Pitchfork Music Festival makes its London Debut this winter. Find out the full line-up and get tickets here: www.pitchforkmusicfestival.co.uk
Stereolab were formed in London in 1990 by Laetitia Sadier and Tim Gane. Since the release of their debut 10″ disk via their own record label [Duophonic Super 45s], they have released 10 studio albums and 4 compilation albums of rare tracks.
In 2019, after a 10 year hiatus, the band reformed to tour the US, Europe, New Zealand and Australia in support of the reissue of 7 remastered and expanded albums.
Prolix. Album opens to unsteady breathing. Slow at first, unwanted and out of time. Breathing shallows and discomfort deepens over the sustained heartbeat of a soon to be familiar A chord. This is Dara’s breath, this is his panic, a momentary, one-off lapse of control recorded and transmuted into a rhythmic, off-beat moment of disquiet to unlock Girl Band’s crucial yet quietly anticipated second album: ‘The Talkies.’
Recorded in November 2018 at Ballintubbert House, Ireland, “a few pay grades above what we’re used to!”, the alien construction of Ballintubbert and its corridors help to navigate Girl Band’s cataclysmic sound within a world of its own.
“In many ways the idea behind the album was to make an audio representation of the house.“ And this enigmatic manor becomes Girl Band’s sonic playground: to place yourself within a space, and to work with that space harmoniously. Dan continues, “We recorded all the drums twice: once on the landing and once in the cellar” -The Well of Souls- “and during production we could actually cut in between both these sounds”. The Talkies vacillates between being big, ambient, and atmospheric to suddenly terribly intimate and up close.
Beak> are Billy Fuller, Geoff Barrow and Will Young. Hailing from Bristol, UK Beak> have released 3 albums on Invada Records – 2009’s ‘Beak>’, 2012’s ‘>>’, and 2018’s ‘>>>’ – as well as the soundtrack to the award winning film ‘Couple In A Hole’ (2015).
The trio craft dense and atmospheric music inspired by experimental bands such as This heat / Can / Soft Machine
Since forming Beak> have played worldwide, with headline tours around Europe and US, and supporting acts such as Chris Cunnigham, Savages, Mogwai and Arcade Fire.
Ana Roxanne is an American musician based in New York. Her self-released EP was later reissued by Leaving Records before signing with Kranky for her official full-length debut, 2020’s Because of a Flower.
Working at the interzone of electric meditation, dream pop and ambient songcraft, her inspirations span the secular (R&B divas of the 1980’s and 90’s) and the spiritual (catholic choral traditions in which she was raised), synthesized into a uniquely intuitive sonic language, equal parts atmospheric and ancient, healing and hermetic.
On stage, Folly Group is the sum of drums, percussion, bass, guitar, vocals and a sampler. Elsewhere, Folly Group is an amorphous creative entity, encompassing a group of friends whose practice spans various disciplines. Its members have all played with each other in various projects over the last three years, now Folly Group is a way to mess with form, structure and signifiers. Folly Group attempts to interrogate the job of the band; it’s an allergic reaction to stasis and complacency.
MARTHA SYKE MURPHY
After the release of her transcendental debut EP ‘Heroides’ in 2018 and the single ‘Black Eye’ in 2019, Martha Skye Murphy returned in 2020 with two critically acclaimed EPs, ‘Heal’ and ‘Yours Truly’ that once again showed Murphy’s ability to interweave genres from indie to experimental and baroque choral music. Tied together with unexpected vocal deliveries and song structures – the voice is the instrument, the songs the experiments with form, texture and space.
Kynsy understands the unique romance of isolation. The freedom of writing, arranging and producing her music has given the singer a sense of control and self sufficiency that has enabled her to focus on the minutiae of every song. The Dublin based artist has developed her own songwriting rules that have given her the ability to experiment, push her own boundaries and avoid being pigeonholed into any one genre. Her music moves from the metallic lurch of a nightclubbing Iggy Pop, the icy cool of St. Vincent to the futurism of Julian Casablancas’ solo output.
Through Kynsy the twenty three year old has constructed her own world. Taking her cue from classic songwriters such as Irving Berlin as well as the abstract puzzles within David Byrne’s lyrics and the detached nonchalance of Damon Albarn, there is a spirited wit to her songwriting that singles her out from her more earnest contemporaries. Her louche almost rakish delivery is half world-weary lounge singer, half astute soothsayer. Although there is no ironic posturing at play here, there is a deep sincerity to her words that belies the devil-may-care execution.