Love Nor Money sign To Lost In The Manor

We are hugely excited to announce the first signing to our new Lost In The Manor label: Love Nor Money. The trio are pictured here putting pen to paper at Café Oto, ahead of their debut single 'Shake Me', which will be released on July 6 2015.

Watch/Review: Lost Dawn – Song For Robert

Musicians from England’s south-western extremities have always had to shout a little louder for attention. Due to scant musical infrastructure, geographical remoteness from and cultural bias towards the media heartlands of London and the north, many a promising young band has withered away beyond the final leg of the M5. Falmouth has long been one of the oases for the region’s groups, thanks to venues like the late Pirate and the presence of a large art college. And now the Cornish town has produced a scene buzzy enough for the NME to dub it ‘the Kernow Wave’.
Central to the county’s take on garage-rock revivalism are Lost Dawn, who release their debut album this week and, judging by ‘Song For Robert’, probably aren’t ones to have dwelt too profoundly on whether their cut-off locale has been a hindrance to success. The track revolves around a guitar lick you’ll be familiar with from Norman Greenbaum through T. Rex to BRMC, but is delivered with a chunky swagger, laconic vocal and raunchy vibe that acts as a starting pistol to roll the good times. The video, too, could be interpreted as a commentary on the complications of the heart or the incestuous nature of band relations, but is likely just an excuse for Lost Dawn’s members and mates to have a helluva night. That the grin-raising glam-rock of Lost Dawn is busting out the wild west frontiers should spur some of the UK edge territory’s other bands, often complicit in their own comfortable obscurity, to start hollering with more conviction.

Lost Dawn is out now on Easy Action.
Words by Nick Mee. Follow @Nickjmee on Twitter

Listen/Review: Slug – Greasy Mind

The brainchild of Field Music bassman Ian Black, with the aid of some hands-on engineering skills from his Sunderland bandmates, Slug’s debut album has just hit the shops courtesy of Memphis Industries. This excerpt, ‘Greasy Mind’, is a clean-lined slab of off-kilter anglo-funk that, while notable for its lyrical content – “You’ve got a Greasy Mind/Pulling Wings off Flies” – truly delivers from the desk, thanks to its punchy percussiveness and inventive electro-sonics, most satisfyingly on the absurd guitar solo that veers from Steve Vai-esque fret-frotting to Rhubarb and Custard theme-tune squelch. It’s this playful experimentation that elevates ‘Greasy Mind’ and bodes well for the LP, ‘Ripe’.

Ripe is out now on Memphis Industries
Words by Nick Mee. Follow @Nickjmee on Twitter

Photos/Listen - Moon @ The Finsbury 10th April + EP Stream

Check these exclusive shots from the recent show at The Finsbury by the impressive Moon, who went into interstellar overdrive during a set that managed to encompass elements of Floyd, The Mars Volta, Hawkwind and Rage Against The Machine. The band's new self-titled EP has just been launched, tune in and take off below...

Watch/Review: Mbongwana Star – Malukayi (feat Konono No1)

This may be the first time Lost in the Manor has prospected for fresh sounds in the Democratic Republic of Congo, but if Mbongwana Star’s opening salvo, ‘Malukayi (feat Konono No 1)’, is a marker then it won’t be the last. As fresh a segment of audio as is likely to be unearthed, this six-minute single is essentially a progressive charge of irresistible dancehall Afro-funk, yet it has a surreal, claustrophobic air imbued by a growling bassline that, for all its giant heft, just seems to hang there, as well as an other-worldly metallic melody courtesy of Konono No 1, perhaps played out on salvaged steel. Produced by Doctor L, a Paris-based musician who reasons “distortion multiplies the energy”, ‘Malukayi’ sounds rusted, unhinged, warped and wonderful, not unlike a teeming modern metropolis. No coincidence, then, that the debut album by the seven-piece Mbongwana Star (who include two members of the late Staff Benda Bilili) draws its title from the DRC's capital city, or that ‘Malukayi’’s yet-stranger video borrows the Sin City template to splice scenes of twilight street- and sofa-life with band and dancer shots and a scene-stealing spaceman. Yes, you did read all that correctly, perhaps it’s best if you just watch and listen…

Mbongwana Star's album, From Kinshasa, is out on 18 May on World Circuit

Words by Nick Mee. Follow @Nickjmee on Twitter

Watch/Review: Jacco Gardner – Find Yourself

Exploratory producer and multi-instrumentalist Jacco Gardner throws the psychedelic smorgasbord at this melodic release that, for all its oil-projector embellishments, never forgets it is a pop song. Listen for shadowy chords, flanged vocals, lightly distorted bass and a Technicolor guitar refrain backed by a keyboard of an indecipherable source, all set to a lilting rhythm that sways with the studied concentration of a stoner picking his way home from a cornershop supply run. A swirl of trance-rock to lose yourself in, ‘Find Yourself’ doesn’t treat the protagonist of its accompanying video too kindly, however. Blowing hard while cruising down forested roads, he happens upon a splendid orange Ford Capri. Presumably thinking the driver is a (former) Top Gear presenter, he empties his gun into the smoke-filled car; but it’s not the long-faced speedophile who tumbles out, instead an unpleasant surprise. A quizzical visual anecdote to complement the tie-dye timbre of the track, ‘Find Yourself’ is a colourful lure to the Dutchman’s new album ‘Hypnophobia’, inspired by his travels to “places I’d never seen before or didn’t even know existed”: a far-out soundtrack to faraway climes.

Hypnophobia is out on 4 May on Full Time Hobby records
Words by Nick Mee. Follow @Nickjmee on Twitter

Listen/Review: Winter – The Biggest Truth

Unlike some of their folk contemporaries, Winter don't hook you with jangling banjos (who doesn't love banjos?) or generic lyrics about Lion Men (or something) on 'The Biggest Truth'. Instead, they pull you in with sincere lyrics about past mistakes, supported by Noah & the Whale-esque acoustics and the ranging vocal tones of Simon and Garfunkel – the duality of which creates a heartfelt and folky tune. A xylophone makes an appearance towards the song’s middle, which, coupled with the opening whistles, gives a lightheartedness that cuts through the seriousness of the vocals. Following on from their spring 2014 release 'The Sea Bites Back', brothers Matt and Joe Winter’s latest offering is much more of a spring than winter. ‘The Biggest Truth’ has a feeling of uncertainty that arises from the brothers’ experience of difficulty in creating music together, after disbanding a previous group, moving away and trying to build new lives. The biggest truth revealed in this track is that there are no real truths, apart from the ones that you create yourself. “Keep pushing on”, say the brothers, even if you can't answer the question: “What will you say when I ask you ‘what did you do yesterday?’”, because the mistakes and choices made in your life aren't necessarily the things that will shape you; how you react and adapt to those decisions is the main crux. It’s a lot to gather from one song, but even if those aren't the biggest truths that Winter wanted you to know, the song's folky simplicity and dual/multiple vocals make for a relaxingly easy listen, yet it contains enough depth to cause your mind to escape. Much as this writer's has.

Winter’s debut album ‘In The Dark’ is out on 4 May on Wild Sound.
Words by Matthew Doyle. Follow @mmmmdoyle on Twitter

Live review: Nubiyan Twist at Brixton Jamm 14/3/15

It was a privilege to watch this 12-piece dub/afrobeat/hip-hop group play at the Brixton Jamm. Before the night, I had only heard their recent single – ‘Work House’, which is a badass, well-produced, modern neo-soul classic, reviewed previously on Lost In The Manor. So while I was excited about their set, I didn’t quite know what to expect. ‘Work House’, it turns out, is not that representative of their live show. The song is a masterpiece, but compared to the rest of their set, somewhat conventional. Nubiyan Twist’s live show was an intense afrobeat, jazz party/workout with long improvised passages. From the start it was clear that none of the members had let their obvious talent go to their heads. All 12 smiled unpretentiously as they created a groove that invited us all to join their party. The African rhythms took hold of us and no-one could help dancing despite the Brixton Jamm being so rammed that we could barely move. This was a completely inclusive relationship between band and audience: the glue between the two entities was the hypnotic afrobeat groove, taking hold of everyone’s consciousness like a drug. She emerged gracefully from the shadows a few minutes into the first song, sidling between the keyboard player and the brass section to her place behind the microphone. With a look that could be described as somewhere between African Queen and Geisha, Nubiya Brandon used her long fingers and slender arms to form shapes in the air – looking like she could have come from an art-nouveau painting. Sassy yet elegant, feline yet powerful, Brandon cut an imposing figure on stage. However, what charmed about her performance was her lack of ego in terms of her place in the band. She oozed style and confidence, but as the frontwoman of Nubiyan Twist, saw herself as firmly being a part of the collective, and let all the other performers shine equally. Within the framework of the groove, each performer was given a canvas on which to explore new territory in their solos. I particularly enjoyed Oliver Cadman’s keyboard solos, with spiky left hand chords climbing through unexpected changes, and a nimble and innovative right hand. Denis Skully’s explorations on the tenor saxophone were imaginative and reminiscent of Coltrane. It was also a thrill to have Tom Davison on the decks, whose scratching and use of effects brought an urban dimension to their sound. Standing in the darkness on the far left of the stage stood Brazilian multi-instrumentalist Pill Adami, who was on percussion and vocals throughout most of the set. In a subtle way he seemed to conduct the collective, with his perfect sense of rhythm and impassioned vocals. Nubiya had already dedicated one of their songs to Fela Kuti, but for their encore, Pilo Adami slung a guitar over his shoulder and took to the centre of the stage to lead the band through Fela Kuti’s ‘Gentleman’. I bought the Nubiyan Twist CD and I can’t stop playing it. The performances are immaculate and the production tasteful. But every time a soloist gets going on one of the tracks, I just want it to continue. Listening to the record makes me want to see them live, to witness that incredible energy, that synergy of forces, the wild solos and to be a part of that Nubian Twist party again.
Words by Charlie Hannah. Read more by Charlie at The Dentist

Live review: Retrospective For Love at Brixton Jamm 14/3/15

I’ve seen Retrospective For Love perform many times. Every show so far has triggered a dual emotional response. Initially I’ve been hit by a surge of joy that original, clever and soulful music is still being made today. But somewhere on my journey home I get a sour taste in my mouth, due to the fact that, to my mind, they haven’t been getting anything like the attention they deserve. I have high hopes for RFL, whose influences range from J Dilla to Chet Baker, and I won’t be content until they’re headlining Glastonbury and beyond. That’s the attention they deserve. But late at night on a very cold and windy Saturday in March 2015, several things prompted me to feel that there is something of a sea-change happening in the career of this multi-national seven-piece neo-soul outfit… It was 11.30pm by the time frontman Davide Scortino greeted the audience at the Brixton Jamm. Wild afro, Sicilian drawl, cheeky smile: “Hello Lovers…” As they launched into ‘Leave me Alone’ the thronging audience were simultaneously transfixed by the strangely clunky, slightly unnerving groove. Although Davide is the frontman and songwriter, each band member has their own distinctive vibe on stage, and I can get fixated on any member’s idiosyncrasies for whole songs at a time. In this opener, bass-player Agostino grabbed my attention – how he held the reins of the groove, playing tastefully and inventively, producing a thunderously deep sound that resonated through my insides. Throughout the gig I was taken in by the spaced-out, effortlessly cool and sleepy jazz keyboardist Gaba, the still and stoic yet equally magnetic trumpeter, Hanno (who looks like a young Ginger Baker), backing singer Leslie’s constant rhythmic, sexy grooving, Alessandro’s crazy guitar patterns, the disconcerting beats of new drummer Daniel Bond, and of course Davide… “Some of you might have heard,” he said, “that we’ve just been signed to BBE Records.” (Former signings include J Dilla, Paul Weller, will.i.am and Roy Ayers.) Clearly most of the audience were already clued into this news, and erupted in approval. Davide continued: “This next song is called ‘The Picture You Show Me’ and it’s the first single off our album.’’ Single? Album? Record deal? Positive things happening to a band that actually deserves it. Davide leant forward with a fighter’s stance and a wide eyed, wired look of complete earnestness and self belief. He gesticulated aggressively as he spat the visceral verse rap, Leslie joining in to punctuate certain phrases. When the song arrived at the chorus, the two singers were separated by a major third, and united by the huge descending melody “Whaooooh”. It was simple and immediately accessible. This brings me to perhaps the most important fact about RFL. There are many bands out there with virtuoso musicians who gel and who can hold down a good groove, but without a descent songwriter, who cares? Davide is a versatile writer who has the ability to craft catchy hooks with edgy lyrics. Once the mainstream has gotten hold of this band, the media will be desperate to use ‘Kill Me’, ‘Empty Bottles’, ‘Sky With No Clouds’ and countless others for adverts, film and radio. For while nearly all members of the band are educated in jazz theory and have encyclopaedic knowledge of music from all different areas, the thing that sets them apart is the ability to write music that relates to people on all levels – not just hip-hop enthusiasts or jazz boffins, but everyone. Now, it might be due to the fact that they have a new drummer, but there seemed to be an urgency in the band’s playing that I haven’t noticed before. Agostino seemed to pound the strings with a more spiky and aggressive force, the new drummer hits harder, and the songs sounded generally fatter and heavier than I have heard them. And as I left this particular gig, I could taste something sweet (could have been all the sugary drinks). But also, it was due to a feeling of satisfaction that momentum is building for this remarkable group. I can begin to see the long road of well deserved recognition carved out ahead of them.
Words by Charlie Hannah. Read more by Charlie at The Dentist

Listen/Review: Happyness – A Whole New Shape

South London slacker-rock trio Happyness released a freaking gem of an album last year, ‘Weird Little Birthday’, and the deluxe version is due for release this month. It features a new track ‘A Whole New Shape’, a lazy lo-fi tune with bouncy guitars and slimy vocals. Like a takeaway pizza, it’s deliciously sloppy and soooo good. Despite their name, Happyness revel in not being smiley and shiny and perfect, they’re the antidote to surf-rock; sofa-surf-rock. The singer whines “It's a Bitch Move” with an effortless cool we should all be envious of, and his ending line, “I Wanna Flip You Off” is full of post-teen angst. I first gave it a listen when sat next to the bins outside my front door on a wet and windy Saturday night, locked out of my house, and the song turned out to be the perfect accompaniment. It would also sound perfect if you were in a packed, sweaty tent getting elbowed in the ribs by people who make you feel too old to still be going to festivals, and it’s the anthem of getting unreasonably drunk in the house on a Tuesday afternoon with three mates and a guy someone befriended two nights ago but still seems to be hanging out. In short, it’s music for being unproductive and defying conventional lifestyle expectations. If your habits frequently get described by your upstanding peers as “irresponsible”, go sprawl out on the pile of clothes on your bedroom floor and blast this track at full volume, on repeat, for a few hours of grungy guitar-pop bliss.

A Whole New Shape is out on 30 March on Moshi Moshi Records
Words by Holly Warren. Read more of Holly’s writing here