If you haven't seen these guys live before they are one of the coolest bands ever to watch..
The new single from the Helmholtz Resonators – ‘Odyssey’ released July 15th 2013 on Genepool Records, from the forthcoming album ‘Mystery Of Woolley Mountain’ coming late 2013.
As you can see via their new video below London based time-travelling audio scientists The Helmholtz Resonators have been hard at work in the lab again, and this time, they’ve certainly put the sun back into summer time! Odyssey, their latest creation, is sure to set dance floors alight in this Bee-Gees-esque manic mega-dance romp classic….
Time was when the Glastonbury Festival was at the heart of the British counterculture, and time was when The Rolling Stones at least pretended to be. So on a weekend when the two came together for a televised event that was about as insurrectionary as the Jubilee flotilla, it was good to find that rock’n’roll can still be at its edgiest and most electrifying at the roots.
Particularly when the sounds are emanating from a group as lithe as Animal Noise, an Essex trio whose explosive rifforama powered a breathless opening segment of a Finsbury set built on furious chops and brutal beats somewhat comparable to Queens of the Stone Age - and this bunch (blond, basin-haired singer-guitarist; stoner-rock rhythm section) had the musical nous to pull it off. As the set progressed, so did Animal Noise’s flexibility, their influences diversifying as the giant of a bassist strummed, slapped and flicked at his fretboard, while the guitarist switched from chorused finger-picking to uptempo off-beat skank, linking with the tattoo-torsoed sticksman for the kind of intuitive musical interplay that sometimes only stripped-down three-pieces seem able to convey. But among all the stomping grooves and pulsing head-shakers, do the band have the hooks, the pop sensibility to pull out truly enduring tunes? The euphoric ‘Bag Of Bones’ certainly suggested they do. Crafted on to a rhythm so fresh it was verging on hardcore highlife, it was a jaw-dropping finale.
So how do you follow a band like that? Well, how about a tongue-in-cheek, theatrical Rocky Horror-tinged show from a two-tiered septet whose near-anonymous instrumentalists supply the slick foundation for a self-deprecating, classically voiced bandleader to croon operatic innuendo-laden vignettes while assisted by a pair of glamorous gothic sirens who perform melodramatic choreography and instigate audience participation that culminates in jumping into the crowd to initiate a wild, climactic dance-off? Phew. That was how Felix Hagan & The Family chose to do it, anyway. And if their performance art-cum-music-hall-revue-cum-Eric-Idleish-surrealism seemed a little incongruous on the Finsbury stage at times, it was no less entertaining for it. Just the sort of thing you could imagine going down a storm in a marquee at an innovative festival, perhaps. Eat that, Glasto.
Originally from Blue Mountains, near Sydney, Cloud Control – made up by Alister Wright, Heidi Lenffer, Ulrich Lenffer and Jeremy Kelshaw – are now residing in the UK. They are currently working on ‘Dream Cave’, their second full length album after ‘Bliss’, which received the Australian Music Prize in 2011.
They are now working with producer and mix engineer Barny Barnicott, whose collaborations include several names of indie rock bands such as Arctic Monkeys, Plan B, Peace and Franz Ferdinand. Their latest single ‘Dojo Rising’ adds to their typical psychedelic touch and harmonies from the West Coast rock/electronics effects. The mix of a pop beat and a feeling of nostalgia will make you feel like one of those days when the sun is out but rain falls down on you and you can't help wondering how a person can feel happy and sad at the same time.
The band will be touring from August in UK and Europe before their Australian tour.
September dates
Mon 23 LONDON Xoyo
Tue 24 MANCHESTER Deaf Institute
Wed 25 GLASGOW King Tuts
Thu 26 BIRMINGHAM Hare & Hounds
Fri 27 BRISTOL Start The Bus
Singer songwriter Adele Emmas and guitarist Sian Williams met in late 2000 and, over their mutual love for artists such as Leonard Cohen, Kate Bush and The Cocteau Twins a decision was made to found the band Bird. The quartet is completed with drummer Alexis Samta and Mike Bennet at the keyboards.
The band signed with Jack to Phono Records and launched their first EP ‘Shadows’ in 2012. Their second, ‘Ophelia’, was released in February and they're working on their first full length album.
Bird have gained a strong and solid fan-base as well as praise from eminent voices of the music industry. Winning ingredients of their project are Adele's hypnotic voice, dreamlike lyrics and melodies that will capture your heart with their fusion of tribal, folk and classic beat.
Their songs manage to create an atmosphere like a Grimm's tale. You think you're reading an innocent and innocuous bedtime story but a moment later you're shifted in a thick and dark wood. You excitedly feel lost and attracted by the danger hidden in the dark.
"CoCo And The Butterfields will amaze you with their innovative "Fip Fok"
More often than not music genres cross path and when it happens new genres come to life. Yesterday I was at one of these junctions when, for the first time, I assisted at the CoCo And The Butterfields performance, live at The Finsbury Pub.
The band - made up by five elements but joined on stage by a trombone and a trumpets specially for the occasion – manage to converge several sounds and influences. They all brought their personal experiences (which span country, folk, hip hop, r&b) and gave life to a distinctive sound.
The band opened with a cover of Whitney Houston's 'I will always love you' sung by Dulcima's low and seductive voice; she was gradually joined by the rest of the instruments and when the song got to its zenith, it broke into a fast-pace folk ballad that had the unfortunate side effect of suffocating the female and male vocals.
'Astronaut' was a gentle and delicate love song that kicked in the second half, spiced up with a hint of jazz. 'Scarecrow' came next; the song opened with a raspy violin before bursting into a fast country ballad. The band also presented their latest single 'Warriors' a choral song that resounded epic with trombone and trumpets joining the performance, before closing with a cover of Florida's 'Low' revisited in a reggae key.
On the stage, the band was possessed by the rhythm of the music, dancing and thumping against the floor - the excited crowd couldn't help but clap along.
There is a rough quality about the sound of CoCo And The Butterfields; it's not easy to merge so many different styles, but this band seems to know how to make it work. There are few edges to refine and adjust, but it'll be interesting to watch more closely the evolution of this unique project.
"Johnny Parry nails the perfect symphony, a must see band of 2013"
When Johnny Parry Chamber Orchestra got up on the stage of The Finsbury, they were crammed on a relatively small space. It was eight of them possessing keyboards, violins and double bass to name a few. As Johnny Parry said; it was only the stripped version of the Orchestra that usually counts 30 elements.
The band opened with 'Sweet Nothings' from their second album Song without a purpose; Parry's clear and warm voice led off, accompanied by the astounding voice of the soprano. From there they were slowly joined by all the instruments on hand, being introduced one at a time. When they retracted, the song ended up with a light touch on the keyboard.
'God loves me' hit the crowd like a punch, unlike the other songs that started slow and then built up, this one started at full voice. There was a nice contrast between Parry's deep voice, and the soprano warbling in the back.
Throughout the whole performance there was a strict link between the song played and the images being projected on the screen behind the band. When the orchestra played 'Rebuild It Piece By Piece', images taken from comic books worked as captions relevant to the song and, inside the balloons, it was possible to read the lyrics. Parry's mesmerizing voice was the main character of the performance, with the instruments building around him and originating a sense of grandeur.
Johnny Parry Chamber Orchestra closed with another tune from Song without a purpose; 'Love Song'. As the title suggested it was indeed a song about love but not in a traditional way. The grandeur of the music left place to lyrics that were an ode to life and love. Love for the countryside, for home, for personal ghosts, demons, love for God. In the end the song reached its zenith and I couldn't help feeling I was watching live - for the first time - the execution of a symphony.
The Local Natives first record - 'Gorilla Manor' - was such a strong debut, it concerned me how the band would set about making a follow-up. I kept thinking to myself; how on earth can you beat this record! Truth be told, with my first listen to new album 'Hummingbird', I wasn't sure what to think. Although, as the sound waves started to penetrate, it didn't take long before Local Natives started to work their magic on me. Their brave statement with their new sound shone through as expected.
You can catch Local Natives at tons of UK festivals this year along with a host of headline shows. After seeing them as Field Day's secret guests, I cannot recommend buying a ticket as fast as possible or making sure you are in the best position possible if you're at one of the lucky festivals.
June
Fri 28 - Glastonbury - Festival
July
15 - Nottingham - Rescue Rooms
16 - Brighton - Concorde 2
20 - Longitude - Festival
21 - Latitude - Festival
August
17 - Beacons - Festival
18 - Green Man - Festival
October
15 - Cambridge - Junction
16 - Norwich - Waterfront
17 - London - Brixton Academy
20 - Newcastle - Sage 2
21 - Glasgow - Arches
22 - Belfast - Limelight
24 - Dublin - Olympia
25 - Sheffield - Leadmill
26 - Manchester - Ritz
27 - Bristol - Academy
29 - Southampton - University
Check out Local Natives outstanding new video 'You & I'
Sporting a pork-pie hat and precision moustache, Brothers Rasputin’s hyperactive frontman left his memorably psychotic mark on the Finsbury’s front-of-house last Thursday. Often employing a vocal upper-register that bordered on a squeal, any conventional pop prose was interspersed with morally questionable hooks like ‘I’m gonna make your fuckin’ nose bleed’. This bipolar Bee-Gee ensnared members of the audience as he swang from lover (pointing and gyrating in one woman’s direction) to fighter (leaping off stage mid-song to scream in another’s face). It was, of course, extremely funny, although his coiled unpredictability held the crowd in a certain uneasy flux. None of it would have worked if the band couldn’t hold their own, but Brothers Rasputin are as slick a funk-rock trio as you could wish for - sharing some space and feel with the likes of Cake - their sound fleshed out not by horns and percussion but by our man’s judicious use of a loop pedal on both his versatile voice and guitar. Ticking the box for genuine comedic and musical entertainment in one ain’t easy, but Brothers Rasputin pull it off. Go see – just be a little careful where you stand.
150 Friends Club also appeared to be having plenty of fun, and were certainly exploring some rarely chartered territory. Their stunning dexterity facilitated a fusion of original time signatures, key changes and rhythmic patterns. Accents and stresses were placed where least expected, sometimes losing the listener amid a forest of musical smarts, only to deliver them, blinking, back to a comfortably familiar refrain by song’s end. A mid-set lull established that the lyrical plot-lines were as clever-clever as the rest of the band’s contributions, but it was during the more dynamic tunes that you could really appreciate how good the quartet were, driven by a belter of a drummer and peaking on the bouncing jazz-rock-prog of ‘Hoonanaparka’. A little self-indulgent, perhaps? Sure, but the group’s obvious enjoyment of their craft was infectious and they went down a storm.
Clearly one of the best voices I've heard this year!
'This Human Joy' is a hopeful song about finding peace in the beauty of small and simple things, when often it's easy to slip into feeling frustrated or irritated by the world, routine and to stop taking chances and risks. It's about accepting the fact that we can't always know where we're going or what will happen to us and embracing those mysteries.
What the press say
"Setting a new benchmark for sensitive pop in 2013" THE LINE OF BEST FIT
“Soporific, pianistic folk…displaying a charmingly earnest approach.” THE FLY
“Touches of Bon Iver and Jeff Buckley ring true, however Ajimal sculpts an illimitable soundscape that is entirely his own.” CRACK IN THE ROAD
“An unearthly, eerie and incredibly beautiful set of sounds that will capture the imagination of a much wider listening public before long.” DROWNED IN SOUND
Although London based the band's international membership hails from England, Ireland and Chile. Their initial demos were recorded simultaneously on both sides of the Atlantic in a 24 hour cycle between London and California.
The band kicked off the New Year in California, USA with shows across the west coast and to complete the recording of their first full length album "Life among Wolves" (set for release Summer 2013), followed by headline shows and various tours and festival appearances across the US, UK and Ireland.
Here's what the press have to say
"Go Tell The Eskimo creates totally magical indie pop that will make your ears rejoice" Tobi Lynn 98.7 Los Angeles
Armed with articulate analogue sounds and upbeat indie anthems, GTTE comfortably blend exciting rock & roll elements with a pop-centric demeanour that can only be described as Go Tell The Eskimo! This can be heard throughout their EP and in the début single “When The Lights Go Out” (officially released November 20th 2012). Along with the local support from the BBC and national Radio the band is catching the attention of audiences across their native UK thanks to their unique brand of eccentric indie rock.
"Smoke Signals" the EP, recorded and produced between Los Angeles and London, was released through Red Parade Music owned by producer Jim Roach (The Young Romans, Skyler Stonestreet, Jesse Thomas).
"The entire three song EP called "Smoke Signals" is beautifully layered - from gritty garage rock to jangly 60's inspired orchestral pop - these songs will become the soundtrack to your happiest daydreams!" Tob Lynn on-air personality and live performance host at 98.7FM-LA
The 150 Friends Club is the latest project from David Goo - his 'second feature' so to speak - and could be described as the Variety Band's uglier and more peculiar sister. Based on the Dunbar Theory that society works best in numbers of 150, the band plays what they call 'intimate, intense rock things' designed for no more and no less than a hundred and fifty people at a time.
Their first recording is their answer to the sixties song 'I Know Something About Love' and was recorded at Intimate Studios, live in the same room, second take, with overdubs. Mixed by Oliver Price at his home and mastered by Tim Debney at Fluid Mastering.
Mariya Brachkova - vocals
Charlie Coulson Smith - Bass
Oliver Dacombe - Drums
David Goo - Vocals/guitars
Check out their current single I Know Nothing (About Love)
Here is your second chance to listen back to our Lost in the Manor Review Podcast for May. Recorded at The Finsbury and previously aired on Shoreditch radio May 26th. Our June Podcast will be aired on Sunday June 30th
Review by Monica Guerrasio (AAAMUSIC.co.uk) Sunday June 9th 2013
Writing a review is more complicated than it looks like; it’s basically translating music and feeling into words. A writer will find bands along the way that will make the task easier or more difficult. But personally I think the best bands are those that leave me speechless, and trust me it’s not an easy job. This happened last Sunday at The Finsbury Pub when Buzzard Lope got on the stage.
They played several tracks from the upcoming album Pyrrhic Victories, due in November. The trio was joined on stage by Gill Sandell playing the accordion.
The band opened with ‘Peak of Evolution‘ from the upcoming album, a rhythmic tune, fusion of jazz and blues accompanied by Sandell‘s accordion that gave the song a touch of folk.
‘Walk Don't Run‘ hits by surprise, you couldn’t see that coming. Roger Illingworth, the singer and main composer of the band, went up and down with his voices reaching high pitches and then going to a lower and deeper tone. Illingworth didn’t only play with his voice, he was possessed by the music; he literally bounced up and down on his stool behind the keyboard, his leg thumped against the floor following the beat of the song and his eyes were closed. He released all his energy which came out unleashed and pure. He looked completely submerged in the world created by the music and the lyrics.
The band went back to slower and evocative tunes like ‘Union‘ and ‘East by East‘, songs that surprised you at the last minute growing into two orchestral pieces.
Trying to draw a pattern of this gig was almost impossible; Buzzard Lope were all over the map with their songs: a mix of pure jazz, soul and pop.
The crowd was completely taken by the magical and dramatic atmosphere created by the band, awaken only when the music finished; always ready to burst in loud applause.
Check out the video of this crazy bunch called Animal Noise who we have confirmed for our 'Lost in the Manor Club Night' on June 28th. They call their music "Tribal sex mess"
Full bill for the 28th June // Felix Hagen & The Family (Live), Animal Noise (Live), The Lad The Others (Live), Bon Bonnie (DJ)
The curiously titled 'Jerome' tells of a father's warning to his son to abandon the now dilapidated and deserted ghost town they call home for bigger and better things. A powerful flute and string ensemble provide the 'Bonanza-esque' instrumentation for this epic sonic-voyage westbound.
After such great radio support, the band have this year been booked to play the coveted Glastonbury Festival in June
Gigs
Sat 28th September 2013- Cornucopia Festival
Sat 17 August 2013 - Green Man Festival
Sat10 August, 2013 - Croissant Neuf Summer Party
Thurs 25 July Secret Show Cardiff
Weds 24 July St Pancras Old Church London
Sat 20 July 2013- Deer Shed Festival
Sun 30th June, 2013 - Glastonbury-Croissant Neuf Stage
Sat 22 June 2013 GoldCoast Oceanfest
New Single from Childhood ‘Solemn Skies’ b/w ‘Semester’ Out 10th June + UK Tour Announced
Following the release of their critically acclaimed debut single ‘Blue Velvet’ last November, London four-piece Childhood will release their new double a-side single ‘Solemn Skies’ / ‘Semester’ digitally and on 10-inch vinyl on 10th June 2013 on House Anxiety/Marathon Artists. The two tracks were produced by Rory Attwell, formerly of Test Icicles. The release will include a remix of ‘Solemn Skies’ by ex-Spacemen 3 man Sonic Boom, who says of the band: 'Childhood’s psych-piercing volcanic fury is the sort of thing you come across only once in a summer of balmy blue moons.'
Childhood formed at Nottingham University in early 2011, originally as a two-piece making bedroom demos. The founders Ben Romans-Hopcraft (vocals/guitar) and Leo Dobsen (guitar) initially came together over a shared love for psychedelic and guitar music, later bringing in Daniel Salamons on bass and Johnny Williams on drums.
In support of the release Childhood will be playing the following UK dates:
Sat 06 July – Academy, Liverpool
Fri 12 July – 2000 Trees Festival
Sat 20 July – Benicàssim Festival
Fri 16 July – Secret Garden Party
Sat 10 Aug – Visions Festival
Fri 16 Aug – Beacons Festival
The Guardian: ‘Undeniably exciting and relevant’
NME: ‘Some of the finest slices of lo-fi indie pop and god-given guitar lines you’ll hear all year’
The Fly: ‘Deep, lush kaleidoscopic guitar pop that might just melt your heart’
It’s taken some time for Landshapes to find their feet in the music they make.
As their previous incarnation Lulu and the Lampshades, they’re probably best known for the viral cup song You’re Gonna Miss Me - over 3 million hits on youtube and counting - but in the ensuing period they’ve undergone a considerable musical metamorphosis.
They have learnt and grown together, four distinctive personalities jostling and pulling, each with their own set of influences and sensibilities - an unlikely alchemy which comes together and makes sense. Broad brushstrokes, big sounds and mournful melodies forged a new soundscape, so that when a typo accidentally billed them as ‘Landshapes’ it seemed an appropriate description for an altogether new sound, and an altogether new band.
Landshapes is the sound of four people in a dingy practice room, building on accidents, listening over and reworking obsessively until every band member is satisfied. An unconventional and serendipitous a process it might be, but it’s crucial to Landshapes overall sound.
Their debut album Rambutan - the name chosen “not so much after the fruit but for the sound the word makes” and produced by Ash Workman is a distillation of songs old and new, re-worked and fine tuned with a deft precision.
In Limbo with it’s stunning video clip proves a triumphant opening salvo. “It’s always felt like a fighting song both musically and lyrically” says Luisa Gerstein. With images of Bolivia’s Cholita female wrestlers proving a major stimulus whilst recording, Luisa sought them out, travelling to La Paz and teaming up with director Ian ?. The resulting film is a dignified response to a “Latin American society where being both indigenous and a woman is a double sub-class” - a celebration of these extraordinary women both in and out of the wrestling ring.
Their unorthodox approach to songwriting is writ large across the ten tracks. Impasse “the oldest song on the record was a tinkery ukulele thing” that became something “bigger and better with the band”; Threads “a lot of ideas that came together in the practice room, has the feel of different parts interjecting like a conversation” and Racehorses “a truculent song” that was to become one of their favourites after Heloise and Jemma developed a new bass and guitar part. Demons acts as a marker of their evolution - “recorded as Lulu And The Lampshades, it felt closer to the sound we were developing and tracks that change in the way it sounds and how we worked together as a band.”
Forthcoming single Insomniacs Club “is cursed” according to the band. “Anyone who gets involved with it gets insomnia. The guy making the video hasn’t slept for days, true story.”
Landshapes take on another dimension in a live setting. With drummer Dan the only constant, multi instrumentalists Luisa, Heloise and Jemma shift seamlessly from one song to the next swapping instruments and vocals with a fluid dexterity.
