Exclusive: Listen to ‘Forget About It’ taken from ‘Life’s A Beach’ – The debut EP from Death by Shotgun

With British summertime near enough a distant memory, it’s a relief to have Bournemouth’s Death By Shotgun on hand to announce their impending sun-soaked debut EP ‘Life’s A Beach’.

The five track EP, due for release September 1st through box fresh Southampton DIY label Suicide Notes, comes from Gun Shy drummer Dom Wright. Keeping it in the family, the new label is backed by Josh Bannister (Gun Shy, ex-Milk Teeth) who will be releasing the debut EP digitally and on cassette. Pre-order yourself a copy here.

Discussing the production of their debut EP, Dom had this to say:
Matt and I recorded this at the Ranch Production House with our friend Daly George who made us sound actually good. We played all the instruments on the record ourselves minus the shredding lead line in one of the tracks that Daly actually played himself. We sort of wrote a lot of the parts whilst in the studio as we both previously had just played the songs on our acoustic guitars. We are really looking forward to people hearing it and excited to be working with Josh at Suicide Notes for this release!!

In even more wonderful news, Birthday Cake For Breakfast is pleased as punch to present the exclusive first listen of lead single ‘Forget About It’ below – a huge dose of nostalgia with its anthemic, sing along chorus and summery pop hooks! But don’t take our word for it – here’s Dom’s take:

‘Forget About It’ is about when you do something you regret or someone does something that hurts you and you can’t stop thinking about it. It’s also about a bunch of other stuff that was going on at the time of writing it. People can take what they like from it and hopefully have a bloody good time whilst listening to it!

Listen to Forget About It below and keep your eyes peeled for more from Death By Shotgun!

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Live Review: Indietracks Festival 2017

Review from JT Wilson

Friday

One of the advantages of Indietracks being held at the delightful Midlands Railway Centre is that it has a large barn which they use as a second stage. This means that if the weather becomes too impossible, they can always retreat indoors with minimal inconvenience. On Friday, as it throws down with rain all afternoon, they take no chances and move indoors for the whole of the first night. I will take on the arduous task of reviewing every single band who played on Friday. Don’t expect it every night.

Kid Canaveral are a sensible choice for an opener: in many ways, they serve as a condensed version of the festival’s sound, without threatening to overshadow anyone higher up the bill. They’re a mixed-gender quintet who’ve played the festival before, and sound like a C86-era version of Frightened Rabbit. They’re afforded an epic quality by the natural reverb of the barn, which gives everything a Phil Spector feel (for better or for worse, as we’ll see).

Chorusgirl, in their white T-shirt and black trousers, have something of a T-Birds look to them. While they twang in a vaguely 50s way as well, they also incorporate 70s punk vibes and 90s shoegazey noise.  Would it surprise you to learn one of them was playing a Fender Jaguar? Previewing tracks from their forthcoming album (not named), Chorusgirl are just okay tonight: competent but not terribly exciting.

Martha stole the show at 2015’s Indietracks with their anthemic, empathetic power-pop, and with another album under their belts since then, they’re elevated to tonight’s main attraction. Accompanied by lights that make them look like the Utah Saints or something, they sprint through 19 tracks in an hour, from early single ‘Sycamore’ to last year’s album peak ‘Do Nothing’. They’re not helped by audio gremlins throughout, but the audience stay with it, singing JC’s lines on the almost-perfect ‘Present, Tense’ and literally carrying the band during crowd-surfing encore ‘St Paul’s (Westerberg Comprehensive)’. The band finish their set with Semisonic’s ‘Closing Time’: the opening bars made it sound like ‘All Star’ by Smash Mouth, so imagine my disappointment/joy when it wasn’t.

Saturday

It’s dry when the festival opens for Day 2, and the first band on the outdoor stage is another Glaswegian act, The Pooches. Vaguely similar to Indietracks faves Allo Darlin’ and Indietracks organisers Pocketbooks, they play a mimsy indie which positions them perfectly as Indietracks openers, but which might need another dimension to move up the card. Mind you, given that one of the songs is named after a Magic: The Gathering move, maybe that dimension will be a malignant supernatural one like in ‘Stranger Things’.

The sun comes out, appropriately, for upbeat Catalonian septet Cola Jet Set, whose lyrics are all in Spanish but whose vibrant performance transcends linguistic boundaries. Sounding roughly like a Spanish-language, female-fronted Beach Boys, I can imagine these being Gruff Rhys’ favourite band. Shout out to Felipe, the band’s lead guitarist and bandleader, who looks like Patton Oswalt in a middle manager’s striped shirt.

We switch to the indoor stage for yet another band from Glasgow, the reverb-drenched TeenCanteen, who play swooning, synth-heavy, harmony-laden miniature epics. Diminutive singer Carla Easton, curling her lip at every high note, is the focal point, but the band seem to be having a lovely time up there, none more apparent as when they do a woozy cover of TLC’s ‘Waterfalls’ that sandwiches in the rap from All Saints’ ‘I Know Where It’s At’.

Back outdoors, Chester’s Peaness add choppy Talking Heads-y new wave flavouring and Veruca Salt-ed grunge touches to their own brand of harmony-based indie-pop, but their songs aren’t for everyone: it seems that, inspired by Peaness’ 2017 single ‘Oh George’, a mum asked them for a photo with her son George, who was having none of it. When the band recount this onstage, the mum waves, but George starts crying. The personable all-female trio display potential for upward mobility both on record and today.

Peaness

Did I mention Indietracks has a stage in a restored church which only seats 100? I didn’t? Okay, well it does, and due to the capacity it’s a battle to get in there at any point during the weekend. We get in, however, for Manchester duo Crywank, who are a real change of pace compared to almost anything else on the bill. Going from the festival’s typical whimsical indie to Crywank’s intense, agonised acoustic grindcore is like enjoying a lovely sauna bathed in reverb and harmonies and then suddenly being thrown into an icy pool. It’s a refreshing change but a bracing one. Most of the attention around the band focuses on James Clayton’s desperately bleak lyrics, but drummer Dan Watson gives an unbelievable performance here.

Normal service is restored, I guess, indoors with MJ Hibbett & The Validators, who have a sort of homely wit as if Harry Hill had decided to form a band rather than becoming a comedian. The set today mostly focuses on ageing and/or festivals: a smart decision, as ’20 Things To Do Before You’re 30’ is played a bit too late for most of this audience, your current scribe included. Hibs might have been better in the church as well: the barn’s reverb hoovers up most of Mark’s vocals, in a band mainly notable for his lyrics.

You know how Scritti Politti were originally this really abrasive, Gang of Four deal doing songs like ‘Skank Bloc Bologna’, and then went really poppy and sounded like Prince on stuff like ‘Wood Beez’? Can you imagine how awkward a set during the transition might have sounded? Well, you’ve kind of got Lucky Soul, who’ve reformed recently, but have decided to go down a Daft Punk-ish disco route while still playing their old Belle and Seb-esque twee indie. It’s very polished, at a level rarely seen here, but also kind of bland, as if they’re here because Derby Pride got cancelled.

Hiding unplugged in the merch tent are ONSIND, doing an acoustic set with no microphones as a road test for a pair of new songs from the next album. The new songs are hard to gauge in such an intimate setting – the volume is so low it’s as if it was streamed off a phone – but the bookends ‘Pokemon City Limits’ and ‘Heterosexuality is a Construct’ go down as well as ever. One of the audience is wearing a Vote Conservative T-shirt, ironically or otherwise: hard to know if he enjoyed Pokemon City Limits and its chorus/punchline “Never trust a Tory”. (Other acts playing the merch tent over the weekend include electronic dream-pop act Deerful, who plays sat on the floor with a miniature keyboard.)

Headlining the indoor stage, Joanna Gruesome have had a line-up change since their last appearance, now wielding three guitars and two vocals. Imagine if Slowdive and Bikini Kill had done a split 7” back in 1991, and imagine if due to a manufacturing error, all of the songs played at the same time: that’s roughly what Joanna Gruesome sound like. They’re still weirdly uncharismatic though; they’re energetic and aggressive during their songs, but almost catatonic between them. Yeah they’re still young, but they’ve been playing gigs for years now, and they’re headlining this stage. Their gigs will seem loads more dynamic if they can more successfully marry up these elements.

It’ll probably have been beaten by Justin Bieber or some shit now, but at one point, the “semi-legendary” The Wedding Present held the record for most Top 30 singles in one year, thanks to some skulduggery where they released one single every month and charted every time. One of those went Top 10, and they were still having Top 40 hits as late as 2005. Yet they’re not really regarded as a big name from the era in the same way as some of their contemporaries: nobody lists them as an influence, they have no indie disco classics, and none of their albums are ever on Greatest of All Time lists. They feel like a legacy headliner, maybe better suited to a Sunday closing slot, in a way that maybe The Smiths or Pixies wouldn’t. Indietracks, however, has always kept faith in Gedge, maybe trying to single-handedly elevate the band’s reputation; this being his second Saturday headline slot in three years.

While Dave’s drily ironic self-aggrandisement isn’t particularly appealing (“I forgot how many good songs we did!”), luckily the band’s aggressive jangle is. Maybe it’s because late-80s/early-90s sounds are hip again, but it sounds pretty fresh, with Sonic Youth-ish ‘Kennedy’ a highlight. Perhaps the unexpected exuberance is due to the band’s latest line-up: mostly recruited in the last 12 months, both the guitarist and bassist look younger than the Weds’ 30-year-old album ‘George Best’.

The Wedding Present

Sunday

We woke up to news that the Y Not Festival had been cancelled due to adverse weather conditions, despite it being in the same county and the sun beating down. While the news seeping out of the festival was at Fyre Festival levels of pandemonium, Indietracks just got on with it; it wasn’t even the rainiest Indietracks!

The first thing we catch is Daniel Versus The World in the Church, where he thanks Indietracks for being “the queerest it’s been” and making an effort at better representation (the 2017 festival also seemed more racially diverse too). This is the second time I’ve seen DVTW playing a Sunday afternoon set at a festival, but it’s a position which suits his glittery Stephen Trask-ish piano pop songs, and the trio line-up (there’s a rhythm section too) works fine in the intimate surroundings of the Church stage. He reminds me of Fiona Apple: perhaps he needs a Jon Brion production.

Most of the booze at Indietracks is served in cans, and these cans have to go to the recycling, so they get a steamroller to crush the cans flat every few hours. The can-crushing steamroller always draws a good crowd. There’s something oddly satisfying about watching it being faced with a massive pile of cans and smashing through them all: such an inspirational character. We caught the 13.50 set, but I’m sure the sets elsewhere in the weekend were not dramatically different. Maybe it’s like seeing The Fall, where it’s always different but always stays the same.

Luby Sparks are an impossibly young Tokyo quintet who, according to one interview, are playing their first ever gig outside of Japan! So shoegaze that even the drummer looks at his shoes for the entire gig, the band’s boy-girl vocal exchanges and blissed-out noise is like being guided through a busy city while on opiates. These are really pretty, both to look at and to listen to.

Luby Sparks

We remain indoors for Cowtown, an aggressively energetic Hookworms offshoot who take cues from Krautrock and post-punk and whose 12-track, 22-minute album ‘Paranormal Romance’ came out last year. The Leeds trio’s high-octane, Korg-driven performance ends with the guitarist holding his guitar to the sky, which is hilariously mirrored by the keyboardist and even the drummer (holding the hi-hat up!). The band’s boisterous drones are more fun and melodic than Hookworms were when I saw them.

Outdoors, The Orchids are playing. They’re a quintet from Glasgow who released a bunch of records on Sarah Records in the 1980s and have now reformed. You already know what they sound like, right? No? Augmented by two percussionists for this show, the band’s jangly Triffids/Go-Betweens sound is fine for the last of the Sunday afternoon sunshine.

Grace Petrie is completely unaccompanied on the Indoor Stage, but fills it completely with her passionate protest songs. After touring around for years, and being spurned by the Guardian and by Whitby Folk Festival among others, Petrie’s developed a self-aware, ironic streak even when trying to coax the audience into participation (“that’s about 52% of you keen, which as we know is an overwhelming majority…”). A sudden downpour causes Petrie’s audience to literally double as everyone rushes indoors, essentially creating a captive audience for the Leicester singer-songwriter. Petrie’s stuff, however, warranted a decent audience anyway.

The inclement weather causes a temporary stage reshuffle, and forces Monkey Swallows the Universe into the indoor stage for their “last ever” gig. The odds are against the minimal folk quintet: they’re chucked onto the indoor stage with essentially no soundcheck and have to follow Grace Petrie’s rambunctious songs to the disinterest of the crowd. Using instruments like the glockenspiel, recorder and double bass, this must be the most low-key quintet ever, so quiet that they’re virtually inaudible at times. But it’s hard to know how this would have translated to the main stage either: another band who in hindsight were probably better off in the Church.

The forced line-up switches cause a few awkward schedule pile-ups so we forego The Wave Pictures (who suddenly start on the main stage with no pre-amble as soon as it stops raining) to catch sullen Hole-ish duo Skinny Girl Diet, who play super-heavy tracks off the aptly-named ‘Heavyflow despite some technical issues (a malfunctioning distortion pedal) and the stripped-down line-up. A Karen O-style echo effect is applied three tracks in, which suits the band well, oddly enough.

Lilith Ai

Back in the Church, Lilith Ai is playing with a slightly reduced line-up with her drummer on compassionate leave, but her songs are strong enough to captivate even under these circumstances. They’re melodic and soulful enough to convince in this environment and gritty and authentic enough to fit more urban bills: essentially, Lilith can go in any direction she wants from here. ‘Riot Revolution’, played with a drum machine and digressing into breakbeat-driven electronica, showcases her potential as a frontwoman unencumbered by the acoustic guitar she plays for most of the set. Ai got a lot of Twitter attention for this set, and rightly so.

Effervescent London trio The Tuts peculiarly announced on Facebook that they were headlining Indietracks on Sunday, but are on earlier than Cate Le Bon and play the second stage. Whatever their thinking, the effort involved in their set indicates that they’ve decided to treat the gig as a headline slot, either to upstage Le Bon or to announce their own potential for the role. It works, too: this is probably the most memorable set of the weekend. Introduced by a vicar in front of 4ft balloons, entering in bridal gowns, playing a cover of ‘Wannabe’, the band are going all-out here. There’s the occasional dud: a song with the refrain “give us something worth voting for” seems like an unfashionable opinion in 2017, and the new song is more Tuts self-mythologising in what sounds like an unsuccessful attempt to emulate Beyonce. On the encore (!!!), though, the various parts coalesce: singer/guitarist Nadia talks openly about her struggles with depression before the vicar comes back on to marry the band to themselves (because if you can’t love yourself…) and the band bring out an assembly of pals for an acoustic cover of Linkin Park’sIn The End’. They’ve always been a fun proposition live, but this was a statement of intent.

Top that, Cate Le Bon. Wearing a black pyjama suit and holding her guitar like a machine gun, Le Bon’s superior quirk would have caught the eye had she been lower on the bill, but this is the death slot for her and her band. There’s a difference between headlining your own gig and headlining a festival, a difference that Le Bon gives little indication of understanding: she treats it as just another gig, albeit one of the last for the band before they go to record the follow-up to Crab Day (which is her newest release, despite being fifteen months old). It’s a bummer, as while it may not be a festival headline show, the music is still pretty good: a fringe associate of final-days Gorky’s Zygotic Mynci, Le Bon has a similarly skewed take on indie-pop as they did, a cross between John Cale’s chamber-pop and Canterbury scene lysergics, a sort-of psychedelia indigenous to Wales (seicedelia’r?). The set finishes with ‘What’s Not Mine’, which takes the ‘Mr Blue Sky’ chug to its logical, fatal conclusion. And that’s it: there isn’t even an encore.

So that was Indietracks, a fine mix of vintage Peel-era indie outfits, modern-day whimsy, energetic girl and/or queer outfits, and Crywank; a festival which courted a younger crowd of grrls while retaining the nostalgia crowd it’s always played to. It’ll be interesting to see which direction they go in next year, but with its eclectic line-up and affordable price, Indietracks is usually worth a look.
(If you’re going for a headliner from the Peel era next year, see if Urusei Yatsura or Gorky’s Zygotic Mynci will reform and you’ll guarantee my ticket.)

Cate Le Bon

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Former Axis Of frontman Ewen Friers debuts solo project CATALAN!

Having once been described by a music mag as “The most exciting band to come out of Northern Ireland, possibly ever”, it came as a shock to hear that after seven or so years on the road, Axis Of were going on hiatus. Whilst still very much bosom buddies (thanks in part to their shared ‘The Prospect Roads’ podcast), its members decided to take a break from the actual band.

With their last full-length ‘The Mid Brae Innon regular rotation at our gaff, it was splendid news to hear Axis Of vocalist Ewen Friers has returned a year or so later with his next project on the go – His solo effort CATALAN!

Not such a leap from his previous outfit (which is a good thing), CATALAN! sees Ewen continue his love of travel, with the music written in France, the lyrics in North America and debut single ‘OKA’ wrapped up in London, creating a sound described by Ewen as a “‘Sandinista era’ Clash in the 2017 landscape”.

Speaking exclusively with Birthday Cake For Breakfast about the birth of CATALAN! is Ewen:

“In my previous bands we wrote songs at home and in practise and all recording and demoing was put in hands of friends and local producers. Writing and demoing for CATALAN! has been a completely new experience for me. Firstly, I caught up with the rest of the music world and invested in a decent laptop, a small interface and taught myself how to record at a very basic level.

The day after the last Axis Of show before hiatus, I disappeared off to France for a couple months, by the first day I was working out how to program drum beats, recording guitars and vocals. This new more personalised take on writing was really fresh and useful to me and proved prolific from the get go. One thing that was similar to my previous writing was that the more I travelled the more creative I felt. My time in France, inter-railing around Europe, working on an Island in the Hebrides and two months on tour driving ASIWYFA around North America all proved endlessly inspiring. The difference was that I now had my mobile studio stuff and rudimentary skill in recording and could write, record, mix as I went. That’s why I feel like CATALAN! has this new more immediateness and preciseness about it, particularly the lyrics, which are really just me with all my interests trying to make sense of that world I was presented with on these various travels.”

Check out the video for OKA below and keep an eye out for more from Ewen and CATALAN!

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Salfordian electronica producer James Claremont provides guest mix for DUGA 3

Following on from our news a fortnight ago that Mancunian duo worriedaboutsatan had provided a guest mix for online mixtape DUGA 3, this week brings with it news that Salfordian James Claremont has jumped on board too!

Claremont is the solo electronica project of multi-disciplined Salford based musician James Green, he of Spring King and Puddin’ fame. DUGA 3 took a shine to Claremont, with his individual project combining a heady mix of Japanese inspired lounge and garage, full of the innovative production points and tangents that sets his stuff apart in a sea of bedroom producers.

On hooking up with the online Manchester collective, James had this to say:

A couple of months ago I saw a friend (Jona Sul) post a mix of his he’d done for DUGA3 and was completely intrigued, and delighted when they got in touch and asked me to put together my own mix for them! I wanted to create something with a grounding in the kind of easy, soft electronica and hip hop that I adore, as well as some more up-tempo footwork and jungle influenced stuff in keeping with some new music I’ve been working on (and the sort of genre I’d usually play in a club environment). I also always like to get some local artists and friends in there as well (in this case ‘This City Is Ours‘, Sleepdebt and Brother Mynor).

I’ve got an EP coming out in the next few weeks which should be cool, in tandem with close collaborator and top cousin ‘Cold Heart Collective‘ who’s designing some clothing to accompany the release which should all be dead fun!

Elsewhere in the mix, there’s eclectic sounds from all over, with music from the likes of Oh Sees, Ryan Adams, Ross From Friends, Beat Detectives and a whole ton more. Listen for yourself – Stream the second episode of Season 3 below and keep an ear out for that upcoming Claremont EP!

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What’s On Michael Portillo’s iPod: Mush

Here at Birthday Cake For Breakfast, we like to get to the heart of what an artist is all about. We feel the music they listen to is just as important as the music they make. With that in mind, we’re delighted to have guitarist Dan of Leeds quartet Mush talk us through five releases that shaped their recent 7″ through Too Pure Singles Club!

Hey Thanks for including us. I’m writing this a couple months after recording and my memory is a little hazy. Anyway here’s a few bits we were listening to at the time.”

Number 1: Wire’s album Chairs Missing (1978)

“Got into Wire really weirdly late. Luckily picked up a first pressing of this in the second hand record shop under Crash records, cost me £30 which i think is the most i’ve ever spent on a single record. That ‘Outdoor Miner‘ track is the perfect pop song for me. Great flow to the record as well. This was getting regular spins at the time we recorded, that much i remember.

Number 2: Cate Le Bon’s album Crab Day (2016)

“I’ve now played this album to death. Sooo great though. All very big fan’s and have been lucky to catch her a few times at Brudenell when she’s been in Leeds. Last time she played a Christmas show and did a medley of various Christmas tracks which was a laugh. I don’t know if this was a direct influence on the record but i love the guitar playing, really inventive and untechincal vibes. Strong lyrical game too!

Number 3: Deerhoof’s album The Magic  (2016)

“This is actually my favourite one they’ve done for a while. I think it came out around the time we were in the studio, the guys Jamie and Lee at Greenmount i think were Deerhoof fans as well. We used it as a reference point for some kind of sound but i cant recall what exactly. The track ‘Debut‘ is particularly good, real tasty beat.

Number 4: Drahla’s exclusive Too Pure Singles Club 7″ Faux Text (2017)

“I feel like a broken record going on about Drahla all the time. We’d just started playing loads of gigs together at the time and then we found out we were doing the singles club in consecutive months. Great band and good bunch. The B side ‘Burden of Proof‘ is ace! I don’t want to be held accountable for trying to describe what it sounds like, so i’d just recommend listening to it. Come on Leeds! Etc.

Number 5: The Clash’s album Sandinista! (1980)

“This album’s ridiculous. It’s got a million songs so it’s quite handy for long bus rides or train journeys. I like how much of a loose bag of ideas this album is. It’s all over the shop. Great grooves again. Obvious choice… but ‘Magnificent Seven‘ is a belter.”

“Thanks for Reading.

Mush

‘Alternate Facts/Space Garbage’ can be picked up direct through Too Pure – Be quick!

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Album Review: She The Throne – She The Throne

Review from Ben Forrester

I do love a good DIY collective and This City Is Ours are one of Manchester’s finest. The collective has done an amazing job of championing a whole host of futuristic projects and producers over the past 6 years or so and have put on some killer nights in the city, putting out some equally killer records. I’m extremely excited to tuck into this brand new release to come from within the collective, as it’s a project that has come out of nowhere and its elusiveness has definitely sparked some intrigue.

She The Throne only announced themselves to the world earlier this month and today release their debut self-titled record. Having heard a snippet of the record a few weeks back in the form of the brooding 80’s synth pop of ‘Sometimes My Arms Bend Back‘, my intrigue has only heightened.

The record begins with ‘Rust Part 1’ and ‘…Part 2‘, which instantly draws you into the centre of an unsettling scene of vintage synth rumbles and lo-fi spoken word samples that has this very cinematic feel. If you like your horror movie soundtracks, this will certainly be up your street as this has a very John Carptener like feel. What then twists the plot is the introduction of these beautiful, swirling vocals that bring colour and harmony to an otherwise dark and eerie backdrop. It’s like being in this beautiful nightmare and as the track concludes to a rise of arpeggiated synth whirls, you can’t help but feel fully absorbed into this unique state of mind that the duo lull you into.

The aforementioned Sometimes My Arms Bend Back concludes the first side of this two sided cassette release and offers a more straight up song structure. Tribal drums, squelching synth bass and delay heavy vocals swim around your head to create an almost dreamy effect, but there is still this sense of darkness that lurks beneath this track that says – this isn’t over.

The second side of the record offers a more meditative and dreamy tone as it starts off as a gentle ambient influenced passage before building into this glitchy yet glittering piece of electro that is ‘White Tiger‘ to move through waves of the beautifully textured synthesiser soundcapes that complete this incredibly affecting and moving piece.

She The Throne is an extremely immersive listening experience. There is such a sense of intricacy that flows through this record and you can’t help but feel engulfed by the textures and timbres that the duo incorporate to create this other worldly state. Honestly, put some good headphones in, turn the lights off and let the darkness hypnotise you into seeing its colourful sonic splendour.

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Exclusive: Listen to ‘How Are You Wired’, Pet Crow’s debut for the Too Pure Singles Club

Following on from the release of debut full-length ‘A Simple Guide to Small and Medium Pond Life’ back in February of this year, Derby quartet Pet Crow are looking to strike off another first with the release of a brand new 7” single. Who better to mark this debut with than our favourite vinyl aficionados, the wonderful Too Pure Singles Club.

B-Side ‘Scrape Yourself From The Floor‘ recently had its premiere on BBC Radio 6 Music, thanks to Too Pure super fan Marc Riley. No surprise either, as Pet Crow have been gathering quite the following in their short time together.

The super smooth ‘How Are You Wired’ acts as the flip-side here, an explosive little garage-rock banger, with future hit written all over it! A glimpse behind the curtain of more gnarliness from the four-piece.

How Are You Wired is out 25th August through the Too Pure Singles Club, but you can hear it first below:

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