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.
Special guests SADPLANET, travelling from London are sure to rise in alternative music fashion, specialising in a meticulous electronic blend of Dreampop, indie and shoe gaze. Their captivating performance will blow you away. Joining them is the beautifully mad Ori, dissociating in the depths of the UK to bring you into their bewitchingly dark genius. Expect to hear originals and covers by: King Krule, The Wyches, Iggy Pop, Soft Play and Show me the body. + More bands for support!
SadPlanet
https://www.instagram.com/sadplanetdream
Ori
https://www.instagram.com/oriandtheshrikes
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.
Local Hotels
With a driving rhythm section, spiky guitar, shards of keys and mesmerising vocals, Local Hotels play an exhilarating blend of post-punk electro rock you’ll never forget. Devilishly enigmatic frontman Bryan is your guide through dark romantic nights, golden monkeys, magic humans and more. Let him take you there.
https://soundcloud.com/localhotels
Ember Rev
Ember Rev play seamless sets of rhythm-driven art-rock, reworking and repurposing familiar forms that recall the percussive Africana of Talking Heads and the accordian-led romance of Arcade Fire. Alternately rattling with glockenspiels then looping and stuttering, it’s a sound that demands you keep coming back.
https://emberrev.bandcamp.com/
Crushing Death & Grief present:
THE REDS, PINKS & PURPLES
The Reds, Pinks & Purples is the post-indie project of Glenn Donaldson, a man with a lengthy Discogs credits page. After many years on the fringe of acceptability, he decided to make some honest-to-god pop music, and since 2019 he has written over 100 songs and released 6 vinyl LPs on Slumberland [USA] and Tough Love [UK]. Live he appears with a five-piece band made up of musicians from the fertile San Francisco underground.
https://theredspinksandpurples.bandcamp.com/
With a career now spanning six decades, Robyn Hitchcock remains a truly one-of-a-kind artist –surrealist rock ’n’ roller, iconic troubadour, guitarist, poet, painter, performer. An unparalleled, deeply individualistic songwriter and stylist, Hitchcock has traversed myriad genres with humor, intelligence, and originality over more than thirty albums and seemingly infinite live performances. From The Soft Boys’ proto-psych-punk and The Egyptians’ Dadaist pop to solo masterpieces like 1984’s milestone I Often Dream of Trains and 1990’s Eye, Hitchcock has crafted a strikingly original oeuvre rife with sagacious observation, astringent wit, recurring marine life, mechanized rail services, cheese, Clint Eastwood, and innumerable finely drawn characters real and imagined.
With a career now spanning six decades, Robyn Hitchcock remains a truly one-of-a-kind artist –surrealist rock ’n’ roller, iconic troubadour, guitarist, poet, painter, performer. An unparalleled, deeply individualistic songwriter and stylist, Hitchcock has traversed myriad genres with humor, intelligence, and originality over more than thirty albums and seemingly infinite live performances. From The Soft Boys’ proto-psych-punk and The Egyptians’ Dadaist pop to solo masterpieces like 1984’s milestone I Often Dream of Trains and 1990’s Eye, Hitchcock has crafted a strikingly original oeuvre rife with sagacious observation, astringent wit, recurring marine life, mechanized rail services, cheese, Clint Eastwood, and innumerable finely drawn characters real and imagined.
A bubbling swamp curse of unholy rhythm, Jim Jones All Stars is the latest project
from garage godfather Jim Jones (Thee Hypnotics, The Jim Jones Revue). Formed
during the pandemic, it features The Jim Jones Revue members Gavin Jay and Elliot
Mortimer, drummer Aidan Sinclair, veteran punk blues guitarist Carlton Mounsher
(The Swamps), and a full horn section (Tenor Saxophonist Stuart Dace and Baritone
Saxophonists Tom Hodges and Chuchi Malapersona).
After a midnight offering at the real crossroads in Clarksdale, Mississippi, the band
made the pilgrimage to Memphis, Tennessee to record with Memphis Magnetic
founder Scott McEwen (JD McPherson, Nick Waterhouse) in May of 2022.
The resulting LP “Ain’ No Peril” is a thick, greasy slab of Rama lama rhythm and
blues that highlights some of Jones’s most inspired songwriting ever and features
guest appearances from vocal powerhouse Nikki Hill and Oxbow’s Eugene S.
Robinson.
“When you’re recording within spitting distance of the Mississippi River, there’s
something about that heavy Memphis air that changes the way that you hear the
groove and grind,” says Jim Jones. ‘Ain’t No Peril’ captures that feeling and bathes in
that magic
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