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Darren Hayman

Home Time

    An autobiographical album about break ups, the record is tender, honest and frequently funny. Darren set an 8 track, acoustic rule for the record. Everything sounds warm, close and intimate. Darren’s own love-worn, London voice is joined on every song by the sweet antipodean tones of Hannah Winter and Laura K, recording artists and songwriters themselves with Common or Garden and Fortitude Valley. When Darren Hayman made his debut in 1997 with the acclaimed indie band Hefner his lyrical remit was the broken hearted.

    His early songs told the story of the lonesome and lost, and broken dreams of love on the back streets of London. After Hefner, Hayman’s palette grew to include a unique take on place and memory. In the early 2000s he wrote a trilogy of albums around the history of Essex. In 2012 he made an instrumental album describing the tranquillity of Lidos. In 2016 Darren was awarded ‘Hardest Working Musician’ by the Association of Independent Music for his epic project on Thankful Villages, the 55 villages that survived the Great War with no casualties. His most recent record, 12 Astronauts, tells the personal story of the only men to have walked on the Moon. Darren is continually obsessed with the idea of what songs can be, and the stories they can tell. As he explains, “With projects like Thankful Villages, I became interested in what a record could be, using field recordings, interviews and songs to make sound collages. I wanted to return to the stricter art of song writing and try and make the twelve best compositions I could.

    I wanted to make useful songs, words that could be comfort, not just thoughts that would depress.” The songs for Home Time were written over a three-year period but recorded quickly, and with love, in Darren’s home. Home Time is a fragile, subtle slice of prettiness. Wrap it around you. Three digital singles will be released; ‘I Tried and I Tried and I Failed’, a song about the endless, circular nature of being human, ‘I Was Thinking About You’, a song about the uncontrollable nature of memory and how it continues to haunt us even when we consider the long buried, and ‘The Joint Account’, about how when trying to negotiate matters of the heart and mind, it is sometimes the physical objects that anchor us down in the mire.

    FORMAT INFORMATION

    LP includes MP3 Download Code.

    Just Joans

    The Private Memoirs And Confessions Of The Just Joans

      Acerbic yet winsome Scottish indiepoppers The Just Joans return with the dazzlingly maudlin The Private Memoirs and Confessions of the Just Joans, a deeply personal collection of songs that hazily recall the past and contemplate the futility of the future. A titular twist on the classic gothic horror novel The Private Memoirs and Confessions of a Justified Sinner by compatriot James Hogg, the new album is the follow-up to 2017’s You Might Be Smiling Now… and contains the kind of melodies and mockery that led Uncut to class the band as the point at which “Stephin Merritt lies down with The Vaselines.” At the forefront remain the mischievous lyrics and heartfelt vocals of siblings David and Katie Pope, aided and abetted by Chris Elkin on lead guitar, Fraser Ford on bass guitar and Jason Sweeney on drums. Yet it is the recruitment of multi-instrumentalist Arion Xenos and guest appearance of Butcher Boy’s Alison Eales to arrange strings that have helped elevate the band’s music to new heights. Their progression is most noticeable on lead single “Dear Diary, I Died Again today”, a painfully beautiful admission of everyday anxiety and “When Nietzsche Calls”, the triumphant cry of a spurned lover revelling in the misery of their ex to a backdrop of trumpets and violins.

      The juxtaposition of the fragility shown in these tracks with the menace of “Wee Guys (Bobby’s Got A Punctured Lung)” – an observation and understanding of the casual violence that once cast a shadow over the band’s hometown – highlights The Just Joans’ ability to seamlessly flip between sensitivity and danger, and sums up why Highway Queens described them as the “perfect Glasgow kiss.” The Private Memoirs and Confessions of the Just Joans is a veritable smorgasbord of misery, longing and unrequited love; stories of small town resentments, half-forgotten school friends, failing relationships and awkward workplace conversations. As David explains: “It’s a collection torn from the pages of the diary I haven’t kept over the past 25 years. There are songs about places and people I vaguely remember, feelings I think that I once may have felt and the onset of middle-aged ennui.” Despite entering new territory with the addition of brass and strings, they have nevertheless maintained the DIY ethos that made them darlings of the underground indie-pop scene, with each song on the album recorded and produced by the band in various gloomy bedrooms around Glasgow. “The Just Joans have documented the romantic pratfalls of a generation of indie kids with a sardonic wit and a shambling musical style where Stephin Merritt lies down with The Vaselines” 

      FORMAT INFORMATION

      LP includes MP3 Download Code.

      Hayman Kupa Band

      The Hayman Kupa Band

        When Darren Hayman (Hefner) and Emma Kupa (Standard Fare/Mammoth Penguins) decided to make a duets record, we knew the results would be great, but we didn’t expect them to be THIS great. Gathering together a rhythm section consisting of Michael Wood (Whoa Melodic/Singing Adams) on bass and Cat Loye (Fever Dream) on drums, The Hayman Kupa Band create brash, bold and effortlessly melodic power pop. Sharing writing duties and sometimes singing each others words, lines are blurred and creativity explored in a wonderfully exuberant collection of songs.

        The album, recorded in 3 days, is an exploration of relationships and, at its heart, it’s the sound of a friendship being made. Darren explains further: It’s only happened a few times but just once or twice I have seen someone on stage and thought, “I want to be in a band with them.” But I thought it the first time I saw Emma playing with her magnificent and under-rated band Standard Fare. I met her properly a little later in Sheffield when we played together. Before the gig I said I was suspicious of bands that wore hats. She wore a hat on stage. They say imitation is a form of flattery and I was glad that I noticed when I wrote the song “Boy, Look at What you Can’t Have Now” that it sounded like the sort of thing Emma might write. I covered up my theft by asking her to sing on it. When we were recording the song I suggested that we should write a whole album of duets. Musicians suggest things like this all the time because they are stupid or drunk. A few months later Emma told me she had started writing the album. This is what Emma does; she says something then does it. I race to play catch up. The songs were written over 3 weekends at her house and mine. Co-writing is something I’m not used to. It’s very intimate and me and Emma became friends through the process. Emma’s lyrics are sharp and precise whereas mine are more metaphoric. We talked about relationships and that’s what the album is about. It’s about our fears and paranoias and the search for trust and love. We deliberately swapped lines and genders so the narrative is never truly that of traditional duets. We wanted a band to make the album and chose Michael Wood and Cat Loye. 

        Enderby’s Room is fiddle player Dan Mayfield, once from rural Lincolnshire, but he has now found home living in London. His folk tinged songs reflect on his traditional folk upbringing. Mayfield has played violin for many artists including Daniel Johnston, Darren Hayman, The Wave Pictures, Allo Darlin’ and the Belles of

        London City morris dancers. Over the past ten years he has gently built up a collection of his own songs, which he performs with his band Enderby’s Room. The name comes from an Anthony Burgess character called Mr Enderby who composed his prose inside the toilet. The band’s make up has been constantly evolving; around 30 different individuals have been a part of Enderby’s Room over the last decade, before settling on the current 5 piece lineup. Enderby’s Room’s sound features a Victorian pedal harmonium, together with French horn, double bass, ukulele, guitar and percussion. The artwork for the record was created by Johnny Voss whose style involves using a continuous single pen stroke to create his illustrations. As well as Enderby’s Room, Mayfield set up School of Noise which encourages young people to be creative with sound, using unusual noise making and sound sculpting machines. This project has seen him take workshops to the Green Man and End of the Road festivals as well as the Southbank Centre, Museum of London, Great Ormond Street Hospital and primary schools around the country.

        “Unfolding gently, the quiet grace of Enderby’s Room seems to draw on the folk tradition while taking brave chances of its own.” Clash Music"

         "At times they capture the sumptuous melancholia of Low; at others, they're finding new shapes for indie folk" How Does It Feel

        “their delicate harmonies, unusual instruments and vivid storytelling are intricately woven and desperately beautiful” Green Man Festival

        “an absolute stunner. The harmonies and whimsical melodies will take you to places you never dreamed of; imagine the most beautiful sunset, the most beautiful starry night sky and you will begin to get a picture of where this amazing song will take you. The lyrics are full of reflection and wonder, leaving you feeling warm and content… make Enderby’s Room one of the many bands you fall head over heels in love with during 2017”


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