Introducing // Shaky Shack

Single, EP and Album Reviews, Uncategorized
Shaky Shack; Josh Byrne (copyright)

Shaky Shack (Alex Winter & Mateusz Kosnik) – Photo credit: Josh Byrne

You cannot beat the feeling of discovering new artists with incredible potential. The instant we discovered Dublin duo, Shaky Shack, we were mesmerised. Their home-recorded and produced debut single: “Selfish Fever” is a shimmery slice of electronica-jazz paired with harmonies that would melt butter, and lyrics of palatable sweetness.

The track is a perfect lead into their smooth and super-chilled genre-bending aesthetic. Having only emerged officially as a band a few months ago, everything is still very fresh.

We spoke to one half of the band, Alex Winter, who went onto explain: “We’ve been together the last year, but we wanted to get things right before we put ourselves out there. We met through friends involved in the Dublin music scene over a year ago and have been writing together ever since. We have a strangely unique creative chemistry that works so well and we both instantly felt that creative click. We definitely bring the best out of each other.”

They are currently rehearsing ahead of gigging across Ireland: “We are mainly focusing on the release of our upcoming single ‘Pavement’ from our upcoming E.P ‘Flaked’ that is set for release in the next 2 months.”

We could definitely see their acoustics thriving in a Sofar Sounds setting!

Their debut single: “Selfish Fever” is out now and available on all platforms.

Shaky Shack: Spotify // Twitter // Facebook // Instagram

Words: Rachael Crabtree (@eccentric_eejit)

Advertisements

Introducing // Flare Voyant

Uncategorized
Flare Voyant Press Photo

Psychedelic revivalists, Flare Voyant

There is something so completely timeless about the sound (and aesthetic) of the late 60s, early 70s, that it’s no wonder it’s been the inspiration for so many contemporary musicians. A new band that we discovered just before Christmas is the London-based four-piece, Flare Voyant, who rekindle vibes akin to both The Rolling Stones and The Doors. Their early demos caught the ear of legendary producer, Chris Kemsey (who is recognised for his work with the Stones) who recently went on to produce Flare Voyant’s debut EP (released November 2017).

They saw in the New Year by selling out Dalston’s Rocksteady (a gig we were sorry to miss out on) and are currently preparing videos for their EP tracks (due for release in the coming months). Here’s their most iconic single, Ephemeral Romance, lifted from their self titled EP:

Having realised their potential as a four-piece in early 2015, their effervescent blend of nationalities; Brazilian drummer Lucas Roxo, Greco-Italian-Brazilian guitarist Rod Bourganos, French singer Thomas Baignères and British bassist, George Hudson, have paved way for an iconic style, throwback yet distinctly their own. Their infectious EP effortlessly merges Psychedelia, Blues and Rock n’ Roll, with instrumental progressive jamming and the lead singer’s raspy bluesy overtones drawing them close in comparison at times, to not only The Doors, but to their contemporaries, White Denim – Flare Voyant have a strong alliance with 2018’s cosmos; we’re predicting big things from these!

Join us, by kicking back to their EP and by keeping your eyes peeled for 2018’s gig dates here!

Flare Voyant: Soundcloud // Instagram // Facebook

WORDS: RACHAEL CRABTREE (@ECCENTRIC_EEJIT)

 

FEHM Interview // Introducing

Interviews, Uncategorized

FEHM Press Shot

Leeds post-punk five-piece, FEHM have marked their return with an enthralling (very much echoing Joy Division and The Cure) double-sided A single: ‘Human Age / Last Breath’ this October, following last year’s debut EP, (via Art Is Hard Records), produced by Matt Peel at Nave Studios. The new material is a big step forward for the band, both in sound and arrangement; these are their first songs written as a five-piece. Ahead of their debut album (due 2018) we caught up with FEHM to gain an insight into their development as artists, the expansion of the band, their indirect politically themed songwriting and the real ‘community’ of their hometown’s music scene.


Last month’s new single: ‘Last Breath’ really heralded our attention, can you talk us through the inspiration behind the latest single? 

Darren: It was the first song we created as a 5 piece so as we essentially merged two bands, to get us started we had 2 half written songs from me and Paul. Musically, it’s got quite a driven pace so we made the changes fairly smooth without any sudden movements, giving the progression a ghostly yet warm and familiar sound to tie in with theme behind the lyrics. The guitar riffs really bring this home, adding a pleasant hook that’s got an air of melancholy.

Paul: The lyrics behind the song are based on an ongoing experience I have from working within a hospital, it’s about seeing patients unable to escape the torment they’re in. They’re looking for a release to end their suffering but once you let go, it’s the end, is it worth fighting to stay or is it worth letting go? 

You spoke of your last EP as a “reflection of the monotony of everyday life and peoples’ struggle to achieve what they really want.” How do you feel you might describe the themes in your upcoming debut album?

D: We’ve been concentrating on expanding our sound to write the album and developing ways of introducing new ideas and concepts. The chord progressions and melodies are designed to invoke certain feelings and different atmospheres. We’re not sure yet if the album will tell a story or have a running theme, but we definitely want it to be a well thought out journey brought together by atmospheric soundscapes, rather than just a collection of songs, one after another.

P: I tend to write the lyrics last, we concentrate on creating melodies and progressions first, we aim to finish the music before any words are written. We create the vocal melodies within the process but the lyrics come after so as opposed to the themes it could effectively be about anything. I write about what I’m feeling at the time generally.

So many musicians incorporate politics into their music and use their platform to bring these ideas into public discourse, is this something you feel passionate about?

D: I wouldn’t say it’s a major priority of ours, but you can’t really write music about the misery and hardships of life without incorporating politics at some point. I think there’s two approaches you can take on the subject, the direct approach and the indirect approach, and it’s about finding a balance that enables you to express yourself creatively and poetically, without the subject becoming overwhelming.

P: Human Age, the song that will be released next is political in a sense but indirectly I guess.

‘It’s the human age, we decline as we progress
It’s all too late, the unproductive success,
Will we break, before it all mends
Or will we take, until it all ends’

The whole song is how I feel at the moment with current affairs and what’s been happening around the world; Brexit, Donald Trump etc. To me, these are people in the masses taking not just steps back, but leaping backwards. I remember genuinely waking up after Brexit and feeling so upset, so dissapointed that the majority of our country would rather be segregated than joined together. Music is about building bridges not making borders.

How has the transition been for FEHM in going from a trio to a five-piece band?

D: It wasn’t without its ups and downs but, surprisingly smooth actually. The three original members had all been practicing together for years, so two extra people jumping in between felt a little clumsy at first. We all have common interests in the style of music we create and had spoken about collaborating in the past, so it’s wasn’t long before everyone was bouncing off each other and we all got settled in.

P: I’ll just say I’ve been asking Ben & Darren to join the band for years before it actually happened…….

What’s the current music scene like in your hometown, Leeds? 

D: There is a good sense of community in Leeds’ music scene. There’s lots of collectives, practice spaces and venues that encourage musicians to work together and it helps maintain a diverse society. It doesn’t matter if you’re in a hardcore band, psych, noise, synthwave or post punk, whatever. Everyone knows each other somehow and we all have the same primary goal of making music.

Have you ever felt any pressure to shoehorn into a particular scene and play a certain circuit of venues?

D: We pretty much just take it as it comes. We try not to be too picky, but at the same time, we’re not gonna play a show that isn’t right for us. I think we’ve found our footing and because we know what we want, it takes away the pressure of being pigeonholed.

So you’re currently writing and recording your debut album. How’s the project going and are you any closer to deciding on a release date?

D: We’re really enjoying writing and exploring new ideas at the moment. We’ve got our foundations and objectives outlined and it’s great watching our ideas get carried away.
The songs are beginning to stack up as we progress and we’re really excited to get it ready for the studio sessions at the nave next year.

P: To be honest, we’re not close to even considering a release date as we don’t even have the album fully written yet but the overall process is going good, we have a bunch of songs, some closer to completion, some in the early steps. We’re forever writing new music and ideas too. We’ll just see where we’re at in a few months. 

And finally, what is the greatest thing about being in FEHM, that makes you think to yourselves, ‘I really couldn’t do anything other than this’? 

D: This project has pushed our musical abilities to new levels and I couldn’t imagine making music with anyone else.

Upcoming live dates:

28 Oct – LEEDS – Wharfchambers (single launch show)

05 Nov – LEEDS – Brudenell Social Club (w/ Autobahn)

10 Nov – MANCHESTER – Off The Record

19 Nov – LEEDS – Brudenell Social Club (w/ Protomartyr)

22 Nov – GLASGOW – Broadcast (w/ Autobahn)

Listen to FEHM‘s next single ‘Human Age’ (released 28th October) a tale of confusion in the modern era:

FEHM: Twitter // Facebook // Soundcloud

WORDS: RACHAEL CRABTREE (@ECCENTRIC_EEJIT)

Nocturnes Interview // Introducing

Interviews, Uncategorized

Nocturnes Band Pic

We have been following this mystical, ambient Irish band, Nocturnes, since Dublin’s Hard Working Class Heroes Festival last year, only we discovered (sadly too late) that they were playing a different venue altogether! Considered “our favourite Irish record of the year” by RTÉ Culture, for us, their recent album has been on repeat since HWCH and the intrigue of their back catalogue of songs and the magic behind them, recently got the better of us, so we caught up for chat. Get to know the band ahead of their headlining slot at the Workman’s, Dublin (Nov 16th) where we discuss their coinage of a new musical genre: Electronic Chamber Music, the magic of songwriting and the ethereal, otherworldliness of Ireland.

The first thing that struck me was that were born in Sligo, Pearse, where we tend to connect the legend that is W.B Yeats to (even though he was born in Dublin) – how much would you say his legacy is firmly ingrained in the people and the place? 

Sligo has a pride about Yeats and his poetry. But I think that it’s a loose sort of a feeling. Maybe his poems come to mind for Sligonians when they’re in a particular place.

‘I went out to the hazel wood, Because a fire was in my head’. That kind of thing.

There’s the Yeats Building in the town, a statue, paintings and quotations and the annual festival. In that way Yeats is ingrained in present day Sligo.

At any points (if any) has Yeats ever had an influence upon your life and work? 

I read lots of Yeats at college. I like going out to Lisadell House and imagining a young Yeats swaning about. But in truth he hasn’t really inspired my writing. Maybe the idea of Yeats has; all that ghostliness and otherworldliness.

Maybe the idea of Yeats as this eloquent ethereal character has inspired me. Not the reality of Yeats. Which is quite a Yeatsian idea in itself. 

Ireland is connected to so many literary and musical ‘greats’ so much inspiration can be drawn from the historic, poetic and wildly romantic land alone. But I was reading that it was during your time spent in France and Montreal that you became ‘hooked on songwriting’ – what drew you towards this aspect of writing?

Essentially singing a melody is what got me ‘hooked on songwriting’. It’s quite simple really and not an intellectual thing at all. I love to sing. I love putting shape on thoughts and words. Too often in my life I say the wrong thing or say things in the wrong way. I think lots of us are like that. With a lyric you get a little while to frame things in the way you want. 

You can lean on melody and harmony, draw connections between things. It’s a lovely art form, songwriting. There’s a sort of magic in it.

Though my songs are generally inspired by a specific feeling or sometimes a specific event, that’s often only the catalyst. They end up somewhere else. I used to think that was vague or pointless. But a song’s not a thing you measure. It’s just a song. An insubstantial thing. But it can be very meaningful.

You spent a great deal of time away from home, living and working within various bands and as a solo artist in France, Canada, Norway and England – what is the project you are most proud of and why?

Maybe Idiot Songs, my collaboration with Justin Grounds. I think that was a great record; artful, rich, poetic, lots of compelling use of instrumentation, it had depth. It was contemporary and as good as anything released in 2013. But I am proud of all the records I’ve released. 

I’m really keen to know more about is this concept album – Idiot Songs – inspired by/based on the Russian novelist, Fyodor Dostoevsky’s: The Idiot – can you describe the process, it’s outcome and resulting new musical genre you coined: electronic chamber music?

Good question. Well, Justin and I had done some shows together and we always ended up talking about different novels or thinkers we both loved. He recommended reading ‘Idiot Songs’. So, I did and then I wrote the first song for it, ‘Nastasya’s Tears’. It’s such a good book. About an innocent and awkward character called Prince Myshkin. He’s the kind of character who points out the simple truths in society, the kind of person people fear in a strange way. Me and Justin loved this and just kept writing songs about different situations from ‘The Idiot’. The process was really cool. We were using Dropbox to exchange files. It’s an excellent way to collaborate. You get to hone in on your own little approach without being influenced by someone else in the room. We just passed files back and forth. We did some studio recording. Justin is a very fine violin player and is interested in chamber music and as we had some electronic beats in there we called it ‘electronic chamber songs’. 

How have you evolved into the band you are in today, Nocturnes, and how different is today’s live set-up?

Different from Idiot Songs? Hmm. Well Idiot Songs is a pretty visceral experience. But I hope Nocturnes is moving too. I really enjoy playing live. Music is transient. The song comes and then it disappears. It’s gone and the moment can never be recaptured. I love that. In Nocturnes I have some musicians I love playing with me who get what I want to create. Or maybe who want to create the same thing as me, would be a less egotistical way of saying that. I’m lucky to have lots of incredible collaborators: Justin, Billy Donohue, Christophe Capewell, Enda Roche, Sweeney Lee, Christian Volkmann. The live set up can vary but at its core its myself, Enda and Billy. 

You have talked about Nocturnes’ latest album drawing a lot upon childhood through to parenthood experiences – can you tell us more about this collection? 

I wrote a lot of it after the birth of my daughter. I guess that’s a wide open time, a time of growth. Many, many emotions. So, some of the tracks deal a little in that. Like ‘Whale Song’ is about parenting in some way but it’s also about wanting to be strong for someone else, to be noble. And it’s about this strange little life cycle we have. 

Your brother, Kevin McGloughlin who’s a Videographer/Filmmaker on the rise in Ireland has worked with you on several videos now – how was this process, perhaps you can talk about this latest release: ‘Humans’? 

Kevin is a wonderful filmmaker. The attention he pays to his work is so impressive. He is the real deal, as artists go. He’s true to his vision. Not too many people have that. So it’s cool when we work together. The process is interesting. I sometimes have a few ideas and Kevin warps them. Often too he’ll already have an idea he wants to work on regardless of the song. 

The latest release ‘Humans’ was quite straight forward. It was just a live take of a song we were rehearsing. Looks great and gives a little bit of the character of Nocturnes. Kevin and another of my brothers, Eoin shot it. 

How are your live shows going? You have a headline show at The Workmans next month which is pretty exciting! Would you say the live show is a really important factor in giving the band its identity? 

Ha! I think we are really good live. And I love playing live. It takes a good while to get the hang of a live show. It’s a funny thing. 

I would say that the live show helps to give us our identity, yeah. One of my friends says when you see us we look like we should be in a band together which I find quite funny. Hairy weirdos. 

And lastly, what Irish music are you enjoying at the moment – have you seen any good gigs recently, any artists that we ought to check out? 

I like lots of Irish acts. We did a show at Nighthawks recently with Little Green Cars and they were just phenomenal. Their third album is going to be great. I like the new Fionn Regan record. I actually think our opening acts in The Workman’s are going to do great stuff over the next few years. Arch Motors and Aural Air are quite new to the scene but both have something special. 

Nocturnes play The Workman’s Club, Dublin on November 16th with support from Aural Air and Arch Motors.

Nocturnes: Spotify // Website // Twitter // Facebook

WORDS: RACHAEL CRABTREE (@ECCENTRIC_EEJIT)

Introducing // Keep Dancing Inc

Uncategorized

Keep Dancing Inc (Press Photo)

Keep Dancing Inc, an iridescent Parisian trio, hotly tipped as France’s next big things channel an almost 80s ‘coming of age’ movie soundtrack vibe – laced with romance, infectious jangly guitars that marry punchy synth-beats, creating seductive indie pop.

Having met at Palma Violets gig, each bonded over their mutual love of The Smiths, Talking Heads, New Order, Blood Orange and The Drums. They realised early on the potential of bringing a myriad of cross-referencing styles to an outfit of their own and have since been dedicated to building up a cult following back home in Paris.

We recommend you check out their debut EP: Initial Public Offering’ released tomorrow (07/10/17) via Un Plan Simple.

Get to know these ahead of their upcoming UK Tour and keep tabs here for gig listings.

Keep Dancing Inc // Website // Twitter // Facebook

WORDS: RACHAEL CRABTREE (@ECCENTRIC_EEJIT)

Riley Pearce Interview // Introducing

Interviews, Uncategorized
Riley Pearce; Tashi Hall copyright

Hotly tipped talent, Riley Pearce

We caught up with a very special and unassuming alt-folk singer-songwriter, Riley Pearce, who’s on the rise, not least in his Australian homeland, but across the waters over here in Europe. It becomes evident that Pearce measures his true success through the people he is able to reach and their connection to his music as we discuss how significant busking is alongside maintaining a digital presence to both gain new followers of his music and push him on creatively.

Ahead of the release of his new EP, Pearce is touring his home country for the month of October before heading to the studio to finalise his record and launch into a full European and UK tour, Spring 2018.

So Riley, would you mind introducing us to your music – we read that you was once studying for a business degree, at what point did you feel the musical path was for you? 

Suppose that would be a good way to start things hey, my music is a bit of a collection of reflective alt-folk songs, or as my mum says “too many sad songs for my liking”. Yeah, that is true… I did a commerce degree out of school and just started getting more and more involved and interested in my music by the end of it all.

How is the music scene over in Perth, where you’re currently based? There’s a bit of an epidemic with so many small venues closing down over here in the UK. These venues are momentous to bands starting out. Would you say there’s a decent enough gig circuit in Perth? 

Perth is a great place besides the fact it’s so far away from everything. But even that has its positives sometimes. The scene here is like a massive family, everyone’s super supportive and the bands that break it are always so deserving because they’ve honed their craft here for so long. I know the East Coast has had a lot of that venue closing down nonsense. We’ve had a few but also a few new ones pop up. 

What outlet would you say gains you the biggest amount of interest when it comes to sharing your music/gaining a following – busking, gigs, social media, streaming services?

I always love busking… It’s such a terrific way to interact with people and try new things. I suppose it’s a combination of it all. I got lucky early on with some Spotify playlist love but I think nowadays its important to have somewhat of a presence everywhere…. As annoying as that is to maintain. 

So many bands start out busking and a few stay true to themselves, even when signed, keeping it real by continuing to perform in this way. How has this helped you and do you know of any local musicians that have gained success from putting their music out there in this way?

Yeh I started out busking at farmers markets on the weekend during high school, or the local fairs that came around each summer. I don’t do it as regularly as I’d like nowadays but still a couple of times a year. Melbourne’s busking scene is amazing, Perth has a bit of a stricter licensing system and there’s not as many places to play. Pierce Brothers and Tash Sultana are two of the big busking success stories out of there.

Tell us more about your latest single: ‘Misplaced’ – it certainly hooked us from first listen, hinting to bigger things, can we expect a debut album to soon follow?

Yeh, ‘Misplaced’ I wrote early on in a new relationship. I was unsure if anything was going to come from it because there we were such different people. I’m looking to have an EP out midway through next year.

What’s been the biggest inspiration to your musical style, I can definitely hear nuances of Bon Iver on ‘Misplaced’ and a little bit of Daughter on ‘Brave’… and Ben Howard definitely coming through your style of guitar playing.

I think there’s probably too many to list. I used to listen to The Fray on repeat when I was a kid because I loved his voice. The Jezabels are probably my favourite Australian band of all time and their influence probably comes through at times. Ben Howard and Bon Iver too (good pick) are also two of my faves. 

Where do you feel most inspired to write and record your music?

I don’t know if I have one particular place. I love a good balcony/porch songwriting session. At the moment it’s mostly in my garage or on my bed that I end up writing and recording. Being on the road and seeing new things always helps to get them ideas flowing.

What do you like to do outside of music?

I love my food…. My girlfriend runs a small little bagel stall at markets some weekends so you might find me chowing one down. Love a bit of basketball and footy too, so that often takes up a bit of my time. 

Have you travelled much both within and outside of Australia? If so, what places, situations, people, if any experiences, have fed into your writing? 

I was born in Melbourne, then lived in Holland for a few years when I was little. Moved to Perth when I was 8 and have lived there since. I did a semester studying in Montana and definitely caught the travel bug since. Being in new places and seeing the world with fresh eyes is hugely impactful on my writing. 

Have you been to/played/do you have any plans to tour Europe and the UK? 

I was lucky enough to head to London earlier this year and played two shows there. Things went really well so I’ll be back there in April next year for an extended period and will hopefully play some shows around Europe too. 

What are you currently working on?

I’m currently working on a new EP which I aim to put out next year, I’m also prepping my live set for tours around Australia in October.

And finally, do you have any new music recommendations from Australia that we ought to check out?

Was hoping you’d ask this…. Australia has so many great artists. 

  • Alexander Biggs
  • Neighbourhood Youth  
  • Gordi
  • Didirri

For you lucky Australian’s, be sure to catch Riley Pearce on tour next month, details/tickets here

Riley Pearce Oct Tour 17 Poster 123 Agency.jpg

For the rest of us, hold tight, kick back to Riley’s music and keep tabs on his European/UK Spring 2018 tour dates here!

Riley Pearce: Website // Twitter // Facebook

 

WORDS: RACHAEL CRABTREE (@ECCENTRIC_EEJIT)

Acid Baby Jesus Interview // Introducing

Interviews, Uncategorized
Acid Baby Jesus Profile Pic

Greek Garage-Psych-Rockers, Acid Baby Jesus

There’s an incredible feeling you get when you discover new music – one minute we complain about the amount of time wasted on social media but within the same instant a new band via Instagram, promoted by the venue you follow hits you and suddenly their post spirals into a subsequent listen to this promising band. It’s the very moment you tune in, and it’s instant love that the time spent on your phone can be forgiven; you’ve discovered an absolute gem and the world is suddenly so much better. Even better when said band are on a European/UK tour – performing today in Brighton (for you lucky few) Falmouth on Monday and Wednesday for us London folk! Let me introduce you to Acid Baby Jesus, one of the best new bands out there, alongside Ten Fé (naturally) – who we love over here at Spiral – line for line can now be recited of ‘Hit The Light’ and yet their album just keeps on giving!

Despite Acid Baby Jesus’s busy touring schedule, we very fortunately managed to catch up with their drummer, Marko, to gain a glimpse into their band ahead of their UK tour!

Can you introduce us to your music, we’re loving the psychedelic 60’s vibes coming through: Love has Left my House Today, feels almost throwback yet so completely fresh and different, how long have we been missing out on your music is really the question at stake here?

We’ve been a band since 2009, so we’ve been playing for 8 years. About our sound, we could say there’s a lot of referencing going on in modern music because it’s the first time a whole generation grows up with all the history of recorded music at our disposal. Also rock ‘n’ roll as an art form has strong roots in certain traditions and sounds. We try to continue on that path while bringing our own sensibilities in it.

So you’re from Athens, Greece, what is the music scene like back home?

It’s very active with a lot of bands and musicians from inside and outside the country moving there and doing their thing. Lately many bands have started touring more, which works wonders to get local music heard outside the country.

Very fortunately we stumbled across your music midst your European/UK Tour, and can’t wait to catch your London gig in a few days time! There’s so many small venues over here in the UK closing down rapidly, those that are left, are on the brink of survival. These venues are momentous to bands starting out, this is where they cut their teeth. Would you say there’s a decent gig circuit in Athens?

Not really. But it’s getting more alive. There used to be lots of small independent venues, but most got shut down in recent years. Now it’s picking up and things are looking better, with more things happening all around.

Really looking forward to your upcoming ‘Lilac Days’ LP can you give us a quick low down on your inspiration, any strong literary influences in the mix, and your favourite track off the album, and why?

It’s a mix of our personalities and tastes that gives our music its sound. We all have lots of musical and artistic influences that we combine in one direction that pushes and shapes our songs. Personal favorite could maybe be Love Has Left My House Today, just because it worked when we didn’t expect it to.

Lilac Days is out 29th September on Fuzz Club Records, details here

We recommend that you get yourselves down to Sticky Mikes (Tickets here) tonight (10/09) or you’ll regret it, if you can’t make it come join us at The Victoria, London, Wednesday (13/09)…Tickets here!

Acid Baby JesusWebsite // Facebook

Words: RACHAEL CRABTREE (@ECCENTRIC_EEJIT)

Band of the Week // Introducing // Hanging Valleys

Uncategorized

hanging-valleys-artwork

Hanging Valleys, a recent project founded by English-Mexican Singer-Songwriter, Thom Byles, are immediately heart-warming. Previous solo artist, Byles, has distinct falsetto vocals that draw instant parallels with the hushed atmospheric quality of Bon Iver and James Vincent McMorrow.

Accompanied by Mike Philips on acoustic guitar and Alexis Meridol on percussion, the three-piece create low, lulling arrangements that give contour and light to darkness.

The peaceful cycle to their songs reciprocate natures rhythm and provide a fitting companion to the autumnal sweeping movement of present.

Tune in below for your perfect headphones companion this weekend:

 

By the time Monday arrives, you’ll be itching to join us at The Slaughtered Lamb, where Hanging Valleys will be supporting the dreamy Celtic harp, Dublin-based duo, Saint Sister: https://dice.fm/event/saint-sister-19th-sep-the-slaughtered-lamb-london-tickets

 

Hanging Valleys // Website // Twitter // Facebook // Instagram

 

The Great Escape Artist to Watch // Bishop Briggs

Live Reviews, Uncategorized

(Photographer: Elizabeth Andrade)

Excited by the prospect of hearing new music, I volunteered. Volunteering at the Great Escape Festival was an amazing opportunity to see so many up and coming bands, most of which I had never heard of and wouldn’t have otherwise seen.

One such artist was Bishop Briggs. I found myself in the Arch having been nearby for another gig, navigated by the Great Escape app, I was pleasantly surprised.

An artist of incredibly infectious eclectic electro-pop; I found myself unintentionally moving to the music. Everyone around me was similarly hypnotised. Each of the tracks flowed effortlessly, from ‘Wild Horses’ to ‘Hollow’ to ‘Dead Man’s Arm’s’ finishing with ‘River’. The style, eclectic, occasionally accompanied by electric guitar but always punctuated by electronic, synthy elements, and strong soulful vocals.

Originally known as Bishop, but due to a conflict with another band they had to change their name to Bishop Briggs. Having grown up in Japan, Hong Kong and now living in LA, must have shaped this unique sound.

With only three singles released to date, I cannot wait to buy the album, hopefully it’ll be with us soon…This autumn Briggs opens for Coldplay; it won’t be long until this artist is huge!

Writer: Elizabeth Andrade: @LizzyyEA

We captured a glimmer of the set for you…

 

LINKS

Soundcloud: https://soundcloud.com/thatgirlbishop
Facebook: https://www.facebook.com/thatgirlbishop
Twitter: https://twitter.com/thatgirlbishop

Daylight Music at Union Chapel // Glass, Mathew Bourne and Darren Morris

Uncategorized

Glass

(GLASS; previous; Alexander Selby, above: Flyte’s Club Night; Elizabeth Andrade)

Tomorrow, (18/06/16) GLASS headline Union Chapel’s Daylight Music event. The first time I saw this upcoming electronic-duo was at Flyte’s Chasing Heaven Club Night. To be quite honest, the ‘Gig Of The Week’ very quickly became: ‘Gig of the Month’, as nothing has since compared to that magical night. The effervescence of Frontwoman, Jessica Winter can only be paralleled to the legend that is Kate Bush, singing and synth playing with such dark theatricality alongside partner, Scott Remington, who in turn, mirrors Jessica’s melodramatic chemistry through guitar and synthesiser. An idiosyncratic sound they describe as “CRANCE; cry and dance” transcends from the record-to-live impeccably.

The chapel setting will inevitably pave way for an echoey, ethereal performance, only to be accentuated by the use of a church organ, I think you too can only imagine how enchanting tomorrow will be…I hope you can join us!

GLASS

 

The accompanying support artists; Mathew Bourne and Darren Morris are two artists that I anticipate will be provide a beguiling filmic soundscape, bare of vocals, eerie, bordering on the melodramatic, painting a dark atmosphere suitably matched to that of their headliner counterparts; Glass.

 

Mathew Bourne

Mathew Bourne’s multi-instrumental jazz compositions are created through analogue synthesisers, tape delays, piano and cello’s ranging from the unpredictable piano melodies to the delicate orchestral scores across to the electronic experimentalism.

 

Darren Morris

Darren Morris a composer and collaborator, currently playing keys for Steve Mason (Beta Band) ranges from the quiet sombreness of dreamy organ chords to the quasi-psychedelic electronic sonic wall.

 

LINKS

GLASS

Website: http://www.glassmusic.co.uk
Facebook: https://www.facebook.com/glassglassglassglass/
Twitter: https://twitter.com/glassmusic_
Mathew Bourne

Website: http://www.matthewbourne.com/about/
Facebook: https://www.facebook.com/mortbutane/
Twitter: https://twitter.com/matthewbourne_
Darren Morris

Website: http://www.darrenmorrismusic.co.uk
Facebook: https://www.facebook.com/DarrenMorrisMusic