JOIN THE REVOLUTION!

3 February 2023

Upset The Rhythm's 150th release is propelled out into the world today, and it's an especially sprightly and nimble affair!

Historically F*cked's new album entitled ‘The Mule Peasants’ Revolt of 12,067’ is a tour de force of improvised, rock unhingement. Out now on 180g black vinyl, accompanied by some worrisome sleeve artwork this record is not mere Sedentary Rock but Blasted Basalt, Frog worshipping cave-funk, harmolodic hullabaloo-wop, a musical game of “badger in the bag”.

The Quietus hit the nail on the head this week when they said: "It sounds like an unstoppable party! Sure, one for a selective clientele, who dig Fluxus methodology and Skin Graft Records catalogue obscurities and the well-spoken goofballs of post-AMM British free music – but those people might just dance you squares under the table."

‘The Mule Peasants’ Revolt of 12,067’ is available to buy in all the best shops and our own webstore here! Join the revolution!

CALL ME TERRY

25 January 2023

Call me Terry!

It’s been a while! Pick up the phone and tell us about your new album. The Melbourne masters of politico-pop DIY wobble return this April with their fourth album ‘Call Me Terry’. Today you can hear their new single ‘Gold Duck’ and also pre-order the album on LP (180g red and black vinyl LP versions, CD and digital too), what a world! Terry says “Gold Duck is a song about how entitlement constrains change. Words are nice. Burn the flag."

Terry is ready, are you?

'Call Me Terry' is available to pre-order now on 180g red vinyl, black vinyl, CD and digital now, check out our shop here!

SHAKE CHAIN LP

7 December 2022

Shake Chain's monolithic debut slab of an album entitled 'Snake Chain' is now flying out of UTR headquarters! All pre-orders have been already dropped off at the festooned post office. These should be in your hands later today/tomorrow. Do Santa a solid and bag him one for Rudolph now!

REVOLTING MULE PEASANTS

2 December 2022

Three cheers! We’re working with Historically Fucked on their new album entitled (wait for it…) ‘The Mule Peasants’ Revolt of 12,067’. Out in early February this record is not mere Sedentary Rock but Blasted Basalt, Frog worshipping cave-funk, harmolodic hullabaloo-wop, a musical game of “badger in the bag”.

This is Rock and/or Roll as fertilizer, uncivilised and free, as if one were to imagine what the Plastic Ono Band would’ve hit upon if they had read ‘Riddley Walker’, the sound of an entire timeline of expression put back together back-to-front, misshapen and fully irradiated. ‘The Mule Peasants’ Revolt of 12,067’ is now available to pre-order on 180g black vinyl here!

SNAKE CHAIN RELEASED TODAY!

18 Nov 2022

Unhinged, crazed, neo no-wave; all words used to describe Shake Chain’s stupendous debut album ‘Snake Chain’ released today on Upset The Rhythm. Listen loud via all the usual digital zones, including bandcamp.

Splotchy red/clear splatter vinyl LPs are due to arrive at UTR headquarters at the end of November, available to order here with jubilance now!

SHAKE CHAIN - 'MIKE'

9 Nov 2022

Shake Chain's manic maelstrom of a new single 'Mike' is released today! Check out the video on Pitchfork now, featuring some casual microphone worship, chair entanglement and the classic 'Shake Chain' crawl! Miiiiiiiiiiike! Shake Chain's debut album 'Snake Chain' is released by Upset The Rhythm this month.

SHAKE CHAIN - INTERNET

12 October 2022

“Don’t put that on the internet

Ahhhhhhhhhhhhhhhhhhhhhh

Don’t put that on the internet

Ahhhhhhhhhhhhhhhhhhhhhh”!

The most excellent Post Trash just premiered Shake Chain’s palpitating new single ‘Internet’ today, out everywhere in the verdant digital realm tomorrow! The irony weighs heavy. Ahhhhhhhhhhhhhhhhhhhhhh. Enjoy!

SHAKE CHAIN / SNAKE CHAIN

15 September 2022

OK, OK, OK, RU OK? Some fantastic news to share with you today! Upset The Rhythm will be releasing Shake Chain’s debut album ‘Snake Chain’ in November. Demolishing audiences and expectations alike, Shake Chain are a London quartet who’ve set their compass to unruly, lyric-bespattered headbangs of radiant abandon. There’s a nervy propulsion of bass lines at play, twitchy guitars that jolt and tack-sharp drums, all overridden by screeching vocal slurs and sampled television. Raven Sings The Blues just premiered the group’s first single from the album (‘RU’ out on all digital platforms today) describing vocalist Kate Mahony as “working the atonal tension like few in her field, thrumming the nerve of the universe like Yoko Ono covering X-Ray Spex.”

Shake Chain’s songs are populated with cowboys, cherry-pickers, content-addicts, private investments, a careless driver called Mike, architects and by much lamentation at the state of our confusing existence. The band are truly cathartic and absurd, humorous and deadly serious, yet always inspired. It’s this tightrope walk which makes their album ‘Snake Chain’ such a dauntingly brilliant listen. ‘Snake Chain’ will be released on November 18th by Upset The Rhythm, a limited 180g red/clear splatter vinyl version is available to pre-order now

INDOORS WITH ROBERT SOTELO

24 July 2022

Robert Sotelo has an immense new album entitled 'Indoors' coming out digitally through Upset The Rhythm on September 16th, a synth-bleached collection of lean pop potions and hillsides of emotion. Technically a sister album to his recent 'Celebrant', 'Indoors' has more life about it than a simple companion piece. Hugely reflective bops that cascaded into being during The Great Reset's life eclipse.

Check out 'Caught In A Shape' out today on all digital zones and premiered now by Raven Sings The Blues!

DONNA CANDY are a band from Marseille who have no trouble in laying out a heavy sound, trawled from the bizarre and sonic sub-genres of experimental rock. Nu metal bass riffs, switch-pitched fuzz vocals and big drums layer up with unsettling narratives and extreme loops to bring a bit of the pit to the dancefloor. Donna Candy’s first album ‘Blooming’ will be released this spring on bison. This tour will be the first time Donna Candy play in the UK.

HISTORICALLY FUCKED are fresh from the release of their new LP ‘The Mule Peasants’ Revolt of 12,067’ on Upset The Rhythm. This four way fandango are back with a new musical game of “badger in the bag”, building songs as quick as they can and them chewing them up again just as quickly. Historically Fucked contains four people, who each share the same duties, and whose names in sequence are Otto Willberg, David Birchall, Greta Buitkuté and Alecs Pierce. Guitar, bass, drums and voices keenly jostle amid the group’s frenzy of spontaneous rock throttles.

FINLAY CLARK is an artist living in London. Current projects include Still House Plants and writing for Phaedra Ensemble, having previously collaborated with Vera Karlsson, Ailie Ormston, Ligeti Quartet and Dorit Chrysler.

NO AGE have a guiding principle: first thought, best thought. Constantly responding to their own streams of consciousness with reductive flexibility, they’ve taken the basic duo of guitar and drums with vocals WAY farther than anyone listening in halcyon Weirdo Rippers days could have guessed. Expounding on those larval possibilities, they’ve zig-zagged in serpentine precision, in and out of the teeth of the wringer - ranging outside and back in again, as befits the present thought. And now, 16 years deep and six albums into it, these motives have led them to make People Helping People (Drag City).

‘People Helping People’ sees No Age deep in the lab, scraping available nuclii together to see what new compound they find next. Erasing the starting points, reordering the pieces and beginning anew. Side one ricochets expertly back and forth between magisterial instrumentals and sing-song forms cut up on the mixing desk, as with the undeniable hitness of “Plastic (You Want It)”, winningly rewired to MIDI-mangled beat squelches. Straight up punk-style riffs get busy on side B, their aesthetic choices continuously reframe the norms, enhancing their inherent power. ‘People Helping People’ finds their disparate desires operating in perfect sync; prolegomenic weirdness fused immaculately to classic rock propulsion, transforming the energy pouring out from their hands and feet with electronics.This is ‘People Helping People’: unpretentious, suspicious, inviting, and left-field. The most accurate display of the No Age ethos put to record. Yet!

SHAKE CHAIN have been busy demolishing audiences and expectations for the best part of the last three years. Vocalist Kate Mahony sets that standard by anything from crawling through the audience’s legs in a bright yellow raincoat to crying and washing her hands in a nearby toilet, as the rest of the band start the set. A feeling of anxiety and unease conjures relevant questioning, ‘what an earth is going on?’, ‘am I hallucinating?’ and ‘is this part of the show?’, all hallmarks of Shake Chain’s unruly and lyric-bespattered rock show. The four-piece from London are completed by Robert Eyres (Synth/Guitar), Chris Hopkins (Bass/Synth/Samples) and Joe Fergey (Drums). Born from the ashes of their former bands, the group met with a desire to create something that would feel new for each of them and audibly take its own course. The result is a nervous propulsion of bass lines, twitchy guitars that jolt and jerk and tack sharp drums, overridden by screeching vocal slurs and sampled television. Kate’s singing is a unique embrace of flights of atonal fancy, head-first repetition and ecstatic frenzy. Opinion-dividing arguably, but singular in making Shake Chain dauntingly brilliant. The band’s debut album ’Snake Chain’ is out now on Upset The Rhythm.

ME LOST ME delights in experimenting with songwriting and storytelling, creating a beguiling mix of soaring vocals and atmospheric electronics that playfully push the boundaries of genre. Led by Newcastle-based artist Jayne Dent who takes influence from folk, art pop, noise, ambient and improvised music, the project has transformed since 2017 from a solo endeavor to an expanded group; regularly collaborating with acclaimed North-East jazz musicians Faye MacCalman and John Pope. Me Lost Me’s music has been described in The Guardian as "stripping folk back to its bones while letting its future echoes bleed out", and by BBC Radio 6's Tom Robinson as a "brilliant peculiar noise".

A prolific writer, Me Lost Me has released two crowdfunded albums: ‘Arcana’ (2018) and ‘The Good Noise’ (2020), which was included in Electronic Sound Magazine's Album of the Year list. These in addition to her latest EP 'The Circle Dance' (2021), which was described as "her most textural and sonically adventurous music to date" by NARC Magazine, and an extensive touring schedule around the UK DIY scene, has won her unique sound much support across the musical spectrum. Dent has notably performed live for BBC Radio 3’s After Dark Festival and as part of the 2022 BBC Proms alongside Spell Songs, Royal Northern Sinfonia and the Voices of the Rivers Edge Choir. She recently received the prestigious Paul Hamlyn Foundation Award for Composers and was 2020-2021 Artist in Residence at Sage Gateshead.

BULBILS is Sally Pilkington and Richard Dawson, a duo from the Tyne Valley channeling the infinite with their burgeoning, beguiling homespun music. Their vast catalogue stands at 71 titles (at time of writing) and runs the full gamut with mesmeric, drifting, inventive freedom occupying the heart of the group. Resolutely lo-fi, spontaneous and often unruly, Bulbils started out as a lockdown coping strategy based around the idea of providing comfort and employing synths, bass, drum machines, vocoder etc. but has sparkily propagated into something truly expansive, unhurried and horizon-chasing. You can check out all the duo’s recordings on their bandcamp page linked below. Pilkington and Dawson also perform together in another of our favourite bands, Hen Ogledd.

LUKI is the music project of singer and pianist Lucy Duncan and producer Misha Rivers. Using voice, piano, synths and electronics, they create atmospheric pop that blends the everyday and the imaginary with theatrical and emotive force. Indebted to folk, post-punk, art pop and the odd edges of musical theatre, their music is immersive, narrative driven and direct. Following the release of ‘Wisps’ on Glasgow’s label GLARC in 2018, LUKI released a single ‘The Parts’ on lathe-cut label Sonido Polifonico. Their debut EP ‘Half True’ was self released recently too.

FUZZ are back! Ty Segall, Charles Moothart and Chad Ubovich's electrifying trio return to London next spring! Fuzz have released three studio albums to date on In The Red, their self-titled release debuting back in 2013, and the more heavy metal influenced II & III dropping in 2015 & 2020 respectively. Moothart and Segall originally formed the group, as Moothart was a touring member and guitarist for the Ty Segall backing band, and later became the drummer of Segall's current touring group. The aim with FUZZ was to take the essential ingredients of the "rock and roll power trio" and put them right out on the chopping block. New album 'III' is a much more honest approach for FUZZ: just three humans getting primitive, staying primitive. The goal was never to reinvent the wheel. Sometimes it's just about seeing how long you can hold on before you're thrown off. It's heavy, chaotically controlled, softly serpentine, and blindingly barbaric. To translate the auditory from ethereal to saliva soaked semantics is to shatter a promise as it's made. In the meantime, Ty, Charles, and Chad walk on. It is what it is.

HOOVERIII (pronounced "Hoover Three") are a Los Angeles psych-rock sextet cherrypicking from an array of genres — pop, girl-group, synth-pop and funk —but the end result is a truly cohesive mass of sound. Their new record ‘A Round of Applause’ features songs that revolve around the Spanish Inquisition (“Stone Man”); or follow “the legendary Peruvians who run long distances in the Andes Mountains (“The Runner”). “I let my imagination run wild,” frontman Bert Hoover says. Elsewhere on the new album Hoover finally recorded a song, “The Pearl,” that he wrote in 2017. “It sounds like a Harry Nilsson jingle like to me, a fantasy song,” he continued. “It's more like a nursery rhyme than a song with an important message. You know, it's just like keeping things fun. … Nilsson didn’t take everything so seriously. We want to avoid that self-seriousness. We're a bunch of goofy musicians.”

CLAIRE ROUSAY's music zeroes in on personal emotions and the minutiae of everyday life -- voicemails, haptics, environmental recordings, stopwatches, whispers and conversations -- exploding their significance. Based in San Antonio, Texas, Claire's acute assemblages of sound are both a diaristic portal into the life of their creator, and an exercise in dressing and undressing the bare audio field using compositional threads that feel loosely entangled, yet fastidiously woven. A prolific run of recordings since 2020, culminating in this year's 'everything perfect is already here' (Shelter Press), has seen Claire come closer than most modern sound-makers to aesthetically nailing the temperament of a world turned inward.

Now, as music leaves the house once more, Claire's live show - in both solo mode and trio formation with close collaborators Mari 'More Eaze' Maurice and Theodore Cale Schafer - brings a singular reflexivity, unflinching honesty and adroit humour to the performance space, with an ever-burgeoning audience accepting the invite into her soundworld.

LAILA SAKINI works with piano, voice, guitar, found sound, electronics and silence to create dynamic and textured environments that provide the listener with space to develop their own meanings and responses. Her major works include Like A Gun (EP), Vivienne (LP), Strada (EP), Into The Traffic, Under The Moonlight (LP), Princess Diana of Wales (LP) and her 2017 collaboration with poet Lucy Van, Figures (EP). Laila has performed at Cafe Oto, Galeria Zé dos Bois, Berlin Atonal, Listen! festival, The White Hotel, Meakusma x Arkaoda, Kings Place, Wunkderkammer Festival, Ponto d’Orvalho among others.

MARY LATTIMORE is a harpist and composer living in Los Angeles. She experiments with her Lyon and Healy Concert Grand harp and effects. Her solo debut, The Withdrawing Room, was released in 2013 on Desire Path Recordings. Lattimore 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. Her debut solo record for Ghostly International, 'At The Dam', was recorded during stops along a road trip across America and released in March 2016. The next year, she compiled sounds from her past life in Philadelphia for a cassette tape titled 'Collected Pieces'. Released in May 2018 to acclaim from the likes of NPR, Pitchfork, and The New Yorker Lattimore's next album 'Hundreds of Days' presented an expression of mystified gratitude for the natural world. She capped off the banner year — which included international tours with Iceage and Kurt Vile, a performance with Harold Budd at Big Ears Festival, and an appearance on Billboard’s New Age charts — with two collaborative albums released on Three Lobed Recordings, one with Meg Baird and the other with Mac McCaughan.

Lattimore's most recent album 'Silver Ladders' (out 2020 on Ghostly), saw her arriving at her most confident work to date, expanding her style of instrumental storytelling with the help of producer and guitarist Neil Halstead (Slowdive, Mojave 3). Recorded in Halstead’s studio near an old English surftown, the songs on 'Silver Ladders' reflect Lattimore’s vivid memories against the gloom and glimmer of the ocean.

FLORA YIN-WONG is a producer, DJ and writer from London, currently on an artist residency in Kyoto exploring instrument building and shrine maiden traditions. Her debut album 'Holy Palm' was released on Modern Love in 2020 and has previously featured on labels like PAN, Archaic Vaults, and Danse Noire. She has performed live at ATONAL Berlin, Unsound and Semibreve Festivals, at the MACRO Roma, MUTEK in Peru, Buenos Aires, and Montreal, New York’s ISSUE Project Room, The Volksbühne Theatre, The V&A Museum, Somerset House, The Jazz Cafe and Cafe OTO. This February she launched a DIY record label and publishing house Doyenne, focusing on female-identifying artists in experimental literature, sound, and sculpture.

LEAFCUTTER JOHN grew up in Wakefield fascinated by sound, but it wasn’t until halfway through his painting degree at the Norwich School of Art and Design that he discovered a computer he was using to write his dissertation could take him on new sonic adventures by recording and manipulating sound. Since 2000, John has released nine full-length albums (Border Communitym, Planet Mu, Staubgold), toured widely, built expressive interfaces for electronic music, and received the prestigious Paul Hamlyn Foundation award. His most recent work ‘Lockdown Patchwork’ was commissioned by HCMF and Leeds Art Gallery and used interview material, publicly submitted field recordings, and new music written by John. Aside from his solo work, he’s written for theatre, dance, and radio. He was also a key member of experimental jazz band Polar Bear, recording five albums with them and picking up two Mercury Prize nominations. John has performed with Shabaka Hutchings, Talvin Singh, and Imogen Heap and supported Matmos, Otomo Yoshihide,Yo La Tengo and Beck.

CINDY is a band built around the singing and guitar playing of Karina Gill that she self-nurtured after finding an abandoned Squier Strat in her San Francisco apartment basement. Her intrigue soon grew into the band that is Cindy who have found a worldwide following of their slow-moving, dream-pop world that shrouds Gill’s songs thanks to support from model independent labels Mt. St. Mtn. [USA] and Tough Love Records [UK].

LANKUM have gained worldwide acclaim for their engrossing albums and captivating, often euphoric live performances. Their last album “The Livelong Day”, further developed their psychedelic take on folk music, and cemented their reputation as one of the most unique and talked about groups to emerge from Ireland in decades. 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. After a 3 year hiatus, Lankum are finally back for a special London appearance at The Barbican, cannot wait!

RICHARD DAWSON, the celebrated Northumbrian song maker and one-of-a-kind live performer, will play a special show for us at the Barbican next May. Dawson will be playing tracks from his latest album 'The Ruby Cord' — a sonic dive into the wonders and horrors of a future world rooted in augmented reality.

'The Ruby Cord' follows on from his state-of-the-nation opus 2020, which was hailed by many as a masterpiece and Henki, a collaboration with Finnish metal group Circle. Written between 2019 and 2021, the lyrics to most of the record were conceived throughout the various Covid-19 lockdowns, as the side effects of isolation and state-imposed inwardness affected millions around the world. The resulting record is seven tracks that plunge us into a fantastic, sometimes sinister future where social mores have mutated, ethical and physical boundaries have evaporated.

“So many of us are moving into these fantasy worlds…Whether it's actual constructed virtual realities, computer worlds, or retreating into even more fantastical realms…. conspiracy theories, nationalism, amateur football punditry. People construct their own world because this one is so flawed.” — Richard Dawson

HOUSE OF ALL is a Fall Family Continuum. Last Summer, five key members of The Fall got back together to record an album: Martin Bramah, Steve Hanley, Paul Hanley, Simon Wolstencroft and Pete Greenway. This project has been dubbed: HOUSE OF ALL. Recorded over three days during the Solstice, the session was a great success and the resulting self-titled debut album will be coming out in May 2023. Martin Bramah, The Fall's singer until Mark E Smith's lesser guitar skills caused them to swap places, was possibly the last true equal to Smith in the group and likewise the longest survivor of the original line-up. Yet while The Fall was later famous for their legendary productivity, Bramah often went great spans of time between releases, releasing fewer albums in thirty-five years (under any guise) than he has in the last seven with Blue Orchids - who already have a fantastic new album in the can. Bramah has joined forces with four other mighty Fall alumni: Steve Hanley, The Fall's longest-serving bassist, as well as his brother Paul Hanley, who drummed on what may be the best run of Fall records, from "Grotesque" to "Bend Sinister". The three have also played together as Factory Star, for a brief period. Joining them are two surprise members - drummer Simon Wolstencroft, who joined the Fall around the time Paul left, and more surprisingly, guitarist Pete Greenway, The Fall's long-serving and final guitarist who has, to our knowledge, never played with the other four before.

And the album? Recorded in a burst of intense creativity, we won't tempt to propagandise you, the album speaks or itself, but it wouldn't be a false boast to say that it stands with much of the best Fall or Blue Orchids music, displaying an energy and psychic impulse all its own, each member playing as sharply and with as much drive as ever, around manic motorik grooves and a shocking lack of 'compromise'.

XIU XIU is the conduit for the uncompromising and unnervingly personal musical works of Los Angeles-based multi-instrumentalist Jamie Stewart, plus a roll call of collaborators both in studio and onstage. Streaming forth a ceaseless torrent of releases, side projects, art offerings and extensive international touring since 2002, Xiu Xiu's music has veered from damaged avant-pop to artfully orchestrated rock, squalls of black-hearted noise and most bases around and between, ever served with a bruising honesty and intensity that has ripped out the hearts of a legion of obsessive listeners.

This March the band return with a devastatingly macabre, appropriately cacophonous new album, titled Ignore Grief, due for release on Polyvinyl. The current iteration of Xiu Xiu includes existing members Jamie Stewart and Angela Seo, now joined by old friend and new member David Kendrick (Sparks, Devo, Gleaming Spires). ‘Ignore Gried’ is an album of halves. Angela Seo sings on half of the record. Jamie Stewart sings on half of the record. Half of the songs are experimental industrial. Half of the songs are experimental modern classical. Half of it is real. Half of it is imaginary. Xiu Xiu has spent twenty years grappling with how to process, to be empathetic towards, to disobey and to reorganize horror; there is no other word for it other than horror.

SCREAMING FEMALES have now been a band for half the lifetime of its members. Formed in 2005 in New Brunswick, NJ, the trio has consistently created a hearty, surprising mix of indie, alt, punk and stoner-rock, all with their original line-up of Marissa Paternoster (guitar, vocals), “King Mike” Mike Abbate (bass) and Jarrett Dougherty (drums). Released on February 17th by Don Giovanni Records, the group’s new album ‘Desire Pathway’ was recorded at Minnesota’s Pachyderm Studios (where Nirvana recorded In Utero) and produced by Matt Bayles (Foxing, Pearl Jam, Mastodon, et al). Bright and full, the album captures the band at a time when nothing was certain other than their abiding desire to make music together.

‘Desire Pathway’ opens with the Sabbathy hypnotism of “Brass Bell.” Following a swelling haze of synth, feedback shrieks, martial snares advance, and the band explodes into a bracing groove. Soon, Paternoster makes the cryptic announcement: “I have flown us to the moon,” and we’re off. The song has the effect of clearing one haze and replacing it with another, much heavier one. “Beyond the Void” may gather gloomily, but it quickly releases into its jangly, memorable chorus. Single “Mourning Dove” successfully channels the Pixies into a tight, driving power-pop song that passionately declares “my love for you is too strong to hide.” Now 18 years and eight albums in, Screaming Females are still making their own path in the world, still touring DIY and releasing music without compromise. The route might cut a little off the main road, but you’ll quickly see there’s a reason they’re on it. You just might like where it leads you.

LANKUM have gained worldwide acclaim for their engrossing albums and captivating, often euphoric live performances. 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.

Forthcoming album ‘False Lankum’ (March 24th, Rough Trade) follows their 2019 breakthrough album ‘The Livelong Day’. Drawing on traditional folk songs, Lankum put their own dark, distinctive mark onto each, leaning into heavy drones and sonic distortion that imparts new intensity and beauty into each track. This record sees the band cement their breakout from the folk genre, creating bold, contemporary music that may be fashioned from traditional elements but is firmly new. “We wanted to create more contrast on the record so the light parts would be almost spiritual and the dark parts would be incredibly dark, even horror inducing,” the band explain. The album’s 12 tracks, composed of 10 traditional songs and two originals, show the four-piece using a new palate to colour their sound in an increasingly experimental way, alongside longtime producer John ‘Spud’ Murphy.

Following on from their much anticipated sell out show at The Barbican on 4th May 2023, Lankum will return to London in December 2023 to play The Roundhouse - their biggest headline gig to date.