deep tan, the london based art-rock 3 piece have shared a new video for “diamond horsetail”, the title track from their new EP of the same name, released last Friday. Vinyl editions of the album will be available on July 22nd. Pre-order here.
The sleek guitars that have become a staple of the bands sound for sweep this track along, with it’s fidgeting groove keeping you locked in. There’s twists, turns and mind boggling movements in this three minute anthem of queer retribution. It’s disco but dark.
Watch the new video below!
Speaking about the new track the band said:
“It’s three minutes of menace, five litres of revenge: the title track of our new EP diamond horsetail is one we’re particularly excited to start playing live. also, KLF stans: there’s something for you in the outro.”
Listen to the full EP below!
deep tan 2022 tour dates 6 May – Focus Wales, Wrexham 7 May – Are You Listening Festival?, Reading 20 May – Zerox, Newcastle 21 May – The Great Eastern Festival, Edinburgh 22 May – Record Junkee, Sheffield 24 May – Rough Trade, Nottingham 25 May – Clwb Ifor Bach, Cardiff 27 May – Headrow House, Leeds 28 May – YES (Basement) (Mood Swings) Manchester 29 May – Hare & Hounds, Birmingham 1 Jun – Venue MOT, London 11 Jun – Long Division Festival, Wakefield, UK 16 Jul – Valkhof Festival, Nijmegen, Netherlands 17 Jul – Welcome to the Village, Leewarden, Netherlands 22-24 Jul – Truck Festival, Oxford 13 Aug – Frigjort Festival, Copenhagen, Denmark
Sister Lucy aka Abi Sinclair has shared a new animated for “Best at Being Sad“, from her debut EP Big Girl Pants. The new video was an all women created project, being illustrated by Sona Koloyan and animated by Izzie Dabs and Amanda Tooke. The video game style video contains easter eggs both of the world of Sister Lucy and provocative feminist humour, how many can you spot?
heka has shared new track “no one” as a part of Fire Talk Records’ imprint label Open Tab new launch singles series which includes the likes of “I Am The Car” by Fake Fruit, “Winter is Over” by Goo, “Spiral in Houston” by Frances Chang, and “Now It’s Gone” by Maria BC.
heka evokes her signature style of melancholic breeziness and comforting beats to a T on “no one”. Her harmonic vocals and minimalist guitar create a soundscape that feels as though you’re floating through a daydream of sound. Never resting on a movement or melody, heka finds new ground at every turn of this track with the only repetition coming from the lyrics of “Nobody ever gets this close anymore”, making their prominence ever more significant.
Speaking about the track heka said:
“The pivoting lyric of this track,’ nobody ever gets this close anymore’, is something someone said to me once. It filled me with sadness even though I couldn’t fully understand the sentiment behind it at the time, and made its way to my brain, clinging to it,waiting to be experienced.Years later – when I’d finally understood what it meant to feel like that- this song was born”
London-based indie four-piece Buggs (formerly BUGS) have shared “Flaws”, their first single since debut single “Nick Gowland”.
The storytelling ability that Buggs display on the new track is the greatest asset. Detailing the paranoia and insecurity she felt about herself that became overwhelming during the lockdowns.“This liquid I’m swimming in is grease, I’m sweet, I’m feeling fine” she sings, contradicting the unsettling nature of swimming in grease with feeling fine; hiding away her true feelings of discomfort. A backing of psychedelic and swirling instrumentation helps build up the eeriness of the track, creating the perfect blend of anxiety and unease.
About the track lead singer Alice said:
“I wrote Flaws about spending too much time chipping away at yourself in the mirror – obsessing over all of your faults and insecurities, thinking back over and over over things you’ve done or said, and becoming paranoid that your friends and family think you’re a bad person. Flaws is about my favourite activity during lockdown – self loathing.”
“As much as I have no desire for anyone to experience any level of self loathing I also am aware that feelings of insecurity and paranoia are one of the things that unite us all as human beings, and I think to hear about someone else feeling what you’re feeling can be comforting.”
Mrley, the pseudonym of 23 year-old Marley Rutherford, today shares his debut single, “My Side Of London“. Growing up in South-East London, Rutherford’s debut single is a testament to his home ground.
The track is raw in both its aesthetics and vocals. Rutherford makes a declaration of passion for the streets he grew up on, “They wish they were from my side of London / That’s why the speak like my side of London” he proclaims as he addresses gentrification and prioritisation of street culture. Backed by a potent motion of grunge heavy guitars, Mrley fuses together elements of punk and rap to create a sound that bursts with untampered energy.
Speaking on the track and video Mrley said:
“The internet and social media means people are no longer glancing at life through the lens their environment provides. It’s now fashionable to be “struggling”, you have kids raised in Kensington running around pretending to be kids from Kennington.
It’s progress that people of all backgrounds are being brought together through the love of art but I think it’s important to let the people whose profits are thriving from street culture know that “I’m not your something, your something to play with”.”
Since the world shutdown I always wondered what my first concert would be once they were safe enough to return. Well it’s been 18 months since the pandemic started and even with the vaccines rolling in, life has not gone back to normal by any means. I didn’t even attempt to purchase tickets for this ambitious tour back in February due to the likelihood of every show being cancelled or pushed back to 2022.
Despite this, I had high hopes that this would be a night to remember. After stumbling from a friend’s house having just watched England beat Germany in the Euro Cup, I met my mate outside the venue. Aside from a few virtual concerts we also had not seen each other since the start of the pandemic, the oozing relief of familiarity felt alien to me at first but I quickly embraced it.
We took our allocated seats on the bottom floor. Without a support act to sit down and settle into the venue with, after a while I went out to the smoking area. Having not interacted with strangers in so long and with my compulsive tendencies to attempt to strike up conversation, I asked if anyone was part of the ‘Sunglasses posting group.’ (A BCNR shitposting/fanpage). They stared at me with complete bewilderment. It had been a while since I had humiliated myself in public, so naturally I stubbed my cigarette out and went back inside after this conversation went nowhere.
As the lights gradually faded, we sat in silence as drummer Charlie Wayne emerged, thanking us for coming along tonight as well as explaining that all the new material being performed tonight were still ‘works in progress’ of sorts, encouraging us not to film or post them online. The sentiment is understandable, however with the majority of the set consisting of new songs, the temptation not to post at least a few snippets for an instagram story is hard to resist. Each date on this tour has had a different track blasting over the PA before the group’s formal arrival, and tonight we are treated to Bonnie Tyler’s “Total Eclipse Of The Heart”. Opening with “Instrumental”, the quirky track set the scene nicely, with Wayne leading the rhythm with his frantic drum patterns and May Kershaw on keyboard, leading the audience into an almost hypnotic trance before the rest of the seven piece outfit joined the huge stage.
Despite its aesthetically pleasing architecture, at this point it feels like the stage is almost too big for Black Country, New Road to handle all at once. With technical issues cropping up at the start as frontman Issac Wood attempting to find a working microphone and a few of the newer songs whilst grand in scale lacked the polish of older material. Whilst they might consider these tracks to be works in progress, the new material was still absolutely worth hearing, especially as each component of the band makes it feel like not a single moment is being wasted on stage.
With cuts from For The First Time sprinkled in to bring us back to something more familiar, Issac feels far more enigmatic in his vocal performances live, enhancing the dramatic quips such as “The cursed vultures give me sour dough, my daily bread.” The lighting of the venue itself felt like it was almost melting into the background curtains, enhancing the chaotic nature of their music. Bassist Tyler Hide’s’ soothing vocals in the chorus of “Track X” and the sudden shifting to erratic, borderline discordant violin strokes from Georgia Ellery heighten the different ranges of emotion on display here, coupled by immaculate musicianship all round.
The set noticeably lacks “Sunglasses” or any ABBA covers played on previous dates of the tour, but mysterious new cuts like “Basketball Shoes” and “Snowglobes” give us a bright look into the band’s future. Whether Issac is almost slamming his guitar onto the stage floor or Georgia’s frantic headbanging in the more intense portions of new songs, you can’t deny how mesmerizing the whole show feels; unable to look away or think about the outside world for a glorious one hour and thirty minutes. There is no encore this evening but there doesn’t need to be. Black Country, New Road have gallantly hoisted their flag into the ground and it feels like nothing can stop them.
The Early Mornings have today shared “Days Spent” the second single from their upcoming debut Unnecessary Creation, set to be released on June 18th. This follows on from “Blank Sky” that was released last month.
Frantic riffs, a driving beat and subtly furious vocal deliveries sees the band showcase a more intense side to their sound. It’s janky, funky and melancholic all within it’s sharp three and a half minute run time, surprising you at every turn.
Speaking on the video for the new single the band said:
“Our previous videos were shot over several weeks in dozens of locations, so we wanted to keep this one simple. There’s no concept or elaboration – just us in a room playing. I like to see what a band looks like playing live when I first hear them – so here we are.”
Horsey have today shared new single “Seahorse” featuring Archie Marshall (King Krule) on vocals, as well as an accompanying visualiser created by Jack Marshall. The new track comes along with the announcement of their debut album Debonair set to be released in the summer via Untitled Records.
Made up of Jacob Read, Theo Mccabe, Jack Marshall and George Bass, Horsey have built a cult live following having toured with the likes of King Krule, Goat Girl and Hinds, as well as playing sold-out shows across their hometown venues with the likes of YOWL, Hotel Lux, Norman, Ugly, Lazarus Kane and more. The new single follows their hyperactive album opener “Sippy Cup”, which was released as a standalone single earlier this year.
This is the first new music King Krule has released/ featured on since his album Man Alive! was released last February.
Listen to the new single below!
1. Sippy Cup 2. Arms & Legs 3. Underground 4. Everyone’s Tongue 5. Wharf 6. Lagoon 7. Clown 8. 1070 9. Leaving Song 10. Seahorse (ft. King Krule)
White boy summer is certainly looking exciting this year. Another of the Windmill Brixton generation have brought about a whole albums offering of material, following the likes of Black Country, New Road’s For The First Time, Shame’s Drunk Tank Pink, Goat Girl’s On All Fours and Black Midi’s upcoming Cavalcade. This sense of intertwined musicianship not only follows the band outside of their own collective but throughout this album. With features coming from the likes of BCNR’s Lewis Evans on saxophone as well as having Speedy Wunderground’s own mastermind of sound Dan Carey on production duties. This album is in every aspect a working of five brilliant minds coming together to create expansive, ever twisting and shifting and at times outright cathartic works of art.
For a few years now it’s felt as though these so called ‘guitar bands’ have had much more creative freedom when it comes to finding a sound that is truly theres. Gone are the days where everyone had to sound like the eternally reachable yet ultimately bland Franz Ferdinand or Arctic Monkeys to even consider breaking into the charts, let alone top them. But now the time of self-sound is here. And Squid are very much making the music they want to. Although “Boy Racer” may have all the quirky licks and upbeat drive of a mid-2000’s era Foals track to begin with, it soon descends into a synth-wave, ambient, noise rock outro that washes over like a lucid fever dream.
The band have said before that their approach to this album came by sending different aspects of songs back and forth to each other online, eventually to all be layered and structured together. And this sewing together of movements and sounds is what makes this album so enticing. On “G.S.K” the band piles together sleek bass lines, funky beats and sly saxophone hooks to create a piece that is ever twisting and turning; becoming more infatuating with each and every change. All tied together with drummer and lead vocalist Ollie Judge’s unhinged vocal cries. At first the vocal styles that Judge chooses can often seem too over the top or even obnoxious. But you soon begin to realise as this album progresses that Judge is displaying and incredible amount of control and natural charm in an almost brutalist fashion. This isn’t the most heavy sounding music to sing along to but Judge brings an assured helping of anxiety that just pumps raw nervous energy into every sound. I don’t think you’ll find a more distraught reading of the weather than on “Documentary Filmmaker”.
One of the greatest showcases of the band’s succinctness comes in the form of lead single “Narrator”. Over its 8 and a half minute course the band manages to capture a sound that can only be described as a tumultuous breakdown. Over sparkly guitar lines and tapered beats Judge sings of being in control of his life “Losing my flow and my memories are so unnatural, I am my own narrator” he declares with an unhinged discourse. Moving into slasher flick punctuated guitar strikes the band slowly builds up this sense of dread washing over the track, all whilst being perfectly smoothed over by Martha Sky Murphy’s spoken passages that are delivered as if these are your last rites. Eventually devolving into an all out nightmare. With Judge’s repeated delivery of “I play my!” you can’t help feel like you’re on the edge of sanity, eventually falling in as Murphy’s horrifying screams soundtrack your descent.
Lyrically the band like to leave a shroud of mystery over what stories are really being told, not ones to pull back the veil. The title itself comes from the ever looming gentrification and industrialisation of otherwise natural parts of the country. But it’s not only the ravaging of natural beauty that the band touch on, they also question the growing feeling of numbness to global events. “What’s your favourite war on TV? Just before you go to sleep, And then your favourite sitcom, Watch the tears roll down your cheek” asks Judge on “Global Groove”. And on closer “Pamphlets” the anxiety of social acceptance overwhelms Judge as he sings “I’ve got a brand new car right out my drive, But there’s pale bricks and white smiles, It’s why I don’t go outside”. You can’t compare so there’s no point trying to appease.
This album has everything you could want from a debut and more. It perfectly showcases every minute of detail the band meticulously places into their music, whilst leaving room for overly catchy and intoxicating choruses. They take influence from every genre under the sun and weld them all together into an automobile of sound that is ever chugging forward. They have made the perfect springboard for wherever and whatever they want to go and do next. It seems there’s no limits to what Squid can be and we hope there never will be.
London based indie-pop duo nudista have today shared tender and sweet new single “Confess” released via Sad Club Records. Made up of Robbie Carman on guitar and Pilar Matji Cabello on vocals, “confess” sees the duo paint a blissful soundscape that sails along dreamy guitar lines and comforting drum beats.
Written as the pandemic began last year, Pilar reflects on the single:
I was coming to terms with life in all its mundanity: working, paying rent, surviving the city, etc and the slow acknowledgement that predictions for life in mid-20s were inaccurate. ‘confess’ is about coming to terms with that process and, eventually, being okay with it – sitting in that feeling, it’s sad but it’s all good.”
Pilar and Robbie’s musical odyssey started when they met at university in London, since both had musical backgrounds, a fruitful creative partnership developed smoothly. Pilar’s musical ABC’s were learned singing in choirs as a child and were further developed when she picked up a guitar in her teens and taught herself how to play. Before the formation of nudista, Robbie had been in and out of various bands from his teens, all the way through university, which has undoubtedly contributed to the band’s eclectic range of styles. They bonded over a mutual love of Yo La Tengo, Phoebe Bridgers and Neil Young and out of this connection, nudista was formed. Pilar grew up in Spain, but was drawn to London by the gig circuit and burgeoning DIY scene. “I have always loved English bands and folk music. I particularly felt that making music was, for me, something very private and couldn’t be shared, I especially didn’t have any women making music around me who I could relate to and share the experience with.”