Buffet Lunch's 'Perfect Hit!'

Well, I never! Art-pop amblers Buffet Lunch have embarked on their blue period. Released today, new single ‘Blue Chairs, Blue Floors, Blue Folders’ is the first track to sally forth from their forthcoming album ‘Perfect Hit!’, out on April 4th through Upset The Rhythm.
 
Comprised of musicians based in Glasgow, Edinburgh and (sometimes) Newcastle, Buffet Lunch craft ramshackle odysseys of observational charm. Always catchy, often profound. Buffet Lunch have been previously described as a band that create 'a hodgepodge of noises’, and who are 'lyrically ridiculous'. Both claims are strongly denied by the group.
 

 

 

‘Blue Chairs, Blue Floors, Blue Folders’ is a deceptively carefree track, with its lengthy Shadows’ style intro, it is packed with anticipation, it revels in waiting, enjoying the mundane surroundings that often accompany monumental changes. This defines the modus operandi for a whole album of curious turns; a record that sees the band focus on more overtly personal themes like ancestry and becoming a parent, without neglecting the flawed Presbyterians and conker champions of the subconscious. ‘Perfect Hit!’ is built from bricks, ideas and plots, melodies and hooks, each stacked upon the other. It is available to pre-order now on 180g yellow vinyl from all the best shops and our very own website here.
 
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Evil Sword - London date for April!

Playing live (or perhaps undead) in London this April... EVIL SWORD! New show announced!

Upset The Rhythm presents…

EVIL SWORD
Saturday 5 April
New River Studios, 199 Eade Rd, Harringay, London, N4 1DN
7.30pm | £8 | Tickets: https://link.dice.fm/B1970de44fb0

EVIL SWORD are Kate Ferencz and Ben Furgal from Philadelphia, USA. Their chaotic live shows combine elements of noise, cryptic metal overtones, performance art, and gallows humor and feature macabre props, flashing lights, stage sets and costumes. There are hardly any instruments in this group, but they make such a racket you’d never know it. The bass and the percussion sound like they’re having a great time, telling each other jokes. Then the words come in and it all locks together in these strange, hypnotic rhythms. I just listen to the stories and laugh and cry and get scared and wonder what they were ever thinking. 

Recent album ‘Basket Fever’ (Magic Pictures, 2023) features electrocuted bells, backwards parts, rusty horns; I’m pretty sure I even heard a clarinet in there somewhere. There’s this one part where it all seems to come back around, where they took some gang vocals from the very first demo they ever recorded and slowed it way down. When they first started; I thought they were some goofy kids making music about the end of the world, back when that seemed a little further away, like it was going to be fun. They were all laughing and making these funny ghost sounds, but now everyone’s older and the ghosts are real, a great whoosh of bygone spirits and cold air. It’s bone chilling. There’s plenty to be upset about, but it’s not really an Evil Sword song until that grimace has been twisted up into a smile.

https://evilsword.bandcamp.com/album/basket-fever

Rattle and Ritual

 

Rattle return today with their hypnotic cascade of a new single 'Ritual'! 'Ritual' is a song of summoning, a waltz pulled out of the earth, a swirling mist and a spell spoken into a mirror.

Available now digitally and featuring on the duo's forthcoming album 'Encircle', out Feb 28th on Upset The Rhythm. Pink vinyl, black vinyl and CDs all available to pre-order from UTR and all the best shops.
 

New date added for Rich Dawson! April 30th

We've added a new date at The Clapham Grand for Rich in April! On sale from Friday at 10am.

 

 

Upset The Rhythm presents…

RICH(ARD) DAWSON
Tuesday 29 April & Wednesday 30 April
The Clapham Grand, 21-25 St John's Hill, Clapham, London, SW11 1TT
7pm | £30 | Tickets: https://link.dice.fm/richard-dawson & https://link.dice.fm/ed6edd247a05
(New tickets for April 30th on sale on Friday 24 January at 10am)

RICH(ARD) DAWSON has drawn so many long drafts from the whirlpools of Elemental North Eastern Archetypes, he may now be one himself. Fearless in his research and willingness to follow his inspiration, Dawson has created an impressive catalogue of music and storytelling steeped in both ancient myths and contemporary dread. A fog of sickness, trauma and mute inevitability inhabits his records and is often expressed in the havoc with which Dawson’s hands produce sounds from his long-suffering guitar, an instrument as bruised, individual and indefatigable as its owner.

Dawson’s forthcoming new album ‘End of the Middle’ (out Feb 14th through Weird World) is intricate, evocative, stripped-back, tactile and almost has the transportive ability to put you in the places and scenarios it describes. The album focuses around a family unit. “It zooms in quite close-up to try and explore a typical middle class English family home,” Dawson says. “We're listening to the stories of people from three or four generations of perhaps the same family. But really, it’s about how we break certain cycles. I think the family is a useful metaphor to examine how things are passed on generationally.”
 
The title of the new album End of the Middle is a suitably slippery contradiction, one that invites multiple interpretations: Middle-aging? Middle-class? The middle-point of Dawson's career? The centre of a record? Centrism in general? Polarisation? The possibility of having a balanced discussion about anything? Stuck in the middle with you? Middle England? Decide for yourself at this concert in the intimate, beautiful setting of The Clapham Grand.

 
https://richarddawson.net/