“Bread Song” might be rooted in something hugely relatable and every day - bread crumbs in bed - but the lyrics were tweaked and thought about in various stages over a four year period. Throwing every idea the band has into something is symbolic of an album bursting with ideas and zealous creativity. “So the making of it was a really fast, whimsical and silly approach - like throwing all the shit at the wall and just letting everything stick.” “We threw in every idea anyone had with that song,” says Wood. It’s a track that Wood calls “the best song we’ve ever written.” It’s a chaotic yet coherent creation that ricochets around unpredictably but also seamlessly. Tracks such as “Chaos Space Marine” combine sprightly violin, rhythmic piano, and stabs of saxophone to create something infectiously fluid that bubbles to a rounding crescendo. I think if we did that people would want a record that sounded even more like Slint.” “You get all of this buzz around you and if you still haven’t come up with your new sound, you can really start to pander to what you think people want and that’s not always good. ![]() “I understand how that may be for some bands,” says Evans. Given the incredible acclaim for the band’s debut some second album jitters would be forgiven, or perhaps expected, but that’s not the case here, such is the laser focus on forward momentum. On Ants From Up There they have expanded on this unique concoction to create a singular sonic middle ground that traverses classical minimalism, indie-folk, pop, alt rock and a distinct tone that is already unique to the band. On their debut album, the band (Evans, May Kershaw, Charlie Wayne, Luke Mark, Isaac Wood, Tyler Hyde and Georgia Ellery) melded klezmer, post-rock, indie and an often intense spoken word delivery. Their debut, For the first time, is a 2021 Album of the Year, receiving ecstatic reviews and picking up a nomination for the Mercury Music Prize, and the band have harnessed the momentum from that record and run full pelt into their second. Most bands, having been at the centre of a whirlwind of hype and critical acclaim, would be happy to stick to a winning formula for repeat success but creative stagnation is of zero interest to BC,NR who have swiftly returned with a follow album that takes yet another bold and innovative musical leap. “We all love every single moment of this album.” “We were really, really hyped making this record,” says Lewis Evans of Black Country, New Road. “They say, ‘what you’re doing should be bad, how come it’s not?!’” It led to a Windmill residency, and a publishing contract, and a record deal, a Mercury nomination for Schlagenheim, and you reading this. black midi got their first gig two weeks after leaving school, in June 2017, at south London’s renowned Windmill venue. Morgan briefly toyed with the idea of becoming a professional footballer but eventually chose drumming, also teaching music.įive. After leaving school Cameron worked in the Wimbledon branch of stationery store Ryman. Geordie and Matt borrowed the name from a Japanese music genre where a MIDI file is stuffed with so many musical notes that its visual representation looks solid black. His dad’s prog rock, folk and hard rock albums ![]() Coincidentally, Morgan and Geordie both played in church bands growing up - Morgan in Hertfordshire Geordie in Walthamstow.įranz Ferdinand’s Take Me Out on Guitar Hero Other notable releases are Cavalcovers EP, black midi live in the USA and The black midi Anthology Volume 1 - Tales of Suspense and Revenge. Further recordings include standalone singles Cruising, 7-Eleven and track drops like ded sheeran (ed sheeran send). black midi are: Geordie Greep (guitar, vocals), Cameron Picton (bass, vocals), and Morgan Simpson (drums).īlack midi’s studio albums are Schlagenheim (2019), Cavalcade (2021) and Hellfire (2022). We didn’t really notice time, or that we were supposed to be working.”
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