Search Results for:

DELTASONIC

One thing The Vryll Society aren’t short of is admirers, Lauded at just about every turn by press and public alike, the release of their debut LP for Deltasonic Records is hotly anticipated thanks to the promise this band have shown through their live sets and recent single releases.

Discovered and nurtured by the late and much missed Deltasonic founder Alan Wills, they fitted the type for him perfectly. He instantly saw in them similar attributes he’d previously found in the early days of The Coral and The Zutons. The confident swagger, the solid union formed by their band-of-brothers gang mentality, their willingness to stand outside the conventional and often stifling jangly Liverpool scene, and the work ethic. Always the work ethic.

Wills instilled in The Vryll Society something which has become over the ensuing years a key element of what they are, what they’ve become, and of the music they produce. He gave them belief. A belief that hard work and determination will bring them to the place they wanted to reach.

“Alan taught us that all you need to conquer the world is a rehearsal room, your instruments, a good work ethic and a positive attitude and you’ll get there. He kind of taught us the rules and the attributes that you need to have to be successful so we’ve just continued on that path” says frontman Mike Ellis.

Ellis has stated that it was that attitude and that work ethic which got them through the subsequent tragic loss of their friend and manager in 2014, driving them forward through those times, propelling them to harder work, and bonding them even closer together as a unit.

That unit have spent the intervening time creating and honing their own brand new-psych sound, and building up a fanbase with their superlative live shows. Drawing from an eclectic palette of influence from deep funk to Krautrock, electronica and prog, they’ve created a heady, intoxicating, pin sharp, and tightly wound mellifluous groove, washed over with cyclical motifs, acres of effects laden guitar hooks, and shimmering, textural technicolour soundscapes. It is at once blissful, dizzying and madly infectious. It’s that eclecticism, that kaleidoscopic swirl of influences which brings together hip hop flavours, with the prog stylings of names such as Aphrodite’s Child and The Verve - pre Urban Hymns - when the drugs were still working. The dynamic leaps and folds through all these influences is where you find The Vryll Society’s own brand perfect pop. Its all there in the loops, in the hooks, the drive and the vibe of this unique band. But this isn’t frippery, these aren't throwaway cheap thrills for our disposable times. No, this is heavier. This is music too feed your head.

Live too, The Vryll Society are a formidable force. That gang mentality binds them together over the ideas formed by spending long hours together in the rehearsal every day. Hotwiring these ideas into the heads of the crowd through extended psych jams and deep solid grooves gives a different show every time, and with each and every set, the offer gets better. Recent travels have seen them take SXSW 2017 by storm as guests of BBC Introducing as well as major festivals such as Glastonbury and Leeds/Reading.

The songs that fill the delicious grooves of Course Of The Satellite weren’t so much written as devised or developed, brought together organically over months in the band’s underground lair, or over weeks in Liverpool’s Parr Street Studios. Working closely with producers, Wills’ right hand man and Deltasonic brother-in-arms Joe Fearon and Tom Longworth, the album took shape organically, biding its time and finding its way. The result is a work of impressive confidence and stature. It’s a record that believes in itself, and for all the right reasons. This is an effortlessly cool album, the sort of record that makes friends easily. The world is ready, willing and more than able to take The Vryll Society even deeper to their heart. The path Alan Wills showed them awaits. It’s a path that leads to greatness.

STAFF COMMENTS

Andy says: Blissed-out early-Verve vibes topped with nifty psych-pop melodies make this a pretty impressive debut album. Ones to watch!

FORMAT INFORMATION

Coloured LP Info: Transparent red vinyl.

The Longcut

Arrows - Signed Edition

    Somewhere between utopia and dystopia The Longcut have constructed their own monolithic world. Impossible to place but undoubtedly familiar, on their new record Arrows, Manchester’s sonic architects have carved out their own Upside Down within the crevices of the North; sublimely sweet, bittersweet and bleak, where concrete blockades loom large, but songbirds emerge from clouds overhead.

    “Much of Arrows was born out of frustration with the whole process,” reveals the band’s vocalist and drummer, Stuart Ogilvie of the album’s brutal leanings. “Like even when you know good things are happening in your life, other situations can get you down. That balance or imbalance is felt by everyone so hopefully people can hear this journey and relate.”

    7 years in the works but much less time in the making, several cuts of each song and two versions of the album later, Arrows embodies aggravation. Sliced, diced and layered up again for the 21st Century, Arrows shows strength from struggle through its stark contrasts; “We were going to call it ‘Monuments’ because of this process of chipping away and adding things,” tells bassist, Jon Fearon. “Eventually we settled on ‘Arrows’; it’d be easy to read too much into it but really, it’s about people. ‘Arrows’ was also the track that pushed us to finish the record, even when it was tough.”

    Chiselled from chopped up loops, original demos, welding together long improvisations then building, re-recording and fine-tuning, Arrows captures many moments in time. Not least, the whisky-fuelled home recording sessions where kitchen shelves were rearranged to re-amp bass parts at full volume and bedrooms were transformed into control rooms strewn with amps and microphones. It may have taken its time, but throughout the record’s walls of sound, tortured beauty lies within; “You can go from nothing to something very quickly when you eventually get going,” says guitarist, Lee Gale.

    Behemoth of a lead single ‘Deathmask’ is the perfect case in point. Energetic, menacing and mesmerising, the words came together very quickly. “I was walking home in a pretty shitty mood and this really ominous weather front came over,” recalls Stuart. “The sky went dark and there was this static electric feeling in the air, powerful and foreboding. That’s where the line “Under the gathering sulphur” comes from. It got me thinking about escapism; not to some sunny uplands, but to a place where the natural order was breaking down too.”

    Weaving in and out of apocalyptic swells of visceral white noise and razor-sharp riffs from guitar strings sawn with a drum-stick, as Stuart proclaims on ‘Kroqd’ “Ashes are falling from the sky and I’ll keep singing,” the tour de force of the record is in the astute voyeurism of the lyrics. “It’s taken time to write because so much has happened,” he hints. “Reflecting life and what happens to people rather than dwell in self-deprecating misery… I try to take my feelings of those and abstract them; it’s that idea of something ongoing being constantly re-evaluated, which can account for a lot of the record’s ambiguities and contradictions.”

    Elsewhere the trio’s hefty homage to the basslines of beatmakers J Dilla and Flying Lotus’ 'LTWXRMX' which samples the 1950s IBM advert soundbites of Raymond Scott’s track 'Lightworks’ also threw up a few creative demons. “We had this mad loop of Scott’s stuff for ‘Punches’, all these arpeggiated sounds before realising we had to completely re-do the track because those samples were copyrighted,” tells Jon. “Clearly no artistic endeavour will go unpunished.”

    Whilst previous albums A Call and Response (2006) Open Hearts (2009), and 7-track EP Broken Hearts (2010) were formulaic in structure, Arrows was formed from the rolling approach of no clearly-defined beginning, middle or end. Through its single-word titles which stack upon each other like steel girders, order is brought to the recordings, mixed by studio boffin and The Earlies live guitarist/multi-instrumentalist Tom Knott, who provided ‘Popic’s live brass sounds. “He transformed our sprawling recordings into a coherent whole and his contribution is one of our favourite parts,” Jon says. Meanwhile on the sleeve, Arrows takes its shape with angular artwork created by long-time artistic collaborator Liam Palmer.

    Raw, brutal, pounding the senses and always from the heart, The Longcut are ready to launch Arrows into 2018’s bleak and beautiful horizon. 


    FORMAT INFORMATION

    2xColoured LP Info: Limited 500 pressing, transparent blue vinyl.

    The Coral

    Butterfly House - Super Deluxe Box

      "Butterfly House" is the fifth studio album from Liverpool indie quintet The Coral. It is their first release since 2007's "Roots And Echoes", and the album took two years to write, as the band decided to heavily road-test their new material before recording it. "Butterfly House" was produced by John Leckie, famous for producing Radiohead's "The Bends" and The Stone Roses' self-titled debut.



      FORMAT INFORMATION

      Box set Info: Limited deluxe box set with 2CD, DVD inc. "1000 Years" video and exclusive behind the scenes footage, LP, 2 Posters and 4 badges.

      The heart of The Coral has always been the tension between the classic songwriting that runs through their veins and produced such singles as "Pass It On", "Jacqueline", "Dreaming Of You" and "Bill McCai" and the experimentalism that was first spotted on debut EP "Shadows Fall" and led through the compilation album, "Nightfreak And The Sons Of Becker" to the sea shanty of "Remember Me" on "Roots And Echoes". The Coral are a rarity in music, a band that make tunes that appeal to everyman whilst producing those tunes in such a way and with such understanding of their medium that critics are minded to say 'James Skelly is one of the finest writers, and voices, in British music today' (Q).

      FORMAT INFORMATION

      2xLtd CD Info: The limited edition CD includes a bonus disc featuring live tracks, previously unreleased versions, demos and three new tracks.

      The Dead 60s

      Stand Up

      The Dead 60s burst onto the scene in 2005, with an album of spooky ska sounds that brought their eponymous debut album critical acclaim and sales success, selling close to gold status. The Dead 60s now return with "Stand Up" the first new material from their second album ("Time To Take Sides", due for release in January 2008), produced by David Kahne, (New Order, Regina Spektor, Fishbone, The Strokes).

      FORMAT INFORMATION

      CDS Info: The CD single also includes the tracks "Prime Time" and "I Stand Amongst The Broken Hearted".

      The Basement

      I Just Caught A Face

      They've been a bit quiet for a couple of years, but now, The Basement return with the first taster from their long overdue debut album, "Illicit Hugs And Playground Thugs". "I Just Caught A Face" is a great Byrds-ish jangler, with hooks a plenty. A great return.

      FORMAT INFORMATION

      CDS Info: The CD single includes "Close The Door", "Say Goodbye Tonight" and the video for "I Just Caught A Face".

      Here it is, the highly anticipated debut album from another Liverpudlian band on the superb Deltasonic label. This lot plough their own furrow, but they too must have been playing their dads' records because Dead 60s sound like British post-punk when Trojan Records, ska and dub roamed the land and even got in the charts. They sound just like The Clash, with cool dubby atmospherics, or even The Beat when they try uptempo. Scratchy guitars and top basslines make them a group you can certainly move to: despite the influences this is fresh, exciting, and inspiring stuff. Pass that melodica....

      FORMAT INFORMATION

      2xLtd CD Info: Limited edition includes bonus "Space Invader Dub" CD.

      The Dead 60s

      You're Not The Law

      What are the kids listening to these days? The Specials and The Clash from the sound of this debut from Scouse four piece The Dead 60s! It's a cool slice of ska-pop, with loads of wailing keyboards, a skanking guitar chug, percussive drums, echo and dubby effects. Both formats includes "Too Much TV (Dub)".

      FORMAT INFORMATION

      7" Info: Limited edition coloured vinyl 7" with free sticker.

      CDS Info: Limited edition CD single with free sticker.

      The Hommos

      Hommos Cosmos Rock

      From Sweden, but signed to The Coral's record label, and it's not hard to see why. This is daft, zany, garagey fun that changes half way through and is really rather good. They sound like they couldn't give a monkey's, that they're in it for the hell of it, and that, to me, is a very liberating thing. Young, carefree, irreverent fun, the singer wants you to ride his 'go-cart made for two' with him. And why not?

      FORMAT INFORMATION

      CDS Info: Very Limited!!!


      Just In

      37 NEW ITEMS

      Latest Pre-Sales

      123 NEW ITEMS

      This new album on @BurningAWitch is rather special, sonically and visually. As Barry says - ‘An album of shimmering… https://t.co/DEmd6oMzZ2
      Tue 18th - 4:57
      RT @ScottySlungLow: @johnharris1969 @PiccadillyRecs In the run up to Christmas, that booklet is to me as a middle-aged man what the Argos c…
      Tue 18th - 4:01
      Thank you for the kind words John. 🙌🏻 https://t.co/9HjorKgejC
      Tue 18th - 3:16
      We're open at 9am today, pop in early and browse the racks https://t.co/c42dAThEn5
      Tue 18th - 8:19
      E-newsletter —
      Sign up
      Back to top