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PRACTISE MUSIC

Deep Tan

Diamond Horsetail / Creeping Speedwells

    London based, subversive post-punk trio deep tan are back with their new single, ‘rudy ya ya ya’ and news of their sophomore EP, ‘diamond horsetail’.

    Alongside this, the band are also releasing a Dinked Edition which features ‘diamond horsetail’ and previous EP ‘creeping speedwells’ exclusively pressed together on ‘piss kink yellow’ vinyl, limited to 400 copies.

    ‘rudy ya ya ya’ is pure deep tan: spiky guitars above a driving rhythm section and a sharp, detached vocal. The band explain: “Caught with your pants down, brown ooze slides down a furrowed brow as sacha interrupts — ! (aka the rudy giuliani diss track you never asked for)”

    Since they released their debut EP ‘creeping speedwells’ last year to widespread critical acclaim, deep tan have been winning over legions of fans with their unique brand of post-punk; never afraid of challenging the establishment, their songs are politically astute and socially conscious but never preachy. It’s a potent blend that has seen the band thrust to the forefront of the chasing pack with a string of fine releases and a subversive punk spirit. The band then went on to release a Dan Carey produced single with legendary label Speedy Wunderground, ‘tamu’s yiffing refuge’, a stripped down, driving track that once again proves less is more.

    deep tan make music that emerges from the fatalistic side of life with a flash of cynicism and a rumble of venomous intent. Their stripped-back, minimal sound is a vehicle for songs that engage with contemporary themes, from deepfake revenge pornography to surreal meme pages and stories of furry hedonism.

    TRACK LISTING

    Dinked Edition:
    Side A - Diamond Horsetail
    1. Beginners’ Krav Maga
    2. Device Devotion
    3. Gender Expansion Pack
    4. Rudy Ya Ya Ya
    5. Diamond Horsetail
    Side B - Creeping Speedwells
    1. Do You Ever Ascend?
    2. Hollow Scene
    3. Camelot
    4. Deepfake

    Deep Tan

    Diamond Horsetail

      London based, subversive post-punk trio deep tan are back with their new single, ‘rudy ya ya ya’ and news of their sophomore EP, ‘diamond horsetail’.

      ‘rudy ya ya ya’ is pure deep tan: spiky guitars above a driving rhythm section and a sharp, detached vocal. The band explain: “Caught with your pants down, brown ooze slides down a furrowed brow as sacha interrupts — ! (aka the rudy giuliani diss track you never asked for)”

      Since they released their debut EP ‘creeping speedwells’ last year to widespread critical acclaim, deep tan have been winning over legions of fans with their unique brand of post-punk; never afraid of challenging the establishment, their songs are politically astute and socially conscious but never preachy. It’s a potent blend that has seen the band thrust to the forefront of the chasing pack with a string of fine releases and a subversive punk spirit. The band then went on to release a Dan Carey produced single with legendary label Speedy Wunderground, ‘tamu’s yiffing refuge’, a stripped down, driving track that once again proves less is more.

      deep tan make music that emerges from the fatalistic side of life with a flash of cynicism and a rumble of venomous intent. Their stripped-back, minimal sound is a vehicle for songs that engage with contemporary themes, from deepfake revenge pornography to surreal meme pages and stories of furry hedonism.

      TRACK LISTING

      1. Beginners’ Krav Maga
      2. Device Devotion
      3. Gender Expansion Pack
      4. Rudy Ya Ya Ya
      5. Diamond Horsetail

      Peakes

      Peripheral Figures

        The sound of PEAKES has always been steeped in isolation, crafting hymnal electro-pop that floats, weightless and suspended, over the world they move through. Using the lens of nostalgia as a kind of refuge, their synth-led dreamscapes defy any sense of time and place: their sound is both current, yet transportive like a memory.

        Since their formation in 2017, vocalist Molly Puckering, synth-player and producer Max Shirley and drummer Pete Redshaw, have been solidifying what it means to be PEAKES. With a smattering of EPs and singles laying out their statement of intent, each one a run-up growing in momentum, their trajectory was clear: get into the studio and bring the music to the stage. This was the plan for the Leeds-based trio in 2020 – until the world stopped. No one could have predicted that touring and recording, an artist’s lifeblood, would grind to a global halt, and PEAKES could never have predicted that in a year defined by impossibilities, they would make their debut album, Peripheral Figures.

        “I think last year, when you had everything taken away from you, it made it easier to try something new,” says Molly. Having released their four-track EP ‘Pre-Invented World’ on the cusp of the COVID-19 pandemic, amidst the world’s disorder, their music fell into a void: the appetite for new music had understandably dried up, and there was nothing PEAKES could do to change that. So rather than dwell on it, they took a step back and returned to the drawing board and went back to basics, learning to fall in love with music again through the purest sense of creation.

        Yet despite the logistical hurdles they had to overcome during the pandemic, where ten minutes might as well have been ten thousand miles away, Peripheral Figures is their most personal, hands-on project yet – and it’s entirely their own. Molly recorded her vocals in the wardrobe of her bedroom, while Pete’s drums were sent in a file-sharing back and forth over email: a departure from the sessions they’d had with producers in fully-fledged studios. “This is the closest that we wanted everything to sound like,” Max says. “Whereas before, it was someone else’s vision too, this time, we’ve had the final say, and it feels great.”

        The suspended time allowed them to experiment without a timeframe, having the opportunity to dedicate hours to perfecting the details, rather than minutes. What started as a means of escapism developed into an album which not only serves as the definitive realisation of PEAKES’ potential, but acts as a capsule for the universal feeling of isolation channelled through boundless imagination.

        Another freedom that the pandemic afforded them was to step away from a singles-driven mindset, embracing slow-burning songs that didn’t necessarily meet the tick-box requirements of upbeat with the ability to instantly connect with a listener. “Clouds”, one of the most interesting tracks on Peripheral Figures, wouldn’t exist if they weren’t writing in an album state of mind. Sonically stripped back, Molly’s entrancing, almost spoken vocals, carry it. “We’re quite nostalgic in the sounds we use and the world we want to create,” says Max. Inspired by the hazy dreamscapes of shoegaze, PEAKES choose to bring those elements forward, leaning towards synth rather than guitar. “Infinite Divide” merges the retrospective, synth-driven energy of the 80s and brings it to the brink of modernity. Experimenting with distortion, PEAKES welcomed the grittiness that their DIY production created over the far more polished, studio-level sheen they’d been used to. While the two tracks stand in contrast to one another, they are also the band’s favourites: “We’d never written two songs with that much energy from the start,” says Molly.

        “Day and Age” was written with nightclubs in mind, with its propulsive, entirely electric new-wave beat dreaming of crowded spaces. Their lyrics, penned between Max and Molly, usually came from a place of observation: “We didn’t realise how much we were influenced by being out in the world until we weren’t in it anymore,” Molly says. Using limitless imagination as a crutch, they started to explore scenarios in their head, embedded themselves into different stories. “Nameless Machines” was a concept song, built upon Max’s lyric: “Nameless machines / Statistical dreams”, envisioning someone working the same nine-to-five office job, being consumed by it and trapped within it. “I loved getting into the mindset of that and writing from it,” Max says.

        PEAKES’ music is a catalogue of reference points, from essentials such as Gary Numan, Depeche Mode and New Order to the ambient techno of Haruomi Hosono and the wonky German electro-beats of Grauzone. While Max is indebted to 80s new age, Molly looks to the female-led electronic renaissance of the 00s, with Portishead, Goldfrapp and Moloko being enormously influential for her own approach as the band’s frontwoman.

        The band met at university while they were studying at the Leeds Conservatoire in 2017 after cramming into an eight-bed house together, discovering that they shared a similar vision. Molly, as well as being PEAKES’ vocalist and lyricist, is also the architect behind the “silent stuff”, having styled all their outfits with an eye for dreamy, whimsical aesthetics that they bring into their artwork. Max, whose multi-hyphenate role extends to lyrics, production and instrumentation, brings a meticulous eye for detail that means that every track is finished to a sky-high standard, and Pete is PEAKES’ grounding force and peacemaker – not to mention their roadman (he’s the only one with a driver’s license).

        With the release of Peripheral Figures, PEAKES feel one step closer to their vision than ever: their debut album was hard-won, and yet stands brightly as an example that out of trauma, there is a possibility to build something beautiful. 

        TRACK LISTING

        Side A:
        Internal Forecast I
        An Infinite Divide
        Control
        Day And Age
        Lately
        Side B:
        Internal Forecast II
        Clouds
        Nameless Machines
        Fascination
        Circular State

        Delmer Darion

        Morning Pageants

          Delmer Darion is the West Midlands-born and North London-based experimental electronic/ IDM project of Tom Lenton and Oliver Jack, taking its name from the deep-sea diver found at the top of a charred tree after a forest fire in Paul Thomas Anderson’s cult film ‘Magnolia’. “There’s no reason behind it,” they say, “we just liked the absurdity of seeing a scuba diver in full gear at the top of a really tall tree.”

          Their debut album ‘Morning Pageants’ has been five-years in the making: a sprawling, industrial ten-track account of the death of the devil as a tragedy for the imagination, inspired by a line in the Wallace Stevens poem ‘Esthétique du Mal’, due for release this October on Practise Music (Squid, Shards, William Doyle).

          Archival accounts and true stories patter against Delmer Darion’s simulated journey in and out of hell. A monk is tasked to write down all the world’s knowledge in one night; a woman feigns her own demonic possession to cash in from a roadshow, exposed as a fraud only when unknowingly made to drink holy water, gagged by a piece of the True Cross; a violinist is refused a Catholic burial, suspected to be in leagues with the devil; a writer pretends to be possessed by the spirit of a poet, and produces volumes of work at her command.

          A vast aural landscape is covered from the opening melodies coded in the constructed language of Solresol. Dissolved folk songs curtail the lo-fi edge of Gareth Williams & Mary Currie’s ‘Flaming Tunes’. At times it’s Yves Tumor being hit around the head with a disco ball, at others there’s an ambient and sinister warmth like the crackle of a burning piano. Decentered rhythmic assemblies of analogue drum machines play through a series of guitar pedals and thunderous bass swells from a self-oscillating filter feedback patch. Sequenced together, they’re shrouded in the same intricate noise of self-sampling and tape degradation.

          Collaborations with Guest Singer (Heist or Hit) and Private Agenda (Lo Recordings) play against vocal features from quiet bastions of London’s underground alt-folk scene. Scottish songwriter Genevieve Dawson’s vocals on closing track ‘Television’ end the album’s tragic narrative with the comical and pathetic image of the devil curled up inside a TV set, trying to spread occultist tales through Saturday morning cartoons.

          The artwork for ‘Morning Pageants’ is a photograph of a print made by Oliver, based on a series of 16th Century works called ‘The Dance of Death’ by Hans Holbein, depicting different people being led away by Death. Recreating one of the prints, they replaced the figure being led away with an original drawing of Satan. The final artwork is printed on Nepalese Lokta paper, a waxy yellow paper that has been used for lots of sacred texts.

          Mastered in Minneapolis by Huntley Miller (Low, Bon Iver).


          TRACK LISTING

          290 Recto
          Darkening
          Wildering
          Narrowing
          Lacuna
          Pearse
          Brossier
          Genoa
          St. Louis
          Television


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