Stereogum have kindly announced our new album for Melbourne glam pop country bops Terry. The album is entitled 'Remember Terry' and will be released through Upset The Rhythm on June 30th. They will be touring Europe around the same time, so watch this space and also watch this brand new video for lead single 'Take Me To The City'.
LISTEN UP! 'CACHUPA' BY PEGA MONSTRO
17 May 2017
Wonderland have just premiered this excellent brand new track by Pega Monstro about a traditional stew called 'Cachupa' that's as hard to digest as a lot of modern life, check it out! 'Cachupa' is taken from the band's forthcoming album 'Casa de Cima', out June 2nd on Upset The Rhythm.
RATTLE - 'TRUE PICTURE'
15 May 2017
Watch Rattle's magnificent video for 'True Picture' premiering now on Tom Tom Mag! Features significant cameos from Park Hill housing estate in Sheffield. 'True Picture' is taken from last year's stunning debut album entitled 'Rattle', available here.
RAT COLUMNS - NEW VIDEO
11 May 2017
Get ready to vogue with David West, here's Rat Columns new video from their astonishing new album 'Candle Power', out now on Upset The Rhythm. 'Blinded By The Shadow' just premiered on the excellent Raven Sings The Blues.
BANISHING RITUAL RELEASED
2 May 2017
Feature's debut album 'Banishing Ritual' is now available on white 180g vinyl as well as digitally. Here's a photo of the record out in the wild so to speak. Check out their songs in our soundcloud playlist below too.
PEGA MONSTRO ANNOUNCE NEW ALBUM, HAVE A FIRST LISTEN!
21 March 2017
Fantastic news! Portuguese dream-punk sisters Pega Monstro have a brand new album entitled 'Casa de Cima' planned for release on June 2nd. You can hear the immense 'Partir a Loica' taken from the album now as Loud & Quiet have just premiered the track. 'Casa de Cima' by Pega Monstro will be released on LP, CD and digitally through Upset The Rhythm & Cafetra Records and is available to pre-order now!
BAMBOO - NEW ALBUM ANNOUNCED!
6 March 2017
Very pleased to announce today that our pre-order link is now live for our upcoming new album by BAMBOO. The extraordinary album is entitled 'The Dragon Flies Away' and weaves Japanese/Korean folkloric myths into the personal fabric of being. Released on May 26th, the album is available to order on transparent blue vinyl and digipak CD as of now!
1a Amhurst Road, Hackney, London, E8 1LL | Map
7.30pm | £8.00 | SOLD OUT
This show was originally at The Victoria, original tickets still valid.
PRIESTS are Daniele Daniele (drums), Katie Alice Greer (vocals), G.L. Jaguar (guitar), and Taylor Mulitz (bass). Formed in 2011 in Washington DC, the band has proven a valuable force for strangeness in a city that is increasingly terraformed by norms. At a time when few groups were making serious moves beyond the Beltway, Priests toured throughout North America and Europe. More significantly, they've helped to raise the general standard of show-going at home through cassettes and singles released on Sister Polygon, including music by bands like Sneaks, Snail Mail, Pinkwash, Cigarette, Downtown Boys, and numerous Priests-affiliated groups like Gauche and Flasher. Still, even amidst thriving hometown creativity, Priests possess a singular gravity. They are physical and combustible, urgent and visceral. This January, Nothing Feels Natural, the band's first full length LP was released on their own label Sister Polygon Records. It's the bands most stylistically diverse set of songs to date, expanding on their lo-fi post-punk bona-fides with ideas drawn from pop, R&B, and industrial noise. Thematically, Nothing can be understood as a series of vignettes - nine stories that crystallize into a bigger picture about the economics of human relationships, the invisibility of feminized labor, and the dual purpose of art for both the group and the individual. It's a record that thrives amid the tension between that what is valued and what is dismissed; between what is desired and what is presented.
NB. This is a rescheduled date, all original tickets for April 20th are still valid.
OOIOO has always created a musical language all its own. Under the leadership of Yoshimi, also a founding member of Boredoms, the group has recorded six albums that have subverted expectations and warped perceptions of what constitutes pop and experimental music. Four years of work went into to making Gamel, their bold new album inspired by the Javanese style of gamelan and the first new music from Yoshimi in over five years. Gamelan is an ancient form that has inspired a great many composers and musicians over the past century, from Erik Satie and Claude Debussy to Mouse on Mars and Sun City Girls. The introduction of this traditional form transformed the group into a super tribe, side-stepping the road between the past and the future. Their focus is not to replicate these ancient styles, but to incorporate them into their consistently inventive, constantly shifting musical frameworks. They take their love of indigenous music into an entirely new dimension by freely weaving organic and electric tones into a vivid tapestry, employing their keen sense of color and texture.
Yoshimi began her music career in 1986 playing drums in UFO or Die with vocalist Eye, and later joined him in the revolutionary noise-pop group Boredoms. Her explosive drum performances captivated audiences and even inspired Wayne Coyne to name a now-famous Flaming Lips album in her honor. While the band's tours of the United States are infrequent, they are as the New York Times has stated, transcendent.
BAMBOO is the sublime project from Nick Carlisle (of Peepholes, Don't Argue) and Rachel Horwood (of Trash Kit, Halo Halo). Their music is vivid and deeply poignant, locking into a magnetic attraction between Rachel's flawlessly resonant folk cadence and Nick's pristine synth pop production. Bamboo's second studio album, The Dragon Flies Away, is due 26th May on Upset The Rhythm on LP, CD and digitally. Initially released last winter on a limited run of 50 cassettes with an accompanying zine designed by Horwood, 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 Dragon Flies Away' presents its story in two acts and is now presented newly re-mastered 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.
NOTS are a 4 piece, all XX, "nuevo no wavo" band from Memphis, TN. Unpredictable guitars, celestial synths, and punctuated vocals swirl around the repetition of a powerful rhythm section to form a sound and a live show not easily classifiable but entirely addictive. Drummer Charlotte Watson and guitarist / frontwoman Natalie Hoffmann are the band's two constants throughout a handful of roster changes. NOTS' current lineup also includes Alexandra Eastburn on synth, an instrument she picked up to join NOTS and to record on their first full-length LP We Are Nots, and bassist Meredith Lones, another new Memphis musician, and the most recent addition to the band. NOTS' newest punk-noise-psych-collision LP, Cosmetic, aggressively follows on the heels of their debut LP, foreshadowing an ever expanding experiment in direction of things to come for the band. NOTS have releases on Heavenly & Goner Records, plus a brand new live 7" on Third Man.
THE WORMS is a stripped-down, future-primitive negative-capability trio making politely furious snotty punk minimalism. A snarling update on Messthetics culture with even more of the fat boiled off and the anger dialed up.
THE SPACE LADY began her odyssey on the streets of San Francisco in the late 70s, playing versions of contemporary pop music an accordion and dressed flamboyantly, transmitting messages of peace and harmony. Following the theft of her accordion, The Space Lady invested in a then-new Casio keyboard, birthing an otherworldly new dimension to popular song that has captured the imaginations of the underground and its lead exponents ever since, with the likes of John Maus, Erol Alkan and Kutmah being devotees. Of her early street sets, only one recording was made, self-released originally on cassette and then transferred to a homemade CD. "The Space Lady's Greatest Hits" released in 2014 through Night School features the best of these recordings - mostly covers but with some originals - pressed on vinyl for the first time and features archival photographs and liner notes from The Space Lady herself. "Greatest Hits" contains The Space Lady's personal favourites; her haunting take on The Electric Prunes' "I Had Too Much To Dream (Last Night)," a frantic "Ballroom Blitz" amidst other reconstructed pop music. Following on from this wonderful record, The Space Lady released last year a split LP with the Burnt Ones on Castle Face records which included her spectral take on 'Across The Universe'.
FLOWERS MUST DIE have a name inspired by Ash Ra Temple's great masterpiece, so you might easily assume that Flowers Must Die is just yet another band on the, stylistically rather narrow, spectrum of space rock revivalism that has grown increasingly crowded over the last decade. And you would be right, but only to a certain extent. Sure the Hawkwind and Amon Duul II influences are there and yes, there is definitely an abundance of effect pedals and improvised freak-outs. But if you try to look beyond that you might be able to catch the nuances. It's these nuances that inspire some listeners to come up with new labels like Doom Jazz and Oriental Hard Rock to describe FMD's music. Flowers Must Die started playing together in 2006 in Linkoping, Sweden. They have shared a bill with a lot of great bands like OM, White Hills, Konono No1, Master Musicians Of Bukkake, Hills and In Zaire. Check out their recent album 'Kompost' on Rocket Recordings.
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 will support the release of 'Peasant' with a full UK tour - his first featuring a full live band. Joining Dawson will be long-time collaborator violinist Angharad Davies plus Johnny Hedley and Matt Baty of Pigs Pigs Pigs Pigs Pigs Pigs Pigs.
TERRY is getting ready, combing his hair, buttoning his jacket, turning the key in the door. "I'm doing fine," sings Terry out loud, he knows. Divide him into four and you get Al Montfort (UV Race, Total Control, Dick Diver etc.), Amy Hill (Constant Mongrel, School Of Radiant Living), Xanthe Waite (Primo, Mick Harvey Band) and Zephyr Pavey (Eastlink, Total Control, Russell Street Bombings). Inevitably, Terry likes to make a noise. Drums, guitars and all his voices come into play, making a solid raft for Terry's inner musings to navigate the languid rapids. This all unravels at its own pace, sometimes drifting into glam pop and country backwaters, always conducting a conversation with the commonplace. Love is a highway, but you're not likely to find Terry there anymore. He's on the plane. Terry saw the light, he put on his sunhat and is heading to Europe. Debut album, 'Terry HQ' was released last year by Upset The Rhythm, look out for a new album around this tour!
SHEER MAG begins like so many other celebrated rock 'n roll bands of yore: with two brothers. Following in the tradition of The Bee Gees, Oasis and The Allman Brothers, the brothers Seely conspired to create a rock 'n roll band to end all rock bands. The sheer magnitude of the endeavor required the recruitment of a daring drummer, a fearless lyricist and a diva who could party good AND write the rent check. With the pantheon assembled, MAG quickly recorded and released their debut 7" to cosmic acclaim. The band now stands poised on the brink of world domination or complete destruction. Is it Punk? Is it Rock 'n Roll? We'll leave that to the music 'critics.' But it is punk.
PIKACYU-MAKOTO is an alliance between two figureheads of underground Japanese psych/pop, the musically promiscuous Kawabata Makoto (most famous for his leadership of the legendary Acid Mothers Temple), and Afrirampo's Pikacyu. Pikacyu's drums pummel, jitter, crash and stumble, but steadfastly refuse to groove. She layers her voice several times, competing with pitch-shifted versions of herself whilst Makoto attacks his guitar, cloaking himself in reverb to produce a wall-of-sound, alternating between melody and noise. No strangers to one another, the pair have not only gigged together with their respective bands but also recorded together, when these two outfits temporarily fused in 2005 to become Acid Mothers Afrirampo (releasing an album of the same name). Now they have distilled their collaboration, all other players being stripped away to leave the core of Pikacyu's manic drums and pop vocal, and Makoto's schizoid guitar conjurings. Brand new album 'Galaxilympics' is out on Upset The Rhythm on August 4th on LP and CD.
SPRAY PAINT are a no wave punk outfit from Austin, Texas made up of Chris Stephenson (drums/vocals), Cory Plump (guitar/vocals) and George Dishner (guitar/vocals). Spray Paint's buzz-sawing guitars run headlong through labyrinthine tunnels of reverb, chased down by some wildly brain-bashing drums. All three members of Spray Paint sing too, helping create an uncontrollable sense of fervour as they jostle for the words. They work up a tone of paranoia amid the jagged rhythms, locking into a motoric groove that's impossible to escape from, offset with stormy blasts of distortion. Since forming in 2012, Spray Paint have released six LPs and 7"s through SS-Records, Goner, Upset The Rhythm and Monofonus Press. They've wasted no time with hitting the road either, touring the US many times, with their friends Protomartyr and The Rebel.
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.
NAP EYES hail from Nova Scotia 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 the reissue of their 2014 debut 'Whine of the Mystic' on Paradise of Bachelors, Nap Eyes released an album of all-new material entitled 'Thought Rock Fish Scale' last year, following that up with two incredible London shows!
LE TON MITE
Monday 4 September
NB. This is the new date for Deerhoof's postponed Feb 6th show, original tickets remain valid
DEERHOOF are an alchemy of '77 punk, pop, glam, hair metal, doo-wop, hip hop, and R&B, late-night car rides, long days, spandex, shadows, and attitude. Poetry into noise, volume knobs into pleasure, friendship into rock band.Twenty years deep into their career it's safe to describe them as legends of the American underground, releasing 14 albums and treating the world to their never-the-same-twice thrill-ride of a live show. Recent album 'The Magic' is out now on Upset The Rhythm, it is a mixtape imbued with Deerhoof's sorcery; boldness, wonder, technical know-how, risk. A mixtape by the kid with the biggest music collection you've ever seen, who will take you camping and show you how to pull a rabbit out of a hat. Are Deerhoof the greatest live band in the world? If you shake the Magic 8-ball, "all signs point to yes"!
LOWTIDE's murmurs have been growing of late. The shimmering vocal exchanges between Lucy Buckeridge and Giles Simon and their unique dual bass lines are pivotal to their shoegaze sonics. These hazy vocals and swirling guitar effects are given room to breathe as the band masterfully exploit rhythm and space. Australian fans have been enjoying all of this since 2014 - as well as a cover of Asylum Party's 'Julia' in 2015. Here in the UK we only got the record last August - and it's been spinning on our stereo regularly since then. 2016 was a breakthrough year for the dream pop / indie pop / shoegaze specialists who received critical acclaim for their inaugural long-player including in Rough Trade's renowned 'Albums Of The Year' list whilst also having amassed 4 and 4.5 star reviews in many of their homeland of Australia's magazines, and a string of sold out shows.
DOWNTOWN BOYS use their ferocious energy and powerhouse live shows to unite crowds in the struggle to smash racism, queerphobia, capitalism, fascism, boredom, and all things people use to try to close our minds, eyes and hearts. The Providence, RI band have just announced their third album, Cost of Living, to be released August 11th on Sub Pop. The new album - the follow-up to their critically-acclaimed sophomore album, 2015's Full Communism - is at once incendiary, cathartic, and fun, melding the band's revolutionary ideals with boundless energy. Produced by Fugazi's Guy Picciotto, one of indie-rock's most mythological figures (he also produced Blonde Redhead, The Gossip, and others), Cost of Living shows a sense of maturity without compromising the band's righteous assault and captivating presence.
The position of Downtown Boys has been clear since they started storming through basements and DIY spaces with their radically-minded, indefatigable rock music: they are here to topple the white-cis-het hegemony and draft a new history. This is how Downtown Boys began, and their resolve has only strengthened as both their sound and audience have grown. Like the socially conscious groups of years past, from Public Enemy to Rage Against the Machine, Downtown Boys harness powerful sloganeering, repetitive grooves, and earworm hooks to create one of the most necessary musical statements of today.