Met on a commune near Oklahoma city and look at them now!!
Matt from Memphis Industries sent me this track yesterday. I pressed play, the clouds parted, the sun came out, the day brightened, everything was good and everyone was and happy. See for yourself, go on listen.
The rest of this is from the press release for the Yes! It sums up...
Having met on a commune just outside Oklahoma City, lead singer Ryan Hendrix and axe man Nick Turner (Yorkshire’s representative) corralled Nick Ley (drums) and Colin Fleishacker (bass) into giving flesh to Colourmusic’s collective brainwrongs.
Playing in and around Oklahoma from 2007, Colourmusic’s shows soon became the stuff of local legend – there was the show where, having not shaved or cut their hair for six months, the band invited the audience up to chop off their hair and clothes progressively through out the set. They’ve invited the audience to paint them in emulsion, like a live action Jackson Pollock, and they’ve faked the death of Nick Turner, replete with real coffin and interview with God. All of this with frontman Ryan Hendrix's coming on like a cult-leader - spooky, uplifting and ever so slightly odd.
Allied with a video that comes on like a strange tourist board advert for Oklahoma, Yes!’s AC/DC meets Flaming Lips euphoric heavyism’s serve as a splendid introduction to the world of Colourmusic.
Released 2nd November 2009., this track is set for HUGEs, that is for sure!!
The rest of this is from the press release for the Yes! It sums up...
Having met on a commune just outside Oklahoma City, lead singer Ryan Hendrix and axe man Nick Turner (Yorkshire’s representative) corralled Nick Ley (drums) and Colin Fleishacker (bass) into giving flesh to Colourmusic’s collective brainwrongs.
Playing in and around Oklahoma from 2007, Colourmusic’s shows soon became the stuff of local legend – there was the show where, having not shaved or cut their hair for six months, the band invited the audience up to chop off their hair and clothes progressively through out the set. They’ve invited the audience to paint them in emulsion, like a live action Jackson Pollock, and they’ve faked the death of Nick Turner, replete with real coffin and interview with God. All of this with frontman Ryan Hendrix's coming on like a cult-leader - spooky, uplifting and ever so slightly odd.
Allied with a video that comes on like a strange tourist board advert for Oklahoma, Yes!’s AC/DC meets Flaming Lips euphoric heavyism’s serve as a splendid introduction to the world of Colourmusic.
Released 2nd November 2009., this track is set for HUGEs, that is for sure!!
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We’re all a pain in the arse sometimes...
In a genre that can easily become dishearteningly samey, Middleton keeps the heat on and challenges himself and others to invent and evolve, whilst proving that he is capable of heart-thrummingly well-executed traditional performance where necessary. The prolific alternative folkster Malcolm Middleton was once part of Arab Strap and veers from tender lilting updated folk tunes to almost-rowdy rock. Always, though, he manages to inject something intense and arrestingly genuine into his music. It is this that catches us when we listen.
Unashamed of a popish tinge, relentless melancholy, or scents of the 80s, he has a fierce poetic nature and a sometimes doleful and impassive exterior. His creativity is extraordinary, though, and his comforting tones have made him, like so many self-respecting Scots, a valuable and loved member of Anstruther Fence Collective.
‘Fuck It, I Love You’ just says it all. All about the ‘oh, come on, you’re not going to make me say it’ laddish veneer of cool, where self-consciousness over soppiness is hard to banish. ‘Fuck it, I love you, there you go’, Malcolm sings (fingers crossed she won’t ask me to say it again). On the other hand, it’s about the dumb pain that we go through: ‘I’ve been careless with my friends, even harder on myself’. But through the rubbish, we realise in a moment of Zen-ish calm, there is a simple way to make it all just fine, and jeez, well, y’know, it’s kind of simple, after all, isn’t it? Yeah, I’ve been a pain in the arse, you’ve been a pain in the arse but in the end, it’s like this. We’ll let the Dumfries man say it for us.
Much about this song is pleasingly familiar and easy to like; you sit back and smile and the sounds wash over you. But sometimes it takes a while to realise that songs that make you grin almost as soon as they come on aren’t actually as common as you’d hoped. From the warm percussion at the outset, through a middle section which tells a story we can all understand, the track eventually dissolves into gratifyingly digestible light-rock before an entirely unpretentious ending. Waxing Gibbous, out in June this year. Probably worth a listen.
Unashamed of a popish tinge, relentless melancholy, or scents of the 80s, he has a fierce poetic nature and a sometimes doleful and impassive exterior. His creativity is extraordinary, though, and his comforting tones have made him, like so many self-respecting Scots, a valuable and loved member of Anstruther Fence Collective.
‘Fuck It, I Love You’ just says it all. All about the ‘oh, come on, you’re not going to make me say it’ laddish veneer of cool, where self-consciousness over soppiness is hard to banish. ‘Fuck it, I love you, there you go’, Malcolm sings (fingers crossed she won’t ask me to say it again). On the other hand, it’s about the dumb pain that we go through: ‘I’ve been careless with my friends, even harder on myself’. But through the rubbish, we realise in a moment of Zen-ish calm, there is a simple way to make it all just fine, and jeez, well, y’know, it’s kind of simple, after all, isn’t it? Yeah, I’ve been a pain in the arse, you’ve been a pain in the arse but in the end, it’s like this. We’ll let the Dumfries man say it for us.
Much about this song is pleasingly familiar and easy to like; you sit back and smile and the sounds wash over you. But sometimes it takes a while to realise that songs that make you grin almost as soon as they come on aren’t actually as common as you’d hoped. From the warm percussion at the outset, through a middle section which tells a story we can all understand, the track eventually dissolves into gratifyingly digestible light-rock before an entirely unpretentious ending. Waxing Gibbous, out in June this year. Probably worth a listen.
ABOUT THE AUTHORS
Daniel Cross runs Record-Play, he set it up around 7 years ago and thinks music is for hippies.Dan Garber... East London promoter, impresario, general man about town and champion of the world.
We have made this weekly new music bulletin to introduce you to some of the best breaking new bands we have found from going to gigs, browsing around the internet, reading music press or from demo's sent.
ABOUT RECORD-PLAY
We are a music consultancy that supports brands, film makers, ad agencies and producers in finding and licensing music for their productions. We also develop content and design music based marketing plans for brand application. Our clients include some of the biggest high street brands and most respected directors in the industry, check out showreel for more info.ABOUT THE MUSIC HUB
In conjunction with some of the world's best indie labels, we have launched the Music Hub. A fixed rate, one stop sourcing and licensing resource.Collaborating labels include: Tirk, Sunday Best, Illicit, Breakin' Bread, Altered Vibes, People in the Sky, Nuphonic, 5mm, Splank, Central Control and more. If you are looking for high quality independent music that can be licensed immediately at a low fixed rate then visit the site.