Following the October release of his‘Mockingbird Love’ EP and the November release of his full-length album‘Pearldiving’ (his first album in nine years) comes another unique release by legendary Scottish music sculptor Robin Guthrie – the 4-track‘Riviera’ EP, a collection completed earlier this year..
The ‘Riviera‘ EP is available on limited-edition CD and as a digital download via Soleil Après Minuit with distribution in North America via Darla and in Europe by Cargo.
‘Riviera‘ stands on its own as a release, apart from the album, featuring Guthrie’s ever present signature sound and atmosphere, displaying a refinement and maturity only found in the work of an artist working largely unfettered from the constraints of the music industry.
His approach to music is perhaps more akin to that of a painter or a photographer. The adept use of light and shade, melody and counter melody, the carefully and precisely arranged instrumentation, musical textures and colorings gives his music a depth and level of detail which marks a master craftsman.
“I made this collection earlier this year while taking a break from recording ‘Pearldiving‘. I found a common thread among several unfinished tunes, that curiously, they had all been written on the southern shore of some landmass or other in the northern hemisphere. I was pleasantly surprised when they all fell into place together and retained this atmosphere in my head,” says Guthrie.
Earlier, he shared, “After‘Another Flower’, released just a few days before the untimely passing of my friend and co-conspirator Harold Budd, I felt the need to break my studio down and build it up again afresh to clear my head.”
As of December 10th, ‘Riviera‘ will be available on CD, as well as digitally on all major platforms, including Apple Music, Spotifyand Bandcamp, where it can already be obtained directly from Guthrie himself.
I have been on a bit of a hiatus in my music listening, and then this EP landed in my inbox and am I ever glad it did. I didn’t know who Collect Call was on my first listen, but since then, I now have a google knowledge base of not them, but a single person, Joseph Thorpe. A chap who hangs his hat in Brighton, England. I really must go there sometime post Covid.
On this EP, Chase The Light, Collect Call/Joseph Thorpe have created emotionally charged songs that dance around a pallet of sounds that mix piano, percussion and various electronica to create a soundscape that matches the lyrics marvellously.
I’ll let Joseph Thorpe elaborate: “The recording of this EP came at a point where I was feeling very lost as a musician and writer. I had been sitting on a large collection of songs and wanted to try every conceivable avenue I could musically that didn’t really have any sense of cohesion; I became depressed and questioned what direction I was going in, as well as the other two members of the group at the time departing the project for personal reasons.”
“When the world plummeted into lockdowns, I began tinkering with an idea that would later become ‘Pretense.’ I had been listening to Sufjan Stevens and Kings of Convenience at the time and felt that finishing the song helped me break out of my fugue state, and I could get back into making music that I enjoyed. I then went back and whittled what originally was a 7-track EP to just 4, incorporating two old songs that I reworked and two new ideas that were all but completely recorded in one day at Brighton Electric Studios. The Golden Hour for me is a cathartic reminder of staying true to yourself, chasing the light as it fades over the hill and that sometimes less can indeed be more.”
I like that ethos, staying true to yourself. More of that and a magical, dreamy soundscape will carry you along as you absorb this recording. It is a short and sweet ride that leaves me wanting more.
‘The Golden Hour‘ is out now, available digitally across online stores and streaming platforms, including Apple Music,Spotify and Bandcamp.
Having grown up in Jersey and the Caribbean, Sam Walwyn developed a sound rich with his experiences, blending indie-folk and alt-pop, tinted with flamenco influences. His curiosity for different musical cultures influenced his songwriting and use of rhythm.
Sam spent six months travelling, writing, and gigging before joining the Royal Northern College of Music in Manchester. He also learned flamenco guitar alongside a maestro based in Australia. Only one year into his studies, Sam fell seriously ill and had to go back home to Jersey. Before he could walk or even talk properly again, he found he could play his guitar and began writing every day.
Sam took this time to develop his sound and uploaded live clips and short films to Instagram with his lo-fi bedroom demos behind them. Early support from fans attracted the interest from local promoters leading Sam to open for Gabrielle Aplin and share the stage with Newton Faulkner.
Sam’s debut single, “For You,” released in 2020, received significant traction, gaining over 300k streams. For You was featured on two major Spotify editorial playlists, ‘Easy’ and ‘Your Coffee Break,’ and was picked up by the BBC Introducing as ‘Track of the Week.’
After releasing his second single, “Clutter,” which was selected as ‘Track of the Week’ by the Introducing team, Sam started posting on TikTok, sharing guitar melodies and originals. One of his posts went viral, reaching more than 6 million views and helping build an audience of more than 100k followers.
In February 2021, he was selected to represent Channel Island on BBC Radio 1. He was chosen as a ‘2021 One To Watch’ artist by the BBC Channel Islands.
Sam Walwyn has made a considerable impression with his singles First Place, Littered Sense Of You, and Mama Plum that were stagger released throughout 2021. Now the fast-rising singer-songwriter has just dropped his debut EP ‘How Would I Know’ along with the title track of the same name. The EP brings all of his singles together for a pleasant 14 minutes of music.
I am sure that we will be hearing more from the Channel Island troubadour Sam Walwyn. I enjoyed the easy-going familiar feeling of his songs. This is music hungry for a bigger slice of the pie, so grab a place at the table and enjoy the music of Sam Walwyn and his EP How Would I Know.
I have done a good deal of travelling throughout my life. Once it is safe to do so, I fully intend to do more travelling, there are some places I haven’t scratched off my bucket list, and there are places that I want to revisit.
A singer/songwriter from the UK, Alexander Hulme, has also done his fair share of travelling, and, like me, he also has wanderlust.
“So much of this world to touch
I can never get enough.”
He also looks forward to travelling again while staying grounded when he gets tired, as he laments.
“tired, oh so tired, leave this all behind.”
I get the impression that he can also conjure the ability to travel while going nowhere—an armchair traveller. Through the magic of the internet and good books, I have fed my urge to wander without leaving home—a handy trick in the era of Covid.
I have spun that last bit of writing while listening to Alexander Hulme and his new EP, Slow Down, out 12th November, and specifically the track Travelling, a magical bit of music that I get lost in my brain while listening to it. It’s not just the words; the music surrounding the words takes my breath away. I’ll let Alexander tell you a bit about it himself.
“Travelling was written in 2019, back when I took being able to leave the country and explore some of the magic that is out there on this rock in space for granted. Myself and my partner have always been quite restless, always looking on the horizon for the next great adventure; we really find it hard to put down roots. I think it’s a side effect of university, if I’m honest. We got used to moving house every year, and then after uni, we hopped around our parent’s houses, rented accommodation and places all across the country, so we both find it quite hard to stand still at times.
Travelling was written just before my holiday to Thailand back in 2019 and was all about finally being able to scratch that itch. Since the pandemic days, myself and Gemma have really had to come to terms with putting down roots and finding some sort of peace whilst stationary. I think in hindsight, it was actually really good for us!
However, Travelling is all about the adventure, the excitement and wonder that comes from throwing off the every day for a life more exciting.
Written entirely by the artist himself and produced by David Alexander Lomelino, Alexander’s EP ‘Slow Down‘ marks the next vital stage in his growing and fledgling career. Showcasing his breadth for smooth and enticing songwriting, the new four-track EP makes for an embracing, and organic listen that will see him capture the hearts of thousands, if not millions.
This EP, Slow Down, was the first time I engaged with the music of Alexander Hulme. I certainly hope it is not the last.
GAVIN MURPHY SONGS is the title of an artist blurb that showed up in my email mail folder. That got me thinking, and what I thunk is that this Gavin Murphy fella must be a singer, ’cause that is what people mostly do with songs. So, what does Gavin Murphy sound like when he sings Gavin Murphy songs? I had to find out.
So, what I done did is listen to Gavin Murphy Songs. Or did I listen to Gavin Murphy’s songs? Maybe I listen to Gavin Murphy singing Gavin Murphy songs on Gavin Murphy Songs. Now, I done confused meself. Don’t matter much ’cause I’s just a goin to tell y’all what I heard.
That Gavin Murphy fella is a fine singer. And Gavin Murphy’s Songs ain’t half bad either. So I listened agin to see if I could use a gin pole to raise that above half bad. It worked; I git it closer than a 10-foot pole, so I heard it agin and agin. It got more and more pleasin’ to my ears. Soundin’ good ’nuff so ah jus’ have to tell y’all about it.
I will pause here to let my linguistic interpretation move from early Arkansas to present-day Edmonton.
Gavin Murphy sings chill pop music that would feel right on a Sunday morning with a cup of joe and the morning news. He is a jongleur who interprets life from his point of view and within his time on this spinning globe that we call home. And Gavin Murphy is a solid ten for this two-song single and the accompanying video.
We have easy listening radio stations, and I can see Gavin Murphy Songs fitting easily into that MO. Easy listening calms our restless souls, and that is what Gavin Murphy Songs does. I’ll let Gavin Murphy tell you about his music in his own words.
“My new single ‘Alive’ is about embracing the positives in life. To witness the sunrise at dawn is a beautiful, heartwarming experience. Appreciating the simple pleasures in life and reflecting upon good memories can help us through difficult times,” says Gavin Murphy.
“On the other hand, ‘The Sound of Heartbreak’ is a rite of passage that nobody escapes. You suffer from it; you inflict it – don’t kid yourself otherwise, it will keep happening until you learn from it and finally make peace with the scars”.
‘Alive’ and ‘The Sound of Heartbreak’ are out now, available across streaming platforms and online stores, including Spotify, Apple Music and Bandcamp. There is a video for The Sound of Heartbreak as well; check it out at
Sometimes music has to take a long and winding road before it reaches us. I am listening down that road today, starting at an album called Under The Water by the Irish indie band Into Paradise. Unfortunately, Into Paradise didn’t float them above the water. The next release for the band was Churchtown, and it managed to make some ripples in the press, and it was more commercially successful for the band. I have to admit that Churchtown was more appealing to me than Under The Water, but they were both excellent listens.Churchtown has the ethos of that era, which is good because they have cited that Joy Division was an influence for them. Also mentioned were Echo & the Bunnymen as another of their influencers. That makes some pretty good pedigree to start a band.
Now that we know more about the band Into Paradise, we can move on to the next round on my listening list today. Blue in Heaven was an Irish musical adventure active in the 80s. They burst out of Ireland with other outfits of that era such as Simple Minds, U2 and the Waterboys. They released two full-length albums on Island Records: All the Gods Men (1985) and Explicit Material (1986). They also released several singles and EPs. Last FM has their catalogue for your listening pleasure. I enjoyed listening to their music, and although it has been 35 or so years since these bands were active, the music still sounds fresh to me. I am a magnet for anything post-punk/new wave, so both Into Paradise and Blue in Heaven resonate with me, good music from both bands.
We now transition to why I spent a fair chunk of time talking to you about these two particular bands. David Long was the face of the 1980s band Into Paradise, and Shane O’Neill was front and center in the band Blue In Heaven, and these two gentlemen have gotten together and collaborated on some new material. That is news worth talking about.
Hailing from the same part of Dublin, Long and O’Neill had known each other since they were 6 or 7. They started their musical lives with a trio called amuse that featured David Long on bass and vocals, Shane on guitar, and Dave Clarke (Warren Zevon, now Hothouse Flowers) on drums. After splitting and doing their separate thing, around 1996, they recorded an album as an outfit called Supernaut.
With my penchant for post-punk/new wave, their new songs hit me like a flying mallet. At the start of the first song on this EP, the jangling guitar sent electricity bursting through my whole body. My oh my, this is the start of a good thing—three good things to be accurate. Far From Home, Shake Me, I’m Magic and Hand Of Love.The bass line in Shake Me, I’m Magic is incredible. I won’t type out all the lyrics, but there is one line from the song Far From Home that spoke loud and clear to me,
Sometimes hard to remember all I’ve seen,
Sometimes feels like a dream
I’m not a young man any longer, and sometimes it is hard to remember all I’ve seen and sometimes it can feel like walking through a dream where the line that separates reality from the dream fuzzy and shifting back and forth.
“We wanted to make an album that could and should be listened to all the way through. It was an equal collaboration. Shane and myself have known each other so long that there was never a problem editing each other if something didn’t fit with the song. We had no time restrictions, or release dates to go by, so we took our time with this album and thought about every aspect of it, song titles, running order, album cover, album name, and what songs to leave on and leave off. The instrumentals are very important to the album’s story.,” says Dave Long.
“We were always the kind of musicians who couldn’t play other people’s songs properly, barely able to play some of our own songs. We’ve always loved music but didn’t always get some of the community surrounding it. I was trying to use my memories of working with Hannett to help create atmospherics and space behind the guitars and drums (he used to stop the tape and joke it was mixed if the echo was interesting). Dave wanted an early style of guitar I used to play, less bar chords, more angular ringing notes,” says Shane O’Neill.
As of July 16, the ‘Far From Home‘ maxi-single will be available across online platforms such as Spotify, Apple Musicand Bandcamp. The ‘Moll & Zeis’ album will be released everywhere digitally in September.
Manchester-based Caulbearers present ‘Solid Supposedfeaturing Somerset-based vocalist Ruth Blake, with haunting vocals and multi-layered delivery, perfectly resonating with the dream-like, otherworldly theme of the lyrics. The vocals bathed in distortion and delay, accompanied by Caulbearers signature horns, strings and live breakbeats.
The stunning B-side to their single ‘Burst Through The Borders’, a different version of this song was released on the ‘More Lie Deep’ EP (2011), In this rendition, frontman Damien Mahoney‘s vocals are switched out for Blake’s. This is part of an ongoing collaboration between the two artists, Mahoney also having produced her recently-released single ‘Brave Ships’ single.
Influenced by modern, urban existence and celebrating the sacred in the everyday and the supposedly mundane, the song’s lyrics for ‘Burst Through The Borders’ were inspired by dreaming of a beautiful revolution occurring in the markets, pubs, boardrooms, hospitals and schools of our towns and cities. The fantastic cover artwork was created by James Roper.
Shot almost entirely on mobile phones during the Covid 19 epidemic and under various states of lockdown restrictions in 2020, the accompanying video depicts eerily empty scenes of Manchester, the Blackburn countryside and the Norfolk coastline. This collaboration between Mahoney and editor / animator James Stirzaker is rooted in a long history of working with the band, including artwork for the ‘Over Comes A Cloud’ single (December 2020). As in the song, the natural world with its mysteries, wisdom and wonder, is the main protagonist.
“I wanted to capture all these locations at such a unique time when everything felt so different, to help tell the story of a song that imagines great transformations of our societies, spaces, cultures and of ourselves,” says Damian Mahoney.
“As a species, we have so many difficult challenges to find solutions for, that it can feel overwhelming to know where and how to start. I wanted to write something that had total faith in the possibility of change, in the ability to transcend the complexities of our modern lives with simplicity. The song imagines this energy of love flooding through the world and transforming the institutions and purposes of our societies and our lives. By its nature, it dismantles the barriers that cause hardship for so many and the borders that separate us from each other.”
Caulbearers was formed in 2007 with contributors from around the UK and Europe. A DIY ethic has coursed through the band’s work from releases, design and production to the recording process. This hybrid ensemble blends diverse musical styles, fusing them together live and in the studio, weaving nu jazz and folk with elements of hip-hop, funk, dub, soul and afrobeat.
CREDITS Written, produced & edited by Damien Mahoney Rhythm and guitar tracks recorded at Airtight Studios in Manchester Vocal & instrument recording by Damien Mahoney at his Padded Cell studio Mixed by Seadna Mcphail Mastered by Jim Spencer at Eve Mastering in Greater Manchester Video directed by James Stirzaker & Damien Mahoney Filmed by Elizabeth Murphy, Damien Mahoney, James Stirzaker, Elia Santini, Richard Smith and Amii Priestley Video editing & post-production by James Stirzaker Single cover artwork by James Roper Photos by Jan Schoof. Collages by James Stirzaker
I love it when some new music comes along, and it gobsmacks me right square in my face. Well, that happened to me this week. The artist in question goes by the moniker The Academy of Sun; quiet a mouthful ain’t it! They are a psychedelic post-punk quartet anchored around Nick Hudson on piano, synths, Hammond organ, harmonium, vocals, percussion, synths. Along with the rock-solid accompaniment of Kianna Blue on bass and synths. Guy Brice treats us to his guitar playing, and Ash Babb keeps it rock steady on percussion. This 7″ release from Heaven’s Lathe follows the sonic holiday of their 2020 album The Quiet Earth, which I highly recommend you to give a listen.
The A-side of this recording, ‘It Is Finished When It’s Destroyed,’ comes at us as a two for the price of one recording. It makes a grand entrance with smooth as silk synths and builds on that into soaring vocals that segues into staccato percussion and harmonious vocals. The second section sees Hudson’s keening vocal riding over the percussion of floor toms and more synths. Mixed by acclaimed US producer Randall Dunn (Sunn O))), Danny Elfman, Earth, Mandy OST), the attention to detail and the tasteful placement of sounds make it all work together for one heck of a good song. The flipside ‘Ghost Foxes‘ opens with the rat-a-tat of drums and rapid-fire singing from Nick Hudson that left me tired just listening to. These two tracks present The Academy of Sun as a band going places.
“The first The Academy Of Sun track I’ve written since finishing writing ‘The Quiet Earth’ in 2018, this is an aquaplaning freight train of psychedelia and snarl – with the second part endlessly modulating over a skittery, syncopated drum pattern and Mariana Trench-plumbing synths. Whether it is lyrically directed at the heinous cabal of xenophobic disaster capitalists currently holed up in UK parliament remains to be seen (it is),” says Nick Hudson.
“‘Ghost Foxes’ was written for ‘The Quiet Earth,’ but never felt “right” until we were asked to create this release. A satire on esotericism, boasting yet another Herzog quote and some mesmerizing guitar tones from our plank-wielder, Guy Brice, ‘Ghost Foxes’ was always riotous to play live, and will be again.”
On Friday, July 2 at 6 PM BST, Heaven’s Lathe will be releasing this on a 7″ lathe-cut vinyl through Heaven’s Lathe on Bandcamp.
This black hand-numbered 7″ high-quality stereo lathe-cut vinyl features an engraved Heavens Lathe logo, a 230gsm sleeve, black inner sleeve and PVC protective sleeve. Ships within a white poly-lined inner paper sleeve and a ‘lathe cut’ care card include digital download. Otherwise, these tracks will be available digitally in mid-August.
Written by Nick Hudson, arranged by The Academy Of Sun:
Nick Hudson, Guy Brice, Kianna Blue, Ash Babb
Vocals & synths recorded by Nick Hudson at The Lament Configuration.
Bass recorded by Kianna Blue at Alfie Towers.
A side guitars/drums recorded by Joseph Thorpe at Brighton Electric.
B side drums recorded by Paul Pascoe at Church Road Studios, Hove.
A side mixed by Randall Dunn at Circular Ruin Studios NYC.
B side mixed by Paul Pascoe at Church Road Studios Hove.
Mastered by Randall Dunn at Circular Ruin Studios NYC.
Artwork & layout by Ash Babb, Cover painting by Nick Hudson.
All lathe cutting and engineering are by Michael Lawrence.
I got taken to school today, and I fully deserved it. I had been offered the opportunity to write a blog posting about a new release from a chap named Colin Moulding, yes, the Colin Moulding from XTC. A quick look at the PR and a brief perusal of his latest release prompted my premature conclusion that I didn’t want to do a blog about three songs.
My decision had nothing to do with the quality of Colin Mouldings’ music. It’s just that I don’t particularly enjoy doing blogs for singles, and then after covering three singles from the artist, they release an EP with four songs. Whoopie, I could have just done the EP and saved paper.
I informed Shauna, the talent agent who feeds me new music, that I would like to wait till Colin Moulding released an album. And this is when the reeducation of Norman began to correct his miseducation in regards to XTC. A tip of the proverbial hat to Lauryn Hill, and a huge wave of gratitude to Shauna at Shameless Promotion PR for tuning me in to the fact that this release is in deed a big deal that I really should take another look at. Which I did.
The first baby step that I took was to listen to the back catalogue of XTC. I owned one slab of vinyl by them, Drums and Wires. The only reason I had that album is because I liked one song on the record, Making Plans For Nigel.
I started my education by listening with Apple Essentials, but I quickly moved on from that to a brief visit at White Music, XTC‘s debut album. It was closer to punk than the XTC that I knew from Drums and Wires but a good recording in that vein of music. Next up was English Settlement, a lovely transition album moving the band away from their post-punk/new wave era into a more refined but more complex musical direction. I found English Settlement very interesting, with intelligent lyrics and well-placed music to accompany those songs. I also found that as I sampled a few of their other albums, I continued to gravitate back towards the English Settlement. Perhaps a Freudian slip since I live in an English settlement.
Meanwhile, the exercise of trying to understand where Colin Moulding was coming from jarred a few musical memories loose in my thick skull. Senses Working Overtime, a great song that hasn’t lost any of its power and sensibility. The tune Dear God was almost a mantra in a previous life that I lived. It then became blasphemy and then became a song with a high place in my song hierarchy. Curious about how life is and the music that we attach to moments that we live through. I won’t bore you with more on this train of thought; there are great books about it if you want to learn more about earworms and the science of music memory.
Guitar Zero The New Musician and the Science of Learning by Gary Marcus was a fun and inspiring read.
The World in Six Songs by Daniel Levitin
This Is Your Brain on Music: The Science of a Human Obsession, also by Daniel Levitin, is an excellent book.
Musicophilia by Oliver Sacks is more academic but very informative.
Fast forward from Skylarking in 1986 to July 2, 2021, when XTC legend Colin Moulding releases ‘The Hardest Battle’ on CD via Burning Shed.
This release gives us a glimpse into the creative process of one of the UK’s finest songwriters. The Hardest Battle provides us with a bridge from the popular music of XTC to the music that Colin Moulding crafts for us on this EP. ‘The Hardest Battle‘ is the first new material from Colin Moulding in many years.
Colin Moulding tells us: “To be nobody but yourself – in a world which is doing its best, night and day, to make you like everybody else – means to fight the hardest battle any human being can fight”… I saw these lines in a book I picked up in a secondhand bookshop and thought…maybe there’s a song there …I think it’s by the poet EE Cummins,”
“And there it was. All I had to do was come up with some music to marry to this notion. I do think most people aren’t themselves really or become themselves eventually. And that struggle isn’t easy. I recorded this pretty much in isolation, as most people have been this past year or so. One crazy year for all of us. Perhaps ‘The Hardest Battle‘ we humans have faced externally, as well as the one we fight internally every day.”
“About ‘Say It,’ I just felt this track deserved a better fate than it got, really. I wrote it for the XTC album that never was. But it ended up on a promo disk amongst XTC’s ‘Last Days of Rome’ This version feels much more akin to my original song mindset compared to the expedient I agreed to at the time,” says Colin Moulding.
Regarding ‘The Hardest Battle (First Exploratory Demo),’ Colin Moulding adds, “I think demos are much more of a demonstration to one’s self than for other people. You have to find out what works and what doesn’t. Therefore, you shoot from the hip and just fire it out and see what sticks. Larkin always said that he didn’t know what his poems were about initially until he got some way into them;- that’s what this is;- I’m just ‘Larkin’ around until it presents itself. Then the crossword puzzle can begin.”
After learning my lesson on just how good XTC was as a band and how each member contributed, I also found out that I liked XTC for more than Making Plans For Nigel. Bottom line, a huge thank you to Shauna at Shameless Promotions PR for taking the time to give me a lesson on a band that I had overlooked. I probably passed hundreds of copies of XTC‘s albums through my hands when I worked at Record Collectors Paradise, and I never took the time to stop and listen. I have found that taking the time to listen can be a hard battle as well. I recommend taking the time to stop and listen to Colin Moulding and The Hardest Battle. I know that hitting repeat will not be the hardest battle, and buying the CD is not a hard battle either, so do your ears a favour and take the time to stop and listen to this great music.
Officially out on July 2, ‘The Hardest Battle’ can be ordered on CD single exclusively via Burning Shed at:
I’m listening to the EP Brave Warrior from a band named Keeley. The first track, The Glitter and the Glue, comes charging at me at full gallop. It hearkens back to the vocals and volume of The Runaways with a bit of tweaking at the soundboard to bring it into the 21st century. Good stuff; I loved The Glitter and the Glue. The whole song works as a pop/punk anthem with blasting guitars and a good fast pace.
The whole EP isn’t on the same page as The Glitter and the Glue. The next song is Last Words; it changes gears into a more new wave/post-punk song. It may not have the same energy as The Glitter and the Glue, but it stands on its own merit. The third track of this four-track EP is Never Here Always There, and it presents us, the listeners, with a whole new tableau, a more sombre sound but not melancholy. The EP closes with You Never Made It That Far, pulsing and building to close a chapter in the story. Overall I enjoyed the dozen times that I played this EP, as good a concept EP as any other I have heard. I look forward to a long player with more of the story.
Hailing from Dublin and fronted by vocalist and guitarist Keeley, the band includes Marty Canavan on keyboards, Martin Fagan on bass and Pete Duff on drums.
Keeley pursues an unusual conceptual thread, conceived several years ago, focusing on German tourist Inga Maria Hauser, whose murder in Northern Ireland in 1988 remains unsolved.
For the past five years, the band’s frontwoman and songwriter Keeley has been publishing a blog with a devoted global following – ‘The Keeley Chronicles.’ She is documenting the many facets of this unique, harrowing and mysterious case, correcting the falsely published details of Inga’s life and piecing together what happened in the final days of her trip. By working in close quarters with Northern Irish police, senior politicians and Inga’s legal representatives in Northern Ireland in concerted efforts to advance and resolve this notorious case, she is keeping the memory of this beautiful and mysterious soul alive.
“Inga is the subject of everything I write. From the moment I first read about her exactly five years ago now, her cause became a burning obsession for me. Since that day, I haven’t written a song about anyone or anything else… I consider myself a concept artist, and my purpose is to give Inga a voice,” says Keeley.
Dimple Discs is a new Peckham label with deep Irish music connections, founded in 2018 by Damian O’Neill of The Undertones and Brian O’Neill, initially as a vehicle for Damian’s solo projects. It has grown to encompass such artists as The Undertones, Cathal Coughlan, Kev Hopper, Eileen Gogan and Nick Haeffner with forthcoming archive material from Microdisney and Fatima Mansions.
“We are thrilled to have Keeley joining us as she is an exciting new talent – we were hooked from the opening bars of ‘The Glitter And The Glue.’ Welcome to the family, Keeley!” says Brian O’Neill.
Already recording new works at Darklands Audio in Dublin, where Fontaines D.C. recorded their first album, Keeley looks forward to releasing this ‘Brave Warrior’ EP on June 18. It can be pre-ordered via Bandcamp with ‘Glitter and The Glue’ being offered for immediate download with any order.