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Tears For Fears

Tipping Point

    Some forty years into one of music’s most impactful, sometimes tense and yet curiously enduring partnerships, Tears For Fears have finally arrived together at The Tipping Point – the group’s ambitious, accomplished and surprising first new studio album in nearly two decades.

    And now, at very long last, Tears For Fears find themselves back in peak form at The Tipping Point, an inspired song cycle that speaks powerfully and artfully to our present tense here in 2021. This is an album that vividly recalls the depth and emotional force of the group’s earliest triumphs. Imagine a far more outward-looking take on TFF’s famously introspective 1983 debut album The Hurting set in an even more mad world, or 1985’s Songs From The Big Chair bravely confronting even bigger issues in our increasingly unruly world. Or even 1989’s The Seeds Of Love that sows a mix of love and other emotions.

    The Tipping Point is the bold, beautiful and powerful sound of Tears For Fears finding themselves together all over again.


    TRACK LISTING

    1. No Small Thing
    2. Tipping Point
    3. Long, Long, Long Time
    4. Break The Man
    5. My Demons
    6. Rivers Of Mercy
    7. Please Be Happy
    8. Master Plan
    9. End Of Night
    10. Stay

    Fears

    Oíche

      Pieced together over five years, Oíche chronicles growth through challenges, instability, and relationship changes, both with one's self and others. The album reveals itself much like a coming of age novel about the breaking apart of girlhood and rebuilding of a young woman.

      An intimate depiction of discovery, Oíche unearths internal dialogue, and makes peace with uncertainty. Oíche, meaning 'night' in Irish, was recorded in three bedrooms, hospital, and the Domino Recordings studio in Brixton.

      Fears is London-based Irish artist Constance Keane. Combining reflective electronics, acoustic samples, and haunting vocals with organic visuals, Fears invites the listener on an ethereal journey, blurring the boundaries between music and visual art. Her minimalist approach centres on emotive subjects, which are all-at-once deeply personal yet remarkably universal.

      Oíche is the first release on TULLE, run by and for exceptional women.


      STAFF COMMENTS

      Barry says: In parts brittle, raw and minimalistic before breaking into deep, rich electronics and beautifully produced meandering instrumentation, 'Oiche' is a rich and dynamic juxtaposition of genre biases and electronic-adjacent songwriting. Immediately alluring, but unendingly expressive, this is a wonderfully produced and cleverly written gem.

      TRACK LISTING

      A1. H_always
      A2. Bones
      A3. Daze
      A4. Fabric
      A5. Vines
      B1. Dents
      B2. Brighid
      B3. Tonnta
      B4. Blood
      B5. Two_

      Called out by The Irish Times as “Ireland’s best new rock band” and named as an one of NME's “100 Essential New Artists for 2019," When I Have Fears is the debut album from Dublin, Ireland's The Murder Capital.

      Produced by Flood (PJ Harvey, New Order, Foals) the album features both singles from the band so far, "Feeling Fades" and "Green & Blue", as well as the first studio recording of breakthrough track "More Is Less".

      An exercise in both darkness and light, “When I Have Fears” only serves to highlight the early ambition in the band's sound. From the post-rock build and breakdowns of the two-part "Slowdance", to the tender, bruised confessional of "On Twisted Ground" and industrial pulse of closer "Love, Love, Love", there's a consistent intensity throughout that marks out The Murder Capital as a band arriving fully formed on their debut album.

      STAFF COMMENTS

      Darryl says: “For Everything” kicks off proceedings and sets the blueprint is set for much of this amazing debut album; a pummelling bassline, huge stomping drums, soaring guitars, and raw vocals.
      ‘When I Have Fears’ is a colossal and remarkably self-confident statement by this Dublin quintet, they create a perfect storm of unsettling post-punk grind and bruised reflection. The guitars rage with echoes of prime Sonic Youth and at other times they brood with the expressive chill of Joy Division, in the meantime the bass and drums underpin the sound with blistering assuredness, and over the top of this wonderful cacophony James McGovern’s spoken-word vocal drawl hits somewhere between James Murphy and Mark E. Smith.
      Written following the suicide of a close friend, ‘When I Have Fears’ displays a pensive raw emotion and a remarkable reflectiveness on their shared grief that totally belies the age of the band. Quite simply, an astonishing debut album.

      TRACK LISTING

      1. For Everything 
      2. More Is Less 
      3. Green & Blue
      4. Slowdance I
      5. Slowdance II
      6. On Twisted Ground
      7. Feeling Fades
      8. Don't Cling To Life
      9. How The Streets Adore Me Now
      10. Love, Love, Love

      Tears For Fears

      Head Over Heels (Talamanca System Remix)

        THIS IS A RECORD STORE DAY 2018 EXCLUSIVE, LIMITED TO ONE PER PERSON.

        As per the previous PR for the Talamanca System Tribal Persuasion mix, part of the true spirit of Balearic/Ibiza has always been slightly left field pop - Prefab Sprout, It’s Immaterial, Talk Talk and of course TFF, so TFF are always held in high regard by the Balearic brigade and this song (Head over Heels) in particular. Whilst a slightly daunting prospect to remix, across the 4 remixes (two by Talamanca and two by Mark Barrott) the aim was to capture the original spirit of Ibiza across it’s different moods, from the dance floor to Sunset via the early poly-rhythms of Underworld, the dramatic majesty of Padilla’s Cafe Del Mar and the dubbed out vibe’s of Larry Heard inspired slo mo house.Whilst these are to be enjoyed by all, in many ways their natural home is on vinyl, as they capture that original spirit and re-frame it in a modern context, taking the atmosphere of the original track and intertwining it with all the aforementioned elements of Ibiza’s musical heritage. Packaging will be black in colour. 

        If you’ve followed The Phantom Band throughout their career to-date then you’ll know two things of the Glaswegian six-piece: feast often follows famine, and you should never accept them merely at face value. Just as two wildly singular, diverse albums in Checkmate Savage and The Wants sprung up one after another between 2009 and 2010, before a period of quiet (solo projects notwithstanding), so the group’s more direct third record released in June 2014 - Strange Friend – more art-rock than rock-art – comes followed by seven tracks cut largely from the same recording sessions at Chem 19 in Blantyre, in the form of Fears Trending.

        Lauded last spring pretty much across the board, Strange Friend’s instant hit to the senses was the sound of a band pulling a thread tight through their naturally wandering creative tendencies and affecting a sense of positivity, even amidst quiet doubts over living in a world simultaneously hyper-connected and disconnected through the internet. For those who saw through the likes of ‘Clapshot’s’ irrepressible anti-anthem swell, though, Fears Trending is a resounding confirmation that the band’s recent recording sessions also bore out something of a darker hue.

        “Maybe it's the evil twin of Strange Friend,” comments guitarist Duncan Marquiss. “They're stranger friends, oddball vestiges and hybrids.” Chief vocalist Rick Anthony agrees, pointing out that although Fears Trending merely came about as an anagram of their third record’s title, its connotations ring true, with a greater focus on themes of online isolation that they pawed at previously. “The reference is obviously there,” Marquiss explains. “Maybe it reflects our wariness of communications technology just now – which paradoxically seem to alienate people from themselves. We're all swamped with information so I question whether the band would necessarily want to add to the clickstream.”

        Certainly the tone of the record matches this apprehension; the opening ‘Tender Castle’ – one of just two tracks, alongside ‘Spectrelegs’, that date back before the Strange Friend sessions – runs on in, imbued with the band’s recently heard gusto, yet quickly swivels on a tumbling floor of murmuring electronics and cautious intonations, setting the scene for some of the band’s weightiest music yet. There are familiar tropes here; the aforementioned ‘Spectrelegs’ introduces itself by way of a wavering electronic organ, Iain Stewart’s drumming is never less than forthright and punchy, stomping through ‘Local Zero’ with accustomed vigour. But then there are songs like the ominous slow-build tumult of ‘Black Tape’, and the poignant final track ‘Golden Olden’, which sees the band in some-part return to the Scottish folk routes that partly informed their first record (cult Scottish folk favourite Alasdair Roberts also appears on opening track ‘Tender Castles’.) “If Thomas Pynchon was asked to write the screenplay for Young Guns 3 I hope this song would be the soundtrack,” Marquiss reflects.

        ‘Denise Hopper’ differs again, taking on a melodic structure whipped up as though on an Estesian gust across Turkey, Anthony’s vocal rising and falling in its oscillating breeze. Delivered with steeliness beyond the usual dry wit that’s occasionally hinted at within the group’s usual off-kilter meanderings, the track cracks and breaks amidst a storm of guitar detritus. “That melt down at end could be one of my favourite Phantom Band moments on record to date,” Marquiss comments.

        It’d be too broad to call Fears Trending the dark side to Strange Friends’ light. The playful intricacies and deviations of The Phantom Band remain and, after all, the album was recorded at the same time as its sister. “I think it's more about the atmosphere than the writing process that splits the two albums” Anthony reflects. “I guess there was a desire with Strange Friends to come back with no baggage attached and release a record that seemed really straight to the point. This record is straight to the point too but it's just that it's making a different point.” So it goes with The Phantom Band, a group forever changing, each new evolution more often than not a prescient for what’s to come.

        TRACK LISTING

        1. Tender Castle
        2. Local Zero
        3. Denise Hopper
        4. Black Tape
        5. Spectrelegs
        6. The Kingfisher
        7. Olden Golden

        School Of Language

        More Fears EP

          School Of Language, aka Field Music’s David Brewis, releases new EP ‘More Fears’ via Memphis Industries.

          The EP features new song ‘Days Accelerate’ plus radical reworks of old tracks ‘Marine Life’ and ‘Keep Your Water’.

          David Brewis is best known as a member of Sunderland group Field Music though he has been using the nom de plume School Of Language since the ‘Sea From Shore’ album released in 2008.

          A pop polymath, the past twelve months have also seen David assemble and play in Eleanor Friedberger’s touring band, do production work for Maximo Park’s recent album and Futureheads-affiliates Rivals, Pea Sea and Frozen By Sight (a collaboration between brother Peter Brewis and Paul Smith), as well as remixes for Dutch Uncles, The Ralfe Band and The Phoenix Foundation.

          With brother Peter, David also composed a score for 1929 silent documentary ‘Drifters’ which they performed at the Aldeburgh and Berwick Film Festivals. Field Music remain on hiatus since the release of their Mercury prize nominated album ‘Plumb’ in 2012.

          School Of Language

          Old Fears

            “Simultaneously a classic and five billion years ahead of its time” - NME

            “Should satisfy fans of Field Music’s tightly wound pop” - Pitchfork

            The new School Of Language album is called ‘Old Fears’ and it’s set for release on Memphis Industries.

            ‘Old Fears’ is a pop record. A place of clipped falsetto, melancholic funk, iridescent electro, shimmering post-punk, futurist prog. A self-contained sphere of strange sensations. Beguiling textures. Lengthening shadows. At times it is both liminal and minimal, at others emotive and external. Ambiguous and ambient. Tantalising and tempered. Modern. Unique. And funny too. “I wrote a lot of notes and they seemed to distinctly split into things to do with love and things to do with fear,” says School Of Language’s David Brewis. “A lot of it has ended up with me looking back at when I was 19, 20 - my formative years. So though I wouldn’t want to call it a concept album it’s definitely themed.”

            Here each song has been honed and polished into something pure, like a vast block of marble chiselled down into a perfectly tiny delicate egg of Fabergé-esque perfection. Recorded throughout 2013 in Field Music’s studio on the banks of the River Wear in Sunderland, synth flourishes sit alongside the staccato jarring guitars of ‘A Smile Cracks’ and the metronomic rhythms of ‘Dress Up’. Like a Ballard novel or a George Shaw painting, ‘Between The Suburbs’ offers perhaps the most lyrical and poetic moment, where “Dogs chase patterns, play to attention / Bulbs glare on greasy roads...”

            The title track, meanwhile, is reminiscent of the haunting Giallo film scores of Goblin or Kosmische music at its most moving, while ‘Moment Of Doubt’ displays shades of Brian Eno and Robert Wyatt. Other oblique influences come in the form of early Justin Timberlake and N*E*R*D albums, “a bunch of disco records”, Canadian experimentalist Sandro Perri, Dr John, Fela Kuti and Shalamar.

            School Of Language is the nom de plume of David Brewis, a member of Mercury prize-nominated pop group Field Music. His first album as School Of Language, ‘Sea From Shore’, was released to wide acclaim in 2008. A pop polymath, the past twelve months have also seen David assemble and play in Eleanor Friedberger’s touring band, do production work for Maximo Park, Futureheads affiliates Rivals, Pea Sea and a collaboration between brother Peter Brewis and Paul Smith, as well as remixes for Dutch Uncles, The Ralfe Band and Phoenix Foundation.

            STAFF COMMENTS

            Andy says: More jerk-pop brilliance from Mr. Field Music.


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