Interview with The Veils

Interview with The Veils at Muziekgieterij, Maastricht, Netherlands, April 20th 2017
Following the release of their album “Total Depravity” (Network) The Veils are touring. You can be sure to catch them at a place near you and please do as their already rounded and exciting latest album and of course the songs of the four predecessors sound on stage like…an even more grumbling, cathartic, very dark, heart-stopping and heart-touching affair!

At the Muziekgieterij The Veils delivered (just like everywhere else on this tour) a gig where the music swept over you like a dark tropical climate interspersed with pining songs, a little acoustic set and much love for the audience. I particularly loved the moment, when bass player Sofia was no longer hiding and came out with a happy smile and a little wave. But each and everyone in the band was giving it welly and it sounded very much complete.  The appreciation of the audience was well-deserved!


The Veils - Finn Andrews ©Kevin Burns 2017

Slightly worn out from the night before, Finn Andrews still very kindly gave an interview to Offbeat Music Blog and here it comes:

Offbeat Music Blog: I have Finn Andrews from The Veils here with me. Thank you so much for taking the time, Finn!

Finn Andrews (The Veils): Of course!

OMB: You are the head of the band. Would you introduce the other members of the band?

Finn: Sure! Well, there’s Sophia who I went to school with in New Zealand. So we have known each other the longest. She plays bass. Then there is Dan who plays guitar and Henning who plays drums and is German. Ubi is from Italy and plays keyboards. We are from all over the place. A German, an Italian, an Englishman and two New Zealanders.

OMB: But you were all located in London when you met?

Finn: Yes, we all ended up there for different reasons.

OMB: What are the band dynamics when you are in the studio or on tour? Have different roles developed or specific characteristics?

Finn: Yes, definitely. I think, particularly on tour, it feels like a very familial dynamic in that sort of weird way, you can all hang out and not say anything for hours but also have a really nice time. It is sort of what I miss most when we are not on the road, that feeling – that travelling weird family (laughs).

OMB: You writing the songs and then coming in with half-finished or even three-quarter finished products and then others contributing or even changing the songs in the studio, ending in a song totally gone and the listener making it their own: Is that hard for you to let a song go?
Finn: Yes, there are different stages of that feeling of letting go things. Although, I found more and more, it is strange how long they keep changing after they have been finished by virtue of touring.

The songs that stay with you the longest – what they ended up meaning two years on is often very different to what they meant either when you were writing them or when they came out. There is a song called “The tide that left and never came back” which I wrote when I was about seventeen and first moved back to London, a song effectively about missing home really. A sweet, simple little song. But I found that song really interesting how it has come to really represent my whole youth. Those years feel very much distilled into that one little song.
It did not feel like that big a song to me when I wrote it. It feels like a time capsule and has become increasingly precious.

There are a few songs that have been like that. I imagine they will change even more if I can manage to keep going until my old age. I am sure there will be songs that have all kind of other meanings that will be clear later on.

OMB: Are there songs that you kind of gave up on but you return to them? Would you be happy or better, would you find it easy to bin a song because you think it is not going to work?
Finn: Yeah, I don’t think I ever bin anything. I read a lot of interviews with other people who write songs and things. Obviously a lot of people who write songs lie a lot about what they are doing. Or they like to imagine other things. So it is quite hard, you have to read between the lines. Tom Waits – I always found him really interesting, his thoughts on things, and he said it using this mechanic analogy: You keep everything out there in the garage and you can use it for spares.
So I think, even the stuff that you write that you don’t use – there are little bits in there that are useful. The song “Iodine and iron” which is on the new record (“Total depravity”) I wrote about five or six years ago and played with the band but then it did not really work. But Ubi really thought for that song to be included so we kept playing it intermittently for a few years and then it came together at the last minute. But that was one that I thought was probably on the pile for spares and then ended up probably being my favourite on the record. The life of songs is a curious thing.

OBM: Someone asked on social networks whether lyrics should be made available or explained even and I thought: Privately? No, thank you. That would be like watching the film before reading the book and I would like to see the lyrics the way I want to. Professionally? Yes, please give me the deeper meaning of that lyric. What is your stance on the lyrics? Would you rather keep them abstract?

Finn: It is more that I don’t ever feel that I have anything more particular about them to say. Generally you write songs because you are not particularly good at articulating how you feel in the normal world, that you end up retreating to this weird other place where you get to spend weeks if not years working on articulating how you feel. So it seems odd to talk about that further. I dunno. But I am obsessed with lyrics and words and always have been. Works have always been a huge part of this for me and a huge part of my life in general. Sometimes it is nice to know things if the story is interesting but generally musicians waffling on about what they think about stuff. I don’t really know…I hate me doing it (laughs).

OBM: So your lyrics might be personal but they are also from a different perspective?

Finn: I will always feel like I am making up what I am saying about them because they come from a very subconscious place. I can sort of attribute meaning to bits of them. Some people are not like that. Some people are able to sit down and be like: Right, I am going to write a song about how I feel about this. And they do that. But that has never been the way it worked for me.

OBM: So it is more like a stream of consciousness thing?

Finn: Yeah, for me that is almost exclusively how it is.

OBM: With a father like that (Barry Andrews – XTC, League of Gentlemen, Shriekback, playing on Iggy Pop and David Bowie albums), was it really hard to rebel in your teenage years via music?

Finn: Right, that is a complicated question. I had a really good relationship with my Dad but I was raised almost exclusively by my mother, quite often on the other side of the planet, in New Zealand and Dad was in London.

I think, he created a kind of interest, a kind of longing for that sort of life, his life, I suppose, when I was young. But it was only when I left and went to New Zealand that I started playing music, so I was a long way away from him and I suppose that is no accident.

But certainly my parents were impossible to rebel against in any kind of way. My mother is incredible…yeah..she is very open and understanding and honest with her life. It was just something that I didn’t feel I needed to do. My Dad was very extreme. He rebelled against his parents in a very large way.

There are different kinds of rebellion. I suppose there is always an element when your father is in the same profession as you. So, when you are starting out, you want to be better than them. That is a kind of rebellion as well, I suppose. I think, Dad found it weird that I ended up doing this – I was always more into drawing and making films. It just happened. He didn’t hear me sing for about for years. That was pretty odd for him. So, back then there was kind of an element of “Fuck you, Dad, I can do this too”. But if I had been an accountant that would probably have been more of a rebellion.

OBM: You spent most of your, you could say, character forming years in New Zealand. Most people would regard The Veils as a British band. To me, none of your records sound particularly British. In a way, they have more of an American feel to them. Would you think, that your environment, that New Zealand had played a great part in your music?

Finn: I think, you can definitely hear that Kiwi thing. There is a lot of influence from America and England in the culture there, especially in the pop music that was around when I was growing up. There was some great music that was made there but the stuff that I liked from New Zealand had all kind of finished by the time I was growing up there. It was more my Dad’s time. The Dunedin sound and Flying Nun.

So I didn’t feel there was much for me there musically. It felt very much like as soon as you can leave and go overseas. That’s different now if you are young there – there are a lot of bands coming out of there now and there are more bands touring around.

I had a pretty weird time where I haven’t really been hooked anywhere long. My whole life has been, moving around. So, I think, you just end up with a kind of influence of all the different places I spent any time. I am very envious actually of people that have that sort of identity of where they come from. People have an accent.

OBM: You definitely don’t have a New Zealand accent.

Finn: Yeah, in England they think I sound a New Zealander and in New Zealand they think I sound English. So I have this weird mongrel accent. Growing up, I always wanted to be from somewhere. But I just don’t get that, so I have to work out some other way to be.

OBM: But you still enjoy touring? Most people find it so tedious.

Finn: I do enjoy it, yeah.

OBM: Well, from a practical point of view, it is probably the way to make money in the music business, not selling records anymore.

Finn: Phew, not for us really. The band has been going for fourteen years and I’d say for the first thirteen years of that, no-one got paid to tour. We would tour for free. Any money made would go back into it so you could tour other places. And it is only some parts of the world where we make money now.

Most of the time you are doing it as a way to just get people to hear what you are doing really. In some countries it is going well – here, we get good crowds. In parts of Europe, in the States and in New Zealand we get good crowds. But quite often you are putting the money back into to keep going. We are certainly not doing it in any way to make money. It tends to cost more than you make. That’s the sad truth of it. It is a labour of love, completely. If we didn’t love it, we’d just stop.

OBM: Do you ever find time to see place when you are on tour?

Finn: It is sort of a cumulative experience really. We have been to a lot of these towns seven or eight times but only for a day each time, so after a few years, it’s like as if you spent a week there but it is spread out. But so you get to know some places. In Los Angeles we have made three records now so we know that well. The bigger cities, like Paris, Amsterdam and so on.

I am terrible tourist as a result of it. I don’t really go anywhere unless we are playing. Whenever you have tried going anywhere as a tourist, you realise how special this is that you go to towns and people really want to show you what’s great about their town and take you out after the show or during the day. Compared to travelling around by yourself, this is infinitely more fun. You feel like you are doing something as well – you are giving at least some sort of a thing to the town. It is an exchange of currency.

OBM: So no beach holiday for you then?

Finn: Naw (laughs).

The Veils - Finn Andrews ©Kevin Burns 2017

OBM: Another part of the touring is: You are really putting a lot of energy into the shows, you really give. Is that at some stage exhausting?

Finn: I am definitely going to get too old for it at some point. What sucks is, if you have got a lot of money and a lot of time, then it is fine. I could tour forever if we were in a tour bus and if we had a day off every now and then but a couple of years ago we did a tour that was 30 shows in 32 days. By the end of that I was considering if I could do this anymore. It just destroyed my voice and my body.

OBM: Maybe also mentally if you put so much into the shows?

Finn: That side is fine, it is only the physical side of it. There is only so much you can do with your body. The will is always there. If you have a dog and a frisbee: You keep throwing the frisbee and the dog keeps bringing it back even until their legs degrade. I feel a little like this. I feel like I just would keep going until I fall apart. But I am trying to get more conscious to not to get to the point where I am having a full breakdown. This tour has been leisurely. The Netherlands are small, not very long drives, the venues are nice, the hotels are nice. It is up and down.

OBM: For your new record you worked with El-P. You met by coincidence really. Would you have ever thought it possible, a collaboration with someone from a completely different genre, if you had sat down and planned it?

Finn: No, I think, if it had been planned, it would not have worked. It had to be sort of an accident if that makes any sense. It was really just that he was such a sincere fan of what we did what was interesting about it in the beginning and us of him of course. So it is a rare thing, I suppose. Usually one of you knows the other person’s stuff and the other one doesn’t really. So one of you ends up taking a bit of a risk whereas this time it is based on a friendship and a mutual appreciation.

OBM: So on your new record you had new sounds and tools to choose from and also more time. Is that a good thing or can it be a bad thing as well as in it makes it harder to focus?

Finn: We had a lot of time but we certainly did not have more time in the studio. We basically had time in between being in the studio. In the past we would into the studio for a month. By the end of that you would have to have the record finished and all the money be gone and that would be it. Whereas this time we opted to do it in little chunks spread out over a period of a year or so. The time in-between was the most precious really, time to think about things and change things. Which took me a long time to learn that I needed to do that.

OBM: The record…I remember going to record stores, going through the records, talking to other people, looking at record sleeves.This has changed to the other extreme and often many just use music as a kind of background noise. So touring is probably the only opportunity to get close to a listener?

Finn: Sure, I dunno. It seems like it is changing all the time. People are buying vinyl, again. People still like the object and they want the physical thing and they want the pull-out thing.

OBM: Wouldn’t that be the music nerds only really?

Finn: I dunno. Didn’t they say that this year there were more vinyl sales than downloads? I might be making that up. I think that there are still as many people labouring over music and enjoying it as there used to, just in different ways. That’s how it seems to me. Depends on who you talk to you. And I am sure in the past there were people who weren’t…
OBM: Weren’t too bothered?

Finn: Weren’t too bothered.

OBM: Your records always sound as if you had that classic vinyl record in mind. A cover fitting the music, a selection of songs fitting together.

Finn: I think it is very hard to get out of the habit of things that you have initially fell in love with really. That’s how I was introduced to music and that is how I think of it. Obviously does not take so much care to do mp3s and they are all disconnected. I enjoy track-listing and I enjoy that format. But I wouldn’t insist that people listen to it that way, either. It’s just nice that it is there for people who want it.

OBM: The cover art on “Total depravity” makes me a bit squeamish…not to mention the combination of the song “Young mothers to be” with the album title “Nux Vomica” because I got prescribed Nux Vomica against pregnancy sickness and it made me feel much worse if possible…

Finn: Oh, we really must stop doing this to you! But as for the cover art on “Total depravity” – it depends on the perception. I see her as devouring something as opposed to expelling it. You can read into it whatever you wish. But there does seem to be a lot of vomiting involved in our albums over the years and in our videos (“Axolotl”) where Charles Darwin vomits black bile.

OBM: Maybe getting things out of your system?

Finn: Maybe, yeah.

OBM: But you love storytelling?

Finn: Yes, stories are the best.

OBM: Did you ever consider writing books?

Finn: I do write, poetry and stuff, without intention of ever doing anything with it, just for enjoyment of it. And when I get sick of myself as a songwriter, just to write something completely different. I could foresee doing something in that area at some point but as for now…

OBM: Musically, what kind of stuff would you listen to?

Finn: A whole bunch of stuff. I have been trying to DJ recently, also something that I never thought I would like but I have actually really been enjoying it. The odd sort of thing, getting up and playing something for a couple of hours.

OBM: You initially came from a folksier background?

Finn: Yeah, more of a singer-songwriter thing, Dylan, Tom Waits, Leonard Cohen, Nick Cave and Johnny Cash. But that’s expanded over the years. It is still the core of it though. They were and are all great lyrical storytellers.

OBM: Straight after the making of the new album, you were wondering how you would bring the songs with their new sounds and new approaches to the stage. How did that pan out so far?

Finn: It has been great. There is a lot to figure out but I am really happy with the balance. I have no interest in going to shows and seeing stuff not been played in front of me. We are trying to keep it like you are seeing a live band. If we are using samples, they are still being hit and triggered on stage. There is still someone hitting something. It is what we have always done. I think we put on a really muscular live show but it has a wider palette of sound. I really enjoy these harsh high ends and these low scary sub-sounds. We just expanded a bit more. You are still be seeing a bunch of people on stage making a fucking racket. This is what I like to see when I go to a gig.

OBM: You have as support Anthonie Tonnon from New Zealand with you?

Finn: Yes, he is great. We did some shows in the States together last year. Great voice, great songs!
OBM: Thank you so much and looking forward to a great show!

Finn: Thank you!


Elkhorn, Envy The West, Happy Sadness, somesurprises

Music – what would we do without it? As always I am thankful for all those musicians out there who present us with their hard work, their innermost thoughts and the beautiful results. Today I would like to draw your attention to new releases by Elkhorn, Envy The West, Happy Sadness, somesurprises.


Jesse Sheppard (12 string acoustic) and Drew Gardner (electric guitar) will release their first album “The Black River” on April 14th as lush 175g vinyl with UV spot gloss sleeve and in digital format on April 28th via Debacle Records.

Elkhorn, Envy The West, Happy Sadness, somesurprises

References and collaborations of Elkhorn may not only make my mouth water: “Black River” will straddle the whole story of american guitar music. It digs into folk, Americana, jazz and psychedelia. Somewhere between American primitive guitar and the likes of Ben Chasny and Tom Carter. Elkhorn however shine as a duo in contrary to the solo artists. The combination of the fingerpicked acoustic guitar creating a tender background with the electric adding a magnetic psych layer, bliss. Music that takes you in and lets you dream.

Now, why oh why, did Elkhorn sound so familiar to me? Aaah, there it is: Philadelphia-based filmmaker Jesse Sheppard has worked with artists such as Glenn Jones, Daniel Bachman and Nathan Bowles (any fan of the record labels Thrill Jockey, Paradise of Bachelors and Three Lobed Records will savour this).

His performance documentary featuring Jack Rose, The Things That We Used To Do, came out on Strange Attractors Audio House in 2010. Which of course then easily explains that the recording of “Black River” took place in Jason Meagher’s Black Dirt Studio (home ground of Jack Rose, Nathan Bowles, Steve Gunn et al).

Drew Gardner is a multi-instrumentalist who has led bands featuring avant-garde musicians such as John Tchicai and Sabir Mateen, and often conducts experimental collaborations on the fringes of the New York improv music scene.

Right, now, those are SOME credentials…but Elkhorn’s music absolutely tops the expectations arisen. Here you can see the video for “The Black River” of the new album by Elkhorn (thank you for the permission).

A big thank you to Prana Crafter for referring Elkhorn to me!

Envy The West

Envy The West do not have to do so. I mean, envy the west. Pim Derene (vocals, guitar), Marcus van Slingerland (guitar), Geriejan Rockx (bass) and Robert van Eck (synth) hail from the Netherlands but they play indie Americana at its best. (Alt-country sounds fine but alt-anything has become such a negative wording lately…).

“Cave, Cash, Cohen and Curtis dancing on prozac” someone wrote and that is a perfect description and yet you would have to listen to Envy The West’s music to really get as engulfed by it as I have done.

Elkhorn, Envy The West, Happy Sadness, somesurprises

Envy The West were founded in 2001, released their debut album “Folding Fangs” in 2004. It was later on, after much touring and their second album that they have reached their full potential.

On April 14th their new EP Prison will be released. I was allowed a sneak preview (thank you guys) and this is going to be lovely, I swear. Six songs of touching and hypnotic indie Americana with loads of little arrangement touches to discover and yet keeping it simple and to the point. A knack for songwriting Envy The West truly possess. Here comes the first official video for a song featured on “Prison”:

Happy Sadness

Isn’t sadness the driving force behind much of songwriting? Where we all want the artist to be happy but then again, alas, do not want to do without the cathartic music? So there is a kind of happy sadness and I find that the music of the band Happy Sadness encapsulates this feeling perfectly.

Elkhorn, Envy The West, Happy Sadness, somesurprises

Happy Sadness is the solo project of Leeds-born Jason Brown who is also a visual artist. You will not be able to listen to Happy Sadness’ music on the side as it will take you in completely. The new EP is called From The Window and again, if you go by the name you cannot go wrong – sitting and watching and dreaming. My colleague Sandra Zettpunkt had it down to a tee: Headphone music, soundtrack music. Very tender and a lot of layers to discover.


Out already on Eiderdown Records you will find the new album by somesurprises from Seattle. some surprises initially was a solo project of Natasha El-Sergany in Virginia. She composed, sang and played all the instruments. Emotions play a big part in the music, especially the heartbroken kind and it is beautifully rendered.
Elkhorn, Envy The West, Happy Sadness, somesurprises

After moving to Seattle, Natasha worked with friends from the underground experimental music community which had a deep impact on her songwriting.

In 2016 Natasha began performing with Josh Medina (Medina/Walsh), who adds warm atmospheric tones and effects on electric guitar. Later that year Nico Sophiea was added on drums and Andrew Scott Young on bass.

Natasha released a solo cassette called “Voice Memos” in 2016 via Happy Accident Records and teamed up with Josh to record the very new album called “Serious Dreams”.

And that’s what it is: Serious dreaming can be done with those songs in your ears.  As hard to describe as a dream, as hard to capture as a dream. But oh so beautiful. Listen for yourself:

Introducing Lemonade Kid, Oblong, Lusterlit

Three very different artists on the blog with new releases today or rather tonight – but all of them involved in music with the sheer joy and dedication that you would expect from any musicians but would not find so often in the fodder that is fed to us in the charts. Please make yourself acquainted with Lemonade Kid, Oblong and Lusterlit.

Lemonade Kid

Lemonade Kid hail from gorgeous Shrewsbury in the UK. Fresh from the press is their new EP “Program Electricity” after a busy last year including making soundtracks, featuring on BBC6 Music. Lemonade Kid also announced a new album for later in the year.

Introducing Lemonade Kid, Oblong, Lusterlit

They regard their music as Electronic Psych Poetry and this is what it sounds like:

I particularly would like to point out the track “This Chemistry” with guest vocals from Vicky Stuart and a hooky little number it is with a serious subject i.e. the end of the world and personal love.


Weirdly enough there are several bands with this rare name…we are talking about Oblong from Wales here who refer to themselves as Oblong Pop on the social media. But fear not: This is not pop with the bad smell it has become in recent years. If anyone is in a position to describe popular music from Wales, it must be Adam Walton of BBC Wales and so I’ll quote him: “Spiky joy-injections of guitars into our ear holes.” Just what we need then!

Introducing Lemonade Kid, Oblong, Lusterlit

Andrew Clement, Rob Daniels and Hyws Grav do songs in Welsh and English, coming from Llangennech in South West Wales, UK. descriptor: welsh/english. They have received plenty of airplay and are playing many gigs but just in case you miss them – not letting it happen, here goes:


Lusterlit prove that deeply profound music and fun playing and listening to it do not exclude each other.

The moment I desperately wished I lived in Brooklyn (again) came, when Charlie Nieland and Susan Hwang mentioned that they are part of the following wonderful institution: The Bushwick Book Club, a rotating group of songwriters and performers of all kinds putting on regular shows featuring new music, art and snacks by a chosen work of literature. This really has it all! The Bushwick Book Club was founded by Susan in 2009.

Now Susan and Charlie have been playing and recording together for several years and released a couple of albums. Eventually they formed Lusterlit to perform their songs on books.

Introducing Lemonade Kid, Oblong, Lusterlit

Their first EP “List of Equipment” features a range of conventional and more exotic instruments presenting songs ranging from shoegaze to soul to indie rock. The songs were inspired by the books: Mastering the art of French cooking by Julia Child; Blood meridian by Cormac McCarthy; The fortress of solitude by Jonathan Lethem and The day of the triffids by John Wyndham.

Get inspired yourself by Lusterlit’s music:

The Trouble With Templeton, Richard Osborn & New Apostles

On Offbeat’s turntable in January you’ll find a bit of everything. What the songs have in common is that they provide heart and soul with much needed warmth. Offbeat Music Blog introduces new releases to you: The Trouble With Templeton, Richard Osborn & New Apostles.

The Trouble With Templeton – Someday, Buddy (Bella Union)

The trouble with The Trouble With Templeton‘s release “Someday, Buddy” (Bella Union) was that it was released pre-Christmas during the usual end of year lull. So it went by unnoticed by some which is why I would really, really like to bring the album to your attention again.

Thomas Calder from Brisbane loves a melancholic song and still does on “Someday, Buddy”. Some people see no development from his band The Trouble With Templeton’s debut “Rookie”, especially in the sadness stakes. I do see a development in the songwriting capacity to a self-confident joining of different genres. Moreover, melancholic as the songs on “Someday, Buddy” may seem, they exude exceptional warmth.

Somewhere between post-rock, gloomy indie pop and slacker, The Trouble With Templeton manage to instill a glow in their songs that will have you listening to the album again and again, preferably in the late hours of the day.

Another trouble with The Trouble With Templeton would be their web presence…their website link is clearly leading somewhere else. Their Facebook is bit outdated. Same goes for the music sites. Hey, so you will have just to get that album and you won’t regret it.  Here is a wee taster for you. My personal favourite is the elegiac “Double Life” but here is “Vernon” that nicely represents a lot of angles on their music.

Richard Osborn – Endless (Tompkins Square Records)

For all you fans of the fingerpicking guitar style (American primitive music in particular) and songs evoking whole movies, listen up: Richard Osborn! Not a name you are familiar with? Despite Richard Osborn having been around playing guitar since the 1960s?

Small wonder, if you look at his story. Richard Osborn was impressed by John Fahey’s style in 1965 and in 1968, Richard became a student of Robbie Basho, not surprising considering his interest in Indian music. Robbie Basho regards Richard as “technically better than me or Fahey”.

BUT THEN Richard Osborn suffered two accidents in 1980 which left him unable to play guitar for fifteen years. Only in 1995 he returned to playing guitar but did not have the strength for steel strings. Finally though, steel strings and the raga style were possible again for Rich, so at last he released an improvisational album in 2012, followed by his participation in a compilation “Beyond Berkely Guitar” (Tompkins Square), another self release and now, as a fantastic start into the new year: “Endless” (Tompkins Square)


“Endless” will impress you with all but one instrumental folk songs presented in an immaculate classical style for the most part. The masterpieces for me are however those where Rich Osborn introduces the raga style into his songs which adds a floating, dreamlike quality apart from incredible technical ability.

New Apostles – Recurring Dream

New Apostles first appeared in 1980 and you can still hear the heritage of the time in their music, albeit brought forward musically, lyrically and personally to the now. After 18 years the band broke up and supposedly no-one believed in their comeback after a couple of years. Another 18 years and they are back, full whack, though and have been releasing an abundance of songs that they write and record in the true punk spirit: Quick.

Based on the band’s age, their experience as musicians and many musical influences and also other cultural inputs, these songs are far from thin and superficial: Out come fully formed songs. It feels like they opened the tap and the water just barges out, having been stored up for so long. To high critical acclaim New Apostles have so far in their second coming released three albums: West Bank, Apparatchiks and Collateral Damage.

New Apostles’ music, if you want tags, would be somewhere between post-punk, psych and krautrock, also some electro finds its way into the mix. It is not all doom and gloom, the mixture comes across as a musically satisfying, lyrically thought-provoking but balanced result.

Friday, 27th of January 2017 will see the release of a brand-new album called “Recurring Dream”. A taster you can enjoy below. “Recurring Dream” will be available as CD and digital download.

From what I have heard and can vividly imagine, New Apostles are well worth seeing live, so don’t miss New Apostles from Nottingham/UK.