A split single from the two ex-Hefner members.
BUY THE SEVEN INCH HERE…
Or buy the downloads from Bandcamp
A split single from the two ex-Hefner members.
Or buy the downloads from Bandcamp
‘As I’ve said previously on here, the most fun I have onstage and in the studio at the moment is with Papernut Cambridge. On this record I’m playing keyboards, bass, percussion and saxophone. Songwriter and head ‘nut’ has gone back to his childhood and recorded the pop classics that shaped his Papernut masterplan.’
Vinyl and CD set:
Transparent orange 140g vinyl LP in a white/orange/silver sleeve + CD version in a white/orange/silver wallet. Mixes/edits on the CD are slightly different from the vinyl versions. This set does not include a download of the album. Price includes postage and packing.
‘Broken Hearted Blues’ ‘(T.Rex)
‘I Believe In Love’ (Hot Chocolate)
‘What Ruthy Said’ (Cockney Rebel)
‘Jesamine’ (The Bystanders/The Casuals)
‘Sugar Me’ (Lynsey De Paul)
‘I’ve Been A Bad Bad Boy’ (Paul Jones)
‘Jealous Mind’ (Alvin Stardust)
‘Love Grows (Where My Rosemary Goes)’ (Edison Lighthouse)
‘White Horses’ (Jacky)
‘Rockers Delight’ (Mikey Dread)
we can just see the sun though the fog on a good day. spaceship mark says that when the land is fertile then the woman shall be soon.
these are brighter sounds for tomorrow. your animals will rest when they hear them.
we have not heard the voice from the dome for two moons.
we dare to dream of future.
ep costs just 99p.
darren and emma seek sunlight. they hate rules. they make rules. they need money to nurse their baby rats. nothing will be good again. it can never be like before. but sister lives. where is spaceship mark.
brute love 01 is an 3 track download ep by brute love
brute love are darren hayman and emma winston and the music is completely improvised, analogue and synthetic.
two analogue synthesizers are cross patched together via control voltage technology so that one player constantly disrupts the other players intentions.
the music was recorded live, with no prior writing or arrangement and with no subsequent editing or fixing.
released 27 February 2015
darren – minibrute, emma – microbrute
the ep costs 99p.
Artist: The Great Electric
Cat No. : Van 276
Release date: October 27th
The Great Electric was formed in the winter of 2012 by Malcolm Doherty (Guitars, FX), Rob Hyde (Drums), Darren Hayman (Synth), Duncan Hemphill (Tones, Drones and FX) and Pete Gofton (Bass/Production).
Alumni of bands as diverse as Hefner, Kenickie, GoKart Mozart & Mum and Dad, the band was united by a love of the classic German electronic and progressive acts of the 1970s coupled with the pop music sensibilities, hooks and production of 90s bands such as Stereolab, Quickspace and Electric Sound of Joy.
EP1, self-recorded and released on Static Caravan is the Great Electric’s first release and showcases the band’s love of combining a hypnotic heaviness with accessibility – thickly layering melody onto bedrock of driving bass and drums, often lending the songs an almost pop patina.
Opener ‘Matter of Time’ sets off at a breakneck motorik pace, introducing layered analogue melodies and a metronomic bassline before giving way to a chorus that sits somewhere in the middle ground between Focus and Fantomas. The track fades into a fug of Gilmour-inspired guitars, analogue electronics and found sounds.
Jump Over The House is a triumphant, energised hybrid of 60’s Detroit soul and a locked, motorik pulse, overlaid with a subtle vocodered line straight out of millennium-era Trans Am. If you booked The Great Electric for your birthday party, they’d open with this song.
The EP’s lead track, Music and Colour establishes a rigid bass motif from the off and builds into the embodiment of perfect space age pop – constructed from layer upon layer of repetition, hypnotic drones and heavy washes of analogue melodies and counter-melodies.
The EP closes with M.O.P.E.. Building over 9 minutes, the track is a dichotomy of ‘Animals’-era Pink Floyd atmospherics and Sir Lord Baltimore barbarian rock. The song gathers pace before the wheels come off entirely and it rattles into Blue Cheer covering Yes’ ‘Heart of the Sunrise’.
2014 will see the band finish a debut LP ahead of organising a small number of live dates later in the year.
300 edition 12” vinyl Red Vinyl pressing
wiaiwya – 2 February 2015 – CD/LP/DL
Darren Hayman is a thoughtful, concise and detailed songwriter. He eschews the big, the bright and the loud for the small, twisted and lost. For 15 years, and over 14 albums, Hayman has taken a singular and erratic route through England’s tired and heartbroken underbelly.
He returns with a powerful new collection of songs based based on William Morris’s Chants for Socialists. The album is due for release on wiaiwya on 2 February and was recorded at three of Morris’s homes; The William Morris Gallery in Walthamstow (with a choir of left-leaning locals), Kelmscott House in Hammersmith (where volunteers hand printed the record sleeves on the Albion press used by Morris) and Kelmscott Manor in Gloucestershire, (where Hayman played Morris’s own piano).
The result is a beautifully crafted album, lovingly produced with a team of enthusiastic helpers, made available for everyone to pay what they can afford or what they think it’s worth. Chants for Socialists is an album of 19th century chants made relevant to the 21st century while staying true to many of William Morris’s ideals
Darren explains the process below:
In 2012, I found a photocopied leaflet in the William Morris Gallery, in Walthamstow, called ‘Chants for Socialists’. It struck me as a bold and divisive title. Not one you would be likely to find on a record or CD today.
There are very few of my contemporaries that sing political songs and I understand why. Today’s politics can be very nuanced and personal. The way we discuss today’s problems can be hard to reduce to a song or short poem. Political songs can be gauche and hectoring. I struggle myself, and can only really claim to have written a handful of overtly political songs over a 15-album career.
William Morris wrote these lyrics in the late 19th century; they were to be sung to the popular tunes of the times. In only two cases did he specify a particular melody. I saw these as ‘emergency’ protest songs, something to draw on in times of strife. I think we are in troubled times. I regard these as useful lyrics.
Morris grouped these songs under a banner of socialism and I class myself as a socialist, but these songs, to me, are more about simple kindness and hope. I acknowledge the naivety and rhetoric in these words. They offer few practical solutions for today, but I love their simplicity. They make me feel young again. They remind of the hope I had in the Red Wedge movement, and how politicised I was around the 1984 miner’s strike.
Adapting the lyrics was not easy. In places I have edited hard and tried to contemporise the syntax. Elsewhere, I have been more faithful to Morris’s elliptical and florid prose. Similarly with the music, I have tried to build a bridge between the 19th and 21st centuries. I have dressed the songs with a simple, urban folk sound. Warm, fuzzy guitar distortion sits alongside broken pianos and dented brass.
I offer these songs as political, historical curiosities and as something to comfort aging lefties like myself. They are uplifting, songs to be sung in communities.
A communal approach was taken in the recording of this album. The group vocals were recorded at two of Morris’s former homes: the William Morris Gallery in Walthamstow and Kelmscott House in Hammersmith. Singers were invited indiscriminately from the local area. Morris’s own letterpress was used to hand print the limited vinyl edition of the record, and I also travelled to another of Morris’s homes, Kelmscott Manor, to record his piano.
The record is being released in a number of ways. There is a CD version and hand letter-pressed vinyl edition as well as a deluxe version with an extra ‘dub’ version of the album.
Most importantly to us, however, the digital version will be free or ‘pay what you feel’; the idea being that people should only contribute that which is within their means. Hopefully this is a just means of exchange to match my wildly naïve, utopian dreams.
You can track the album’s progress via this blog: http://chantsforsocialists.blogspot.co.uk
Learn more about Darren Hayman here: www.hefnet.com
For press info please contact Lucy Hurst at butilikeyouPR | email@example.com
All prices include Postage and Packing.
Despite the fact that I don’t write songs for these records one of the most fulfilling projects I have been involved with in the past few years is Papernut Cambridge.
Papernut Cambridge is the brainchild of Ian Button who currently drums in the Long Parliament. Live, I drum for Papernut, but on record I contribute keyboards and saxophone and bits.
It’s just such a beautiful sound that Ian makes. One of those bands that exists in it’s own universe. The band features’s lots of other characters from my musical past including Jack from hefner and Robert Rotifer as well as artists as diverse as Mary Epworth and Ralegh Long. It’s a band made up of front people, but somehow it all works. This will make you smile.
The record can be bought as a beautiful 7 inch boxset with a download code included – 12 main album tracks plus EIGHT bonus/alternate and extended mixes exclusive to the vinyl version. There is also a super cheap CD version.
Here’s my favourite song of this year by Papernut Cambridge
I hand-painted 20 covers for 20 CD EPs for the Independent Label Market on Saturday 12th July 2014 at Spitalfields. I’ll be on the WIAIWYA stall.
The EP features four new recordings of dog songs including one cover and one new composition.
I’ve also made the EP available for download from Bandcamp below. You get high quality scans of all the paintings with the download.
Buy from Bandcamp.