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MELODIC RECORDS

Working Men's Club

Bad Blood / Suburban Heights

    With the start-stop sound of Talking Heads, Gang of Four and Television, ‘Bad Blood,’ fuses 70s post-punk with the stomp of Parquet Courts’ positivity and resonates with the start of the weekend...Syd’s half-spoken words jab through Strokes guitar lines with Mark E Smith drawl...it’s the feeling of a Saturday spent scuffing about in thrift stores and hanging out with friends.

    Like a homage to smoke-filled vaults, aging billiard rooms and crumby packets of pork scratchings in the Working Men’s Clubs of days gone by, Todmorden-by-way of-Europe trio Syd, Jake and Giulia are about to fling open the doors of their own millennial social hub with the fresh post-punk of infectious debut single, ‘Bad Blood’ / ‘Suburban Heights.’

    “We grew up in northern towns trying to get in to pubs in social clubs because that’s all we had. The name is an ode to that,” explains Working Men’s Club’s 17-year-old singer and guitarist, Sydney Minsky-Sargeant. “Our surroundings and their differences has influenced us a lot on these tracks.”

    Joined by guitarist-vocalist Giulia Bonometti, 23 and drummer Jake Bogacki, 18, the trio have always had a clear sense of their whereabouts; quite simply, they wouldn’t even exist without multi-nationalism. Meeting at college in Manchester, Syd and Jake are from Todmorden and Hebden Bridge, but their families hail from Poland whilst Giulia moved to the UK from Lake Garda, Italy. “The songs are based on the culture of walking round Manchester every day then going back to the countryside each night and how the contrast of going back into the hills made us sane,” Syd tells.

    Working Men’s Club are wise beyond their years as they seemingly offer words of wisdom, to be repeated like some kind of break-up mantra, until everything’s ok; “Be happy when the sun shines / Be happy when the sun rains / You know you should do the same.”

    If ‘Bad Blood’ is the day, ‘Suburban Heights' is the night. Recorded with Alex Greave at The Nave in Leeds, steady riffs from Syd’s fingers tap-dance on the strings alongside Jake’s skill in working a jagged snare. Meanwhile Giulia’s heavenly disco ‘ooohs’ recall Donna Summer feeling the love whilst cutting right to the contentious subject of gentrification. “Suburban Heights refers to how apparent it is that cities are expanding to hold more people and buildings are rising, they’re morphing into these dystopian party towns,” tells Syd.

    Already with shows supporting The Wedding Present and Brian Jonestown Massacre behind them, Syd says it’s only the beginning; “Those shows were great experiences and ones we’ll have for life. We love making music and we’re so grateful for what we’ve achieved so far; hopefully there’ll be plenty more to come.”


    FORMAT INFORMATION

    Ltd 7" Info: Limited Edition Repress on Blood Red Vinyl.

    W. H. Lung’s arrival at their debut album has been less conventional than most. A trait shared with the music they make, which weaves between shimmering synth pop and the infectious grooves of 70’s Berlin. The band never had any intention of playing live when forming, aiming instead to be a primarily studio-based project.

    That approach was challenged when they released their debut 10” ('Inspiration!/Nothing Is') in 2017, which meant that they were quickly in demand. Booking requests started to flood in and W. H. Lung found themselves cutting their teeth on festival stages that summer. Though whilst some new bands may have let that interest change the course of the project, W. H. Lung stayed true to their original reticence and worked mainly as a studio band with their formidable live shows kept sporadic.

    W. H. Lung have allowed this album to naturally gestate over the course of two years . The result is a remarkably considered debut - the production is crisp and pristine but not over-polished, the synths and electronics radiate and hum with a golden aura and the vocals weave between tender delivery and forceful eruptions. There is a palpable energy to the songs, as experienced in 10 glorious minutes of opening statement 'Simpatico People'.
    “I think it’s important to erase the distinction between ‘high’ and ‘low’ culture,” states Joseph E. This colliding of worlds not only exists in the potent mix between whip-smart arrangements, lyrics and seamlessly danceable music but also in the fact that they are named after a cash and carry in Manchester. As Tom P. explains, “I thought it was funny juxtaposing those kind of austere associations with W. H. Auden and other initialed poets, writers, artists, etc. with the fact that it’s really just a Chinese supermarket.”


    STAFF COMMENTS

    Mine says: Possibly one of the most anticipated albums of the year here at Piccadilly (we wouldn't interrupt our Christmas do for just anyone but if it clashes with a W.H. Lung gig then that's where we end up!)... Like a joint effort from Talking Heads and NEU! thrown head first into 2019 with an extra portion of shimmery beats and hooks. PLAY IT LOUD!

    FORMAT INFORMATION

    2xDinked Edition LP Info: 180g Double LP in Gatefold Jacket.
    Pressed on Bone coloured vinyl.
    Includes an exclusive 260gsm Art Print.
    Printed On The Rough Side of 350gsm Card.
    Limited to just 400 copies.
    Includes Download Code.
    Hand Signed and Numbered By The Band.

    2xDinked Edition LP includes MP3 Download Code.

    2xLP Info: Black 180g double LP in gatefold jacket.

    2xLP includes MP3 Download Code.

    CD Info: CD In Card Wallet.

    If you want to know the secret to happiness, look no further than transcendental psychedelic pop outfit Glass Vaults. The New Zealand via Berlin band led by Richard Larsen, Rowan Pierce and Carpark Record’s signee Bevan Smith, create a unique concoction of joyously uplifting pleasure in their sonic laboratory and The New Happy is the result – an exploration of the euphoric sensations associated with Autonomous Sensory Meridian Response (ASMR).

    Glass Vaults' sophomore LP was recorded and mixed to seduce. ASMR, otherwise known as a “brain orgasm,” is an aurally triggered euphoric experience characterised by a tingling in the scalp which travels down the neck and spine and The New Happy was specifically mixed to elicit an ASMR effect. “We focused on retaining short high frequency transients and worked on modulating and panning certain sounds to induce goose bumps and shivers when listened through headphones,” Smith explains of the record’s atmospheric ambiance. “It looks not to emulate a sexual high, but a deeper, euphoric wave, that washes over the body in feelings of comfort and security… a new kind of happy.”

    “We have always considered Glass Vaults to be an extension of our larger artistic interests and process,” Richard reveals. “One thing which has never changed is our goal of creating music that fully immerses those who experience it. We’re creating worlds and stories to fully transcend the audience.”

    Whether it’s capturing the feelings brought about by recollections of the pair’s pre-teen days chatting with friends on MSN and downloading music from Napster (‘Savant’) sitting on Manhattan rooftops (‘Brooklyn’) or watching the sun rise after a long cold winter (‘The New Happy’), each song is a shot of serotonin to the synapses. Speaking of the title-track Larsen says; “I was interested in creating the feeling of the classic New Zealand summer. When I listen to this song I imagine a Fruju iceblock advert shown there in the 90s. Young beautiful people jumping off a boat, eating ice blocks and singing “Ooh Aah!”

    Not stopping at physical pleasure, The New Happy’s absorbing soundscapes delve deeper into the unconscious by exploring nostalgia and dreams; ‘Rewind’ was inspired by a dream of hitting rewind on life whilst ‘Mind Reader’ refers to the way dreams linger, well into waking hours.

    The New Happy sees the band peeling away at a once hazy veneer to reveal vibrant and colourful majestic pop moments crafted with precision and clarity. “The New Happy is a sonic departure for us… where once we would have relied on large crystalline reverbs, this record takes cues from intimate spaces, percussive rhythm and groove to elicit a different kind of transcendence.” Glass Vaults’ unique brand of dreamy psychedelic pop has wowed capacity crowds everywhere from drained swimming pools and humid forests, to New Zealand, Australia, and the U.S.A.


    FORMAT INFORMATION

    Ltd LP Info: 180 gram vinyl with digital download code.
    Printed inner sleeve.
    Outer sleeve with spot gloss UV finish.

    L. Pierre

    1948 -

      THE ALBUM IS SOLD NAKED, WITHOUT ANY SLEEVE WHATSOEVER.
      180G VINYL.
      THE LAST EVER ALBUM FROM L. PIERRE
      NO DIGITAL DOWNLOAD CARD / NO DIGITAL DISTRIBUTON OF THE MUSIC AT ALL.

      In late 2016 L.Pierre (aka Aidan Moffat) posted Melodic this letter below along with a dublate of the his new album '1948 - '

      David Cooper
      c/o Melodic


      Hi Dave,

      Surprise! This is a new – and final – L. Pierre album, which I’m hoping you and the Melodic team would like to release. Rather than send you MP3s and emails and all those ones and zeroes, I thought it best to post you a dubplate in exactly the way I’d like to see it released. There’s some background to this one, so here you go …

      You’ll notice that the record labels state that all the samples I’ve used are from Nathan Milstein’s version of a Mendelssohn concerto – this is what was on the very first 33 1/3rpm long-playing 12” record in 1948. (There was a 33 1/3rpm 10” by Frank Sinatra first, but that was technically a compilation; Milstein’s was the first proper 12” album as we came to know it.) These samples from the original 1948 release were all ripped from YouTube, the biggest free music streaming platform in the world.

      I want to release the album as you have it right now: a vinyl-only LP, no digital whatsoever – indeed, upon the release date, I want to delete all the digital source files and any online promo streams we might do (we’ll have to advertise it in some way, of course). And on top of that, I want to release it with no sleeve. There are a few ideas here. Firstly, I don’t want a pristine, digital document that could last forever; I want the music left to the elements, I want it to live and scar, with each record’s acquired crackles, pops and scratches making them unique and identifiable to their owners. And while the natural thing to do with a naked record is protect it, I think it could be interesting to see how folk respond when we hand that responsibility over. Also, the sleeveless LP will look like one of those dusty, vulnerable strays you find in charity shops, which is precisely where L. Pierre began.

      Another thing I’d like to do is have a locked groove at the end, adding another wee element of interaction – the album won’t stop until the listener decides it should (which also works as an analogy for the resilience of vinyl in our digital age). And because the death of the album is proclaimed every few months these days, I wanted it to sound like a sort of ironic requiem. The title’s an unfinished tombstone with no date of death: “1948 – .”.

      If we do this, it will absolutely, definitely be the last ever record from L. Pierre (there’s that requiem echo again). The End.

      Anyway, hope you like it, and I do realise that a vinyl-only, self-destructive dialogue on the value of music and its new platforms, culture’s cyclical nature, the supposed death of the album – and the seeming immortality and inherent nostalgia of vinyl – doesn’t sound like the most lucrative of ventures, but I hope it’s an idea that a few folk might connect with. And I think it sounds quite lovely too!

      Cheers,
      Aidan



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