane, exotic and brooding.  

An instinctive and intimate record - and one that was created in Vandana’s home studio during a period of solitary retreat - the six-track EP makes for a truly absorbing listen. 

Using a journal in which she writes and draws entirely with her left hand (in esoteric thought, the left hand is associated with receiving), many of her lyrics are the result of this inward-looking process and are thus super cathartic and revealing. It's a maze of sentiments with the emphasis being on a nocturnal space and - as a result - the release is named 'Nox Anima' - meaning Night Soul/Spirit. This in turn, is a nod to the psychologist Carl Jung's description of Anima: the part of the psyche that is directed inward and in touch with the subconscious. 

Lead single ‘Vicious’ was inspired by watching a lot of nature documentaries. This song is literally dedicated to the majesty of a creature in pursuit and what it’s like having an unobtainable subject of affection –a fixation over something without being able to physically or tangibly possess it. Elsewhere, ‘Nearly’ documents the seasonal cycles of a relationship, while ‘Jaan’ is a trying but exciting journey through a dense, deep, smoky forest with a loved one- about reconnecting with the primitive animal side. 

The whole EP twists about on a mixture of abstract and visceral themes, building you up before submerging you in swirls of throbbing sound that threaten to unsettle your very core. 

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Porshyne EP 'Environmental Music' due 10 March 2017

EP release: 'Environmental Music' by Porshyne
Release date: 10 March 2017
More info: Band Facebook

Porshyne are an atmospheric rock five-piece hailing from Brighton. Formed in 2014, early releases from the band such as 'Residue' and 'Warp' have helped to cement their name within the Brighton music scene, leading to them playing shows alongside the likes of Black Peaks, Valerian Swing, Town Portal and many more. Now, after having burrowed away to record their debut EP 'Environmental Music' with Mark Roberts (Black Peaks, Broker, The Physics House Band), Porshyne are set to return with their most heavy, emotive and accomplished material to date.

The contexture of the EP is a sound that sits somewhere between prog, alt-rock, electronic music and post rock. 'Environmental Music' is a masterfully dynamic and heavily textured collection of tracks combining melodic vocals with intricate and carefully refined guitar work, which alternates between cinematic and darker, heavier phrases that are intertwined amongst complex rhythms and subtle electronic moments.

Tracks from the EP such as ‘Exit’ show a understated ambient melancholy to the record, which at times calls to mind the sounds of Radiohead, meanwhile guitar sequences at times lean towards the darker end of the prog-rock spectrum conjure up the sounds of Tool, Dredg or Karnivool. Other tracks such as ‘Hubris’ have a more desert rock inflection with riffs akin to that of Queens of the Stone Age or Kyuss. Porshyne hold nothing back on 'Environmental Music' amalgamating a multifarious set of influences, styles and genres, concentrating their individual creative forces into one cohesive body of work.

'Environmental Music' is an intensely structured body of work, which is as meticulous as it is powerful. Records that manage to merge such a wide variety of styles and exhibit such a multitude of musical landscapes in such an unabridged manner are rare. This debut EP from Porshyne is a statement of intent and is not one that should be ignored.  

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Analog Candle 'WINTER ’15' EP out soon

EP release: 'Winter '15' by Analog Candle
Release date: 2017
More Info: Band website

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… 

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Black Surf debut EP out 26 August 2016

EP Release: 'Let’s Pretend It’s Summer' by Black Surf
Release date: 26 August
Label: Cowboy Records
More info: Band Soundcloud

Black Surf have an unusual backstory having formed in 2014 through the wonders of FaceTime and Dropbox. The fruits of their exchanges between Leeds, UK and Sydney, Australia have come to form their debut EP 'Let’s Pretend It’s Summer', recorded at Greenmount Studios (The Cribs, Pulled Apart By Horses, The Vaccines). 
 
Not much longer than 10 minutes in its entirety, Black Surf specialise in the kind of fuzzed-up, adrenaline-shot indie-rock that’s straight to the point and doesn’t outstay its welcome. The reckless pace of opening track Sink’s synth-flecked bubblegum buzz is matched only by its enthusiasm and wild abandon. Bastard Man floats Pinkerton-era Weezer tones complete with its own narcissist complex, as vocalist Ali Epstone sings “I think I’m falling for you / I think I’m falling for me more.” before the amped-up motivational sermon of Get Up implores you to, well, Get Up / Get Out / Get Over.” EP Closer Baby Blue Washburn offers a moment of respite ahead of – what else – a huge chorus. Long Live Black Surf.  

Press reaction to date

“Oooh Weee Oooh they sound just like something brilliant.” - Rock Sound

“waves of outwardly catchy choruses and sun blistered chords.” - The 405

“…imbued with a far, weary, Weezer-iness that we just can’t stop huffing.” - Total Guitar

“Black Surf have a gift for thumping great melody that clearly threatens to propel them far beyond Yorkshire's shapely borders” - Classic Rock

“Keep a look out for more tracks from these guys in the coming months. We have a feeling you'll be hearing their name a lot.” - Pure Volume

 

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HOO HAs EP due 29 July 2016

EP release: HOO HAs
Release date: 29 July 2016
More info: Band website

HOO HAs are an indie-rock quartet hailing from London. Frontman Jamie started off writing poetry which progressed to working alongside his old friend the late Robb Skipper, helping to write lyrics for his post-Holloways projects. After meeting Mark and Adam when they were performing in various musical outfits (including Hares), jamming at parties led to sessions above the Silver Bullet in Finsbury Park and electric late night gigs downstairs followed soon after. Incendiary live shows have always been a big part of HOO HAs heritage and they have since played shows supporting the likes of Gaz Coombes and alongside their good friends in the local scene such as: Francobollo, LA Salami, Mohit, Amaroun and Itchy Teeth. 
 
As the frontman of HOO HAs, Jamie’s deadpan vocal belies his clever off-kilter narratives about the 21st-century experience, which are always brutally honest and entertaining. The band substitute cynicism and pretention for wit and dark sarcastic humour, the lyrical content of the EP is full of 90’s Britpop nonchalance. It’s frank, yet charmingly candid, and whilst sharp, the driving force behind HOO HAs songwriting is its idiosyncratic simplicity. 
 
Combining cocky and powerful guitar hooks with anthemic vocal melodies and memorable shout-along lyrics, tracks such as ‘This is the New Me’ and ‘Hanna’ feel like they have been plucked from golden-era of NME indie. The band cite their influences as everything from “from JJ Cale to J Dilla”, and it shows, there are clear influences in the earlier tracks on the EP from the likes of Blur, whilst also calling to mind the sounds of Babyshambles and at times Art Brut. The latter tracks on the EP such as ‘Tippex Jeans’ display a completely different element of the HOO HAs songwriting technique with hints of Captain Beefheart and more prog-blues infused guitar lines and psych driven bass parts. Similarly the vocals take a beguiling avant-garde tone and melody whilst the lyrics still retain their acuity. 
 
On the songwriting behind their lead single, ‘Hanna’, Jamie said: "Hanna was written in the heat of a bitter moment. The end of a relationship can lead to you saying things despite knowing there is more to the story. Now looking back to when I was writing Hanna I feel I may have been focusing on her immaturity to avoid confronting my own..." 
 
This EP, much like 21st Century life, is a fast one-way play-through, tackling a whole range of emotions and post-millennial topics. It’s a loose narrative of the low-stakes anxiety that prods us throughout our waking lives, touching on topics usually only discovered post ‘coming of age’ along with the realisation that things are only as hard as you make them for yourself. HOO HAs are writing genuine songs about modern living and irreverently having a good time doing it, and as far as introductions go, their uninhibited and refreshingly original debut is as proficient as it is authentic. It’s reflective, percipient and demands multiple listens – It’s not one to be missed.  

Press reaction to date

“Irresistible!” – John Kennedy, Radio X
 
“I Love This! Terrific Stuff” – Gary Crowley, BBC Introducing

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Hiva Oa new EP 'mk2 (part 1)' due 5 August 2016

EP release: 'mk2 (part 1)' by Hiva Oa
Release date: 5 August 2016
More info: Band website

New material from Hiva Oa has been a long time coming. Sometimes, it seems, a period of inactivity is better for a band than one of constant creation. With the release of their forthcoming 'EP mk2 (part 1)', core members Stephen Houlihan and Christine Tubridy departed Edinburgh, returning to their native Ireland seeking renewed inspiration. Hiva Oa retain the mystery and ambition of their former incarnations, but inject a heavy thrum to their intricate patchwork style, and turn their attentions to themes of fear, loneliness, abandonment and awakening.  
 
On lead single 'A Great Height' the band continue their controlled experimentation by marrying primal, dizzying electronica and a swelling bass hum, with minimal guitar patterns to create a tightly wound, suffocating and intense atmosphere that sets the tone for the EP.

Somewhat appropriately it’s an anxious listen, the influence of Thom Yorke on vocalist Stephen Houlihan here provides the forlorn, and almost hopeless, punctuating refrain “…and I fall from a great height.”  Elsewhere Seskinore demonstrates their skill in developing percussive motifs that flit from the suspenseful and shuffling, to eruptive, deafening, conclusions. A powerful resolution to each composition is never far from the minds of Hiva Oa.  
 
The latter part of 'mk2 (part 1)' begins to bring subtler intricacies to the fore. Christine is awash with swathes of gentle guitar, gifting the four-minute piece a transcendent quality that, coupled with another yearning vocal, offers the listener a brief glimpse into one of the EP’s more intimate moments, in this near-fearful, dream-like, serenade. Closing track Jonny Brazil again shifts unassumingly from sinewy indie-rock before revealing a raft of squalling guitars and inter-playing vocal melodies. Hiva Oa have become masters of developing atmospheres proving that, for them, a visit to old pastures has worked wonders.  
 
Hiva Oa is: Stephen Houlihan & Christine Tubridy. Additional studio & live members Matthew Collings and Daithi McNabb  

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SQRD new EP 'Gold' due 15 July 2016

EP release: 'Gold' by SQRD
Release date: 15 July 2016
Label: Fresh Milk
More info: Artist Soundcloud
 
Developed from a background in jazz and classical music, Swedish-born, Berlin-based artist Carl Robin Kirchmann (AKA SQRD) has soaked up the soul of these two cultural Meccas to develop his unique blend of low key, dreamy electronica. With a master’s degree in mathematical engineering under his belt, Kirchmann’s process for creating music is seemingly drawn from his ability to solve equations, experimenting not only with developing his personal tastes and musical disciplines, but also with various vocal and instrumental textures, effects and rhythms; the result of which is his new EP ‘Gold’. 
 
‘Gold’ sits somewhere between the engulfing and benign sounds of The xx and Four Tet, whilst vocally Kirchmann calls to mind the opaque melodies of James Blake and Active Child. It’s a captivating blend of sonic components, which is more supportive and protective than it is forlorn, however there are still wistful and reminiscent undertones throughout. It is the influence of this beguiling honesty and courage that can be heard across tracks such as title-track ‘Gold’ and ‘Would Run Wild’ where soft and sombre electronics meet melancholic yet resolute vocals, which are accompanied by hypnotic oscillating rhythms. Elsewhere on the EP, tracks such as ‘I’ll Be Waiting’ shows clear yet befitting influence from the likes of Caribou and Moderat, with a higher tempo and timbre than that of the rest of the EP, alongside more complex and densely structured samples and percussion. This contrast across the first and last two tracks of the EP perfectly exemplify the themes running throughout the EP and show a clear journey across not only SQRD’s musical journey but also his personal one. 
 
Thematically, the EP is about the end of Kirchmann’s seven year relationship and the process of finding your own path. Speaking about the ‘Gold’ EP SQRD said, “Writing music was an attempt to handle and process what happened and in the same way to find my own path. I sit for hours and hours, I forget about everything else, and just focus all of my energy on the music. Now when I think about it, this might also explain why I want to do everything on my own - the writing, singing and producing - it makes me feel independent and I can do whatever I want from the initial idea to finished track. 
 
SQRD is constantly exploring how he can push the boundaries of writing electronic music, and his experimentation with different tones and moods both sonically and subjectively is what sets him apart from the rest. It’s rare that an artist is able to define their sound so equivocally yet so proficiently, and this short yet consummated EP is just an introduction of what he is capable of.

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Merrick’s Tusk new EP ‘regroup and reform’ due 1 April 2016

EP release: ‘regroup and reform’ by Merrick’s Tusk
Release date: 1 April 2016
Label: Self released in conjunction with Buttonpusher DIY
More info: Band website

Hailing from Nottingham and Derby melodic rock quartet Merrick’s Tusk (named after the Elephant Man, Joseph Merrick) are band that have drawn a route through the familiar sonic territory of emo-rock with signposts to bands such as The Appleseed Cast, American Football and Jimmy Eat World to draw you in but with more than enough originality in their post-hardcore sensibilities to keep you there. The band’s second release, a 6-track EP titled ‘regroup and reform’ which is founded on the life experiences of frontman John Jeacock, features cameos from BAFTA-winning composer Nicholas Hooper (Harry Potter soundtrack composer) and once label-mates Bear Makes Ninja, Blind Wives and Some Skeletons, the follow-up EP delivers a more expansive and ambitious sound.

Architects of intense contrast the band’s diverse and precise instrumentation regularly flirts with the fragility and weight of the emotionally driven heart-on-sleeve lyrics, flittering between huge anthem-to-be, shout along gang vocals, delicate and intricate guitars and decisive drum work. Tracks such as opener ‘25’, throw you back to Casually Dressed-era Funeral For A Friend-esque resonance, making you feel like you are rediscovering a long lost favourite track, whilst littered with memorable lyrics and stadium-ready melodies that are likely to make the track a new favourite for first time listeners. Tracks such as ‘Solitude’ and ‘Kepler’ can make you feel like you are listening to a completely different record delving into the niche and nostalgic world of 90’s emo but instilled with the same unique vocal delivery, suspense-filled transfiguring uplift and release. It is this wide spread set of divergent dynamics that makes Merrick’s Tusk’s new EP so inimitable despite the familiarity that resonates from the bands multifarious influences.

‘Sonder’, Merrick’s Tusk’s debut EP, was released on Bad News Records to critical acclaim in June 2014 and has led to the band performing with artists such as Jonah Matranga (including sharing a stage to perform the Far classic ‘Bury White’), Cleft, Tellison, More Than Conquerors, We Came From Wolves, 100 Onces, Polymath, Wot Gorilla? and more.

‘regroup and reform’ will be self-released in conjunction with the estimable Buttonpusher DIY on 1st April and will be see the band hit the road again touring across the UK, Europe and various festivals in 2016. Speaking on what comes next for the band John (Singer/Guitarist) says, “We want to get out and play as many shows and festivals in Europe as possible this year, meeting lots of lovely people. Then we plan to push our sound as far as we can, continuing our work on a debut album for 2017.”

Merrick’s Tusk are evolving musically and with every sonic state they encounter the band are finding new ways to push the boundaries and instil originality. This is an EP full of tracks that are begging to be your timeless rock anthems of the decade, and we think you should let them.

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The Altered Hours new EP 'In Heat Not Sorry' on 29 January

EP Release: 'In Heat Not Sorry' by The Altered Hours
Release date:  29 January 2015
Label: Art For Blind Records
More info: Band website

The Altered Hours exist in a swirl of the psychedelic and hypnotic. Their live shows are known for their intensity and the band's ability to envelope both themselves and the crowd in their sound – but where so many focus on the textures, The Altered Hours set themselves apart with as much a focus on the songs themselves. The group have toured Ireland, the UK and Europe and have won critical acclaim along the way.

Having recorded their first EP “Downstream” DIY, the band were invited to record their second EP Sweet Jelly Roll with Fabien Leseure in Berlin. It was subsequently released in May 2013 by Anton Newcombe’s A Recordings, home of psychedelic pioneers The Brian Jonestown Massacre, Dirty Beaches and Magic Castles. 

The group released a 7'' – Dig Early – on Cork label Art For Blind in April of this year and their debut full length, In Heat Not Sorry, will finally see the light of day early next. Part of a burgeoning Irish scene that continues to spawn young and seemingly brilliant, vital bands, Altered Hours will take their place on a wider scale with this record. Melodic, abrasive, dual girl-boy vocals, a Sonic Youth-esque approach to guitar tone and crashing feedback, this band’s sounds are surely destined to surely travel.

Press reaction to date

'The Altered Hours have a certain darkness to their sound.'
'Recently releasing an EP on Anton Newcombe's sought-after A Recordings imprint, it's there in those brittle tones, the post-punk influenced chugging bass line, and it's there in those pleading, sometimes desperate vocals.'
'But that isn't to suggest that the Irish act are doom-laden naysayers – rather, The Altered Hours continually transgress the intensity of their volition, focussing on shards of pure, white light amidst the black.' - Robin Murray, CLASH

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Glue Foot 'Seed' new EP out 11 December

EP Release: 'Seed' by Glue Foot
Release date: 11 December 2015
More Info: Band website

Having built strong hype in the Cardiff and Bristol alternative music scenes by becoming staples of now legendary house shows, young trio Glue Foot have taken their own brand of pop punk and grunge around the country in their 1999 Suzuki Swift - affectionately known as 'Suzie'.  
 
Glue Foot began during the summer of 2014 after lead vocalist and guitarist, Matt Fleet, successfully persuaded his university coursemate (and now bassist), Shyam Pankhania, to attend a rehearsal with long-time partner in crime and drummer, Joe Cooke. 'The people living below my flat would always bang on the ceiling or give us sweets in the hope we would turn our guitars down late at night - we would practice every day', recalls Matt. Shyam brought flare and ingenuity with his bass playing - writing basslines that complimented the reflective nature of Matt's songwriting. Joe also brings something extremely special to the table. Influenced by the feel and style of drummer Matt Helders as well as the unique qualities of Matt Nicholls (Bring Me the Horizon), Joe uses interesting grooves and an element of musicality to support the other instruments. 
 
Following the release of debut EP 'Mission Happy Face' (which was recorded primarily to send to promoters across the country), Glue Foot played clubs and house parties extensively in the UK (with the likes of ROAM, GIANTS and more), swiftly generating a following. Excited by their progress, the band were still surprised at the reception they were receiving at shows: 'people would dance, sing along and crowd-surf - even encouraging us to crowd-surf with them!' tells Joe. Their second EP, 'Seed', takes a grungier path than previous material, with songs such as 'Silk' and 'Floating Like A Leaf'. 'We really want to make an impact with 'Seed' - we have invested so much emotion in it', states Matt.  
 
Following the release of 'Seed' and the video for single 'Floating Like A Leaf', the band are planning to take their music across the UK with more energy than ever before. 'We really want to provide everyone that comes and sees us with an experience they won't forget. We really love what we are building here and it seems a lot of other people do too', reflects Shyam. Make sure you are there when Glue Foot - and 'Suzie' - arrive in your town. 
 

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InTechnicolour to release their debut self-titled EP on 13 November

EP release: InTechnicolour
Release date: 13 November 2015
Label: Small Pond Recordings
More info: Band soundcloud

Hailing from Brighton, stoner/groove rock quintet InTechnicolour are now gearing up to release their debut self-titled EP. A year in the making, InTechnicolour are born into the world with a refined sound and a fully functioning line-up (comprised of members from the likes of Porshyne, Delta Sleep and Physics House Band) capable of playing shows outside of their respective living quarters.  
 
'InTechnicolour' is a masterful collection of three visceral yet polished tracks which lie loosely between the slack desert groove of bands such as Kyuss and Karma to Burn. Their debut EP is an unyielding barrage of thick and fuzz infused guitars, driving drums and a relentless bass line which drives the desert cruiser onwards. However, it's clear that the bands influences don't end there as the two original compositions 'Lend Me A Crushed Ear' and 'We Are All Losing Sleep' combine simple yet deeply satisfying riffs with a dynamic vocal style, which calls to mind the sounds of Baroness, Gojira or Mastodon. Whilst the bands cover of Linda Perhacs 'Hey, Who Really Cares?' is reminiscent of the droning melancholic instrumentation of White Pony era Deftones.  
 
'InTechinicolour' is an EP that you can easily draw comparisons to and is strewn with familiarity; however, through its combination of haunting yet powerful vocals, crushingly suspenseful prog clean sections and anthemic, unforgettable choruses, InTechnicolour are able to create an individual sound for themselves which refuses to fall into the ether.  
 
When speaking about recording the EP, Dave Jackson (guitars) says, "I guess we just decided to go into the studio with the Neil Young approach to recording and play it live for the first time on record and whatever comes out the other end remains. We decided to try and make everything sound really raw and play everything quite loosely and this is what came out the other end."  
 
InTechnicolour have composed an incredibly consummate debut release, one which can easily stand side-by-side with any current modern rock releases. The band have previously been quoted as saying that they "literally have nothing to say about themselves", but with a first offering that gives listeners so much to take away, it is highly likely that there will be plenty of others that will be willing to do the talking for them. 

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Honey Moon self-titled debut EP released 25 Sept

EP Release: Honey Moon
Release date: 25 September 2015
Label: Living End Projects
More info: Band website

Introducing London’s own Honey Moon, slacker-pop from four guys who croon, bop, jangle and sway with their lilting hooks and psychedelic swirls. On this debut EP – released in the wake of a swell of blog hype and national radio support from the likes of 6 Music and Radio 1 - the four-piece deliver hazy guitar pop reminiscent of Avi Buffalo, or something that Matt Mondanile might conjure with Real Estate or Ducktails. 

Released on September 25th, the record was self-produced and mastered at Metropolis studios in West London. Opening with the purposeful ‘Ellie’, it sets a tone of melancholy and nostalgia, and is very much the love-lorn introduction, punctuated as it is by its closing, hypnotic, guitar motifs. Elsewhere, tracks like ‘Tripping (On the Thought of You)’ and ‘I Saw You In A Dream’ embrace the lost art of vocal harmonies, with the former calling to mind those early Peace cuts - like Harry Koisser’s love letter to a teenage muse - and the latter forming a delicate story, closing the EP in romantic fashion as the electronic organ rumbles on. 

Contemporary musical signposts colour the EP, but the band still leave their own distinctly Honey Moon trail of breadcrumbs along the way. Vivid, exploratory, imaginative and clever, theirs is an unmistakably British take on a style that romances both lo-fi and indie-pop, ultimately marrying the two in unbridled harmony. These are four tracks to really get lost in. 

Press reaction to date

  • “Honey Moon is a new London outfit, stepping onto the scene with an easeful, lazy-day glow that mixes Real Estate’s gorgeous aesthetic with something more identifiably British.” - DIY Magazine
  • “They prove they’ve got much to offer – appropriating Mac Demarco’s knack for blessed-out lo-fi rather well indeed.” – NME Magazine

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Grassfight ‘Please Don’t Tell’ EP released 9 October

EP release: ‘Please Don’t Tell’ by Grassfight
Release date: 9 October 2015
Label: Cold Records
More info: Band website

Sitting on their amps in a Christmas-lit storage unit in Denton back in 2010, Nathan Forster, Tamsi New, and Mark Demiglio felt eerily rooted in their slow-paced Texas environment and decided to move to New York City for a new start.

When they started the band, Nathan had never sung in front of anyone, Tamsi couldn’’t play bass and they both shared an irrational fear of people finding out they were a couple in a band. Undaunted, and heavily influenced by Radiohead, Spoon, BRMC, and LCD Soundsystem, they created a few fuzzy demos, found a drummer, and managed to put on their first ever show.

Mark joined Grassfight in 2010 and after some stormy studio walk outs involving broken bottles, smashed up amps and a few revolving fourth members, the trio to swear off adding anyone else to the mix.

However, after making a splash in the blogosphere with their first two EPs’, Nathan sent a long-time friend and musician some of the new tracks to get an opinion. Andrew Kerr responded to the new songs by booking a one way ticket to New York to join the band, where they set about creating their very own brooding, powerful brand of post-punk magic.
In February of 2014, Grassfight played their first show in a year and a half as a four-piece and began work on the beautifully gloomy, 'Please Don’t Tell'.

The band says: 'Please Don't Tell is the name of a speak-easy style bar in East Village. To get in, you walk into a hot dog shop and enter a phone booth. When you pick up the phone somebody answers and you say the name of your reservation. Then the side wall of the phone booth slides back and you walk into this 'secret' small bar that's decorated like it's the 1920's. There are taxidermy animals with hats and jewellery on, they play a lot of Fleetwood Mac, and the cocktails are awesome, with a Mezcal theme.'

All five of the songs were written on the streets of New York and recorded right before Tamsi and Nathan broke up - with the bass-laden title track telling the story of a miserable suburban couple that stay together to protect their image and the melancholy-laced 'Hallways' examining the dizzying and guilt-stricken thoughts you have when you start to fall out of love.

Press reaction to date

  • "These cardigan-clad boys (and girl) have cultivated a new brand of post-punk." - The Owl Mag
  • "Blogs quickly began comparing the band's sound to that of Interpol and Joy Division because of its heavy, driving basslines and urgent rhythms, but there's more to this group than just a series of brooding reference points. They've got the songs to justify the gloom." – CMJ
  • "Icon, EP2 is arguably the best EP released this year and veritable proof that New York City has a major contender on their hands." - Absolute Punk
  • "...delightfully terse, taut with tension, and displays a shimmering resentment - Grassfight has given us much to admire." - Mad Mackerel

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Inner Tongue: "Tz, Ka" EP release

Inner Tongue

EP release: "Tz, Ka" by Inner Tongue
Release date: 1 June 2015
Listen / more information: on Inner Tongue Soundcloud page

What does a musician do when they’re forced to spend months in absolute, total silence? In the case of Inner Tongue, they simply continue on as before: writing lyrics, harmonies and melodies, working on perfect beats, all the time unsure how, when – or indeed whether – the individual components will ever be combined. Fortunately, on this occasion we can skip straight to a happy ending: in May 2015, Inner Tongue releases his debut EP, "Tz, Ka".

A project undertaken by one man in his mid twenties, Inner Tongue offers the sound of victory over an uncertain future: in 2013, its exponent was diagnosed with a vocal cord disorder so severe that only a handful of specialists throughout the entire world were capable of treating it at all. Still, given that the gift of a voice is sacred to a musician, he worked day and night to raise the funds necessary to pay for the required operation, and, after the procedure, embarked on a protracted period of silence. With this, inevitably, came the unbearable uncertainty of not knowing whether he’d ever be able to use his voice as he once had. 

“Until the first follow-up appointment,” Inner Tongue explains, “I hid myself in total silence in my apartment. I was totally depressed, and refused to write any music. But somehow I was drawn from my sofa to my piano, and tried to overcome my fear. So I decided to modify my musical focus temporarily by writing songs which could produce a melodic tension without vocals, but which featured the traits of forward-looking pop music. What emerged came from an entirely new perspective. It was as if someone had pressed a reset button on the musical identity I had of myself." 

Eight months after the operation, Inner Tongue was at last able to use his voice fully, and it turned out that not only is his unlikely history sensational, but also his talent. Working in his current home base of Vienna amid a thriving electronic scene – though he finds as much inspiration in the quiet serenity of the mountains as in the hustle and bustle of the city – the all-rounder wrote and produced his songs alone, before gathering musician friends around him to arrange them. (Even his videos, conceived with an ambitious sense of his overall artistic vision, are made with close allies on his own initiative.) Having recorded the tracks, he then travelled around the world in pursuit of vital finishing touches, calling upon Matt Boynton (MGMT, Kurt Vile etc.) in New York, and, especially, John Catlin (Foals, Warpaint, The Naked And Famous etc.) in London. 

The resulting work combines the lightness of touch that distinguishes Death Cab For Cutie, the heartfelt perfection found in SOHN’s sonic realms, and the intuition evident in Chet Faker. ‘Fallen Empire’ cleverly knits deft, nonchalant beats with elements that at times recall James Blake, while ‘Tz Ka’ boasts delicacy and astonishing depth. The EP’s standout track, however is undeniably ‘Somebody Knows It’: opening with a ballad-like piano, it’s soon reinforced by subdued drums and floating synths, and by the time his gentle, vulnerable voice appears, it’s clear that something extraordinary is happening. Remarkably, furthermore, ‘Somebody Knows It’ worked on the very first take. “That was a really emotional moment for me,” Inner Tongue recalls with pleasure. “Until then I honestly wasn’t sure I would ever sing my own songs again."

Bright and dreamy, though often undercut by the presence of a dark, almost physical bass, the soundscape of Inner Tongue’s songs is always harmonious, but nonetheless flirts constantly with discord. His lyrics, too, offer a tremendously reflective intensity, that fragile voice delivering them through a meditative pulse of restrained, intelligent beats. Classifying such hypnotic, understated pop isn’t easy, but the result is a small miracle, and the lust for life unleashed by the successful realisation of Inner Tongue’s creativity penetrates his restraint with a tranquil but substantial force. As the video for ‘Fallen Empire’ illustrates so beautifully, he’s not afraid to make his own rules. Whether the joy is in the game or the victory, however, is anybody’s guess.

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Andrea Balency releases 2nd EP, 'Volcano'

Volcano

EP release: 'Volcano' by Andrea Balency (features new single, 'Waterfalls')
Release date: 16 March
Label: Bataille Music
Listen / more artist information: Andrea Balency

Franco-Mexican artist, singer, instrumentalist and producer Andrea Balency follows her breakthrough 2014 with a brand new EP entitled Volcano, demonstrating a growth in style, experience and quality beyond that which she has already earned. Having moved from Paris where she originally settled to write her debut EP Walls (released summer 2014 via Bataille); she now resides in London for an expanded approach to her classically trained electronic compositions.

Balency treats her new forays into sound and melody as research - that is, she experiments and builds a mesh of unfound soundscapes from scratch to achieve a rare sui generis. Each track on this new EP expresses a high resolution of sounds entwining as if it were easy, even on the at times seemingly sparse arrangements. With such a detailed level of consideration, in an avant-garde genre no less, her inherent talent is undeniable, and puts her in the same musical league as Cocteau Twins, Bjork and Jessy Lanza.  

Take for example her unrecognizable cover of John Martyn’s already inimitable ‘Please Fall In Love With Me’. The extra sentiment Balency is able to pack into the classic is a true feat. Elsewhere, the progression from her debut EP is perhaps most obvious in her vocal work. Having stood out for, and built her persona in, the ‘cutely-breathy-females scene’ (The Guardian), Volcano demonstrates a much more rich, more mature, more strong, vocal ability. Her voice has always been a key strength in her arsenal, yet she has discovered a new way to utilise it, finding a beautiful relationship between voice and drums, as if the voice is the thumping heart of a big storm.

RBMA certified, Balency has been charming the music industry ever since her musical presence was spotted in the Mexican art-rock scene. She has since been singled out for tour support by James Blake, Au Revoir Simone, Inc. and Mount Kimbie to name a few, and was even hand-selected by The Cure for the closing gig of their worldwide tour at the Mexico DF stadium, for 50,000 people.

She’s seen many collaborations with a number of producers, of which particular highlights are vocal features on the FKA Twigs / We Are Shining track ‘Breaks’ and on Airhead’s lauded album “For Years”. In fact, the 1-800 Dinosaur co-founder (aka Rob McAndrews) frequently joins Balency on production duties, as he did for her successful debut recording ‘Walls’ (feat single ‘You’ve Never Been Alone’). Festival slots at Calvi On The Rocks, SXSW and Sonar; recent tours with Banks, Metronomy and London Grammar and continual approval from esteemed press are further testaments to Balency’s outstanding talent.

This new EP marks not only a continuation of her achievements so far, but a build towards even more refined material. You can expect another single collaboration with Airhead in the summer; her debut album very soon after, and a more abundant and emphatic live presence than ever.

Andrea Balency plays the following shows in March and April 2015:
March : w/ Sallie Ford, Findlay, C.A.R., etc. @ Festival Les Femmes S'en Mêlent

  • 06.03: La Luciole, Alençon @ Festival Les Femmes S'en Mêlent
  • 21.03: Chapelle Saint-Jacques, Vendôme
  • 22.03: Le Ciel, Grenoble
  • 29.03: Gare de Coustellet
  • 09.04.15: Co-headline show w/ Koudlam & Superpoze @ Festival des Artefacts, Strasbourg
  • 15.05.15: The Great Escape Festival, Brighton

Press for 2014 debut EP ‘Walls’

  • ‘Everything is immediately appealing, easy on the ear, but will satisfy fans of the avant-garde, reminding you that sometimes, flukes – out-there experiments such as O Superman – can suddenly find their way into millions of homes.’ - The Guardian
  • ‘A truly cosmopolitan mix.. with urban synth lines resembling ‘CMYK’-era Blake to a T. Her vocals place her firmly in a class of her own though.’ - NME
  • ‘A spectacular piece of work.’ - Stereogum 
  • ‘It’s easy to see why she’s in great demand: Cocteau Twins-meets-SBTRKT waves of avant-garde gorgeousness’’ - Q Magazine
  • ‘The sound of something beautifully fragile shattering into a pearlescent emulsion. Pulls you in at first listen but reveals murkier undertones as you jam the repeat button. We like it a lot.’ – Noisey
  • ‘Rather than adding to what has become the echo chamber of EDM, Balency’s ethereal voice and soft structures instead aim to mimic the movements of contemporary dance.’ – The New York Times
  • Radio support from Gilles Peterson, BBC 6Music

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