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SPEEDY WUNDERGROUND

The Lounge Society

Generation Game

    The Lounge Society are Cameron Davey (vocals/bass), Archie Dewis (drums), Herbie May (guitar) and Hani Paskin-Hussain (guitar). While some bands make music that pats you on the back, The Lounge Society make music that kicks you in the teeth . Hailing from Hebden Bridge, West Yorkshire, they are the next to emerge from the contagious 'Calder Sound', alongside Working Men's Club, The Orielles and WH Lung. An unruly bunch of talented multi-instrumentalists, The Lounge Society have pioneered a fresh approach to an eclectic range of influences spanning from The Fall and Talking Heads to The Velvet Underground and Fat White Family.

    The band’s manager got in touch with the label via email – ‘and for both me and Dan it was one of those – we HAVE to do this moments’ – says (Pierre) Hall, label co-runner. All aged 16-17 years old and still in school – they needed to get permission to miss their music exams in order to come down and record. They would also need an adult in order to check them in to the Travelodge in Streatham they’d booked in order to come to the label’s HQ/studios.

    But age/educational restrictions aside, when they did arrive - wow – what a racket they made. ‘They are great. Really fun to work with – and a fucking amazing band’ enthuses label boss Carey. As for the band themselves: ‘I don’t think it’s sunk in yet that we’re releasing a single with Speedy. It’s always been a dream for all of us to record with Dan Carey and release with Speedy. We love their ethos and all the music they’ve put out in the past, it’s a great scene.

    On the day everything happened really quickly, we messed around for a bit, trying different amps, guitars and stuff, then when we were ready Dan said ‘shall we go for a take’ and switched the lights off, put the smoke machine on and put lasers on. Then just as we started playing the smoke alarm went off which was really funny, apparently it’s never done that before!

    We went through the track and there was a real energy in the room, it was like being at a gig which is exactly what this track needed. Generation Game means a lot to all of us, and we feel it’s an ideal introduction to us as a band. To us the lyrics reflect what we’re all about – shedding light on topics and events we feel are criminally ignored - and for it to be our very first offering to the world (especially through Speedy) really helps get that across. Once we’d finished the take we all stopped dead and looked at each other (and Dan) and he just said ‘that’s it, that’s the one’. I think we were all a bit shocked but the energy was there on the recording and we completely trusted him!’

    In addition – the band have also gained another new producer fan in that of The Strokes producer Gordon Raphael – who has recently relocated to Hebden Bridge (!) and caught them at a local gig: "I was seriously impressed and really enjoyed the show. For me they have it all - a great performance, they look amazing, they play their instruments like hell (and I mean that most kindly) and they take really night sharp left turns in the middle of their songs, which always grabs my interest.” Is This It? We think so. The Lounge Society. No time for sitting around.

    FORMAT INFORMATION

    Ltd 7" Info: Limited to 250 copies.

    Squid

    Town Centre - Repress

      Limited repress with a few slight artwork changes:
      Red Sticker (previous was white)
      Blue back cover (previous was green)

      The hotly tipped post-punk, disco-funk phenomenon Squid are back with a new EP called ‘Town Centre’ on vinyl via Dan Carey’s Speedy Wunderground label, the first EP from the legendary singles label. ‘Town Centre’ is a perfect distillation of everything they have done so far, making good on the angular funk of ‘The Dial,’ the disco-punk of ‘Houseplants’ the ambitious songwriting of ‘Terrestrial Changeover Blues’ and through to their more ambient-leaning early work.

      Kicking off with the ambient sprawl of ‘Savage,’ Squid are instantly revelling in the uncertainty and ambiguity found in the searching out of ideas and have created something that feels meditative yet active, capturing their alluring chaos but presenting it in a totally different manner. Next up, the propulsive, guitar-led ‘Match Bet’ was written at guitarist Anton Pearson’s parents house in Norfolk and spawned from an open tuning fingerpicking pattern that sparring partner Louis Borlase had been developing after being inspired by the Don Edwards track ‘Coyotes’ in Grizzly Man.

      On ‘The Cleaner,’ Squid are at their angular best, the lyrics are inspired by moving to London and trying to adjust to the pace and lifestyle of the city. The track is bursting with ideas, and there’s a clear energy and determination within the band to embrace different musical styles, deftly. ‘Town Centre’ closes with ‘Rodeo,’ a cinematic track that features an observational monologue from Ollie Judge. Percussion and keys wunderkid Arthur Leadbetter says of the track: “The song is a story for us. One that feels like your on a movie set while the camera is rolling, but the lead actor has lost the plot and split his mind between those closest to him.”

      For ‘Town Centre’ the band once again team up with producer du jour Dan Carey and emerge with a powerful, intensely angular collection of songs that recall the finest corners of late 70s post-punk alongside a propulsive motorik drive and glimmers of early noughties disco whilst expertly making it all their own.

      Dan Carey on Squid. “I love Squid so much. To record with them is such a joy - the room is a sea of ideas and enthusiasm without any clashes of ego; every suggestion is given full attention. This , combined with their musicianship results in beautifully inventive music, underpinned by a hard steady groove and topped with lyrics that are important and surreal.”

      Boss

      I'm Down With That

        BOSS are Guro Gikling of All We Are, Theresa Wayman of Warpaint, Sarah Jones, who has previously drummed for Hot Chip and Yeasayer, and Speedy Wunderground head-honcho Dan Carey, who has recently been involved in the Sexwitch project with Natasha Khan and TOY.

        In the time honoured spirit of the label, the single was produced in a day at Dan’s south London studio and is their first release, yet the inception of the band goes back to 2012 when Dan met Theresa at a festival in Slovakia (he would also later produce All We Are’s debut album).

        “Being a Warpaint fan I found her backstage and told her I was the best psychedelic rock producer in the world,” remembers Dan.

        “The exact words of her response were ’that’s the last fucking thing we need. See you later.’ “

        Despite the inauspicious meeting, Dan would later be recruited to work on Theresa’s forthcoming solo album and having met Guro on tour, Theresa invited her to also work on the long-player.

        Born out of these album sessions, the BOSS track came out of post recording jams and after recruiting drummer Sarah Jones, a 20 second snatch of an almost 15 hour jam was eventually worked into ‘I’m Down With That’.



        Peluché

        The Guy With The Gammy Eye

          Renowned for its studio-to-pressing-plant fleetness, three-piece Peluché have achieved something of a feat by becoming arguably the ‘quickest’ ever Speedy Wunderground release.

          In less than a week the label had received the track, caught the band’s eccentric live show, recorded the single at Dan Carey’s south-London HQ (all recording done in a day according to the time-honoured Speedy Wunderground ‘regulations’) and despatched the results to the pressing plant.

          Coming after their well-received recent single ‘Sin’, Peluché showcase reverb-laden, Felt inspired guitars to open ‘The Guy With The Gammy Eye’ – before a frenetic twisting and uprooting of their natural melody up heaves the track in all manner of mesmeric directions.

          Speaking on the Speedy Wunderground collaboration, Peluché offer:

          “Dan is a producer we've wanted to work with for ages - we all love his style of production. We were really excited when he came down to see us play and invited us to record at his studio. 
The song was recorded live, and on tape, which meant we didn't have many chances to get it right! Dan really captured the energy of the song and played an unusual instrument called the Swarmatron, which is featured on all the Speedy Wunderground sessions and sounds like a swarm of musical bees flying over the track.”


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