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  • SACRED PAWS! ‘Run Around The Sun’ Album Out 31st May (Rock Action)

    RiSH Publicity | Recording Industry Servicing Hub

    Glasgow based indie-pop duo have released their vibrant new single ‘The Conversation’, taken from their forthcoming album Run Around The Sun. The follow-up to Strike A Match their SAY Award winning debut, Run Around The Sun is due for released May 31st via Rock Action.



    Watch The Conversation here



    ‘The Conversation’ is the explosive opening track from Run Around The Sun. Beginning with a scream of guitar ‘The Conversation’ includes all the hallmarks of a classic Sacred Paws song – where intricate guitar work and complex drumming collide with pop-smarts and dual vocals of both Rachel Aggs and Eilidh Rodgers. The track was written about a long-forgotten argument between friends, composed in the band’s traditional unplanned approach, each member’s thoughts and feelings slaloming through the other’s. “You’re all wrong, you’re walking away/Why would we even try to have this conversation?” the song asks before resolving to move on – “I’m running, I’m hiding out, resisting I’m keeping this to myself…”. The argument that inspired it is long forgotten but the feelings remain.



    Run Around The Sun includes the previously shared ‘Brush Your Hair’. An infectiously fun listen, ‘Brush Your Hair’ has quickly become a favourite on BBC Radio 6 Music.



    Elsewhere, the album brims with upbeat reflections on growing up and looking back. Shimmering guitar riffs dance between snappy beats and swooning melodies that will have crowds committing to far more than a simple head-bob. “I think we'd get bored if it was too slow,” Eilidh says. “We'd never want to play something live that people couldn't dance to. It would feel really strange to us. It's kind of the whole point.”



    The first iteration of Sacred Paws was a long distance affair – Eilidh in Glasgow and Rachel in South London. They’d meet up periodically to write songs and Strike A Match was “all the songs that we happened to have, put on an album,” says Rachel. She recently moved from London to Glasgow and though it made little difference to the scrapbook approach Sacred Paws have to creating music, Run Around The Sun fizzes with a renewed sense of urgency, with bigger hooks and choruses and an even more varied sonic palette.



    www.sacredpaws.co.uk 



    TRACKLIST:

    1. The Conversation

    2. Almost It

    3. Life’s Too Short

    4. Shame On Me

    5. What’s So Wrong

    6. How Far

    7. Is This Real?

    8. Write This Down

    9. Brush Your Hair

    10. Other Side



    All Media Enquiries & Interview Requests: 

    RiSH Publicity 

    E: info@rishpublicity.com

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  • was.jpg

    Album release: 'Are You OK?' by Wasuremono
    Release date: 14 June 2019
    More info: Band website

    Wasuremono have announced their new album 'Are You OK?' will be released on June 14th. Today, they have also shared the title track from the album after teasing the news with previous single 'Lonely Type'.

    Listen/watch new single 'Are You OK?' YouTube.

    Listen/watch previous single 'Lonely Type' via YouTube.

    Pre-order album 'Are You OK?' here.

    In 2018, Wasuremono made quite the impression; with the release of their self-titled debut album, Steve Lamacq’s invite to record a live session for BBC 6 Music at the legendary Maida Vale Studios, Lauren Laverne describing them as a “favourite”, supporting both the The Flaming Lips and Phosphorescent on tour, and playing at iconic venues such as Shepherd’s Bush Empire.

    New album, ‘Are You OK?’ was written and recorded by multi-instrumentalist William Southward in his shed. On the newly released title track, Southward has said that the song, "seemed to turn into a pep talk to myself, with themes and sounds of the seaside and clearing the mind asking yourself or someone else ‘Are you ok?’. It’s got a really 80’s vibe to this song with the help from the Linn Drum Computer pounding through the song backed up with synth sounds played on an old Yamaha Dx7."

    With the enlistment of friends Madelaine Ryan, Isaac Phillips, and Phoebe Phillips, Southward’s songs come to life. Wasuremono will be performing across the UK this summer in support of 'Are You OK?', with stops at festivals including Live at Leeds, The Great Escape, Bluedot, and Dot To Dot, as well as a headline show at the Sebright Arms in London on June 19th. Full details here.

    The Japanese word ‘wasuremono’ or, ‘忘れ物’ in kanji characters, roughly translates to “something forgotten or left behind.” Within the first few bars of Wasuremono’s new album ‘Are You OK?’, feelings of isolation, fear, defensiveness, and inherited reservations, are forgotten or left behind. It may sound like a tall task, but somehow, they nail it. “We will find you, we will, we will work it out!”, the climactic track ‘Self-Help’ reassures.

    2018 was quite a year for Wasuremono; with the release of their self-titled debut album, Steve Lamacq’s invite to record a live session for BBC 6 Music at the legendary Maida Vale Studios, Lauren Laverne describing them as a “favourite”, supporting both the The Flaming Lips and Phosphorescent on tour and playing at iconic venues such as Shepherd’s Bush Empire – no mean feat considering the debut album was conceived and recorded in a garden shed.

    ‘Are You OK?’ was also written and recorded by multi-instrumentalist William Southward in his shed. “It’s a tiny space at the bottom of the garden, crammed with old instruments I have been collecting over the years and the sounds of birds occasionally spilling into the recordings”, explains Southward. With the enlistment of friends Madelaine Ryan, Isaac Phillips, and Phoebe Phillips, Southward’s songs come to life. ‘Are You OK?’ is an immersive kaleidoscopic collection that plunges the listener deep into an invigorating world of sanguine synths, radiant harmonies and salient percussion that is repeatedly sublime. Although the atmosphere of the album is mostly one of hope and assurance, it stylistically travels through baggy electronica, mesmeric psychedelia, wonderfully futuristic (or is it wonderfully retro?) pop, to off-kilter almost surf-rock on tracks like ‘A Lesson To Learn’.

    The enveloping percussion on the release was central to its creation, explains Southward, “Most of this album was written around an old Linn Drum Computer that I managed to get my hands on last year. I had always really liked the distinct 80’s sound of the Linn Drum, made famous by the likes of Prince, Gary Numan, and Peter Gabriel, and it was a fun and unique process writing songs around the beats I programmed in.” Southward puts the fizz and pop of the record down to “all the songs on the album being the original demos; There always seems to be a magic in the original take of a song, that’s impossible to put your finger on and equally hard to replicate when you then try to re-record it.”

    Despite the palpable emotion and fragility in the vocals, the layered production and distinctive melodies work to shift the focus from the intensity of the lyrical content, something Southward has recognised, “Unconsciously a lot of the songs I have written over the last year seem to explore mental health at some level, so ‘Are You OK? seemed a fitting title. I liked the idea of sugar coating the ‘Are You OK?’ slogan, which is something we can all be guilty of doing when portraying our lives, whether that’s online or to each other in person. Underneath all this though, is the more serious question that I think we should be asking each other and ourselves; Are You OK? Let’s talk…”

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  • Drahla-CreditSamJoyce-990000079e04513c.jpg

    Album release: 'Useless Coordinates' by Drahla
    Release date: 3 May 2019
    Label: Captured Tracks
    More info: Band website

    Today, the Leeds-formed three-piece Drahla have announced their highly-anticipated debut album 'Useless Coordinates' will be released via Captured Tracks on May 3rd 2019.

    The band have premiered the arresting first single 'Stimulus for Living' as a taster of the album along with a video for it via The FADER where it was described as "tightly bound and inventive...a frantic and densely packed song full of ideas and angst."

    Drahla describe the video as: “a visual composition that reflects the lyric content of the track. Based upon abstracted ideas and thought, challenging standardised format and perception.”

    Listen/watch to 'Stimulus For Living' here.

    ‘Stimulus For Living’ is the second track taken from ‘Useless Coordinates’ following the release of ‘Twelves Divisions Of The Day’ last summer. The album was recorded in Yorkshire in the second half of 2018, and sees the band’s sound continue to evolve with the addition of saxophonist Chris Duffin across the record. Since finishing ‘Useless Coordinates’ the band have spent their time touring the US and Europe, including stops at Eurosonic and La Route Du Rock this winter.

    Blending wiry, dark post-punk with unpredictable art-rock, Drahla have established themselves as a formidable and distinctive band across their three sold out 7” singles and 2017's Third Article EP. Formed in late 2015, Drahla quickly found their identity in Yorkshire’s fertile music scene with their minimal yet robust bass-heavy sound. Their reputation as a fervent live act is ever-growing, with the band being asked to share stages with the likes of Parquet Courts, METZ, Ought, Buzzcocks, The Cribs and multiple festival appearances - including Meltdown at the request of The Cure’s Robert Smith.

    Drahla will accompany the release with a run of tour dates. Tickets can be found here.

    Pre-order 'Useless Coordinates' here.

    “Go inwards and be bold.” This was Harmony Korine’s advice to aspiring creatives, during a Q&A at the British Film Institute back in early 2016. For the recently-formed Drahla, his words served as something of a directive, encouraging the trio to trust their own instincts, however far removed they might be from those of their peers. Three years on, the Leeds-formed band have defined their own vital subset of art-rock with Useless Coordinates, a debut album that’s as fearless as it is enthralling.

    Speaking from her current base in south-east London with bassist Rob Riggs, singer/guitarist Luciel Brown recounts the record’s somewhat chaotic gestation. “Most of last year was spent touring, so we were squeezing writing and recording in from the beginning of 2018 until end of August.” In-between a headline tour, support slots with Ought and METZ, and multiple festival appearances - including at Meltdown at the request of The Cure’s Robert Smith - Brown, Riggs and Wakefield-based drummer Mike Ainsley managed 10 days in the studio in total.

    It was the unsettled nature of the period that part-inspired the album’s title. “[Useless Coordinates] summarised all of our situations,” Brown explains. “We had all these shows coming up and we knew we needed to leave our jobs and change our living situations to make all this stuff happen. So we had all these fixed points and timelines, but at the same time we felt quite lost within all of that.”

    Though they felt adrift in their personal lives, artistically Drahla thrived amongst confusion. Experimentation was integral to the creative process, with Brown and Riggs continuing to swap instruments as per their live shows, while collectively they were open to relinquishing traditional song structures in favour of adopting a more instinctive approach. Another integral development proved to be the involvement Chris Duffin of XAM Duo, who played saxophone on large swathes of the record and whose esoteric musical tastes were influential.

    Via Duffin, they discovered the work of Japanese synth pioneers Mariah and saxophonist Yasuaki Shimizu. These cult figures figure amongst an eclectic array of musical touch points, from Glenn Miller and Swell Maps, to L.A.-band Behavior. As per their earliest releases, No Wave and post-punk remain integral to Drahla’s musical universe, evident in Brown’s brilliantly deadpan drawl, in the Gang Of Four-esque guitars on Gilded Cloud, and in Duffin’s skronking saxophone on React/Revolt, which draws parallels with the work of James Chance and the Contortions.

    The set’s sharp angles, stark tones and claustrophobic textures are reflected in the album’s artwork. Designed by Brown and Riggs - as per all previous record sleeves and promotional videos - the minimalist, mixed media creation takes inspiration from Talking Heads and Gang Of Four album art, the work of American artist Cy Twombly, and the economical, regimented aesthetic of the Bauhaus movement. “Drahla came about off the back of needing an outlet for creative expression,” Brown explains. “So the whole aesthetic is hugely important. As important as the music.”

    Whatever the medium, Brown’s interests lie in looking beyond the immediate to the abstract and indefinable. Her lyrics are developed from observations, notes and poems, and the fragmented imagery is spliced together to disorientating effect. On Gilded Cloud elegant snapshots from the golden age of Hollywood are juxtaposed with abrasive guitar textures, Pyramid Estate draws parallels between Ancient Egypt and the present day, and Serenity evokes the violent energy of a Francis Bacon painting. Beneath the abstraction are a diverse array of themes, including gender fluidity (Invisible Sex), city living (Primitive Rhythm) and artistic expression (Unwound).

    The result is an uncompromising but deeply rewarding debut where the internal and external, cerebral and visceral coalesce to quite startling effect.

    "(Drahla) make the kind of literate punk to kickstart a revolution in your mind" - The FADER

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  • TheModernTimes-pressefoto-HQ1of4web-9900000000079e3c.jpg

    Single release: ‘Am I Losing Touch’ by The Modern Times
    Release date: Out now
    Label: Black Pop Records
    More info: Band Facebook

    Norwegian punks The Modern Times are today sharing their new single ‘Am I Losing Touch’. Coming on with the propulsive energy of Parquet Courts, the sharp-as-a-tack nous of Gang of Four, and the effervescent spirit of The Hives, ‘Am I Losing Touch’ is a hybrid of jangly and jagged post punk, snotty punk rock and garage-infused power pop.

    Listen to ‘Am I Losing Touch’ here.

    It's often said that there's a fine line between the stupid and the clever, and that line is definitely blurred in the case of The Modern Times. Their songs flirt with adolescent ignorance and poignant satire, held together by singer Magnus Vold Jensen’s unique and incisive delivery.

    For the band's forthcoming sophomore album, Algorhythmic Dance Music, The Modern Times have signed with Black Pop Records and upped their game to boot. Their busy touring schedule and notoriously rowdy live shows have built them a die-hard following in Norway, that they will shortly be bringing to the rest of the world.

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  • AsianWomenontheTelephone-9900000000079e3c.jpg

    Event announcement: EuroNoize
    Event date: 23 May 2019
    More info: Scala website

    EU funded "avant-garde Eurovision" event EuroNoize announced for May 2019. Featuring performances from artists such as Winnie Puhh, Asian Women on the Telephone, Mauraudeur, Felix Cubin, Sissy + more

    On May 23rd, an “avant-garde Eurovision” called EuroNoize will be taking place at London’s Scala. A celebration of the obscure, the niche and the uncategorizable, music that runs deeper than national borders, EuroNoize was born from Pil and Galia Kollectiv’s grotesque fascination with the Eurovision Song Contest to represent the secret international fellowship of “punx and weirdos” stretching everywhere from Russia to Ireland… The event will feature 11 bands from around the world, who will perform one new song in front of a live audience. The event will also be streamed live online so people can cast their vote from afar for their favourite performance of the evening.

    The event will bring an array of artists from across Europe such as Estonia’s cult internet sensation Winny Puhh, Russia’s Asian Women On The Telephone and Ireland’s hard-hitting feminists Sissy to represent their countries. Also, contentiously, despite being set in London and as a testament to the great talent pervading throughout the world and proudly representing a unity currently not felt throughout the country, the UK will not be represented at the event following Brexit. The event will also be hosted by Ruby Waters, drag alter-ego of Andrew Milk from the band Shopping and Kay Isgay of the band Homosexual Death Drive.

    The promoters, Galia and Pil Kollectiv, who have previously curated events for Thurston Moore, Simon Reynolds and more have now been settled in London for several years but are originally from Israel – co-incidentally also the host nation of this year’s Eurovision. Please see a full quote from the organisers below as well as full line-up details here.

    "The concept for EuroNoize was born of a grotesque fascination. Growing up in Israel, watching the Eurovision Song Contest was an exciting family event. Through a strange set of circumstances, Israel was included in Europe for one night, and a parade of bizarre performances in foreign languages invaded all living rooms around us. The music has always been mostly appalling, but occasionally, a subversive spectacle would penetrate the predictable blandness: a Finnish monster metal band, an Armenian serenading a giant apricot seed or a bunch of out of tune Israeli artists waving a Syrian flag. More than anything, these displays sat uncomfortably with the requirements on the one hand to represent an increasingly meaningless idea of national identity and on the other hand some kind of recognisably Anglo-American popular music. There was also something utterly fascinating about the spectacle of European bureaucracy that occupied almost half the night. Telephone lines, broadcasting authority committees and a complex system of awarded points demonstrated what the enlightened administration of international cooperation is all about. For us, amidst the sectarian violence and chaos of our home town of Jerusalem, it was as exotic as full orchestral arrangements and sequin dresses.

    It might have been this early interest in music as a visual spectacle that drove our interest in the idea of the art band. Coming from a background in music journalism, we have always worked with musicians and incorporated music in our artwork. But in 2010, these fields began to merge in our band WE. Initially a performance piece, this project involved four masked musicians intoning the lyrics to famous songs in the plural, retaining little from the originals but the lyrics. It was through curating a series of art and music events spinning off of the band that we began considering the possibility of pursuing our interest in Eurovision further. As fans of the obscure, we had a good collection of barely popular music in diverse languages. What sort of Eurovision could accommodate the type of our weird music we were listening to and making? What would it mean to ask of this kind of group to represent its country of origin? It was also somehow obvious to us, without any real proof, that a network of likeminded individuals existed across the world, that a small group of aficionados in places as far away as Russia, Iceland or Malta might also share our unconventional taste. We became interested in understanding how this global subculture revolving mostly around Anglo-American music intersected with local identities on the periphery of the culture industry.

    We set about planning an event where a selection of bands from the continent would be asked to perform one original song in front of a live and broadcasting audience who could vote for the winner. When the opportunity arose to apply for EU funding for the project, the Brexit referendum had yet to take place. However, by the time the project was confirmed, with a book, record, exhibition and conference to accompany a night of live performances, it had gained a new relevance. One decision that followed was to exclude Britain from the competition. It was also important, since we couldn’t afford to include every country in Europe, to try and represent its different regions. Working in partnership with The University of Reading, Kunsthall Oslo and ARE Prague, we set about selecting a line-up of exciting noise and outlandish presentations from a host of loud and unlikely nominees.

    Our line-up reflects an attempt to present a broad, although by no means comprehensive European spectrum representing the east, west, north and south of the continent. One of the first bands we approached was Estonian cult outfit Winny Puhh. In 2013 Winny Puhh became an internet sensation for their performance at the Estonian pre-Eurovision televised competition. They performed a weirdo-punk number wearing wrestling gear and Chewbacca masks, singing in a crockery breaking falsetto and playing an electric banjo. Oh, and they had two drummers suspended from the ceiling upside down. Because Winny Puhh never made it to the Eurovision final, we felt we needed to correct a historical mistake by including them in EuroNoize. Also playing are experimental Russian trio Asian Women on the Telephone, who cross dada cult costumes with philosophical musings laid over heavily distorted beat. Our final representatives from the eastern European block are E.P.P.! from Serbia whose songs form short advertising jingles for non-existing products.

    Although Germany’s Felix Kubin recorded his first master piece at the age of 12, he has continually challenged musical norms for nearly forty years with his high concept digital hardcore, retaining an uncompromising DiY aesthetic. By contrast, doom-noise metal outfit Golden Core from Norway was only formed in 2014, when its two members were 9 and 11. Representing France is Hassan K, who mixes Persian music and surf guitar. Italian garage-punk veteran Tab Ularasa is an illustrious shapeshifter who probably has more aliases and former bands than all the participants of EuroNoize put together. Hailing from the French side of Switzerland, Mauraudeur’s post-punk is the anti-thesis of the actual Eurovision sound, with its cool, detached vocals and spikey guitars. Ireland’s Sissy are possibly the most melodic entrants, but the hard-hitting feminist politics of songs like their pro-choice nod to Enya, “Sail and Rail”, belie tuneful appeal of their lo-fi power-pop. Finally, completing the line-up are Greek brothers Lakis & Aris Ionas who form the core of art-rockers and Lee Ranaldo collaborators The Callas.

    Britain, following Brexit, is not participating.

    EuroNoize will be hosted by Ruby Waters, drag alter-ego of Andrew Milk from the band Shopping and Kay Isgay of the band Homosexual Death Drive." - Pil and Galia Kollectiv

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  • L1030443-1-9900000000079e3c.jpeg

    Album release: Abdullah Ibrahim
    Release date: Summer 2019
    Label: Gearbox Records
    More info: Artist website

    Legendary South African pianist and composer Abdullah Ibrahim signs to Gearbox Records for first album in 4 years, due Summer 2019.

    Having released some of the most exciting jazz releases in recent years (Theon Cross, Binker and Moses, Thelonious Monk, Sarathy Korwar + more) Gearbox Records have now announced that they have signed a deal with legendary South African pianist and composer, Abdullah Ibrahhim.

    His first new album in 4 years, Ibrahim recently recorded some previously-unreleased music with his long-time band, Ekaya. The session took place over the course of a day in London at the great RAK Studios, last November. They recorded some full band arrangements and Ibrahim also recorded a couple of solo, improvised piano pieces. The instrumentation is broad, and includes harmonica, cello, and piccolo. In his own words, "With Ekaya, I am blessed in that I have all these textural opportunities."

    Speaking about the new album, the recording process and the recording process, Ibrahim says "We push ourselves out of our comfort zones. So that we can present to the listener our striving for excellence. So that we can engage with our listeners without any barriers of our ego. It’s not jazz. For us, it’s a process of transcending barriers. Technically it’s very, very skilled, but there’s simplicity in the complexity so that people can relate to it. It’s a natural rhythm of the universe. We’ve been looking at recording for some time. But we were looking for the correct vehicle. Someone who understands what we’re doing. "

    Speaking about the signing label founder Darrel Sheinman, said "I was obviously honoured. He was coming to headline the London Jazz Festival, it was an opportunity to record him, so we did RAK Studios. There was a mixture of some older pieces and some new pieces. The other beauty is that he's happy to be released as Abdullah Ibrahim aka Dollar Brand, which is quite interesting because he hasn't done that since the '60s. And I've always been a fan of him, in particular his contribution to the whole township jazz sound."

    The new album will be coming out through Gearbox Records in Summer 2019 - More details TBA

    About Gearbox Records

    Founded in 2009, Gearbox Records is a vinyl led label specialising in previously unreleased heritage jazz cuts, as well as contemporary artists from the jazz, folk and electronica genres. Their early archive jazz releases include artists such as Tubby Hayes, Yusef Lateef, and Thelonious Monk. Recent output includes award-winning London jazz duo Binker and Moses, inimitable tubist Theon Cross, Indian percussionist and tabla-player Sarathy Korwar, and American jazz and funk five-piece Butcher Brown.

    Recent praise for Gearbox Records releases

    "We’ve been looking at recording for some time. But we were looking for the correct vehicle. Someone who understands what we’re doing." - Theon Cross "Fyah" - Pitchfork (7.5)

    No. 1 Urban Album of the Year 2017 / No. 2 Jazz Album of the year 2018. Binker & Moses "Journey To The Mountain Of Forever" / "Alive In The East?" - MOJO

    "It’s a bold assertion that many of Monk’s disciples might disagree with. What’s undeniable is that with the release of Mønk, the star’s indomitable legacy has been reinforced . . . the record has been literally saved from the trash is a twist of fortune to be treasured forever." - Thelonious Monk "Mønk" - Bandcamp

    "Making you reconsider totemic moments in jazz, this feels like an important record, one that opens up a conversation that has largely been excluded from the mainstream for much too long." - Sarathy Korwar & Upaj Collective "My East Is Your West" - Clash

    Find more info on Gearbox Record's releases here.

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  • PressShot-9900000000079e3c.jpg

    Album release: 'Green and Gray' by Pile
    Release date: 3 May 2019
    Label: Exploding In Sound Records
    More info: Band website

    From their earliest days as the solo project of frontman Rick Maguire, Pile have followed an unusual path through a decade in which rock bands have generally receded from the cultural spotlight. Starting out in 2007, in the then thriving Boston DIY scene, the band rapidly became heroes and standard-bearers for their hometown’s music community, garnering a cultish-adoration that has only intensified as that cult has grown, expanding by word of mouth along the Eastern seaboard and across the country over 10 years that have seen 6 full length albums and 100s of shows in basements, bars, punk houses and clubs.

    With their last full length, 2017’s ‘A Hairshirt of Purpose’, Pile found their widest audience to date. Hailed as a release that communicated the inimitable quality of the live shows that have made the band near-legendary in certain circles, the album received praise from all quarters, earning them a critical-acclaim commensurate with the adoration, heaped on them by their contemporaries, that has long granted them “your favourite band’s favourite band” status.

    Today, Pile are announcing their 7th album, ‘Green and Gray’, which will be out on May 3rd via Exploding In Sound, and sharing the album's first single ‘Bruxist Grin’. Packed with the kind of hairpin dynamic shifts that have become Pile's hallmark, the track, with the aid of the album's engineer Kevin S. McMahon (Titus Andronicus, Frightened Rabbit, The Walkmen, Swans), opens up the space between the two poles of the Pile's sound. Showcasing Maguire's powerful voice, the track pulls from a seemingly bottomless bag of sonic tricks, shifting seamlessly from delicate acoustic guitar figures to pummeling full band rhythmic turns, relating the experience of Maguire's first panic attack with an almost psychedelic flair.

    "I wrote "Bruxist Grin" when I was getting ready to move," Maguire explains. "I'd been showing people my place to take my apartment, and getting my life together to go make this record to then move two days after the session. It was a super tight timeline and I went to bed and had a panic attack. I hadn’t had one before, and I thought it came on kind of like a psychedelic experience, like when the acid starts to kick in and it’s like 'oh, here we go.' My heart was pounding and I didn’t know what was happening but I knew that there was a lot about my current way of living that was about to change and I assume it was just my body reacting to all of it. It was pitch black, and I perceived looking at myself and my position to the rest of the world, physically, psychologically and spiritually, and feeling this overwhelming anxiety, and that’s what the song’s about."

    In support of the album the band will be heading out on an extensive North American tour. Full details can be found below.

    'Green and Gray' will be released via Exploding In Sound on 3rd May. It is available for pre-order here.

    Previous praise for Pile

    "In certain parts of Boston, Pile are beheld with the kind of reverence traditionally reserved for local sporting heroes and/or minor deities...their music crackles and explodes alongside frontman Rick Maguire's over-firing neurons." - Pitchfork

    "Pile is well-known as idols for their peers...The band balances the acrobatic and the annihilating as it shifts between gnarled melodies and heavy thrashing." - NPR

    "Messy, loud, and rhythmically intense…the tension between softer, sadder moments and the abrasive ones feels vital." - FADER

    "[Pile] have achieved the kind of mythical status typically ascribed to long-since-passed rock legends." - Stereogum

    "A guitar band that doesn’t sound like a guitar band; there’s something intense and brave about them, but it feels feminine, not macho, not over the top." - Consequence Of Sound

    "[Pile have] a nimble sense of timing more often associated with jazz or classical musicians, and a compositional ambition exceeding that of nearly all of their peers." - Spin

    "Vivid and refined…[Pile have a] delirious energy that's inspired a decade's worth of devoted followers." - MTV

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  • Pressshot2019TheGetUpKids-990000079e04513c.jpg

    Album release: ‘Problems’ by The Get Up Kids
    Release date: 10 May 2019
    Label: Big Scary Monsters
    More info: Band website

    The Get Up Kids today announced their first full-length album in eight years, ‘Problems’ - produced by Grammy Award-winner Peter Katis (Kurt Vile, The National) - will be released May 10th on Big Scary Monsters.

    The video for first single ‘Satellite’ is out today; watch it now here and stream the track at all DSPs here. ‘Problems’ is now available for pre-order here. The band today also announced two shows at this year’s SXSW:

    The Get Up Kids at SXSW:

    3/13 - Austin, TX - The Mohawk - Polyvinyl Record Co. / Double Double Whammy / Big Scary Monsters + Friends Showcase (11:45 PM). Event info here.

    3/14 - Austin, TX - Scoot Inn - Brooklyn Bowl Family Reunion (11:00 PM). Event info here.

    ‘Satellite’ opens on a stark arrangement of acoustic guitar and stripped-bare vocals, then bursts into brightly crashing rhythms and lyrics revealing the time-bending quality of The Get Up Kids’ songwriting. “I started writing ‘Satellite’ about my son who’s 14 and a total introvert - not antisocial, he just genuinely likes to keep to himself,” says guitarist/vocalist Matt Pryor. “But then somewhere down the line I started singing about myself - about how even when you’re playing a show to a room full of people, I can still feel anxious and isolated.” Director Kerstin Ebert explains, “The feeling of being isolated in a big city can be depressing. But instead of making this a sad story, I added a cardboard man named Hank to the storyline -- a guy who lives like a normal human being amongst 8 million other people in New York City. Even though Hank's adventurous ambitions as well as his facial expressions are very limited, he is the heart of the story and the biggest dreamer of all.”

    ‘Problems’ examines everything from life-changing loss to loneliness to the inevitable anxiety of existing in 2019. But by sustaining the essence of their sound - anthemic choruses with sing-along-ready melodies -The Get Up Kids highlight those troubles as a shared experience, giving way to an unbreakable solidarity. And at the heart of Problems is an invaluable element the band’s embodied since their 1997 debut Four Minute Mile: a penetrating lyricism that’s both acutely introspective and indelibly resonant.

    The follow-up to 2018’s acclaimed EP, Kicker, Problems came to life in Bridgeport, Connecticut, with the band - Matt Pryor, Jim Suptic (guitars/vocals), Rob Pope (bass), Ryan Pope (drums), and James Dewees (keys) - holing up together for a three-week span. Working with Katis, The Get Up Kids took a characteristically riff-driven yet decidedly pop-minded approach to song structure, while also allowing themselves a new sense of creative freedom.

    Through the years, The Get Up Kids have purposely pushed themselves toward previously unexplored songwriting material. “I’m 41 now, I could never write a song like when I was 19 - all those ‘I miss my girlfriend’ kind of songs” Suptic says. “It’s always important to us to write about wherever we are right now.” As shown on Problems, the resulting output both preserves the beloved spirit of The Get Up Kids and creates an entirely new context for their music. “A big part of the reason why we started writing new songs in the first place is that we have things we want to say about this moment in time,” says Pryor. “We’re still so connected to our past and where this all came from - it’s definitely a celebration of the fact that we still get to do this.”

    The Get Up Kids play Slam Dunk North on 25th May and Slam Dunk South on 26th May

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  • “Weight”, the new single from dream pop duo Spectator, sweeps a whirlwind of emotions through a vast, open heart holding on to something that is about to change. Layers of upbeat guitar symbolize the free, unbolted feeling of living in the moment as the moment itself begins to fade away. Bright, glossy melodies pulse, The rush of blood through a beating vessel in a single existence of pure euphoria. “Weight” savors the bliss of the moment before having to let go, and is off the upcoming album, Charlie, Baby (out April 12, 2019). The album will be released in Scandinavia, Europe, and the US on Nordic Records.

    “Weight” bursts with dream pop exuberance through the clenched fist of time. As the seasons begin to change, “Weight” lingers in the final, purest state of being right before the switch is flipped. Lyrically, the single establishes a juxtaposition between joy and longing. Each word acknowledges the inevitable effects of time fleeting, yet there is a strong craving to drink every last drop of its potent sweetness.

    Charlie, Baby is Spectator’s second full-length album and was recorded at Native Sound Recording in Saint Louis. The themes behind the songs that make up the album are pulled from both personal experiences, and experiences from society at large. Each song lyrically interprets various forms of loss including the loss of loved ones, freedom, and homes, as if examining them under a microscope. The album as a whole takes a step back, connecting the dots of each experience, clarifying how the symptoms of loss are not only found in individual cases but spread like an epidemic. Charlie, Baby reflects on the lonely nights, the empty hearts seeking fulfilment, and holding onto remembrances of something or someone disappearing from view.

     

    Charlie, Baby Track Listing

    1. Waste
    2. Weight
    3. The Only One
    4. Together
    5. Hold Me Close
    6. A Dream of You
    7. Your Things Are Still Here
    8. Baby
    9. Waves
    10. Save Me
    11. Farewell

     

    About Spectator

    Spectator consists of wife and husband duo, Megan Rooney and Jeffrey Albert, who first met in 2006 in Saint Louis, Missouri. After years of playing each other’s songs, they began to cultivate their individual ideas that naturally blended together to form Spectator. The duo draws comparisons to the dream-pop sensibilities of Mazzy Star and early Tennis. They’ve shared the stage with Cotton Jones, Tennis, Gardens and Villa, Louden Wainwright, and Kate Nash. They released their first EP, In the Brick, in 2012 and their next album, The Last Exchange, in 2015, both being recorded at Centro Cellar Studio in Columbia, Missouri. Produced by fellow Saint Louis musician, Kevin Bachmann (Summer Magic), who is also featured on bass, Charlie, Baby is being released April 2019 in Scandinavia, Europe, and the US on Nordic Records.

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  • LISA CARUSO! ‘A Holiday’ Single – At Radio Now!

    RiSH Publicity | Recording Industry Servicing Hub

    There’s an unlikeness to Sydney Artist Lisa Caruso that left a mark on avid listeners after the success of her first releases. With songs continuously being described as if taken from a David Lynch Soundtrack, this charming songstress is back releasing tracks that will be coming off her long awaited debut album.

    Teaming up with guitarist Benjamin Fletcher (Sarah Blasko, Marina and the Diamonds) on production in both the UK and in OZ has actualised Lisa’s desire to create music that is un-fearfully pronounced. With an utterly unique vocal, Lisa delivers songs with robust conviction, bleeding an honesty only she can tell. Impressing audiences with brooding track ‘Shake Baby Shake’ in November last year, Lisa gained National radio play once again, also landing a sync on a popular American NBN series.

    Now accelerating at full speed with single number two, Lisa reveals a batty demeanour in ‘A Holiday’. Keeping a 90s garage attitude with elements of surf and 60s flair, expect to hear fuzzed out guitars, an unrelenting boisterous drum part, and layered vocals that entertain very forthright lyrics. 2019 is going to be Lisa Caruso’s biggest year yet. Expect to be lured in, and spat out asking for more.

    ‘A HOLIDAY’ TOUR DATES
    Saturday 30th March – The Stag and Hunter, Newcastle NSW
    Thursday 4th April – Waywards (The Bank Hotel), Sydney NSW
    Sunday 7th April – White Eagle Polish Club, Canberra ACT 
    Thursday 11th April – Franks Wild Years, Wollongong NSW
    Sunday 14th April – Some Velvet Morning, Melbourne VIC

    Other show dates
    6th, 7th March – Golden Age Cinema, Surry Hills NSW (Supporting Stella Donnelly)
    Friday 8th March – Botany View Hotel, Newtown NSW (‘Women Who Rock’ podcast gig)

    LISA CARUSO ONLINE:
    Facebook | Instagram | YouTube | Soundcloud | Unearthed

    Media Enquiries & Interview Requests:
    RiSH Publicity 
    E: info@rishpublicity.com

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