We're thrilled to be working with Robert Sotelo on his debut album 'Cusp', out September 1st. Noisey have just premiered the brilliant first video from the record: Let's Transcend!
'Cusp' by Robert Sotelo is available to pre-order now here, look out!
REMEMBER TERRY RELEASED
30 June 2017
Terry released their second album 'Remember Terry' today! The album is full of wish fulfillment, critiqued characters, memorial muscle and historical hustle. Check out this week's live session for Marc Riley to get a scoop on how great they're sounding right now! Also look up their European tour dates that are happening as we speak.
CASA DE CIMA RELEASED
16 June 2017
'Casa de Cima' is the stunningly alive new album from Pega Monstro, out now on black 180g vinyl, CD and digitally. There's a sense of sisterly oneness and provision apparent in Pega Monstro's music allowing the album to sound instinctual and awash with ideas. 'Casa de Cima' is a record with its eyes firmly set on the heavens and courageous enough to climb mountains to get closer to them.
TERRY - GLORY VIDEO
15 June 2017
Off with their heads! Terry are back with a brand new song/video for 'Glory', taken from their forthcoming album 'Remember Terry' out June 30th through Upset The Rhythm. Thanks to Noisey for hosting the video along with their Euro tour dates.
THE DRAGON FLIES AWAY RELEASED
7 June 2017
Bamboo's excellent new album 'The Dragon Flies Away' is now available on blue 180g vinyl, gatefold CD as well as digitally. Here's a photo of the record looking as good as it sounds. Check out Bamboo's songs in our soundcloud playlist below too.
PEGA MONSTRO - NEW VIDEO
6 June 2017
Dancing shoes firmly on, here's Pega Monstro's wonderful choreographed video for the opening track from new album 'Casa de Cima'. Thanks to Raven Sings The Blues for premiering 'O Miguel'.
18 May 2017
Stereogum have kindly announced our new album for Melbourne glam pop country bops Terry. The album is entitled 'Remember Terry' and will be released through Upset The Rhythm on June 30th. They will be touring Europe around the same time, so watch this space and also watch this brand new video for lead single 'Take Me To The City'.
PIKACYU-MAKOTO is an alliance between two figureheads of underground Japanese psych/pop, the musically promiscuous Kawabata Makoto (most famous for his leadership of the legendary Acid Mothers Temple), and Afrirampo's Pikacyu. Pikacyu's drums pummel, jitter, crash and stumble, but steadfastly refuse to groove. She layers her voice several times, competing with pitch-shifted versions of herself whilst Makoto attacks his guitar, cloaking himself in reverb to produce a wall-of-sound, alternating between melody and noise. No strangers to one another, the pair have not only gigged together with their respective bands but also recorded together, when these two outfits temporarily fused in 2005 to become Acid Mothers Afrirampo (releasing an album of the same name). Now they have distilled their collaboration, all other players being stripped away to leave the core of Pikacyu's manic drums and pop vocal, and Makoto's schizoid guitar conjurings. Brand new album 'Galaxilympics' is out on Upset The Rhythm on August 4th on LP and CD.
TELEPLASMISTE is Mark O Pilkington (Raagnagrok, Urthona) and Michael J York (Coil, Cyclobe). The duo blur vintage synthesis and contemporary electronics with acoustic pipes to create a transcendent reverie that exists on a wavelength beyond both retro fetishism and modern-day machinations. Heavy ambience and otherworldly atmospherics marry here amidst an aura of epiphanic radiance. Previous performances have taken place in churches and crypts, and at Farnborough Wind Tunnel, in which the resonant frequencies of the space were combined with frequencies believed to have certain physiological effects.
SPRAY PAINT are a no wave punk outfit from Austin, Texas made up of Chris Stephenson (drums/vocals), Cory Plump (guitar/vocals) and George Dishner (guitar/vocals). Spray Paint's buzz-sawing guitars run headlong through labyrinthine tunnels of reverb, chased down by some wildly brain-bashing drums. All three members of Spray Paint sing too, helping create an uncontrollable sense of fervour as they jostle for the words. They work up a tone of paranoia amid the jagged rhythms, locking into a motoric groove that's impossible to escape from, offset with stormy blasts of distortion. Since forming in 2012, Spray Paint have released six LPs and 7"s through SS-Records, Goner, Upset The Rhythm and Monofonus Press. They've wasted no time with hitting the road either, touring the US many times, with their friends Protomartyr and The Rebel.
THE REBEL is prolific London outsider Ben Wallers; a charismatic lone wolf in a cowboy hat or trilby and a tie whose electrified howls are too idiosyncratic to be broken down into market-oriented terms. It is difficult to sketch a thumbnail summary of a musician who has amassed a vast and unwieldy discography under a variety of names and genres: the most widely acclaimed is probably the Country Teasers, but he also moonlights as, or in, the Rebel, the Company, the Male Nurse, the Beale, the Stallion, the Black Poodle and Skills on Ampex, across folk, country, garage, post-punk, no wave and electronic pop. In the main part The Rebel is centred around twisted Casio drones, clanging guitar and some defiantly deadpan vocals, all thrown in the pan and pressure-cooked in Wallers' mind. Wallers has amassed a near-unquantifiable discography over the past 20 years, from scores of more or less "official" LPs, EPs and 7"s to seemingly endless self-released cassettes.
HOME ENTERTAINMENT find themselves at the intersection where avant garde experimentalism meets garage rock music. Drawing upon a palate of literary, artistic and sonic influences, Home Entertainment create primal, unrefined walls of sound adorned with jagged shards of English low life lyricism. Their debut, cassette garnered praise from The Quietus describing them as "a weird mix of Sebadoh's crumbling charm, Les Rallizes Denudes' noisy squall, and the blues pop grooves of ZZ Top".
JOHN R. OLSON aka Inzane Johnny of Wolf Eyes and American Tapes will be treating us to a solo slice from his mind platter, featuring reeds and modulations galore. As a part of Wolf Eyes, Olson is responsible for augmenting the USA's longest-running homemade, primitive, electronic, poetry & radical vibes trio. They don't just release albums they launch scotched, taped nuclear audio fronts on humanity. Earlier this year saw them release their new album 'Undertow' packed full of what Olson does best; unnerving dread meets genuine freedom vibes that shiver their way through the dark ambience of it all.
REGRESSION is the solo project of Nate Young, a founding member of seminal Detroit noise band Wolf Eyes. More recently he's been honing an equally distinctive solo sound that blends myriad sources from musique concrete, vintage film atmospherics, layered synths and archive library recordings into something thrillingly intense. Summoning up crushingly ominous crepuscular soundscapes and synth-washed phantasmagoria, Young undercuts the brutalism of Wolf Eyes with the kind of ambient dread that conjures images of lost horror soundtracks from the 70's. Minimal analogue synth violence is punctuated by thunder cracks of metal percussion ala the early Akita/Null Merzbow duets, massively doomy beat hypnotics and an atmosphere that's somewhere between the most apocalyptic Throbbing Gristle recordings, Coil's Musick To Play In The Dark, The Conet Project and your favourite Kraut kosmonaut. Young's most recent album 'Blinding Confusion' (out on NNA Tapes) has the feel of a kind of post-synth electro-acoustic ritual, albeit tied-in with a visionary compositional aesthetic that is a couple of miles beyond your average weird-beard in a basement non-vibe.
CRAZY JIM aka James 'Crazy Jim' Baljo, is proof that not every side-project of Wolf Eyes results in noise. Veering towards the sweet and ambient, Crazy Jim uses only guitars to build huge waves of tonic abstraction. Nate Young credits Crazy Jim as "the first person to coin the term INZANE and plays and lives accordingly", look out for some sweet folk-tuned bliss and tape delay guitar gloop.
WARM DIGITS are Steve Jefferis and Andrew Hodson; a trans-pennine, krautophonic blizzard-wave duo that emerged from Newcastle upon Tyne's underground scene with a sound like Neu and Cluster forming a supergroup with Giorgio Moroder, Kevin Shields, Eno and Keith Levene. Their first album, 'Keep Warm... with the Warm Digits', came out in 2011 on Newcastle's Distraction Records; Andrew Weatherall described them as producing some fine "machine funk kraut-a-delia" and the duo were soon went on to headline one of his Live From Outer Space events. Live, Warm Digits are a motoric epiphany of drums, guitar and pulsing hardware, complete with mesmeric kosmische visuals; all that on-stage multi-tasking making their live sets a dynamic kraut-disco experience. The last few years have seen Warm Digits release a second album entitled 'Interchange', tour with British Sea Power and support the legendary Goblin, St Etienne, Future Islands and ESG. Warm Digits now have a new album due out on Memphis Industries this August, featuring vocal contributions from Field Music, Sarah Cracknell, Devon Sproule and Mia La Metta.
NAP EYES hail from Nova Scotia and make crooked, literate guitar pop refracted through the gray Halifax rain. Recorded live to tape with no overdubs, their songs are equal parts shambling and sophisticated, with one eye on the dirt and one trained on the starry firmament, inhabiting a skewed world where odes to NASA and the Earth's magnetic field coexist easily with lyrics about insomnia and drinking too much. In the world of Nap Eyes, workaday details punctuate (and puncture) cosmic concerns, as songwriter, singer, and rhythm guitarist Nigel Chapman wrestles with air and angels, struggling (and often failing) to reconcile the Romantic rifts, both real and imagined, that define our lives: between chaos and order; solipsism and fellowship; the anxiety of social (dis)orders both big and small; and the various intersections and oppositions of religion, art, and science. It's the sound of being young and alive in the city, a tenuous and impermanent counterpoise of recklessness and anxiety, archness and earnestness. Following the reissue of their 2014 debut 'Whine of the Mystic' on Paradise of Bachelors, Nap Eyes released an album of all-new material entitled 'Thought Rock Fish Scale' last year, following that up with two incredible London shows!
LARAAJI is a musician, mystic and laughter meditation practitioner based in New York City. He began playing music on the streets in the 1970s, improvising trance-inducing jams on a modified autoharp processed through various electronic effects. Brian Eno saw him playing one night in Washington Square Park and invited him to record an album for his seminal Ambient series (Ambient 3: Day Of Radiance, released 1980). Laraaji went on to release a prolific series of albums for a wide variety of labels, many of which he recorded himself at home and sold as cassettes during his street performances.
In recent years he has had his career celebrated extensively, with two All Saints/Warp retrospectives Celestial Music 1970-2011 and Two Sides of Laraaji - as well as reissues on Glitterbeat and Leaving Records/Stone Throw. He has also collaborated with a new generation of underground musicians such as Sun Araw, their new LP Professional Sunflow (Superior Viaduct) being the fruit of the live shows they played together in 2014.
This September sees All Saints release a stunning pair of LPs of new studio recordings by the celestial music pioneer. Bring On The Sun is a magical mixtape of tracks that run the full gamut of 'Laraaji music', from blissed-out percussive jams to reflective vocal hymnals to trance-inducing drones. A perfect Laraaji entry-point on his never-ending creative journey through inner light. The record is recorded by Davey Jewell (Peaking Lights/Flaming Lips) and mixed by Carlos Niño (Leaving Records). This will be preceded by Sun Gong, a major new self-contained work experimenting with gong micro-tonalties processed through various electronic effects. The results are unlike any music he has made before - two side-long long-form pieces that evoke the sound of a shimmering metallic eternal wave.
LE TON MITE
Monday 4 September
NB. This is the new date for Deerhoof's postponed Feb 6th show, original tickets remain valid
DEERHOOF are an alchemy of '77 punk, pop, glam, hair metal, doo-wop, hip hop, and R&B, late-night car rides, long days, spandex, shadows, and attitude. Poetry into noise, volume knobs into pleasure, friendship into rock band.Twenty years deep into their career it's safe to describe them as legends of the American underground, releasing 14 albums and treating the world to their never-the-same-twice thrill-ride of a live show. Recent album 'The Magic' is out now on Upset The Rhythm, it is a mixtape imbued with Deerhoof's sorcery; boldness, wonder, technical know-how, risk. A mixtape by the kid with the biggest music collection you've ever seen, who will take you camping and show you how to pull a rabbit out of a hat. Are Deerhoof the greatest live band in the world? If you shake the Magic 8-ball, "all signs point to yes"!
LOWTIDE's murmurs have been growing of late. The shimmering vocal exchanges between Lucy Buckeridge and Giles Simon and their unique dual bass lines are pivotal to their shoegaze sonics. These hazy vocals and swirling guitar effects are given room to breathe as the band masterfully exploit rhythm and space. Australian fans have been enjoying all of this since 2014 - as well as a cover of Asylum Party's 'Julia' in 2015. Here in the UK we only got the record last August - and it's been spinning on our stereo regularly since then. 2016 was a breakthrough year for the dream pop / indie pop / shoegaze specialists who received critical acclaim for their inaugural long-player including in Rough Trade's renowned 'Albums Of The Year' list whilst also having amassed 4 and 4.5 star reviews in many of their homeland of Australia's magazines, and a string of sold out shows.
ROBERT SOTELO is the nom de plume of Andrew Doig, a 36 year old serial musician originally from Peterborough, UK. Andrew's middle name is Robert, whilst Sotelo is his mother's maiden name. Using this alter ego he's been able to write and record the twelve songs that make up his debut solo record 'Cusp' (released on September 1st though Upset The Rhythm). Sotelo plays every instrument on the album and recorded and edited it with long term friend John Hannon throughout 2016 at No Studios in Rayleigh, Essex. Sotelo's verdant world of sound is at once intimate, choosing to build songs up from ambitious layers of instrumentation into miniature psych pop overtures of genuine sincerity of feeling. Very much grounded in that particular forward-facing strain of mid-60s rock that edged towards Sgt Pepper, Sotelo's music owes as much to Davies and McCartney's unashamed belief in melody as it does to the uncertainty and confusion that comes with mid-thirties existentialism. 'Cusp' is an album that explores the individual in a post-social life era, with Sotelo starting the project initially as an attempt to re-engage with the people he used to know, without relying on nostalgia as a common bond. From this worthy spark of a plan, he's created something grand and compelling, a vast tapestry of songs that stand up and sound afresh.
CLEMENTINE MARCH was born in France, and musically trained in Brazil, now as a Londoner she writes songs and instrumentals that cross language and genre borders, mashing raw rock sounds, pastoral pop compositions and Brazilian influences with her experience of playing with, to name a few excellent co-conspirators, Snapped Ankles, Julien Gasc, Mega Bog, Pollyanna Valentine, and her own previous band, Water Babies.
POZI are a new London-based trio and brainchild of Toby Burroughs formerly of Totem (Moshi Moshi Records). Synth-like electric violin weaves through rampant drums and stomping bass, filling your headspace with sparse, angular energy. Their unique world will hypnotize you - it can be manic, fun and unnerving but will get you moving!
SHANNON AND THE CLAMS are from Oakland, California and comprise of Shannon Shaw (vocals, bass), Cody Blanchard (vocals, guitar), and Ian Amberson (drums, vocals). Sounding like a prom band from 1964 getting dosed with acid and having the sweetest lovelorn freak out, Shannon And The Clams defy expectations. Imagine a brawling Etta James, backed up by the 13th Floor Elevators singing Shangri La's tunes. Shannon has a voice that can go from a sweet girl group croon to a bluesy ballsy growl before you realize you're headed for the (dance) floor. It's total punk rock bop, brimming with doo-wop glory delivered to your door by the Homecoming Queen and Kings of weirdo rock 'n' roll. What started as an open mic project for a shy, young Shannon to try out some tunes ended with the Clams meeting and forming a band. Many have said to have been possessed by thee (eerily similar at times) haunted howls and beautiful growls of their two lead vocalists, hypnotized by their heavy heartbeats, and mesmerized by their magical music. Your ears may become infested with a real Buddy Holly jolly kinda joy (oh boy) while you stutter along to a hiccupy song. Take a scratch and a sniff at these stickers and get bit by their bad-brained snarls. It's always Christmas (if you want it). It's your party time, and it's excellent. Cry-yi-yi if you want to, but be sure to surf a splish-splash with a laugh later. Recent album, 'Gone by the Dawn' (Hardly Art) is monumental; immense, magnificent, and unforgettable. Shannon and the Clams have pioneered their way into a lonesome land where the past still lives in the long shadows of a hot afternoon, where whispering spirits follow high along canyon walls, and if you sink your fingers into the dusty hard-packed earth you pull out hands smeared with blood.
PRIESTS are Daniele Daniele (drums), Katie Alice Greer (vocals), G.L. Jaguar (guitar), and Taylor Mulitz (bass). Formed in 2011 in Washington DC, the band has proven a valuable force for strangeness in a city that is increasingly terraformed by norms. At a time when few groups were making serious moves beyond the Beltway, Priests toured throughout North America and Europe. More significantly, they've helped to raise the general standard of show-going at home through cassettes and singles released on Sister Polygon, including music by bands like Sneaks, Snail Mail, Pinkwash, Cigarette, Downtown Boys, and numerous Priests-affiliated groups like Gauche and Flasher. Still, even amidst thriving hometown creativity, Priests possess a singular gravity. They are physical and combustible, urgent and visceral.
This January, Nothing Feels Natural, the band's first full length LP was released on their own label Sister Polygon Records. It's the bands most stylistically diverse set of songs to date, expanding on their lo-fi post-punk bona-fides with ideas drawn from pop, R&B, and industrial noise. Thematically, Nothing can be understood as a series of vignettes - nine stories that crystallize into a bigger picture about the economics of human relationships, the invisibility of feminized labor, and the dual purpose of art for both the group and the individual. It's a record that thrives amid the tension between that what is valued and what is dismissed; between what is desired and what is presented.
DOWNTOWN BOYS use their ferocious energy and powerhouse live shows to unite crowds in the struggle to smash racism, queerphobia, capitalism, fascism, boredom, and all things people use to try to close our minds, eyes and hearts. The Providence, RI band have just announced their third album, Cost of Living, to be released August 11th on Sub Pop. The new album - the follow-up to their critically-acclaimed sophomore album, 2015's Full Communism - is at once incendiary, cathartic, and fun, melding the band's revolutionary ideals with boundless energy. Produced by Fugazi's Guy Picciotto, one of indie-rock's most mythological figures (he also produced Blonde Redhead, The Gossip, and others), Cost of Living shows a sense of maturity without compromising the band's righteous assault and captivating presence.
The position of Downtown Boys has been clear since they started storming through basements and DIY spaces with their radically-minded, indefatigable rock music: they are here to topple the white-cis-het hegemony and draft a new history. This is how Downtown Boys began, and their resolve has only strengthened as both their sound and audience have grown. Like the socially conscious groups of years past, from Public Enemy to Rage Against the Machine, Downtown Boys harness powerful sloganeering, repetitive grooves, and earworm hooks to create one of the most necessary musical statements of today.
SHOPPING are propulsive bass lines, primitive disco-not-disco drums and guitar lines sharp as broken glass. The band was formed in 2012 by members Rachel Aggs (guitar), Billy Easter (bass) and Andrew Milk (drums), who've all done time in a plethora of notable UK DIY bands including Trash Kit and Wet Dog. They pull from a well of 70's post-punk with a voraciousness seldom seen these days, bringing to mind the jagged aggression of Gang of Four, the voracious yelp of The Slits and the dance inducing thrust of Delta 5 . Their debut LP 'Consumer Complaints' was released November 2013 in the UK via MILK records and quickly sold out its first pressing. A US re-issue of 'Consumer Complaints' came out in 2015 via Fat Cat records, followed up by their excellent second album 'Why Choose?' The band are tirelessly committed to taking their sound to new audiences and spreading the Shopping gospel, securing impressive gigs along the way including main support for ESG and Gang Of Four as well as a BBC 6 Music session for Marc Riley. They have toured in the UK and throughout Europe numerous times over the last few years and last year toured the USA with also awesome Gauche, look out for a new album imminently!
GAUCHE are made up of Daniele Yandel of Priests and Mary Regalado & Adrienne Berry of Downtown Boys, plus a cast of friends. Gauche bring a funked groove to scratchy, minimal post-punk on their debut Get Away With.... Originally released on cassette via Sister Polygon Records, it is now also available on LP through Danger Records. Taking elements of Young Marble Giants, ESG (who they have played with) and Grass Widow, the DC band inject an explosive energy into songs about fraught relationships, a dependency on technology and social media and unfair working conditions.
MOUNT EERIE is the current project of Phil Elverum. In high school in Anacortes Washington in 1996 Elverum started calling his tapes of self-recorded noise and songs 'The Microphones'. Since then he's produced two decades worth of records that span a wide spectrum from studio heavy atmospheric landscaping to simple raw songs. The Microphones project was nourished by and located within the community of artists around K Records in Olympia in the late 90s/early 2000s, and Phil Elverum's musical ideas were clearly the product of the flood of independent music in the NW during those years.
After five albums the project was renamed Mount Eerie just as the Microphones were getting some unexpected attention from the widespread acclaim of 'the Glow pt. 2' (2001). The Mount Eerie recordings got weirder and broader, and Elverum left K Records and began releasing everything himself, ultimately building a self-contained small town operation in Anacortes called P.W. Elverum & Sun. Radical self-sufficiency has been a theme and obsession; all all ages shows and never though a manager or booking agent, always self-recorded, hands on in all details. Mount Eerie's albums have always aimed to push into new territory, both in sound and idea, but the thread of Elverum's voice has remained constant throughout, soft and human amid the wide range of textures and worlds. Often the lyrics have attempted to grapple with big questions, the briefness and the smallness of human life being a running theme. On occasion the music has been called "black metal" (Wind's Poem, 2009), "dream landscape" (Clear Moon, 2012), and "raw and direct" (Lost Wisdom, 2008).
The new album, 'A Crow Looked At Me', sounds closer to the latter; minimal instrumentation, no production, clear and heavy words right up front. The difference here is the subject matter. In 2015 Elverum's wife, the French Canadian cartoonist and musician Genevieve Castree, was diagnosed with a bad cancer just after giving birth to their first child. She died a year later. Elverum wrote and recored the album throughout the fall of 2016 in the same room where Genevieve died, using mostly her instruments; her guitar, her bass, her pick, her amp, her old family accordion, writing the words on her paper. The songs are about the brutal details of that experience, from the hospitalisations to the grieving, the specific domestic banalities that become existential in the context of such huge and abrupt loss. These songs are not fun. They are pretty and they are deep, and they find a love that prevails beneath the overwhelming and real sorrow. It is unlike anything else in the Mount Eerie catalog in its unvarnished expressions of personal grief, metaphor-free.
PROTOMARTYR play a taut, austere rock that's been incubated in a freezing Detroit warehouse littered with beer cans and cigarette butts and warmed occasionally by space heaters. Short songs made for short practices, and the band learned quickly not to waste time. Despite the cold, Protomartyr emerged with a sound that is idiosyncratic but relatable, hooky but off-kilter. With respect to the local predecessors, this isn't the primitive stomp of The Dirtbombs or The Stooges' greasy roar. Punk works, kind of, even if it leaves the hardcore kids confused. Post-punk suggests something too retro; indie rock, something too precious. What Protomartyr is, is "stuck between the cracks." If that's the case, though, they aren't alone. Protomartyr's economical rock elicits comparisons to possible antecedents like Pere Ubu or The Fall as well as local contemporaries like Frustrations or Tyvek (whose frontman Kevin Boyer played bass in an early iteration of Protomartyr). Singer Joe Casey's dry declarative snarl serves as a reliable anchor, granting his bandmates (guitarist Greg Ahee, drummer Alex Leonard and bassist Scott Davidson) the opportunity to explore textures and reinforce the rhythm section. This is never more apparent than on the band's recent LP on Hardly Art, 'The Agent Intellect'. A brand new album entitled 'Relatives In Descent' from Protomartyr is due for release on September 29th through Domino, this show will be in support of that new record.
SAUNA YOUTH are an evolving band of young future humans making truly irregular punk not quite comparable to anything else. The band, attracted to the possibilities apparent within a DIY philosophy have been self-recording and self-releasing their own music since 2010, creating a number of seven inches, splits and cassettes. Artistic affinities are pledged to Eddy Current Suppression Ring, Pissed Jeans and The Intelligence, but as Kurt Cobain once asked "Why can't we be both Black Sabbath and The Beatles?", Sauna Youth consistently and urgently pose the question, 'Why can't we be both The Ramones and Steve Reich?'. Sauna Youth's debut album, 'Dreamlands' was released in 2012 through Gringo Records and Faux Discx, whilst the barn storming 'Distractions' album came out on Upset The Rhythm in 2015. In the first 5 months of 2017 Sauna Youth wrote and recorded a new album, holing themselves up in a railway arch in Peckham employing automatic writing techniques, instrument swapping and sampling the electrical interference constantly present in the room. They wrote the final instalment of their trilogy based around the fictional town of 'Distraction' - that has been home to their ideas from the beginning. Upset The Rhythm will be releasing this record in the foreseeable future, look out for lots of new songs!
BOMBER JACKETS are a three piece consisting of Russell Walker, Daniel Bolger, and Sian Dorrer. Both Walker and Bolger will be familiar from the ticklish post-punk of The Pheromoans, whilst Dorrer has a varied CV with groups such as Plug, and Ravioli Me Away, and with involvement across London DIY nodes. 'Kudos To The Bomber Jackets' is the horrifically wry new album from The Bomber Jackets. Following on from 'Lister,' their debut for Alter, 'Kudos To The Bomber Jackets' has a restlessness that takes broader strokes. It finds and holds a register of meandering hope by setting the perverted detail of domestic minutiae against an acutely self-conscious melancholy that cynically daydreams its way into an awkward middle-ground between profundity and platitude.