Folklore Vol. 2

Posted on 19/07/2025 by brightonmusicblog

On Friday the 25th, Folklore release their second showcase EP, Folklore Vol. 2, so I caught up with Folklore head honcho Jacko Hooper to get the low down on the acts and the accompanying launch gig. Volume one was a 7″ record, but for this release (and probably future releases in the series) they’ve switched to the 10″ format. Initially driven by the length of the songs, which wouldn’t have sounded as good with the physical constraints of a 7″, there’s something alluring about the slightly larger format. Jacko talked me through each of the bands on the EP:

Nierra Creek / Burn out the Fire
We did the 7″ for those guys last year, and we’re working with them again. I’m just a huge fan and with the artists that I was getting together for this it’s a more left field leaning than a folk record. Nierra Creek were a really cool one to get on this because they worked so well with the other artists on the record
Quaking Aspens / Flume
Quaking Aspens have recently do a UK / European tour with Nierra Creek and ai really wanted them involved for this one. Those guys worked together quite a lot so it was an obvious combo to get them.
Adam Spry / Tangled
Adam Spry is a US based artist who originally got in touch with me over Covid when there was obviously no shows happening. And at the time Folklore’s main presence was a radio show, because there wasn’t much else we could be doing during COVID. And he just submitted one of his songs for the radio show, a track called Bonanza, and it was so good. And we kept in touch and then he came and did our monthly showcase last year. And it was so, so good, his first show in Brighton. I want to have hopefully at least one artist that’s international for the volumes , to tap into a different audience and also to bring some of those artists to eyes and ears in Brighton.
Mezanmi / This Time Yesterday
Mezanmi is from Newcastle, based in London. He’s an incredible singer-songwriter, sort of electronic sort of based I would say, very cinematic, ethereal. His album was one of my favourite albums of last year without doubt, and he did the album launch show here. He just married up so well with Nierra Creek and Quaking Aspens, and that song is absolutely stunning. So it’s a really nice way to see out the record, really cinematic.

The launch gig takes place next Friday (25th) as a fully standing show unlike some of their seated showcases. All the acts, bar Adam Spry are playing (because he’s in the States) and there’s rumours of some special stuff on the night with collaborations.

It’s worth noting at this stage that a fair amount of time has passed between volume one – which appeared in 2018 – and volume two. “Yeah, volume one was a while ago! But it’s gonna be a bit more regular from now on. The plan was always to do them slightly more regularly than that anyway but with Covid and then opening the venue it just fell down the list in terms of having the time and resources to do that. Basically trying to keep a venue alive is like a very much full-time job but now we’re in the rhythm of things and volume three is already done. I’m trying to stay like a record ahead of myself. We keep moving forward with the 10 inch releases and we’re looking at one or two a year”
The permanence of a physical record absolutely is a very positive thing – it’s one thing for a band to play a gig but at the end of the night it’s over whereas record is going to be around for a long time. “Yeah, that’s huge. This is Quaking Aspen’s first vinyl release. It’s a big deal for them. And they were saying that they’re so happy that they’re going to end up with something they can hold, physically hold, and not just digitally release and be out in the ether.” I don’t want suggest that making music is in any means easy, but the barriers to entry have come down so much. “Absolutely – Getting the physical element is a whole other beast. And I’m just a big vinyl nerd so I love living it.”

Folklore Vol. 2 is out on 25th July and can be pre-ordered from the Folklore website

Helen Ganya / Share Your Care interview

Posted on 10/03/2025 by brightonmusicblog

Last month Helen Ganya released her second album Share Your Care, and since we’ve been covering Helen’s various projects for over ten years it was only right that we caught up to have a chat about it, and about other things she’s been up to since we last spoke.

The origin of the album came around four years ago, when Helen’s Thai grandmother – the last of her grandparents – passed away. “It made me quite emotional – Not just sad, but also really wanting to remember everything about my time as a child and spending my summers in Thailand. So it was a really nice way to like go back into childhood memories and think about those times and the sounds. And that’s kind of where I started thinking about actually incorporating Thai instruments”. Helen has never hidden her heritage – even during her days as Dog in the Snow it was always noted that her background was half Thai and half Scottish – but musically, for the most part, her Thai side hadn’t come to the fore. “this is part of my background but I thought it might be a bit fraudulent or might not be seen as authentic. But the Thai traditional sounds on Share Your Care are the sounds of some of my childhood”.

photo by Sonia Abbas

There have been a couple of songs that have been translated into Thai – a reworked version of the title track from her last album Polish the Machine appeared on 2023’s Repolish The Machine EP, and in 2020 she released ทอง, a Thai version of Gold from Vanishing Lands. “These were more of an afterthought, where the Thai words were translated to a song that was already written, as opposed to working from the ground up as I have done on Share Your Care. There’s one song on the new album that’s written in Thai, as well as having Thai instrumentation, and that was really nice to think in that way”

There isn’t a Thai musical community in Brighton, so Helen reached out to contacts she’d made through ESEA Music – the East Southeast Asian Music Collective – a group that formed in 2020 following anti-Asian backlash from Covid. Through them she was introduced to Artit Phonron at a Thai temple in Wimbledon, who took Helen’s parts written in midi and played them on ranat ek (a sort of Thai xylophone), saw duang (a bowed two string traditional instrument) and khim (a dulcimer). “He was amazing, not only was it him just learning by ear and just playing it, but also dealing with the tuning issues as well – because Thai scales are different from western musical scales – which was quite a challenge.” Anglo-Thai artist John ‘Rittpo’ Moore also contributes flutes and saxophones to the record.

photo by Sonia Abbas

The only other voice on the album is British Nigerian. Helen explained how that come about: “The last song, Myna, is about a Myna bird. My grandad used to keep a Myna bird, which is kind of like a south east Asian starling, but it’s known for mimicry, so it can parrot a lot of human voices. And after my grandad died, the myna which he had kept in a cage started sounding like him. It was quite moving but also really strange so I wrote that song thinking of having a second voice that would kind of be my grandad but almost like a third grandad rather than the real grandad. I was trying to think of a voice that I sort of someone I knew that was low and reminded me of my grandad – even though I think Tony’s probably younger than me!”

The album was produced with Rob Flynn who Helen has a long working relationship with. “It was quite funny when we first met, he was always asking whether I would consider making music utlising Thai instruments. And I shut it down all the time and was like, no, I don’t want to do that. I just want to do make contemporary Western music. So when I came to him with this idea, I felt like he was just ready for it.”

Drums on the album were played by Hilang Child, who’s worked with Helen since playing together in Simon Raymonde’s collective Lost Horizons in 2017. As well as playing drums on the record and live, Hilang Child is also one of the supports at next week’s gig, along with Alex Painter.

As well as connecting with other Thai musicians over lockdown, Mixed Tapes, her show on Slack City Radio, was born. “Slack City got in touch with me and asked if I would be up for doing a radio show? I thought, oh that could be fun, and like many people in the creative industry during lockdown, it wasn’t like I had a lot on.” The show is a platform celebrating artists and people in the music industry of mixed heritage, featuring interviews and music, but without preaching to it’s audience or being negative, which over time has grown to the extent that for the last two years the search for for artists who fit the brief has become easier as people have got in touch directly with her. Mixed Tapes goes out roughly once a month on Slack City – check their schedules for the next episode.

Share Your Care is out now on Bella Union. Helen Ganya plays at Alphabet on Wednesday 12th March

Fliptop Head / Up Like A Weather Balloon

Posted on 27/10/2024 by brightonmusicblog

This week, Flip Top Head released I Can’t Wait Until I’m Old – the second single taken from their forthcoming EP Up Like A Weather Balloon. We caught up with two thirds of the band last week at Presuming Eds to get the low down on the EP, starting with where the title came from:

Bertie: We had our only ever band meeting at the Walrus – and looked through all the lyrics and there was nothing really gelling but I had those words on a notes page

Bowie: I remember you saying them and us all going like “yeah”. But it doesn’t have anything to do with any of the songs.

Track One: I Can’t Wait Until I’m Old

Bowie: It’s about how the feelings about becoming old change from when you’re younger and you can’t wait to be old and to be able to go on all the rides or stay up late and stuff like that, to when you get to a point when you slowly don’t want to age. I was thinking about that kind of idea, and juxtaposing Can’t Wait To Be Old with old things like shaky hands.

Track Two : Weightlifter

Bertie: The lyrics came from a poem I’d written after a long shift at work where I’d met an ex bodybuilder and I saw when reaching for his pint that his hands were so calloused from years and years of lifting weights. And clearly that hand is no good any more, and it’s his own fault because of the weightlifting.

Ollie: I was at Bertie, Bowie and Alfie’s house and I was playing a whole load of different parts but didn’t know how to put them together. Alfie got us to number them and then he sat down and said “this one here and then that one there and then this there and that one there”. And then we were done – As easy as that. Sometimes when we’re playing that song we’re looking at each other and thinking how did we do that?

Track Three : Marie’s Interlude

Bowie : Marie’s Interlude does exactly what it says on the tin, transitioning effortlessly into the EP’s first single. It’s a bass line Marie has had for a while now and we love the way it slots in between Weightlifter and So Much for Mole Catching; although written completely separately and without intent to do so.

Track Four : So Much For Mole Catching

Bertie: It’s a fun pop song. In my head I was like How are we gonna write a fun happy song but have it still have our sound? But it came together was pretty naturally and somehow it was like “oh, we can do this, this is really cool”

Bowie: The lyrics are based around a sob story. We were living on St James Street and it was Pride weekend, so obviously it’s stupid busy St James Street, and our flat was a good people watching spot. I saw this girl sat on the pavement – she looked upset so I decided to go and have a chat see if she was OK. She’d lost her partner so we invited her up to our house, got her some some water, calmed her down and got chatting to her. She charged her phone and she managed to tell her boyfriend that she was here, so he came and they ended up staying at ours for hours, just chatting – and they were telling us about how his father was the Somerset British Molecatcher of the Year. It got me thinking about those interactions where you meet strangers – because I could have just chosen not to go and speak to her or maybe I might not have even seen her at all if she hadn’t sat outside our window – Certain chains of events lead to something like that.

Ollie: And it was Somerset Mole catching originally. I remember being in the car, and someone was suggested changing it to “So much”, and it just clicked.

Track Five : Parish Cafe Meetings

Ollie: I went to school with a girl whose dad was a vicar, and he had no nails – They were just all gone. I remember going around to play piano and thinking “why does that dude have no nails? What’s his story?”. And then one night, me and Bowie were off super late, and it came up in conversation and she said “That’s gonna be a song”. And then it was.

Marie: Yeah. It used to be called No Nail Vicar but we changed it, but I think I’d never be able to call it Parish Cafe Meeting. It’s still “No Nail” on our set lists

Track Six : Jesse Paints The Houses

Bowie: It’s probably one of our oldest songs and to this day it’s still my favourite song to play and to listen to. Alfie wrote it, and it brought that cinematic element that we ended up going for, and the stuff we’re writing now, post EP, is similar in that sense. It’s one that we hold close to our heart.

Marie: We have some gigs where everyone gets really quiet when we’re playing Jesse, and everyone’s just listening

Bertie: the best time that happened was when we played Brighten the Corners Festival in Ipswich. Five minutes before we went on stage that room was completely empty, but when we walked on the room was full, but was properly silent for the quiet bit.

The EP was produced by Theo Verney who got the occasional mention here as a Brighton Based guitarist around ten years ago, but more recently has been producing, including being behind the desk for some of Lime Garden’s singles. He approached Flip Top Head and was the first person the band had worked with who hadn’t been a friend, but very quickly gelled with them, helping them figure out how their songs needed to sound.

There are three launch gigs for the EP, in Brighton, London and Colchester, where the band first started as a three piece of Bertie, Bowie and Harrison. Although Alfie is Bertie’s brother, he didn’t join the band until they had relocated to Brighton.

As with a lot of Brighton acts, some members of Flip Top Head also play in other bands. Alfie plays on the EP, but has just left and joined Goodbye (although that wasn’t the reason he left)

Bertie: things just happened at the same time. He didn’t enjoy playing trombone or just want to play guitar solely in a band, and it happened that he found his people around the time he left Fliptop.

Ollie: I wanted I think it suits him better as well. When I saw Goodbye, I realised that he deserves to be a dude in a band that can play guitar really well and then occasionally dip in to do a song of his own too. That’s perfect for him. Because even in the Famous People, a bit of why that ended was was because Alfie didn’t want to sing all the time. So he can play guitar and sing, but not all the time. And he doesn’t have to touch trombone!

Ollie and Marie are both in Atticomatic (playing at the Rossi Bar on 23th November).

Marie: Fliptop was my first band ever and I joined Attic later on

Ollie: I was in Atticomatic, and then I joined Fliptop. It was from playing together, I guess, because we knew that Attic’s bassist was gonna leave. And then I saw Marie in sound check when both bands played at Prince Albert together and asked if she wanted come to a practice. It’s good to have a homie in both because it’s easier when you have commitments with the other band.

Bertie: I drum for Ideal Living, and every now and then I play in Freddie J Watt’s band, who Bowie also does backing vocals for sometimes. But that’s a part time thing – Ideal Living is full time.

Bowie: The thing with an kind of creativity is that because it’s hard to do it can become a little bit competitive, but the Brighton Music Scene just isn’t like that. It’s so lovely. Everyone helps each other, everyone in, everyone’s fans. It’s like it’s just nothing but – I don’t know – It’s love.

Van Zon / Cannon Fodder

Posted on 08/05/2024 by brightonmusicblog

Our focus on New Releases has mainly switched over to our Instagram Stories these days, but we’re making an exception for a band who have seemed to appear from nowhere fully formed. We first caught them at the Albert last November, bottom of a bill which would have people queuing around the block for these days, alongside the New Eves and Fliptop Head. At that point Van Zon had only been going for a few months, but managed to leave a big impression.

A few months down the road, and they’re ready to release their debut effort Cannon Fodder. You could call it a single, but it clocks in just shy of eight minutes. It defies genres – Post rock weaves it all together, but the violin pulls it into folk territory, and the clarinet and 6/8 time signature sometimes nudge things toward neo-classical and further away from any sort of classification. Not wanting to just regurgitate their PR, I can’t disagree with line that says that it’s “Like a painting by a renaissance master”.

With an Instagram feed of less than a dozen posts, no Facebook, Twitter, or other social media, and very little else about the band anywhere online, I met up with them to try and demystify things. Van Zon tell me that they’re named after a Dutch serial killer, but that the name also means From The Sun in Dutch. Drummer Ewan is part Dutch too, something the rest of the band didn’t find out until they’d settled on a name. They tentatively describe themselves as experimental folk rock, but don’t feel like their sound can easily be slotted in alongside any pre-existing genre. Cannon Fodder was one of the first songs that they played live, and has evolved each time it’s been played out, only becoming it’s final version when it was recorded around a month ago. The rest of their unrecorded material continues to change each time it’s performed, with the band keen to continue to make them “even more epic”. They claim the lack of an online presence isn’t a deliberate attempt to be mysterious – that they don’t have the time, and that they aren’t great at social media. Yet, as we part ways they upload a post of an old painting, with nothing but the dictionary definition of Cannon Fodder in the description, and no hint that it might refer to their upcoming single. So much for not being mysterious. However, the phone signal isn’t great and there’s part-serious, part humourous concern that it’s going to upload multiple times. Maybe this approach to social media is the essence of Van Zon right now – embracing their contradictions and letting their subconscious lead the way, wherever that may take them, and things just turning out just right.

Van Zon are playing five alternative escape gigs next week:

15 May / Pipeline (10:30) – Brighton Noise Stage
16 May / Grand Central (6:45)
17 May / The Gladstone (5pm)- Slack City Stage
17 May / UnBarred Brewery – (9pm) – JOY stage
18 May / The Hope And Ruin (2:30) – Love Thy Neighbour Stage

Hutch – Ice on the Lake / Smile And Wave EP

Posted on 18/01/2024 by brightonmusicblog

Today Hutch release their new single Ice on the Lake, taken from their forthcoming Smile & Wave EP, so we caught up with them at the Lord Nelson (just opposite The Radiator Centre) up to talk about the EP, the upcoming tour, and the buzz around Brighton bands at the moment.

Track One : The Bow
The bow was the first single from the EP, and came out last September. “It’s a song we had before we ever started gigging – there’s an early version of it up on Bandcamp – but we revisited it a couple of years later. We love long jams but we wanted to write some snappier songs. We started opening sets with it when we started doing tight 30 minute sets and playing gigs outside of Brighton – it’s got a lot of energy and in a room with people hanging out and chatting it’s a tune that can turn heads”

Track Two : Ice on the Lake
Was it a deliberate ploy to put Ice on the lake when it’s so cold out? “We’re so glad it worked out that way! The day that The Bow came out there was a Rainbow over Brighton that day, and you can’t write that kind of thing. So with this weather it’s perfect timing. Maybe when Marmalade Air gets released there’s going to be marmalade everywhere! We were actually supposed to release it last year but then we had some setbacks finishing the EP, and we wanted to release it in the wintertime.” It’s a track that has a few tempos – faster, then slower then faster again – “We had songs like Radiator Centre which also do a similar trick – this was a way of writing a long song that was a short song. I think it came off quite well”

Track Three : Marmalade Air
“This came together in a rehearsal session at Under The Bridge, and it was just an idea when we went in, and by the end of the rehearsal we came away with something we were pretty proud of. We played around a lot with recording it faster then slowing it down, so it feels like you’re stuck in a jar of marmalade.”
Track four : See It All
“This was originally written by Eva (Lunny – who’s now just a studio member of the band) so at the moment we won’t be able to play it live. We’re going to try and find a way to do it but we really wanted to put this one on the EP for her. Eva’s like our Spirit Guide. She came up with that song, and it seemed quite fitting at the end of the EP. It’s quite an emotional one.”
The EP was produced by Bobby Smiles, who’s an artist in his own right as well as a producer. “He’s amazing to work with – Some of us played in Tin Man so we worked with him on those recordings, and Charlie and Owen also play in Soft Top, and they worked with him too. He was on Our Family Dog a few years ago as well. He’s got around, but he’s also one of the nicest guys. He’s recording a lot of Brighton bands at the moment.” It feels like there’s a really strong Brighton Scene at the moment – you’ve mentioned bands you and Bobby Smiles are linked with, Flip Top Head are touring with Ideal Living, you go and see one band and the first three or four rows are full of members of other bands. It feels like the Brighton scene is the strongest it’s been in a long time. How does it feel from your perspective? “For us it feels like we’re just hanging out with mates. We’re really lucky, we started gigging just after lockdown and were ready to go once everything opened up again. We played gigs every three days for the first four months, but we weren’t the only ones – everyone had that energy and hunger to get out and about. You meet people and everyone becomes friends and then you’re all just doing it together. If they’re not playing in the bands, they’re working at the venues, at the bar or booking the shows. Also you play with loads of bands and everyone inspires each other, and that’s a beautiful thing. You go and see a band like Ideal living at Green Door before Christmas, and seeing those guys, you’re like Wow, there’s something really amazing going on. The competition is FIERCE! – We’ve been lucky enough to go and play elsewhere and meet a bunch of other bands that are local to those areas and there’s such great vibes, but then you come back to Brighton and there’s things like Mumfest and 234 – the standard of bands in Brighton is so high. We’ve got to try and be the best we can be. And everyone’s doing their own thing, it’s not like everyone’s overlapping, they’re supporting each other, it’s just wonderful. There’s always new bands cropping up as well. Van Zon are the new ones to watch. And Moon Idle (who supported Van Zon on the night we met up). We played at Mutations, and they played just before us. They’re a really cool band. One of those ones where you see a band and you say to yourself give this band a bit of time and they could be huge.”

The week after the EP comes out Hutch are heading out on tour. “We’re all just buzzed to get back out on the road. It’s the BEST thing. It’s so much fun. This is the longest tour we’ve done, with the most dates, and all headline shows. In September we went on tour with Gitkin and we went to Europe, we were playing every night – when we looked we thought we would be exhausted, but then the excitement after the first night, you get there and you have that post show buzz, Man, that’s so much fun. And you look at the tour dates and see that you’ve got that same feeling for another couple of weeks. And a headline tour will be even more exciting. And tours bring us closer together too – Although we spend pretty much all our time together anyway!”
And you’ve got Lewes Psych Fest at the end of January before the tour. “I’m so looking forward to it – it’s one of those line ups that you look at every year and want to check out all the bands because you know they’re going to be cool. Initially when we started playing we thought it would be so great if we could do that at some point”. You’ve worked with Chris Innerstrings (who organises LPF with Melting Vinyl) before – didn’t he do lights for you at 234 festival in 2022? “Yeah, He’s a lovely guy – he’s also doing lights at our show at the Green Door Store date on the tour. That’s the date that we’re most excited about – We’re heading out and slowly working our way back to Brighton. I think the Brighton one will be one to remember.”

Ice on the Lake is out today, the Smile & Wave EP is out 23rd of February, and the band head out on tour on 29th February, playing Brighton on 15th March

Memorials interview and live gallery

Posted on 25/05/2023 by brightonmusicblog

Last week Memorials, Brighton’s newest supergroup, made up of Verity Susman (from Electrelane) and Matthew Simms (from Wire, It Hugs Back, and Better Corners) released a double album called Music for Film. We caught up with them when they were on the road launching the album to ask them a few questions about the band and the record, and took along our camera to the show at their Prince Albert (with the photos underneath the interview below):

Memorials is a new band, but you’ve both been working together for a very long time – I see that Verity played saxophone on the first It Hugs Back album almost fifteen years ago. Is there time you could point at when “Memorials” was born? If I remember right, It’s In Our Hands came out as Susman & Simms before being later released as Memorials.

Verity: We can remember the point exactly – it was when we were offered a gig, and at that point it seemed fairly essential to start a band! We had released It’s In Our Hands a single with no intention of playing gigs, but one thing led to another, and we wanted to have a slightly snappier name than Susman & Simms, which sounds to us like a firm of provincial solicitors.
Matthew: We’ve worked together for 15 years on various projects, but this is the first time we’ve worked on something together where we’ve had a proper chance to focus on it. 8 years or so ago we played at Café Oto in London together, as a trio with Steve Beresford, completely improvised, with Verity on sax and me on modular synth, live processing/sampling, and some of this probably informed some of the things we’re exploring now, but combining this with our love of songwriting.

After It’s In Our Hands, which is a jangly pop song, there was There Are Other Worlds, which featured on a Duophonic cassette and is almost komische in it’s sound, then Tramps which goes in much harder. Did you want to get a wide range of styles out in the first few releases to show your breadth as a band, or were these some of the most obvious singles? Which of these is closest to the “Memorials” sound?

Verity: the Duophonic cassette track (There Are Other Worlds) was written specifically for that release, because we were going to play with Stereolab and they asked all the bands on that night to contribute a track to the tape. We decided we wanted to write something new for it, as we are huge Stereolab fans and wanted to do something special for it, and then that ended up coming out before the film-related albums and singles. The label chose the singles – it’s quite hard to stand outside your own and choose what might appeal most.
Matthew: There Are Other Worlds was the first thing we’d recorded outside of music for film, so in a way it probably hints more at what we’d get up to without any outside influence from film directors.
Verity: We’re part way through recording a new album – of non-film music – and it’s a bit of a mixture of everything we’ve released so far, but jumbled up and spewed out in one big vomit of new music. (Matthew says that’s gross).

The latest single Boudicaaa which came out a few weeks ago is a celebration of notable women throughout history, who may or may not have been lesbians, and was used as the closing music for the film Tramps, the soundtrack to which forms part of the album. The other part of the album is music from the film Women Against The Bomb, which is about the protests in the 80s at Greenham Common. Is celebrating women who have been misrepresented or understated throughout history a central part of the band? How important to you is it that you can use the platform that you have to share this message? Do you think that in the twenty first century, with the role of historians not being confined to old white men so much, that history books might better reflect what actually went on in the past?

Verity: all of those songs were written for the films they soundtracked, so their impetus came from the films. But at the same time, I’m a feminist and that influences me in all walks of life. I definitely think the women of Greenham Common and the movement they created there should be much better known, especially among younger generations who weren’t around at the time, because they were so innovative in their direct action and that is really inspiring for activist-minded young people. Films like Women Against The Bomb are great for bringing this women-centred history to new audiences.

The album “Music for Film: Tramps! & Women Against the Bomb” is out on double LP – is it one disc for each soundtrack or has the tracklist been ordered to make it work better as a whole album? Are all the tracks on the album from the film, or are there extra tracks that were written alongside the soundtracks?

Matthew: it is one disc for each soundtrack – they stand alone as separate albums, as do the films, which were made by different directors. Both albums were individually worked on and sequenced to make them the best listen that we could manage as an album from start to finish. To keep costs down, so we weren’t charging vinyl fans extortionate amounts in the shops, we packaged both together as a double LP.

We’re speaking to you on your first tour – what can people expect when they come and see you live? One of the highlights at your Lewes Psych Fest gig earlier this year was Verity managing to play two synths AND saxophone at the same time.

Verity: we played in Bristol last night, and someone wrote online after that we are like “Stereolab’s evil twin” – I’ll take that description!
Matthew: we play music from both released soundtrack albums, and new material from the album we’re working on at the moment. Between us both we play far too many instruments at once for a two piece!

The various parts of Music for Film are available in the shops, or through the band’s Bandcamp page (which also has a cassette of additional material for sale which won’t be in the shops)