Today we release our final record of 2018: Rattle's extraordinary sophomore album 'Sequence'. Talk about leaving the best til last! This stunningly-crafted, detailed deep-listen arrives in shops today on CD, 180g heavyweight black vinyl and digitally. Our webshop is shipping now!
'Sequence' is composed of just four tracks, each clocking in around 10 mins and focused squarely on a deeper resonance with the creative act, illustrative of how ideas build from scratch, of how music can grow out of repetition. It even feels like a trance or ritual if you give yourself to the recording. Rattle are seeking out a vivid array, an order from the noise, a pattern that unlocks the next.
GUTTERSNIPE OUT TODAY!
26 October 2018
We're also very proud to release Guttersnipe's debut album today with our friends Ouse Records! Entitled 'My Mother The Vent', it's an exquisite listen, occupying some gloriously wrought tonal territory. With just guitar, drums and a bunch of triggers Guttersnipe display full commitment to their flowmotive polyrhythms, underwriting their seared, nay fried, rainbow of noise with de-reasoned vocals. Six tracks, 35 minutes, stamped into 180g black vinyl. Available in all the best shops and online today, stream the whole album now up on The Quietus too.
'NO PERSONAL SPACE'
12 September 2018
Here's Sauna Youth's brand new video for 'Deaths' album track, 'No Personal Space', filmed in the last five minutes of a band rehearsal in a too-close-for-comfort studio in Peckham. Raven Sings The Blues just premiered it up on their website! New album, 'Deaths' is out now!
RATTLE - 'SEQUENCE'
8 September 2018
We're announcing Rattle's incredible new album, 'Sequence', today with their epic 11-minute long video for album track 'Signal'. Thank you to The Quietus for premiering it! 'Sequence' will be released on November 2nd.
DEATHS - OUT TODAY!
7 September 2018
It's a kinda Sauna Youth record release type of day today! What an incredible landslide of an album, alive with sound and entitled 'Deaths', out now through Upset The Rhythm!
31 August 2018
Today, with our new release in mind, I realise that there are two kinds of people in this world: not Terry, and Terry. I'm Terry. Melbourne quartet Terry return with their new album today and as always it's first-rate. 'I'm Terry' is an expression of a humbling kindness, and 2018 needs that more than ever! Terry has made time to put things right and now he's lending us his watch. 'I'm Terry' is available now in all the best shops and through our UTR webshop too.
TERRY - 'BUREAU' VIDEO
7 August 2018
TERRY's traffic-tunnel trip of a video for new track 'Bureau' just premiered on Raven Sings The Blues! Take a look!
MARY LATTIMORE is a harpist living in Los Angeles. She experiments with her Lyon and Healy Concert Grand harp and effects. Memories - places, vacancies, allusions - are fundamental characters in Mary Lattimore's evocative craft. Inside her music, wordless narratives, indefinite travelogues, and braided events skew into something enchantingly new. Lattimore recorded her breakout 2016 album, 'At The Dam', during stops along a road trip across America, letting the serene landscapes of Joshua Tree and Marfa, Texas color her compositions. In 2017, she presented 'Collected Pieces', a tape compiling sounds from her past life in Philadelphia: odes to the east coast, burning motels, and beach town convenience stores. In 2018, from a restorative station - a redwood barn, nestled in the hills above San Francisco's Golden Gate Bridge - emanates 'Hundreds of Days', her second full-length LP with Ghostly International. The record sojourns between silences and speech, between microcosmic daily scenes and macrocosmic universal understandings, between being alien in promising new places and feeling torn from old native havens. It's an expansive new chapter in Lattimore's story, and an expression of mystified gratitude. A study in how ordinary components helix together to create an extraordinary world.
Throughout the shifting locales there is one consistent companion Lattimore engages: a 47-string Lyon and Healy harp. The instrument wires directly into her psyche. Pitchfork's Marc Masters posits, "she can practically talk through it at this point; she's created a language." Lattimore's voice sweeps beneath the plucks and washes of opener "It Feels Like Floating," enraptured by the winding current, and reappearing in the second minute of the immense "Never Saw Him Again." The track elevates towards a shimmering apex of static and percussion before organ drone yields to signature halcyon flutters. As with much of Lattimore's work, the track titles are telling; "Baltic Birch" is a somber windswept march that sways gracefully out of step, a remembrance of a recent trip to Latvia where she was struck by the abandoned resort towns along the Baltic Sea. "Hello From The Edge of The Earth" is an earnest reflection of Lattimore's love of the natural world, recognising the thresholds of varying terrains. 'Hundreds Of Days' is out now on Ghostly International. Mary also writes harp parts for songs and recordings, performing and recording with such great artists as Meg Baird, Thurston Moore, Sharon Van Etten, Jarvis Cocker, Kurt Vile, Steve Gunn, Ed Askew and Fursaxa.
LUCINDA CHUA is a London-based singer-songwriter whose had a very productive year. The gifted cellist was a member of FKA Twigs' live band, composed a Tchaikovsky-inspired score for a Russian fashion documentary, and has fostered a wide-ranging community of collaborators from her city's diverse indie scene-among them Westerman, Ben Vince, and Laura Misch. These wildly different projects show the breadth of the artist's interests, unified by Chua's subtle chamber pop touch. Chua's mode isn't vigor: her songs are understated and somber, the energy so subdued it's practically somnolent. Chua used to tour long ago with Stars of the Lid, and indeed that ambient band's mournful, super-delicate style offers a clear idea of how Chua approaches her music, she was also a member of Felix on kranky records too. There is an unflappable calm present in all of Chua's work, and on the quiet and intensely-felt recent single, 'Somebody Who', she is breaking out on her own.
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: Pilkinton'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' is released on November 16th and supported by a short tour of the UK of which, this show is the London date!
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 2019!
TOWER RAVENS RAPPER are an all female rapper dance team based in central London. They take their name from the feathered guardians of the Tower of London, and are accompanied by a brazen Beefeater. They dance out in the city on a monthly tour of favourable pubs, and attend events and festivals throughout the year. Rapper sword dancing is a form of traditional dance which comes from the north east of England. The 'swords' (inch wide strips of metal with a handle at each end) are used to make intricate locks and patterns whilst the dancers perform precise and neat stepping combined with fast and exciting movements.
ERIC CHENAUX makes conceptual music that's not meant to sound conceptual. He operates among various 'traditions' but perhaps most broadly, Chenaux's records grapple with the relationship between improvisation and structure in very particular, unique, idiosyncratic ways - and quite without irony or cynicism, through love. Because fundamentally, Chenaux writes love songs, which he sings in a voice honeyed and clear, while his guitar gently bends, frazzes, chortles, diverges and decomposes. This juxtaposition of his mellow, dexterous crooning and his highly experimental (and equally dexterous) guitar explorations, explodes even unconventional notions of singing and accompaniment, of tonal and timbral interplay between guitar and voice.
As a solo artist, Chenaux's improvisation methods are in certain literal ways solipsistic: as a singer-songwriter, he plays his guitar around and against his voice, challenging easy notions of harmony/harmoniousness, improvising 'with himself' in pursuit of surprising himself (and his listeners) as he unfurls ribbons of voice and instrument often to the point of seeming independence, all the better to capture - and be captured by - unforeseen, intimate moments of interdependence: a definition of freedom, as a profoundly intentional state of openness, presence and play. Even within avant-garde currents of folk and jazz balladry, Eric Chenaux feels like an outlier. Yet his music remains wonderfully warm, generous and fundamentally accessible in spite of its irrefutable iconoclasm. While the constitutive elements of Chenaux's solo work in recent years might suggest some underlying devotion to asceticism, the opposite is much more true: his musical reveries resist, critique and counteract austerity (in all its forms) in a joyful abandonment to the improvised space where playfulness and light-heartedness are taken seriously, and where love is invoked and expressed, without reductive or facile sentimentalism, in a full, nuanced, clear-eyed suspension/rejection of the cynical life.
Slowly Paradise (on Constellation Records) is Eric Chenaux's most recent solo record - lovely collection of mostly long songs guided by soothing, buttery singing and bent, fried fretwork. It is arguably Chenaux's most assured and essential solo work, expanding upon the critical acclaim his previous releases Guitar & Voice and Skullsplitter have rightly garnered.
ROBERT SOTELO is the nom de plume of Andrew Doig, a 36 year old serial musician originally from Peterborough, UK. Andrew's middle name is Robert, whilst Sotelo is his mother's maiden name. Sotelo's verdant world of sound is at once intimate, choosing to build songs up from ambitious layers of instrumentation into miniature psych pop overtures of genuine sincerity of feeling. Very much grounded in that particular forward-facing strain of mid-60s rock that edged towards psych, Sotelo's music owes as much to Davies and McCartney's unashamed belief in melody as it does to the uncertainty and confusion that comes with mid-thirties existentialism. Debut album 'Cusp' (Upset The Rhythm) was an album that explored the individual in a post-social life era, with Sotelo starting the project initially as an attempt to re-engage with the people he used to know, without relying on nostalgia as a common bond. From this worthy spark of a plan, he's created something grand and compelling, a vast tapestry of songs that stand up and sound afresh. Check out his exquisite recent cassette 'Botanical' on Nicey Music too.
STILL HOUSE PLANTS are an experimental three-piece from Glasgow. This December they'll return to London in support of the release of their debut LP, 'Long Play' (Bison Records). Combining visual strategies, free improvisation, garage and punk, Still House Plants build melodic hierarchies scaffolded around ambiguities and intimacy. Fresh from being selected for the Cafe OTO x Jerwood Foundation Artistic Development fund, and following two sold out tapes on Glasgow label GLARC, 'Long Play' collects the group's raw guitar-drum-vocal palette and stretches it to include violin, piano and home recording. Ranging from seconds-long to seven:minute:somethings, the album coagulates to form a heady meld of rudimentary phrases, kinetic repetition and malleable samples. Experimental songwriting is rarely so forthcoming, emotive, or approachable. Still House Plants have also been artists-in-residence for the CCA/AC Projects Music Residency and at The Pipe Factory. The trio have performed internationally too, touring with Mette Rasmussen to perform at Ultra Eczema's 20th Anniversary, Fasching Jazz Club with Rasmussen and Richard Dawson, as well as at KRAAK festival.
ASHLEY PAUL is an American composer/performer whose intuitive process integrates free form song structures with a focused approach to sound and clatter. A complexity of instruments including saxophone, clarinet, voice, prepared strings, bells and percussion create a delicate palette, uniquely her own. Her solo albums have received critical acclaim being chosen in The Wire: Top 50 Albums of 2013, Pitchfork's "The Out Door" best experimental sounds of 2013, number one on Byron Coley and Thurston Moore's "Tongue Top Ten" in Arthur Magazine. Paul's recent LP on Slip, 'Lost In Shadows', is a bewitching, expansive, deeply personal excavation of recent motherhood, told through songs dissolving and re-crystallising at the threshold of free improvisation. At the LP's heart is Paul's mercurial multi-instrumental style, which renders the primal wails, clunks, and twangs of clarinet, saxophone, percussion, and guitar uncannily melodic, alchemised by frank, vulnerable vocals. The deft negotiation of the fragile and the coruscating evidenced on Paul's 'Line The Clouds' (2013) and 'Heat Source' (2014) has now reached a kind of hesitant sublime.
THE STALLION can't believe it's happening at last. Put the date in your diaries, Elves, before you drop them into all the children's stockings all along the fireplace or at the foot of their beds. Ssshhh! Don't wake them up! They are having nightmares about being made into sausage meat! They have no noses, and instead of eyes and mouths, large dark holes! Clutching their homework they shuffle along the conveyor belt towards the meat grinders and so into the sausage meat buckets. Yum! School sausages! Who can forget the Grange Hill theme song and animated credits roll? NO LESS ICONIC is The Stallion's six-sided LP for In The Red entitled 'The Dark Side Of The Wall'. That's a hexagonal performance ("cover" is too weak, and "homage" to reverent) of Pink Floyd's The Wall, which is known on the street as 'The Dark Side Of The Wall'. Country Teasers survivalists Alastair Mackinven and Ben Wallers are The Stallion and they will be performing 'THE DARK SIDE OF THE WALL', including film projections, on Friday January 18th 2019 at The Moth Club, in the Hackney Central area. The films were shot in LoganBerry Finite Quilt on the PC4 MacPro WorkBook. I am only a Sinclair c5 on the Zx spectrum, do you like talk like that? Do you like to do bad things? Are u a bad person?
AIR WAVES new album Warrior, the third full-length by Brooklyn-based musician, features a ominous, androgynous figure standing with a bicycle, wearing a gas mask adorned with a daisy. The remarkable image was taken on April 22nd, 1970 at the inaugural Earth Day celebration in New York City by Nicole Schneit's dad, Martin Schneit. Forty-seven years later, artist Em Rooney hand-painted Schneit's original black & white photo, resulting in an image that radiates with Warrior's indefatigable spirit, strength, and love.
Like many queer women, Nicole Schneit is a warrior by necessity, fighting for basic rights, dignity, and acceptance. Such determination in the face of hardship and injustice runs in Schneit's family; her new album was inspired in part by her mom who was diagnosed with cancer last year. So the title 'Warrior' and the song are about her. The dignified fighter archetype referenced in the album's title is explored on each of Warrior's eleven pieces of bittersweet, empowering indie pop. According to Schneit the song 'Gay Bets', written after the 2016 election is "about being gay and being proud and open. I was thinking about hate crimes spiking and the current state of the world. The song 'Tangerine' was inspired by the film of the same name in which two trans women try to make ends meet. This movie, a dark docu-comedy shot in the contrastingly sunny setting of L.A., reflects Schneit's battle between identity and society via Brooklyn pop rock that swings between the pastel-tinged and the downright melancholic. Warrior's highlights, and all of the unmissable, satisfying pieces that tie them together show Schneit's perseverance and resilience through crumbling relationships, personal adversity, and the current political climate, all leading to her most powerful collection of songs to date. Understated, subtly sophisticated, and equally empowering and comforting, Warrior (out now on Western Vinyl) launches Air Waves above the apolitical complacency of too many of the group's contemporaries.
KRISTIN HERSH , most recognised as the front person for the influential art-punk band Throwing Muses and power trio 50FOOTWAVE, will be touring the UK in Spring 2019 with Rob Ahlers (50 Foot Wave) on drums and Fred Abong (Throwing Muses, Belly) on bass. Throwing Muses first gained traction in the early '80s, playing with similarly singular artists, such as The Pixies and Dinosaur Jr. They continue to release ground-breaking music, most recently with 2013's double CD masterpiece 'Purgatory/Paradise'. Kristin's solo career spun off in 1994 with the release of 'Hips and Makers', a widely acclaimed album that included 'Your Ghost', a duet with R.E.M.'s Michael Stipe. Since then, Kristin has released a steady stream of distinctly individual solo albums, including 2010's 'Crooked', released as her first in the inventive book/CD format for which she is now known.
2016's 'Wyatt at the Coyote Palace', on which Kristin played all of the instruments, received rave reviews; an explosive defined by blistering guitars, powerful drumming and her signature visceral vocal technique. Her poignant true stories bring the listener into what the BBC calls Hersh's "dark and dizzy world". In 2004, Kristin formed the noise rock power trio 50FOOTWAVE, releasing a series of frighteningly intense mini-albums, all available for download free of charge. Their most recent 'Bath White' EP was described as "a series of loud explosions, of velvet like dreams all intermingled at the same time. Bath White takes no prisoners." Kristin's writing career has flourished with the highly acclaimed 'Paradoxical Undressing' (released as 'Rat Girl' in the USA) and the award winning 'Don't Suck, Don't Die', a personal account of her long friendship with the late Vic Chesnutt, as well as the enchanting books which now accompany each of her record releases. Kristin's tenth studio album, 'Possible Dust Clouds' (out this October on Fire Records) is a highly personalised sociopathic gem delivered as a futuristic rewriting of how music works, a melodious breeze with a tail wind of venomous din. Enveloping the juxtaposition of the concept of 'dark sunshine', a brooding solo record created with friends to expand her off-kilter sonic vision; a squally, squeaky mix of discordant beauty. 'Possible Dust Clouds' is a glorious return to form for one of alternative rock's true innovators.
THE SHIFTERS are a quintet from Melbourne, who after two 7" singles and demo tape, just unveiled their first proper full-length album entitled 'Have a Cunning Plan' (Trouble In Mind). Recorded at Al Montfort of Total Control/Terry's home studio, 'Have A Cunning Plan' ups the fidelity a bit, tempering the up-front crunch of their previous demo. The sonic space suits the band, allowing the unpretentious complexity of the songs & lyrics to generate the "oomph" rather than bludgeoning the listener with treble and feedback. The album showcases ten new tracks by the band at their best; scrappy, self-destructive, stumbling and brilliant pop music that seems tossed off or nonchalant on the surface but is rife with rewards upon further listening. Early album bangers like 'Molasses' and the first single 'Work/Life, Gym Etc' are instant earworms, (as are 'Straight Lines' & 'Pyramid Scheme', the latter reworked from a recent 7") but it's the simple-yet-sophisticated songcraft of tunes like 'How Long?' or the languid strum of 'Andrew Bolt' that are heavy on mood and are vehicles for vocalist/guitarist Miles Jansen's erudite lyrics that simultaneously celebrate and decry the banality of life, while also tackling larger issues of colonialism conservatism's effects on society at large. On the surface, there's no denying the band owe a heavy debt to The Fall, but whatever seeds were planted by the late, great Mark E. Smith, have gestated into an animal all their own. 'Have A Cunning Plan' aims to take them towards a greater plane.
THE COOL GREENHOUSE make lo-fi, repetitive post-punk with a social conscience. Their debut 7" on Market Square is a treat of elusive DIY moves and sarcastic wit. Very reminiscent of the early 80s post-punk cassette scene and messthetics compilation groups.
DAVID NANCE GROUP is nothing if not prolific. Over the course of the past six years, the Omaha, NE musician has released three full-length albums for labels Grapefruit and Ba Da Bing, a 7-inch, numerous cassettes, CDRs and unlicensed "cover albums" of artists like Lou Reed, The Beatles, Rolling Stones and Doug Sahm. His latest full-length is credited to the 'David Nance Group' and features Nance alongside his recent hot-live band of fellow Omaha musicians; guitarist Jim Schroeder, bassist Tom May and drummer Kevin Donahue. Appropriately, the new album is called 'Peaced and Slightly Pulverized' as the sounds therein are alternatingly tender & brusque. Nance has an enviable way of conveying intensity and pathos in his music without necessarily resorting to clicking on a distortion pedal, instead relying on the build-up and tension from the interplay of his bandmates with his cracked, impassioned wail. There's also plenty of fuzz and distortion too, from the anthemic 'Poison' with its fuzzed-out guitar riff that leans into a Crazy-Horsian guitar maelstrom and white-hot solo, to 'Ham Sandwich'; a blisteringly frantic rant about a lunchtime torment - uncomfortable in its directness. Respite comes with '110 Blues's languid late-night desert psychedelia, and side one closes with the epic seven and a half minute 'Amethyst', expanded & jammed upon from 2017's Richie Records single into an emotional odyssey with Nance & Schroeder strangling their guitars into a twin-guitar, barbed-wire duel. The album's centerpiece is 'In Her Kingdom', an emotive ballad that fades into view with a plaintive guitar strum, and over seven minutes ebbs and flows with a rising tide of swelling guitars, it's riffs gilding the melody & adding flecks of gold to Nance's tale of poverty and grace. Alternately, 'When I Saw You Last Night' stalks the night like a predator, finally finding its prey two and a half minutes in with a stinging, blood-drenched guitar solo. The album closes with 'Prophet's Prot's biting commentary on false idolatry that again utilises the group's not-so-secret weaponry of Nance and Schroeder's six-string simpatico to bring the listener home. 'Peaced and Slightly Pulversized' is out now on Trouble In Mind.