Tag Archives: Bristol

Spectres return with their second album to save us from ourselves



Has it really been two years since four guys from Bristol emerged from the fug and released an album that is still as life affirming as it is confounding. Sadly it has, but the good news is that they’re about to return with their second album Condition. As a title Condition is pretty emotive. Are they talking about social conditioning, or is there a specific condition to writing music? Well luckily frontman Joe Hatt explained it thus “I’ve always been interested in the human condition in terms of how we are programmed emotionally and either try to adhere or break away from that. How we condition ourselves to try and blend in or get through the day, whether that be blocking things out, or drinking it all in, or in many cases both. The title came to me when we were mixing the first record and, from then on, it just stuck. It was about another year before I started writing lyrics for Condition, but it was good having that starting point forming and sprawling in my head for that amount of time as there was already a mood set.”

After hearing their latest single Neck it’s safe to say its business as usual, but instead of releasing Dying 2.0 Spectres have gone back to basics and looked deep in themselves to record a song that gives up more of its secrets with each listen. The recording process sounds as quixotic as we’d hope “We were going to bury our phones, burn our laptops and just write music for a week, come back and record it,” Hatt said “But we didn’t get a chance to do this as all of our holidays from work were used up by us gigging more than we were used to. The romantic idea of the writing holiday soon just disintegrated into panic when we suddenly realised we were recording the album in a month and we only had about four songs.”

Condition was producted by Frank Arkwright, he’s worked with Mogwai and 65daysofstatic, so we know it’ll sound fantastic and have that rich quality that all his best productions have, but it’s the themes that are the real kicker. “The same things drive us now as they did before because they’re so deep-rooted,” concludes Hatt “Making noise that can’t help but make people forget and remember everything at the same time, and total disdain towards a world where we kind of need to exist.” And this is what we need. We need a band shows us how bad things have got, but also hint at how it can get better. This is Spectre’s power and this is why they’re here to save us, even if we don’t know it!



Condition is released 10th March through Sonic Cathedral











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Oliver Wilde is back and with Howling Owl Records look set to blow away our winter malaise



This is where the tragic happens is the tagline for Oliver Wilde’s new singles Your So Kool-Aid. As expect it’s another slice of wonky wooze-pop but unlike his previous offerings it leans heavily on the spectrum towards electronic side of things. Wilde recently explained this change “‘You’re So Kool-Aid’ documents having full-blown wobbles attempting to reinvent my so called ‘sound’. Takes a few listens to work out why it exists in the first place, demanding you spend more time with it than you want to. It’s just another ugly and obnoxious troubled pop tune from the decompression chamber of general malaise, with lit synth hooks.”



Your So Kool-Aid, and previous single Good Kind of Froze, are taken from his as yet unreleased third album, Post-Frenz Container Buzz, which is due for release in February through Howling Owl Records. This looks set to blow the last of 2016’s cobwebs off us and give everyone a proper dose of psych-wooze-pop.



Without hearing the full album you get the impression that Wilde isn’t out to take an prisoners with this new collection of songs. The musical scope is bigger than anything he’s so far released and the subject matter is by far the most personal of his career to date. Wilde has shown himself to be the real deal and worthy of all the hype he has received. The only down side is February won’t come quick enough…











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Art is Hard and Neurotic Fiction but the jangly in jingle jangle!



As Christmas is right round the corner Bristol’s Art is Hard have decided to give us a present. Well technically they’ve just released the next instalment of their Pin Pal series. This in itself isn’t a surprise, but the surprise is that instead of one single it’s a double A-Side.



The band that is supplying both of these future bangers is Neurotic Fiction. Mediator is a short sharp dose of jangle pop. Neurotic Fiction started as “an excuse for four friends to hang out and write music” and this excuse is paying off as the music they make skirts the thin line between DIY punk pop perfection, which makes sense considering a lot of their songs are “learnt and recorded in one weekend”.



Neurotic Fiction have added themselves to a list that grows longer by the day of bands to watch in 2017. Mediator and Generals, along with their earlier recordings, that this is a band to start getting excited about! Jangle all the way!











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Kuro have the prefect track as the winter of your discontent kicks in…



OK, so today’s not been great. Actually, who I am to say, maybe today’s been your dream day, and if that’s the case, bravo! If you’re not having a great day, then Bristol’s Kuro might have the answer. Before we go any further let’s explain who Kuro are. They are a duo from Bristol consisting of classical violinist Agathe Max and noise artist Gareth Turner. On paper a classic violinist someone who likes to create abrasive noise soundscapes shouldn’t work, but, like a lot of things, it works perfectly. The school of thought is very similar for both back grounds. Layers and layers of sound and Avant-Grade noise is built up to create something breath taking and harrowing. Listen to John Tavener in the 1990’s and you’ll know what I’m getting at. This duo met at a ZamZam Records night. “At the end of the show we decided to play a jam together, and the improvisation went very well” Max recently said “Gareth and I had already a very similar approach to the sound, textures and layers with our solo projects so it was easy to connect and create a wider range of frequencies playing together. We met a few other times after this first gig and we carried on improvising together whenever we had the chance to. At some point we decided to record something so I moved to Bristol in October 2015 to spend time practicing and composing music together.”



Now they have recorded an album, KURO, and its set for release November 14th. KURO is full of dark chamber music with drone/psych jazz motifs, as you’d expect from a band named after the Japanese word for Black, but there is plenty of beauty and elegance going on too. Arashi, which kicks the album off, is about seven minutes of searing juxtaposition, organic strings vs. stark electronics. Incantation in C is a nine minute walk through paranoia, alienation and suspenseful, fingers down the black board, strings. The remaining four tracks follow suit, but you know, more full on. If you think Mica Levi’s Under the Skin score remixed by Mogwai and you’re on the right tracks.



KURO is released 14th November through Rocket Recordings











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