Unknown Mortal Orchestra

Unknown Mortal Orchestra

In many ways, the album is Nielson’s reckoning with
reinterpretation of the promise of the ‘60s. Have t
he ideals from
that period of searching optimism, and the correspo
progress towards more fulfilling relationships and
a more just
society, truly been been met, or as Nielson believe
s, are we all
still searching? Viewed through the prism of today’
s progress (or
lack thereof),
speaks to a more complicated and tricky
view of love, enlightenment and racial harmony. “Pu
literally begins with what sounds like windows shat
tering and
someone sweeping up the pieces of broken glass, an
of recent racial tension in Ferguson and elsewhere
that show a
country off course.
“I was listening a lot to
by Sly and the Family Stone,
obsessing over the lyrics of this multi-racial band
and all these
different people coming together to make music” say
s Nielson. “I
thought we were getting better. We’ve had these bet
ter ideas of
ourselves for decades, but how much have things rea
This was also a family affair. His brother, a drumm
er and former
bandmate in Flying Nun punk band The Mint Chicks, a
s well as
his father, a trumpet player who had set a hedonist
ic example
during his childhood, make guest appearances. The s
“Necessary Evil” (Transform into the animal you nee
d to / Fly
from a destiny infested with chemicals) references
shared affinity for a hard-partying lifestyle with
his father.
Revisiting old relationships and loves, reconnectin
g with family,
reinventing your artistic process: what might seem
like a series
of painful processes liberated Nielson. It’s tricky
raw material to
fashion into something more buoyant and illuminatin
g. He just
hopes the searching and reevaluating help others ta
ke stock of
their own connections and achieve catharsis

Wolf People

Recorded in a beautiful and isolated house in the Yorkshire Dales, Fain is the sound of a band at the peak of their creative powers. It's an honest and natural album that allows its stories, its melodies, its themes and structures to breathe. The album draws on more traditional English and Scottish folk melodies than anything they've done before, but not straying from the drop-out fuzz-rock route they've made their own, the influences are vast – British rock bands like Groundhogs, Dark, Mighty Baby and Peter Green's Fleetwood Mac are evident in the swirling and distorted guitars throughout Fain, along with the 60s revival folk of Fairport Convention, Nic Jones, and Trees. Additionally they have looked towards Scandinavian's rich psychedelic tradition both new and old – you can hear the likes of Mecki Mark Men, Mikael Ramel and contemporaries Dungen. You can even hear the band's teenage forays into Hip-Hop in the drums of 'Thief' and 'Athol'.

It rained constantly throughout the recording process and the house was so packed with gear and recording equipment the band were forced to sleep in tents and caravans parked outside. Whilst performing, they could look out into the vast countryside and catch sight of buzzards, hares, curlews and hundreds upon hundreds of crows and gulls. The fire was on permanently, overnight and throughout the day. A serene experience that informs every track on the album. It was mixed and finished in the equally rainy London, with additional performances from Olivia Chaney on piano and backing vocals, plus Nic Kearey and Rachel Davies of Stick in the Wheel and Various (XL). Jace Lasek (Besnard Lakes) recorded backing vocals in Vancouver remotely for All Returns.

As evidenced by the first single "All Returns," Fain is more lyrically focused than anything they've previously recorded.. The song tells the story of a dream Jack Sharp (guitars/vocals) had during which an acquaintance had looked into his eyes and seen into his soul whilst calmly describing his faults and inner demons, a truly cathartic experience. However, says Sharp, his life is largely "too banal" for material and he largely draws upon snapshots of history to furnish him with the ideas for lyrics. Stand out track "Thief" is taken from various stories of highwaymen that had been made famous by broadsheet ballads and plays – the likes of Charles Peace, William Nevison, Jonathan Wild and Jack Sheppard. He delivers this story in first person, almost as if he is playing the part of a complete degenerate with little or no conscience or morals. As Sharp says, "It's like a form of tourism. You can visit but not live in the mind of an appalling human being. "


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Advance Tickets available at: The Horseshoe Rotate This and Soundscapes

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