The group have become renowned amongst peers for their shape shifting sound that blends experimental post-rock with swelling choral textures. Today’s track was produced at Church Studios by Balázs Altsach, assistant to Paul Epworth who has worked on music for The Last Dinner Party, Wet Leg & Blur.
Hailing from Cambridge and its surrounding areas, UGLY originally evolved through the band’s choral background. Glimmers of its influence can be heard throughout their catalogue – instantly gripping infectious melodies, explosive dynamic changes and rich, intricate harmonies.
The Baby Seals are a punk garage band based in Cambridgeshire, made up of Kerry Devine, Amy Devine and Kate Shore.
Their debut album – “Chaos” – is slated to be released by Trapped Animal in 2024.
“The Baby Seals are a smart, talented group of girls who know how to shout back against oppressive patriarchal values; and have a shit load of fun at the same time” – Gigslutz
“A great lairy sound, I love people who promote the idea of being happy with your body during a time when people see whitened teeth and implant-filled arse cheeks as perfection” – Fresh Off the Net
Following the success of their debut album Forever Whatever, released at the start of 2020 and with a solid foundation built over years of touring and writing, October Drift affirmed their place as an important new presence, with their heavy, pop-inflected rock delivering a rejuvenating injection of fresh blood to the genre. The album was met with widespread critical acclaim on release, garnering praise from the likes of CLASH, Kerrang! Louder Than War and many more. Their newly released sophomore album ‘I Don’t Belong Anywhere’ – via Physical Education Recordings – is a taut, visceral record, a step forward for the band into an even more powerful, brutal sound. Far less introspective than their debut, ‘I Don’t Belong Anywhere’ is October Drift’s totem for bringing us all together again. “A feeling of not belonging is something everyone feels or has felt,” explains vocalist and guitarist Kiran Roy
Having already thrilled audiences at festivals including Glastonbury’s John Peel Stage, Reading & Leeds and BST Hyde Park, as well as on a major European tour with Editors, We Are Scientists, Archive & Slow Readers Club, Forever Whatever, The Naked EP and the new album I Don’t Belong Anywhere together condense years of relentless touring and expertly crafted performance into showcases of flawless songwriting; statements of intent from a band more than ready to cement their place as future icons.
“Intermittent Fast Living”, the third studio release by PET NEEDS in as many years, is inspired by the relentless, breathless, stop-start lifestyle PET NEEDS have found themselves living in recent times.
Founded originally by brothers Johnny and George Mariott and later joined by Jack (drums) and Ryan (bass) only a matter of years ago, PET NEEDS’ career has been sky-rocketing ever since the release of their acclaimed debut “Fractured Party Music” back in 2021. From getting signed to sold out shows, rave reviews to rabid fans, and embarking on extensive global tours with the likes of Frank Turner, The Lottery Winners, Skinny Lister; demand for these four lads from Essex has been on a trajectory with the stratosphere.
Building on the momentum of their 2022 EP “Motorbike” Blue Bendy are stretching out into vast new sonic terrain. Their following two singles “Mr Bubblegum” – a joyously intricate piece of experimental guitar pop – and the frenetic, propulsive yet incredibly deft sprawl of “Cloudy”, saw the band reach new heights creatively. Of the former, The Guardian enthused: “indie is riddled with addled, verbose frontmen right now, but none so rapturous as Blue Bendy’s Arthur Nolan: here he dances all over splayed post-rock and micro-cataclysms”.
Having toured as main support for Squid and Cola as well as playing packed out tents at festivals like End Of The Road and Green Man, Blue Bendy have struck a balance between being obviously skilled musicians, writing complex, layered, overlapping and ambitious compositions, while also utilising space, breadth, and restraint. Their music is bursting with dynamism, exploring push-pull dynamics that results in something ceaselessly unpredictable.
It results in a sound that is rare for a new band: as experimental as it is confident and assured, as tender as it is visceral, as quiet as it is loud, as bloody as it is teary.
In 1980, Kirk Brandon formed Theatre Of Hate from the ashes of heralded punk band The Pack. Joining Kirk on vocals were notable punk musicians Stan Stammers and Luke Rendall, along with old school friend, Steve Guthrie and Canadian born John Boy Lennard, who revolutionised the bands sound with his haunting sax lines.
Theatre Of Hates debut double-A-side single, Legion/Original Sin, topped the independent chart in 1980, and Westworld, their debut album, produced by Mick Jones from The Clash and released in 1982, held the number one position for 21 weeks. The single taken from the album, Do You Believe In The Westworld? has become an anthem and is still widely played in clubs and on international radio, as well as featuring on numerous compilation albums.
Supporting the likes of The Clash & Ian Dury lead to Theatre Of Hate headlining major venues across the UK & Northern Europe. Theatre Of Hate imploded in 1982, with Kirk taking Stan forward to form Spear Of Destiny, but the band has resurfaced over the years to play some very special shows. 2015 saw the band play two short jaunts across the UK in April and December both sets of dates wowed large crowds.
During touring in 2014 and 2015 the band constantly recorded at Oxygen Studios in Manchester, the first new studio album in 30+ years is now complete! ‘Kinshi’ was released in October 2016 on CD, Vinyl, Download & Dub. The 12 brand new songs are simply stunning. Part funded by a fan based private Pledge campaign this THEATRE OF HATE masterpiece propelled the band even further back into the spotlight and the band played consistent sell out shows to promote the album.
Fresh from a 3 month run across the USA with The Mission & The Chameleons the band show no sign of slowing down and still continue to deliver a spellbinding live show. .
Guest support TBC
Tickets available from Friday 23rd Feb at 10am.
Emerging from the same art/design cauldron that produced fellow Leeds legends Soft Cell, Scritti Politti, and The Mekons, CUD were the pre-Britpop answer to doleful shoegazing bands – fun-loving, light-hearted, romantic and downright catchy.
Alternatively loved or loathed like a yeast extract, CUD are indie rock for the unpretentious pleasure seeker, boasting as they do the rich deep-lunged voice of Carl Puttnam, edgy guitars of Mike Dunphy and tight, funky rhythm section of William Potter, bass and Gogs Byrn, drums.
CUD were initially lauded for their quirky Peel session cover of ‘You Sexy Thing’ in 1987. They soon built up a huge live following and buffed up their repertoire with a string of unstraight pop beauties, best exemplified by the 1990 album ‘Leggy Mambo’. This led to a major-label deal with A&M in 1991, front-page NME coverage, massive sellout gigs and proper Top 30 hits, ‘Rich and Strange’ and ‘Purple Love Balloon’.
Misunderstood by record companies and press, CUD packed away their guitars and sticks in 1995 but, bolstered by a greatest hits anthology (‘Rich and Strange’) in 2006, they agreed to tread the boards again, with a further reunion following in 2012 (now with original guitarist and key songwriter Mike Dunphy) and continue to find an army of ‘Space CUDets’ still eager to sing along, dance like fruitcakes and invade their stage.