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O GENESIS

Tim Burgess

A Gain / Stoned Alone Again Or - Seahawks Remix / Hours - Tandy Love Remix

O.Genesis present a super Limited 12" Pressing, exclusive to Piccadilly Records, of remixes from Tim Burgess' recent, critically acclaimed, album "Oh No, I Love You".

Seahawks delivers a stunning 11 minute remix of "A Gain//Stoned Alone Again Or (Seahawks Remix)", exclusive to 12", whilst on the flip Tandy Love aka Andy Votel brings his remix skills to "Hours".



Gary Wilson & R. Stevie Moore

Fake News Trending

    R. Stevie Moore and Gary Wilson have recorded Fake News Trending -- their first-ever collaborative album together. The historic and long-awaited collaboration is big and welcome news around the world for fans of both of these DIY/underground music legends. Although their separate and compelling stories have included sporadic intersections (both made repeated appearances in vintage Trouser Press editions, and they have also shared the bill at live shows in New York and Los Angeles), Fake News Trending is the kindred duo’s only recorded work together. While both Wilson and Moore are already touted by an illustrious roster of artists that includes Ariel Pink, Tyler the Creator, Beck, Questlove, Henry Rollins, Earl Sweatshirt, and Jello Biafra, Fake News Trendingis a crucial contribution to both artists’ bodies of work. The album not only cements their legendary status within underground circles, but will also surely reach new and appreciate fans around the globe in the months and years to come.

    Fake News Trending boasts a formidable cast of supporting guest artists, including:
    • Jason Falkner (Beck, Air, Daniel Johnston, Paul McCartney, Jellyfish)
    • Jad Fair (Half Japanese)
    • Ryan Sinnott (The Distillers)
    • and Pall Jenkins (The Black Heart Procession, Three Mile Pilot) among others

    Although both R. Stevie Moore an Gary Wilson are each the subject of their own documentary (Cool Daddio, and You Think You Really Know Me, respectively), clearly the narrative of these two underground heroes is still evolving, and Fake News Trending will doubtless be regarded as a highlight in both of their winding, weird, and wonderful careers. 


    Keel Her

    With Kindness

      Keel Her's musical output can rightfully be called prolific. Originally from Winchester, Rose Keeler Schaefler has been writing and recording her own songs from the age of 14 on instruments found in charity shops and at car boot sales, culminating in a cassette release back in 2011 on Maximum Violence Records. Since then Keel Her has made an album with lo-fi legend R Stevie Moore and has released a single on O Genesis Recordings, alongside multiple releases on Critical Heights. Her influences include Talking Heads, Linda Smith and The Beatles but there's so much originality it's hard to pinpoint and, well, it just sounds like Keel Her.

      With Kindness is a collection of Keel Her’s experiences over the past few challenging years. Her introverted, thoughtful nature is obvious within the lyrics of tracks such as ‘self-sabotage’ and her deep running empathy effects all aspects of her life, be it others’ feelings, nature or the planet. On working with Keel Her, Tim Burgess says: “In 2012 I was handed a recording by R Stevie Moore, it was a track by his favourite artist Keel Her, an artist he had been recording with in Nashville. The song was called ‘With Me Tonight’ and I asked straight away if we could release it. The answer was yes and a seven-inch single of that song with double A banger ‘Boner Hit’ – it was an early O Genesis gem. “Rose Keeler Schaefler is the most amazing and prolific artist and the intervening seven years have given us more fantastic music from the world of Keel her. It’s a pleasure to welcome her back to O Genesis with her new album With Kindness.”

      “With Kindness was recorded over a few months of 2018, at home in London onto tape (Studer 16 track),” explains Rose on the creation of the record. “Juan Jacinto on drums, myself on the rest with a few exceptions where James Hoare plays various things, and guest vocals from friends Linda Smith, and Sean Armstrong. The record is a collection of the past few years; frustrations, mental health issues, over-controlling relationships, being judged by the judgemental, being stuck in a routine you don’t want to be in. Although I am not feeling like I did then or in the same situation, it feels like it had to be recorded for the feelings to dissipate. Catharticism?”


      Folly is O’Sullivan’s second album under his own name and embodies a confident, evolution from his acclaimed debut Veld (2017, O Genesis), an album which distilled the multiverse into a rich and complex soundworld; textured and allusive, alive with sonic diversions, hypnotic mantras and ornately arranged songcraft.

      Folly was written around the birth of his son Ari and the passing of his friend Ian Johnstone, and both events were significant in the album that followed. O’Sullivan explains, “Joy is inseparable from suffering and sometimes those polarities arrive at the same moment. Music offers a vessel to contain the unspeakable.”

      This cycle of twelve songs deftly illustrates O'Sullivan's ascent as a unique and multidimensional songwriter. Moving from the familiar pantheon of experimental music and arriving upon a universal narrative probing the human condition from the inside out. Both lyrically and within the intricate lattice of arrangements, traditional forms are reshaped into transcendent pop symphonies. Both intimate and alien, archetypal and atypical, joyous and melancholic, the aperture of Folly is wide open and light streams in.

      O’Sullivan explains the solo writing process, “Writing songs alone can take some time even if a song arrives fully formed in your mind. The execution of it involves long durations with each individual part of the arrangement until it reaches something concise. The song tells you what it needs and I try not to force ideas onto it.” and goes on to say, “These songs are outside in rather than inside out, there was always a latency between the birth of the song and my understanding of its purpose. Folly is looking at who is doing the shaping, most of these songs are about writing songs.”

      Folly was recorded and mixed by Thighpaulsandra (Coil, Julian Cope Band, Spiritualized) at his Aeriel studio premises in Wales and mastered by Matt Colton at Alchemy.

      Written mostly in London, O’Sullivan explains the inspiration for the title, “There's a folly of a medieval abbey in these gardens that surround where I live. My family and I spend a lot of time roaming around there, amongst the frogs, foxes, mushrooms, owls, and the many strange "introduced" plants and trees. It was landscaped to be a rabbit hole sort of place.”

      Daniel O’Sullivan is a composer, songwriter and multi-instrumentalist living and working in London and has been contributing a vibrant, chameleonic brew to the music landscape since the late 1990's. He has achieved international acclaim writing, recording and performing with Grumbling Fur (with longtime friend and collaborator Alexander Tucker), Ulver, Sunn O))), Guapo, Miracle, Æthenor and the recent reincarnation of This Heat in the form of This Is Not This Heat.

      The Silver Field

      Rooms

        Rooms was recorded in Coral Rose’s bedroom and on the album instruments such as the double bass, cello, guitar, mandolin, harmonium and a bagpipe chanter form loops and layers, her father’s old SPX-90 drenching the rich sounds in delays and reverbs. Rooms is the perfect introduction to the sound world of Coral Rose and friends: the EVI (electronic valve instrument, a breath controlled analogue synth) is introduced on the opening track, ‘Afire’, via Cathy Lucas (Vanishing Twin), and Kiran Bhatt (Red River Dialect) drums on ‘Rain’. ‘Rain’, described by The Quietus as “a delicate and pleasing creature” earlier this year, has already had support from BBC 6Music’s Mary Ann Hobbs.

        Rooms follows recent releases on O Genesis by Daniel O’Sullivan (VELD) and Richard Youngs (Belief), and like O’Sullivan and Youngs, whose albums are very much tied to a place – the home, whether through themes or creation – in this case, The Silver Field’s Rooms is focused on leaving a home behind, both physically and emotionally.

        The home that Coral Rose feels she's leaving behind on Rooms is an old sense of self – encountering herself as an adult and more specifically, a human being. She explains, “This plays out through the metaphor of leaving a house behind – a house of the stuff that builds up around you as you grow up – leaving that behind to make your own decisions about how to live. The last track, ‘Rooms’, is just a little snippet but to me it’s a moment of looking back, seeing it all in a new light with a different perspective from outside, seeing all the feelings and meanings that were once so all-encompassing as something different – as just part of the landscape.”

        This kind of liberation often comes with a sense of loss and this is felt keenly on ‘Rosebud’, a collaged piece, which she explains “is like a moment of everything falling apart or burning down, those screeches to me sound like beams breaking”. Elsewhere on the album, Coral Rose’s imagery depicts a dreamlike world, the album takes inspiration from both Rose’s own dreams, and the underwater landscape of waking dreams.

        The artwork, created by Coral Rose, shows the artist’s connection with the landscape around her and on the cover, a particular home that she inhabited. Painted in North Wales, the front cover painting shows the artist’s view through a window, looking outwards to the rain and light while the inside sleeve artworks are polaroid photographs – multiple exposures of the setting sun through clouds.

        Analogue processes flow throughout the album – several tracks on the album have a tape loop forming the spine of the song, and, explains Coral Rose, “the unpredictability of using a loop of tape rather than dragging something about on screen means sometimes something some little part of it becomes this perfect loop that I never would have heard if I was trying to compose something from the recordings myself.” The reel-to-reel player was found at a car boot sale: “the guy gave it me for £1 – it was the last change I had on me – because I got talking to him about Daphne Oram. It wasn’t in great shape and I kind of nursed it back to life. It had extra character because of that though, I think, a lot of the songs on the album aren’t in concert pitch because it tended to speed things up or slow things down, and often added strange sounds into the mix like the bass wobble in ‘Gost’.” 


        November 16th 2017 Tim Burgess tweeted, asking his followers who they would recruit if they were putting together a band: “Who would you have in your supergroup? Excluding Charlatans, mine would be: Vocals: Me & Ladyhawke Guitar: Josh Heyward (The Horrors) Keys: Martin Duffy (Primal Scream) Bass: Debbie Googe (My Bloody Valentine) Drums: Steffan Halperin (The Chavs/ Klaxons)” The difference was that Tim's band was not only a real band but they had also recorded an album. As I Was Now was recorded in Cheshire in December 2008 by a group of friends and is now being released, nearly ten years later.

        “We were complaining about how boring things were between Christmas and New Year, so we got together to record some songs. Some songs were more complete than others, others appear on this record more finished than others.” Tim Burgess 

        STAFF COMMENTS

        Andy says: For an album it's creator forgot to release(!!?) and with such a diverse cast of contributors (My Bloody Valentine, The Horrors, Primal Scream and Ladyhawke) this will really surprise you with its cohesion and beautiful melodic sensibility. This is a really good collection of songs, easily as good as Tim's previous solo work, and the puzzle remains: why such a below the radar/ casual release? Highly recommended.

        Average Sex

        Melodie EP

          London band Average Sex have announced the release of their second EP ‘Melodie’, released on Tim Burgess’ O Genesis Recordings. The EP was produced by Tim Burgess and James Spencer and recorded in Cheshire and is the follow-up to the acclaimed debut EP ‘Ice Cream’ that was released in December.

          With Average Sex it's love at first sight and love at first listen - just depends whether you see them live or hear one of their records first. If you like girls, boys, guitars, melodies and something to dance to then Laetitia, Sam, Louise, Finn and Jamie might well be your new BFFs. Finding love, falling out of love, slashing tyres, eating ice cream - all the major subjects are covered in classic three-minute pop gems that you will still be humming days later. Their songs are gorgeous and their gigs are hectic. And now they have a new EP with four reasons to love them more: ‘Ne M’Oublie Pas’, ‘U Suck’, ‘Melodie’ and ‘Sociopath’ are future classics.

          Average Sex are like the band you've been matched with on a dating site, so be free and go meet them for a drink


          Tim Burgess

          Inspired Again

            Limited edition pressing of 300 copies on 7” of “Inspired Again” taken from the Record Store Day album “As I Was Now”. The single comes backed with an exclusive track, a cover of Suicide’s “Cheree” .


            Richard Youngs

            Belief

              Youngs recorded the album in his hometown, Glasgow, as a cycle of chamber songs, a 21st century update of the solo album – one musician playing all the instruments in a small one-room set up. The album itself began with Youngs collecting his own percussion samples: from handclaps, a battered old cymbal, an extractor fan vent, FM radio interference, cassette hiss and a kick from “a disastrously ‘80s sounding drum machine”. These were then used to programme beats, played back at randomly determined tempos in durations mapped to randomly chosen major label songs.

              The original plan was to send Belief out to the ‘major’ labels and collect the rejection letters as an art project. But, as soon as the album had been mixed, Daniel O’Sullivan (Grumbling Fur, This Is Not This Heat) played the songs to Tim Burgess and before the mail art project could take off, Belief became Richard’s debut for Tim Burgess’ O Genesis Recordings label.


              Daniel O'Sullivan

              VELD

                Tim Burgess’ curated imprint O Genesis Recordings present VELD, a new solo album of luminous pop incantations, electroacoustic music and shimmering drones from composer and multi-instrumentalist Daniel O’Sullivan. Whether solo or in his varied collaborative projects, O’Sullivan’s work is remarkable in the way it infuses familiar everyday experience with traces of the uncanny, the secret and the magickal. VELD distils these tangled realities into a wonderfully rich and complex record — one of O’Sullivan’s most immediate and moving pop albums to date, yet one that's strikingly dense and allusive, alive with enticing sonic diversions, hypnotic mantras and eerie biomechanical rhythms.

                VELD was written and recorded between 2010 and 2016 while O’Sullivan was living on Tower Gardens Road, during the same phase that also nurtured other collaborative projects including Grumbling Fur (with Alexander Tucker) and Laniakea (with Zu’s Massimo Pupillo). This was also the space where O’Sullivan assembled and arranged Ulver’s 12th studio album ATGCLVLSSCAP and the last two Æthenor LP’s (O’Sullivan’s “automatic composition” group with Stephen O’Malley of Sunn O))) and Steve Noble). The house was a kind of parallel world, an oasis of the strange and the mystical in suburban North London belonging to Ian Johnstone (artist, permaculturalist and muse of the late Jhonn Balance of seminal English experimentalists Coil), who passed away in 2015. The album is dedicated to Ian and his home who, explains O’Sullivan, was a friend, inspiration and grounding space over the years.

                Their influence has audibly seeped into O’Sullivan’s intuitive, exploratory approach to music. His varied work is united by a love of bricolage, a fascination for drawing sounds and ideas from across disciplines and aesthetic worlds into a shared orbit. Traces of his many projects all meet and mingle in VELD: from his solo music as Mothlite to the lysergic songcraft and space-time vortices of Grumbling Fur and Laniakea, the reality-distorting zones of Æthenor and Ulver, the electronic pop of Miracle (with Zombi synth maestro Steve Moore), and his recent involvement with another pioneering London group, This Is Not This Heat.

                While distinctly a solo-led record, VELD is animated by the same roaming, impulsive compositional spirit as his collaborative work. While grounded in pop music — which O’Sullivan describes as the ideal vessel for channelling more celestial energies — its dreamlike soundworld draws inspiration from across both natural and human landscapes. Its influences range from Ray Bradbury (whose story ‘Veldt’ inspired the album’s title) and Gurdjieff to Borges and Anais Nin; St. John’s Wort and Psylocybin to Tottenham Cemetery and Streatham Common; Cocteau Twins and Judee Sill to Alice Coltrane and Tony Conrad.

                Written during a time of great personal upheaval and growth, these are songs steeped in thoughts of change and growth: the joys, fears and strangeness of parenthood and family life, loss and grief, the passing of time. Yet they’re also inspired by the transformative, self-obliterating potential of sound and music — its ability, explains O’Sullivan, to weave together multiple voices, forms and aspects of the self into a unifying whole. So throughout you hear O’Sullivan’s voice merging and phasing with guest vocalists including Linn Carin Dirdal, Jael Reasoner and Astrud Steehouder, as the music surges from astral pop songs (‘Scorpio Rising Blues’, ‘Sabotage Devices’, ‘Luminous Fibres’) to dubbed-out electronics and burning feedback (‘Plutonians’, ‘The Projector’), fractal sound collage and spidery guitar pieces (‘Doe A Deer’, ‘Be Honour You’). The result is a record whose songs evoke multiple universes and other possible realities, making it O’Sullivan’s most unified and self-contained solo work to date.

                Tear

                Vinyl01

                  London four piece DIY punk outfit TEAR have today announced the release of their debut mini-album; 'VINYL01', due for release on 17th March via Tim Burgess' label O Genesis Recordings. The band signed to Tim's label in late 2015 for the release of their first EP, and have since been busy making a name for themselves through a string of intimate shows and festival performances. Alongside the news, the band have shared a brand new track; the fierce and focused 'Careless Again' (listen out for the Fleetwood Mac 'The Chain' influenced crescendo).

                  The seven track mini-album contains the raw power that TEAR are renowned for across their live shows; it is a fully charged and sonically tight collection of female-fronted, lo-fi rock music that will be sure to earmark the band as ones to watch in 2017.

                  Horsebeach / The Pheremoans

                  Alone / Removals

                    'Alone' by Horsebeach captures their dreamscapey sound which has seen them get two albums in Piccadilly Records end of year review in recent times. The Pheromoans check in with' Removals' and 'My Two Careers' splitting their side of the split 7" into two beauties but be sure to play at 33rpm to avoid potential health risks when dancing

                    STAFF COMMENTS

                    Andy says: The Horsebeach track is like a dream set to music: beautiful. On the flip Pheremoans sound alternately like The Pastels and The Blue Aeroplanes on the two tracks showcased here. Excellent stuff.

                    FORMAT INFORMATION

                    Ltd 7" Info: We've just found a few copies of this long deleted gem!

                    Tim Burgess & Peter Gordon

                    Same Language, Different Worlds

                      The Charlatans frontman originally met New Yorker Peter Gordon in 2012 and they decided then on a music collaboration. Burgess had been a long time fan of Gordon’s work with Arthur Russell and The Love Of Life Orchestra. The album was produced by Gordon in New York and features many of his and Tim’s previous collaborators: Ernie Brooks who played with Arthur Russell on the first Modern Lovers album, trombone player Peter Zummo, conga player Mustafa Ahmed and Nik Void from Factory Floor.

                      "What I love about working with Peter is that in the late 70s with Peter Zummo and Arthur Russell and all the New York cats at The Kitchen, they were all making futuristic records," Burgess enthuses. "Now Peter in his mid-60s is still looking to do that. It's the world that I want to be in."

                      STAFF COMMENTS

                      Laura says: If you're only aware of Tim Burgess from his Charlatans releases, then you may be surprised by this album. Working with veteran composer and musician Peter Gordon, Tim explores more experimental / avant soundscapes, with his softly sung vocals floating over pulsing beats while keyboards bubble and whoosh, saxophones wail and trombone, congas and guitars drift in and out of the mix.

                      FORMAT INFORMATION

                      2xColoured LP Info: Limited clear vinyl.

                      Vinyl comes with CD version of the album enclosed.

                      ‘Over You’, recorded and self produced in London last year, was mixed by Tim Burgess and Jim Spencer and features eleven tracks including the forthcoming single ‘Medicine’

                      Meet Throwing Up. Their music is the sound of a kind of sticker book collage of the best of the past and the present, with one eye on the future. There are clues that they're from London and it's 2013 but they could be from anywhere, anytime in the last 30, or even the next 10 years – ‘Over You’ builds a house on these raw foundations. With their whistle at the bus stop hooks and snappy tunes their songs are stripped back, yet so catchy too… it’s Agit pop like we’ve not seen in a while. A little bit of something to shake the mainstream up but happy to be a poster on your bedroom wall too – We love Camille and Clare and we reckon the world will too. We love Throwing Up and they’re what we really need right now!

                      Throwing Up began early last year when Camille Benett (vocals/guitar) and Clare James Clare (bass/vocals) both formerly of unhinged girl-rage rock quartet Headless teamed up with drummer Andrew Moran. The trio have since built up a great reputation for their explosive live shows which combine the emotional impact of their songs with irreverent delivery and theirs is a sweet spot somewhere between self-awareness and youthful innocence.

                      Jack Underwood

                      Wilderbeast

                      "A few months ago it was decided that OGen004 would be a vinyl and digital release of some poems by Jack Underwood. We had no real idea how much interest would be generated by a 7" single of poetry but everyone who had heard Jack's poetry seemed to like it and the idea was we would treat it like any other release of a song by a band - we thought that if we didn't make out we thought it was a little odd that nobody else would."

                      Debut single from this Leeds via Manchester via London duo on the fledgling O Genesis Recordings label.

                      Replicas, Helena Gee (vocals/ guitar) and Ashiya Eastwood (vocals/ guitar/ keyboard), formed at the end of last year and have been quietly building a growing fan base around the country with their enchanting slant on moody, yet melodic pop.

                      Produced by Tim Burgess, the new single is a three track EP featuring ‘Hearts Beat’, ‘In The City’ and Disappear’.


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