All other bands can go home for the day because there’s a new Adebisi Shank song in town…
‘Big Unit’, the first track from the band’s This Is The Third Album Of A Band Called Adebisi Shank, is a celebratory anthem. The sound of triumph as the band’s press release put it, or to get into it “it’s the sound of the Berlin Wall falling down. It’s the sound of hashtag winning.”
It is a happiness provider.
Adebisi cite ELO, Enya, Mike Oldfield, Pixar animated films, Crash Bandicoot video game and Game of Thrones as inspirations for the new album. Or to go deeper into what the album sounds like, as bassist Vinny says:
“We were trying to make something euphoric and huge, a universe of our own imagination that we could escape into. Our inspirations were more cinematic and fantastical.”
The album was recorded in 2013 in Wexford in a secluded house and we are promised it will feature a dying 8-bit robot’s version of Queen’s “We Are The Champions”, early 90s digital funk dance pop meets contemporary indie rock, cheery ’80s synth pop meets chopping guitars and contributions from one guest only – Leonard Kaye, guitarist Lar’s dad who plays adding accordion to “Turnaround.”
This Is The Third Album Of A Band Called Adebisi Shank is out August 12th on Sargent House on CD, vinyl and download.
This Is The Third Album Of A Band Called Adebisi Shank tracklisting
01. World In Harmony 02. Big Unit 03. Turnaround 04. Mazel Tov 05. Thundertruth 06. Sensation 07. Chaos Emeralds 08. Voodoo Vision 09. (trio always)
No Spill Blood are about ready to follow up their Street Meat EP (your number #1 EP of 2012) with their debut album this year on Sargent House. ‘White Out’ is one of the tracks that will feature on it and it’s kinda got a trademark furious horror synth live band sound.
I actually wrote the press blurb for All Hail Bright Futures, And So I Watch You From Afar’s third album, late last year and I basically said all I wanted to say about it in that form. So weird as it feels, here I am ripping off my own work in a weird way. Suffice to say, the album is mega…
All Hail Bright Futures could be taken as both an ethos for the album and the band at this point in time. There is a new color scheme in place: new textures, emotions, sounds and voices. The 12-track, 43 minute album is dominated by a sunnier disposition, a positive uplift that more closely matches the euphoria the Northern Ireland trio has been instilling in audiences through their music in a live setting for the last five years. (more…)
Just before Christmas we got ‘Like A Mouse’, the first track from And So I Watch You From Afar’s All Hail Bright Futures out on March 18th. That’s next month! Holla.
‘Big Thinks Do Remarkable’ is one of my favourites from the uplifting record, a cacophony of exuberant noise with unexpected exaltations and a “the sun is in our eyes” mantra. Blinded by the brightness.
There’s nowt much better to top the day off than a new song from Adebisi Shank is there? As performed for Sargent House in LA last year. ‘Thunder’ might not be the actual title but whatever, it’s FRIDAY AND Adebisi Shank have a new song and maybe a new album later this year. Go nuts.
Surprise! Here’s a nice early Christmas present. A taster of And So I Watch You From Afar’s new album All Hail Bright Futures, the first for the band as a three-piece following the departure of Tony Wright (Niall Kennedy plays with them live is now a full-time member of the band). ‘Like A Mouse’ is a bridge to the band’s new album, introducing more vocal melodies and hinting at the album’s uplifting theme. Despite the title suggestion, it’s still a piledriver of a track.
All Hail Bright Futures is released through Sargent House on March 19th. Also, loving the artwork.
I’ve been playing Chelsea Wolfe’s beautiful new album Unknown Rooms: A Collection of Acoustic Songs quite a lot over the past month (listen to it). Its brittle gothic folk emantes from the speakers in a calming spacious way. Her label Sargent House recently captured two performances in their Glassroom. Above is ‘Spinning Centers’, a favourite from the album and below is a Sibylle Baier cover of ‘The End’ with Wolfe looking suitably gothic.