We're beyond excited to announce that we're releasing Vital Idles debut album entitled 'Left Hand' in a few months time. They've been one of our favourite UK groups since we saw them play with Vexx and Sauna Youth in Manchester a few years back, so we're thrilled to have this record in the works. Clash have just premiered the opening track from the album, have a listen to 'A Premise' now and catch your breath!
'Left Hand' is available to pre-order now on yellow and black vinyl editions here.
Catch Vital Idles at the following shows:
30 Liverpool The Buyer's Club *
31 Manchester Soup Kitchen *
1 Glasgow Mono *
3 Birmingham Hare & Hounds *
4 London Bethnal Green Working Men's Club *
6 York The Crescent Community Venue ^
* with No Age
^ with Jeffrey Lewis & Los Bolts
14 March 2018
Apostille's incredible new album 'Choose Life' is announced today! Coming out on LP/CD this June 8th, it truly is a colossal pop album of substance, have a first listen to 'Feel Bad'! 'Choose Life' is available to pre-order through our webshop on limited transparent red vinyl, black vinyl and CD now.
SOMEONE TO WATCH OVER ME
9 March 2018
Today No Babies excellent, new album 'Someone To Watch Over Me' is released through Upset The Rhythm. Featuring thirteen tracks that implode and empower in equal measure it proves a truly jaw-dropping listen. This stunning LP is pressed on red marbled vinyl and is available now in all good record shops as well as through our webshop.
MOODY BALLOON BABY
26 February 2018
Here comes the Moody Balloon Baby! Dog Chocolate's forthcoming album for Upset The Rhythm, out May 11th, oh yeh! Have a listen to 'Dog Chocolate 1995', don some velvet and join the chorus: "When do I become the dog I'm meant to be!" Recommended if you like bonfires, hazelnuts, Supermalt, umbrella-themed weddings, lower back pain, Sweden and calculating your bmi!
'Moody Balloon Baby' is now available pre-order in our webshop.
RADIO SHOW - EPISODE SIX
25 February 2018
Upset The Rhythm return here with the newest installment of our radio show, the sixth so far in the series! We've compiled two hours of the finest audio imaginable, tracks from Reptile Ranch, Klein, The Shriek and Shannon Lay all featuring. There's exclusive new songs from Dog Chocolate and No Babies cued up too, a plethora of field recordings from our recent concerts, and even a bit where we talk over the music inaudibly, classic! Let's do this...
10A Bradbury Street, Dalston, London, N16 8JN | Map
7.30pm | £8.00 | Sold Out
BRIGID MAE POWER is an Irish singer-songwriter and multi-instrumentalist who, like Judie Sill, Micky Newbury or 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 is about "trusting if you lose yourself or your way - you can come back".
New album 'The Two Worlds' is another masterful collection of effortless, affecting 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.
JOSHUA ABRAMS developed his voice in the rich ferment of the 1990s Chicago music world, participating heavily across the city's jazz, experimental & rock scenes. He co-founded the 'back porch minimalist' band Town & Country &, with Matana Roberts & Chad Taylor, the trio Sticks & Stones. In a very busy two decades Abrams recorded & toured with a remarkable range of artists including extended engagements with Fred Anderson, Bonnie 'Prince' Billy, Hamid Drake, Theaster Gates, Neil Michael Hagerty, Nicole Mitchell, Jeff Parker, Mike Reed, Matana Roberts, & The Roots. Abrams appears on over one hundred recordings. A film composer, Abrams has scored the music for five feature length films including the award-winning films Life Itself, The Interrupters and The Trials of Muhammad Ali.
Since 2010 Joshua Abrams has toured North America & Europe with a shifting-line up of musicians as 'Natural Information Society'. The group uses traditional & electric instrumentation to build long-form intricately psychedelic environments, composed & improvised, joining the hypnotic qualities of the Gnawan guimbri to a wide range of contemporary musics & methodologies including jazz, minimalism & krautrock. The band's album, Magnetoception (eremite), was selected by The Wire Magazine as the #3 record of 2015 & by Pitchfork as the #2 experimental record of the year. Current & former band members include Lisa Alvarado, Jason Adasiewicz, Mikel Avery, Ben Boye, Hamid Drake, Ben Lamar Gay, Emmett Kelly, Artur Majewski, Nick Mazzarella, Jeff Parker, Frank Rosaly, Jason Stein, Kuba Suchar, Nori Tanaka & Chad Taylor. In 2015, Natural Information Society & Bitchin Bajas collaborated on 'Automaginary', (Drag City). Their latest album, 'Simultonality' continues NIS's exploration of stasis, continuity, repetition and layering. 'Simultonality' was released back in April, 2017 on eremite records & Glitterbeat.
Wednesday 4 April
Bethnal Green Working Men's Club
42 Pollard Row, Bethnal Green, London, E2 6NB | Map
7.30pm | £12.00 | Sold out
NO AGE find themselves in a world bruised and bloodied with teeth already dug into the concrete curb, we find ourselves with the shadow of a large boot looming overhead. What better time for No Age? They know how to ecstatically rage & power on through pain, because what else are you gonna do? The future belongs to the cockroaches, and their new record is made for the disparate band of misfits who 2017 couldn't kill.
'Snares Like a Haircut' sounds like the goods, and smells like the buzzy burning off of an aura, the marine layer suddenly vanished, leaving a thin layer of smog over the songs, simmering sock gazing tunes, revved and displacing enormous amounts of sound soil. With 'Snares Like a Haircut', No Age scrub the itch in the little moments, engage actively with the process and carve/plaster/shave something in an album shape that'll last.
Re-imagined rippers, compelling ever forward; something that provokes, challenges on the ear. That was always the goal, but after a few years spent not No Age-ing, just working on that thing called life, is it any wonder that Dean and Randy wanted to pump out some rock and roll for the black hole? Does time mean nothing to you? Don't answer that.
VITAL IDLES are Jess, Nick, Matthew and Ruari. In 2015 they leapt fully formed from the fertile intersection of Glasgow's visual art and music undergrounds. Their early live shows were a revelation, all ecstatic dancing and incisive tunes that betrayed an affection for the pioneering run of 7"s from the dawn of Rough Trade and the more pop slanted sounds from the worldwide DIY boom that followed. Following on from their excellent cassettes on Comfortable On A Tightrope and recent 7" through Not Unloved, look out this Summer for their debut album on Upset The Rhythm.
MIAUX is responsible for some of the most expressive music coming from the Belgian underground. Miaux is a mistress of elaborate keyboard shenanigans of a very soundtrack-like nature. Her music is soaked with a haunted, lonely quality that touches the edges of mystery like a torch. Armed with a Casio and some skilful song writing abilities, her music is minimal, melancholic and timeless. The Antwerp-based musician has released her ethereal recordings mostly via Dennis Tyfus's essential Ultra Eczema label.
JAMIE STEWART has spent 2017 showing how skilled he is at multi-tasking, having toured the most recent Xiu Xiu album 'Forever', piled on the sonic pressure with Lawrence English as HEXA and having paid final homage to The Music Of Twin Peaks. 2018 sees that all change with Jamie committing to some rare solo performances. The format is simple: Jamie, electric guitar and voice, reducing the Xiu Xiu songs you know and love down to their most fragile husk state. As the principle songwriter, musician and vocalist behind avant-pop legends Xiu Xiu, Jamie Stewart is very much one of UTR's favourite artists. Jamie draws heavily from wildly disparate sources - cacophonous noise, gamelan, folk and the lush hooks of 80s UK post-punk, to name a few - while his tortured lyrics and anguished delivery consistently deal with the morose, suspected and the taboo. Expect new material, unusual covers and favourite tracks from the Xiu Xiu back catalogue, making for a truly memorable experience.
ERIC CHENAUX is an adventurous guitarist, singer and composer based in Paris. Having been an active player in Toronto experimental music circles with a host of group and collaborative works, Chenaux has more recently amassed a body of solo work across five albums on the Constellation label, centering around his dextrous, fried guitar playing as juxtaposed with a gorgeously lyrical vocal style. An ingenious recombinant use of traditional folk, psychedelic pop and consort music in earlier albums has over time evolved into a wholly uncategorisable form of balladry, shot through with a singular vernacular of guitar improvisation.
ED SCHRADER'S MUSIC BEAT are Ed Schrader and Devlin Rice - a minimalist punk duo from the fair city of Baltimore, Maryland. In the beginning there was only Ed: a man unhinged, channeling to the world a sacred message in the form of song. His only divining instruments: a single floor tom, one light, and a commanding baritone. He's a master songsmith who has reduced pop and punk to their most basic building blocks. Ed was soon joined by Devlin on bass, who proved to be an acute match for encapsulating the space-time from whence they came. Their union quickly brought about the release of their 2012 debut album 'Jazz Mind' and 2014's 'Party Jail' through Upset The Rhythm which The Wire said recalled "the percussion-heavy chants of Liars", with Ed "affecting a mournful Arthur Russell tone on the a cappella songs" whilst "roaring like Rollins" on the album's faster numbers. Since then, Ed Schrader's Music Beat have toured frequently in North America and Europe, notably alongside their friends Future Islands.
New album, 'Riddles' begins their new life. In search of a fresh direction, Ed and Devlin invited their close friend, electronic-pop maestro Dan Deacon, to expand their sound and experiment with them as the album's producer, arranger, and co-writer. Working steadily in Dan's studio for two years in total collaboration, three evolving musicians pushed through an intense period of personal tumult and found purpose in the sounds they were committing to record. The result: a polished and passionate masterpiece of nuanced alt-rock. From driving opening track 'Dunce' and the soaring single 'Riddles' to the disarmingly gorgeous closer 'Culebra', Ed and Devlin unapologetically channel a personal pantheon of pop and rock gods while growing into the band and people they'd previously kept caged inside. 'Riddles' is released through Carpark Records on March 2nd.
NAP EYES hail from Nova Scotia and Montreal and make crooked, literate guitar pop refracted through the gray Halifax rain. Recorded live to tape with no overdubs, their songs are equal parts shambling and sophisticated, with one eye on the dirt and one trained on the starry firmament, inhabiting a skewed world where odes to NASA and the Earth's magnetic field coexist easily with lyrics about insomnia and drinking too much. In the world of Nap Eyes, workaday details punctuate (and puncture) cosmic concerns, as songwriter, singer, and rhythm guitarist Nigel Chapman wrestles with air and angels, struggling (and often failing) to reconcile the Romantic rifts, both real and imagined, that define our lives: between chaos and order; solipsism and fellowship; the anxiety of social (dis)orders both big and small; and the various intersections and oppositions of religion, art, and science. It's the sound of being young and alive in the city, a tenuous and impermanent counterpoise of recklessness and anxiety, archness and earnestness. Following on from their 2014 debut 'Whine of the Mystic' and last year's 'Thought Rock Fish Scale' on Paradise of Bachelors, Nap Eyes will release their third album 'I'm Bad Now' on Jagjaguwar. 'Im Bad Now' achieves a new sonic clarity, depth, and range to match the group's effortless melodies and extraordinary writing. It's the band's most transparent and personal set of songs to date, in which singer Nigel Chapman interrogates social, psychological, and spiritual milieus for clues about the elusive nature of knowledge.
HALEY HEYNDERICKX is an emphatic singer/songwriter from Portland. Through soft acoustic guitar picking and deftly accented trombone sighs, Heynderickx's music immediately recalls folk music of the '60s and '70s mixed with a love of jazz radio. But Heynderickx's singing, her vocals that range from sultry to operatic, belie a tenacity in her soul. Her debut album, named 'I Need to Start a Garden' is due out March 2nd via Mama Bird Recording Co.
Internationally renowned US composer, saxophonist, mixed-media practitioner, and sonic voyager Matana Roberts (perhaps best known for her acclaimed Coin Coin project, ongoing and unfolding via Constellation Records) and British sound artist/improviser Kelly Jayne Jones. Roberts and Jones will weave their own approaches into live collaborative works informed by deeply expressive playing, tactile electro-acoustic interplay and a broader shared politics of resistance/defiance. This Upset The Rhythm show is part of the first in a series of special live shows commissioned by OUTLANDS, a new national experimental music touring network.
MATANA ROBERT is an internationally renowned composer, band leader, saxophonist, sound experimentalist and mixed-media practitioner. Roberts works in many contexts and mediums, including improvisation, dance, poetry, and theatre, and has released a diverse body of solo and ensemble work under her own name on Constellation Records and Central Control over the past decade. She is perhaps best known for her acclaimed Coin Coin project, a multi-chapter work of "panoramic sound quilting" that aims to expose the mystical roots and channel the intuitive spirit-raising traditions of American creative expression while maintaining a deep and substantive engagement with narrativity, history, community and political expression within improvisatory musical structures. Constellation began documenting the Coin Coin project in 2011 and has released the first three of a projected twelve album-length chapters to date.
KELLY-JAYNE JONES makes use of varying combinations of prepared recordings, text, rocks, found sounds and flute. Her work beckons a tussle with uncertainty, inviting exposure and vulnerability in performance, chasing experiences that open our chasms within, without restraint. Searching for humble principles of growth; physics; sound, connecting with others in the same space/moment, customary experimental play, with threads and beads of improvisation and interactivity. KJJ has had residencies at Arnolfini in Bristol UK and Kunstalle Bergen, Norway, and has produced commissioned works for Haris Epaminonda at dOCUMENTA13, Tate Modern, ICA London, Schirn Frankfurt, Point Centre Nicosia. She has performed, solo and with part wild horses mane on both sides, at CCA Glasgow, Trieze Gallery Paris, Borealis Festival, Tectonics Reykjavik, Hangar Bicocca in Milan and at Huddersfield Contemporary Music Festival.
COBY SEY is a vocalist, musician and DJ, who, after years spent buzzing around the DIY artist circuitry of South East London, has developed a distinctive presence as a performer and producer offering a shifting, disorienting vision of club music. A long-time collaborator with Mica Levi, Tirzah, Babyfather, Klein and Kwes, Coby's recorded work - as best evidenced on the 'Whities 010: Transport for Lewisham' 10" - spans the realms of live instrumentation, sample-based productions and experimental music, melding recognisable motifs of hip hop, drone, jazz, grime and more into a dubbed-out anaesthesia. Live, these dreamlike compositions are imbued with a heavy, uneasy dancefloor energy, often abetted by live vocals as well as saxophone interjections c/o regular cohorts Ben Vince and Calderwood. Coby's open-door approach to sharing and making music stretches to his work with London collective Curl, who release records and host events with a collaborative, improvisatory approach, as well as a regular slot on NTS which offers a portal into his appealingly murky musical world.
PROTOMARTYR return to London next May for their biggest show yet! Protomartyr play a taut, austere rock that's been incubated in a freezing Detroit warehouse littered with beer cans and cigarette butts and warmed occasionally by space heaters. Short songs made for short practices, and the band learned quickly not to waste time. Despite the cold, Protomartyr emerged with a sound that is idiosyncratic but relatable, hooky but off-kilter. With respect to the local predecessors, this isn't the primitive stomp of The Dirtbombs or The Stooges' greasy roar. Punk works, kind of, even if it leaves the hardcore kids confused. Post-punk suggests something too retro; indie rock, something too precious. What Protomartyr is, is "stuck between the cracks." If that's the case, though, they aren't alone. Protomartyr's economical rock elicits comparisons to possible antecedents like Pere Ubu or The Fall as well as local contemporaries like Frustrations or Tyvek (whose frontman Kevin Boyer played bass in an early iteration of Protomartyr). Singer Joe Casey's dry declarative snarl serves as a reliable anchor, granting his bandmates (guitarist Greg Ahee, drummer Alex Leonard and bassist Scott Davidson) the opportunity to explore textures and reinforce the rhythm section. This is never more apparent than on the band's brand new album entitled 'Relatives In Descent', out now through Domino. This show follows on from the band's long sold out Tufnell Park Dome show planned for next month.
ANA DA SILVA is a founding member of the pioneering female punk band The Raincoats. Ana has continually worked on music, in some shape or form, since the group disbanded in 1984. Soon after the release of The Raincoats' final album album, 'Moving', Da Silva collaborated with This Heat drummer Charles Hayward on a project called Roseland; they recorded a few demos together, but the duo faltered after that. She also wrote music for choreographer Gaby Agis' productions, but spent much of the '80s and early '90s painting and working in an antique shop. The Raincoats' reunion spurred Da Silva and the rest of the group to write new songs, resulting in the band's fifth album, 1996's 'Looking in the Shadows'. Da Silva resurfaced in 2005 with her solo record 'Lighthouse', a largely electronic collection of songs that she wrote, recorded, and produced herself for Chicks On Speed records.
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 debut self-titled album will be released on Upset The Rhythm and I Own You, look out this Summer for it's follow up.
MARY OCHER is back, following last year's UK dates with 'The West Against The People', Ocher returns with a new 10"/tape of 'Faust Studio Sessions'. Mary has been persistently creating passionate, uncompromising work, raw, thought provoking, socially and creatively pushing against the current, dealing with subjects of authority, identity and conflict. Her work is as enchanting as it is polarizing, ranging from traditional folk to raw 60s garage, ambient with ethereal vocals and abstract synths, to experimental pop with African and South American rhythms, when accompanied by her drummers.
'The West Against The People' was released on the German label Klangbad in spring 2017 and recorded with Hans Joachim Irmler of Krautrock pioneers Faust. It features solo tracks, as well as tracks with her two drummers Your Government, and elusive cult legends Die Todliche Doris and Felix Kubin. 'Faust Studio Sessions' showcases additional collaborations with cello player Julia Kent and German experimental artist Hans Unstern. Her previous solo release was produced by Canadian Psych Rock&Roll guru King Khan.
SCREAMING FEMALES are one of those force-of-nature bands that only comes around once in a blue moon. Their story starts in New Brunswick in 2005, with Marissa on guitar and vocals, Jarrett on drums and Michael on bass. 'Power Move' was the band's first full-length with any label (or any outside help) and was released by their hometown label, Don Giovanni Records, in 2008. They've gradually sneaked into a wider mainstream consciousness, gaining attention for their punk rock sensibilities and their raucous live shows driven by Marissa's famed guitar heroics. Now Screaming Females are DIY-punk luminaries, on the cusp of celebrating 13 years as a band by releasing this February's new album, entitled 'All At Once' on Don Giovanni Records. The band collaborated with producer Matt Bayles, setting out to make an album in the spirit of a salon-style gallery show, where larger pieces provide an eye-level focal point to a galaxy of smaller works. Concision took a back seat to experimentation, with arrangements meant to evoke the energy and spontaneity of their live performances. 'All At Once' is a reminder there's a hopeful and joyful energy to underground music-making. Patience, perseverance, and long term dedication still work.
JOHN MAUS is a truly enigmatic musician. Broadly cut from the synth pop cloth, he's fashioned the frosty minimalism of its fabric into a cloak of infinite meaning, genuine grace and absurdist humor over the course of three defining albums since 2006. His music is a highly mutable affair, whilst often described as retro-futurist on behalf of the 80's drum machines and synth sounds employed, John's music is more personal than the nostalgic re-tread implied. There's a cinematic quality to his songs, with pathos conjured through propelling bass-lines, trailing arpeggios and of course his deeply resonant vocal. Moroder helped map out the territory but Maus is more interested in seeking cadence through his love of Renaissance polyphony and the experimentation behind post punk. It's an amalgamation of musical ideas as radical as its intent.
Maus is a 'man out of time' trying to make sense of the inhumanity of our world through his mobilisation of the language of punk rock. His aim is true as he reaches for the seemingly impossible. It's a want to emerge as part of greater multiplicity, to appear, to become, to connect that powers his songs and the man himself. It's now been six years since the widely lauded album 'We Must Become The Pitiless Censors Of Ourselves' appeared like a thunderbolt of maniacal energy and turned everyone's heads. Last October his fourth album proper entitled 'Screen Memories' came out like a clarion call through Ribbon/Domino, this April sees the release of his career defining boxset and new album 'Addendum'. John Maus has returned to save us all from the apocalypse, now he is accompanied by his electrifying live band the triumph of the human is nigh!