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THE WELL

The Nix

Until Now All Is Well (Featuring Laetitia Sadier)

    Until Now, All Is Well is the latest track to be shared by The Nix, a loose collection of uniquely talented musicians corralled together by Nick McCarthy (ex Franz Ferdinand) and Seb Kellig around their Sausage Studio in east London.

    Based around the original composition ‘Warm Canto’ by Mal Waldron, the track features founding member of the avant-pop band Stereolab Laetitia Sadier.

    Out on Moshi Moshi Records, Seb of The Nix said about the making of the track:

    A night at Sausage Studios and nothing falls into place...we talk, we laugh, we mess about. But the 'record' button remains un-hit. Time is not on our side, we need inspiration, and we know where to find it: We saddle our bikes and ride into the mild London night. Down to Homerton, along the Canal, passing Springfield, we end up in Tottenham.

    The mighty Jah Shaka tears the place apart. Low ceilings, the place is filled with smoke and bass. One love, unity, another version....the mids, the tweeters - in perfect harmony. Familiar riddims, unknown dubs. Shaka on the wire.

    We get back to Sausage as the sun rises. Our senses are numb. We can't hear, don't want to see, how good it feels not to be guided by ears but by the heart. We close the curtains and plug in. A melody by Mal Waldron in one-ness with the song of the morning birds. We turn up the bass, let the Space Echo guide us, and hit record.

    No-one but Laetitia Sadier could capture the mood more perfectly, we feel. She is only a phone call away, comes to the studio a few days later, scribbles down lyrics and spoils us with her beautiful voice and mesmerising poetry.

    Wolfie from Munich fills the gaps with haunting sax lines, and the track is done.

    Thanks to Laetitia, Wolfie, Mal Waldron and Shaka we found what we were looking for. We salute them.

    TRACK LISTING

    1. The Highest
    2. Until Now All Is Well 

    The Well

    Death And Consolation

      Death and Consolation is without a doubt a weighty album title. And, Austin, TX trio The Well is among the heaviest heavy psych bands in existence. So when we say that there’s even more darkness and intensity to the band’s third album than previous efforts, take heed. It’s a deep sea diving bell of enveloping heaviness and longing. “This one is a little more personal,” says guitarist/vocalist Ian Graham. “2018 was a strange, dark year. A lot of change going on in my life, there was a lot of depression and coming out of it over the last year. I wanted to call this Death and Consolation, because in life that’s a constant.” While The Well continue to walk an intriguing line between authentic early 70s doom/heavy psych and frayed weirdness of dark folk — especially with their haunting unison male/female vocals — the new album also adds the stark vibe of post-punk acts like Joy Division and early The Cure. “I feel like this album is almost more gothic. We’re big fans of post-punk,” Graham says. There’s also much less jamming, the songs are tight and concise. And, did we mention, heavy? The band tuned down a full step to C-standard tuning for this album, which gives the proceedings its monstrous sound. Sonically, Death and Consolation picks up where The Well — Graham, bassist/vocalist Lisa Alley and drummer Jason Sullivan — left off with their widely heralded 2016 RidingEasy album Pagan Science. The band once again recorded with longtime producer/engineer Chico Jones at Estuary Studio in 2018, who has turned the knobs for all three of their albums (Jones engineered the band’s debut album Samsara with producer Mark Deutrom [Melvins, Sunn0)))] in 2013.) Samsara, released late September 2014 was ranked the #1 debut album of 2014 by The Obelisk and Pagan Science among the Best of 2016 from the Doom Charts collective. Likewise, the band’s intense — some even say “possessed” — live performances have earned them featured slots at Austin’s Levitation Fest, as well as tours with Kadavar, All Them Witches, Black Tusk and more. “This album might be a little less produced, because I didn’t want to push technical stuff as much,” Graham says. “I’m so scared of getting too complicated when getting better at guitar. This is still kind of punk rock.”

      Co-produced by Joel Ford (Ford & Lopatin, Airbird), this record plays as a single continuous piece of 21st century psychedelic music and features Krell’s most bewitching sound experimentation to date. Moreover, the stories Krell sings on this record – some biographical, many from the most knotted corners of human life – are deeply personal and human(e). The Anteroom - with its blizzardous electronic noise, fragile melodies and poignant poetry - reclaims the experimental core of the HTDW project.

      TRACK LISTING

      1. Humans Disguised As Animals | Nonkilling 1
      2. Body Fat
      3. False Skull 7
      4. Nonkilling 3 | The Anteroom | False Skull 1
      5. Vacant Boat
      6. Nonkilling 13 | Ceiling For The Sky
      7. A Memory, The Spinning Of A Body | Nonkilling 2
      8. Nonkilling 6 | Hunger
      9. July 13 No Hope No Pain
      10. Love Means Taking Action
      11. Brutal (feat. Ocean Vuong) | False Skull 5
      12. False Skull 12
      13. Nothing 

      Luke Haines

      Is Alive And Well And Living In Buenos Aires: Heavy Frenz The Solo Anthology 2001-2017

        Having played with The Servants in the late 1980s, Luke Haines carved a unique niche for himself in the 1990s with witty lyrics, wry humour and some stellar tunes with The Auteurs and other acts (Black Box Recorder, Baader Meinhof).

        By 1999, feeling aghast at the state of the Brit Rock scene in the UK, Luke decided to “start a righteous solo trip”, having been commissioned to write the soundtrack for the film Christie Malry's Own Double Entry (2001). Sticking with Virgin Records, Luke then unveiled his first solo album proper, The Oliver Twist Manifesto, before fronting a new-look Auteurs for Das Capital.

        In due course, Luke switched labels to indie Fantastic Plastic for Off My Rocker At The Art School Bop (2006), followed in 2009 by 21st Century Man. Since then, he’s curated a string of imaginative, amusing and always worthwhile albums for Cherry Red Records.

        Alive And Well… is the first-ever anthology of Luke’s solo work, cherry-picking musical highlights from each of his long players as well as a smattering of B-sides, radio sessions, rarities and – on Disc 4 – a raft of previously unissued material.

        With sleeve-notes by Luke himself, Alive And Well… is a very personal statement spanning the last two decades of the musical life of Luke Haines.

        The National return with their much anticipated seventh album, produced by Aaron Dessner, with additional production by Matt Berninger and Bryce Dessner. The album was mixed by Peter Katis and recorded at Aaron’s Long Pond studio in Hudson Valley, NY.

        While in some ways it’s typically National-sounding, they’ve definitely added some new elements to their sound. Opening track “Nobody Else Will Be There” is a stripped back ballad with melancholic piano, and Matt’s distinct vocals, but the electronics pulsing away in the background are a sign of what’s to come with the album.

        All the usual elements are there, intricate guitars, delicate piano keys, scatter-shot drums and of course Matt’s mumbling/crooning baritone, but a new layer of electronics bubbling away in the mix adds a new dimension to their sound.

        As with the last couple of albums, it features mostly fairly downtempo ballads but they do ramp things up from time to time: “Day I Die”, “They System Only Dreams In Total” and the big rock-out track of the album, “Turtleneck”. It’s taken a few listens to get into it, but as a fan I’m certainly not disappointed.

        TRACK LISTING

        A1. Nobody Else Will Be There
        A2. Day I Die
        A3. Walk It Back
        B1. The System Only Dreams
        In Total Darkness
        B2. Born To Beg
        B3. Turtleneck
        C1. Empire Line
        C2. I’ll Still Destroy You
        C3. Guilty Party
        D1. Carin At The Liquor Store
        D2. Dark Side Of The Gym
        D3. Sleep Well Beast

        The impressive crux of Pagan Science, the sophomore album by Austin trio The Well, is that It’s a multiplicity of itself. From the band’s dual male/female vocals to their transcendently timeless sounds and erudite lyrical themes, Pagan Science is crystalline in its complexity and clarity at the same time.
        The Well walk an intriguing line between authentic early 70s doom/heavy psych and the more frayed-edge-of-sanity weirdness of their hometown’s legendary noise rock scene, whilst also splicing in shades of chamber choir vocals, occult rock and dark folk.

        Sonically, Pagan Science picks up where The Well — bassist/vocalist Lisa Alley, guitarist/ vocalist Ian Graham and drummer Jason Sullivan — left off with their widely heralded 2014 RidingEasy debut Samsara. Here, the band’s heavy psych, proto-metal sound growing evermore vast, yet more focused on hooks, and their lyrics more conceptually intricate. Part of a running thread throughout the album’s introspective lyrics is the notion that the world outside of one’s own mind is also a creation and reflection of the interior world of that mind. And, just like the band’s sound is one thing (undeniably heavy) and simultaneously another (dark folk, blues... there’s even a Crosby, Stills & Nash cover, “Guinnevere”), it’s this multiplicity that makes Pagan Science such a captivating record.

        Pagan Science was recorded with producer/engineer Chico Jones at Micro Mega Studio in 2016. Jones also previously engineered the band’s debut album Samsara with producer Mark Deutrom [Melvins, Sunn0)))] in 2013. Samsara, released late September 2014 was ranked the #1 debut album of 2014 by The Obelisk and widely praised in the press. Likewise, the band’s intense — some even say “possessed” — live performances have earned them featured slots at Austin’s Levitation Fest in 2015 & 2016, as well as tours with Kadavar, All Them Witches, Black Tusk and more.

        The album kicks off with a looped vocal harmony launching a slithering guitar riff and thunderous drums on “Black Eyed Gods” in which the band’s dual vocalists sing in unison throughout like Byzantine monks. “Skybound” starts with a fast churning riff with vocals run through heavy delay and reverb until the drums cut out briefly, then, dropping to half- time the song becomes a massive psychedelic throb as the vocals continue to loop onto themselves above the proceedings. “A Pilgrimage” takes a slower groove, accented by pulsing congas and single note Middle Eastern sounding guitar progression. “Byzantine” begins with monk-like chants, swelling cymbals and droning guitars building up to pounding toms until it all coalesces in a massive eruption. “Choir of the Stars” slowly builds over a lugubrious bass line as a snarling slide guitar weaves throughout, while haunting sounds of yelping coyotes echo in the background. The song ends in a pig-like guitar squeal as “Brambles” begins beneath. Syrupy guitars merge with Alley’s and Graham’s unison vocals to form a slowly building monolithic sound describing a paranoid chant. Throughout, Pagan Science channels the supercharged no-frills hard blues of Blue Cheer and Deep Purple while adding multiple layers of effects, entrancing vocals and the dark thrill of a funhouse hall of mirrors. 

        TRACK LISTING

        01. Black Eyed Gods
        02. Forecast
        03. Skybound
        04. A Pilgimage
        05. Drug From The Banks
        06. Byzantine
        07. One Nation
        08. Choir Of The Stars
        09. Brambles
        10. I Don't Believe
        11. Guinnevere
        €

        Nine Black Alps

        Live From The Wishing Well

          The story and history of Nine Black Alps is forever etched in UK grunge-rock folklore. 2014 however was the year when they released their 5th album ‘Candy For The Clowns’. Signed to the newly formed Leeds label Hatch Records, the album was a far more distorted and rockier affair that harked back to the likes of Everything Is and Love/Hate.

          With core members Sam Forrest (vocals, guitar), David Jones (guitar), James Galley (drums, vocals) and bass player Karl Astbury, the band retained their distinctive and energetic sludge, grunge-rock sound albeit with a tighter and more dynamic style. ‘Candy for the Clowns’ was praised by the likes of Rock Sound, Classic Rock and Drowned in Sound, while 6 Music and XFM championed singles such as ‘Novokaine’ at radio.

          For a band 12 years into their career ‘Live from The Wishing Well’ marks their first ever live album. Set for release on 4th May it features a full length Nine Black Alps performance captured on 14th December 2013.

          The show, taking place at Gorilla in Manchester was a special concert to celebrate 10 years since the band formed. Nine Black Alps ran through a set that covered the full breadth of their career from early singles 'Shot Down' and 'Unsatisfied' to recent releases like 'Supermarket Clothes'.

          At just under an hour in length, the album showcases the band's fiery live sound with no production trickery and even features a special guest appearance by ex-bass player Martin Cohen.

          TRACK LISTING

          1. Burn Faster
          2. Forget My Name
          3. Don't Forget To Breathe
          4. Not Everyone
          5. Buy Nothing
          6. Ironside
          7. Patti
          8. Just Friends
          9. Supermarket Clothes
          10. Ilana Song
          11. Bitter End
          12. Heavier Than Water
          13. Unsatisfied
          14. Be My Girl
          15. Get Your Guns
          16. Shot Down

          Get Well Soon

          The Scarlet Beast O'Seven Heads - Bonus Tracks Edition

            'Get Well Soon are one of Germany’s most prolific bands of the decade and certainly the most extravagant!

            We would even go further and claim, that Konstantin Gropper is the Caspar David Friedrich of his generation; strictly musically speaking, of course. In case you don’t know, Friedrich was the most important romantic painter of the 19th century. Similarly, Konstantin’s musical vehicle, Get Well Soon is best known for its hugely romantic, allegorical songs, full of drama, morning mist and night skies. No gothic ruins though.

            Their new album ‘The Scarlet Beast O'Seven Heads’ is one of the most sophisticated pop albums of the year. The album features 13 new, wildly imaginative and of course opulently arranged songs. It is, in certain moments, a colourful and beautiful nod to the genre we know as ‘Cinema Italiano’ (think Nino Rota or Argento), though these masters of the strange, wild and adventurous are just one of the 3,227 inspirations that went into the making of this new ornate Get Well Soon masterpiece.'

            TRACK LISTING

            1. Prologue
            2. Let Me Check My Mayan Calendar
            3. The Last Days Of Rome
            4. The Kids Today
            5. Roland, I Feel You
            6. Disney
            7. A Gallows
            8. Oh My! Good Heart
            9. Just Like Henry Darger
            10. Dear Wendy
            11. Courage, Tiger
            12. The World’s Worst Shrink
            13. You Cannot Cast Out The Demons, You Might As Well Dance

            CD Disc 2: ITZTLACOLIUHQUI (Comes As Downloads With The Vinyl)
            Lesson 1: You Are Welcome!
            Lesson 2: Soon!
            Lesson 3: Take Shelter!
            Lesson 4: Absolution And Eternal Refuge
            Lesson 5: Break The Cycle! Break Your Chains!


            The Chap

            Well Done Europe

              The Chap, a pan-European modern pop group based in London and Berlin, began life at the beginning of the last decade. In their quest to create music which “sounds wrong”, they pre- empted the current flavour for lo-fi prog-pop by several years and spawned a legion of fans who couldn’t believe how a band that revelled in the multilayered detachment and precision of their recordings could dive headlong into the realms of hard rock n roll immediacy, gaining themselves a reputation as one of the most exciting, challenging, and engaging live acts around. After two seminal bedroom-produced albums, “The Horse” and “Ham” - the latter in particular gathering considerable acclaim from the likes of Errol Alkan, Kissy Sellout and The Wire Magazine - The Chap delivered a third album, the masterpiece that is “Mega Breakfast”. This album featured corporate motivational style anthems about “proper music” and wanting to clone oneself.

              Despite being lauded by Pitchfork and many others, commercial success and world domination continued to evade The Chap, so they finally decided to “sell out” by recording a collection of pop classics that constitute their fourth album “Well Done Europe”. Needless to say, it’s another masterpiece featuring hit after hit, quite a few of which mention love and death and stuff like that. It sounds like the coolest new wave pop album ever recorded by a group of teachers (almost nobody in The Chap is a teacher).



              TRACK LISTING

              01. We’ll See To Your Breakdown
              02. Even Your Friend
              03. We Work In Bars
              04. Obviously
              05. Gimme Legs
              06. Well Done You
              07. Nevertheless, The Chap
              08. Pain Fan
              09. Torpor
              10. Maroccan Nights
              11. Few Horoscope
              12. Chalet Chalet


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