Archive for June, 2010

HOLLY MIRANDA grew up singing in church, learning piano at age 6 and picking up the guitar at 14, around the time she began writing songs. At the age of 16, she moved to New York, dropping out of high school and finishing her degree through correspondence. She scored a major record deal by the time she was 17, but has since found a much more fitting home on XL, who released The Magician's Private Library to great applaud this year.

We're lucky enough to be hosting her at The Borderline on the 26 of July.

Ticket £8.50 advance from:
www.ticketweb.co.uk  08444771000
www.seetickets.com  0870 264 3333
www.wegottickets.com

Pitchfork are hosting a super new remix of BEAR IN HEAVEN's Ultimate Satisfaction by The Field.

From Pitchfork:
As previously reported, Brooklyn synth-gazers Bear in Heaven are set to reissue last year's BNM'd album Beast Rest Forth Mouth September 14 via Hometapes. The reissue will come with a bonus disc of remixes from notables such as High Places, Studio, Jesu's Justin K. Broadrick, and minimal techno mastermind Axel Willner, aka the Field. The Field's rework of Beast Rest Forth Mouth standout "Ultimate Satisfaction" is available above.

For this eight-minute-plus remix, Willner takes the original tune and dips it in a bath of warm, tumbling drum beats and wavering synths, cutting and pasting vocalist Jon Philpot's yearning calls.

Listen here:

Feted New York trio BLONDE REDHEAD return this September with both a brand new album and a European tour

Taking in nine countries (with more still to be added), the tour coincides with the worldwide release of Penny Sparkle, their first album in over three years and eighth in an already illustrious career. The record marks another sonic twist for the band wth Van Rivers and The Subliminal Kid (Fever Ray, Glasser) enlisted to co-produce and Alan Moulder (Depeche Mode, Nine Inch Nails, Yeah Yeah Yeahs) recalled to mix it. The album is a stunning listen and is sure to be earning many plaudits from critics in the months to come.

Penny Sparkle is released on 4AD on September 13th. You can download the album opener, 'Here Sometimes', from the band's website – www.blonde-redhead.com.

Tickets on sale Friday 25th 9am from:
www.seetickets.com
0870 264 3333
www.ticketweb.co.uk
08444 771000

Plus OLAFUR ARNALDS interview in The Quietus, in support of  his upcoming show at Manchester's prestigious Bridgewater Hall with the Royal Northern College of Music. http://thequietus.com/articles/04510-olafur-arnalds-interview

Eat Your Own Ears presents
JUNIP
Plus Special Guests

Monday 4th October, 2010
Doors 19.30

XOYO, 32-37 Cowper Street 
London 
EC2A 4AP

Tickets from:
www.ticketweb.co.uk
08444 771000
www.seetickets.com
0870 264 3333

www.myspace.com/junip

After a 5-year hiatus, JUNIP have returned to work on a new album and play a live European tour. Junip is most well known as the band of José González, known for his solo covers of Joy Division, the Knife and Massive Attack, but with influences ranging from Neu! to John Martyn, Junip sound mostly like Junip. They take González’s softly plucked guitar and unhurried vocals and pair them with a louder sound and underlying current of hypnotic rhythms. They craft their indie folk into dark, moody and sometimes haunting songs, while still keeping the beauty that made González’s solo work famous in the first place.

PRAISE FROM THE PRESS:

“Their sound is a mix of nylon stringed guitar, his distinctive voice, organs, analogue synths and drums. The songs are often dynamic, melodic and shadowy.” – Rough Trade

“José González is a sight to behold live, with his soothingly lucid vocals leading you along a wonderful journey of transient bliss; it’s nothing short of magical.” – Subba-culture

KATE NASH
Plus special guests

Monday 18 October
Doors 7pm

O2 Shepherds Bush Empire, Shepherds Bush Green, London W12 8TT 020 8354 3300

Tickets £16.50 on sale 9am Tuesday 22nd June from

www.seetickets.com

0870 264 3333
www.ticketweb.com
0844 477 1000

http://www.myspace.com/katenashmusic

After a great response to her recently released second album, Kate Nash announces a show at Shepherds Bush Empire this coming autumn.

Back in July 2007, a month before her debut album, Made of Bricks, was released two months ahead of schedule due to public demand, Kate Nash took a moment to contemplate her new whirlwind life as a pop star: 'I feel normal. But quite cool. I feel like an outsider who's just sneaked in…'

Kate had just turned 20 and her career was on fast forward: in the summer of 2006 she was a MySpace phenomenon before she even had a record deal; 2,000 copies of her debut single, Caroline's a Victim, sold out upon release in February 2007; by April she had signed to Fiction Records; two months later Foundations reached number two in the singles chart; by August she was celebrating a number one album.

Not bad for a girl from Harrow, whose early attempts at writing songs as a kid were on an old tape recorder 'where you had to hold down play and record at the same time'. Now, at the grand old age of 22, Kate looks back at her formative years in the world of pop with a huge grin: 'Everything was so mental and hectic and extreme. By August 2008 I was exhausted. I had to take a year off.'

More than anything, Kate wanted to do 'normal things'. Like sit around at home in her dressing-gown watching daytime television. See her friends, go the cinema, the theatre, read books. Hang out with her first proper boyfriend, Ryan Jarman of The Cribs. The thing is that Kate is incapable of sitting around for long: she not only has a work ethic instilled in her by her mother, who works as a nurse in a hospice, but she is also a life force to be reckoned with.

So, in the end, Kate's year off was spent co-founding the Featured Artists Coalition with Billy Bragg and Blur's Dave Rowntree (to ensure that artists took responsibility for having a voice at a time of dramatic change in the music business). She got involved in V-Day, the global movement aiming to end violence against women, and worked with self-harming young women at the Wish Centre, a shelter for abused women in Harrow.
All, she says modestly, to stop her from watching Jeremy Kyle. 'And to stop me freaking out when I didn't have anything to do.'

It's easy to forget that Kate – a dense talker who can go for ten minutes straight without drawing breath – is still only 22. She may have a child-like enthusiasm for life, but she is also – in a way that belies her years – grounded. 'It's not that hard,' she says with a shrug. 'Just don't be a tosser.'

Kate is, she says, strict with herself. She won't allow her songs to be used in adverts – she doesn't want to sell out and, equally, she wants to work hard for her money. She is 'totally' a feminist. 'I believe in equality so I'm a feminist. It's that simple. I see the girls' faces in the first three rows of my gigs and they're clearly thinking: "She's normal! She doesn't look anorexic! She looks comfortable in her body! This is cool!"'

She is, without a doubt, a girls' girl. Yet some of Kate's sharpest lyrics have been inspired by the paranoid jealously that can eat us all up. On Do Wah Doo, the first single from The Second Album, Kate sings sweetly about an unnamed girl who fools naive boys into liking her. She decides that it's best not to care any more – 'I'll just read a book instead/I'll hang out with myself' – and the coda is a surprise: as the music stops suddenly, Kate snarls 'I think she's a bitch'. It's perfectly-timed and brilliantly self-knowing.

Although Kate took a year off, she never stopped writing. By last summer she had a bunch of demos to play for Bernard Butler, the former Suede guitarist. She is, as usual, disarmingly honest. 'I was initially a little sceptical because I didn't want people to think "Duffy's producer does Kate Nash", but we met and got on. There's no bullshit with Bernard. Like me, he's a grafter."

Kate writes her own songs – she plays piano, guitar, bass, drums – but Butler found a way of bringing the songs to life without losing any of her idiosyncratic personality. The Second Album is eclectic, adventurous, honest. Experimental even.

There's the 60s girl group influence of Kiss That Grrrl (and more self-mocking paranoia: 'She's instantly more pretty and interesting than me') and the gentle beauty of the folksy You Were So Far Away. There are minimalist lyrics on both the raw punk of I've Got A Secret (set to a varied tempo, 'I've got a secret I can't tell you' is repeated over and over) and I Just Love You More. Set against Sonic Youth feedback, Kate sings 'I just love you more than anything' between expressive yelps; by the end, she is breathless.

Made of Bricks was about wanting to be in love; The Second Album is about trust, sexism, homophobia, honesty – and how being in a serious relationship has made her feel less selfish and more grown-up. 'I don't want to be gushy and weird about it, but I am in love! I don't worry about making myself too vulnerable: I always write with my heart on my sleeve. If you don't then you're not living.'

The final track, I Hate Seagulls, is about 'admitting you're in love with someone'. It's a stream-of-consciousness list of what she hates (seagulls; being sick; burning her finger on the toaster; nits) and what she likes (cream teas, reading, 'your hand in mine'). 'It's basically saying that I hate all this crap life throws at you, but it's okay because I love somebody and they love me back.'

With a second album of which she is rightly proud – 'nothing was rushed; I've developed as a writer' – does Kate still feel like an outsider? 'I will probably always feel like an outsider because I don't fit the format of a female artist. But I'm not worried about it. No way. I've always done things my own way and, for that reason alone, I'm happy.'

www.facebook.com/eatyourownears
twitter.com/eatyourownears

We're very excited to announce more acts for the special Four Tet curated all-nighter at the Coronet Theatre.

Eat Your Own Ears and Four Tet presents
CARIBOU
FOUR TET
JAMES HOLDEN
NATHAN FAKE
ROCKETNUMBERNINE
Plus more to be announced
Special all-nighter

Friday 19th November, 2010

Doors 21.00

The Coronet, 28 New Kent Road, London, SE1 6TJ. 020 7701 1500

Tickets £15 from:
www.ticketweb.co.uk
08444 771000
www.seetickets.com
0870 264 3333

www.myspace.com/fourtetkeiranhebden
www.myspace.com/cariboumanitoba
http://www.myspace.com/iamtherealjamesholden
http://www.myspace.com/nathancake
http://www.myspace.com/rocketnumbernine

After a string of sellout UK dates, and a summer of international festival appearances to look forward to FOUR TET announces a show at The Coronet Theatre this autumn, hosting a late night party with a specially chosen line up.

This year we will see a dramatic difference in the Caribou live performance. Now that technology has finally caught up to Dan's ambitions for the band's show, while it will still be four musicians on stage, the dynamic interplay between visuals, electronics and the live sound will be taken to the next level. If you think you know Caribou, think again. Dan Snaith's new album is the sound of the musical glass ceiling being blown away.

Swim is full of brightly textured, rapturous gems that gleam with astonishing production – and then wrenches at your heart with soulful, thoughtful reveries on the passing of time, family history and the breakdown of relationships. We can't think of another multi-instrumentalist/ producer/ songwriter/ singer/ arranger/ composer who has the ability to harness all these talents into something as breathtakingly gorgeous yet dance floor ready as Dan Snaith AKA Caribou.

With overwhelming praise for his album ‘There Is Love In You’ and a great year of touring on the cards, this seems the best way to round off the year for FOUR TET.

Press praise for There Is Love In You:

‘Kieran Hebden’s fifth album as Four Tet is a career high’ – The Times – 5*

‘Brims with a playful sense of wonder […] it’s a masterclass in how to make machine music pulse with subtle twinges of human emotion’ – Q – lead review

‘…as if the primitive and the modern were folded into each other’ – Financial Times – 5*

‘Demonstrates both Hebden’s lightness of touch and his innate sense of allusion and textural darkness’ – Sunday Times – 4*

DJ JAMES HOLDEN has managed to carve out a niche for himself that is all his own – try and pigeonhole his sound at your peril. The boy wonder with a maths degree from Oxford University honed his production and DJing craft in his student digs, with a £500 computer and some free software, and took the dance music world by storm in 1999 with the powerfully emotive ‘Horizons' on Silver Planet. Although he has since moved on from the progressive sound that made his name, the haunting melodies of the genre can still be found twisting eerily in and out of the warped soundscapes of his more recent productions.

Like his productions, James Holden's DJ sets draw in elements of house, electro, breakbeat, techno and genres that probably haven't even got a name. As far from ‘minimal' as you could possible get, simply because there is so much to draw you into this weird and wonderful hazy musical world – James Holden is the man to get even the most jaded dance music aficionado excited about music again.

NATHAN FAKE is a James Holden protégé, creating innovative electronica, at the harsher end of the spectrum. Bringing to mind Aphex Twin, Nathan Fake has an ability to combine spine-tingling melodies with noise and feedback. His innate sense of what works on the dance floor provides the basis for a frantic and intense live show.

ROCKETNUMBERNINE are brothers Benjamin and Thomas Page. Their music is an intense, emotional sonic assault and all the while they’re searching, seeking to find the deepest channel…With Ben calling on the deepest Detroit and Chicago influences and Tom conjuring the spirits of the great Jazz drummers, Rocketnumbernine arrive at an all consuming sound that is at once very much their own. Fresh from an acclaimed UK tour supporting Fourtet in March 2010, Rocket Number Nine will release a new album due for release on Gravid Hands label in June.

After a brilliant show at Cafe Oto back in April, ÓLÖF ARNALDS brings her beautiful songs to Bush Hall this September.

Eat Your Own Ears and The Local present
ÓLÖF ARNALDS
plus guests

14 September
Doors 7.30pm

Bush Hall, 310 Uxbridge Road, London, W12 7LJ 0208 222 6955

tickets £9.50 from
www.ticketweb.co.uk
08444 771000
www.seetickets.com
0870 264 3333

www.myspace.com/olofarnalds
www.localism.org.uk/

Her talent not only reveals itself in the variety of the instruments she masters, but also in her beautiful labyrinthine songwriting and mesmerizing solo performances. Ólöf's voice has been singled out for high praise as "otherworldly" by The New York Times, "stunning" by SPIN, "remarkable" by the NME, "ethereal" by Vanity Fair and "impossibly lovely" by Paste.

"…Reykjavik's answer to Kate Bush…her debut is a spare, troubadour-like affair garnished with haunting, witch-child vocals." MOJO (4/5)

"…her voice is high and clear, with a gentle quaver that humanizes its otherworldly purity." The New York Times

"..Olof Arnalds has the kind of voice that can silence a room, such is its sweetness. And high-profile fans such as Björk have been very vocal about Arnalds' awesome talent." Time Out New York

Plus LOCAL NATIVES play Shepherds Bush Empire next Wednesday

The Los Angeles quintet makes music that crackles with frenetic beats, agile melodies and cascading harmonies, indicative of the influence of hazy socal beach bums and zombified Brit Pop, while their percussion philosophy derives from a unifying connection between the five-piece developed over hours spent living together in their own guerilla hideaway in Silverlake, California.

Eat Your Own Ears presents
LOCAL NATIVES
BLUE ROSES
LISSIE

Wednesday June 15th 2010
Doors 7pm

O2 Shepherds Bush Empire, Shepherds Bush Green, London W12 8TT 020 8354 3300

Tickets £12.50 advance from:

www.seetickets.com
0870 264 3333
www.stargreen.com
020 7734 8932

www.myspace.com/localnatives
www.myspace.com/lissiemusic
www.myspace.com/musicofblueroses