Hutch – Ice on the Lake / Smile And Wave EP

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

Von Zon at Green Door Store

HAPPY NEW YEAR! When we first saw Van Zon supporting Flip Top Head last year we knew it wouldn’t be long before they were headlining gigs, and last night they did, playing their first bill topping gig at Green Door Store. If you missed it, they’ve got a whole bunch more shows coming up – check their instagram for details. Support came from Moon Idle, playing their modern take on trip hop, and Nina Kohout, whose layered vocal tracks definitely pushed our buttons. As usual, click through to view large

 

Brighton Music Blog End of Year review

It’s that time again where we give a shout out to the bands we’ve loved over the last year. As always it’s worth flagging that it’s a subjective thing, and also that huge swathes of music passes me by – which is to get my apology in early for anything and everything that isn’t in here. The local music scene feels like it’s in rude health at the moment, despite being knocked sideways a bit over lockdown and social media becoming less and less effective. But anyway, onto the music…

Firstly a shoutout to what I like to think of as the Old Guard. Fatboy Slim DJed at the Prince Albert when it felt like it was under threat from a planning application. The Go! Team proved they’re as sharp as ever with their album Get Up Sequences Part two, Electric Soft Parade surprised everyone with their release of Avenue Dot which nobody was expecting (and Thomas White also played his first solo gig in ten years), and Steve Mason dropped his fifth solo album Brothers & Sisters (which he showcased with a gig in Worthing last week).

There’s also a number of acts who have been in the music industry for a while but are releasing under new names. Electralane’s Verity Susman has teamed up with Wire’s Matthew Simms to form Memorials, whose double album Music for Film showed their skills to be far more expansive than either of their other bands work. It’s still not too late to catch them live this year – they’ll be playing at Lewes Con Club this coming Sunday. Penelope Trappes and Agnes Haus are/were members of on-hiatus The Golden Filter, now also putting out releases (Heavenly Spheres and Sequel respectively) the show a dimension that goes well beyond what they initially became known for. Penelope Trappes’ Heavenly Spheres was released on Nite Hives, her new experimental cassette based label run by and for women and gender nonconforming artists, who have just announced their second release. Both Penelope Trappes and Agnes Haus are on the bill for A Séance for the Solstice at the Rosehill on 22nd December, being put on by Dem Papademetrie and Saint Etienne’s Pete Wiggs who produce the weekly Séance radio show.

Brighton has long welcomed people from outside it’s borders – those who claim that you’re not a proper Brightonian if you weren’t born here could do well to remember that Brighton was just a small fishing village with a population of less than 2,000 before the Prince Regent turned up and had the Pavilion built, so very few of these people can claim to have families dating back more than a couple of generations. Which leads me to possibly Brighton’s brightest star at the moment – CMAT has just played four nights in a row in Dublin, but kicked off her tour with a hometown gig at Chalk, with banter between songs about Lewes Road, and Penelope Isles Jack Wolter / Cubzoa on guitar. Now’s also a good time to give a shout out to ĠENN (originally from Malta), Ciel (Netherlands and Spain), and Wax Machine (Brazil via Italy) who are all making the place even more special.

Lambrini Girls have had a very good year – their own EP release, a guest vocal with Iggy Pop covering Depeche Mode’s Personal Jesus for Trevor Horn’s covers album, and sticking it to TERFs in a Kerrang interview telling them to to “have fun on the wrong side of history”. In a parallel universe that only exists in my head it could easily have been the likes of CLT DRP making those comments.

At the completely opposite end of the music spectrum to Lambrini Girls, there’s a couple of ambient albums that have soothed my ears this year. Ironically, the first is from the sister of Lambrini Girls’ lead singer – Eva Lunny’s Sonics & Meditations, equal parts harp and electronica, came out in the spring on Bella Union’s Private Pressings imprint and is still on heavy rotation in these parts. There was also Guided by Horses by Sam Organ (sometimes seen as a third of Physics House Band), a lovely pastoral work inspired by the South Downs.

My current enthusiasm for the local music scene comes from by being at gigs recently and recognising so many people from other bands in the audience, seeing how they support each other – collaborating on each other’s releases, playing support slots, and just showing up to watch them play – all of which makes a big difference. Most recently, at last weekend’s Ideal Living gig at the Green Door Store I spotted members of Fliptop Head, The New Eves, Van Zon and Hutch in the crowd. There were probably more I didn’t spot too. All of these bands would be worth seeing independently, regardless of who they were friends with, but regularly spotting people supporting each other feels quite life affirming. I imagine most of them will be back at the Green Door Store this Sunday for Mumfest where a lot of other associated acts are on the bill.

I also wanted to give a shoutout to a bunch of other great bands I’ve loved this year ARXX and their album Ride or Die (who are have one last gig of the year on 15th December at Water Bear), Trip Westerns and their self titled EP (who you can catch at Acid Box’s 10th birthday celebrations this weekend), Dark Horses and their album While We Were Sleeping, Egyptian Blue who released their debut A Living Commodity this year, and Soft Walls who made a return with their first album in four years, True Love. It’s been a very good year for Brighton bands.

Last, but definitely by no means least, I wanted to call out the two  bands who I reckon will be HUGE in 2024. Lime Garden release their debut album One More Thing in February, and I can’t see how they can possibly go wrong on the basis of everything they’ve put out so far. Rest assured we’ll be in the front row for their gig at Chalk in March. Another band not putting a foot wrong in our book is Hutch. there’s no news of an album just yet, but they’re playing bigger and bigger gigs, and surely it’s only a matter of time before the rest of the world catches on.

 

 

ĠENN at Mutations Festival gallery

Last weekend was Mutations festival around Brighton, which we couldn’t make most of because of other weekend plans. But with a bit of last minute shuffling, we managed to get into ĠENN‘s set on thursday night at the Hope & Ruin – a last minute addition to the bill, and very fortuitous for us after we missed their gig at the Komedia last month. Of course we took our camera along, click through to view large

Unum is out now, available signed on Orange vinyl at Resident, or from Bandcamp (and all the other usual places too):

 

The Return of Nanocluster

It’s been a bit quiet on the blog over the summer, as the local scene always gets quiet in festival season (although there has been a few gigs where we haven’t taken so many photos, which just ended up on our Insta feed). Gigs are firmly back now though, and last night saw the return of NanoclusterImmersion‘s live night where they invite guests to collaborate for a week culminating in a performances at the Rosehill. As noted last night, it’s been four years since the last local Nanocluster (although they took the event to SXSW festival earlier this year), and it was a joy to see the event return. Last night’s guest was Cubzoa AKA Jack from Penelope Isles, who brought psychedelic guitar squalls to Immersion’s kraut based electronica, all accompanied by visuals that I assume were put together by Malka Spiegel, judging by the output of her personal Instagram feed, which featured emotive views of Brighton and beyond. There’s no word yet on when the next one will be, but hopefully it won’t be in another four years!

Thomas White at the Pipeline gallery

Apparently it’s been ten years since Thomas White last played a solo gig. It’s not like he hasn’t been busy since – In that time there’s been a couple of Electric Soft Parade albums, the formation and retirement of The Fiction Aisle, unexpected ambient side project Queer Drone Freedom Ensemble, and drumming duties with Rose Elinor Dougall (and more recently with The Waeve). For much of the latter years of that period though, as he explained onstage last night, he was beset with writers block, which only lifted when his father passed away. He’s back writing songs again now, with a new EP on it’s way shortly, and this was intimate gig was the first opportunity to play some of those songs, as well as highlights from his extensive back catalogue and the odd cover.

Support came from M. Butterfly, Unholy Jo (who was responsible for encouraging Thomas to play live again) and 3D Jesus.

click through to the pics to view large

Brighton Rocks #39 : Eva Lunny

 

If you’ve caught BMB favourites Hutch over the last year or so, you might have seen them joined by Eva Lunny on harp and electronics. This Friday she steps forward and releases her own solo album Sonics & Meditations which is coming out on Bella Union’s Private Pressing imprint, and plays a launch party at the Rose Hill on Thursday. We caught up with her for our first Brighton Rocks of 2023:

What’s the best thing about Brighton?
I think it’s the people and their attitude around just giving things a go, especially in the music scene. It’s the perfect place to start off a new band or project and play live for the first time as there’s a lot of lovely venues that draw in a very supportive crowd who just want to see what you’re up to.

Who are your favourite local bands?
Plantoid are incredible, I think they’re definitely on the path to something very exciting. They’re all absolutely incredible musicians and their music takes you on a real journey.

What’s the best venue?
The Rose Hill always puts on more experimental artists, I feel like Brighton lacks spaces for these kinds of shows. I also love the Folklore Rooms, it’s so beautiful there and always showcases a lot of great artists who are on the more folky side of things.

What’s the best rehearsal space / studio?
I love Under The Bridge as they’re very focused on the community and the space is kept affordable as well. The staff are super nice!

What’s the best club?
Green Door Store. They put on really silly nights sometimes. Me and my band hosted a Shrek 2 screening there which was definitely one of the funniest things I’ve ever been to at a nightclub and I think the team behind the venue want to make sure that everyone has an event they can enjoy there!

What’s the best record shop?
Bella Union!

Where’s the best place to eat?
I love We Heart Falafel, it’s definitely me and my friends’ go-to.

What’s the best pub?
I’ve always loved The Prince Albert as my older sister used to work there and since then it’s always had a homely feel to me.

Who’s your favourite Brighton celebrity?
Probably Fatboy Slim, he’s a real icon!

When was the last time you had any Brighton Rock?
Maybe when I was about 5 years old

The album is available to pre-order from bandcamp and the Bella Union online shop, and will no doubt be available to buy at the new Bella Union shop on Church Street.

Memorials interview and live gallery

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)

 

Electric Soft Parade / Avenue Dot

Where to start writing about the new Electric Soft Parade album – how about last week, when I was at the Rosehill for Melting Vinyl’s unofficial Great Escape Fire Records showcase gig, with a friend who’s also friends with the White brothers? We were just catching up when Thomas bounds over, all smiles and warmth. He says hi to both of us, and before we know it, he’s off catching up with someone else he knows through being based in the local music scene for over twenty years. After he moved on, my mate relays that Alex has told him that there’s loads of unreleased Electric Soft Parade material, but that there were no plans to release it. It seems a week is a long time not just in politics, but in the world of Electric Soft Parade, because today, out of nowhere, Avenue Dot has just been released. Looking at the credits, on paper this album looks likes Alex’s baby, having written and played most of it, but the magic of ESP comes when they come together – Alex’s songwriting combined the deft touch of Tom’s drums and synths layered over the top and subtle sprinkles of stardust in the production. As you’d expect from an ESP album in this day and age, it doesn’t rest on it’s laurels – it opens (and closes) with jazz saxophones, The Hundred Years War is unashamed country and Momentary Bliss is dreamy psych. It’s good to have the brothers back.