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GRINGO RECORDS

Grey Hairs

Halloween (Live At JT Soar)

    “Halloween” is a recording of a Grey Hairs live gig on October 31st 2019 at JT Soar in Nottingham. Gringo Records are releasing it on purple vinyl. It is limited to 300 copies and that’s it: no re-press, no deluxe edition. Grey Hairs guitarist Chris Summerlin takes up the story: “When the idea of recording a live album was put forward, our film-maker friend David Lilley suggested he film a song too. He wanted to experiment with using as many cameras and vantage points as possible and that’s exactly what he did here – cameras on heads, cameras on guitars, cameras on cameras. We hope you like it as much as we do.

    People occasionally tell us we’re a “good live band”. I’ve never been sure – some bands we’ve been in have always been fairly predictable in their quality, always able to do a good show but this one is different and elusive somehow. You just can’t tell how something is going to go, even when you’re in the middle of it. So, in the name of balance and trust, before I tell you to buy this live record, I’m going to first tell you about the 3 worst Grey Hairs gigs to date, in no particular order.

    Which brings me neatly back to plugging this record to you. We’ve resisted the temptation to do a live album because we always felt this unpredictability was both our secret strength and our clear weakness. We could never guarantee any live record would capture us at our best and maybe putting us under the microscope would just be upsetting. I’m pleased we were convinced otherwise, the record captures the good and the bad of what we do perfectly, maybe even more so than the studio albums. We really hope you like it. Maybe we *are* a “good live band” after all?”

    FORMAT INFORMATION

    Coloured LP Info: Purple vinyl, limited to 330 copies. This is strictly for Indie stores only.

    Reciprocate

    Yeah Well

      Emerging from the ashes of Shield Your Eyes in the summer of 2018, Stef Kett (guitar/vocals) and Henri Grimes (drums) started to jam on the concept of soul-spray music, enlisting bassist Marion Andrau before their first gig in October of the same year. From that first airing, it was clear something special was coming together. An untethered, emotive deconstructing of romantic soul ballads played freely at high volume. Interweaving blasts of vibrato style guitar, stirred drumming and expansive bass propel Kett’s emotive, almost strained renditions of self-penned love songs.

      Yeah Well, the debut album from Reciprocate, is music with soul, rather than “soul music” in the classic sense, but it delivers the same emotional elevations. Kett explains the approach to Yeah Well’s creation, “I write our songs as sort-of ballads, but we disguise that with up-tempo arrangements. We play at high-volume but it's not ever supposed to sound brash or thoughtless, the emphasis is always on playing with good feel and sensitive touch. The intention is it should create a sense of some sort of wrenching emotional drama, and that Marion's long-held bass notes hold your hand through the arrangements, and add a sense of calm and gravitas and clarify that it's songs and not just music.” While many bands avoid the simplicity of love as the sole theme of their work, Reciprocate unburden their 2 music by embracing it exclusively, like all great pop music it grabs you immediately and completely. “I love the pursuit of trying to write love songs and, actually, I think it's become a very contrary thing to do nowadays,” explains Kett. “It's like it has been disgraced and is some kind of a no-no for an underground band to pursue writing overtly romantically themed love songs and put them to rock music. That adds a certain kick to doing it and I feel really inspired to keep writing like this.” Recorded at Spatch, London and mastered by James Plotkin, the band produced the record themselves to keep a grasp on their vision, focusing on vibe as much as perfection, while recording the tracks live.

      Recording more songs that are contained on the final album, those not fitting the vibe were discarded, while opener ‘Pray Tell’ was re-recorded to get it right. This relentless focus on what the album needed to be has paid off, Yeah Well jumps out as a great rock n roll record. Take the funk-meets-no wave explosion of ‘Marion Andrau’, or the sweet, slightly distorted balladry of ‘Marble Arch’ as a case in point. ‘Yeah Well (Part 1)’ is classic blues collapsing in on itself, ‘Yeah Well (Part 2)’ is a reversed take on electric guitar from another realm which leads into ‘Hold’s bluesy, alt-rock. ‘Tascam’ is something else entirely, all sound manipulation and spoken word introduction. Nothing is as simple or predictable as it seems in the world of Reciprocate and that makes Yeah Well a unique expression of love in rock form.

      Irma Vep

      Embarrassed Landscape

        Irma Vep is the on-going, evolving main vehicle for polymath musician Edwin Stevens and on Embarrassed Landscape the project has reached a zenith. Primarily recorded in Stevens’s adopted home town of Glasgow over two days with frequent collaborators Ruari Maclean and Andrew Cheetham, Embarrassed Landscape is an album that breathes in a fetid skip full of millennial dread, self-effacing anxiety and doubt before exhaling it as heartbreaking songs and ecstatic abandon. Following a series of limited releases spread out over the course of a decade, recorded in fits and starts around the United Kingdom as the protagonists wanderlust saw fit, Irma Vep’s 4th album proper presents Stevens’s vision in its fullest and most realised form.

        Built around the skeleton of Stevens’s songwriting and fleshed out with loose, virtuoso playing, it’s a body of work that could have been the anxious songs of an over-thinker but rendered here Embarrassed Landscape revels in a kind of un-selfconscious confidence. Indeed, various tensions throughout the album are constantly revealing. Lyrics are riven with poetic, crushing self-analysis and absurdity only to be performed against a backdrop of trance-rock music skewered with Stevens’s own instantly recognisable guitar playing, a style free and full of fire.

        Songs wring nuggets of uncanny truth out of prosaic, every day activities while sounding like Rolling Thunder Revue era-Dylan. Songs that seem hewn from some unspeakable personal pain are laced with a disarming streak of black humour, massive, world-ending psych jams that harken to Vibracathedral Orchestra’s wall of sound dissipate into tender songs that deserve to be picked apart and cried to. Tension needs release and here the release needs tension. For example, Opener King Kong is bold in several directions at once. A pummelling trance spurred on by the endlessly enjoyable interplay between drummer Andrew Cheetham’s free jazz-inflected style and Stevens’s barely contained guitar wildness, the music screes for 6 minutes of transportation on its own steam before Stevens’s vocal even comes in.

        Perhaps the biggest dichotomy at the heart of Embarrassed Landscape is between the unbridled energy of the songs’ performances, their often bold arrangements and the heartbreaking, darkly funny songwriting at their heart. Closing song Canary brings most of these tensions to a sweet end. Within the alternating crescendos of violin and guitar Stevens intones about canaries brushing teeth down sinks, alcohol abuse, ghostly images half-seen through the fug of depression yet saved somehow by the social crutches friends and lovers provide. Embarrassed Landscape feels like the album Irma Vep always threatened to make, by some strange alchemy transforming the anxieties and self-criticisms inherent in the lyrics into a liberation, a letting go, a release from the tensions built up by a life lived full.

        FORMAT INFORMATION

        Ltd LP Info: Limited to 500 copies only.

        Sweet Williams

        Where Does The Time Come From

          Rumbling, angular post-punk FFO: The For Carnation, Lungfish, The Breeders, My Bloody Valentine, Hey Colossus. "it's the ugliness of this that makes it beautiful to me" - Jon Hillcock, BBC 6 Music // The Sweet Williams on new album Where Does The Time Come From is one Thomas House, a South coast native guitarist and songwriter whose bands have a habit of dissolving. This latest LP contains ten post-punk infused songs of an almost brutalist nature, House's music in its purest form, performed almost entirely by himself.

          The first single is 'Ride A Gold Snail', a rumbling post-rock juggernaut that sets a backwards drum beat to a filthy, holding pattern bassline, with guitar amps on the verge of burning out and elliptical, elusive lyrics. "It's probably my most romantic song," says House. The video was shot and assembled in Zaragoza, Spain, the town House calls home since October of 2018 In 2016, the Sweet Williams line-up responsible for the open, organic sound of that year's album 'Please Let Me Sleep On Your Tonight' dissolved in a potent formula of work, babies, babies and work. Armed with a clutch of new songs and no time to break in a new band, House repaired to Agricultural Audio in the heart of rural Sussex with trusted producer Ben Hampson and set to work. The resulting recordings reflected House's fascination with, and horror for, busted mechanics; in place of the live band's fluid, entropic interplay, structured patterns lurch and correct, a crowbar jammed in every gear. "It doesn't represent a performance," he explains. "It represents the songs as I hear them in my head." However, the record was not conceived in a bathysphere.

          These compositions could be seen as the culmination of twenty-plus years playing in countless bands, from the incandescent fury of House's old vehicle Charlottefield, to the discipline honed on guitar in post-punk stalwarts Joeyfat, to a newfound confidence in vocal texture and melody in Haress. Lyrical themes cover love, dread, betrayal, bliss, injustice, death, sex, the end of the world. You might struggle to ascertain the narrative. House takes an impressionistic approach to his subject matter. "My dad read me Elidor and The Owl Service when I was sick as a kid. And his own made up stuff. There's another world behind this one." After the bracing opening two tracks, the celebratory 'Stop It I'm Killing You' and its stinging hangover 'Stunt Freeze', the album proceeds to its dusky heart. By the time of 'Two Golden Sisters', House's hands barely brush the strings of his guitar as he croons to the memory of a long lost love.

          FORMAT INFORMATION

          LP includes MP3 Download Code.

          Grey Hairs

          Health & Social Care

            Having spent 2018 touring with Sleaford Mods, Hey Colossus and Brooklyn's SAVAK, Nottingham punk rock lifers Grey Hairs have announced their third album 'Health & Social Care' - a scorching reflection on balancing your creative impulses against the commitments of impending middle age. Their first output since 2016's 'Serious Business', released via Nottingham's esteemed Gringo Records, 'Health & Social Care' is an expansion of the band's sound that recalls elements of The Birthday Party, Laughing Hyenas, The Jesus Lizard or of a downer-fuelled B52s and what surf music sounds like coming from the most land-locked part of the country. In the video for new single 'Tory Nurse', directed by David Lilley, we're taken on a sloped and queasy trip through rural Derbyshire that sees the band tasked with delivering a body (later revealed to be a clown) to an undisclosed location. The fate of the clown is never revealed beyond disappearing into a hole in the ground, in a droll and absurd attempt to address the core ideas behind ‘Health & Social Care’ and the inevitable mystery of things to come. 2016’s 'Serious Business' saw a clear sharpening of the band’s focus.

            The clue was in the title. What started as an offshoot to the members’ proper bands reached that wonderful point where it becomes an entity all of its own and steers the ship as though an invisible 5th member. And that member was steering things in directions none of the others had ever anticipated. 'Health & Social Care' expands on this. Its rage is tight and deliberate and its themes more explicitly stated. This is not a bunch of guys mimicking their youth (or other people’s youth) and balancing their weekend anti-establishment anger with their job as a software developer, or vintage furniture dealer, or credit check specialist. If 'Health & Social Care' has a theme (and again the clue is in the title) it’s “how can someone be a public sector punk in 2019?”. Commendable though most political music is, it’s perhaps easier to articulate your rage at the system when you don’t spend over 40 hours a week working in it. But what if you do? What if your punk rock ethics extend to your occupation? This is a record about balancing your creative impulses with your life as you get older and the time to do either squeezes in on you. It’s a record about aesthetic punks, Dunning-Kruger syndrome in the Health service, extreme 360 degree cognitive dissonance and – most crucially – a confusion and inability to tackle these external problems because you’re so f*cked by your own personal ones

            For a while now Leeds five-piece Hookworms have been terrorising headlining bands across northern England and beyond, not through histrionics or gimmick, but through sheer sonic velocity and emotive intent. Often bracketed among the latest wave of psychedelic rock currently appearing in pockets around the UK (as support slots with Wooden Shjips, Sun Araw and Peaking Lights attest), this tag is somewhat of a misnomer for a band whose use of repetition and reverb is not to open the third dimension or for some sort of flower-power escapism. Instead the reel feels cathartic, each fresh revolution of the loop a confrontation between the band and themes of depression, loss and anger - subjects close to the heart of the group’s vocalist MJ (“no enigma; we just don’t use our full names, we’ve no interest in being celebrities.”)

            ‘Pearl Mystic’ was recorded and produced in MJ’s own Suburban Studios – where he’s worked on records for Mazes, Eagulls and Spectrals among others – and he admits he enjoyed the greater freedom he could allow himself on his own project. The album is an absolutely thunderous statement of intent for Hookworms (MJ – vox/keys/analogues; JW – guitarist, SS – guitarist; MB – bass; JN – drums) after a portentous couple of years of live shows and limited releases (a debut self-titled EP on Sun Araw’s Sun Ark label, a 7” Gringo Records all sold out quickly). Whilst their live shows continued to increase in intensity, with impressive festival appearances at Beacons, Liverpool PsychFest and Supersonic cementing their reputation treading the boards. Live and on record, like Spaceman 3, they pointedly subvert the tripped out sound environments of psychedelia with a darkly malevolent punk menace; unlike J.Spaceman et al, there’s no chemical assistance, these concepts and feelings come with clarity, and hit all the harder for it.

            Indeed, the most impressive thing about Hookworms is that, through this torrent of emotion, through their wild motorik and their thick slabs of noise that threaten to spill over, there’s always the sense that they’re in control of it all, so committed are they to this catharsis that they refuse to throw any of it to chance. And so they shouldn’t, because even at this early stage we think Pearl Mystic will be one of the albums of 2013.

            STAFF COMMENTS

            says: Having built up a large following with their famously intense live sets, supporting and indeed blowing off stage many of the psych glitterati, Hookworms, a five-piece from Leeds who prefer to be known by initials only, bring us their debut full-length. Throughout the album’s nine tracks the ferocity of their live gigs has been superbly replicated with a self-production that keeps the sound just on the right side of raw. The album kicks into life with singer MJ’s rousing echo-blitzed scream of “Come On” on album opener “Away / Towards”, and the band respond with a sonic velocity that’ll have your nasal hairs quivering. What follows highlights the dark malevolent menace at the heart of ‘Pearl Mystic’: distorted wah-wah guitars clash with huge swirling organ noise and barely intelligible echo-swamped vocals, all propelled along by a wicked motorik groove. Akin to Spacemen 3 or Loop in their pomp, this is one of the best UK psych / space rock albums in years.

            FORMAT INFORMATION

            Ltd LP Info: LPs pressed on heavy vinyl, sleeve printed on the reverse of board with screen printed insert. Comes with download code.

            CD Info: Digipack CD.


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