Zopp is the brainchild of composer and multi-instrumentalist Ryan Stevenson, with collaborations from Andy Tillison of prog legends The Tangent, and drummer Andrea Moneta (Leviathan). The band’s Canterbury-scene influenced instrumental progressive rock is an impressive addition to the BEM family.
Ryan is an award-winning composer, with credits for the music to many documentary films. In May 2019 he won Best Score in the IMDb industry-recognized American Tracks Music Awards for his work on The Perfect Gangster.
Zopp came to fruition in around 2010, born out of Ryan’s excursions into the Canterbury progressive rock scene of the 60s and 70s. As the music developed, Zopp has absorbed more influences, such as Stravinsky and Steve Reich as well as dabbling into the realm of ambient music. The sound is based upon vintage fuzz bass and Hammond organ sounds that weave with complex time signature changes, and on catchy melodies with ambient keyboard interludes, to charm and relax the listener with its beguiling fusion.
“It’s a great honour to join Bad Elephant Music”, says Ryan. “‘I’ve been lucky to work with a number of very talented musicians to create a diverse album which fuses Canterbury Scene prog, classical, ambient, jazz and much more. Very proud to be associated with a label that is genuinely passionate about the music they release. I hope you enjoy the album.”
Zopp will be releasing its self-titled album in early 2020. This will be a ‘can’t miss’ album from BEM. Be on the lookout for more information on this inaugural release soon!.
Tracklisting 1.Swedish Love 2.Before The Light 06:05 3.Eternal Return 4.Sanger 5.Sellanrå 6.V 7.Being And Time 8.Zero 9.The Noble Shirker
Ryan Stevenson: Keyboards, Mellotron M4000D, Hammond organ, Arturia analogue synthesizer, Korg CX-3 organ, piano, Hohner Pianet T, Nord Electro 5d, bass and electric guitars, voice, field recordings, percussion. Andrea Moneta: Drums and percussion. with: Andy Tillison: Additional piano (6), additional Hammond organ (3), Leslie processing (2, 5, 6), synth (4), effects (3, 9). Theo Travis: Flute (6). Caroline Joy Clarke: Voice (1, 7, 8). Mike Benson: Tenor saxophone (9). Drum recording engineering: Andrea Moneta. Engineered, co-produced and mastered by Andy Tillison. Mixed, written and produced by Ryan Stevenson.
Bad Elephant Music is delighted to announce the release of Metamorphic, the second album from Rushden space rockers Orange Clocks, on 14th February 2020.
Expanding the sound from their widely acclaimed ‘reinterpretation’ of Seventies’ supergroup Klementine Uhren’s soundtrack for Tope’s Sphere, Metamorphic sees the Clocks in fine form, with wigged-out guitars, swirling synths and a pounding rhythm section combining in seven perfectly crafted space rock anthems which will delight any fans of Hawkwind, Gong and Ozric Tentacles. Once again, Russ Russell (from labelmates Reformat, and who has worked as a producer with Napalm Death, The Wildhearts, and many others) has recorded, mixed and mastered the album with consummate skill and flair.“It’s great to be back”, says Thomas Hunt, vocalist, and synth supremo. “This album is a little different to Tope’s Sphere, but it’s the same musical DNA and the same group of reprobates as last time! Thanks as always to Russ for being a total star, to Matt and the other Fierce
And The Dead Boys, and to team BEM for supporting us with the release.”David Elliott from BEM says: “It’s fantastic to be working with Orange Clocks again – mainstays of the Rushdenbeat scene, and one of the nicest bunch of people you could care to meet. Metamorphic will delight anyone who enjoys psychedelic music with an edge.”
Eye Of Psybin
Let Me Breathe
Burn – drums Derek Cotter – bass, vocals Tom Hunt – synthesiser, vocals Lee Jones – samples, synth, fx Dan Merrils – guitar Stuart Paterson – guitar
Written by Orange Clocks. Recorded, produced and mastered by Russ Russell at Parlour Studios, UK.
Metamorphic will be released as a CD and digital download on 14th February 2020, with pre-orders opening in the New Year.
Bad Elephant Music is proud to announce that Demon, the sixth solo album from respected singer, songwriter and multi-instrumentalist Tom Slatter, will be released in July 2019.
Following on from his highly acclaimed Happy People album, and the Murder and Parliamentinstrumental project, Tom returns with his most personal album yet, heavily influenced by indie rockalbums of the mid 90’s. There are contributions from ‘Storm’ Gareth Cole, drummer Michael Cairns,Tom’s sister Rebecca Haynes on bassoon and The Barley Singers.
In Tom’s own words: “Demon developed from an idea I had into a record about my life, without having any personal lyrics. It’s more a collection of songs rather than having a concept like Happy People”.
“I suppose it had to happen sooner or later”, says long-suffering BEM label manager David Elliott.“Eventually I got fed up with Tom’s wheedling and whining and agreed to release Demon.Fortunately, it’s excellent”.
Demonwill be released on Bad Elephant Music on both CD and digital download on 26th July 2019. Pre-orders will be announced shortly.
Track Listing 1. Wizards Of This Town 2. Modern World 3. Weather Balloons And Falling Stars 4. West Wind5. Patterns Of Light 6. Cutting Up All Of Our Dreams 7. Drop Dead’s Punching Above His Weight Again 8. Tinfoil King 9. Demon
2016 Prog Award nominee and “experiment too far”, Tom Slatter is a weird-fiction singer- songwriter. Since 2010, Tom has released five albums, numerous EPs, instrumental project Murder and Parliament and has performed numerous gigs either solo or with his band, not to mention creating the monster that is The Immoral Support Group on Facebook, where he encourages the puns from its members, who he regards as friends.
Tom’s most recent album, Happy People, received significant critical acclaim: “there’s a strength and depth to the musical arrangements throughout the whole album – everything has a purpose to it”(David Rickinson, Progradar); “Tom is a master of harmony and possesses a distinctive voice” (The Progressive Aspect), “…there’s enjoyment to be had in his steampunk prog vision” (Prog Magazine).
“The worlds gone horrible at the moment, so I thought it time for another album”, says Tom ofDemon, his sixth full-length album, and fourth release for Bad Elephant Music.
Bad Elephant Music is delighted to announce the release of Bruised Sky, the third album from Manchester based progressive quartet, We Are Kin.
Bruised Sky sees We are Kin move away from the ‘universe’ of their preceding albums with a record that is the first true collaboration for the whole band. As keyboards player Daniel Zambas explains:“Bruised Sky is a stand-alone, no story line album. It’s very much a band effort, subconsciously reflective and introspective”.
In a significant departure from previous albums there are no guitars on Bruised Sky. “I’ve beenexperimenting with different synth sounds and patterns”, says Dan, “and I was conscious that Ididn’t want to play guitar. It’s important that we keep evolving as band, from Pandora, to ….and Iknow… and now onto Bruised Sky”.
On working with BEM Dan added “It’s the easiest decision in the world, and they provide us with the purest form of support”.
Bruised Sky will be released on Bad Elephant Music on both CD and digital download on 12th July 2019. Pre-orders will be announced soon.
We Are Kin are a progressive rock quartet from Manchester, and formed in 2011. Combining a shared love for the musical prowess of the Seventies, the recording gloss of the Eighties and songcraft of the Nineties, the founding members Gary Boast and Dan Zambas, met while playing together in pop band, The Reclusive Barclay Brothers.
Gary and Dan began discussing music during rehearsal breaks and very quickly realized that they shared a love of progressive music, specifically Genesis. It was during these discussions that the pair embarked on the idea of collaborating and writing their own music to fulfil these progressive leanings.
The resulting concept album Pandora – described as “a mature and well realized album” by The Progressive Aspect – was released on Bad Elephant Music in 2014. Its sequel, 2016’s ….and I know… – described by Prog Magazine as “formidable” – continued the Pandora story.
For ….and I know… Gary and Dan were joined by Emma Brewin-Caddy, who brings experience of working with choirs and a focus on strong vocal harmonies, and Lee Braddock with fifteen years of experience on bass guitar. Bruised Sky sees the whole band making writing contributions for the first time. Dan: “this is the first album we’ve worked on as a full band. Lee gets to unleash his inner bard on one track, whilst Emma has written all the other lyrics for the album”.
Duke 72 is a new project formed by Big Hogg’s Justin Lumsden with drummer Jonny Mitchell (Future of Dead Relic Memories, Bricolage, The Stranglers). According to the press release it was conceived, written and performed by Justin Lumsden and Jonny Mitchell during a single nine-hour tracking session in Glasgow, with no prior rehearsal. Some of the music was written from scratch that day, while some others were revisiting material which had been thought about years earlier. After Mitchell returned to Melbourne the album was then completed with guest appearances from Justin’s Big Hogg bandmates Ross McCrae and Sophie Sexon, and Lavinia Blackwall (ex-Trembling Bells). The result is an incredibly evocative and atmospheric album, one in which in some ways is incredibly interesting and in others isn’t.
In many ways it sounds as if it was recorded no later than 1972, which makes me wonder if that is why there is a number in the band name. Harmony guitars, slide, little bits of horn, it’s almost as if Stone The Crows are back in town (with male lead vocals), while early Seventies band like Savoy Brown and Chicken Shack are also here (less blues than either, but with the same feel). There are bits of songs which are nothing but sheer delight, showing what might have been, but there is the downside in that they never really live up to the expectations offered. Most of this is down to the quality of some of the material, some of which would have benefited from judicious editing. By the end of “Backbone of a Jellyfish” I wanted to scream at trombone player Ross McCrae and ask him to stop repeating the same phrase over and over again as it was driving me insane. This feels more like a cult release than one which is going to set the world alight. There are plenty of Canterbury influences, some lovely rich guitar distortions combined with some sweet clear lines, but this is an album full of experiences and not many songs to which I want to keep returning.
The frustrating thing is that when they get it right, such as on “Oxblood and Rings”, which is a wonderful ballad, one can almost forgive them all their other sins. But not quite. Next time there needs to be a lengthier songwriting process, more culling, and then I am sure there will be quite an album to behold. I for one am looking forward to it.
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