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Nightshift
Zoe
The band that became Nightshift formed in 2019 in the ecosystem of Glasgow's current indie scene. The city's fertile and creative group of musicians have been committed to pushing the boundaries of and blurring the lines between DIY, punk, experimentalism and indie pop for decades now; a home to bands like Shopping, Vital Idles, Current Affairs, Still House Plants, and Happy Meals as well as forebears like Orange Juice, Teenage Fanclub and Yummy Fur. Nightshift slot right in with all mentioned, featuring members from current indie stalwarts Spinning Coin, 2 Ply and Robert Sotelo.
Initially formed by guitarist David Campbell and bassist Andrew Doig as a "No Wave/No New York/ early Sonic Youth/This Heat-esque" group, the addition of Eothen Stern (keyboards/vocals) and Chris White (drums) instantaneously transformed their approach (guitarist / vocalist/clarinetist Georgia Harris joined as the band was writing "Zöe"). The band self-released a full-length tape on CUSP Recordings in early 2020, laying the foundation of their sound; hypnotic, melodic,understated indie post-punk with hooks that stick around long after you've heard them. "Zöe" is the band's newest effort, and first for Trouble In Mind. Unlike the band's previous album, the songs on "Zöe" weren't conceived live in the band's practice space, but rather pieced together and recorded remotely during quarantine lockdown, with each member composing or improvising their parts in homes/home studios, layering ideas over loops someone made and passing it on. The isolation actually allowed for an openness and creativity to flow and many of the songs took on radically different forms from when they were originally envisioned.
Trouble In Mind
CD | LP
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Joan Of Arc
Tim Melina Theo Bobby
Tim Melina Theo Bobby, Joan of Arc’s final album, might be their most personal and adventurous to date, culminating the band’s many inspired, divergent sounds into one self-reflective, conclusive statement.
Joan of Arc always felt like an experimental intersection of its members interests. As prolific of a band as they have been, none of the albums sounded the same, none of the albums imagined themselves as too big to fail in the name of trying something new. They always felt like more of a collective than anything else.
A smattering of gifted contributors, fighting their way through their own creative whims. Their shows, a type of controlled chaos. A chaos that required a close and gentle ear, or else one might miss the delicate daggers of lyric woven into the walls of sound, the walls of slow movement. It is good to determine your own endings; for yourself, but also for the sake of whatever comes next.
To have the band going out on their own terms, still steeped in their own sound—melancholic, but biting; cynical, but also witty; a sonic forest that is both comfortable, but also a little treacherous. We are used to mourning moments like this, letting go of a beloved band. But a listener can hear in this album that these people still love making music together. They’re still excited by how far they can push each other creatively. And to know that and still decide that you have given all you can give as a band is a real gift.
It is better this way, to lay a project down at the feet of fans, and listeners, and have it treated with joy, and not sadness. Musicians owe growth to themselves, they owe exploration, and excitement, and eager noise-making to themselves. Whatever fans get out of that, at the end of the day, is something we should all be grateful for. And in the case of Joan of Arc, we got over two decades of it.
Joyful Noise Recordings
LP
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