Brighton quartet Klae originally came to our attention back in 2017 when they produced a beautiful set supporting Manchester’s Findlay. Since then, the band have impressed with their studio output, with both ‘Fake’ and ‘Expectations’ proving to be excellent, razor-sharp pop songs with their influences firmly rooted in theatrical rock, pop-punk and alternative pop.
In addition to huge names such as Jamie Lenman, Anchorsong and Kagoule already announced, the latest wave includes even more killer names. Nottingham noise-makers Palm Reader, hardcore outfit Press to Meco, Holy Roar Records signees Ohhms, and Brighton-based Nervus are all set to feature at the festival, while the homegrown aspect of the festival has continued to rise, too, with Wild Cat Strike, Poly-Math and Broker also appearing across the two day festival.
Well, it didn’t take 2019 too long to produce its first truly brilliant album. “To @jameelajamil [sic] I love you and you are the reason this album exists”, said James Blake about his girlfriend, of his fourth record, Assume Form, and, in many ways, that’s the greatest way to describe the record. It’s a love letter of an album and one that instantly opposes his last record, The Colour in Anything. While that was overlong, and at times a messy demise into sheer melancholy, Assume Form is a far more refined effort that sees Blake explore his emotions in a far more productive way. Arguably his most complete record, Assume Form implements elements of hip-hop and electronica to produce his greatest atmosphere yet. It’s a beautiful, soaring and ambient modernist pop record if ever there was one.
Love Supreme Festival has been a festival that has been an honour to watch go from strength to strength over the years. Taking place in Glynde Place, the festival has seen headliners from legends of funk, soul and hip-hop, sets from some of the finest experimental jazz maestros, as well as performances from some of the most exciting up-and-coming talents on the planet. It’s been an absolute delight year in year out and, amazingly, this year’s edition, already boasting Jamie Cullum and Gladys Knight as headliners, looks like it could be the best edition yet. Outstandingly, it’s just grown monumentally bigger too.
Despite originally hailing from the Isle of Man, Brighton-based outfit Penelope Isles have always been a typical Brighton band. From their beautifully striking melodies, to the way they conduct themselves on and off stage, they’ve enchanted Brighton audiences with ease.
We were first introduced to Brighton-based Caleb Harris with his acoustic folk debut ‘Banshee’. Featuring brooding vocals and an atmospheric ambience, it massively impressed us. Now he’s back with ‘The Reasons I Fear’, another beautiful track that relies far more on a pop sensibility than its moody predecessor. Celebrated with a single launch show at The Prince Albert, it’s a beautiful track that reminds us of the acoustic euphoria of the likes of Seafret and Amber Run.
It’s an exciting time for Brighton quartet Fur. Not only are they just about to embark on their first ever headline tour across the UK, but they’re also gearing up to release their first EP. At the end of last year they released the lead single, ‘Angel Eyes’, and now they’ve followed it up with ‘Him and Her’, another delicate number from the doo-wop group.
Since announcing its return at the end of last year, with a line-up consisting of headliners White Denim, as well as Snapped Ankles, Josefin Ohrn and Goat Girl, there’s been a lot of buzz surrounding Mutations Festival, resurrected by One Inch Badge and Small Pond Recordings. Now, we’ve learnt where it’s taking place as well as the line-up in its entirety.
Fusing elements of electronica sublimely with an in-depth classical knowledge, C Duncan became a household name in the UK with his experimental gaze. Signed to Brighton’s Fat Cat Records he has, excitingly, announced a brand-new album and this time things are set to be different.
“How do you describe an album out of time, concerned with the disappearance of culture, of humanity, of nature, of logic and emotion? Why make this album in an era when attention spans have been reduced to next to nothing, and the tactile grains of making music have been further reduced to algorithms and projected playlist placement. Why wake up in the morning? Why hasn’t everything already disappeared?” State Deerhunter about the creation of their latest album, Why Hasn’t Everything Already Disappeared?, the first album from the band since 2015’s Fading Frontier. A temperamental and cynical record, that sees Deerhunter try to emulate America’s newest heroes such as DIIV and The National, Why Hasn’t Everything Already Disappeared? brings Deerhunter straight up-to-date with their contemporaries.