Tag Archives: new release

“Mother of Gloom” by Emily Fairlight

Emily Fairlight_website Banner photo“Mother of Gloom” became a listening staple at Fishrider HQ after Emily Fairlight self-released and self-distributed a small-run LP pressing self-release of the album last year. Understandably that initial LP run sold out quickly.

Fishrider Records is thrilled to be able to now (re)release of the album on gatefold sleeve LP and CD.  Once again this album will be co-released with Occultation Recordings in the UK, giving the album a deserved international release in June.  The album is also available to pre-order LPs and CDs on Bandcamp

The music on Emily Fairlight’s “Mother of Gloom” album stands its ground alongside the storytelling of Will Oldham and the soundscapes of Calexico. Each song is a timelessly elegant, sometimes distressed, vignette, capturing the essence of a place, memory or feeling, framed by a varied palette musical arrangements leaving space for the imagination between the sounds. Her vocal style – a stark, haunting tone, teak-hard yet soft as crushed velvet, with a powerful vibrato – is as distinctive as her songcraft.

“Fairlight is a folk singer with a touch of the weird and wonderful, travelling the same backroads as songwriters such as Will Oldham, PJ Harvey, Karen Dalton, Cat Power, Aldous Harding and Nadia Reid. “Mother of Gloom” is a warm and intimate set of songs that highlight her ability to find shadowy moods in her music and most vividly via her exceptional and haunting voice.” (Post to Wire)

Fairlight – who now resides in Dunedin – has been composing and performing for over a decade now. She has played throughout NZ and Australia, and her third trip to the USA saw her record Mother of Gloom with Doug Walseth at The Cat’s Eye Studio in Austin, Texas, aided by local musicians including Cully Symington (Bright Eyes, Okkervil River) and multi-instrumentalist Kullen Fuchs. The recordings were mixed by Ben Edwards’ at his Sitting Room studios near Lyttelton harbour where New Zealand folk and country sensations Aldous Harding, Delaney Davidson, Marlon Williams and Nadia Reid created their breakout works.

In February Fairlight, backed by The Shifting Sands, played 12 shows opening for Marlon Williams across the length and breadth of New Zealand. During March Fairlight played shows at the SXSW festival in Texas with a backing band including Mike McLeod from The Shifting Sands and drummer Chris Butchard from The Prophet Hens.

Emily Fairlight_Mother of Gloom_Quad Image_Half size

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Bad Sav announce their 1st album

Bad Sav bannerIf guitar rock is dead, no-one told Bad Sav. The latest blast of Analogue Dunedin comes from the band that refused to be left behind. Although featuring Death And The Maiden guitarist/vocalist Hope Robertson and bassist/vocalist Lucinda King, plus Shifting Sands guitarist Mike McLeod (on drums here), Bad Sav are the primary strain from which both of those bands sprang.

When asked to describe her band’s sound in a 2010 interview (and yes, Bad Sav have been around for a bit, forming in 2008), Hope suggested “…a missed punch and a grazed fist. Sad, heavy, unpredictable loud pop”. Indeed, Bad Sav offer a far more guitar-oriented hard attack than DATM; their distinctive filtering and reassembly of influences from shoegaze, psychedelic noise-rock – and goodness knows where else – conjure up a uniquely electrified Dunedin sonic alchemy, bursting with colossal, majestic, melodic noise.

If you could define an emerging band by the bands they have been asked to play support slots for (and we are not suggesting you can), then what would a band asked to open for The Dead C, The Terminals, Sebadoh and The Cult sound like? Well, like Bad Sav, clearly. Guitarist Hope Robertson not only occupied the same position on the Dunedin Town Hall stage as Cult guitarist Billy Duffy but also filled the cavernous venue with as skillfully crafted guitar noise as Duffy.

Bad Sav’s debut album mixes off-kilter earworm pop with post-rock noise and huge soaring instrumentals eminently suitable for soundtracking epic space battles scenes or exploding universes in huge science fiction movies. “Hen’s Teeth” is the first song the band has chosen to share ahead of the album release worldwide on 21 September 2018.

Bad Sav_Hope Lucinda NoMike_photo by Chris Schmelz_smaller for web.jpg

Death And The Maiden “Wisteria” NZ Tour & video!

Death And The Maiden are celebrating the release of their 2nd album “Wisteria” by playing album release shows around NZ in late August and early September.

Thursday 30th August – Wellington, Caroline w/ Introverted Dancefloor
Friday 31st August – Auckland, The Others Way Festival
Friday 7th September – Christchurch, w/ Plaines, Motte and Ben Woods Group

If you are in Dunedin but missed their epic album release show at Pioneer Hall in Port Chalmers back in June you can catch them at The Captain Cook Hotel opening for Die! Die! Die! on Friday 24 August.

The band have also just released a video for “Mercury” from “Wisteria” made by Chris Schmelz which you can read about and view here at Under the Radar NZ.

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The Shifting Sands announce a new 7″ single and share a video for “Run”

The Shifting Sands_LA Studio

The Shifting Sands with Manny Nieto in LA.

The Shifting Sands announced a new 7″ single today, sharing a video for a new song called “Run” which appears on the single, due out towards the end of January 2018. [UPDATE: the single is finally on its way to NZ and we expect to have it in stock and to fulfill pre-orders in the week of 12 February 2018. Thanks for your patience!]

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The Shifting Sands  Zoe/ Run (7” single)

After touring the West Coast of the USA supporting David Kilgour and the Heavy Eights, Mike McLeod booked studio time at Manny’s Estudio International in East Los Angeles. Far less glamorous in reality than it all may sound says Mike.

Joining the Shifting Sands for the sessions was guest guitarist Steven Schayer – a then LA-based musician with NZ connections, having played in The Chills during the early 90’s US-based “Soft Bomb” album era.  Steven brought a different flavour to complement the independent DIY No. 8 wire approach of The Shifting Sands.

Manny Nieto also brought a different flavour to the table, producing the tracks. Manny has worked with Steve Albini and has recorded bands like the Breeders and Los Lobos.

Whereas previous albums had been layered in fuzzy guitars and synthesizers, this session involved less layers, but more harmonic breadth within the layers. Tom added bass tracks on an 8 string bass, Mike adding a bass 6 – a guitar tuned down one octave.

While there are less layers of harmonic distortion – a characteristic component of the Shifting Sands sound – there is still a lot of harmonic complexity, just realised in a different way to the approach the Shifting Sands took on their first two LPs.

The band recorded on a Neotek console and via a two-inch tape machine, before mixing down through a ¼ inch tape reel.  Back in Dunedin the songs were mastered by Tex Houston. The 7” vinyl release format completes this analogue approach.

These songs reflect a special moment in time, in the sweltering heat of Los Angeles, while the band were far from their busy normal lives and able to spend time purely focused on making music, in a vastly different environment to their home town of Dunedin, and their base at Chicks Hotel in Port Chalmers.

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Port Chalmers, Dunedin

 

Death And The Maiden – album out 20 March 2015

Death And The Maiden [Photo by Esta de Jong]

Death And The Maiden [Photo by Esta de Jong]

March 20th 2015 sees the release of the self-titled debut album by Dunedin trio Death And The Maiden.
While traveling through Berlin in 2012, Lucinda King ripped a sketch of a skeleton and a woman from a book, and stored it in her wallet. The piece was Death and the Maiden, a 19th Century engraving by Edvard Munch. It is an artwork steeped in mythology, one which explores the dark bounds between love and death, frailty of beauty, and beauty of decay.

On her return to New Zealand, Lucinda (bass guitar, vocals) began to make music with Danny Brady (synth and drum programming), then welcomed guitarist and drummer Hope Robertson to the fold, and Death and the Maiden was born.

On their debut album, the group craft a shadowy sound world, filled with melancholic synth arpeggios, reverb-drenched guitars, hypnotic basslines, drowsy drum-machines, and sighing vocal melodies. The combination is both hypnotic and devastating, as Lucinda explores themes of love, loss, and decay, wrapped in tactile electro-acoustic languor.

Despite the sense of loss and darkness on this record, there is a bittersweet hopefulness at the core. Death and the Maiden are seeking to create a feeling, something that lasts. The result of this effort is a stunning record, its soaring sonic beauty a counterpoint to its sombre haunting tone – a party record for heartbroken romantics.

Also available on iTunes here.

Death And The Maiden play at Wine Cellar in Auckland on Friday 27 March and at Moon in Newtown, Wellington on Saturday 28th March.

Death And The Maiden is available on LP, CD and Digital formats from record stores from 20 March (13 April UK/ Europe) and can also be ordered online at the Fishrider Records Bandcamp page or in the UK and Europe via Occultation Recordings.

“The combination of drum machines, amniotic synth wash and guitars evoke select Hacienda-era Factory bands and the Sheffield Sound (think Section 25 or Chris & Cosey), while Lucinda King’s haunting, reverb-drenched vocals generate an incantatory power”
[From The Corner Awesome Feeling 7 feature.]
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