Turin Brakes don't hang about. The estimable London 4-piece release their eighth studio album through Cooking Vinyl on January 26th 2018, followed by a UK & European tour.
You can listen to the opening track "Would You Be Mine" here.
After seven studio albums and a million records sold worldwide, Turin Brakes might've been excused a bit of downtime, however... 2016 saw them return to national radio playlists with all 3 singles from the critically acclaimed album 'Lost Property,' coupled with 18 months touring across the UK, Europe and Australia, with a plethora of festival appearances in between. But along the way new songs just kept on bubbling through. The band (Olly Knights, Gale Paridjanian, Rob Allum and Eddie Myer) along with co/producer Ali Staton made a hasty return to the legendary Rockfield Studios in Wales (where Queen recorded Bohemian Rhapsody) to strike while the inspiration was buzzing... no downtime!
The music starts as it has since the beginning - with voices and guitars, and evolves outwards from there – the journey 'Invisible Storm' takes runs from the acoustic centre of the band's sound in tracks like 'Deep Sea Diver' and 'Don't Know Much' through to the indie-pop groove of 'Wait' and 'Life Forms' and far beyond into wide-screen space with 'Would You be Mine.' Full track listing below:
WOULD YOU BE MINE WAIT ALWAYS LOST IN THE WOODS DEEP SEA DIVER LIFE FORMS INVISIBLE STORM EVERYTHING ALL AT ONCE TOMORROW SMOKE AND MIRRORS DON'T KNOW MUCH
Olly Knights: "The idea of an invisible storm came to me as a theme during the end of writing the album, I've always loved the quote "everyone you meet is fighting their own war, so be kind." Invisible Storm (the album) is very much coming from that sentiment, that we are all at the mercy of our own internal weather systems despite outward appearances that may paint different pictures.
This album tries to trace a line between these tense internal struggles and what's happening outside of ourselves. Perhaps even suggesting a link between the invisible storms of our inner worlds and the outer tensions and social and political storms that seem to be sweeping the world these days."
THE EDDIE MYER 5TET is a project I started in 2011 with Ian Price, Luke Rattenbury and Tristan Banks as a vehicle for our individual compositions and as a way to play the kind of hard-swinging, open-ended jazz we all enjoyed.
In 2012 we recorded an album, Why Worry?with the assistance of the prodigious Frank Harrison on Fender Rhodes, and played some great gigs at the Verdict in Brighton. Since Ian’s untimely death in 2014 the project has kept running and we’ve been very fortunate to have Riley Stone-Lonergan joining us on tenor sax and Mark Edwards taking to the piano chair for our second release Finders Keepers and some fun-filled festival gigs festival gigs including Love Supreme and the Brighton Alternative Jazz Festival in 2016.
Finders Keepers launched officially at Verdict Jazz in Brighton at a sellout show for The South Coast Jazz Festival.
"One of the best and most exciting bands we've ever booked!" Andy Lavender – The Verdict Jazz Club
Son Guarachando are one of the top exponents of Cuban Son, Salsa, Cumbia and Latin Music working in the UK today.
They are fronted by vocalist Adriana Lord from Havana Cuba, who has been a leading force on the Havana scene for well over a decade having worked with the likes of William Vivanco, Eliades Ochoa (Buena Vista Social Club) and N.G. La Banda.
Individually the band members have been at the apex of the Latin music scenes of Colombia, Spain, Cuba and the U.K.
Son Guarachando have been in high demand during the past 2 years with club dates, tours, festivals and private parties and the band were recently featured on BBC1’s The 1 Show.
Bass Tutor Live Performance Workshop Tutor Music Journalism Tutor Research Methods Tutor
Since 2005, I've been part of the Bass Department at BIMM in Brighton. As well as bass and upright bass, and I also teach on the Music Journalism and the BA Undergraduate Research Methods modules. Here's a question and answer I did for the BIMM website.
FEATURED TUTOR: EDDIE MYER
What do you enjoy about teaching at BIMM?
I enjoy the interaction with each new cohort of students – they always bring a different perspective to discover, new artists to check out, or new techniques to try and get under my belt!
Can you please briefly discuss your experience as a musician and teacher?
I’ve been playing professionally for over 20 years, in all kinds of styles – from rock to jazz to funk to folk to latin… I don’t believe in musical segregation! I’ve been teaching at BIMM since 2005 and it’s been amazing to see how the college has grown.
How/when did you learn to play bass?
I played in a band called Ozric Tentacles for six months when I was 18, because their regular player went AWOL, but then I didn’t take it up again until much later. I think I bought my first bass guitar when I was about 25 and my first upright about five years later – I’m self-taught on both instruments, although I got some invaluable lessons from BIMM’s own Franc O’Shea early on.
What was the first bass guitar you owned?
It was a Squier Jazz and it cost £100 including the case!
What can students expect from studying bass at BIMM?
Great tutors! And a real range of playing experience and different types of musical input – there’s a lot on offer if you engage with it.
What’s the best gig you’ve seen?
Too many to mention! Recently, it’d have to be cosmic jazz supremo, Kamasi Washington.
What’s the best gig you’ve performed at?
Our Turin Brakes show two days ago at the Concorde in Brighton was a sold-out blinder!
What are you listening to at the moment?
Right now I’m switching between Julia Holter, and the latest album by an amazing jazz bassist called Matt Ridley.
What’s your most memorable moment as a musician?
Big question! I guess playing the main stage at Glastonbury with Turin Brakes was a dream come true, but I don’t like to dwell in the past. It’s all part of the same long, strange trip, and even the down moments have something to teach you.
What have you got coming up?
I’m writing this pre-soundcheck for a Turin Brakes gig in the Brudenell Social in Leeds – great club! We’re midway through a UK tour, then we’re off to Europe, then summer festivals and another UK tour in the Autumn – see the website for details! Then I’ve also just completed my second album with my jazz outfit, the Eddie Myer 5tet, so there’ll be some gigs with that. And I’m promoting a stage at the Love Supreme Festival this summer, and also working on a programme of jazz gigs in Brighton called New Generation Jazz… and getting ready to return to BIMM next term. It’s all about the diversification these days.
With three major new jazz festivals, a new purpose-built jazz club, top-class big bands, a thriving jazz school and a wealth of grassroots players and gigs, jazz has never been stronger or better represented in the Brighton area.
Yet it can still be hard for new acts to break through to connect with audiences outside London, and many younger music fans are often unaware of the wealth of great young players currently moving the music forwards, and see jazz as something belonging to an older generation.
New Generation Jazz is a new, Arts-council supported project that will start to build some bridges. The aim is twofold – to help young artists develop audiences outside the capital, and to introduce young people in Brighton and the South-East to jazz and demonstrate what a vital, living tradition it is today.
There will be a year-long programme of monthly gigs, starting in October 2015 showcasing the very best in rising UK talent.
Each gig will be on the last Friday of every month at the Verdict Jazz Club in Brighton.
The tickets will be held at a low price for students and young people.
Each of the featured artists will also lead a workshop in one of the schools and colleges across the city, giving our young musicians some hands-on experience of what it’s like to play jazz.
New Generation has partnered with educators, promoters and festivals in Brighton and beyond. The project will foster links between the many different participants in the local scene, and the City’s educators, to ensure the continuation of the music we all love into the New Generation.