SuperGlu. are celebrating their appearance at this weekend’s SWN Festival, with a specially commissioned one-off video imagining their journey to the event as filmed by crazed super-fan The Decibel Kid and we have the premiere above.

The four piece from Manningtree, Suffolk, who headlined the BBC Introducing stage at Reading/Leeds festivals and were one of the first acts announced for SXSW 2017 this week, gave superfan The Decibel Kid the chance to create the film to go with live favourite and ‘Horse’ EP track ‘Oil’.

Shot in a two hour window before a gig at a music festival in Ipswich, with additional footage harvested by Ric as he drove around the Essex/Suffolk countryside, the results capture the band’s uniquely madcap sense of humour. All without any serious injury being caused, with bassist Krista Lynch admitting: “getting a drum kit, band and camera person in the back of a van should’ve resulted in more black eyes than it did. Thank you Ric. SuperGlu are fans of you.”

After their appearance at SWN – from 4:30pm-5:15pm at Four Bars at Dempseys on Saturday October 22 – the band will continue preparing for the launch of their new single, ‘Dreams’, due out on Antigen Records on November 25.

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GIITTV: NEWS: Peluché are releasing their debut EP next month

London-based alt-pop trio Peluché have announced that they’ll be releasing their much-anticipated debut EP Utopia Village on 25th November via RIP Recordings.  The collection follows a string of off-kilter pop singles, including ‘Ohio’ and ‘The Guy with the Gammy Eye.’  The EP shares a name with the location in Camden where the band recorded the songs.  They are some of the last tracks to be recorded at Utopia Village, as it is soon being turned into an office block.

The band say of the collection: “We are very proud of this EP. It’s our first collection of songs, which we have written and self-produced.  The first half represents feelings of commitment and attachment; the way that people can feel connected in positive and negative polarities.  The second half is about taking a chance and breaking free as musicians.”

They continued: “For the three of us, our sacred little triangle of hope and happiness is growing.  We have such an emotional tie to playing music that we keep going through setbacks and struggles, ignoring most people’s advice about what we “should” be and staying true to our ideas.  All this has only made us stronger in what we do – we write without trying to sound like anything or be part of any particular scene.  Our songs are for everyone, all we want is for others to enjoy our music and to be inspired to create.”

As a preview of Utopia Village, the trio have shared a new song, ‘Swim.’  The extensive use of hi hats and percussion sees the band at their tightest, but the twists and turns that the track takes shows that they haven’t lost any of their talent for throwing curveballs at the listener.  Listen below.

The band are also playing a number of shows this month in support of fellow hotly-tipped group Pumarosa and are also performing at Rough Trade’s 40th anniversary show.  Details below.

23rd October – Belgrave Music Hall, Leeds*
24th October – Village Underground, London*
27th October – The Louisiana, Bristol*
5th November – Moth Club, London (as part of Rough Trade’s 40th anniversary)

*with Pumarosa

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GIITTV: NEWS: Austra announce new album ‘Future Politics,’ share ‘Utopia’

It’s been a couple of years since Canadian Katie Stelmanis – better known as electro-pop outfit Austra – released her last album Olympia.  Despite the long wait, though, she will be releasing her third LP Future Politics on 20th January 2017 via 4AD.  The album calls for “a commitment to replace the approaching dystopia.”  Stelmanis continued to talk about the concepts behind the record as being about “not just hope in the future, but the idea that everyone is required to help write it, and the boundaries of what it can look like are both fascinating and endless.  It’s not about ‘being political,’ it’s about reaching beyond boundaries, in every single field.”

To accompany the announcement, Austra has shared a brand new track, ‘Utopia,’ and a new video.  It’s been directed by THAT GO, who has previously worked with the likes of Chairlift and Father John Misty, and sees Stelmanis trapped in an icy, foreboding modern apartment.  THAT GO said of the clip: “Katie came into the video project with a lot of ideas about the future.  We discussed everything from food trends to Star Trek: The Next Generation.  The video is more near-future than distant-future, with recognizable technology and modern protein sources.”  Watch below.

Photo credit: Renata Raksha

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GIITTV: NEWS: Rose Elinor Dougall shares new video for ‘Stellular’

Singer-songwriter Rose Elinor Dougall recently announced that she’ll be releasing her new album Stellular on 20th January 2017 via Vermilion Records.  It is, in her own words, “something bolder, less apologetic, more decisive […] a sophisticated pop record.”  The LP has apparently been shaped by the experiences of Dougall and her friends as they navigated through their 20s, struggling with broken hearts and more within the capital.

Dougall says of the album: “The last decade in this country has been a really fucking weird time to be young.  There’s a theme of promises that are falling apart, and negotiating the wreckage of choices you might make that actually start to become less flippant and do have long-standing effects on your future […]  I want it to be human, I want it to be honest.  There’s always going to be artifice within these things, but even just one line in one song can find the kernel of something more.”

Dougall has also shared a new video for the title track, which sees her going on a journey through the darkness in search of light.  She says: “I was thinking about some people I knew that were struggling to get a break […]  Thinking about the endurance test I was witnessing for others…  waiting for something to change.”  Watch below.

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GIITTV: NEWS: Tasseomancy unveil new ‘Missoula’ video

Canadian twin sisters Sari and Romy Lightman – formerly of Austra but now better known as alt-pop duo Tasseomancy – are releasing their debut album Do Easy on 18th November via Bella Union.  ‘Missoula’ is a taste of what to expect from the LP: beguiling in its simplicity, it’s a captivating listen that’s not entirely removed from some of Kate Bush‘s most ethereal works.

The pair said about the track: “’Missoula’ is a song for the roaming and an ode to the Unknown.  There are so many transient people on the planet today, both fleeing and voluntarily in motion. I  can’t speak for their experience, but as an artist, I find myself moving often.  There is the desire to stay, the urge for going, and the split feelings of being a floating, uprooted bag of mostly water.  Missoula has a repetitive Hebraic melody at its center, coming from a lineage of wandering Jews.  A nod to one of my favorite Pentangle recordings, Let no man steal your thyme.”

The new video is equally as hypnotic, with superimposed images, strange news broadcasts, some light 70’s vibes, surreal imagery and extreme weather adding to the mysterious and captivating nature of the track.  Watch below.

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GIITTV: NEWS: Tinariwen announce new album ‘Elwan’

Malian Tuareg band Tinariwen have announced that they’ll be returning with a new album, Elwan, on 10th February 2017 via Wedge.  The band’s homeland – a Saharan mountain range – has recently been transformed into a conflict zone, and the album is set to reflect this, albeit with a range of contributors adding their own distinct touches to the record.  Kurt Vile, Matt Sweeney and more have all added something to the record, and it has been honed by Andrew Schepps, who has previously worked with Johnny Cash and Jay Z.

To coincide with the announcement, the group have unveiled an animated video for new track ‘Tenere Taqqal.’  Directed by Axel Digoix, depicts the contrast between the hostility of the desert and the love that its inhabitants feel for the land.  It’s a look into the spiritual world of the Tuareg and the tenacity that they need to survive in seemingly impossible circumstances.  Watch below.

Tinariwen are also playing a handful of shows in the UK next month as part of a wider tour.  Details below.

4th November – Belgrave Music Hall, Leeds
5th November – Brewery Arts Centre, Kendal
6th November – Band on the Wall, Manchester
9th November – Islington Assembly Hall, London (Sold Out)

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Bordeaux/Lyon-based Italian feminist synth pop duo Psch-Pshit craft alluringly shadowy slices of electronica in both English and French.Their ‘Parfaite et Impudique’ (Perfect and Shameless) album is released through FEINT on 28th October 2016.

We have the premiere for the albums second single ‘Tout Nu’(which translates as All Nude/All Naked) watch it above. A kaleidoscopic Kitsune influenced electro banger devoted to the subject of nudity and crumbling relationships: laced with dark entwined bilingual melodies. Each swirling vocal wrapping around themes of death, sex and friendship, its reminiscent of the likes of Ladytron or Deep Cuts era The Knife.

The video for the song was directed by Psch-Pshit themselves and details two masked feminine figures awakening a dormant sensual spirit in a forest through some sort of paganistic ceremony. The viewer is left with a voyeuristic sense of observing some kind of sexy neon witchcraft and it goes without saying that the video, as well as the song’s contents, contain nudity.

A fluctuating collective of female-led artists, they are currently helmed by Venetian former lovers Alice and Mariele. The lyrics were written by friend of the band, sometime collaborator and French artiste Eléonore Monot. As an Italian band living in France but singing in English, using these French words as a starting point was intriguing to the band as they had never before attempted a song in French.

Originally created by 5 female artists in Bordeaux, Psch-Pshit were active on the French Underground Electronic scene some years ago and became well-known for their performance-art-esque live shows and dark atmospheric melodies, releasing music on the Venice-based female-electro label Electronic Girls. This incarnation ended with the demise of Alice and Mariele’s romantic relationship.

The single, available for download from on 21.10.16, comes backed with a club-remix by JØTA (Becky Becky / Cloud / ex-Fence Collective) and an alternative version of their debut single Derailing. The album ‘Parfaite et Impudique’ is available for pre-order now and released on 28th October and Psch-Pshit are in the UK to play a handful of dates, including…

27th October – Blondies, London
29th October – Rose Hill Arts, Brighton
30th October – The Cube, Bristol

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GIITTV: Amber Arcades / Ella / Hoopla Blue – Birmingham Hare & Hounds, 18/10/2016

Annelotte de Graaf, AKA Amber Arcades has recently swapped her career as a lawyer for one in music, and she arrives at Birmingham’s excellent Hare & Hounds venue tonight to promote recent debut album Fading Lines.

Local lads Hoopla Blue are one of two excellent supports this evening; their traditional guitar / bass / drums set up is stretched into a sound all of their own, as they lay on the effects but not at the expense of their rather marvellous songs. They are enthusiastically accepted by the pleasingly ample audience, as is second ‘special guest’ Ella van der Woude, who makes her music under the name of Ella. It turns out that she is actually also part of Amber Arcades’ band, along with guitarist Manuel van den Berg. The two of them conjure up some hauntingly beautiful tunes, hovering somewhere between The xx and the more chilled side of Portishead. De Graaf herself joins in on the last song before the three take a short break and then return to the stage for the main Amber Arcades set.

Easing gently into album closer ‘White Fuzz’, it is a subtle start that actually only features de Graaf and van den Berg, before the full band joins in on the wonderful ‘Right Now’, which, like the vast majority of the set, is taken from Fading Lines.

Bassist Casper Broekaart begins the rolling bass that for a second sounds like ‘Under The Boardwalk’ but turns out to be standout album track ‘Perpetuum Mobile’. The five-piece band (completed by drummer Jaap Bontekoe) bring a new energy to the songs and there is a real chemistry between the group. There is a celebratory feel to the show, which the really excellent sound mix in the venue helps the audience connect to.

De Graaf is a modest but endearing host, explaining how, although this is the band’s first public appearance in Birmingham, the band used nearby rehearsal rooms to ready themselves for their appearance at Lunar Festival, which took place in the relatively local Tamworth-in-Arden, birthplace of Nick Drake. The crowd laugh when de Graaf describes playing Lunar as being ‘in the mountains’, quickly reminding the audience that the band is from the famously flat Holland, after all. The Drake theme continues with an inspired version of the late singer-songwriter’s ‘Which Will’, which, pleasingly, in these days of pallid life-sucking covers, is presented in an up-tempo take, and could actually fit seamlessly onto the album.

The band don’t leave the stage after the ‘last’ song, de Graaf explaining that the audience expects the band to come back, so why not just stay on stage instead of indulging in the pointless time-honoured ritual of walking off and back on. ‘What A Heart Can Contain’ is the only song (the Nick Drake cover excepted) that doesn’t feature on Fading Lines – it is introduced as ‘an old song’, coming as it does from way back in 2015!

The subtle ‘Apophenia’ is followed by the mighty ‘Turning Light’ on which the band up the volume and create something of a sonic assault compared to the more laid back album version. It is a fitting end to a special gig. No-one present doubts the wisdom of de Graaf’s change of career direction.

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GIITTV: Suede’s Dog Man Star at 22

Suede, the debut album from the band of the same name, came out in 1993. It topped the album charts, spawned a top 10 single in Animal Nitrate, and arguably laid the foundation for the Britpop movement that would come to dominate the mid-nineties.

However, as much as I love Suede, but I’m not a particularly big fan of Suede. I find the production a little too murky, and the songs – bar the exhilarating Moving and one or two other exceptions – never really grabbed me as tightly as it seems like they grabbed everyone else.

Perhaps my opinion would be different if I had heard the album at the time, when it presumably sounded fresh and new and exciting, but I wasn’t even two years old when Suede first appeared on the racks at HMV. In actual fact, Suede wasn’t even the first Suede album I heard when I eventually *did* get around to investigating them: that was Dog Man Star, the band’s sophomore effort.

Dog Man Star
was released on 10 October 1994, which means that it was recently the record’s 22nd birthday. A couple of months earlier, Oasis released Definitely Maybe, one of the defining records of the Britpop era and an album so overrated that it makes Suede, which I find somewhat overrated, look not at all overrated. But while Oasis were codifying the sound we now think of as standard Britpop fare – swaggering guitar rock with no interest in moving hearts, minds or feet – Suede were working on something far more ambitious, far more grandiose, and…well, far better.

No, as a matter of fact I *don’t* like Oasis very much. Why do you ask?

I bought Dog Man Star at a car boot sale towards the end of 2005. This was during the earliest part of my musical growth: I had only started buying CDs at the beginning of that year, and I was still in the process of hoovering up everything I could get my hands on, desperately trying to catch up on the last 50 years of popular music history. I had only vaguely heard of Suede at that point, but the Dog Man Star CD was going for just 50p so I decided to give it a go (I also picked up Bruce Springsteen‘s Born in the U.S.A. for £1 at the same boot sale – that day was something of a watershed for me).

Now, to be fair to Suede’s first album, the production on Dog Man Star is kind of murky as well. But whereas that murk leaves the songs on Suede feeling kind of muffled and damp, it works really well on DMS, lending the whole piece a sort of noir-y feeling that’s dreadfully enticing. This album has a bit of everything: songs like We are the Pigs, Heroine and New Generation (the latter being a personal favourite of mine) build on the guitar-based stuff from album #1 but do it a heck of a lot better in my opinion, while Black or Blue, The Wild Ones and The 2 of Us are soaring, moving, sumptuously-contoured numbers that really show off Brett Anderson’s considerable vocal abilities.

The real jewels in Dog Man Star‘s crown, though, are the last two songs on the CD. At nearly 10 minutes in length, The Asphalt World is a dramatic epic – just the right side of psychedelia – that sort of serves as Bernard Butler’s last hurrah (he left the band during the Dog Man Star sessions, but not before he had laid down his parts for the album’s sprawling penultimate track). And then there’s the orchestra-assisted Still Life, a torch song that pulls out all the stops to end the album on a heart-stopping high. It’s still my all-time favourite closing track, and the only finale that’s ever come close to it in my estimations is the stunning São Paulo from Through the Windowpane by the Guillemots.

Suede would take a poppier, more radio-friendly direction on their next album, Coming Up, which I love almost as much as DMS in an entirely different way. However, for me and for numerous other fans of the band, it’s Dog Man Star that will forever remain the band’s masterpiece; it’s a great testament to the skies that the album format can scrape given enough ambition, showmanship, and songwriting talent.

And, I suppose, a budget that’s big enough to pay for an orchestra.

Orginally published here:

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GIITTV: NEWS: Do it for your band – British Sea Power crowdfunding appeal

They’ve played on ships at sea, inside a mine, on top of the Great Wall of China, at CERN and the Chelsea Flower Show.  They threw a party in Britain’s highest pub and shared stages with brass bands and a ten-foot Hammer Films bear.  Their lyrics feature alongside quotes from Shakespeare and Coleridge on the walls of National Maritime Museum.  British Sea Power, the guardians of the art of soundtrack and champions of “high-church amplified rock music”, are now offering fans an opportunity to be part of their wayward quixotic history through the new album crowdfunding venture.  The special gig-entrance tattoos grant a lifetime passage into all of BSP’s headline shows and organised events.  As is to be expected, the tattoos will be nautically themed and created by the band themselves, but promise to be “free of indiscreet language and life-size representation of Putin’s brain.”

BSP are also offering a range of less pricy (and less painful) ways to help with the costs of their latest musical escapade.  For £5, your name could be added into the album booklet; and there are numerous ways to pre-order the new album itself, including bundles with t-shirts and mugs.

As the band say on their shop site: “Only with these vital funds are BSP able to complete the recording, mixing and design of the packaging, retain 100% ownership of the album and, in a single bound, revive rock and pop for the contemporary era.”

Stand up and be counted!  Be part of the sea powered rock history NOW.

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