Arriving with the minimum of fuss and the hugest of hearts, mysterious UK lofi pop duo The Gabys mark their return with Colour Me Out, the lead track from their forthcoming third self-titled EP.
Drifting past like morning (mourning?) clouds after the longest of nights before, Colour Me Out’s threadbare changes and fragile melodies sound like both the beginning and ending of everything that ever was and is ever likely to be.
As ever, it’s hard to find the words for music I feel as deeply as this. There is a rare spirit and sense of wonder to The Gabys’ art that is truly beyond compare. Released 23rd August via Fruits & Flowers, you can pre-order the vinyl/digital here.
The 2022 release of Claudia’s Ethereal Weaver brought the work of Bay Area DIY musician (and Paisley Shirt Records boss) Kevin Linn to a wider audience via its release on the Madrid based label Meritorio Records. Two years on, its follow up Ten Brocades enlists the help of fellow San Francisco based friends/musicians Karina Gill (Cindy/Flowertown) and Michael Ramos (Tony Jay/Flowertown) to help bolster Linn’s pop chops and bring forth some of Sad Eyed Beatniks strongest tunes to date.
Placing its focus on stolen moments in time and friendships/relationships both past and present, Ten Brocades’ vivid and varied songs weave their magic with wild style and giddy abandon. Passing Melody is my personal favourite, its gloriously persistent riff framing some trademark spiralling Linn soloing coupled with an infectiously cool vocal. In truth however, every moment here is a highlight, with each spin revealing new treasures awaiting discovery. Out now via Meritorio Records on Vinyl/Digital, Ten Brocades is an undoubted DIY psych pop triumph. Order here.
Ahead of the release of the self-titled third Teenage Tom Petties album on August 2nd, singer/guitarist Tom Brown has unleashed a second single bursting with pure, unrestrained DIY power.
A relentless burst of soaring melodic riffery, Night Nurse dismisses the standard power pop verse/chorus/verse structure in favour of an unwaveringly propulsive momentum that builds towards a truly thrilling finale.
Clocking in at barely a hundred seconds, by the time you catch your breath it’ll most likely all be over. Best just spin it again yeah?
“It started life as an attempt at a 50’s ballad about not being able to sleep. Over time it sped up and became something I felt The Smoking Popes might have done before they found God.” – Tom Brown
Teenage Tom Petties releases August 2nd via Safe Suburban Home (UK) and Repeating Cloud (US). Tapes/downloads are available to pre-order here.
You can catch TTP live as part of the Safe Suburban Home Roadshow throughout August, more information here.
A year on from the comforting lofi jangle of Perfect Worlds, two newly released recordings see Tony Jay exchange the enveloping half-light of their more customary DIY pop for darker, deeper hues.
Blown out and lovelorn, The Darkest Corner’s aching strum and hum sees Bay Area fog pop auteur Michael Ramos finding solace in solitude, with palpable waves of emotion breaking gently beneath cathartic bursts of glacial guitar tones.
Recorded during a period of necessary confinement whilst caring for beloved cat Penny, both The Darkest Corner and the forlorn soundscapes of instrumental Ancient Slice reflect the timeless sense of uncertainty such situations can conjure.
Bursting with subtle experimentation and intimate nocturnal wanderings, new album Knife Is But A Dream arrives 16th August on cassette/download via Slumberland Records, Paisley Shirt Records and Galaxy Train.
Tony Jay tours Japan this August, dates are as follows:
Bay Area artist Ryann Gonsalves has been omnipresent on the underground independent scene this year as frontperson and key member of the bands Torrey and Aluminum.
The full-hearted melodic gift that flows through both of these projects can also be explored in its starkest form across Ryann’s enchanting DIY solo album Ouch!, recently released via local label Dandy Boy Records. Amid all of these varied and vivid creative ventures, Ryann very kindly found time to answer a few questions for heavymetalkids.uk:
Hi Ryann, thank you so much for talking to heavymetalkids.uk. The recently released Torrey album has been steadily capturing hearts and minds here in the UK. The songs were primarily created alongside your brother Kelly, would it be right to assume you grew up as part of a very musical family?
Thank you so much for wanting to catch up, Fran! Definitely part of a music loving family. My mom introduced us to so many good bands at an early age and started taking us to shows when we were super little. Growing up, she was really supportive when we wanted to learn how to play; buying us our first instruments and setting us up in lessons. Very grateful for that! Music was always around. Some of my warmest memories are listening to her favorite CDs in the car, singing along with her from the backseat.
How did the Torrey/Slumberland Records link up occur? It must have been quite a thing to see the album emerge on such an esteemed indie label?
While recording, Matthew Ferrara took the lead and sent the mixes over to Mike Schulman. When we finally asked if he could send them along, he had already beat us to it, which was a sweet surprise! Mike and Matthew are such wonderful individuals and were so supportive throughout the whole process of recording and putting the record out. Mike puts so much care and love behind every record he puts out and I’m amazed to be part of such an unbelievably talented lineup of bands.
Torrey – No Matter How
Your DIY solo album Ouch! for Dandy Boy Records shows you as being highly proficient across a wide range of instruments. It must be very freeing to have such a varied means of expressing yourself artistically?
Thank you so much for all the support you’ve shouted out for my solo stuff, truly appreciate it!! It was super cathartic to track everything for this record and I’m really excited to take what I’ve learned and pour it into the next one. Drums were my first instrument, I’m very wobbly at them, but I love playing and look forward to getting better. Recording Ouch! was such a playful, emotional, and freeing experience. I couldn’t have asked for a better co-pilot in Rick Altieri who recorded and produced the record. Jokingly, I listed him as “emotional support” in the credits, but Rick truly showed up for me with such authentic care while recording these vulnerable and emotionally driven songs. He’s amazing to work with and a truly incredible friend!
Dandy Boy Records has become one of my favourite Bay Area labels over the last couple of years and label boss Bobby Martinez seems a really top guy! How did you guys become acquainted?
I first met Bobby a couple years ago when he hit up my bandmate, Marc Leyda, to chat about putting out the first Aluminum EP. We went to get tacos in the Mission and the rest was history! The three of us instantly clicked and have been close friends ever since. Bobby is the best and is so important to our steady growing scene here in the Bay! He believes in his friends, pours so much love into Dandy Boy Records, and has cultivated such a warm and inspiring community within the Dandy family.
Ryann Gonsalves – Feeder Fish
There has been a real buzz around Aluminum’s debut album Fully Beat. Can you tell us a little about how you came to be involved with this great project? Is it challenging trying to keep so many creative plates spinning simultaneously?
Marc reached out to me during quarantine with a couple of songs needing melodies and lyrics– I sent him back some demos and from there we kept at it! Since it was lockdown, I hadn’t actually met Austin Montanari yet but we were in this band together for probably a year before meeting, which is pretty wild! As for being in a lot of projects, it’s really only challenging when everything is active all at once! I’m kind of an introvert, but am learning how to recharge and rebalance a little as I go so I don’t necessarily need to disappear for a few days at a time like I usually do.
With the Bay Area scene seemingly as vibrantly creative as ever, what do you think it is that makes things there so unique? The unity and solidarity amongst the arts is truly beautiful to see.
We believe in each other! It really feels like everyone here wants each other to succeed and will help each other out as much as possible to get there. My bandmate, Chris Natividad, for instance, is such an inspiring person in our community. He’s continuously booking sick shows, connecting bands, planning tours, and the go to person in the Bay for touring bands to hit up. We have such a wide range of labels reaching into all facets of the rad art being made here as well; like JB from Cherub Dream Records who’s created a space in the Bay that feels so inclusive, badass, and beautiful! There’s a sense of belonging here that I feel like many folks, myself included, haven’t experienced before. Okay, I’ll stop gushing. I love the Bay! I love my friends! End Rant!!
Aluminum – Behind My Mouth
And finally, my 14y/o daughter has started playing guitar over the last few months and has really taken to it. What advice would you give to a young person looking to kick on creatively?
I’d say be as weird as you want and trust yourself! Many people will try to tell you how to be, how to play, how to sing, how to move, how to be an ‘actual musician’, but try your best to push that aside and listen for what excites you and lights you up! Art is play and hiccups happen, but by being true to yourself and your creative voice you’ll always be on the right path.
The biggest thank you to Ryann for taking time out from so much beautiful creativity to speak to the blog. I truly appreciate it.
Be sure to check out Torrey’s self-titled album which is out now via Slumberland Records and available here. Ryann’s solo collection Ouch! is available via Dandy Boy Records here. Lastly, Aluminum’s debut long player Fully Beat can be picked up via Felte Records here. Thanks all.
I first discovered the kosmische noise-pop of LA quartet Dummy during plague year 2020, the far-reaching ambition of their DIY motorik explorations providing much needed focus during a time of frequently overwhelming stasis.
Following two low-key EP releases, the fully formed arrival of their stunning 2021 debut Mandatory Enjoymentand a contribution to Sub Pop’s esteemed singles club, the band return with Nullspace, the first taste of their sophomore LP Free Energy.
Nullspace is all groove, all energy. Cyclical beats propel the band toward dizzying new heights, their customarily meticulous melodies deeply embedded within a rush of urgent, ricocheting electronics.
Free Energy arrives 6th September via Trouble In Mind Records, you can pre-order Vinyl/CD/Cassette/Digital here.
Dummy are: Alex Ewell (drums, synths, bass), Emma Maatman (vocals, synths, organ), Nathan O’Dell (vocals, guitar, organ), Joe Trainor (guitar, bass, synths).
Dummy tour the UK this winter, further information here.
The music of Ray Seraphin is somewhat of an outlier in a Bay Area underground scene renowned for its delicious jangle and fog enveloped fuzz. Giddy riffs and heart tugging solos are his trademark, brought down to earth by a keen eye for melody and an unmistakable street smart croon.
R.E. Seraphin’s second album Fool’s Mate arrived earlier this year, split between Take A Turn Records in the US and Safe Suburban Home in the UK. It’s been on non-stop rotation here at heavymetalkids.uk towers so I was naturally delighted when Ray kindly agreed to answer a few questions for me:
Hi Ray, thank you for talking to heavymetalkids.uk. I think for a lot of us, certainly here in the UK at least, this years album Fool’s Mate was our jump-on point for your work. I am aware however that there is more to the story than that. Could you fill us in with a little detail regarding R.E. Seraphin’s origin story and how you arrived at this point?
Hey, Fran! I’ve played in bands most of my life and started writing songs at around age 13—way before I knew the slightest about playing guitar. That said, I mostly functioned as a co-front person or an instrumentalist; the exceptions to that would be my most recent band Talkies, where I served as the primary songwriter, and my solo work. When Talkies dissolved, I was determined to record the songs I had accumulated while playing in that group, and those songs became my first album, Tiny Shapes.
Tiny Shapes was released in February 2020 and, of course, the pandemic hit right after. So, being unemployed and unable to play shows, I just kept recording. I recorded two EPs, A Room Forever and Swingshift, remotely during 2020 and 2021. When shows resumed, I put together the lineup that eventually recorded Fool’s Mate, which was actually made in 2022. And now I’m here!
R.E. Seraphin – Bound
To my ears at least your sound differs somewhat from a lot of your Bay Area contemporaries. I find you less inclined to jangle and fuzz, favouring a killer riff or rousing solo. What were the main influences that informed the writing/recording of Fool’s Mate, musically or otherwise?
My musical background is in punk and garage rock, so I’m a bit predisposed to guitar solos and riffs. And I’m steadfast in my commitment to chugging power chords. This is the style I’ve settled into—for better or worse.
Truthfully, while I appreciate the form, I don’t listen to a ton of jangly music these days. I think groups like Magazine, The Only Ones, Elvis Costello & The Attractions, Green on Red, and The Soft Boys were the main inspiration for Fool’s Mate. I guess some of those bands are jangle-adjacent?
Fool’s Mate found a home here on the wonderful Safe Suburban Home Records. How did this UK connection come about and have you found it rewarding being able to reach a wider audience with this latest release?
I first reached out to Jim Quinn about co-releasing my last EP, Swingshift, with Mt.St.Mtn. and Dandy Boy Records. I just made a cold call (or cold email, if you will). To my surprise, he signed on immediately, and we’ve worked together ever since—despite my unimpressive sales numbers. He’s a very dependable, enthusiastic guy who I’m lucky to know.
I’m not entirely sure I’ve reached a wider audience with this release but I certainly appreciate anyone who listens to and enjoys my music. It’s always gratifying when someone like you, who lives thousands of miles away, has bought my record and liked it enough to do an interview with me.
R.E. Seraphin – Expendable Man
Fool’s Mate had its US release via local label Take A Turn and saw you link up with a host of gifted friends/musicians. Are there any other labels or artists you are particularly keen to work with, or is it just a case of taking each moment as it comes and seeing where the project leads you?
I’m supposed to start recording with Mike Ramos (Tony Jay/Flowertown) this weekend, so he’s definitely among the people I’d like to collaborate with! I’ve been fortunate to work with a lot of my favorite local musicians and labels already, but I could indulge in a long-distance collaboration. You wanna record something, Fran?
Lastly, I’m fully aware of the close knit community that exists within the Bay Area underground. Are they any other bands, artists or labels you’d like to shout out whilst you have the floor here at heavymetalkids.uk?
So, whilst I head off to hone my riff-writing skills in preparation for the HMK/Seraphin collab you never knew you needed, I suggest you all check out the links provided above and find your way into R.E. Seraphin’s unique power pop landscape.
Fool’s Mate is out now via Safe Suburban Home/Take A Turn, be sure to pick up a copy here. You can also pick up a Bandcamp only demos collection here, with all proceeds going to the National Bail Fund Network.
Huge thanks to Ray Seraphin for his time and attention.
In the first instance of what may become an occasional detour here at heavymetalkids.uk, I am today focussing in on the work of one specific label.
A relentless flurry of recent announcements has placed York based Jim Quinn’s Safe Suburban Home Records right at the forefront of the underground independent scene here in the UK. Here are some upcoming releases to look out for:
LOWMOON – Monochrome
LOWMOON is the lofi bedroom indie project of UK based musician Mikey Wilson. Drawing inspiration from post-punk, dreampop and shoegaze, Wilson’s inventive productions incorporate Cure-esque jangle and basslines which bring to mind the propulsive drive of Joy Division’s Peter Hook. Distant, dreamlike melodies connect these elements beautifully, resulting in a deeply intoxicating listening experience. Monochrome releases Friday 28th June with a cassette/download available to pre-order here.
LOWMOON – Monochrome
Cowgirl – Cut Offs
York based fourpiece Cowgirl return with their second album Cut Offs, following on from 2021’s self-titled debut. Recorded again with Euan Hinshelwood (Cate Le Bon/A. Savage/Devendra Banhart), Cut Offs exudes the same dynamic dedication to fuzzed out power pop and garage rock as their debut. Heady riffs weave in and out of the band’s infectious melodies, with a cathartic solo never far from reach. Cut Offs releases 9th August, you can check out the sweeping jangle of lead single Fading Lights and pre-order the vinyl/download here.
Cowgirl – Fading Lights
Teenage Tom Petties – s/t
The third album by Teenage Tom Petties sees Tom Brown return to the bedroom after last year’s full-band studio cut Hotbox Daydream. Mixed in collaboration with Jack Shirley (Tony Molina, Jeff Rosenstock, Diners), Brown’s vivid storytelling is framed by an expansive 90’s power pop sound shot through with a distinct DIY purity. Released on cassette/digital on 2nd August, you can check out the giddy melodicism of lead single Kissed Me In Seattle here. (This album also has a US release via the wonderful Repeating Cloud.)
Teenage Tom Petties – Kissed Me In Seattle
It’s been a fruitful year so far for SSH, be sure to check out their other recent releases here. Thanks all.
Parisian quintet En Attendant Ana have been steadily capturing hearts and minds across Europe and the US with their long running tour in support of last year’s stunning album Principia, the group’s third.
Ahead of their recent triumphant gig at Twenty One Southend for Tea and Oranges, the band’s frontperson and principal songwriter Margaux Bouchaudon very kindly agreed to answer a few questions for heavymetalkids.uk:
Hi Margaux, thanks so much for talking to the blog. For anyone reading here in the UK who might not be aware, can you tell us a little about how the band came together and how you’d best describe your sound?
Hey, thank you for having us! We are an indie pop band based in Paris. Camille and I started playing together almost ten years ago. The band’s composition changed a lot across the years, as well as our sound I would say, but that’s quite natural! We shifted from an urgent garage pop to a more « refined » pop with hints of post punk or krautrock music. Our music evolves with us, as we grow up (or old…), with our tastes, with the things we listen to, the things we discover. I do write most of the songs alone but we rearrange them altogether. It’s an amazing experience to see how our five personalities pour into those songs and represent the five of us individually and as a band. It’s not always an easy task but I’m quite happy with the result!
Last year’s album Principia garnered rave reviews across the board and spawned what I considered to be the song of the year in Wonder. As a Parisian band on a US label with a sizeable and ever growing UK following, how does it feel to be able to reach so many people worldwide with your music and be shown so much love in response?
I must say, it’s a pretty incredible feeling! In fact, our previous album, Juillet, was released just before Covid. We only had time to tour the UK for a week, and then the world came to a standstill. We didn’t get a chance to defend that album live. With Principia, it’s exactly the opposite! We’ve been touring for over a year now, and it’s not even over yet, as we’re adding new gigs to the list. For a band of our size, that’s incredible. We’ve had amazing feedback from all over the world, and we really didn’t expect it. We’re trying to find our way in a world that’s more and more difficult to understand and sometimes making music in that context seems pointless. So what we’ve received from the people who’ve come to see us makes it all a little more meaningful I would say.
En Attendant Ana – Principia
Every time I check in on your socials you either seem to be away on tour or planning the next one. What is it about the live experience that keeps you guys coming back for more? I was fortunate enough to catch you last year in London and the atmosphere was electric. You truly are a band operating at peak levels.
As I said before, not touring after the release of Juillet was a bit frustrating, so we’re taking our revenge this time! All jokes aside, we hadn’t really planned to have so many concerts this year. We were so afraid of not having any that we accepted a lot of gigs and found ways to tour as much as possible. But we don’t regret it at all, even if it’s even more difficult and exhausting as an independent band. As far as I’m concerned, I love the creative phase of an album, especially the recording and mixing stages, because I feel like I have access to the widest spectrum of musical creation. It’s more challenging for me to perform live because I have to confront myself to others, accept our possible mistakes, the fact that it can go wrong. There is a huge part of the unknown in the studio as well but it’s still something that we have a sort of control over. But as I said, when you create something with the audience, when you feel that there is a sort of chemistry happening everything takes its sense.
Finally, myself and many around me were moved and inspired by your recent decision to withdraw from the Great Escape Festival following its silence regarding the Bands Boycott Barclays petition. How important is it that those within the arts come together to call out those elements of the industry complicit in the atrocities being perpetrated in Gaza?
As we wrote on our socials, it was not an easy decision to make. We had to take into account a financial and professional reality that comes with the very fact of being a small independent band… So we had long internal conversations trying to find the good way of reacting to the festival’s silence. We decided not to go because it felt like it was the best answer we could give. Given the quest for meaning that we find ourselves in, both as individuals and as musicians, it seemed important for us to align our convictions with our actions.
En Attendant Ana – Wonder
Combining the urgency of post punk with the pure melodies of indie pop, En Attendant Ana’s Trouble In Mind Records back catalogue and recent Sub Pop single Magical Lies is all essential listening. Live dates continue to be added, please follow the band’s socials for the latest information.
Huge thanks to Margaux for speaking to heavymetalkids.uk and to Marion Seury and Tim Keech for arranging the interview.
heavymetalkids.uk 