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OUTRE DISQUE

Gemma Cullingford

Let Me Speak

    Following March's debut single ‘Wide Boys’ which gained favour from Steve Lamacq, John Kennedy, Amy Lamé, Jamzsupernova, Get in Her Ears to name a few, Outre are delighted to present this solo long player, Gemma Cullingford's quiet public persona as one half of Norfolk's finest disco maidens Sink Ya Teeth and previously with Blast First's KaitO has masked her nature.

    On Let Me Speak Gemma finds her voice and noise as a solo artist and songwriter with a very personal body of work. Storytelling through the medium of raw electronic and industrial sensibilities. During Sink Ya Teeth’s downtime throughout the pandemic Gemma has been working on creations of a more personal nature, and it’s just what your ears need right now.

    Raised on a diet of Throbbing Gristle, Depeche Mode, New Order, Fad Gadget and A Certain Ratio, Gemma Cullingford's own trajectory has been equally impressive - from playing bass with Blast First / Mute signings Kaito, and more recently as one half of post-punk electronic dance duo Sink Ya Teeth.

    This solo offering further adds to her fine body of work. 2020 saw Sink Ya Teeth having to abandon many live gigs and promotion for their second album, so during the band's downtime Gemma worked purposefully in her home studio on solo works of a more personal nature.

    STAFF COMMENTS

    Barry says: While Sink Ya Teeth definitely took influence from the dancefloor, it's Cullingford's solo output that really pays homage to the sweaty peak of industrial and techno clubgoing with it's own particular brand of momentous rhythm and rich, chest shaking bass hits. Wildly immersive and wonderfully satisfying,

    TRACK LISTING

    Side A
    1 The Lizard
    2 Sight For Sore Eyes
    3 Wide Boys
    4 Racer
    5 Let Me Speak

    Side B
    6 Queen Bee
    7 Chase The Beat
    8 I Like You
    9 Ode To Billy Joe
    10 Fatal Embrace

    Gemma Cullingford (Sink Ya Teeth)

    Wide Boys

      Raised on a diet of Throbbing Gristle, Depeche Mode, New Order, Fad Gadget and A Certain Ratio, Gemma Cullingford's own trajectory has been equally impressive – from playing bass with Blast First/Mute signings Kaito, and more recently as one half of post-punk electronic dance duo Sink Ya Teeth. This solo offering further adds to her fine body of work.

      2020 saw Sink Ya Teeth having to abandon many live gigs and promotion for their second album, so during the band's downtime Gemma worked purposefully in her home studio on solo works of a more personal nature, the first fruits being this double A sided single. An album entitled "Let Me Speak" will follow in the summer of 2021.

      "Wide Boys" is a menacing disco call to action; "It's a message to the average man and woman on the street, many of whom seems to have been brainwashed by both those in power and by the far right. It's saying that every single one of us are being controlled as part of a big, sinister game. This is a response to my own awakening to that" she explains.

      "104" is an instrumental electronic jam for feet, limbs and loose minds. "The idea behind 104 came from wanting to start off with real sounding drums that subtly evolve into pure electro over 3 or 4 minutes".

      Gloria

      Sabbat Matters

        Gloria return with a slab of psychedelic pagan rock, their first release since the "Hey Gyp" and "Oidophon Echorama" EP's. Their much praised debut album "In Excelsis Stereo" won the heart's of many on both sides of the Channel, notably Shindig! Magazine, Les InRockuptibles and The Times (of London!) from the world of print and 6 Music's Lauren Laverne, Amy Lamé and Gideon Coe being more than generous in their praise and airtime for the Lyonnaise sextet. Béatrice left to focus on Grand Veymont and Epépé, with the operatically trained Swiss witch Marie Lou replacing her on choral duties. Soon after they decamped to the Valais mountains to record the new material which would make up this very album.

        The Sabbat theme had been growing in the mind of Kid Victrola for a number of years. Irremediably associated with witchcraft in France and Switzerland, describing 15-17th century nocturnal gatherings filled with unholy behaviours frowned upon by the more clerically minded. Sabbat Matters is an imaginary pagan festival for your ears, where debauchery, pop and primitive pleasures are celebrated as gods to fend off the evils of the plague and contemporary puritans. Motown, Phil Spector, John Fahey, MC5 and songs of worship and devotion lurk behind the psychedelic choral pop maelstrom which has captivated stages across Europe alongside Altin Gun, Juniore, Slift, The Soundcarriers, and M'dou Moktar in recent years. Nicole Claveloux, the acclaimed French painter, illustrator and comic book artist contributed previously unseen period artwork to this release.

        TRACK LISTING

        1.Sabbat Matters
        2.Holy Water
        3.Space Rocket
        4.Miss Tambourine
        5.Skeletons
        6.You Had It All
        7.Back In Town
        8.Dance With Death
        9.Night Biting
        10.Global Warning

        Yes Grasshopper

        N.O.W.H.E.R.E.

          Enter Yes Grasshopper, taking you on a trip into the unexplored depths of their collective mind, a place of daring rescue missions and uncanny swamp monsters, all imagined through the lens of a playful B-movie aesthetic.

          Emerging from England's unforgiving northern coast, this dynamic duo present a wholly unique take on noise rock, with crushing riffs, white water rhythmic twists and barking intertwined vocals making way for heinously catchy hooks you'll find yourself whistling at the most unexpected of times. And with the lyrics spinning esoteric tales over such a compelling foundation, Yes Grasshopper won't let your undivided attention slip for a single second.

          Their universe is one where both rage and joy jostle side-by-side, one moment buzzing with all the fury of a swarm of pissed-off hornets/mozzies, the next inviting the whole lot round for an unforgettable afterparty. Call it metal. Call it punk. Hell, call it hardcore-acid-math-crustcore if you want. What's so striking is that it doesn't deal in the usual palette of oppressive blacks and greys those genres invariably paint with, instead imagining a more kaleidoscopic and perhaps even welcoming landscape. And despite the heavy-as-heavy-can-be riffery and hammer-blow grooves, there is somehow an air of levity permeating the whole thing.

          Giving the likes of Hella, Lightning Bolt and John (times two) a run for their money in the 'how much noise can two people make?' stakes, the respective halves of this newly established duo have been nourished on a diet of music's more extreme offerings, with the mischievous demons within intent on shredding hard. Live shows consist of the slicing of mustard and people losing their socks.

          Bess Of Bedlam

          Folly Tales

            A resident of Lyon, Fanny L'Heritier is Bess of Bedlam. She is also the lead singer of the French experimental pop band Odessey & Oracle. Her arrangements employ a variety of instruments (classical and electromechanical pianos, 70's analogue synthesizers, acoustic & electric guitars, banjo & dobro) with charm, whimsy and humour.

            Bess Of Bedlam is Inspired by Purcell's vision and more recent English folk voices such as Shirley Collins, Linda Perhacs and Vashti Bunyan, with a 60's psychedelic pop sensibility from the likes of The Free Design, The United States of America and Sagittarius flavouring her sound. Bess's debut solo album was released last May. Shindig! magazine describing it as evoking both "Joanna Newsom or a pastoral Broadcast filtered through a fairy-tale lens".

            The Shining Levels

            The Gallows Pole

              "Resonating with the raw currents of nature, notes of hot human emotion and wild surges of power and defiance which underpin the narrative...This music takes on the textures of hardship and hope, the human continuance and determination to strive in the countryside, to come to some kind of understanding with nature." - Louder Than War.

              The Shining Levels are a new music collective based in Northumberland and Durham. Written and recorded on the edge of the northern English moors and using rural folk musicians, loops and electronics, the record is a heady brew of gritty landscape hymns, ethereal acid-folk, borderlands ballads, 70s folk horror TV/film atmospherics, mood pieces, echoes of the colliery bands of old, moor-top drones and much, much more. Music inspired by the novel The Gallows Pole sees The Shining Levels tread similar topographical terrain to The Unthanks, and shares DNA with such disparate musical ancestors such as Pentangle, Sandy Denny, Bridget St. John and Tom Waits, though is its own beast entirely. A combined love of ambient music, hip-hop production and musical obscurities from far-flung countries meanwhile ensure this is a folk record in a very real - and very modern - sense.

              Inspired by the real life events of 18th century Yorkshire criminal gang the Cragg Vale Coiners who operate in the Upper Calder Valley in the Pennines, the album's source material, The Gallows Pole by author Benjamin Myers, has rapidly become a modern cult classic. It is the first novel to be signed to Jack White's Third Man Books, and will be published in the US/Canada in November 2019. It has also been optioned for film adaptation.

              Drawing on a shared childhood and background with the author, The Shining Levels' music explores themes from the book: an England divided, the potency and mystery of remote rural landscapes, industrial progress, the changing seasons, shifting fortunes, self-delusion and self-aggrandisement, poverty vs wealth, societal power structures - and strange visions of mythical creatures.

              "We had a shared playlist which included lots of folk music," explains Davey J.of the influences on the band. "I also looked into pagan music too, which really leads you down the rabbit hole. But I also become obsessed with the app Radiooooo which lets you tap anywhere on a map of the world and select any decade from when recorded music began, so you can instantly flick from Madagascan 70's Jazz to Kazakhstani lounge music. At the same time I discovered all this great ambient / atmospheric / instrumental music that was perfect to work to: William Basinski, Grouper, A Winged Victory For The Sullen and more. These became very important for the mood and the very visual soundscapes, and definitely shaped the way we were writing."

              "I've always enjoyed hip-hop productions which sample, loop or collaborate with jazz musicians as it feels a very natural blend of contemporary life and technologies with music of great historical and emotional gravitas," says Dan Coggins. ""I was probably listening as much to RZA or Nigerian Funk as I was Nick Drake when we were writing it. The thought was to do a similar thing here: essentially reflecting on our own cultural environment as a means to illustrate a book which, while being set in a rural past, has a very modern voice and tone."

              The album was recorded further up the stony Pennine spine from the novel's setting, in a variety of shifting locations: a rented attic conversion on the outskirts of Durham, a similar rented attic conversion in Corbridge, Northumberland and not-for-profit community centre, Core Music in Hexham. Backing vocals and flute parts were recorded as far away as you can get from the spacious, windswept ancient north before hitting water: a cottage overlooking the sea in Lizard, Cornwall. A small spoken word section was recorded in Mytholmroyd, where the Cragg Vale Coiners ruled with fear and intimidation.

              For instrumentation, the idea was to record some traditional sounds but using software to manipulate and structure the music. "I had vague memories of pirate horror VHS's and creepy 70s and 80s British kids' TV music," explains Dan. "I got hold of some old keyboards and a delay unit which gave a bit of that flavour too."

              Here then, the bucolic meets the technological, and the rural collides with the digital to thrilling effect. "There's certainly a nod towards what many may consider English folk, certainly in Laura's beautiful plaintive voice," elaborates Davey. "But there's also pounding drums, overdriven electric guitar, loops and samples all over the place. So I think to call it folk music would actually be doing it a disservice. It's a set of quite different songs and moods forming a larger soundscape that hopefully takes the listener on a unique journey.

              The band take their name from another literary source: The Shining Levels, author/park ranger John Wyatt's classic 1973 account of living closely with nature in the Lake District. And here it is. Music inspired by the novel The Gallows Pole, an elegiac album of beauty, resistance, anger and poetry. A soundtrack that straddles the ages.

              TRACK LISTING

              1. Stag Dance
              2. Moonless Nights
              3. Tipping Of The Scale
              4. Broken On A Wheel
              5. Valley Boys
              6. Progress!
              7. Deighton
              8. Men Of Straw
              9. Veil Of The Vale
              10. Death Of The King

              Grand Veymont

              Grand Veymont

                Grand Veymont are
                Josselin Varengo - Organ, synthesizer, percussion, vocals
                Béatrice Morel Journel - Organ, chant, flute, vocals

                Heading south from Lyon in south-eastern France, an awe-inspiring massif of jagged limestone looms into view. Framed perfectly by the resplendent snowcapped Alps in the distance, the Vercors Regional Nature Park is an area of exceptional beauty. Grand Veymont is the highest peak of the Vercors Massif from which Béatrice and Josselin take both their inspiration and name.

                Resident and natives of the Vercors, everything is often a question of territory, the one where we are born, the one we live in, the one we leave, the one we cross, the one we see or the one we desire. Grand Veymont have been exploring these themes since forming in 2016.

                Parts of their music could be likened to the experimental aspects of Stereolab, or perhaps serialist music corrupted by the pantheon of pop and ethereal, abstract atmospheres, or maybe what Krautrock would sound like if the Vercors were a feature on the map of contemporary music… So no formulaic rock here – just songs sung in French deeply veined with moods, desires and the occasional lightning strike.

                The mountain's fertile terrain and imposing mass has impressed itself upon the imagination through what they describe as "krautrock de salon", a hypnotic medieval soundscape born of restless musical spirits. As free as the swirling wind of the Vercors Massif and as intriguing and playful as a young Marmot. Much like their ancestral landscape they deserve further exploration.

                The duo are also currently one-third of Gloria (Ample Play, UK & Howling Banana, Fr), having played together in Tara King TH whilst still performing separately with Slow Joe & The Ginger Accident and Baby B. They have also recorded with Deborah Kant and Aquaserge.

                TRACK LISTING

                1.Je Cours Après Avant 13.27
                2.Les Rapides Bleus 5.40
                3.L'odyssée Du Petit Parleur 9.24
                4.Upie 9.20


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