Noisey just helped us announce out next record, The Green Child's self-titled debut album, by premiering colossal closing statement 'Destroyer'! The Green Child is the long distance musical collaboration of Mikey Young and Raven Mahon, who met in 2013 when their bands, Total Control and Grass Widow played a show in Oakland, California. They started writing songs together in Australia in 2014 and the project has been on a slow burn since. 'The Green Child' is due for release on January 12th through Upset The Rhythm on 180g black vinyl, accompanied by some spirited sleeve design by James Vinciguerra.
MORE WEALTH THAN MONEY
8 December 2017
What a brilliant day, flecked with snow and ice and sharp winter light. Thirty-five years ago Normil Hawaiians released their debut album 'More Wealth Than Money', today we're thrilled to re-release this stunning album so it can stride out into its unique field of sound again. 'More Wealth Than Money' takes the listener on a quest over its four sides of vinyl as the group's communal take on post punk starts sprouting leaves from its mouth, beginning to carve out a new furrow of dark psychedelia, industrial folk and a peculiarly British kosmische.
RADIO SHOW - EPISODE THREE
1 December 2017
Pass the time away with our third installment of Upset The Rhythm's radio show for CAMP Radio. Spend two hours in our company whilst we play lots of favourite records alongside a plethora of live recordings from the past month's concerts too. Hope you enjoy the music!
INHERIT THE WIND
18 November 2017
Watch this truly mesmerising new video from Darlene Shrugg, one of our favourite tracks from their self-titled album out now through Upset The Rhythm! Thanks to Pop Matters for premiering.
DARLENE SHRUGG OUT NOW
5 November 2017
We're delighted to share with you our new album from glammed-up, high-intensity rock group Darlene Shrugg. Out now, the band's self-titled debut album is a concise blast of the sublime. Absorbing then inverting classic rock, this record brims with imaginative production, brash theatricality and uninhibited energy.
Darlene Shrugg represents a collaborative convergence, featuring Maximilian Turnbull (formerly Slim Twig), Meg Remy (U.S. Girls), Simone TB and Carlyn Bezic & Amanda Crist, also known for their electro-pop project, Ice Cream. This certain alchemy has helped to establish the unique force found on this debut album. 'Darlene Shrugg' is available now on LP and CD through Upset The Rhythm, our web shop is primed and ready here.
RICHARD DAWSON can never been accused by listeners of a lack of artistic ambition. Whether they got on at the last stop - the 4 track Tyneside-Trout-Mask-through a-Vic and Bob-filter of 'Nothing Important' - or earlier in the journey, with 'The Glass Trunk's visceral song cycle or 'The Magic Bridge's sombre revels. Devotees of his earlier recordings will be at once intrigued by and slightly fearful of the prospect of a record that could make those three landmark releases look like formative work. 'Peasant' is that album, released on June 2nd through Weird World / Domino. From its first beguilingly muted fanfare to its spectacular climax exploring a Dark Ages masseuse's dangerous fascination with a mysterious artefact called the Pin of Quib, it will grab newcomers to Dawson's work by the scruff of the neck and refuse to let them go until they have signed a pledge of life-long allegiance.
Driven forward by exhilarating guitar flurries, Qawwali handclaps and bursts of choral ferocity, 'Peasant's eleven tracks sustain a momentum worthy of the lyrics' urgent subject matter. Dawson describes the themes of these songs as "Families struggling, families being broken up by circumstance, and - how do you keep it together? In the face of all of these horrors that life, or some system of life, is throwing at you?" The fact that these meticulously wrought narratives all unfold in the pre-mediaeval North Eastern kingdom of Bryneich - "any time from about 450AD to 780AD, after the withdrawal of the Roman Empire"- only makes their contemporary relevance more enduring.
Dawson's objective was to create "A panorama of a society which is at odds with itself and has great sickness in it, and perhaps doesn't take responsibility - blame going in all the wrong directions". But encountering 'Peasant's captivating sequence of occupational archetypes ('Herald', 'Ogre', 'Weaver', 'Scientist'), listeners might find themselves wondering if these multitudes could somehow be contained with one person. Dawson has already supported the release of 'Peasant' with a full UK tour - his first featuring a full live band. After wowing audiences at St John On Bethnal Green this June, it's a pleasure to welcome Richard back for an Xmas show with live band to play the esteemed Islington Assembly Hall.
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.
At this very moment the group existed solely for the music, living together in a small cottage in the shadow of Foel Studios in the Welsh hills, sharing everything together and working long days to nurture and then burnish the music they had discovered between them. This is how the band's debut album 'More Wealth Than Money' was formed, through trial and close listening, through cultivation and patient growth. Of course there were significant amounts of mushrooms involved too and several UFO sightings, but when the sheep began to march in time to the music Normil Hawaiians knew they were creating something unique. 'More Wealth Than Money' will be re-issued lavishly on double LP this December through Upset The Rhythm, they are celebrating this release by performing t this special Xmas show at Islington Assembly Hall too.
MOOR MOTHER is the viscerally charged output of Philadelphia based interdisciplinary artist, Camae Ayewa. Her music is often harsh and strange, projecting both the cathartic anger of punk and the expansive improvisatory spirit of Sun Ra. Using a variety of machines, field recordings, and analog noisemakers, Ayewa constructs fractured, cacophonous waves for her words of punishing pertinence to ride. As a musician performing under the name she has toured in Europe and the U.S. at numerous festivals, colleges and universities sharing the stage with King Britt, Islam Chipsy, Claudia Rankine and Bell Hooks. As a soundscape artist she has had work featured at Samek Art Museum, Metropolitan Museum of Art Chicago, and Everson Museum of Art.
Her latest album, Fetish Bones, was released through Don Giovanni Records in September 2016. The album features 13 songs conceived and recorded in Camae's home studio and it is an album intended as a form of protest and as form of time travel - a collection of sounds that are events themselves, telling stories rich in history about the journey that brings us to today and the future we are creating. Fetish Bones is not an album meant to help you forget. It is made so that you will remember the injustices that we bear witness to and participate in.
NO HOME is the musical project of Charlie Joseph. Her most recent EP, Self Preservation, was written over the summer of 2017. On the EP, No Home tackles the toxicity of masculine power, realisations through Tinder dates, and how to preserve yourself. The project takes inspiration from Bon Iver, Frank Ocean and Mitski.
DAVID NANCE, Omaha veteran of warble and hiss, returns with Negative Boogie, his new concoction of chug, throb and greasy swagger. For Boogie, Nance trades in his beaten up Tascam 488 for the bullet-proof, glass walls of A.R.C. Studios. Where else can you brew the negative boogie? And what exactly is the negative boogie? Well, it's a bit like Canned Heat but with Pere Ubu's queasy rhythms and someone playing five finger fillet with Swell Maps. Ensconced in his ivory tower and soundproof rooms, Nance reached for unlikely weapons to tear down his own lofty experiment. He had his pick of rare guitars, cowbells, steel drums, vintage amps, Crazy Horse microphones, mellotron, and the restless but indefatigable rhythm section of Kevin Donahue and Tom May. They started at sunrise and recorded 15 songs by midnight. Maybe it's his Midwestern work ethic, maybe he's a sonic cheapskate. Maybe it's just the sound of negative boogie. True to habit, Nance built on scraps and scrapes as his starting point. "Some songs were unused for half a decade, some songs were changed the day before recording and some songs were recycled and reinterpreted from the last album leftovers," he says. And yet, bits and pieces, false starts and vicious jams, all came together like the cover art collage suggests, to make something he's never done before - a rock epic. These songs stab and flow into one other like a perfectly orchestrated classic. The songs are drenched with Nance's most biting and comic lyrics to date, peaking on "D.L.A.T.U.M.F. Blues". And ripping through the entire thing is the cracked power he yanks out of the guitar, a veritable The Good, The Bad and the Ugly of riffage. This is a departure for Nance. It's bigger and grander but it's far from easy music. It's his Plastic Ono Band, his For Your Pleasure, his fever dream of Rocket from the Tombs. Shredders sit with jangling rockers, manic energy spills into depressive torpor, providing the ultimate record experience: one of power, nuance and emotion. But this of course is only a press release, written by a team of robots using words programmed to seduce you. You knew that, right? Did it work? Whether you are nodding yes or shaking no, it's safe to say that we are all dancing the negative boogie.
SHOPPING are propulsive bass lines, primitive disco-not-disco drums and guitar lines sharp as broken glass. The band was formed in 2012 by members Rachel Aggs (guitar), Billy Easter (bass) and Andrew Milk (drums), who've all done time in a plethora of notable UK DIY bands including Trash Kit and Wet Dog. They pull from a well of 70's post-punk with a voraciousness seldom seen these days, bringing to mind the jagged aggression of Gang of Four, the voracious yelp of The Slits and the dance inducing thrust of Delta 5 . Their debut LP 'Consumer Complaints' was released November 2013 in the UK via MILK records and quickly sold out its first pressing. A US re-issue of 'Consumer Complaints' came out in 2015 via Fat Cat records, followed up by their excellent second album 'Why Choose?' The band are tirelessly committed to taking their sound to new audiences and spreading the Shopping gospel, securing impressive gigs along the way including main support for ESG and Gang Of Four as well as a BBC 6 Music session for Marc Riley. They have toured in the UK and throughout Europe numerous times over the last few years and last year toured the USA with also awesome Gauche, look out for a new album 'The Official Body' through FatCat imminently!
GUN OUTFIT make music that sounds like a stone eroded by years in the arroyo, their enveloping 'Western expanse' aesthetic of guitar levitations and honky-tonk hexes have become gradually smoother over time. Their fifth LP ranks as their most brutally beautiful statement yet. Drawing from mythologies both classical and postmodern, 'Out of Range' builds a world in which Brueghel, St. Augustine, and the goddess Cybele ride with John Ford, Samuel Beckett, and Wallace Stevens on a Orphic-Gnostic suicide drive towards the hallucinatory vanishing points of the Southwestern desert, debating the denouement of the decaying American dream.
CHAIN AND THE GANG are a dynamic and irresistible live combo that pens provocative, unforgettable odes to obedience and total destruction. They are led by the remarkable Ian Svenonius; the prime mover behind two of the most essential bands of our time, Nation Of Ulysses and The Make-Up, and author of several books, including The Psychic Soviet and Supernatural Strategies for Making a Rock 'n' Roll Group. Ian is also an online talk show host and auteur filmmaker. Chain And The Gang deal in a radical rock n roll that updates rock, blues, and gospel music or vocal quartets from the late 50s /early 60s for the discerning few. After nodding off to the washed-out zzzounds of the latest five-star folly critic's catastrophe, Chain & the Gang decided to respond with their patented perversity; they reached to the farther corner of the lab and came up with an immortal classic in the hard-to-hear genre of 'EXPERIMENTAL MUSIC'. Its a foot-tapping, head scratching, torso tornado that will crinkle the connossieur's temple in a tantrum of cerebral delight. 'EXPERIMENTAL MUSIC' is due for release through Radical Elite Record soon.
SHANNON LAY is a L.A. singer-songwriter whose new album, 'Living Water', is a work of 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. 'Living Water' was recorded by Emmet Kelly (Cairo Gang, Bonnie Prince Billy, Ty Segall) in his Los Angeles home studio and you can even hear the room reacting to the music taking shape around it. Shannon has a voice that transcends time and space. You can't tell if she's old or new, if she's sitting next to you, on a mountain top, or down in some canyon. Already her second LP to be released in 2017, Shannon is a prolific songwriter, one who lives and breathes melody and with guitar skills to boot. Despite it's 14 tracks, Living Water comes in well under 40 minutes, but like Pink Moon or Just Another Diamond Day before it, this is music so potent it exists outside the realms of time - but in a world specific only to itself and the new feelings it creates. 'Living Water' is a life-affirming celebration of the wounds we all wear, captured with Shannon's deceptively straightforward approach. Like a late-summer sky the colour of a robin's egg, the album's outward simplicity masks the vastness of what lies behind. Having just finished a tour with Ty Segall, Shannon is set to support Kevin Morby on a national tour this winter.
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.
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.
Tickets go on sale at 10am on Wednesday 1st November
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.