Daughters Of The Sky by Bamboo is released today on LP (180g, gold vinyl), CD and digitally! Check out this extraordinary album in all its glory, seriously transportive and beautifully rendered in sound!
BAMBOO - A WORLD IS BORN
31 May 2019
Today we're sharing Bamboo's brand new single 'A World Is Born'! This new song features Rachel Horwood's flawless, resonant folk cadence and Nick Carlisle's pristine synth production, whilst drum machines and samples lock together with acoustic drums. This surprise single, out today on all digital platforms, is taken from the group's forthcoming album 'Daughters Of The Sky' out June 14th through Upset The Rhythm. Accompanying this album track are remixes from Rozi Plain and Bas Jan that sound towering and ingenius. Enjoy!
NOTS VIDEO AND TOUR!
30 May 2019
Memphis powerhouse, Nots head out on their East-Coast American tour this weekend to celebrate they've just shared their new video in collaboration with WWW for 'Persona' too.
Here are the dates (many with Olivia Neutron John):
01/06: Knoxville, TN - Knoxville Punk Rock Flea Market
02/06: Cincinnati, OH - Northside Yacht Club
04/06: Chicago, IL - Subterranean
05/06: Detroit, MI - UFO Factory
06/06: Nelsonville, OH - Nelsonville Music Factory
08/06: Brooklyn, NY - Alphaville
10/06: Philadelphia, PA - Boot & Saddle
11/06: Washington, D.C. - Songbyrd
12/06: Durham, NC - The Pinhook
24 May 2019
Upset The Rhythm releases 'Private Sector' today! The long-awaited second album from Hygiene. 'Private Sector' runs riot with brooding melodies, choppy, politically-pointed songs all delivered in their pugnacious yet often droll style. Time is taken to stride down the Holloway Road and through its footnotes, whilst fixations on buses and trains rub shoulders with metropolitan elites. Hygiene take swipes at tax havens, privatisation and the neoliberal madness of utility cartels, but they also choose to look at zealous fitness regimes, dodgy cover-ups and the very fabric of Englishness too. "Keep calm and carry on aaaaaaaaaaaargh!"
22 May 2019
"What to do with a spud like you?" Melbourne post-punk wags Terry return this summer with their new EP 'Who's Terry?' (July 19th). You can just make him out in his hobnail boots, peering from behind the sandwich board, wink, wink. Following on from last year's huge-sounding 'I'm Terry' album, this third EP from the band brings you right up to date with their wobbly politico-pop.
TRASH KIT ON THE HORIZON
16 May 2019
Trash Kit return with their third album on July 5th and it's nothing short of astonishing, totally alive and epic in sound and sensibility! Brooklyn Vegan have just shared first single and title track 'Horizon' to help us announce the album today, take a look/listen! Limited yellow vinyl version available to pre-order now.
WHAT'S GOING ON?
14 May 2019
This summer we'll be re-issuing 'What's Going On?' by Normil Hawaiians, their masterstroke from 1984, recorded in rural Wales and packed full of experiments in tape collage, long-form song and improvised modes of existence! Bonus tracks galore included with the 180g LP (+ booklet + hand-numbered poster) and CD versions. Available to pre-order now. Heres' the announcement, with first stream 'Market Place', up on The Quietus!
PATIENCE began as bedroom synth project for songwriter Roxanne Clifford after the break up of her acclaimed indie pop band Veronica Falls. Born out of a desire to experiment with a new sound and analogue synthesisers, the project has since grown to become an all-encompassing persona and serves as the main vehicle for the full emotional spectrum always latent in Clifford's songwriting. From her first long-sold-out 7" singles on Night School, her knack for melodic hooks and oblique emotional stances already contained a glistening sheen of promise. Debut album, Dizzy Spells, serves as an intimate portrait of Clifford's creative adventure, almost diaristic, conceived and recorded in her home studio, as well as with collaborators Todd Edwards (Daft Punk/Uk Garage fame), Lewis Cook (Free Love/Happy Meals) and engineer Misha Hering (Virginia Wing). Dizzy Spells delivers a debut album that twists Clifford's songwriting into new shapes and ecstasies. The album dances around melancholy, thrown to the floor like a bad dream to be circled, emerging bright-eyed into the early morning full of hope.
DESPICABLE ZEE is the solo project of Zahra Haji Fath Ali Tehrani, who has been writing and performing for more than 15 years. She is the director of the Young Women's Music Project, which continues to inspire her. Zahra specialises in leftfield, electronic lo-fi-pop: wonky yet meditative tunes, punctuated by biting rhythms. With echoes of The Knife, Tirzah, CocoRosie and Madame Gandhi, her recent EP sounds like longing, like searching, like hacking away at old vines to reach what's behind them.
VIENNETTA melt gently into your ears from the melancholy serving platter of a chintzy cruise ship cafeteria. Pensive waves of crisp, desire-dusted synthpop are topped with yearning, heartbreak-laden confessionals - a bleary epiphany at the end of another desperate night.
ELF POWER are among the few bands from the Elephant 6 Recording Company that continue to make music to this day, and their prolificacy has been an absolute treat to fans. Elf Power formed in 1994 and over the last 23 years have released thirteen albums, two eps, and a handful of singles, while touring North America, Europe, and Japan many times. Albums such as 1998's Dave Fridmann-produced "A Dream In Sound" and 2008's collaboration with the late Vic Chesnutt, "Dark Developments" have cemented the bands' reputation as the finest purveyors of modern melodic psychedelic folk rock around. Their tour in support of their last album , 2013's "Sunlight on the Moon", took them on an extensive tour in support of Neutral Milk Hotel's much acclaimed reunion tour, as well as dates with Broken Bells and headlining dates.
Their latest album "Twitching in Time" (Orange Twin, 2017) combines experimental arrangements and sublime songwriting with their powerful live bombast, into their strangest, most cohesive, and most exciting sounding album yet. Opening track "Halloween Out Walking" combines minimal and beautiful folk rock arrangements with otherworldy Moog synthesizer gurglings to awe-inspiring effect. Other highlights include "Watery Shreds", a piano ballad that transforms itself into an explosive an unexpected distorted guitar drone freakout, sounding like an unlikely marriage of avant-garde keyboardist Laurie Anderson and drone metallers Sunn 0)) . Songs like the title track and "Cycling Aimlessly" are classic fuzzed out melodic rock songs the likes of which the band has become known for , while songs like "Gorging on the Feast" explore a jazzy, melancholy terrain before descending into a shredding heavy rock assault. The constant shifting of sounds and styles makes for one of the band's most diverse and satisfying albums yet. On this album, singer/songwriter Andrew Rieger and longtime collaborator multi-instrumentalist Laura Carter are joined by Matthew Garrison on bass, Peter Alvanos on drums, and Davey Wrathgabar on guitar.
BAMBOO is the majestic pop project of Nick Carlisle and Rachel Horwood. Their music is vivid and deeply poignant, locking into a magnetic pull between Rachel's flawlessly resonant folk cadence and Nick's pristine synth pop production. Bamboo's second studio album, The Dragon Flies Away, was released last year on Upset The Rhythm. 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 album presents its story in two acts and is presented 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. Bamboo are currently a live quartet and have just finished off their new record, 'Daughters of the Sky', look out June 14th!
CONSTANT MONGREL are a Melbourne post-punk band with releases on Silt Breeze, RIP Society and most recently La Vida Es Un Mus and Antifade records. Over their 10 year existence Constant Mongrel have added members while developing a unique sound and continually built momentum leading to their successful 'Living In Excellence' LP in 2018. The latest record has a sharper British Post Punk expression reminiscent of legendary acts such as Wire, The Fall, Flux of Pink Indians while maintaining their Australian edge and character that exist among their local brother/sister bands Total Control, UV Race, Ausmuteants, Lowlife and Terry. With striking riffs and catchy rolling bass over an often unhinged, vibrant rhythm section with fried saxophone and synths Constant Mongrel are a captivating live band. The bands lyrics and themes vary in subject matter from songs of certain romance, to the joy of a riot, atrocity of western religion, an abundance of a fresh modern fascism, white-middle-class-self-entitled guilt and the beauty in misinterpretation. But behind every idea the tongue remains continually in cheek as the band's humour seeps through and prevails in its sound.
SLUMB PARTY are funked up post punkers from Nottingham. Point your ears in their direction and you'll find the righteous blast of a post-punk-skronk party of such hip-gyrating magnitude that you'll wanna take a bulldozer to your nearest nightclub and pull shapes on the ruins. Their debut 7" dropped earlier this year via German label Erste Theke Tontraeger, and their debut LP (Drunken Sailor) followed shortly afterwards. Fittingly, songs are concise and snappy, with flashes of everything from the rhythms of 80s Athens, GA (Pylon, early B-52s), the soul/punk hybrid of both The Nation of Ulysses and The Make-Up, the hyper-whacked sax rush of the Contortions...plus yer Minutemen, yer Gang Of Fours, yer Shoppings, yer favourite bands with attitude and heads so full of ideas you'll find yourself wondering why most bands fail to make a sassy combination of arts and smarts sound this essential.
PETER SIMPSON just debuted his self titled mini-album. Running with the mantle that post-punk was actually prog in disguise, the record evokes that particular vein of popular music, in the 80s, where the prior generation of outward thinking rockers re-energised their approach by absorbing the new-wave. Fans of Peter Hammill's K-Group albums, Bill Nelson's Red Noise or even the Eno-inflected John Cale Island period, will no doubt recognise elements of each in these 6 mazy compositions.
SNIFFANY & THE NITS are an itchy, twitchy new pogo punk outfit feat members of Artefact and The Snivellers.
CURRENT AFFAIRS are a post punk band from Glasgow, neatly navigating the line between new wave and goth. Formed in 2016 and Comprising Joan (ex-The Royal We/Seconds/Rose McDowall's band), Seb (ex-Anxiety/Pissy), Josh (The Downs/Kaspar Hauser/ex-Rose McDowall's band) and Andrew (Shopping/As Ondas). Collectively they present a muscular unity, with a pounding post-punk rhythm section augmented by wild, effected guitar and the impressive, soulful-but-gothic vocal. A demo cassette was released along the way and In December 2018 the band's first 7" Breeding Feeling -bw- Draw The Line was put out into the world by Not Unloved records. Another 7" is imminent via the IRRK label.
POWERPLANT embark on an eternal crusade with sizzling synthesisers & pleading vocals. They are the true essence of synth-punk released into thin air. They truly are the last of man.
LIVID are a blazing new punk group, fight or flight vocals, pummelsome drums and decidedly frenzied riffs galore. Nothing online yet, featuring ex-Nachthexen members.
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. Within three years the band went on to record three astonishing records, their ambitious double-LP debut 'More Wealth Than Money', 'What's Going On?' with its radical collage of movements and 'Return Of The Ranters' which teamed up their free experiments in compelling arrhythmia with a more confrontational approach. Upset The Rhythm have released 'More Wealth' and 'Ranters' recently in remastered form, and this special live manifestation at Cafe OTO celebrates the reissue of 1984's 'What's Going On?' masterstroke (out June 28th). Lucid, candid, politically engaged, rarely metronomic but always humane, Normil Hawaiians conjure vast clouds of atmosphere. Their songs are bedecked with exalted synth trails, clustering guitar rapture, motorik beats, and spun-out raw polemics. Still light years ahead of us all!
RATTLE are a Nottingham based duo, Rattle focus almost exclusively on drums and more drums, beneath a delicate overlay of vocal harmonies and percussive effects. Formed by Katharine Eira Brown (also of Kogumaza) and Theresa Wrigley (also of Fists), Rattle began as an experiment in crafting rich songs and melody using drums and voice alone. Their music weaves and intertwines post-punk, minimalism and experimental rock, through off-kilter rhythms, patterns and counter melodies. Often starting by picking out the ghost notes from the drums to develop a melody, the song then reveals itself in rounds and harmonies with layer upon layer of rhythm and vocal, lending a choral feel to some of the tracks. Rattle effortlessly blend the avant-garde with irresistible melodies and hypnotic drum beats, using rhythm and harmony to create a refreshing sound that is utterly new - a pretty rare feat these days when we're saturated with so much music. Rattle's impressive 'Sequence' album came out last November through Upset The Rhythm.
ERASERS deliver up rhythmic and mood-driven music that sits between kosmische and post-punk. Forming as a home recording project in 2009 the Perth, West Australian based Erasers (Rebecca Orchard, Rupert Thomas) released a steady flow of cd-rs, tapes and a 7" before eventually releasing their debut full length 'Stem Together' in 2015. In 2017 the duo followed up with the tape release 'Fault Lines'. In the live sphere Erasers have shared the stage with the likes of Low, Grouper, Acid Mothers Temple, Prince Rama, High Wolf and The Soft Machine as well as multiple shows with long time musical heroes My Disco, Love Of Diagrams and Pikelet. After an extensive recording and mixing process, 2019 sees Erasers with two new releases to share; a 5 track tape titled 'Forecast' (through Solid Melts) and the duo's second full length 'Pulse Points' (through Fire Talk and Pouring Dream).
RAYS returned to the fray with their second album, You Can Get There From Here, their first release since their eponymous Trouble In Mind debut in 2016. Rays formed in the fertile crescent of the California Bay Area, a hotbed of musical growth in the past decade, and Rays' members pull not only from that recent miasma but also from a wealth of Bay Area musical history. You Can Get There From Here represents a turning point for the band, angling their scrappy, post-punk fury into a more refined & melodic pop sensibility, drawing inspiration from UK DIY pop & punk like Dolly Mixture, Cleaners From Venus, Television Personalities & more. Straight from the gate, songs like "Fallen Stars" & "The Garden" temper their sonic crunch ever so slightly, relying more on the harmonic wallop of a solid hook than the sheer volume of guitars & cymbal crashes. This is urgent, chiming guitar pop of the highest order that clangs with a sonorous melancholy & a ramshackle grace. Rays can still lay it down with the rest of 'em; tunes like "Subway" & "Work of Art" shuffle & stumble forward, skirting chaos in a flurry of strums, recalling recent antipodean pop groups like UV Race, Dick Diver or The Shifters who cull inspiration from idiosyncratic UK greats like Mark E. Smith or Robyn Hitchcock. With You Can Get There From Here, Rays add their voice to the chorus. The new album finds the core group of Stanley Martinez, Eva Hannan, Troy Hewitt & Alexa Pantalone augmented by new member & keyboardist Britta Leijonflycht, whose synth flourishes add melodic embellishments, sonic heft or psychedelic swirl where needed.
Wednesday 17 July
The Rotunda, Wood Lane, White City Place, London, W12 7TP (3 mins walk from White City tube directly north up Wood Lane. Venue is behind the green gates) | Map
7.30pm | £10.00 | Buy tickets
DANIEL HIGGS is a musician and artist from Baltimore, Maryland on whose behalf superlatives are destined to fail. It's not that his artistic output - spanning three decades, numerous albums, books of poetry and collections of drawings - simply eludes classification, it defies it. Often we hear that a true work of art is meant to speak for itself, and with the work of Daniel Higgs the maxim rings truer than ever. Higgs is known primarily for his work as the sole lyricist and frontman of the band Lungfish, a four-piece dedicated to charting, in this listener's estimation, nothing short of the evolution of all species, known and unknown. They are enshrined as one of America's last true folk bands, and Higgs anointed as a patron saint to artistic purity. In recent years, Higgs has released a number of solo outings that can only be described as the ultimate in isolation, worlds away from the hypnotic, communal rock of his band. Higgs weaves meditative, casually ruptured drones using acoustic and electric guitar, upright pianos, banjo and jew's harp, recorded entirely at home on cassette recorder. He pairs the music with a series of paintings that call to mind religious iconography passed through the disfiguring surrealism of Miro. His art is of the cosmos.
PRISON RELIGION are a hardcore noise project from Richmond, Virginia, comprised of Poozy and False Prpht. Though the two are solo artists in their own right, they collaborate regularly to make collages together that are indebted yet flippant to hip hop, punk, and techno. Working together since 2016, the duo have dived deep into the space between blown-out trap (2016's Cage With Mirrored Bars) and contemporary destructive club music (2018's O Fucc Im On The Wrong Planet). Since linking up with Texas-based experimental label Halcyon Veil, they've connected a global crewsof likeminded collaborators for a remix album including Rabit, Endgame, Swan Meat, Lee Gamble and Bonaventure. The production destroys any notion of comfort afforded in dance music, with cold industrial and glitchy hip hop textures serving as the stylistic anchor of the record. With close ties to NON Worldwide, Prison Religion are also ushering in a new wave of vocal-based club performance.
HYPERSTITION DUO plunge deep to deliver a maximalist collective immersion into their own lysergic phonosphere. Lurching, polyrhythmic pathways crumble and re-assemble; elastic dynamics snap; propulsion sparks from the nerve-centre of machine and corporeal entanglement. Featuring ex-members of Blood Sport, templexing, mobius loops and cybernetic subjectivities abound in an attempt to conjure escape vectors in a world of ubiquitous sound.
ADVANCE BASE is the electronic solo project of Chicago, IL singer/songwriter Owen Ashworth (formerly of Casiotone for the Painfully Alone). Using a two-handed arsenal of electric pianos, autoharps, Omnichords, loops, samples & drum machines, Ashworth builds minimalist, heavy-hearted, & nostalgia-obsessed tunes around his conversational, baritone vocals. The sound of Advance Base has been described as "lo-fi," "depressed" & "weirdly uplifting." Advance Base has supported live dates for The Postal Service, Pedro the Lion, The Mountain Goats, Dean Wareham, Alan Sparhawk, Mark Kozelek & Stephin Merritt. The debut Advance Base album, 'A Shut-In's Prayer' (2012), was released by Caldo Verde Records & Ashworth's own Orindal Records. 'Nephew in the Wild', the second album by Advance Base, was released in 2015 by Orindal Records & Tomlab Records. PopMatters named 'Nephew in the Wild' the number 1 Indie Album of 2015. 'Animal Companionship', the third & most recent album by Advance Base, was released last September. The sound of the album is soft and thick and comforting. And when we're working with songs as sad as the ones that Ashworth writes, that level of comfort really comes in handy. He used to write sad love songs, or sad songs about love. He's still doing that, really, except that he's now middle-aged, with a wife and kids, living in suburban Chicago, and the songs reflect that. The songs on 'Animal Companionship' are full of a whole life's worth of regrets and missed opportunities and moments of acceptance and dead friends. It's not as bleak, either; there are moments of happiness, or at least sustenance, sprinkled all through 'Animal Companionship'. But in its sharp and unrelenting and empathetic specificity, this is some real masterly heart-wrecker music.
ALICE HUBBLE is the new project of Alice Hubley (Mass Datura, Cosines, Arthur and Martha), the product of one lady locked at home with her collection of analogue synthesisers. Inspired by 70's recordings by Tangerine Dream, Delia Derbyshire, Mike and Sally Oldfield, hers is a distinctly feminine take on the sometimes pompous prog sound. Her new album will be available on Happy Robots in Summer 2019.
MOUNT EERIE is still the name of the songs that come from Phil Elverum, a 41 year old artist/writer from rural maritime Washington state, USA. Over the past couple decades these songs have sprawled across sounds and atmospheres, sometimes cacophonies, sometimes gentle questions. In 2019, in the shadow of death and love and always head-on direct, there will be a performance in London.
J. McFARLANE'S REALITY GUEST is the new project of Australian artist Julia McFarlane. As a member of the group Twerps, McFarlane has traversed guitar-centric, melodic pop music for some years while honing a highly unique, personal musical language. 'Ta Da' is the first recorded unveiling of McFarlane's affecting, oblique songwriting panache. Originally released in her native Australia on Hobbies Galore, 'Ta Da' will be released worldwide by Night School in June 2019. 'Ta Da' showcases McFarlane's songwriting immersed in psychedelic music and synths. It's a brilliant, deft concoction swimming in Young Marble Giants-type minimalism washed with bare pop and harmony similar to Kevin Ayers making sense of a Melbourne suburb full of faces half-recognised in the blanching sun. McFarlane's vocal is straight forward, lyrically conversational but still not completely in focus, a surreal kitchen sink drama filtered through a dream where everything is in an unusual place. Reality Guest similarly draws on BBC Radiophonic Workshop-style noise synths, flute solos, palm-muted guitar and a sleepy, psychedelic tone that drifts away into the sunset, simple and direct.
TIM PRESLEY'S WHITE FENCE, informed by the extreme polarities of punk rock and psych, brings forth songs like no others. Two years on from his solo missive, the sense that something has cratered and someone has walked away, somehow alive, is heavy in the air. With his new album 'I Have to Feed Larry's Hawk', Tim Presley meets White Fence again, and together, they move on. He started writing songs for this album in a small rural town in the UK called Staveley. Tim was staying with Cate Le Bon there during winter. While she was there going to school learning how to build & design furniture out of wood, he started writing on her piano. Tim came back to San Francisco to record, but first he had a fervent dream that Johnny Thunders asked him to be honest & simple with this album, and also why dolphins were not given arms. He booked studio time with a very talented fellow named Jeremy Harris and they worked together out of a studio in the Dogpatch district of SF (owned and run by Paul from the UK band The Bees. Jeremy was able to learn the songs on piano, keys and finesse the parts, including most drums and also record/engineer the whole album. Also playing on the album, is S.F. Mission district native Dylan Hadley who plays drums on two songs: 'Until You Walk' & 'Forever Chained' and H. Hawkline adding guitar and vocals on 'Phone.'
With this new record Tim re-learned how to walk. The poppy stomp. He'd been tethered to a hawk, that he must feed on the dot. While 'I Have To Feed Larry's Hawk' has tinges of both sides in its '60s guitars and whimsical, pastoral folk, however, what dominates is Tim's ability to pen strange, warm tracks like 'Lorelei' that are totally out of step yet tug on familiar melodic heartstrings. Like Syd Barrett or, more recently, Euros Childs before him, White Fence continues to make the peripheries seem oddly accessible. Things really soar when Presley privileges space and simplicity and with this album he's created a bare-bones, diary like project that bounces between optimism and melancholy. 'I Have To Feed Larry's Hawk' came out on Drag City this January.
MARY LATTIMORE is a Los Angeles-based musician who uses her Lyon and Healy concert grand harp to conjure up beautifully abstracted forms that evoke a host of memories, landscapes and allusions.
Across a breadth of recordings, collaborations and art commissions her music explores a realm of wordless narratives and indefinite travelogues, where - with the help of effects and occasional vocals - extended harp improvisations morph into spectral songforms. In live performance she reveals the impressionist magic of her chosen instrument, blurring classical technique and ambient electronics to beguiling effect.
In 2018 Mary released Hundreds of Days, her second LP on Ghostly International, as well as a collaborative album with Meg Baird entitled Ghost Forests (Three Lobed). She has moved a long way since her classical studies at Eastman School of Music, via days in Philadelphia with the likes of Espers and Fursaxa and sound-making time with Steve Gunn, Sharon van Etten and Kurt Vile. She has also collaborated with guitarist/synth player Jeff Zeigler on their 2014 album Slant of Light (Thrill Jockey) as well as composing a live score for Philippe Garrels' 1968 experimental silent film Le Revelateur which they subsequently toured together.
DEERHOOF, is four people. Satomi Matsuzaki plays bass and sings, Greg Saunier plays drums, John Dieterich and Ed Rodriguez play guitars. But what is Deerhoof really? Hell if we know. Pitchfork went so far as to label Deerhoof as "the best band in the world." From their humble beginnings as an obscure San Francisco noise act, they've become one of indie music's most influential bands with their ecstatic and unruly take on pop.
"Deerhoof are amazing. They're nuts, they'll freak you out." (Dave Grohl, Foo Fighters)
"Deerhoof deserve far more recognition." (Jonny Greenwood, Radiohead)
DANIEL O'SULLIVAN is a composer, songwriter, multi-instrumentalist and producer living and working in South West London and has been contributing a vibrant, chameleonic brew to the music landscape since the late 1990's. He has achieved acclaim writing, recording and performing with a myriad of groups including Grumbling Fur (with longtime friend and collaborator Alexander Tucker), Ulver, Mothlite, Sunn O))), Guapo, Miasma & the Carousel of Headless Horses, Miracle, AEthenor and This Is Not This Heat. He has composed several sound works for film and installation.
Whether solo or in his varied collaborative projects, O'Sullivan's work is remarkable in the way it infuses familiar everyday experience with traces of the uncanny, the secret and the magickal. His 2017 solo album VELD distilled these tangled realities into a rich and complex soundworld, strikingly dense and allusive. Released in April by O Genesis, Folly is O'Sullivan's second album under his own name and embodies a confident, evolution from VELD. This cycle of twelve songs deftly illustrates O'Sullivan's ascent as a unique and multidimensional songwriter. Moving from the familiar pantheon of experimental music and arriving upon a universal narrative probing the human condition from the inside out. Both lyrically and within the intricate lattice of arrangements, traditional forms are reshaped into transcendent pop symphonies. Both intimate and alien, archetypal and atypical, joyous and melancholic, the aperture of Folly is wide open and light streams in. For this special performance O'Sullivan will perform his new songs as an ensemble of eight, featuring Thighpaulsandra (Coil, Julian Cope Band, Spiritualized) who also recorded and mixed Folly at his Aeriel studio premises in Wales.
BRIGID MAE POWER is an Irish singer-songwriter and multi-instrumentalist who, like Judee Sill, Micky Newburyor Linda Perhacs before her, paints her songs in dreamily expansive strokes, transporting earthly compositions into universal and exultant realms. Her self-titled debut on Tompkins Square was a majestic suite of reverb-swathed laments for voice, guitar, piano, accordion, and harmonium, recorded at the Portland studio of key musical foil Peter Broderick. Themes include transformation, change, motherhood, acceptance, strength, courage and trust. In the words of Power, the album was about "trusting if you lose yourself or your way - you can come back". New album 'The Two Worlds' is another masterful collection of effortless, hypnotic folk, and an album that furthers the songwriter and multi-instrumentalist's already stellar reputation. Live, Brigid can encapsulate the timeless magic of her songs either solo or as a duo with Peter. Thus far she has toured throughout Ireland, UK and the US together with artists including Lee Ranaldo, Richard Dawson, Alasdair Roberts, Peter Broderick and Ryley Walker, with performances at Le Guess Who? and TUSK festivals along the way.