This June we're in for a stunning treat with some sensational new synth pop from Bamboo. 'Daughters Of The Sky' will be released on June 14th through Upset The Rhythm on 180g gold vinyl, CD and digital. It's a vast, hauntological tapestry of pristine production, featuring Nick Carlisle's colourful synth riffs, over which Rachel intones her sometimes mournful, often uplifting vocal.
The 405 just premiered the group's first single from the album, check out 'Weeping Idols' here! Now is the time for hope and rebirth! 'Weeping Idols' is released now as a digital single, 'Daughters Of the Sky' is available to pre-order in our webshop now too.
HYGIENE RETURN THIS MAY!
10 April 2019
Hygiene are back this May with their new album 'Private Sector'! This album finds them confronting the grim realities of the present, railing against the neoliberal madness of utility cartels, tax havens and privatised railways, seizing the moment as the current period of interregnum sees the old ideological certainties come into question. Proving nostalgia to be an inescapable trap, the band continue to hearken back to the kind of post-punk that existed before anybody knew to affix the 'post' prefix. The Quietus have just helped us announce the album with the first track 'Replacement Bus', all aboard!
UTR XV radio special!
26 March 2019
With our imminent 15th anniversary label tour on the horizon we thought we'd leg it down memory lane before hitching a ride 6 months into the future for this UTR XV radio special. 120 minutes of all things Upset The Rhythm. Think classic back catalogue, the glowing edge of now and lots of upcoming tracks that lead us into the summer from Trash Kit, Normil Hawaiians, Bamboo, Hygiene, Nots , Lunch Lady, Robert Sotelo, Hash Redactor and Red Channel.
UTR XV LABEL TOUR
21 March 2018
Next week Upset The Rhythm will be marking its 15th anniversary with a label showcase tour around Britain. Representing a lot of our current UK roster, the tour will see the likes of DIY punk progressives Sauna Youth, Trash Kit, Vital Idles, Robert Sotelo and Dog Chocolate perform alongside hypnotic drum and voice duo Rattle and Guttersnipe, a group who shredded their tonal territory into euphoria this year with their debut album. Come see us hit the road!
We had a great time yesterday on Resonance FM's Hello Goodbye show! Upset The Rhythm radio special! Lots of quality chat with the esteemed deXter Bentley, exclusive new tracks from Trash Kit, Normil Hawaiians, Bamboo, Vital Idles and Red Channel aired, plus some solid live sets in the studio from Robert Sotelo and Hygiene!
RED CHANNEL DEBUT 7"
18 March 2019
We're releasing the debut 7" record by Red Channel this April 19th! Red Channel are five like-minds from Los Angeles who decided to start writing snappy, impactful songs together in early 2017. United through a shared post-punk sensibility they began experimenting with some angular drum and guitar give-and-take, layered with duelling synth refrains. Over this Melody and Casey worked-up their vocal harmonies through impulse. The pairs vocals drift through each track, punctuating the profound and guiding us through each song's uncanny terrain.
Check out new single 'Crazy Diamonds', Tiny Mix Tapes have just premiered the track, calling it "a lead track that ends up sounding smooth yet sharp, feeling wistful yet defiant. An ideal statement to introduce yourself with". 'Crazy Diamonds' 7" EP is available to pre-order now!
VITAL IDLES' EXTENDED PLAY
8 March 2019
Today we release Vital Idles' pristine new EP on shiny black 7" vinyl and digital bit-rates. It's the perfectly pensive follow-up to last year's immensely gratifying 'Left Hand' album. To celebrate, we've unveiled a 'flashy' new video for 'Careful Extracts' from the record for your enjoyment. It features a dark room, some "proximal furl" and all of Jessica's lyrics too. Get ready to lose yourself in an eventful 1 minute and 59 second visionary swell of sound.
NOTS & ALBUM NUMBER 3!
7 March 2019
Another day, another fantastic team-up with Goner Records! We're very pleased to announce that May 10th will see Upset The Rhythm release NOTS' third album entitled, wait for it... '3'. The Memphis trio have unearthed every writhing guitar squall, every raucous barrage and every piercing vocal melody at hand.
Melting buzzing, swirling waves of sound menace and hypnotise throughout too, making for a darkly liberating, bold tour de force of a third record, infused with a rampant intensity and improvisational energy. '3' will be released on limited coloured vinyl, black vinyl and digipak CD, check out our pre-order page in our webshop now!
Triumphant news! We're teaming up with Goner to release Hash Redactor's debut album on April 26th, who they? Hash Redactor are fronted by guitarist Alec McIntyre of Ex-Cult, with NOTS rhythm warriors Meredith Lones on bass and Charlotte Watson on drums, plus George Williford on second guitar.
'Drecksound', is their debut LP, diving into territory that feels distinctly untethered from their era. It's a clattering, shambolic oasis in the sleek digital desert. A flailing, nihilistic quake of buckled, cathartic punk. Available to pre-order now, including a limited mint green vinyl version with bonus poster.
Listen to 'Good Sense' now, it just premiered on Clash!
BILL NACE is an artist and musician based in Western Massachusetts. He has collaborated with an extraordinary range of musicians, including Michael Morley, Mats Gustafsson, Joe McPhee, Chris Corsano, Jooklo Duo, Chris Cooper, Samara Lubelski, Thurston Moore, Jake Meginsky, Jessica Rylan, Paul Flaherty, Wally Shoup, and Kim Gordon, with whom he regularly plays as one half of the duo Body/Head. Their critically acclaimed LP 'The Switch' was released on Matador last year. He has been a featured musician in festivals such as ATP (curated by Jim Jarmusch and held in Monticello, NY), Colour Out of Space (Brighton, UK), Supersonic Festival (Birmingham, UK), International Festival Musique Actuelle (Victoriaville, QC), and Homegrown (Boston, MA). Nace's range of guitar playing has been described as "veering from sculptural, almost Remko-Scha-esque chime to Loren Connors-style elegance in only a few short moves." Recordings found on Ecstatic Peace (Northampton, MA), Ultra Eczema (Belgium), Holidays (Italy), 8mm (Italy), Throne Heap (VA), HP Cycle (Toronto, ON), as well as on Nace's own label Open Mouth.
JAMES TWIG HARPER really pulls out real time-and-space bending tracks. Harper, perhaps best known for his collaborations with Nate Young in Nautical Almanac and alongside Daniel Higgs for Thrill Jockey, holds some genuine weirdness within. He has a distinctly unique fidelity and gyroscopic dynamic that makes for a deliciously disorienting experience all of his own conception. There's an animalistic or perhaps even plant-like bio-logic to its devolved, dubbed-out arcana, a grunting, scraping, grubbing ecological complexity of sounds that grows, twists and bifurcates at seemingly haphazard junctions to catalyse chain reactions of constant change and multiple layers of surreality. Sometimes Harper's music can enters passages which sound almost like a primitive take on Florian Hecker's plonging, rubbery computer music or Rashad Becker's perplexing notional folk music. Check out his releases on Open Mouth, Planam, Thrill Jockey and Heresee for the full tangle.
GLANDS OF EXTERNAL SECRETION began when Seymour Glass, inspired by J.D. Salinger's short story 'A Perfect Day for Bananafish', starts publishing the legendary Bananafish Zine in 1987, which for eighteen issues and up until 2004, constitutes a huge and ambitious attempt of presenting underground culture in its every form. Completely unknown experimental branchings, with a preference for the lo-fi, collage aesthetics, Glass's paranoid and absurd manner of writing and the whole structuring of the noise scene, with San Francisco as a starting point and every "tweaked" corner of the globe as a destination, found their home in Bananafish and their main representative in Seymour Glass. Glands of External Secretion began as Glass wanted to testify further via weird monuments of experimental and far-out studio improv, using a surreal collage of songs, sounds, Barbara Manning's vocals, voice samples, loops, out-of-context rhythms, field recordings, electronics, cut-up manipulated noises and anything else which is not considered music. The result is a twisted riot of sound bordering on audacity which the term 'extremely psychedelic' fails to completely encapsulate.
ESCAPE-ISM is the nom de guerre of mythic rock 'n' roll provocateur / theorist / revolutionary Ian Svenonius (performer, author, filmmaker, etc). Svenonius is known for his work in the music groups The Make-Up, Chain & The Gang, XYZ, Weird War and author of underground bestsellers such as The Psychic Soviet, Supernatural Strategies for Making a Rock 'n' Roll Group, and Censorship Now! Recognised by Performer Magazine as the "greatest performer on the planet", Svenonius is profound, prophetic, perverse, and poetic. His debut solo album an 'Introduction to Escape-ism' was released through Merge last year and teamed up a drum machine, guitar, cassette player, and a single voice singing out... for a way out. Svenonius' songs cry out for love, justice, redemption and insurrection, they stomp on convention and clobber notions of what music can be. Live, Escape-ism a new paradigm of performance: raw, gestural, idiotic, sublime, revolutionary, poetic, faux naif, unknowing, a drainage pipe that leads to who knows where.
'The Lost Record' is Escape-ism's new album on Merge and is already a classic, destined to bewitch the minds, hearts, and dancing shoes of any rock 'n' roll fan who happens to discover it, for as long as such creatures exist. Without the high-octane hype machine of the mind-control minstrels who hypnotize the hapless through the mass media, 'The Lost Record' is bound for inevitable obscurity, but-with its timeless tunes, poignant message, and innovative sound-rediscovery and immortal status is equally assured! Music enthusiasts will be thrilled to be the ones clever and kind enough to have rescued this platter from oblivion. This show follows on from last year's appearance at MOTH Club, Ian enjoyed it so much he's coming back this May!
SOLUTION HOURS are a two-piece band from London, comprised of Charlotte (vocals, drums) and Andrew (guitar, ambience). With spoken word-inspired vocals, dynamic drumming and unique guitar tunings underscored by ambient soundscapes played from a tape machine, the band have devised a sound that defies the usual trappings that a two-piece face, drawing comparisons to Life Without Buildings and bands from the heyday of 90s emo and slowcore in turn. They self-released the double single 'Into the Sea / Pocket' in 2017 and the EP 'Try Again' in 2018.
THE CATENARY WIRES
Monday 6 May
The Rotunda, Wood Lane, White City Place, London, W12 7TP (3 mins walk from White City tube directly north up Wood Lane. Venue is behind the green gates) | Map
7.30pm | £10.00 | Buy tickets
CALVIN JOHNSON has been rockin' it hardcore throughout the NW corner of the United States of America since way back. Olympia, Washington is where he hangs his hat. Beats, rhymes and lots of dark chocolate are how he whiles the hours. Calvin's work in underground culture started as a teenage fan volunteering at the local community radio station, KAOS-FM. He moved on to writing for fanzines, organizing music and film events, playing music in various ill-fated bands. Calvin established K Records, a locally oriented media outlet, in 1982. In 1993 Calvin founded Dub Narcotic Studio in which he has documented the work of Mirah, the Blow, Versus, Built to Spill, Fitz of Depression, Make-Up and Little Wings. It has also been the incubator of many Calvin experiments in collaboration and self-expression, such as Beat Happening, Halo Benders and Dub Narcotic Sound System. The decade of the double zeroes saw him set out into the world, acoustic guitar in hand, as a solo artist of musical platitudes. This show sees Calvin as troubadour, baring his soul and playing tracks from his wide-ranging opus 'A Wonderful Beast', released last October on K Records. Dig.
THE CATENARY WIRES are Rob Pursey and Amelia Fletcher. They specialise in emotive indie duets, capturing the spirits of Nancy Sinatra and Lee Hazelwood, Serge Gainsbourg and Brigitte Bardot, and releasing them into modern Britain. In their previous lives, Amelia and Rob featured in indie bands Talulah Gosh, Heavenly and Tender Trap, and released several records on Calvin Johnson's K Records. A new Catenary Wires LP is due this Summer too, look out!
ROSE MERCIE is, above all, the coming-together of Charlene, Ines, Louann and Michele. The chemistry between these four musicians from Paris is incredible, and propels each song in a swarm of imagery. Melancholic and moving, percussive and vocal, shooting glances to an elsewhere which has never felt so close; a place where Electrelane are dancing to The Shangri-Las. Rose Mercie's debut album is out now on SDZ.
THE ESSEX GREEN are a neo-psychedelic pop outfit from Brooklyn, NY, via Burlington, VT. The band is primarily composed of songwriters Jeff Baron, Sasha Bell, and Chris Ziter and specialises in a classic sound inspired by 1960s-1970s pop and folk in the tradition of bands like The Left Banke and Fairport Convention. The group's new album 'Hardly Electronic' was released through Merge last summer and is stacked with harmonies, upbeat melodies telling melancholy tales, layers of keys, and sparkling Telecasters. Their time-honored custom of fusing obsession with spontaneity has been refined through experience and wisdom. 'Hardly Electronic' explores the evolution of old friendships, the sadness of losing touch, the inadequacies of technology, and finally, the desire for reconnection with songs like 'Bye Bye Crow' and 'Slanted by Six.' Themes of connectivity are on display in the war cry chorus of 'Don't Leave It in Our Hands,' while songs like 'Bristol Sky' and 'January Says' hint at how the same technology-connected culture can create division and distance, even in the most personal of relationships. On the flip side, the wonders of technology (and jumbo jets) made the recording possible. With Chris and Jeff in Vermont and Sasha living in Montana, finding ways to work together was challenging. The result is classic Essex Green sonic diversity.
TOM O.C WILSON is a London-based Anglo-American with an insatiable appetite for musical discovery. His music straddles the line between the classic English pop songwriting tradition (Ray Davies, Andy Partridge, Damon Albarn) and the sophistication of current US acts such as Dirty Projectors and Deerhoof. Yet his musical canvas also draws upon wider influences, be that the exuberance of contemporary jazz (Denys Baptiste, John Hollenbeck), the raw emotional impact of twentieth century classical composition (Olivier Messiaen, Gyorgy Ligeti), or the irresistible rhythmic pull of Sardinian guitarists such as Paolo Angeli and Marino De Rosas. Tom's debut album "Tell A Friend" was released in 2017 on Pickled Egg Records, and was previewed in a series of high-profile gigs, including a session for BBC Radio 3 Exposed and headline shows at Cafe Oto and Servants Jazz Quarters in London.
LOWELL THOMPSON writes songs that are pure pop, charging along with crashing choruses, guitar countermelody, and surprise changes. They zig-zag away from pigeonhole, the plaintive singer-songwriter tune becomes a caveman-rhythm dirge before taking a honky-tonk turn.
HEN OGLEDD is a project founded by Richard Dawson and harpist, Rhodri Davies, with the addition of Dawn Bothwell and Sally Pilkington. The name of the group is a reference from the Welsh for The Old North. Each hailing from historically different tribal regions of the Old North, the musicians in Hen Ogledd challenge the idea that the ancient world was rife with magic, while the new is infiltrated by cold logic. This has led to the band's new album for Weird World, 'Mogic', being created. This third record from the group is a phantasmal blend of images and ideas that draw upon the mystical and technological. 'Mogic' is a discombobulating pop prayer exploring artificial intelligence, witches, nanotechnology, pre-medieval history, robots, romance, computer games and waterfalls. This dynamic album of eddies and swirls, ravishing melodies, hallucinatory textures and rapid rhythms is pinned down by some deft performances: Pilkington's picture-perfect pop and earthy singing, Davies' blazing harp splutterations and guitar moans, Bothwell's twisted telephone techno and bamboozling lyric-bombs and Dawson's utter bass. No small mention must go to special guest Will Guthrie, one of the finest and classiest drummers there is, who's all over this record like long grass on dunes. 'Mogic' was released last November and supported by a short tour of the UK, this new date follows on from their sold out Courtyard Theatre extravangaza and Late Junction festival appearance.
RAP is a duo formed of Guy Gormley and Thomas Bush in London in 2009. Their music takes influence from both the rural and the industrial, and their ongoing involvement with clubs and DJing. Live they perform in a DJ / MC configuration. They recently released their third record, EXPORT via Jolly Discs.
PRIESTS are a group of rock iconoclasts from Washington, DC. Bred in punk, Priests play rock'n'roll that is as intellectually sharp as it is focused on pop's thrilling pleasure centres, that is topical without sloganeering. The high-wire physicality of their live shows and their commitment to cultural, political, and aesthetic critique have all made Priests truly subversive in a literal sense, doing things you would not expect. With fireworks of noise and arresting melodies both, Priests' 2017 debut album 'Nothing Feels Natural' feels urgently present for an album heralded as a modern punk classic. This April they return with their second album 'The Seduction of Kansas' out on their own imprint Sister Polygon Records. Entering their eighth year as a band, Priests drummer Daniele Daniele, vocalist Katie Alice Greer, and guitarist G.L. Jaguar remain an inspired anomaly in modern music. A band on its own label jolting the greater music world with early releases by Downtown Boys, Snail Mail and Sneaks, they are living proof that it is still possible to work on one's own terms, to collectively cultivate one's own world. New single, 'The Seduction of Kansas', is Priests' purest pop song to date. It is dark and glittering, though there is still something fantastically off about it, decadent and uneasy at once. Its title is a moving target, probing questions about the realities and mythologies of America in 2019 without giving in to easy answers.
APOSTILLE is a man who's torn through enough sound-systems to know the difference between gesture and meaning. Alongside running his own DIY record label, Glasgow native, Michael Kasparis has spent the last few years making forays into the realm of hardcore punk with his groups Anxiety and The Lowest Form. Throughout all this, his solo electronic venture, Apostille has continued to evolve with each twist and turn of the world. What started off as a quest to whip up a mood and force that into a song has steadily become more of a mission in communication. His audacious 2015 debut album 'Powerless' self-released through Night School set the template by hooking up his honest delivery to some manic expositions in electronic pop. At once minimal and courageous with intent to connect, Apostille songs race off with unchecked abandon, skittering drum machines, thick walls of sequenced synth and decidedly elastic basslines. 'Choose Life' (his most recent album on Upset The Rhythm) is both the album Apostille chose to make and had to make. He dialled down the clown, built up a new-found confidence in his voice and melody in general and began to feel more at home in the refuge of pop music (with a capital P). All the truest pop music speaks to us of escape and through this new album Apostille allows its transformative power to fully manifest. It's an album full of life and energy, and like his live show as disobedient as it is heroic in its pursuit of liberation.
HYGIENE released a slew of singles and an LP on various DIY labels in the US and the UK at the turn of the decade, now the London post-punk stalwarts return from hiatus with their sophomore effort, 'Private Sector'. Where their debut LP 'Public Sector' (2011, La Vida Es Un Mus) reflected a nostalgic longing for an unrealised socialist modernist utopia, 'Private Sector' finds them confronting the grim realities of the present. Hygiene rail against the neoliberal madness of utility cartels, tax havens and privatised railways, seizing the moment as the current period of interregnum sees the old ideological certainties come into question. Proving nostalgia to be an inescapable trap, the band continue to hearken back to the kind of post-punk that existed before anybody knew to affix the 'post' prefix. 'Private Sector' (out May 24th through Upset The Rhythm) has the signature Hygiene sound, mixing brooding melodies with a choppy, aggressive approach and a restricted pop sensibility. However, this ever-so-slightly-more mature record finds the band taking advantage of the musicianship of their friends, mixing in the odd viola, glockenspiel, piano and keyboard. Recommended for fans of Real Ale, British Rail Class 55 Deltics, Euston station and Jeremy Corbyn.
STATIC SHOCK DISCO
Friday 24 May
The Stag's Head
55 Orsman Rd, London, N1 5RA | Map
8pm | £5.00 on the door
HYGIENE released a slew of singles and an LP on various DIY labels in the US and the UK at the turn of the decade, now the London post-punk stalwarts return from hiatus with their sophomore effort, 'Private Sector'. Where their debut LP 'Public Sector' (2011, La Vida Es Un Mus) reflected a nostalgic longing for an unrealised socialist modernist utopia, 'Private Sector' finds them confronting the grim realities of the present. Hygiene rail against the neoliberal madness of utility cartels, tax havens and privatised railways, seizing the moment as the current period of interregnum sees the old ideological certainties come into question. Proving nostalgia to be an inescapable trap, the band continue to hearken back to the kind of post-punk that existed before anybody knew to affix the 'post' prefix. 'Private Sector' (out May 24th through Upset The Rhythm) has the signature Hygiene sound, mixing brooding melodies with a choppy, aggressive approach and a restricted pop sensibility. However, this ever-so-slightly-more mature record finds the band taking advantage of the musicianship of their friends, mixing in the odd viola, glockenspiel, piano and keyboard. Recommended for fans of Real Ale, British Rail Class 55 Deltics, Euston station and Jeremy Corbyn. This show celebrates the release of Hygiene's new album 'Private Sector', with support from DIY post-punkers Worms and Child's Pose. Bands done by 11pm, Static Shock disco until 1am. Special appearance by Oi! poet Chubby Charles. Real Ale and overland rail connections available
ANA DA SILVA & PHEW have a new collaborative album entitled Island, full of absorbing textures, tactile beats, and a masterfully dynamic compositional style. Each cavernous track feels like a conversation, and out of the ominous dark comes a generative hope. Ana and Phew contribute pointillist bits of spoken word in each other's native tongues of Portuguese and Japanese, reflecting on isolation, friendship, and nature. The quotidian is made profound. A gripping mood is set by the shared stoicism and subtle playfulness of these two cult punk icons. Island's logic is one of wise minimalism. There is a feeling of discovery that will be familiar to Raincoats fans, a sense of poetry and inquisitiveness, of intuition and invention, of new languages taking shape.
Ana da Silva is a founding member and songwriter of the pioneering post-punk band The Raincoats. Across four daring full-length records, The Raincoats helped shape the timeless notion that punk is what you make it - an act of raw expression, not any one sound. The Raincoats have offered creative and spiritual inspiration for several generations of artists. They set a crucial precedent for feminist work within a DIY punk context, marked all the while by Ana's poetic lyrical style and innovative noise guitar playing.
After The Raincoats' hiatus in 1984, Ana collaborated with The Go-Betweens, This Heat's Charles Hayward and choreographer/dancer Gaby Agis. Ana returned to song writing and performing with The Raincoats after Kurt Cobain invited them to tour with Nirvana shortly before his untimely death in 1994, and they released an album 'Looking in the Shadows' in 1995 on DGC and Rough Trade. In 2005, Ana released her solo debut, 'The Lighthouse' - a self-recorded collection of spare, elegant experiments in electronic indie-pop. Ana's recent appearances with The Raincoats include a 2016 collaboration with Angel Olsen for Rough Trade's 40th anniversary, as well as a 2017 presentation at The Kitchen, New York of The Raincoats and Friends, a celebration of Jenn Pelly's book The Raincoats.
Phew consolidated her binary interests as a vocal performer and analogue electronics improviser with the 2017 release of her album 'Voice Hardcore'. Indeed, since her 2013 conversion to analogue electronics Phew has continued evolving her live solo project around the world. In 2015 she released her first almost entirely solo-driven album, aptly titled 'A New World', on the Japanese label Felicity featuring nine songs backed by herself on electronics and drum machine, with contributions from Deerhoof guitarist John Dieterich, and synthesizer / electronics player Hiroyuki Nagashima.
In 1978 Phew started out as the singer in Aunt Sally, the Osaka punk group who released just one outstanding album on Vanity Records. A year later Phew released her debut solo single, produced by Ryuichi Sakamoto. In 1981 she made her debut solo album 'Phew' at legendary producer Conny Plank's studio near Cologne, accompanied by Plank, and Holger Czukay and Jaki Liebezeit. She returned to Conny's studio to make 'Our Likeness' (Mute, 1992) with Jaki Liebezeit, former DAF/Liaisons Dangereuses member Chrislo Haas and Einsturzende Neubauten's Alexander Hacke. And in 2011, she and Erika Kobayashi formed Project UNDARK to record the texts of 'Radium Girls' with music by the late Dieter Moebius, of Cluster. In Japan she has made a series of acclaimed records under her own name and with leading bands such as Novo Tono and her contemporary punk group Most too.
TARANTULA are a free-form punk racket formed on planet Glasgow 2017; a low brow jazz melting stair tumble, the sound of joy. All associates of the Glasgow DIY ganglands and normative rock bands, Tarantula - influenced only by shreds videos - take all shapes; every moment improvised and transient. Comparisons have been made with Y-pants, the magic band, the Arkestra and Hole.
LANKUM have an alchemical ability to combine traditional folk roots with contemporary undercurrents to forge music that is dark, mysterious and transcendental. Comprising brothers Ian Lynch (uillean pipes, tin whistle, vocals), Daragh Lynch (vocals, guitar) alongside Cormac Mac Diarmada (fiddle) and Radie Peat (harmonium, accordion, vocals), Lankum channel a diverse set of influences and histories to create a beautifully rare thing: a songbook from and for the people. Born of years criss-crossing Dublin's folk, squat and experimental scenes, their two albums 'Cold Old Fire' (2013, recorded under former name Lynched) and Rough Trade debut 'Between The Earth and Sky' (2017) breath new life into ancient/modern rituals with urban punk fervour, rural psycho-geography and, underpinning it all, the eternal drone of the uilleann pipes. This event with Cafe OTO presents an intimate two night residency for Lankum, debuting a new live show, alongside special guests.
BRIGHDE CHAIMBEUL was the winner of the 2016 BBC Radio 2 Young Folk Award, and 2017 Scots Trad Music Awards 'Up and Coming' nominee. The Skye musician and piper is one of Scotland's fastest rising stars. She has collaborated with many established artists, most recently including Ross Ainslie, Aidan O Rourke, Carlos Nunez and Martin Green. Growing up in a musical family in Sleat on the Isle of Skye, Brighde was no stranger to the sound of the pipes, and indeed the sound of music at home. Inspired by hearing the playing of Rona Lightfoot she began learning at the age of 7 with local tutor and award winning piper Niall Stewart.Brighde met pipe makers, players and revivalists Fin and Hamish Moore in 2014 where she was introduced to the smallpipes, and since has developed a unique style which has captured audiences across the globe. Mark Radcliffe of BBC Radio 2 described her playing as "mesmerising", and Tim Chipping of renowned music magazine, fRoots as "exceptional". She has recently released her debut album The Reeling, featuring Radie Peat, Rona Lightfoot and Aidan O' Rourke. It has been received with great critical acclaim including The Guardian's folk album of the month.
ANDY THE DOORBUM has been writing and recording his own music since he was 9 years old, first on boomboxes with his stuffed animal band, then on four-track cassette recorders, and eventually on digital consoles. He now operates out of a hand-built home studio in Inglewood. The "Andy the Doorbum" name arose when he started working the door at the punk rock dive bar The Milestone Club (est. 1969) in Charlotte, North Carolina when patrons gave him the nickname due to his unkempt appearance and 7 day-a-week work schedule at the legendary venue. When it came time for him to release the album he had been recording in the doorbooth (3' x 4') while taking admission and giving out wristbands, the name stuck. He spent his formative years coming into his own as an artist and musician in the Charlotte area underground. In a live setting Andy the Doorbum is known for blending his haunting music, accompanied by powerfully raw live vocals, with lights and costumes to create a live stage show experience that is a visual/theatrical performance that embodies an artistic vision both strange and surreal; somber and uplifting; a journey that takes the viewer through a string of emotions from "cathartic and inspiring" to "completely unsettling."
CHRIS COHEN's songs initially sound easy. They're each tiny jewels that unfurl at a leisurely pace, but dig a little deeper and you'll reach a melancholy core. His previous two albums, 2012's 'Overgrown Path', and 2016's 'As If Apart', were built from lush, blurry tracks that embedded themselves in your subconscious, like they'd always been there. 'Chris Cohen', his new solo album on Captured Tracks, was written and recorded in his Lincoln Heights studio and at Tropico Beauties in Glendale, California over the course of the last two years. Cohen would sing melodies into his phone, fleshing them out on piano, then constructing songs around the melodies, and later, adding lyrics and other instrumentation with the help of Katy Davidson (Dear Nora), Luke Csehak (Happy Jawbone Family Band), Zach Phillips, and saxophonist Kasey Knudsen, among others. It is his most straightforward album yet, but it is also the conclusion of an unofficial cycle that began with 'Overgrown Path'. 'Chris Cohen' is an album about pain and loss but it's also about accepting loss. Of the song 'Green Eyes,' Cohen says "[It's about] the men in my family and how they passed their worldview along to each other from great emotional distances. My father and grandfather were full of secrets and longing, which were communicated through everyday actions like driving a car or cooking a meal. We all wanted closeness, but never found it in each other." This is a statement about a specific song, but it is also a statement about the album as a whole: it's a beautiful sound, but it's also unflinching in its depiction of emotional turmoil.
THE JELAS are smart, complicated and intricate. They are angular and fidgety and their lyrics are poetic and funny and it all fits together perfectly but only just. Listening to their 'Beetroot Yourself' record makes you think about complexity in art. Furthermore the lyrics are totally and completely beautiful. They are poetic, filled with imagery and metaphor but Colin and Nat's delivery is so unaffected they never come across as pretentious, only truthful.
BILGE PUMP are long term linchpins of the Leeds DIY scene, they now follow their own paths; growing veg, running up hills, building musical paraphernalia. Every now and then the call goes out; the time comes to do another tour, put another record out. With new album 'We Love You' (their first in 10 years) out now via Gringo Records, Bilge Pump unveiled a new single, 'Wheel of Yew' - it's PiL bass lines, Spacemen 3 guitar and a blistering Butthole Surfers-esque solo are all held together with the tightest drumming this side of Bill Ward. They have spent a while getting this album right, writing songs that describe a world where the council lets it rot and the kids make trouble, or sometimes music. For Bilge Pump, who first formed in 1996, this isn't a career, it is more important than that, feeling the right moment, not forcing it. Drummer Neil Turpin says "A gig is good when the rhythm created and projected propels the crowds arms and legs, looping into a glorious reciprocal exchange of energy." Anyone who has ever seen them will tell you they are loud. But loud and clear, defined patterns, riffs smoulder into drones and then catch fire again lyric's trimmed of fat, precise and witty.
WITCHING WAVES formed in 2013 by Emma Wigham and Mark Jasper and released a tape EP on Suplex Records. They then released an album on Soft Power entitled Fear Of Falling Down in late 2014. This was followed up with their second LP Crystal Cafe in February of 2016, after which they toured the U.S. and Europe. In 2017 Estella Adeyeri of Big Joanie joined the group on bass, and the band continued a relentless schedule of touring and recording. Witching Waves are now set to release a new album on Specialist Subject called Persistence on April 6th.
SLAGHEAP play energetic post punk nonsense from their HQ of Bristol. Melodic, naive and raucous songs about our experience of the world.
SACRED PAWS are a fantastic, intuitive dream punk duo, comprising Eilidh Rodgers of Golden Grrls on drums, and Rachel Aggs from Trash Kit and Shopping on guitar. Raw Soweto high-life riffs and rolling Afrobeat grooves are filtered through post-punk sass and ramshackle K Records charm. It's an utterly joyous sound, the duo trading giddy melodies and righteous chants over febrile rhythms and chunky, infectious riffage. Rock Action released the band's debut album 'Strike A Match' in 2017 and it received a slew of incredible reviews from the likes of Q, DIY, Clash, Loud & Quiet, The Skinny and was voted Scottish Album of the Year too! Forthcoming album 'Run Around The Sun' (out May 31st on Merge / Rock Action) 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."
COMFORT are a Glasgow duo who bring a radical approach to musical representation, a drums and sampler attack that is vicious and transporting. Post-industrial blocks of sound are hammered into the ground by the drums while vocalist Natalie McGhee's rasp-throated incantations and vivisections of societal norms bring a powerful presence to Comfort's sharp-toothed, broken funk. Look out for debut album on Night School soon.
PATIENCE began as bedroom synth project for songwriter Roxanne Clifford after the break up of her acclaimed indie pop band Veronica Falls. Born out of a desire to experiment with a new sound and analogue synthesisers, the project has since grown to become an all-encompassing persona and serves as the main vehicle for the full emotional spectrum always latent in Clifford's songwriting. From her first long-sold-out 7" singles on Night School, her knack for melodic hooks and oblique emotional stances already contained a glistening sheen of promise. Debut album, Dizzy Spells, serves as an intimate portrait of Clifford's creative adventure, almost diaristic, conceived and recorded in her home studio, as well as with collaborators Todd Edwards (Daft Punk/Uk Garage fame), Lewis Cook (Free Love/Happy Meals) and engineer Misha Hering (Virginia Wing). Dizzy Spells delivers a debut album that twists Clifford's songwriting into new shapes and ecstasies. The album dances around melancholy, thrown to the floor like a bad dream to be circled, emerging bright-eyed into the early morning full of hope.
ELF POWER are among the few bands from the Elephant 6 Recording Company that continue to make music to this day, and their prolificacy has been an absolute treat to fans. Elf Power formed in 1994 and over the last 23 years have released thirteen albums, two eps, and a handful of singles, while touring North America, Europe, and Japan many times. Albums such as 1998's Dave Fridmann-produced "A Dream In Sound" and 2008's collaboration with the late Vic Chesnutt, "Dark Developments" have cemented the bands' reputation as the finest purveyors of modern melodic psychedelic folk rock around. Their tour in support of their last album , 2013's "Sunlight on the Moon", took them on an extensive tour in support of Neutral Milk Hotel's much acclaimed reunion tour, as well as dates with Broken Bells and headlining dates.
Their latest album "Twitching in Time" (Orange Twin, 2017) combines experimental arrangements and sublime songwriting with their powerful live bombast, into their strangest, most cohesive, and most exciting sounding album yet. Opening track "Halloween Out Walking" combines minimal and beautiful folk rock arrangements with otherworldy Moog synthesizer gurglings to awe-inspiring effect. Other highlights include "Watery Shreds", a piano ballad that transforms itself into an explosive an unexpected distorted guitar drone freakout, sounding like an unlikely marriage of avant-garde keyboardist Laurie Anderson and drone metallers Sunn 0)) . Songs like the title track and "Cycling Aimlessly" are classic fuzzed out melodic rock songs the likes of which the band has become known for , while songs like "Gorging on the Feast" explore a jazzy, melancholy terrain before descending into a shredding heavy rock assault. The constant shifting of sounds and styles makes for one of the band's most diverse and satisfying albums yet. On this album, singer/songwriter Andrew Rieger and longtime collaborator multi-instrumentalist Laura Carter are joined by Matthew Garrison on bass, Peter Alvanos on drums, and Davey Wrathgabar on guitar.
BAMBOO is the majestic pop project of Nick Carlisle and Rachel Horwood. Their music is vivid and deeply poignant, locking into a magnetic pull between Rachel's flawlessly resonant folk cadence and Nick's pristine synth pop production. Bamboo's second studio album, The Dragon Flies Away, was released last year on Upset The Rhythm. The Dragon Flies Away tells a story loosely associated with the Hannya demon mask of Noh theatre plays such as Dojoji, and reflects the range of emotion the Hannya mask is capable of displaying: obsession, jealousy, sorrow and rage. The album presents its story in two acts and is presented with a gatefold sleeve and lyric / artwork sheet. Horwood's evocative paintings are given centre stage with the packaging, allowing the album's story to grow beyond sound, making the journey all the more immersive. Bamboo are currently a live quartet and have just finished off their new record, 'Daughters of the Sky', look out June 14th!
CONSTANT MONGREL are a Melbourne post-punk band with releases on Silt Breeze, RIP Society and most recently La Vida Es Un Mus and Antifade records. Over their 10 year existence Constant Mongrel have added members while developing a unique sound and continually built momentum leading to their successful 'Living In Excellence' LP in 2018. The latest record has a sharper British Post Punk expression reminiscent of legendary acts such as Wire, The Fall, Flux of Pink Indians while maintaining their Australian edge and character that exist among their local brother/sister bands Total Control, UV Race, Ausmuteants, Lowlife and Terry. With striking riffs and catchy rolling bass over an often unhinged, vibrant rhythm section with fried saxophone and synths Constant Mongrel are a captivating live band. The bands lyrics and themes vary in subject matter from songs of certain romance, to the joy of a riot, atrocity of western religion, an abundance of a fresh modern fascism, white-middle-class-self-entitled guilt and the beauty in misinterpretation. But behind every idea the tongue remains continually in cheek as the band's humour seeps through and prevails in its sound.
NORMIL HAWAIIANS communal take on post punk sprouted leaves from its mouth in 1982, and began carving out a new furrow. Greater emphasis was awarded to improvisation within the group and as a result their songs embarked on longer, freer journeys towards the beaten bounds. They wanted these new songs to bear the weight of their new collective spirit so comfort zones had to be left behind. Tape loops, echo boxes, extended percussive sessions and duteous faith in the tones emanating from a particular old wah-wah pedal were all employed by Normil Hawaiians to stretch their sonic fabric into wild and redolent new dimensions. Within three years the band went on to record three astonishing records, their ambitious double-LP debut 'More Wealth Than Money', 'What's Going On?' with its radical collage of movements and 'Return Of The Ranters' which teamed up their free experiments in compelling arrhythmia with a more confrontational approach. Upset The Rhythm have released 'More Wealth' and 'Ranters' recently in remastered form, and this special live manifestation at Cafe OTO celebrates the reissue of 1984's 'What's Going On?' masterstroke (out June 28th). Lucid, candid, politically engaged, rarely metronomic but always humane, Normil Hawaiians conjure vast clouds of atmosphere. Their songs are bedecked with exalted synth trails, clustering guitar rapture, motorik beats, and spun-out raw polemics. Still light years ahead of us all!
RATTLE are a Nottingham based duo, Rattle focus almost exclusively on drums and more drums, beneath a delicate overlay of vocal harmonies and percussive effects. Formed by Katharine Eira Brown (also of Kogumaza) and Theresa Wrigley (also of Fists), Rattle began as an experiment in crafting rich songs and melody using drums and voice alone. Their music weaves and intertwines post-punk, minimalism and experimental rock, through off-kilter rhythms, patterns and counter melodies. Often starting by picking out the ghost notes from the drums to develop a melody, the song then reveals itself in rounds and harmonies with layer upon layer of rhythm and vocal, lending a choral feel to some of the tracks. Rattle effortlessly blend the avant-garde with irresistible melodies and hypnotic drum beats, using rhythm and harmony to create a refreshing sound that is utterly new - a pretty rare feat these days when we're saturated with so much music. Rattle's impressive 'Sequence' album came out last November through Upset The Rhythm.
ERASERS deliver up rhythmic and mood-driven music that sits between kosmische and post-punk. Forming as a home recording project in 2009 the Perth, West Australian based Erasers (Rebecca Orchard, Rupert Thomas) released a steady flow of cd-rs, tapes and a 7" before eventually releasing their debut full length 'Stem Together' in 2015. In 2017 the duo followed up with the tape release 'Fault Lines'. In the live sphere Erasers have shared the stage with the likes of Low, Grouper, Acid Mothers Temple, Prince Rama, High Wolf and The Soft Machine as well as multiple shows with long time musical heroes My Disco, Love Of Diagrams and Pikelet. After an extensive recording and mixing process, 2019 sees Erasers with two new releases to share; a 5 track tape titled 'Forecast' (through Solid Melts) and the duo's second full length 'Pulse Points' (through Fire Talk and Pouring Dream).
Wednesday 17 July
The Rotunda, Wood Lane, White City Place, London, W12 7TP (3 mins walk from White City tube directly north up Wood Lane. Venue is behind the green gates) | Map
7.30pm | £10.00 | Buy tickets
DANIEL HIGGS is a musician and artist from Baltimore, Maryland on whose behalf superlatives are destined to fail. It's not that his artistic output - spanning three decades, numerous albums, books of poetry and collections of drawings - simply eludes classification, it defies it. Often we hear that a true work of art is meant to speak for itself, and with the work of Daniel Higgs the maxim rings truer than ever. Higgs is known primarily for his work as the sole lyricist and frontman of the band Lungfish, a four-piece dedicated to charting, in this listener's estimation, nothing short of the evolution of all species, known and unknown. They are enshrined as one of America's last true folk bands, and Higgs anointed as a patron saint to artistic purity. In recent years, Higgs has released a number of solo outings that can only be described as the ultimate in isolation, worlds away from the hypnotic, communal rock of his band. Higgs weaves meditative, casually ruptured drones using acoustic and electric guitar, upright pianos, banjo and jew's harp, recorded entirely at home on cassette recorder. He pairs the music with a series of paintings that call to mind religious iconography passed through the disfiguring surrealism of Miro. His art is of the cosmos.
PRISON RELIGION are a hardcore noise project from Richmond, Virginia, comprised of Poozy and False Prpht. Though the two are solo artists in their own right, they collaborate regularly to make collages together that are indebted yet flippant to hip hop, punk, and techno. Working together since 2016, the duo have dived deep into the space between blown-out trap (2016's Cage With Mirrored Bars) and contemporary destructive club music (2018's O Fucc Im On The Wrong Planet). Since linking up with Texas-based experimental label Halcyon Veil, they've connected a global crewsof likeminded collaborators for a remix album including Rabit, Endgame, Swan Meat, Lee Gamble and Bonaventure. The production destroys any notion of comfort afforded in dance music, with cold industrial and glitchy hip hop textures serving as the stylistic anchor of the record. With close ties to NON Worldwide, Prison Religion are also ushering in a new wave of vocal-based club performance.
HYPERSTITION DUO plunge deep to deliver a maximalist collective immersion into their own lysergic phonosphere. Lurching, polyrhythmic pathways crumble and re-assemble; elastic dynamics snap; propulsion sparks from the nerve-centre of machine and corporeal entanglement. Featuring ex-members of Blood Sport, templexing, mobius loops and cybernetic subjectivities abound in an attempt to conjure escape vectors in a world of ubiquitous sound.
ADVANCE BASE is the electronic solo project of Chicago, IL singer/songwriter Owen Ashworth (formerly of Casiotone for the Painfully Alone). Using a two-handed arsenal of electric pianos, autoharps, Omnichords, loops, samples & drum machines, Ashworth builds minimalist, heavy-hearted, & nostalgia-obsessed tunes around his conversational, baritone vocals. The sound of Advance Base has been described as "lo-fi," "depressed" & "weirdly uplifting." Advance Base has supported live dates for The Postal Service, Pedro the Lion, The Mountain Goats, Dean Wareham, Alan Sparhawk, Mark Kozelek & Stephin Merritt. The debut Advance Base album, 'A Shut-In's Prayer' (2012), was released by Caldo Verde Records & Ashworth's own Orindal Records. 'Nephew in the Wild', the second album by Advance Base, was released in 2015 by Orindal Records & Tomlab Records. PopMatters named 'Nephew in the Wild' the number 1 Indie Album of 2015. 'Animal Companionship', the third & most recent album by Advance Base, was released last September. The sound of the album is soft and thick and comforting. And when we're working with songs as sad as the ones that Ashworth writes, that level of comfort really comes in handy. He used to write sad love songs, or sad songs about love. He's still doing that, really, except that he's now middle-aged, with a wife and kids, living in suburban Chicago, and the songs reflect that. The songs on 'Animal Companionship' are full of a whole life's worth of regrets and missed opportunities and moments of acceptance and dead friends. It's not as bleak, either; there are moments of happiness, or at least sustenance, sprinkled all through 'Animal Companionship'. But in its sharp and unrelenting and empathetic specificity, this is some real masterly heart-wrecker music.
ALICE HUBBLE is the new project of Alice Hubley (Mass Datura, Cosines, Arthur and Martha), the product of one lady locked at home with her collection of analogue synthesisers. Inspired by 70's recordings by Tangerine Dream, Delia Derbyshire, Mike and Sally Oldfield, hers is a distinctly feminine take on the sometimes pompous prog sound. Her new album will be available on Happy Robots in Summer 2019.
TIM PRESLEY'S WHITE FENCE, informed by the extreme polarities of punk rock and psych, brings forth songs like no others. Two years on from his solo missive, the sense that something has cratered and someone has walked away, somehow alive, is heavy in the air. With his new album 'I Have to Feed Larry's Hawk', Tim Presley meets White Fence again, and together, they move on. He started writing songs for this album in a small rural town in the UK called Staveley. Tim was staying with Cate Le Bon there during winter. While she was there going to school learning how to build & design furniture out of wood, he started writing on her piano. Tim came back to San Francisco to record, but first he had a fervent dream that Johnny Thunders asked him to be honest & simple with this album, and also why dolphins were not given arms. He booked studio time with a very talented fellow named Jeremy Harris and they worked together out of a studio in the Dogpatch district of SF (owned and run by Paul from the UK band The Bees. Jeremy was able to learn the songs on piano, keys and finesse the parts, including most drums and also record/engineer the whole album. Also playing on the album, is S.F. Mission district native Dylan Hadley who plays drums on two songs: 'Until You Walk' & 'Forever Chained' and H. Hawkline adding guitar and vocals on 'Phone.'
With this new record Tim re-learned how to walk. The poppy stomp. He'd been tethered to a hawk, that he must feed on the dot. While 'I Have To Feed Larry's Hawk' has tinges of both sides in its '60s guitars and whimsical, pastoral folk, however, what dominates is Tim's ability to pen strange, warm tracks like 'Lorelei' that are totally out of step yet tug on familiar melodic heartstrings. Like Syd Barrett or, more recently, Euros Childs before him, White Fence continues to make the peripheries seem oddly accessible. Things really soar when Presley privileges space and simplicity and with this album he's created a bare-bones, diary like project that bounces between optimism and melancholy. 'I Have To Feed Larry's Hawk' came out on Drag City this January.
DEERHOOF, is four people. Satomi Matsuzaki plays bass and sings, Greg Saunier plays drums, John Dieterich and Ed Rodriguez play guitars. But what is Deerhoof really? Hell if we know. Pitchfork went so far as to label Deerhoof as "the best band in the world." From their humble beginnings as an obscure San Francisco noise act, they've become one of indie music's most influential bands with their ecstatic and unruly take on pop.
"Deerhoof are amazing. They're nuts, they'll freak you out." (Dave Grohl, Foo Fighters)
"Deerhoof deserve far more recognition." (Jonny Greenwood, Radiohead)