LISTEN: Bombay Bicycle Club - 'Everything Else Has Gone Wrong'

"This is an album for anyone who's ever turned to music in a time of crisis, whether personal or political. It's about the solace one can get from listening to music or playing music when everything else in your life or the world has gone wrong. It's about finding kernels of hope and renewal in dire situations." 

Well, this is up there with the coolest perks of running this blog to date. I've had an early stream of the brand new Bombay Bicycle Club album Everything Else Has Gone Wrong in my inbox for a couple of weeks. I have so much love for the band and their music and it has been utter joy to have an early listen, or two, or twenty... It's finally out in the world now, so go and listen. And then come back here. Or read on, and then listen. But do listen - it's an incredibly triumphant return for the band and I simply adore it.

Let's rewind first. Back in 2014, just after I'd first moved to Oxford to study, I finally got to see Bombay live. The last ever show at London's Earls Court, with Peace and Sivu supporting and appearances from Dave Gilmour, Rae Morris and Lucy Rose. The band were touring So Long, See You Tomorrow which had just earned them their first number one, and the show was their biggest to date - it was euphoric. A few months later, they decided to break up. Frontman Jack Steadman reflects that it felt like the right moment to step back and pursue other projects, saying that "it's so much easier to stop when you can call it quits and know you were at the top [...] I think if we had gone any longer, we may have broken up in such a way that we might not have ever been able to return to it." In the few years that followed, Jack released a collaborative album as mr jukes, bassist Ed Nash released a record as Toothless, drummer Suren de Saram hit the road as a session drummer, and guitarist Jamie MacColl went to university, getting himself a BA and a masters. Then, as the ten year anniversary of debut album I Had The Blues But I Shook Them Loose started to loom, the band spoke about playing some shows to celebrate. Jack recalls thinking "we can't come back and play an old album and disappear again." And so, plans began to form.

Almost exactly a year ago, seemingly out of nowhere, and to much joy from me and fans all over the world, Bombay shared a time-lapse video in the studio to social media. The video came alongside this message: "since late last year, we've been getting back into the swing of playing music together. We were initially a little rusty but also nostalgic playing songs that have been around since we were teenagers. More than anything it just felt great to be in the same room playing again. It made us realise what a good thing we have and has given us renewed energy and enthusiasm for the future. The joy we were getting out of playing the old songs seemed to naturally lead us onto working on new material, so we're becoming immersed in that as we speak. Hopefully it won't be too long before we have something new for you guys to hear. [...] We've missed you." 

Hold the phone.

Suddenly, everything felt a little better with the world. Even the idea of just one new track or some one-off shows was ridiculously exciting. Bombay were back and all was good with the world, even if it wasn't. So an entire album? They're spoiling us.

Last Summer, before the album had been announced, I was lucky to score tickets to see the band play one of their first shows back in Islington's 900 (ish) capacity Assembly Hall. It was the sweatiest, most joyous evening of live music that I've experienced in a while. Almost transcendent. The band tore through a setlist with tracks from their entire back catalogue, and you'd hardly know that they'd been away. The best part was seeing the utter joy on the band member's faces - they'd had some time out, and it was certainly the right thing to do, but they were back playing live with their best pals and it felt brilliant.

To kick off the album process, Jack and Ed took themselves to a friend's house in Cornwall, spending a week there each month for the first half of 2019, working on demos separately and coming together to go through them. This time around there was an exciting first for the band - two tracks on the record were written or co-written by Ed. Jack explains that "I think that's a nice example of things being different [...] of how us all going and doing own own thing has benefitted the band [...] because I think Ed probably had songs up his sleeve all this time, but doing a solo album has given him the confidence to share them." It is worth mentioning that both tracks, Good Day and People People, are brilliant. The latter was co-written with the band's long-time collaborator and touring member Liz Lawrence, who sings on the track. Elsewhere, singer/songwriter Billie Marten lends her gorgeous vocals to closing track Racing Stripes.

From the beginning, the band were certain that they didn't want to produce the new record themselves. "Having someone else come in was a way of pushing us slightly out of our comfort zone", Jack explains. On Nash's suggestion they brought in John Congleton (Wild Beasts, St Vincent) and spent just three weeks in LA recording the album with him, often recording tracks in just one or two takes, new territory for the band. Jack describes it as "the least sanitised record we've ever made [...] the album sounds a lot looser, in a good way, than our other albums, which can be very machine-like. I feel like I've relaxed, and chilled out a bit. There was less time spent on the computer. We recorded Good Day, which Ed wrote, all playing together in the room. I was looking around being like, ah, it's us four again. It was a sweet moment." 

The result is a record which is a true return to form. It's Bombay as we love them, yet fresh and new, with the experiences of the last few years, both musically and personally, feeding directly into the record in the lyrics and sound. They're back and they're still just as brilliant and this record is worth the six year wait. The album's theme is perhaps best found in the title track, the last to be written for the album. A track about hope and renewal and finding safety in what brings you comfort while everything is falling apart, the chorus repeats "keep the stereo on, everything else has gone wrong." Jack explains that "for my whole life, I haven't been very good at expressing myself with words. The irony is that the song is about not wanting to write lyrics, but it has lyrics I'm really proud of. And after that, we realised a lot of the other songs had that theme, of music as a cathartic refuge." I for one will be clinging to this record this year to deliver me hope in the moments when it is needed.

While they were often writing about relationships and about being teenagers the first time time around, Jamie explains that the new record is lyrically quite a departure. "The songs are quite direct and personal [...] about companionship, about trying to find your place in the world, all these things we never really touched upon before. All of our friends are struggling with that next stage in life" (some sweet synchronicity with Liz Lawrence's track None Of My Friends there.)

As the first track to be shared after the hiatus, single Eat, Sleep, Wake (Nothing But You) has to remain one of the highlights of the record for me. It's the track you arrive at if you squish everything you love about Bombay into 3 minutes and 40 seconds. Classic Bombay, but new. Suren recalls a moment where he was "playing the demo to a mate of mine, in my car, and as soon as it came on, he had a big smile on his face. It felt like we were back. [...] There was an element of not knowing what you've got til it's gone, and taking things for granted, which we definitely were. Having spent some time apart, we realised how special and meaningful it was to all of us, in our own way. We're much more appreciative now." The message is echoed in the humorous video for the track, directed by ex touring member Louis Bhose.

Elsewhere on the record, from the first listen to the (alright... I've lost count already), favourite parts for me are the passionate conclusion of Let You Go, the catchy interludes in I Worry Bout You (I've been humming that one at work for the past couple of weeks) and how glorious and majestic Do You Feel Loved? is. The latter's writing is a rarity for Jack, a track on contemporary culture: "it is about technology, and how we're all desperate for affirmation, refreshing our phones to look for people to love us and to get likes." 

Lyrically, Good Day stuck out to me from the first listen. The chorus repeats "I just wanna have a good day, and it's only me that's standing in my way" and is followed by the heartbreaking "first my looks and now my friends, day by day I'm losing them." It is one of the darker parts of the record, with the harmonies and guitar riff creating a bit of contrast. Written by Ed, he describes that "it perfectly summed up how I'd been feeling for the year or two prior to that. I was having a hard time on a day to day basis, and I'd be like, fuck this, why am I doing music, I should get a real job. I realised there were bigger problems than the ones that were surmountable. You're in charge. If you want to have a good day, you're the master of your destiny." 

After the punchy conclusion of Let You Go the album comes to a peaceful close with Racing Stripes. It represents a writing breakthrough, arriving after a brief period in Cornwall when Jack was finding it difficult to write. Jamie describes it as the first song we've done where I feel you could have a lighter in the air and sing along to it." On the record more generally, he adds "I find this album to be so much more positive than anything we've done before. It is inherently optimistic about what's next." 

What's next? A huge string of tour dates around the UK, Europe, the US and Canada, that's what. Remaining tickets available here.

That's it. I'll stop rambling now - well done if you made it this far. Now, go and listen to the magnificent new record, buy it, tell Bombay just how brilliant they are. Enjoy.

Follow Bombay Bicycle Club - Facebook | Twitter | Instagram. 

LISTEN: Christof van der Ven - 'You Were The Place'

I am ridiculously excited by this one - Christof van der Ven releases his second solo album You Were The Place today on Planet Zog Records. Please do yourself a favour and set aside some time to listen to it. I'm impressed at how quickly this album has come into our lives - juggling work as a chef, solo musician and playing live with Bear's Den, Christof made his way onto my albums of the year list last year with his debut Empty Handed. He's already released one of my favourite EPs of this year in the shape of Beneath The Ordinary Load and somewhere between that and some pretty extensive touring with the Bear's Den guys, he found time to recruit a talented ensemble of musical friends and create this record.

You Were The Place was recorded, produced and mixed by Christof's Bear's Den bandmate Marcus Hamblett (who is equally busy with an upcoming solo album of his own just announced) and features musical contributions from Tommy Heap, Jools Owen, Tommy Sheen, Emma Gatrill and Andrew Stuart-Buttle (you can spot most of these in the live videos below!) Between them they play with Matthew & The Atlas, Bear's Den, This Is The Kit, Lucy Rose and more - an enormously strong foundation for an album and one which is audible in this album. The instrumentation is top notch!

The album was written and recorded over the three month period following the end of a brief and intense fling, and the result is a collection of tracks which cycle through the raw emotions that you might expect. As such it is incredibly personal and emotional, sad in places but full of hope and optimism in others. As his PR beautifully describes it, Christof "manages to harness a tentative optimism both sonically and lyrically throughout the album, reminding us to be thankful for the ability to love at all and that there will always be someone out there who can awaken even the most subdued of souls." 

In keeping with the raw themes at the heart of the record, Christof booked time in the studio and set himself a three month deadline to make the album before a single track was written. Far from it feeling rushed, the result is an album which says everything that it needs to about a situation which is deeply personal, while remaining relatable and offering listeners an opportunity to explore their own emotions through the tracks. Christof explains that "I think for people who've found themselves in this situation before, they can listen to the album and find that it helps them through a tough time. If that's something that I can do with this project, I'd be very grateful." 

It's hard to 'review' specific tracks on the record because it is clear both through knowledge of the creative process behind it, and from listening to it, that the album works best as a whole. Created in such a short and intense period the tracks sit beautifully together, building a story lyrically until the last few lines of closing track A Stranger with "the strangest of it all is you're a stranger to me now." To look at them, the lyrics read more like a collection of poetry than an album - he's a really talented writer and my sentiments surrounding his EP earlier in the year most definitely still stand, I really appreciate the honesty and integrity that is tangible throughout the writing. 

After a couple (alright, lots) of listens over the last couple of months I think that I've picked out 4AM as my stand out track on the album. One of the louder and busier tracks sonically, I love the live version in the video above and can imagine it getting a strong reaction in the live environment. Another track I'm loving is Fucking Loser - a pretty clear message in the name of the track and the refrain "I really am a fucking loser" but there's some hope in this one - "you were the place I stood, the day my feet were sore. A reminder I could love one still." Elsewhere I'm absolutely loving the horns section in Pill too. 

Christof heads out on tour in Europe and the UK in a few weeks, with shows in Brighton (The Hope & Ruin on 7th October) and London (The Lexington on 8th October) to launch the album. It's a full band tour and if his Waiting Room show earlier in the year is anything to go by, it is sure to be a gorgeous evening - full dates and tickets here.

Listen to the album on Spotify here and grab your physical copy through Christof's site here. 

Follow Christof van der Ven - Facebook | Twitter | Instagram.

LISTEN: The Teskey Brothers - 'Run Home Slow'

Happy Thursday! I’m really excited to share a write-up of a lovely new album that is released tomorrow, from Aussie group The Teskey Brothers. It’s actually only a few weeks since I first listened to the band with the release of single So Caught Up. The track fell into my inbox, I posted about it (saying that I was “really really digging this one”) and was soon watching the band play a set on the Communion Music stage at Citadel Festival. I really enjoyed their set and was as blown away by frontman Josh’s vocals live as I expected. Maybe more. Despite their mid-afternoon slot, the band managed to fill out the tent, playing to a large audience of adoring fans who were lapping up new music alongside older tracks.

Hailing from the outback near Melbourne, The Teskey Brothers are a four-piece made up of brothers Josh (vocals) and Sam Teskey (guitar) alongside Brendon Love (bass) and Liam Gough (drums). They started playing music together as teenagers, realising that they shared a love for 1960s American soul music - an influence which remains clear in the music they’re releasing now. They released debut album Half Moon Harvest around two and a half years ago, for which they were awarded ‘Best Soul, Funk, R’N’B or Gospel Album' at The Age Music Victoria Awards (as well as Best Emerging Act). As well as a positive critical reception, the release of the album saw them starting to amass a larger following and play bigger shows, with recent sell-out shows in Union Chapel and Omeara in London.

Run Home Slow is the album’s follow-up and - I think/hope that fans will agree - it is worth the wait! Recorded straight to 2-inch tape, the band are keen to honour the methods and sounds of old school Motown. Presented as a rebellion to the digital age, the album delivers a quite endearing level of authenticity and rawness that is quite rare in our current age where most music is heavily-produced. From the very first notes of opening track Let Me Let You Down a false-start makes it clear that we're hearing a live take. For me, elements like that give the album some character - who wants a perfect take anyway?

The band enlisted the help of producer Paul Butler (Michael Kiwanuka, Andrew Bird) who flew to the band’s home studio in Victoria to work on the album. Together they've created a record which sees a sonic progression from the first record, whilst still maintaining the elements of that record which fans had loved so much. Of this process, drummer Liam Gough explains that “we were really aware that we didn’t want to alienate fans […] We feel really proud of the first album, but the second album needed to be a step up.”

I think it's testament to the recording process that I'm struggling to pick out favourite tracks on the record - I feel that it works best as a whole. I'm loving Hold Me at the moment, particularly in a gorgeous performance for US show CBS This Morning (watch below) - those harmonies are sublime. As my first introduction to the band and one of the livelier tracks on the record, So Caught Up also remains a highlight for me. Falling around the half-way mark of the album, it enlists a bit more ‘pop’ than fans of the band might be used to. Bassist Brendon Love details that it “was a bit different to what we’d normally play […] but we were also quite excited about that.” Judging by the reaction the track got at Citadel: so are the fans.

Closing track That Bird came to Josh in a dream while he was camping in the Colorado wilderness (you couldn't make it up.) Bringing the album and its themes to a close beautifully, its gentle groove provides the setting for a conversation about, Josh explains, whether it is “better to live in the present and forget about the past or is it better to learn from the past and use those mistakes to grow from?” 

To summarise: at various points this album will make you want to dance, sing, cry and play your best air-guitar, all while remaining transfixed by Josh’s stunning lead vocals and the glorious musical talents of the entire band. Be sure to take a listen when it is released tomorrow! 

Having sold out Union Chapel earlier this year, they’ve got a sold out Jazz Cafe gig coming up on 3rd September. Be on the look-out for show announcements for later in the year too! 

Follow The Teskey Brothers - Facebook | Twitter | Instagram.

LISTEN: Hailaker - 'Hailaker'

As the latest additions to the blog playlist prove, Friday was a fantastic day for new music. There were new records from Vampire Weekend, Benedict Benjamin and Ten Tonnes alongside singles from the likes of Christof van der Ven, Cosmo Sheldrake and Of Monsters & Men. In short - a very good day for new music. I challenge you, however, to find something nestled in your new music playlists that is quite as beautifully crafted as the self-titled debut album from Hailaker. From first listen this record completely stole my heart - take a listen on Spotify or via Bandcamp below.

With founder members Jemima Coulter and Ed Tullett playing as part of his band on the night, my first introduction to Hailaker was when watching Novo Amor headline Union Chapel last year. Tracks from the project were played between sets, and a free download card handed out at the merchandise table. With contributions from Novo Amor, AKA Ali Lacey, on production and instrumentation on the new record, there's a lot of synchronicity between the projects - if you're a fan of one you'll likely adore the other.

Generally though, the Hailaker sound is new. Different. Dare I say... fresh? This is reflected in the name, a made up word, about which Jemima explains that "having a word with no defined meaning means the only association it could have is with the project. That's so freeing because it's completely open, and I think it's led to us feeling infinitely free about what Hailaker is." I absolutely love this.

The result is something truly special. With a lack of self-imposed restrictions on genre, and free from pre-conceptions, each track has a unique appeal. An array of instruments - synths, guitars, flute, saxophone, keys, violin and harp to name a few - create something which is experimental at its heart, and fun to listen to in its unpredictability. It's also worth mentioning that the vast collection of sounds are brought together really well - the production on the record is superb, it never once feels as if there might be too much going on sonically.

Lyrically, the record tackles important issues such as depression, with one of the slower and least heavily layered tracks of the record, Watercolour, opening with the line "Face it, I would sit at home finding places I wouldn't go". Closing track and recent single Not Much sees a narrator struggling with depression second hand, exclaiming in the chorus "it's hard to be around her, I bet it's hard to be down lots." On first listen, a highlight of the record for me was the track Phonetically. It provides a brilliant example of the unpredictability of the record - once you've got used to Jemima's beautifully striking voice taking the lead throughout the record, this is flipped on its head, with Ed taking lead vocals on this one. Other personal highlights are recent singles I Could Be Back and Coma / Smoke which are two of the busiest and loudest tracks on the album.

Working on the record while Jemima was studying for a Maths degree in Bristol and Ed was working with Novo Amor in Cardiff, the album was co-produced by the duo, mostly at Ed's own Oxfordshire studio. Jemima describes the record as "the narrative of mine and Ed's friendship first and foremost, since it meant we went from being strangers to spending weeks writing together [...] there's only a few friends in your life that you'll spend such concentrated time with from the onset, and it's been so amazing for that to be the foundation of our friendship."

Collaboration is a huge part of the fluidity of the project, and another collaborator is Mike Roth, an artist from Portland, Oregon. During the album's creation, Ed introduced Jemima to his artwork; collages filled with scraps of images, letters, cuttings and ephemera. The artwork is reflective of the lack of boundaries within the project. The duo see his artwork as equally important to the music within the project - Ed explains that "what Mike does is so fascinating and beautiful, this incredibly intriguing mix of things that otherwise shouldn't be", while Jemima adds that his "use of recycled materials means his artwork is so consistent and also relevant, kind of intrinsically profound."

If you missed it, check out the recent Hailaker video for Not Much in a blog post here.

Follow Hailaker - Facebook | Twitter | Instagram. 

LISTEN: Bear's Den - 'So that you might hear me'

"I guess I was just trying to say that I have this fear that if you don't say that you're having a good time, no one will ever know. And I wanna tell you guys that this has been one of the best nights of our lives so thank you all so much for coming." 

Davie from Bear's Den there, being entirely unassuming and humble at the first of their two sold out shows at London's O2 Shepherd's Bush Empire on Tuesday, a show which they described from the stage as a "homecoming" (they used to live nearby) at one of their favourite venues. With tracks from their brand new record So that you might hear me (out tomorrow!!) in tow among favourites from Islands (2014) and Red Earth & Pouring Rain (2016) the band had a triumphant return to the London stage... and they even played my favourite track, Magdalene. As a huge fan of the band, the fact that I've had a stream of the new album sitting in my inbox for six weeks is slightly mind-blowing, and easily a highlight of the last few years of rambling on the blog. I'm going to attempt a review but put simply, and echoing the sentiments of my write-up of the recent Nottingham gig: I adore this band and after many (many) listens the record is finding a very special place in my heart.

(c) Sequoia Ziff

Taking a break after four years of non-stop touring, the band set up the Josiah Booth Studios in North London last year to work on new music. While their debut album established them firmly in the folk realm of touring buddies Mumford & Sons the second album saw them employ the use of electric guitars and synths to explore a new sound. The new record, in a way free of musical and time constraints, finds the band reeling in the confidence of two brilliant records. Sitting somewhere in between (and often simultaneously) acoustic and electronic, the record combines elements of both genres, exploring new ground and allowing the piano to take centre stage. "I love how the boundaries between genres have gone in the age of streaming" says Davie, while Kev adds "no one listens to music in boxes anymore, so why make it like that? We just tried to follow our collaborative intuition and go where each song suggested."

The result of this process is a record which sees lead single Fuel On The Fire with its central, pulsing electronics (akin to a submarine sonar - in the album's podcast series, Kev describes his fascination with the sound, describing it as "the loneliest sound I can possibly imagine") sitting directly alongside one of the album's quieter tracks, Breaker / Keeper. With the lyric "truth is a part of me died, when you said I don't really want to be alive. Time stood still, and it hasn't really moved since" this is a beautifully heartbreaking number combining piano, acoustic guitar and horns. The sonar sounds return in the following track, Not Every River, a short track at the record's centre, proving the benefits of listening to the album in full and an example of the musical ties connecting the tracks.

To start the process of creating the record, Davie headed to a cottage in the English countryside with a guitar to work on lyrics while Kev worked on musical ideas on piano and drum machines. They are a band deeply loved for their lyrics, which are often relatable and heartbreaking in equal measure, giving strength to their fans. Davie has delved deeper for this record, exploring personal topics around the album's central themes of intimacy and connection. He describes that "in the past, I've always tried to understand what I'm writing about. This time, lyrics came from a more subconscious place. Like they were things I needed to say and I worked back from there. I was inspired by Neruda, who wrote as though he was trying to figure out his own feelings as much as explain them to anyone else. The aim was to be more honest and instinctive." 

The record's opening track (and my favourite) Hiding Bottles sets the tone for these personal themes instantly. Though it is one of their rockiest tracks to date, setting gritty guitars and electronics against some almost angry singing on Davie's part, the tracks opens the record vulnerably with the repeated lyric "well I'm keeping it together but you don't know the half of it. It's starting to show, no I'm not on top of this." The band describe the intention of the album as "trying to communicate with someone honestly [...] an attempt to reveal the honest and difficult challenge of communicating with anyone that you really care about." This track is one of the best realisations of this, written about Davie's relationship with a close family member with an alcohol addiction with the lyrics, he explains, recalling "real conversations, trying to reach out and help someone. It's also about recognising what you can and can't change, however hard you try."

Another incredibly personal track, most recent single Crow is sure to be a favourite from the record for many. Davie describes writing the track "in memory of my Mum's boyfriend who lived with us growing up. He was an awesome guy and somewhere between a father figure and a best friend to me but unfortunately passed away when I was 15." The track will be particularly pertinent to those who have lost somebody close to them, and I've already witnessed it bringing fans to tears at gigs.

It's a rare treat for music to really touch you in that way - the band talk of the "weight [of] our relationship with our audience that we take seriously and won't ever take for granted", explaining further that "once a song is written and recorded and available, we cannot claim it to be ours, alone, anymore. This song lyrically encompasses so much of what we stand for and talking openly about difficult things and sharing those thoughts with our fans means we can support each other and feel less alone in life's harder moments."

Themes of loss and connection are prevalent through the record, with Davie declaring on Fossils "if I could take it back love, I'd take it back love" and "I miss the way you trusted me, with anything with everything, can we just go back?" Later on the record, Conversations With Ghosts opens with "you needn't be a chamber to house all the echoes and voices of those that have left you" and features one of the stand-out lyrics of the record - "I'll go swimming in the caves, in the sparkle in your eyes, they're just the tears you don't let yourself cry, trying, so hard to say goodbye." Musically however, the lyrics of this track are juxtaposed with an optimistic, breezy piano tune at the centre of the track, and a reassuring plea to the listener - "don't let the darkness in."

Next comes another of my favourite tracks from the record, Evangeline. The track's repeated line "if you wanna go alone, then go alone" brings it into direct contrast with single Laurel Wreath and its refrain "you don't have to be lonely, alone" highlighting the difficulties in communicating with those that you're close to that the band sought to explore on the record. Evangeline echoes earlier tracks on the album, sampling an actual submarine sonar, and a stunning brass section provides one of the closest links, musically, to their debut album. This is taken further in the final track Blankets Of Sorrow, which Davie has described as "part two" of Bad Blood, the final track of their debut album, as the tracks share the same time signature and are stylistically very alike. The album is drawn to a close beautifully with the lyric "Not letting in or letting go, just saying what I've always known. That I only speak, so that you might hear me."

The record was demoed at the band's studio and recored at several studios in Seattle over the course of seven weeks with producer Phil Ek (The Shins, Fleet Foxes, Father John Misty). Both being big fans of The Shins, Davie describes it being a dream to work with Phil - "a deeply rewarding and massively educational experience." The full touring band (Christof van der Ven, Jools Owen, Marcus Hamblett and Harry Mundy) appear on the album, and joined Kev and Davie in Seattle to record brass, drums, electric guitar and more. Talking about the album process, Davie explains that "the album has grown and evolved from all of the processes we went through. Every step of the way, it has been instinctive, collaborative and pushed us both lyrically and musically. From writing the songs to Kev and I working on the songs together in the church, working through them as a band together with Phil in Seattle and even ultimately mixing with Craig Silvey (Arcade Fire, The National) in London. Each separate process shaped and informed the album enormously." 

Bear's Den release their gorgeous new record So that you might hear me tomorrow, April 26th - order your copy from their website here. If you're in London, they play a launch gig at All Saints Church in Kingston for Banquet Records tomorrow evening - I can't wait! Tickets still available here.

Follow Bear's Den - Facebook | Twitter | Instagram.

LISTEN: Fil Bo Riva - 'Beautiful Sadness'

One of the best perks of running this blog for the past few years is all of the brilliant music that I get sent to review on a daily basis. There's usually a lot to listen to, and it isn't always to my taste, but I love having the chance of finding absolute gems in my inbox that I might otherwise not have discovered. This was the case back in 2016 when I was sent Like Eye Did in an email - the debut single from Fil Bo Riva, aka Rome-born Filippo Bonamici. 

At the time I gave the track a glowing review and wrote that it was "no surprise I'm being sent PR for a singer-songwriter who is half-Italian, the amount I ramble on about Jack Savoretti" - which is probably still entirely accurate. His surprisingly husky vocals gripped me instantly, and he remains one of my favourite discoveries of the last few years. I've since caught two live performances from Fil and the band and had the honour of interviewing him for the blog a year ago. I am therefore very excited to share the news that his debut album Beautiful Sadness is released into the world today!

The record follows the release of a string of singles, the incredible If You're Right, It's Alright EP, three sold out tours and a nomination for the Europe Talent Award. Fil's vision for the record was simple - to deliver songs that are "not too modern, and not too old" and that could "stand the test of time." I'd say that this vision has been realised!

In Beautiful Sadness we're presented with a mixture of tracks delivering a series of opposing sounds and emotions which fit together intricately to paint a beautiful picture. The record is the culmination of two years of work for Fil, guitarist Felix A Remm and producer Robert Stephenson, a length of time which is almost tangible through the tracks, which are intensely contemporary while also hinting towards older styles of music. This is noted most clearly in latest single L'impossible, where autotune verses are twinned with more classical sounding choruses sang in Italian, creating one of the stand-out tracks of the record.

Discussing the writing process, Fil explains that "I wrote about things I was going through; issues, problems, and beautiful things with my girlfriend." This personal writing style delivers authenticity in the tracks, and provides us with an overarching theme of love through the record with lines such as the hopelessly romantic "it feels so right I could die, loving you" in Blindmaker, "you mean too much to me" in Radio Fire and "I'm tryna get control of this love" on Head Sonata (Love Control), which was the first taste of the album and remains a particular favourite of mine.

Also worth mention is the epic nine (!) minute track Different But One, another highlight of the record for me. That track alone takes us on quite the musical journey. Enough rambling from me... check out the record for yourself on Spotify here and buy/stream your copy here!

Fil Bo Riva heads out on the Beautiful Sadness tour in April and May, including a show at London's Oslo Hackney on May 1st. A FBR show is a raucous, beautiful and inspiring event and I would wholeheartedly recommend you check out the full dates and grab your tickets here.

Follow Fil Bo Riva - Facebook | Twitter | Instagram.

LISTEN: Jack Savoretti - 'Singing to Strangers'

If you've been following this blog for a while you'll probably be aware that I'm quite the fan of Jack Savoretti. His music has meant the world to me for years and I am really excited to see the love that his new record Singing to Strangers is receiving. It's looking like the album could reach number one this Friday which is hugely deserved but also slightly mind-blowing. I've been listening to Jack since 2012, from the release of After The Storm, and it's been a total joy to see his music flourishing in the past few years with the release of Written In Scars (2015) and Sleep No More (2016).

The new record features Jack's superb live band: Pedro Vito and Sam Lewis on guitar, Sam Davies on bass, Jesper Lind on drums and Nikolai Torp on keys. It was recorded last Summer and produced by Cam Blackwood, who produced Jack's previous record and has worked with the likes of George Ezra, Lewis Capaldi and Tom Walker. If all of that doesn't sound enticing and exciting enough... the band had the insane privilege of recording the album in Rome at the studio of legendary film composer Ennio Morricone.

His studio is in the "basement of this huge church" Jack explains, endowing the recording process with a cinematic atmosphere which is captured in opening track and lead single Candlelight, which many listeners have noted could easily lend itself to the opening credits of a movie. Following in the steps of break-out track Catapult (2015) the record features soaring string sections, creating a really powerful soundscape throughout. Tie that in with Jack's raw and raspy vocals and lyrics that are simultaneously heartfelt and heartbreaking and you've got something really magnificent. Not to mention that the record features co-writes with Bob Dylan (Touchy Situation) and Kylie Minogue (Music's Too Sad Without You). I'm really enjoying the record in its entirety at the moment, but a stand out for me is certainly Love Is On The Line.

Another personal favourite is the stripped back interlude on the album, the title track, which provides an extremely vulnerable moment where Jack repeats "all I can do is try my very best to entertain you. All eyes on me again, but I don't believe there's anything to see." Discussing the meaning behind the title, Jack explains "that's my job: I sing to strangers. That's what I've spent most of my life doing. Singing to friends and family and fans; they're already onside, so you can, to some extent sing anything. Strangers need convincing, touching, connection." With a potential number one album incoming (everything is crossed!) I'd say you're doing a pretty good job of that, Jack!

If you'd like to catch Jack live, he's heading out on tour across Europe and the UK very soon, culminating in a show at Wembley. (Actual Wembley Arena.) I am very excited for that one - Jack's biggest headline show to date and my first time seeing him in over two years! Check out the full list of shows and ticket info here and grab your copy of the record here.

Follow Jack Savoretti - Facebook | Twitter | Instagram.

LISTEN: Fred Abbott - 'Serious Poke'

With the new Friday release day for new music, Fred Abbott releases his solo record, aptly entitled Serious Poke, next Friday, 24th July. Previously guitarist and keys player of Noah & The Whale, Fred says of the new album tracks, "if you attended a Noah & The Whale soundcheck at any time in the last five years then you probably heard me, Urby, Mike and Tom jamming some of these songs." With the band on hiatus last year Fred took the opportunity to record the tracks with some Noah bandmates and other musicians, and following the Noah split "the time seems right to put this stuff out there", says Fred.

The record was co-produced by Fred and Martin Hollis (The Rolling Stones, Take That), with recording sessions over the past year taking place at British Grove Studios in West London. It is being released through independent outfit Lojinx, and an album launch is taking place at London's The Borderline on 31st July (see my post about that show here for more info.)

Source: www.lojinx.com

After a few listens, I'm feeling pretty lucky to have found the album in my inbox to review. It is a superb ten track rock record, with distinctive vocals, catchy choruses and plenty of brilliant guitar solos. Overall a refreshing record, the pace varies throughout, with the tracks mostly touching on themes of love. The striking lyrics of Don't Look Like Him are particularly memorable, highlighting the serious issue of domestic violence and offering empowerment to victims. For me, a highlight is Awake, with the wonderful guitar solos that span the record intertwined with beautiful string action from Noah-bandmate Tom Hobden bringing a certain elegance to the track.

For a preview of the record, you can view blog posts featuring the first track released from the record, Funny How Good It Feels, here, and the video for the second track, Adrenaline Shot, here. 

Most importantly - you can pre-order the record through Lojinx here.

LISTEN: Sam Beeton releases 'In The Yard'

It's a bit belated, but as I've just got back home for summer from university I've finally been able to listen to Sam Beeton's new record, In The Yard, on vinyl. Having listened to the album a lot already on my iPod, I can certainly say that this format heightens it, giving the tracks more depth and making me fall in love with the record even more. Almost four years ago exactly I went to see my favourite band, The Hoosiers, live for the first time, and Sam was the support act. After meeting him and shortly organising a gig with Sam at my school's summer fete, we've since had a couple of photoshoots and I've seen him play gigs in a variety of places across the UK, both headline and support slots - in short, the guy is a genius and quickly became a favourite of mine when I first heard his music four years ago.

Up until a year or so ago, Sam was releasing his music in an interesting, unique manner through his Record Club, a subscription service through which fans got a track or two a month on a signed CD direct to their door, as and when Sam had recorded them. This process was full of benefits for both Sam and his fans, allowing us to constantly get new music from Sam, who was able to receive instant feedback on the tracks, building up a relationship between Sam and his fans, and allowing for, in a sense, worldwide recognition, with subscribers on every continent. Sam has however recently returned to more traditional methods of releasing music (though it appears that the plan is to release more tracks through the record club in the future) with a full album, entitled In The Yard, featuring a mixture of new tracks and restyled Record Club tracks, which was released earlier this year. 

Source: www.sambeeton.com 

As a big fan of Sam's work, it might seem bias if I label it as one of the best records of the year so far, but don't just take my word for it, I've seen others likening album track Belong to the work of Paul Simon, a comparison which Sam would be pretty chuffed with, I'm sure. A highlight of the record for me is the quiet, stripped back song Moving Out, with its beautiful lyrics supported by stunning vocals and guitar play. Of the songs on the record this is one which I can most easily identify as Sam, as when playing live he usually performs solo with simply his acoustic guitar, though even this track is embellished with keys and strings, but the record is well produced and these don't drown out the main elements of the track. A few of the album's tracks have been previously released on issues of the Record Club, but have been revamped, and I'm particularly fond of the new version of Waiting Game with its beautiful cello solo. Can You See The Lights, one of my favourite Record Club releases, remains a particular favourite. Some of the other more punchy, upbeat tracks struck me less strongly at first, but are certainly growers, and I'm keen to hear the new material performed live (particularly as I haven't seen Sam live in over a year and a half!)

Overall, its a really brilliant record that was worth the wait, and that would appeal to fans of artists such as Paolo Nutini, Jack Savoretti, Ben Howard (you get the picture...) Below is the official video for the track Belong, and you can find links to buy Sam's record In The Yard here. 

LISTEN: Mumford & Sons - 'Wilder Mind'

Source: Megan Seekings

Picture the scene. I'm at uni for a two hour revision session in which I've learnt... not much. Walking through a barely used university building I stumble across a huge poster for Wilder Mind, the new Mumford & Sons album, and an unintentional selfie ensues. I've been a huge fan of the band since the massive airplay that The Cave received during a Brighton hockey tour in 2009 (we travelled in minibuses a lot!) At the end of 2012, I was lucky enough to see the band play a massive show at Nottingham Capital FM Arena following the release of their second record Babel, which propelled the band massively into the mainstream, scoring them their first number 1 record in both the UK and US.

Now, however, that position has been matched by the band's latest offering, Wilder Mind, reaching number 1 last night in the first week of its release. It features the singles The Wolf and Believe, the latter of which was the band's comeback single back in March of this year. The track signalled a departure from what fans had come to think of as the unique sound of Mumford, with the loss of the  acoustic guitar, kick-drum and notably the banjo. To some, this was terrible - now, I'm not particularly fond of change, but when it comes to musicians, though being far from an artist myself, I'm aware that creating music requires a lot of passion, and if the artist's aren't getting something out of creating the music then something isn't quite right. Because of that, I'm usually pretty accepting of bands going in a 'new direction' to keep the spark in their music, and for Mumford, it has definitely paid off, and shows the versatility of the band, who are a talented group of musicians. While many were quick to judge the record before its release simply for being different, there are definitely many of the fantastic elements that we're used to, including the superbly penned tracks and chilling lead vocals of Marcus Mumford, with the addition of the full drum kit and electric guitars giving a heavier and more mature sound. In short: I love it. 

My high expectations were thankfully met, and the record will probably be one of my favourite's of the year (alongside the new releases from Sam Beeton, Jack Savoretti and Matt Owens, definitely.) I'm particularly fond of the track Broad-Shouldered Beasts, which showcases hints of the progression from the band's 'old sound' to the new, starting slow and quiet, retaining the prominence of the vocals, and progressing into a punchy, sing-along track. Aside form this, however, I find it difficult to separate the other tracks, with nothing standing out particularly - though they're all pretty great and I do enjoy the employment of the eBow on Snake Eyes...

I'm particularly keen to see the band live again, firstly as the huge talent Tom Hobden (of Noah & The Whale) is currently playing with the band on live shows, but also to see how their live performance differs with these new tracks, which will be played directly alongside older singles such as Little Lion Man and I Will Wait. I wish that I could find a way of going along to the band's UK stopover in Aviemore, which has a brilliant line-up including a particular favourite of mine, King Charles, as well as Ben Howard, The Maccabees and many more (info here.)

You can get Wilder Mind, from the band's official store here, and check out the band's upcoming tour/festival dates here.

LISTEN: Matt Owens - 'Songs For An Empty Room'

After a successful run and four brilliant records, indie rock band Noah & The Whale announced a split of sorts a month ago. I'm a huge fan of their music, particularly favouring their second album The First Days of Spring, and naturally I was pretty gutted, but glad to know that the band were all continuing to make music. Lead singer Charlie Fink has hinted at solo work with a new website and Soundcloud, while Fred Abbott is working on a solo record, and Tom Hobden tours with Mumford & Sons.

Matt Owens (AKA Urby Whale) is also releasing a solo record, which I was lucky enough to get my hands on and absolutely adore. He’s currently playing tons of London gigs with an impressive band (interestingly entitled The Delusional Vanity Project) comprising of Tom, Fred and Michael of NATW, with George Leigh on bass and Tom Figgins on guitar. Last weekend I went along to a show at Proud Camden (a slightly surreal club experience but I won’t go into that) and they played a superb set, showcasing the range of the record, which goes from rough rock (think I made that up) to stunning violin solos within moments. After the set I introduced myself to the band who were all lovely guys and pretty shocked that I’d travelled from Oxford for the show, and with whom I got to chat with before dashing for the last train.

Matt’s record is titled Songs For An Empty Room, a hint at the difficulties involved in starting over again, though I must admit that I admire that he hasn’t chosen to use the NATW social platforms to get an instant, large response to his music, instead building up a new following in his own right. In our discussion last weekend he told me about the interesting process of recording the album live over a couple of days, with much of the album being authentic to its original recording. This comes across on the record in a fantastic way, allowing for the brilliant songwriting and arrangements to be foregrounded without being overshadowed by fancy effects. For me, a highlight of the record is its range, going from the slow Everything’s Got It’s Place (listen on the album sampler above) with it’s beautiful violin solo two minutes in, to the lively The Harbour In Kinsale. A particular favourite of mine is Jack Does Hollywood, which is what you might call a murder ballad, sung from the perspective of Jack the Ripper, which sounds strange admittedly but works and is catchy in its own haunting way.

Overall, the album is refreshing and a favourite of mine so far this year, showing promise for the other upcoming post-NATW releases. You can listen to a sampler of the record above and take a look at the upcoming gigs here (mostly in London) - can’t recommend enough that you go and see the guys live if you get the chance!