Formed in 2008, Arms That Fit Like Legs are an independent instrumental-rock/postrock/electronic band from Dublin, Ireland. Initially a 4-piece of Mike Mahon (Guitar), Mark Lynch (Guitar), Gordon McCaughley (Bass) and Michael McCaughley (Drums), their self-titled debut EP was released in September 2009.
In 2010, the band became a trio, replacing acoustic drums with electronic beats. Their mini-album, 'Plane Figures', was then released on 10 December 2011.
On 'Plane Figures', Irish Times music writer Jim Carroll said, "Fans of post-rock instrumental wig-outs and brain-funk will dig this, especially the intriguing diversions which lead track “Bear Shark Explosion” takes."
After a brief hiatus of a few years while some of the band lived in London, they started writing music/performing again in 2016. In January 2018, they released the track 'You Will Go On My First Whistle' , and are set to release their first full-length album 'Legwork', later in 2018.
SAUR are a 4-piece instrumental rock band from Lisboa, Portugal. Their first release was an EP in 2011, which combined post-rock, math-rock, stoner and experimental rock influences. They were also in the Coronado Collective, which gathered many rising bands of the Portuguese independent scene, such as JIBOIA, Sequin, Equations, Lydia's Sleep, CANGARRA, etc. After playing several shows throughout Portugal they rented a van and made a tour around Spain, France, Belgium and The Netherlands, in 2013, with their collective band mates Equations. Since then, they have been slowly working on their first album - "Âmbar" - released on 2017 Christmas day. Âmbar is the footprint of the last 5 years of their slow-paced work.
Formed by Chris Anderson, with Chris Minor, Richard Storer & Stuart Longden. Firesuite are an ongoing musical endeavour, born out of the desire to create something loud & hugely affecting. Combining polar opposite dynamics, from total white noise, to moments of striking beauty, Firesuite are as complex a unit as you are likely to find out.
"Firesuite was started as a tribute to my little brother, Daniel. That's him on the front cover of You're An Ocean Deep, My Brother. That album was written as a way to reach him somehow. Much of the material on it was written in the immediate aftermath of his death. Outlive Your Body is still very much infused with his memory, but was written more as a way to make him proud.
Daniel introduced me to so many bands, bands I love to this day and were integral to my musical adolescence. He brought home Jeff Buckley, Deftones and Breeders albums all within a few weeks and that was that. Mission complete. I was obsessed.
I have always approached everything we have done as a band with a sense of fatalism, like it will be the very last thing we do. On this occasion, that turned out to be a self fulfilling prophecy. It became clear recording the album, high up in the hills of Sheffield, that this would be the last thing we would ever complete as a band. Given that, it became that much more important that I put everything I have into it. We made the album during a number of sessions at Old Pig Farm spread across a number of years. The project began without any clear direction, we thought we may record a couple of EP's perhaps. As time went on though, it became clear an album was forming. Slowly.
So this is the record. It was pieced together with John Sephton, who became a friend and ally throughout the process. He guided it to completion, along with a few helping hands along the way. We recruited Dave Sanderson to assist in mixing several songs, in no small part due to his incredible work on the 65 DAYS OF STATIC discography. Caroline Cawley came in to add vocals to Little Sacrifices, and Matthew Pronger added layers of brass to swell the end of Harbour. Lucy Revis and Chris Endcliffe lifted Edge Of The Earth and Lights into the upper atmosphere.
The songs are about lots of things. They are about wanting to escape (Harbour), about mine and Daniel's experiences growing up (Eulogy), about close friends (SJVL). They are also about the band coming to an end. Lights was intended to be the soundtrack to this.
I am so proud of this record. We have worked so hard to build it into the thing it is. I am very happy to share it with you, and would love if you would share it with others. I am heartbroken about the end, but if something has been worth doing, then this should be how it feels when it ends. "
"Triad" is the new EP from Groundburst, released on September 4th by Out is within records. Groundburst are an instrumental trio from Dublin. Their music combines complex rhythms with lyrical melodies and unusual concepts and draws upon elements of funk, jazz , soundtrack and electronic music.
Airships on the Water is an instrumental post rock band from Fayetteville, AR, USA, formed by multi-instrumentalist Russel Hensley. Hensley, who plays drums for the math rock band Take Shapes, started the project as a way to experiment with and expand on a backlog of keyboard riffs and drum parts he had written.
Drawing inspiration from the infectious hooks of El Ten Eleven, the emotional power of Explosions in the Sky, and the rhythmic complexity of Japanese post rockers Toe, Hensley started writing and overdubbing new parts to flesh out the sound of his existing arrangements. He carefully layered beautiful keyboard melodies, bass guitar hooks, intricate drum patterns, and rich synth textures onto these skeletal arrangements, shaping them into catchy instrumental post rock songs. Bit by bit, a chilled out sound with subtle math rock influences emerged, and Beneath a Thousand Branches was born.
Ali Murray is an ethereal folk songwriter/musician from the cold isle of Lewis in the north of Scotland. He writes dark atmospheric folk music with lush sweeping dreamy soundscapes and Celtic-twinged instrumentation. His new album LAND OF EVERGONE strikes a balance that is intimate and soaring, peaceful and haunting, sad and quietly joyful, delicately reverberating with Murray's dreamy voice and guitar playing.
Orellana is a neo-classical/post-rock collective hailing from Bristol, UK. Their new album “52”, released in late December, brought in the new year with it’s explosive and intricate sound. The project’s music transcends genre definitions in order to focus on a broad, diverse concept that is more emotional than tangible. This particular release is full of rich and diverse arrangements, but it is also a powerful exercise in minimalism, one that showcases the strength of very few notes placed in the right spots. The simplicity of the arrangement is actually one of the strongest aspects of this entire release: there’s a palpable stillness created by the long, drone notes in the background, which almost makes you feel like the world is happening in slow motion. When the chords and notes change, it feels quite monumental due to the beautiful contrast between the stillness of the background textures and the expressive sound of the guitar-based melodies.