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THE ORIELLES

The Orielles

Disco Volador - Piccadilly Records Exclusive Bonus Disc Edition

Defiant in the face of existential dread, The Orielles were always going to approach their second album with nothing but stellar levels of intent. Disco Volador sees the 4-piece push their sonic horizon to its outer limits as astral travellers, hitching a ride on the melodic skyway to evade the space-time continuum through a sharp collection of progressive strato-pop symphonies.

“Its literal interpretation from Spanish means flying disc but everyone experiences things differently. Disco Volador could be a frisbee, a UFO, an alien nightclub or how you feel when you fly; what happens to your body physically or that euphoric buzz from a great party,” suggests bassist and singer, Esme. “But it is an album of escape; if I went to space, I might not come back.”

Voyaging through cinematic samba, 70s disco, deep funk boogies, danceable grooves and even tripping on 90s acid house, Disco Volador is set to propel The Orielles spinning into a higher zero-gravity orbit. Written and recorded in just 12 months, it captures the warp-speed momentum of their post-Silver Dollar Moment debut album success; an unforgettable summer touring, playing festivals like Green Man and bluedot, and deepening their bond whilst witnessing the sets of their heroes Stereolab, Mogwai, and Four Tet. Disco Volador’s library catalogue vibes stem from a band lapping up and widening their pool of musical discovery whether nodding to Italian film score maestros Sandro Brugnolini and Piero Umiliani, or the Middle Eastern tones of Khruangbin and Altin Gün. “All the influences we had when writing this record were present when we recorded it, so we completely understood what we wanted this album to feel like and could bring that to fruition,” tells drummer, Sid. “This is the sound of where we are at, right now.”

Returning to Stockport’s Eve studios where the band cooked together, went swimming, took walks, and relaxed in the soundwaves of an occasional gong bath, Henry, Sid and Esme called a family reunion under the watchful whisker-twitching of studio cat, Adam (“He was probably a producer in a past life,” they say). With keysman Alex now adding texture through his classically trained know-how, they re-joined engineer Joel, and producer Marta Salogni (Liars, Björk, The Moonlandingz) whose vast expertise of drones, delays and mad effects were so intrinsic to their Disco Volador vision – sketched out by the band in Sharpie doodles on the studio wall. “Marta is so positive, she has a great way of getting the best out of us,” guitarist, Henry tells. “Marta is the 5th Orielle,” affirms Sid. “Because we’d worked together before, we were even tighter; it’s a shared mind-set.” For Marta, the feeling is mutual; “It’s sonic tidying really, the band just do their thing and I work with that.”

Built from instrumentals around the concept of “boogie to space, space to boogie,” Disco Volador’s energy comes from the melodic fission of tension and release. Recurring motifs explore space, not only of earth’s celestial atmosphere, but also what happens within the gaps and how sound manipulation has the power to carry, or displace, its listener. “We like throwing in wide curveballs by taking the music somewhere different then figuring our way back… like jumping off,” says Henry. “Jez from ACR taught us about pauses and that’s massive on this record; space can be the most beautiful part of a song.” In fact, by unleashing the tension with their own smattering of esoteric noise through delay pedal fuckery, the layered poetics on ‘Whilst The Flowers Look’ and ‘Memoirs of Miso’s saxophone stylistics (loaned by Glasgow band Lylo’s Iain McCall), filling voids is exactly what gives the album its magic. “Those unplanned moments are great,” Sid says, “mistakes can become something special. For these next shows we’ll have to change our tech spec up so much!”

At times haunting and unsettling, Disco Volador’s film-like structure flows from fact to fiction. Its tales are culled from waking life as easily as they become a soundtrack for lucid dream sequences. Watching Foley-inspired 70s thriller Berberian Sound Studio whilst recording may account for the album’s dynamic sound effects – created with Eve’s array of instruments plus Henry’s flexatone - a Secret Santa gift from Esme. Lynchian outros capture the album’s thematic dread as they spiral into infinity and pave the way for potential loops, imitating the fades between the songs of the band’s summer DJ sets. Brian Eno-inspired dreams about a rocket-fuelled mission may or may not have inspired ‘Rapid’ or ‘Come Down On Jupiter’ after ideas sunk deeper into their subconscious. “I’d been reading about phenomenology and Czechoslovakian writer Milan Kundera’s ideas about existence; the weight of your own body, what you feel and how that interacts with your surroundings,” hints Esme, at possible inspiration behind the lyrics.

Whilst the future of the world and its current cosmic wasteland might be up in the air, The Orielles’ new album has its feet beating out a much-needed four to the dancefloor. Welcome to Disco Volador; time really does fly when you’re having this much fun.

STAFF COMMENTS

Barry says: The Orielles return for the follow-up to their hugely popular 'Silver Dollar Moment' with a more refined, thematically diverse suite of jangling indie numbers, ranging from trimmed-down funk to soaring, wide-eyed psychedelia without sacrificing any of the melodic brilliance that made their debut so appealing. Stunning stuff all round, and our exclusive mix CD should make this one a no-brainer!

FORMAT INFORMATION

Coloured LP Info: Transparent orange vinyl with green blob centre.
Initial quantities include "The Universe Is Blue" bonus 'mixtape' on CD.

Coloured LP includes MP3 Download Code.

CD Info: Initial quantities include "The Universe Is Blue" bonus 'mixtape' on CD.

Sidonie Hand Halford is a Christmas temp at the Post Office in Liverpool, her younger sister Esme is studying English literature at Manchester, and their friend Henry Wade is preparing to sit his A-levels in Halifax next summer. 

From the first jangling sunshine chords on opening track ‘Mango’, Silver Dollar Moments announces itself as a proper piece of indie pop goodness. Then, across 45 minutes, it takes all kinds of turns, into ESG-ish yips and funk, dreamy-arch harmonies, disco synth-pows and stoner bongos, unsettling submerged voices - with all that and more it still flows like a fountain of indie pop, fresh and catchy and altogether.

Maybe one reason it all coheres so beautifully is that The Orielles are a close-knit unit: two sisters and their best mate. “We met Henry at a house party a few years ago,” says Sid. “I mean, it’s a bit lamer than that sounds. It was a friend of our parents, she was having a 40th birthday party, and we went along, and Henry was there too, with his parents.” They’ve been writing songs together ever since, Esme singing and on bass, Sidonie on drums, Henry on guitar. They’ve played live all over the UK as well as Europe and North America, and this year they signed to Heavenly Recordings and headed into Eve Studios in Stockport.

STAFF COMMENTS

Andy says: Brilliant, classic indie-pop! This has all the youthful charm and quirks of the C86 era, but is way better presented and with very good songs. Anorak godfathers The Pastels spring most readily to mind, except The Orielles have a tangible groove and percussive joie de vivre untypical of that era. You're gonna love this band!


Latest Pre-Sales

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As you should have already heard the @RSDUK 20 releases have now been split for release across 3 #RSD20 drop days -… https://t.co/v8xmAjdMD7
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Looking forward to this one guys. Pre-order here https://t.co/oFgaq7pOnI) @bluenoterecords https://t.co/B8TMWMvI9b
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Looking ace Nick 👌 another great @dinkededition successfully delivered. Enjoy! https://t.co/TsG0dDLKEh https://t.co/hojjEz9OqF
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