In the first quarter of 2019, shoegazers Cathedral Bells released their self-titled debut EP. Shamelessly retro, its six tracks mined the 90s for inspiration and delivered a listen that was almost guaranteed to please lovers of bands from the 4AD label.
To further promote that enjoyable EP, the band have now shared a fuzzy, low-budget video for one of its more commercial tracks, ‘Cemetery Surf’.
Australian rock band The Church will be making a rare visit to UK shores in June 2019. The handful of scheduled gigs are to celebrate the 30th anniversary of their best known album, 1989’s ‘Starfish’, home to the cult hit ‘Under The Milky Way’.
More info about these reunion shows can be found in the press release below.
In 2017, King Black Acid returned with the ‘Twin Flames’ EP. Their best recording to date, the new material fused dream pop, prog rock and tinges of Mercury Rev to create a true underground classic. Later that year, a full length collaboration with The Crystal Unicorn gave the world a record that, although a little uneven, at its very best sounded like the music Flaming Lips had long forgotten how to make.
A dreampop and shoegaze influenced project helmed by Matt Messore (previously of Dear Tracks), Cathedral Bells’ debut EP isn’t exactly shy about recycling musical influences. With strong elements of the more commercial Jesus & Mary Chain, the synthier and more cinematic aspects taken from The Cure and more than a trace of Pale Saints, its six tracks play like the greatest EP not to be released by 4AD Records in 1990. When influences and moods are recycled as well as they are here, originality is more than welcome to take a back seat as Cathedral Bells join Norway’s Spielbergs in heading up a full-on 90s revival.
Mixing pop, acoustic singer songwriter chops, a touch of dream pop and a light country steel guitar, Sophia Marshall’s previous covers EPs have delivered at least one track apiece that’s been absolutely marvellous. She’s turned the melancholy of Blur’s ‘End of the Century’ into something even more heartfelt, while The Kinks’ ‘I Go To Sleep’ – already drenched in sadness – became even sadder, with her lilting vocal style dripping from every syllable.
Whilst previous EPs have been themed by artist (The Kinks represented via a cover of a Pretenders cover), ‘Loose Torque’ is themed by subject. The three featured tracks are all concerned with cars – and in a big surprise, there’s nothing included by Gary Numan or new wave legends The Cars. Maybe those synth heavy sounds just wouldn’t translate. Instead, Marshall has chosen three pop and rock tunes from three rather disparate artists which. when applied with her own easy style, results in something that flows very well.