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1965

When we last saw Raf Rundell he was stood in a clearing, dressed in a shaman’s robes with a modern day magik staff raised above his head. Looking like the special guest DJ at a post-apocalyptic orbital rave, South London’s finest looked ready to take on all comers.

As one half of the 2 Bears and the self-styled Selfie Boy, he was finding his feet as a solo artist - his first mini LP (‘The Adventures Of Selfie Boy Part 1’) was garnering glowing writeups in the rock press as well as electronic magazines. However, just after the record was released, the world around him changed forever.

Put side by side, the birth of a new child and the rapid rise of a generation of Post Truth politicians don’t appear to have much connection. Seen through the eyes of a sleep deprived postmillennial two-time dad, however, these seemingly separate occurrences knot together into one paranoid, helpless, loving whole called ‘Stop Lying’.

“I think ‘Stop Lying’ feels fairly apposite for our time; it’s my regular cry of help and sanity. It’s the result of a bit of pub talk between me and some mates, the best kind of ‘high’ concept really. It was a desperate cry in the lead up to the last General Election and it quickly became a mantra that I shouted at the TV the whole time. It’s ended up working pretty well with my children… and me.”

One can’t be certain if it’s the age we live in or the age of his youngest that’s most heavily influenced ‘Stop Lying’ - whichever it is, it’s managed to make something pretty close to a perfectly reflective post millennial pop record. It’s Raf’s most confident and strident set of songs to date.

STAFF COMMENTS

Barry says: Rundell brings glitzy keys, rolling grooves and early evening sunset tropicalia, before bringing things into darker territory with jagged downtempo, and weirdo Deconesque synth abstractions. Bonkers, and brilliant.

TRACK LISTING

Stop Lying Intro
Every Morning
Within Without
Kinder Nature
Sweet Cheeks
Ric Flair
Accept & Proceed
Falling Out
In Control

Wesley Fuller

Inner City Dream

    Coming a year on from the brash debut EP, Melvista, Inner City Dream features twelve tracks of swirling psych, jangly pop and punchy, crunchy glam that show off Fuller’s broadening sonic palette and his progression as a writer and producer.

    He explains: “Melvista was really my first solo expedition and I was learning as I went along. I think by the time I came to record the album I had a better technical knowledge of what I was doing. There's probably a wider span of influences on the album. I wanted to showcase every aspect of my sound.”

    As well as his steady diet of 70s junk shop glam and bubblegum, Fuller’s regular DJ slots around the Melbourne rock scene’s favourite dive bars produced a new fascination for the polyrhythmic ways of Talking Heads during their late-70s/early-80s peak. It inspired Fuller to make tunes of his own that would make people boogie.

    Lyrically, Fuller has also progressed. Moving on from the teenage lust of much of Melvista, Inner City Dream presents the worldview of a young man trying to come to terms with his place, both physically and symbolically.

    Fuller has already started demoing tracks and playing with ideas for his second album, though it may be some time off. The concepts on Inner City Dream and world events have started him thinking about what else could be around the corner.

    “I think the next few years will be a very interesting time for pop music. The world is in a crazy state right now and it feels as though something will have to give pretty soon. There's plenty to write about. But do people want to hear protest songs or do they want to escape reality? Perhaps there's a new sound around the corner. Who will turn on the light?”

    TRACK LISTING

    1. Inner City Dream
    2. Someone To Walk Around With
    3. Skyways
    4. Better Of Me
    5. Morality
    6. All The Colours Of Sadness
    7. #1 Song
    8. It Can Change My Ways
    9. Biggest Fan
    10. Wish You Would
    11. Miranda Says
    12. No More Chances

    For most of us, 2016 was a tumultuous and ugly year - one steeped in political chaos and an air of uncertainty. For Nadine Shah, these headlines had been a big part of her life for years and ‘Holiday Destination’ - her brilliant and compelling third album out on 1965 Records - sees her stepping out of the shadow of the complicated relationships she examined on her second album ‘Fast Food’ and taking account of the world at large.

    Shah pulls no punches, exploring equally pertinent, difficult topics with similar intelligence and personality; from global issues such as the Calais refugee crisis and the Syrian civil war, to the more personal problems of inner turmoil surrounding the pressure of social conforming, the state of our mental health and simply encouraging others to have empathy. However, despite its themes, ‘Holiday Destination’ is anything but a difficult listen. From the off it immediately becomes apparent that Shah and collaborator, co-writer and producer Ben Hillier’s knack for sharp hooks and rhythms have only progressed further.

    For Shah, the first ideas for ‘Holiday Destination’ came back in 2014: “I saw this really shocking news piece. It was about migrants and refugees turning up on the shores of Kos in Greece by the thousands. There were some holidaymakers being interviewed and they were talking about how ‘they’re really ruining our holiday’. The fact that they had no shame in saying that whilst being interviewed, on national television... it really shocked me. This is what I am seeing across the globe: people unashamedly saying these awful things. It’s like, wow - people really don’t care and they’ll happily talk about how they don’t care. That’s why it’s called ‘Holiday Destination’.”

    TRACK LISTING

    Place Like This
    Holiday Destination
    2016
    Out The Way
    Yes Men
    Evil
    Ordinary
    Relief
    Mother Fighter
    Jolly Sailor

    Karen Elson

    Double Roses

      English-born Nashville-based singer songwriter Karen Elson releases her second album ‘Double Roses’ via 1965 Records. Elson released her debut ‘The Ghost Who Walks’ in 2010.

      ‘Double Roses’ was recorded in Los Angeles, at the world-renowned United Studios (neé Ocean Way) in Hollywood, with producer Jonathan Wilson (Jackson Browne, Father John Misty, Conor Oberst). Elson, who had been writing and demoing songs throughout her recording hiatus of the past few years, spent three weeks in Los Angeles working with Wilson to put the album together. A long-time fan of the sun soaked sounds of the Laurel Canyon era, it was the perfect place to commit her songs to tape.

      The album features collaborations with an array of musical talent, including The Black Keys’ Pat Carney, Father John Misty, Laura Marling, Benmont Tench, Pat Sansone (Wilco), Nate Walcott (Bright Eyes) and Dhani Harrison.

      STAFF COMMENTS

      Sil says: Orchestral magic bathes Elson's delicate yet strong voice. if you like American country and blues, this one can transport you there.

      ‘The Adventures of Selfie Boy Pt. 1’ is released via 1965 Records.

      Our hero, Raf Rundell (DJ by night, acoustic guitar picker by sunset, sometime music biz impresario and fulltime member of 2 Bears alongside Hot Chip’s Joe Goddard), emerges bleary-eyed from a studio high in a garret clutching the first fruits of a solo recording session. A session that saw the studio’s saloon door banging as queens, kings, crazies, painted ladies, ravers, rockers and ragamuffins partied night after night, each of them adding inspiration and perspiration to Rundell’s embryonic recordings to help the man realise his distinctive musical vision.

      1965 Records (visionary home of modern psych, electro-roll and North London deep south boogie) chased down Rundell and begged to be the sole outlet for his sonic art. Bending to their iron will, Raf eventually surrendered the mastertapes which is where our story really begins.

      TRACK LISTING

      Carried Away
      Right Time
      Shoppin’ For A Shaman
      Poor Bitch
      Cosmos Boss
      Llama Farmer

      Man & The Echo release their eponymous debut album, produced by Neil Comber (MIA, Django Django), via 1965 Records.

      The release follows a string of acclaimed single releases from the Warrington fourpiece within the past twelve months, with plays across Radio 2, Radio 4, 6Music, Radio X and Absolute Radio, as well as an invite to play Billy Bragg’s Leftfield stage during this year’s Glastonbury Festival.

      ‘Man & The Echo’ is a soulful, poetic, eleven track statement from a band clearing their own space amidst a cluttered musical landscape.

      The album skirts numerous musical signposts, spanning the likes of The Smiths, Dexys, Pulp, 50/60s crooning, blue eyed soul and much more, arriving at a sound that isn’t retro as much as ricocheting through pop’s many decades and landing squarely in the post- Brexit, conflicted, chaotic UK of the here and now.

      “Man & The Echo seem to take each step with remarkable precision. The past 18 months have brought a steady series of singles, each stamped with a biting sense of intelligence.” - Clash

      TRACK LISTING

      Distance Runner
      On Holidays
      Very Personally Yours
      Operation Margarine
      Care Routine
      Goodnight To Arms
      The Favourite Band Of A Dead Man
      Room With A View
      Pulse
      The Last Introvert
      The Cold Is Stronger Than You Are

      The English duo of Rebekah ‘Beck’ Wood and John Ridgard release new album ‘Peel’, the band’s second album.

      Apparently marked by Coves’ shift from Leamington Spa to London, the new album is seemingly “split between fury and misery.”

      Following the celebrated release of debut ‘Soft Friday’ in 2014, Beck ran into producer Cam Blackwood (George Ezra, London Grammar). Keen to work with the band, he took the home recordings that Beck and John had made during ‘red wine holidays’ at John’s East London spare room studio to Studio Voltaire in Clapham and honed the pop side until it was as sharp as their psychedelic garage edge. The result was a second album, completed in October 2015 and cleaner, harder and just as fiery as ever.

      “Coves make crisp, inspiring rock music with a shoegaze edge… ‘Stormy’ is an almost ludicrously contagious return, with the sighing melody matched by a biting lyric.” - Clash

      “Bolshie choruses buoyed the Leamington duo’s woozy Mazzy Star obsessions, giving them a punk edge that many bands with the same set of influences (you can add The Jesus And Mary Chain and The Raveonettes to Hope Sandoval’s troupe) simply don’t ever come close to having. It all made for a thrilling ride, and one that they’ve gone even further on with comeback single ‘Stormy’’’ - NME

      TRACK LISTING

      Cadavalier
      You’re Evil
      Tripping Over Lust
      Stormy
      To The Sea
      See Me Love Me
      I Just Don’t Care
      So Empty
      I’m Not Here
      Tongue Ties

      Dave McCabe & The Ramifications

      Too Damn Good

        Recorded at Ape Studios on The Wirral in the second half of 2014, ‘Church Of Miami’, the debut album from Dave McCabe & The Ramifications, is preceded by the release of the ‘Too Damn Good’ single.

        TRACK LISTING

        Too Damn Good
        Time & Place

        Holy Ghost Revival

        Twilight Exit

        Eleven track debut on 1965 label from these wild US rockers. Produced by Ryan Hadlock (Gossip, Strokes, Modest Mouse) this is a strange mix of primeval rock, incendiary guitar riffs, thrash metal and histrionic vocals.

        The Metros

        Talk About It

          Taken from their forthcoming debut album "More Money Less Grief", "Talk About It" is a three minute blitz through the wonderful world of The Metros. Bottled down it is essentially a rhythmic, anthemic, schizoid punkoid stream of tourettes-iousness that fits as much sound tracking mischief on the streets of their native Peckham as on any in this Fair Isle. This summer's most wonderfully belligerent sing-a-long is here. Produced by their mate Baxter Dury, "More Money Less Grief" avoids the clichéd one dimensional formula often adopted by young bands today; incorporating and invoking pop hooks, thrashy punk rock, hummable choruses, tongue-in cheek humour, frank pub-crawl tales of teenage sex and adventure, whilst still capturing the youthful exuberance that makes them uniquely The Metros.


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