123 S. Walnut St
Bloomington, IN, 47401
Doors 8:00 PM / Show 9:00 PM
Watch & Listen
Ultimate Painting, the duo of Jack Cooper and James Hoare, is pleased to announce the release of their new album, Dusk, on September 30th via Trouble In Mind. Recorded to tape by James in his East London flat and home studio, Dusk is the third album from the London-based duo, a ten song set that expands the group’s sound from their self-titled debut and their critically acclaimed sophomore effort, Green Lanes. Today, the band shares the first single, “Bills,” a track which dives head-first into a crystalline pool of jangle.
Ultimate Painting are lucky enough to be comprised of two singular voices in Jack Cooper and James Hoare, who met when on tour together with their other bands Mazes and Veronica Falls. The pair’s distinctive songwriting styles began to blur with Green Lanes, but on Dusk it’s hard to tell where Cooper ends and Hoare begins. Their tunes weave in and out of each other like the duo’s respective six-strings, spiraling around each other in a laconic dance.
Album opener and first single “Bills” furthers the duo’s reputation as purveyors of the Verlaine/Lloyd legacy, but despite the evident influence of American guitar pop both past and present, the group has recorded an album that feels decidedly English. Cooper’s abstract poeticism balances perfectly alongside Hoare’s alluring and universal pop leanings. The group has discovered a simple lushness in Dusk’s arrangements, sometimes only with subtle additions like a recently acquired Wurlitzer piano. They’ve tapped into the subtle grace that infects the mood and emotions experienced at times like sunrise and dusk, hopefulness, resignation, ennui.
The casual setting during the album’s recording allowed the sessions and songs to unfold naturally, with James and Jack accompanied by recent live drummer Melissa Rigby, who drums on the entirety of Dusk. Her skills lend a rhythmic elasticity to the songs with jazzy undertones that break from the band’s previously unadorned 4/4 leanings. Dusk feels different and cements the group’s presence in the modern world of guitar pop, finding voice in the allure of quietude.
'Spissy is the rare and obvious duo of Aaron Denton and Ben Lumsdaine. I say "obvious" because they fit together and compliment one another so well, their creative pairing seems almost inevitable. Aaron's ability to craft a delightful, memorable hook alongside Ben's penchant for arrangement, vibe, and skill makes Spissy an absolutely satisfying listen. "Rare", because what draws these two dudes together seems hard to find; a studious, almost aggressive, attraction and ambition toward moderation. That is to say, every piece of this record, even and especially the riskier bits, has been carefully considered and measured. Every synth sound and every rhythm is the right choice. Each unexpected turn and gratifying conclusion hits precisely the right spot.
But don't get me wrong. For every "right choice" that's made, a consequence must be considered. What emotion follows this chord progression, or these lyrics? It's a balancing act. Spissy have tightened themselves down into a niche. They've struck a symmetry between pleasant music and raw expression. And they've hit their mark so accurately, then shown their vulnerabilities so appropriately...it's like they're the Ed Harris' Gene Kranz at the end of Ron Howard's Tom Hanks-starring 1995 space-race masterpiece, Apollo 13 of 2016 indie rock. This record is ambitious, it's considered, and it's meticulous, but - what makes it great - Spissy haven't forgotten that it's also a crap shoot.'
- Mike Adams
Byrdgaze psyched out post punk freak boys