A quarter of century ago there was an emerging Sheffield based band, presumably heading for a very successful career. They used to master some jangle, fuzzy, delightful wall of whirl, rippling noise-pop like the best in business and did support bands such as The Orchids, The Television Personalities, Cranes, Catherine Wheel and Curve. In spite of all this, after having released two acclaimed EP's and recorded a John Peel session, familiar matters pushed the band to a long silence of almost two and a half decades since their last gig back in 1993. They are The Suncharms!
In 2016 the band released a CD compilation of the two EPs plus assorted demos and previously unreleased songs.
As a result of all this renewed activity the band decided to get back to rehearsals, play their first gigs in over 20 years and write new music. Red Dust/Film Soundtrack, a AA side 7" is the very product of The Suncharms new and highly welcomed era of famed psychedelic, dream-hazyness.
Most people would hardly disagree that most UK bands come from Manchester, Liverpool, Glasgow, Leeds or Sheffield without acknowledging that for instance cities such like Bristol and in particular, the ever enchanting Brighton. They’re either wrong or enough alienated from what’s going on around them musically speaking, considering that Brighton has in fact an enormously substantial, thrilling and bewitching alternative music history from Mod to Indie with plenty subcultures in between.
This said it can not be much of a surprise that due to its intrinsic vibrant diversity and glamour-by-the-sea, Brighton works out as some type of hub center for emerging bands, which means that from time to time it is more than usual that a blooming band actually comes under the radar because it did manage to add something unique to its sound while others did not. That inevitably enables such bands to not only reach a much wider audience as it generates genuine curiosity from those who can boost the interest in their music. In Brighton’s sonic variegation and why not to say it competitive music scene for a place in the spotlight, there are bands which miss the target and lack that little something to go all the way and stand out while others are so resourceful, predestined to go big that they're pure stardust magic and that is what Thyla’s all about.
Thyla (which is properly pronounced thigh-la) are a four piece band with the common denominator that all its members were relocated to Brighton in order to attend BIMM also known as British And Irish Modern Music Institute. The band formed during college years circa 2015 initially started as a trio consisting of Millie Duthie (guitar/vocals), Danny Southwell (drums), Dan Hole (bass) but soon evolved to a four piece when guitarist Elis Davies joined in. Their first year one of deliberate engagement in Brighton’s music scene for the band to attain a better understanding of the tricks of the trade, watch other bands showcasing, search for a sound of their own and spending hours in a row writing and composing.
Thyla very first would see the light of day during 2016 naturally leading to a rather busy 2017 with «The Shacklewell Arms» headline show, plus the spot at «Alternative Escape Festival», an impressive number of gigs and a handful of singles, not to mention the increasing attention from the music press and most of all the ever growing fan base spanning incredibly all across the European Union, which is something admittedly phenomenal for a band that has not yet released a debut full-lenght or even an extended-play. Since the very first songs we’ve listened by Thyla it’s almost impossible not to reckon that they’re above all a brilliant guitar band that effortlessly manage to rework, re imagine and reinvent the dream-pop, new wave and fiery alt rock rooted in a strong post-punk skeleton.
It is not surprising that Thyla can deliver a set of songs that go from catchy atmospheric guitars to glassy distorted dark driving ones. When one recalls initial tracks such as «Teeth Dreams», «Betty» or «Loveless» and keep an eye on what the band composed afterwards culminating on the latest »I was Biting» and «Blame» but without ever forgetting that anthem of addictive sonic luxury that is «Pristine Dream» and the absolutely beautiful «Ferris Wheels» the idea that becomes recurrent is that Thyla somehow abandoned their early Cocteau Twins and The Smiths sonority and are growingly approaching the soaring sonic euphoria and full stamina of Joy Formidable per opposition to the likes of Wolf Alice or Pumarosa.
Apart from all that’s been said previously it is highly inaccurate to label Thyla as a mere guitar band. Their most valuable asset undeniably is the talented, star quality singer/guitar player Millie Duthie, whose convincing, mature, shiny, vocal performances create a world of rich polyphonic possibilities for the band’s sound. She decidedly is the cherry on top of Thyla’s cake. Millie Duthie is capable of stunningly magnetic appealing vocals just like she does on the infectious «Pristine Dream» and «Ferris Wheels» or on the power and soulful, moderate angst vocals of «I Was Biting» and «Blame» which can parallel her without much difficulty with the young Debbie Harry, with Kate Bush at times, but mostly with Kristin Hersh Tanya Donelly and Rhiannon "Ritzy" Bryan.
Thyla have everything needed to become one of the most successful newcomer, non-mainstream bands in Europe considering their fame has already crossed way beyond UK borders. Allow me to also emphasize that it is precisely their non mainstream character that can actually help them go big if they feel ready to be the sole purveyors of their own destination. The band seems to be entirely focused both on a definite work ethic and aesthetic coherence without feeling any pressure to release an album just because other bands are doing it.
Thyla can be not only iconic for a whole generation, but the voice of a generation itself. A generation few seem to care about, a generation standing on the crossroad of unknown, unclear, blurred future prospects, a generation that is being soon put off-side European Union with the all the anxieties, perils and certainly challenges such a change implies. Far from being a political band Thyla have been singing about pretty important issues on their songs with their happy-sad equilibrium between music and lyrics that is certainly gathering them praise wherever they play.
It may be quite uncommon to pick as album of the week a record released back in May 11th. Probably it feels odd enough for most people but, what matters it isn't so much the time symmetry between release and review, what indeed matters is that there is no appropriate time to deservedly mention an album that is, in fact, one of the best releases so far this year. That was the case of french post punk/dark rock band Varsovie's third full-length titled "Coups et Blessures".
Varsovie's "Coups et Blessures" entirely sung in french. In case you don't deal well with the idiom, don't panic. The music is so impressive that you can definitely get into the dark, enigmatic, atmospheric mood of this infectious, addictive album. You'll be able to feel the poetic and emotional tension present in the whole album taking control of your senses.
The french post punk movement if we can label it so without hurting any sensibilities was always characterized by a certain gloomy, dark, electric, urban sense of despair and anxiety boosted by the poetic drama of the french idiom which gives to the songs an even darker, on edge of the knife sort of feeling. Varsovie's "Coups et Blessures" pays an absolutely fantastic tribute to such legacy.
The literary influences and strong of post punk ambiance make of coups et blessures one of the most visible examples of excellence in modern french music scene. Coups et Blessures is a strong statement of independence, strong identity in line with a remarkable aesthetic coherence, gloomy, fragile and at the same time strong and fierce, claustrophobic and gut wrenching wrapped in a dark, smoggy beauty that makes it almost vicious to listen to.
Varsovie's " Coups et Blessures" is probably the most important album to have been released after Marquis de Sade's "Rue du Siam" that will make history in the french independent, underground music scene. A fabulous return to the very best of European Post-Punk, in ages.
INDIEVOTION’s is extremely honored to be previewing UIU "Wild And Innocent" brand-new track as part of the mesmerizing incremental compilation "Minimal Viable Product" series to be built over the year and commissioned by Detonic Recordings (Spirit Bunny, Multiple Man, School Damage etc).
Each Month an on-line single will be published with an "A" and "B" side from each of the international artists participating in the project. At the end of the year the complete compilation (Vinyl and CD) will be released featuring the exclusive tracks from each contributor.
UIU (the solo incarnation of Perth based musician Greg Weir (ex-DTHWBBA/WhiteFawn) stands out as a strong and beautiful new driving force of Dark-Wave, New-Wave, Post-Punk, Goth-Pop and most of all of Synthpunk.
Gathering inspiration and guidance from many 80s acts such as Futurisk, Suicide, Gary Numan, Ike Yard and The Human League, John Foxx, The Cure, ABC, and Eurythmics; UIU encompasses a wide palette of dark, yet melodic sounds into a retro soundtrack for a world falling apart, a dystopian singularity future.
The Single will be available digitally on Wed 13th June from Spotify, Deezer, iTunes etc and for free download from the Detonic Bandcamp.
