An angelic new video for Lunch Lady's second single 'Sweet One' just premiered on Post-Trash!
"Sweet One is an intricately coiled slow burner that lurks in the shadows while retaining an unflinching shimmer."
KAPUTT ARRIVE AT CARNAGE HALL
29 July 2019
KAPUTT are a recently hatched post punk act from Glasgow, Scotland. Racing away from the playful torn edge of no-wave song, Kaputt blurt out tracks with twitchy charisma, their catchy riffs circle with relish, allowing timely sax stonks and stop-start rhythms to drive things on. Vocals leap, guitars bluster and always the saxophone snakes, hypnotically drawn through the erratic beat. There's a riot of fun at play in their febrile racket, but there's also some deeply cerebral grooves and choice lyrical concerns evident too.
The songs on 'Carnage Hall', Kaputt's debut album released by Upset The Rhythm this September, were influenced by the maelstrom of political hypocrisy and confusion in the air, the offbeat happenchance of life in 2019, notions of surveillance, identity (personal as well as the biscuit-tin styled persona of the Scottish Highlands), industrialisation and family. In short a total corkscrew of an energetic album! 'Carnage Hall' is available to pre-order in our webshop now!
'Carnage Hall' is available to pre-order now in our webshop!
26 July 2019
Cosmic pop melodist Robert Sotelo returns this September with his most expansive album yet! 'Infinite Sprawling' is Sotelo's first record since relocating from London to Glasgow and partly inspired by his new city's inclusive and collaborative musicverse. Recorded with Ruari MacLean (of Vital Idles, Golden Grrrls) and Edwin Stevens (Irma Vep, Yerba Mansa) at their home studio Namaste Sound, 'Infinite Sprawling' grew out of Sotelo's sketchbook of skeletal songs, with MacLean and Stevens developing their own drum, guitar and keyboard parts. These songs pulled together like a wakeful stretch on a Sunday morning, flowering with a lightness of touch, sounding both carefree and brisk.
Check out 'Message Of Beauty', the video for the first single from the album! A relaxed ballad of drowsy farewells, swoons of violin and swirled clouds of organ drone, take a listen.
'Infinite Sprawling' is available to pre-order on dark-green 180g vinyl now at in our webshop.
'WHO'S TERRY?' RELEASED!
19 July 2019
Today Melbourne post-punk wags Terry return with their new EP 'Who's Terry?' on Upset The Rhythm. Following on from last year's huge-sounding 'I'm Terry' album, this third 7" EP from the band brings you right up to date with their wobbly politico-pop. 'Who's Terry?' encapsulates what Terry does best, the queasy marriage of the upbeat and traumatic, the catchy instant and the nagging distance. Their alliterative lyrics always sharp as tacks, their sense of melody and beat sunk deep in the heart of now.
'Who's Terry?' is available now on black vinyl in our webshop!
LUNCH LADY - ANNOUNCING 'ANGEL'
12 July 2019
We're over the harvest moon to announce that we'll be releasing Lunch Lady's debut album on August 23rd! Lunch Lady are a sparky group from Los Angeles redolent of the desert heat, pining hearts and that chorus-soaked cloak of sound held dear by followers of British early 80s post-punk. Numbering four, Lunch Lady consist of Rachel Birke (vocals), Juan Velasquez (guitar), Victor Herrera (bass) and Robert Wolfe (drums). The band began in 2017 when Velasquez asked Birke if she'd like to start a new music project with him, their respective other groups Abe Vigoda and Heller Keller having co-existed in LA's DIY orbit. Birke explains that they "immediately decided upon making the new band a kind of love letter to Kitsch." Lunch Lady's dreamy punk forays into country ballad territory certainly swoop into sentiment, but its the melancholy of artifice that defines their outlook.
Here's the band's first video, 'Window', a track that whirls by with all the flourish of a card trick! Lunch Lady's debut album 'Angel' is available to pre-order in our webshop now!
WHAT'S GOING ON?
12 July 2019
Last night we held a launch party at Cafe OTO with Normil Hawaiians to celebrate the re-issue of the group's 1984 album 'What's Going On?'. Today sees that release hit the shops on limited LP (with hand-numbered poster), CD and digitally, accompanied by a plethora of bonus tracks and copious liner notes explaining how the malaise that afflicted early 80's Britain resulted in a defiant cry from Normil Hawaiians that became 'What's Going On?'. Available in our web shop now!
HORIZON OUT TODAY!
5 July 2019
Trash Kit's third and absolutely monumental album of post-punk moves and bold self expression, 'Horizon', is released today on LP, CD and digitally. The perfect record for this sun-soaked Friday and a perfect record all round!
CONSTANT MONGREL RELEASED!
28 June 2019
Constant Mongrel's rollicking new 'Experts In Skin' record greets the world today! Here's the riotous aforementioned 7" trying to turn the lights on in broad daylight! Classic!
'Experts in Skin' is the Melbourne bands' little sister follow-up to 2018's 'Living In Excellence' LP. The A side single holds the familiar post-post punk angst Constant Mongrel is known for, only building ever higher with a triple saxophone flurry and singer Tom Ridgewell's mutters on the often awkward nature of mainstream consumerism.
21 June 2019
We're re-issuing Trash Kit's incredible 2014 album 'Confidence' this July on white vinyl! New album 'Horizon' due out July 5th too!
"an album of a million small gestures arranged with jaw-dropping exactitude. It's 11 calamity-skirting post-punk tunes that teeter between control and chaos." PITCHFORK
"Disciplined yet eccentric, refined but raucous, Confidence is a bold and fantastically assured album!" LINE OF BEST FIT
"Each song feels like the sleek silhouette of a few hundred practices, a few hundred happy accidents coaxed right into place - aggressive and brave." TINY MIX TAPES
'DAUGHTERS OF THE SKY' RELEASED
14 June 2019
Daughters Of The Sky by Bamboo is released today on LP (180g, gold vinyl), CD and digitally! Check out this extraordinary album in all its glory, seriously transportive and beautifully rendered in sound!
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.
ROBERT SOTELO is a cosmic pop melodist; a heartfelt multi-instrumentalist whose direct songs are curiously affecting. His debut album 'Cusp' from 2017 was packed with miniature psych overtures and earnest musings, he then followed this up in 2018 with an album called 'Botanical', more keyboard-minded and playful with its near-absurdist palette of sound and reflective mood. This September Upset The Rhythm will release Sotelo's third album 'Infinite Sprawling', his first record since relocating from London to Glasgow and partly inspired by his new city's inclusive and collaborative musical world. Recorded with Ruari MacLean (of Vital Idles, Golden Grrrls) and Edwin Stevens (Irma Vep, Yerba Mansa) at their home studio Namaste Sound, 'Infinite Sprawling' grew out of Sotelo's sketchbook of skeletal songs, with MacLean and Stevens developing their own drum, guitar and keyboard parts. These songs pulled together like a wakeful stretch on a Sunday morning, flowering with a lightness of touch, sounding both carefree and brisk.
MARTIN FRAWLEY, known to many as a principal member of Melbourne's Twerps, recently struck out on his own to record an album with Stewart Bronaugh (Angel Olsen, Lionlimb), and the results are just as melodic and touching as his former band's material, if not more so. 'Undone at 31' is available now on Merge Records.
MARY LATTIMORE is a Los Angeles-based musician who uses her Lyon and Healy concert grand harp to conjure up beautifully abstracted forms that evoke a host of memories, landscapes and allusions.
Across a breadth of recordings, collaborations and art commissions her music explores a realm of wordless narratives and indefinite travelogues, where - with the help of effects and occasional vocals - extended harp improvisations morph into spectral songforms. In live performance she reveals the impressionist magic of her chosen instrument, blurring classical technique and ambient electronics to beguiling effect.
In 2018 Mary released Hundreds of Days, her second LP on Ghostly International, as well as a collaborative album with Meg Baird entitled Ghost Forests (Three Lobed). She has moved a long way since her classical studies at Eastman School of Music, via days in Philadelphia with the likes of Espers and Fursaxa and sound-making time with Steve Gunn, Sharon van Etten and Kurt Vile. She has also collaborated with guitarist/synth player Jeff Zeigler on their 2014 album Slant of Light (Thrill Jockey) as well as composing a live score for Philippe Garrels' 1968 experimental silent film Le Revelateur which they subsequently toured together.
NUMMO TWIN plays ethereal, dream-like folk songs and noise soundscapes with an instrument she carved herself from an old christmas tree, an array of delay and reverb pedals, and feedback. She sings a lament to a forgotten place.
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)
TRASH KIT are Rachel Aggs (guitar, vocals), Rachel Horwood (drums, vocals) and Gill Partington (bass). Three deeply creative individuals who play in a multitude of other groups including Bas Jan, Sacred Paws, Shopping and Bamboo, united by a shared decade of spry musicality that surges through their bodies, hearts and heads with Trash Kit. Their songs once succinct, patchwork post-punk numbers of an honest diary-like nature now tussle more with long-form songwriting, expeditious polyphony and cascades of sung-spoke vocals. This new focus began with their last album 'Confidence' (2014) and has now grown into something exhilarating and rapturous. New songs like 'Disco' have had their very fabric stretched into smart new shapes, allowing the band to run away with refrains and unlock the dancefloor. Although Trash Kit have their forebears in bands like Sleater Kinney, The Ex and The Raincoats, their sound is still very much their own take on facing forwards and relies as much on the naturalism of an internalised folk music as on their sincerity of vision. Since forming in 2009, Trash Kit have released two albums for Upset The Rhythm and a selection of singles, this July however they made their most majestic move yet with their resoundingly huge 'Horizon' album. An album that forever listens for the next moment and will meet you once more at the vanishing point.
DOG CHOCOLATE sound like a crowded room but are actually four individuals from London. Abandoning notions of elegance, cred and professionalism they embrace the ramshackle, instant and fun, capturing a vivid spontaneity with their music. Their sound is a shabby, fast, over-excited ball of wet fur falling down the stairs, knocking over plant pots along the way and staining the carpet. With an average song time of 2 minutes, Dog Chocolate are on to the next treat before fully digesting the last. Chewing up bits of punk, post-punk, noise and pop, Matthew and Robert's guitars race around each other like wasps, pitch-shifting and phasing all over the place while Jono's rolled-up-newspaper drums chase them round the room. The band's new album 'Moody Balloon Baby' (out now) was released through Upset The Rhythm, in just under 25 minutes the band manage to cram in bucket-loads of ideas, mess, confusion and fun.
KAPUTT are a recently hatched post punk act from Glasgow, Scotland. Numbering six, Kaputt feature Simone Wilson and Cal Donnelly on guitars and vocals, Chrissy Barnacle also sings and plays saxophone. Tobias Carmichael is responsible for bass, whilst Rikki Will and Emma Smith cover drums and percussion respectively. Racing away from the playful torn edge of no-wave song, Kaputt blurt out tracks with twitchy charisma, their catchy riffs circle with relish, allowing timely sax stonks and stop-start rhythms to drive things on. Vocals leap, guitars bluster and always the saxophone snakes, hypnotically drawn through the erratic beat. There's a riot of fun at play in their febrile racket, but there's also some deeply cerebral grooves and choice lyrical concerns evident too. Kaputt's debut album 'Carnage Hall' will be released this September on Upset The Rhythm, this show appears as part of their tour in support of this stunner of an LP.
THE COOL GREENHOUSE make hypnotic home-brew post-punk. Their two 7"s and tape (also released on 10" through Lumpy) are a treat of elusive DIY moves and sarcastic wit. Very reminiscent of the early 80s post-punk cassette scene and messthetics compilation groups.
SNIFFANY & THE NITS are an itchy, twitchy new pogo punk outfit feat members of Artefact and The Snivellers.
DANIEL O'SULLIVAN is a composer, songwriter, multi-instrumentalist and producer living and working in South West London and has been contributing a vibrant, chameleonic brew to the music landscape since the late 1990's. He has achieved acclaim writing, recording and performing with a myriad of groups including Grumbling Fur (with longtime friend and collaborator Alexander Tucker), Ulver, Mothlite, Sunn O))), Guapo, Miasma & the Carousel of Headless Horses, Miracle, AEthenor and This Is Not This Heat. He has composed several sound works for film and installation.
Whether solo or in his varied collaborative projects, O'Sullivan's work is remarkable in the way it infuses familiar everyday experience with traces of the uncanny, the secret and the magickal. His 2017 solo album VELD distilled these tangled realities into a rich and complex soundworld, strikingly dense and allusive. Released in April by O Genesis, Folly is O'Sullivan's second album under his own name and embodies a confident, evolution from VELD. This cycle of twelve songs deftly illustrates O'Sullivan's ascent as a unique and multidimensional songwriter. Moving from the familiar pantheon of experimental music and arriving upon a universal narrative probing the human condition from the inside out. Both lyrically and within the intricate lattice of arrangements, traditional forms are reshaped into transcendent pop symphonies. Both intimate and alien, archetypal and atypical, joyous and melancholic, the aperture of Folly is wide open and light streams in. For this special performance O'Sullivan will perform his new songs as an ensemble of eight, featuring Thighpaulsandra (Coil, Julian Cope Band, Spiritualized) who also recorded and mixed Folly at his Aeriel studio premises in Wales.
BRIGID MAE POWER is an Irish singer-songwriter and multi-instrumentalist who, like Judee Sill, Micky Newburyor Linda Perhacs before her, paints her songs in dreamily expansive strokes, transporting earthly compositions into universal and exultant realms. Her self-titled debut on Tompkins Square was a majestic suite of reverb-swathed laments for voice, guitar, piano, accordion, and harmonium, recorded at the Portland studio of key musical foil Peter Broderick. Themes include transformation, change, motherhood, acceptance, strength, courage and trust. In the words of Power, the album was about "trusting if you lose yourself or your way - you can come back". New album 'The Two Worlds' is another masterful collection of effortless, hypnotic folk, and an album that furthers the songwriter and multi-instrumentalist's already stellar reputation. Live, Brigid can encapsulate the timeless magic of her songs either solo or as a duo with Peter. Thus far she has toured throughout Ireland, UK and the US together with artists including Lee Ranaldo, Richard Dawson, Alasdair Roberts, Peter Broderick and Ryley Walker, with performances at Le Guess Who? and TUSK festivals along the way.
KURWS (from Wroclaw, Poland) formed in May 2008 as an unexpected result of a ping pong session. Since then together they pursue their own search, not as much in areas of defined genres, but within the very foundations of rock "base", expression and sound. It is a workshop, where improvisations penetrate through composed material, which seems to be a congealed form of the creation process. Armed with repetitions, recombinations, variations and contrasts, they frolic with memory and expectations. Post punk, krautrock, rock in opposition, funk, no wave - modes of playing, motives, riffs we heard time and time again, are being here presented in a totally different context - they are dissected from their original environment, placed side by side, used in a brand new manner, deconstructed and distilled.
HANDLE are a recently formed trio featuring a few familiar faces from Manchester's creative underground scene. On bass guitar and drums, there's Giulio Erasmus and Nirvana Heire, former members of the much-loved punk band DUDS; while upfront on vocals and keyboards is Leo Hermitt, a genderqueer multidisciplinary artist renowned for their challenging, thought-provoking work on the city's arts and literary scenes. The end result, in Handle, is a wonderful amalgam of each member's respective CVs - a band which absorbs punk, poetry, politics and the avant-garde, while wearing its Manc DIY credentials proudly on its sleeve. Powered by looping, hypnotic synth lines, tribal percussion and urgent, agitated vocals, their songs - all of which clock in around the two minute mark - owe as much to performance poetry as they do to post-punk and new wave. In these times of anxiety and confusion, Handle provide a much-needed dose of musical catharsis.
TRASH KIT are Rachel Aggs (guitar, vocals), Rachel Horwood (drums, vocals) and Gill Partington (bass). Three deeply creative individuals who play in a multitude of other groups including Bas Jan, Sacred Paws, Shopping and Bamboo, united by a shared decade of spry musicality that surges through their bodies, hearts and heads with Trash Kit. Their songs once succinct, patchwork post-punk numbers of an honest diary-like nature now tussle more with long-form songwriting, expeditious polyphony and cascades of sung-spoke vocals. This new focus began with their last album 'Confidence' (2014) and has now grown into something exhilarating and rapturous. New songs like 'Disco' have had their very fabric stretched into smart new shapes, allowing the band to run away with refrains and unlock the dancefloor. Although Trash Kit have their forebears in bands like Sleater Kinney, The Ex and The Raincoats, their sound is still very much their own take on facing forwards and relies as much on the naturalism of an internalised folk music as on their sincerity of vision. Since forming in 2009, Trash Kit have released two albums for Upset The Rhythm and a selection of singles, this July however they made their most majestic move yet with their resoundingly huge Horizon album. An album that forever listens for the next moment and will meet you once more at the vanishing point.
CHILD'S POSE play punk-inflected pop music, something like if Elastica had built their home in the Slampt Underground instead of making a #1 record. Their caustic slash-and-burn style is sneering and ebullient all at once, detached yet intimate, trim and nervy songs that reward listen after listen, personnel from Woolf, Sauna Youth, Sarcasm, and Nekra sparking joy and dread in equal measure. It's the sound of the first warm day of spring and the accompanying cans in the park and the crisp cool wind chasing you home at dusk, that sinister manic magic feeling of learning how to inhabit your body again after a long cold winter. It's been winter for years now and we all need warming up. Let Child's Pose take you with them.
THE PLAN have perfected a stop/start abrasiveness with their stirring, woman-powered dispatches from Southend-On-Sea. Boasting members of Wetdog and Vic Goddard's Subway Sect, they fuse post- punk with folk, no wave with psych. It's a heady brew and endlessly inventive. Jangly Kinks guitar, cryptic lyricism, cherubic vocal harmonising, dervish leaps into The Ex-like noise... there's enough room under this tarpaulin for everyone.
EXEK thrive amidst noirish, dub-dilated post-punk, with lyrics skirting the sardonic, mired in disdain. Situated in a reservoir of space echo and assisted by the heavyweight bass-and-drum brunt of Henry Wilson and Sam Dixon, vocalist Albert Wolski conveys an oblique, literate nihilism that resembles both a sneer and a smirk. Wicked turns of phrase are spiked with black humour and surrealism as the rest of the band summon sparse, reverb-drenched runs of percussion and a thickset low end prone to detour and dysfunction. Exek recently followed up their 'Ahead Of Two Thoughts' LP released last year on W.25TH (Superior Viaduct) with their astonishing 'A Casual Assembly' EP. This new record from Melbourne's audio-wranglers coalesces around a stirring theme for synthesizer, trumpet and bass, bringing together reference points to Laurie Spiegel, Jah Wobble and The Velvet Underground's 'The Gift.' Frontman Albert Wolski's disembodied narration - at times reminiscent of Samuel Beckett or Robert Ashley - unfolds over a series of dark vignettes set in a dystopian near-future. Autotune has been banned, secret police patrol the redoubts of the wealthy, and world beaches have been cleared of their sand for the construction of enormous urban prisons. As these events turn more fraught and absurd, Wolski reveals just how much is gained through EXEK's stripped-down arrangements and dreamlike tones.
THE REBEL is prolific London outsider Ben Wallers; a charismatic lone wolf in a cowboy hat or trilby and a tie whose electrified howls are too idiosyncratic to be broken down into market-oriented terms. It is difficult to sketch a thumbnail summary of a musician who has amassed a vast and unwieldy discography under a variety of names and genres: the most widely acclaimed is probably the Country Teasers, but he also moonlights as, or in, the Rebel, the Company, the Male Nurse, the Beale, the Stallion, the Black Poodle and Skills on Ampex, across folk, country, garage, post-punk, no wave and electronic pop. In the main part The Rebel is centred around twisted Casio drones, clanging guitar and some defiantly deadpan vocals, all thrown in the pan and pressure-cooked in Wallers' mind. Wallers has amassed a near-unquantifiable discography over the past 20 years, from scores of more or less "official" LPs, EPs and 7"s to seemingly endless self-released cassettes.
ES are the soundtrack to your no-wave nightmares, proffering 'mutant synth-punk for our dystopian present' (Jes Skolnik). Ethereal synths, tense basslines, wired drums and cold vocals collide, proving curiously dark, intense and unrelenting. After releasing their debut 'Object Relations' 12" EP on La Vida Es Un Mus in 2016, all members now reside in London and are working towards their debut album. ES feature members of Public Service, The Worms, Primetime and Scrap Brain.
SHANNON LAY is a L.A. singer-songwriter whose work is of a plainspoken mysticism that goes to the small, bright truth of things, showcasing her unusual songwriting and quietly commanding voice. Shannon has been dominating the local scene in Los Angeles over the past two years, leaving everyone who witnesses completely breathless. Her new album for Sub Pop is called 'August', the title referring to the month in 2017 when Lay quit her day job and fully gave herself over to music. This was her liberation as an artist, and the album is devoted to paying that forward to her listeners. "It's a thank you to the universe," says the L.A. artist. The title track is a mystical, folk-psych expression that builds into a gentle gallop. "Open the doors that you cannot," she sings with a feathery lightness. In keeping with the humbled, contemplative nature of 'August', most tracks clock-in at three minutes or less. She saved indulgence for the production. "Some songs as they were had this room to grow," says Lay, who recorded the album with her longtime friend, musician Ty Segall at his home studio on the East Side. "I believe whoever you record with tends to affect the mood of music and Ty really brought this jovial sense that I hadn't really explored yet," she says. "Once you get rolling with him, he just throws these ideas at the wall. And you're like, 'I would never have thought of that!' I couldn't have hoped for a better guide and energy to help create this record."
CARLA DAL FORNO has entered a new era with her forthcoming album 'Look Up Sharp', pushing her dub-damaged DIY dispatches to the limits of flawless dream-pop. In a transformative move towards crystal clear vocals and sharpened production, 'Look Up Sharp' is an evolutionary leap from the thick fog and pastoral stillness of her Blackest Ever Black missives, You Know What It's Like (2016) and The Garden EP (2017). Three years since her plain-speaking debut album, the Melbourne-via-Berlin artist finds herself absorbed in London's sprawling mess. The small-town dreams and inertia that preoccupied dal Forno's first album have dissolved into the chaotic city, its shifting identities, far-flung surroundings and blank faces. 'Look Up Sharp' is the story of this life in flux, longing for intimacy, falling short and embracing the unfamiliar. Dal Forno connects with kindred spirits and finds refuge in darkened alleys, secret gardens and wherever else she dares to look. In her own territory between plaintive folk, pop and post-punk, dal Forno conjures the ghosts of AC Marias, Virginia Astley and Broadcast through her brushwork of art-damaged fx and spectral atmospheres. 'Look Up Sharp' is a singular prism in which sound and concept bend at all angles. A deeply personal but infinitely relatable album its many surfaces are complex but authentic, enduring but imperfect, hard-edged but delicate. A diamond. Released on dal Forno's own imprint Kallista Records this October.
RICHARD DAWSON, the black-humoured bard of Newcastle, returns this October with the release of his sixth solo album 2020, his first since the critically acclaimed, Peasant. 2020 is an utterly contemporary state-of-the-nation study, that uncovers a tumultuous and bleak time. Here is an island country in a state of flux; a society on the edge of mental meltdown. This is England today. On 2020, Dawson introduces us to grand themes through small lives. His are portraits of human beings struggling with recognisable (and dare we say it, relatable) concerns, conflicts and desires, each reminding us that tragedy and gallows humour are not mutually exclusive, and that the magical can sit next to the mundane. Lyrically it is by far Dawson's hardest-hitting and unflinchingly honest album to date. It is his poetic masterwork. Within, we find disgruntled civil servants dreaming of better days, anxiety-addled joggers listlessly searching Zoopla for houses they cannot afford in their spare time, amateur footballers who think they're Lionel Messi and beleaguered pub landlords battling rising floodwaters.
Sonically, Dawson's new-found fascination with pure pop music is also evident across 2020, manifesting itself in some of his most direct work to date. Melding his most melodic moments with flashes of choral dissonance, nerve-shredding crescendos, heartfelt laments and a deceptive finger-picking style. His voice is a pliable instrument throughout, moving between weathered back bar-room sage, angelic falsetto and strident, rabble-rousing hellion chief choir boy of the underworld. Dawson is a singular voice, part savant-genius, part court jester; a songwriter whose subjects and characters are often drawn from the local, the historical and the colloquial, yet have a timelessness to them, his music echoing with voices past, present and future. There is a continuity. Here is life, in all its strange and wonderful ways.
Thursday 21 November
Tufnell Park Dome
2A Dartmouth Park Hill, London, NW5 1HL | Map
7.30pm | £16.50 | Buy tickets
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 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.The Dublin based four-piece present a new live show ahead of their much-anticipated 3rd album which will be released on Rough Trade late Autumn.
THOR & FRIENDS are an avant-chamber ensemble formed by polymath percussionist and all-round force of nature Thor Harris, following his tenure as a touring member of monolithic rock ensemble Swans. The project is intended as a vehicle for experimentation, with the conceptual vocabulary of American Minimalism explored and expanded on by a rotating cast of musicians from around the globe. The resultant music is an elongated greeting and ode to Thor's community, his woodworking shop, and the instruments his hands shape and bring to life. From the core trio of Harris (sundry percussion and wind instruments including some of his own devising), Peggy Ghorbani (marimba) and Sarah “Goat” Gautier (marimba, vibraphone, xylophone, organ, voice, mellotron, piano), the line-up of Thor & Friends expands and contracts with the flux of compositional and improvisational contexts. The range of tonal color depends on what instrumentalists are present or absent from the process at any given time.
Thor has been announced as the artist-in-residence for Joyful Noise Recordings in 2019. Throughout the year he will release 6 records via the label, including the third full Thor & Friends album in Autumn as well as collaborative material with artists including Bill Callahan, Margaret Chardiet (Pharmakon), Lawrence English and many more. A limited run of 666 boxsets, handcrafted by Thor and containing coloured vinyl editions of all the releases, will then be released at the end of the year.
THE GOTOBEDS are a modern rock and roll sensation that has always sounded like they have to play. The group's angular tunes and buzzy guitar-fuelled attack took the sound and vision of post-punk and indie rock and put the nervy snarl of punk back into the formula. Never maligned by having the world's weight on their backs, The Gotobeds - Cary, TFP, Eli and Gavin - returned this May with their third full lengther, 'Debt Begins at 30' (Sub Pop). The esprit de corps and anxiety-free joy that permeates their other LPs and EPs remains intact. The octane is high-test, the engine still has knocks and pings and the battery is overcharged. The Gotobeds - as Pittsburgh as it gets, the folk music of the Steel City - have more tar for us to swallow. The Gotobeds jump between exuberant jangle, brooding romps with tribal beats and slash-and-burn guitar and wrecking ball anthems much like their partners-in-rock-crime Protomartyr.