It won't come as any surprise that due to the current Covid situation, we've postponed The Winter Sprinter at The Lexington. We're still trying to confirm rescheduled dates - original tickets will be valid - please contact your ticket seller if you need a refund in the meantime.
Jessica's Brother - Just Rain [12"/CD]
Artist: Jessica's Brother
Title: Just Rain
Format: Vinyl LP | CD | Digital
Cat#: Fika088
Release date: 26th November 2021
Bandcamp | Spotify
‘Just Rain’ is the second album from London three piece Jessica’s Brother, comprising songwriter Tom Charleston, The Wave Pictures’ Jonny Helm on drums and Charlie Higgs on bass.
Stitching together a variety of influences, from crunching indie-rock, to gothic country and contemplative psych folk, Jessica’s Brother create the sound of a band coming together and getting caught up in the rush of starting afresh.
The disintegration of a long-term relationship, coinciding with a global fracturing, provided a catalyst for ‘Just Rain’. The songs explore a relentless collision of melancholy and resilience alongside themes of comedy, agency, and hope
The title track lays this out with an opening burst of slacker rock as Tom reflects back over a passage of time that feels like persistent unrelenting rain. Vacillating between despair and defiance, we uncover the strength to shrug it off as “just rain”; after all, as the track draws to its conclusion “losing sight can be relieving”. Interestingly, the lyric, “open up your heart, it can help to wear a mask”, was written before the pandemic had properly struck in the UK.
‘Finding Snowdrop’ is a spiritual rebirth gone wrong, influenced by the rambling poetry and hooks found in Yoni Wolf’s Why? and Bill Callahan. In spite of failure, the potential for growth remains. This budding, on an ageing tree, is celebrated in the joyous rhythms, off-kilter harmonies and a fizzing guitar solo.
On 'Full Swing’ both the baritone of Tom’s delivery and lyrics conjure the darkness of the everyday: ”cut my own brakes, living in hiding of late” are reminiscent of The Handsome Family’s wonderful way of transposing the tradition of murder ballads and the bleakest tales to the modern.
A more expansive and luxuriant sound runs through ‘Just Rain’, than the sparser Silver Jews / Jason Molina atmosphere of their 2018 debut, from the gutsy alt-rock of the title track to the off kilter pop of ‘Little One', reminiscent of Sparklehorse, a tale of young love and youthful exuberance.
Jessica’s Brother formed in October 2016. Jonny and Charlie worked together in a framing business and had often talked about collaborating in a band together. Fate intervened when Jonny’s girlfriend Jessica introduced him to her brother Tom, and they found a songwriter in waiting. Their debut, eponymous, album released in 2018 was warmly received.
‘Just Rain’ was produced and engineered by Shuta Shinoda (Hot Chip, Ghost Poet, Anna Meredith) at Hackney Road Studios during the summer of 2020. The album features Dan Mayfield’s elegant touch on violin (he has performed with artists from Daniel Johnston to Allo Darlin’), and new female voices from Polimana (a jazz vocalist from the SoCal suburbia) and Shantha Roberts (whose voice has graced Glasgow’s reggae sound system Argonaut Sounds).
The eponymous Jessica Jane Charleston, a painter and printmaker, provides the meteorological juxtaposition to the album in the visuals, the warmth of a giant sun looming over the contorted figure, rising up to fight another day. Tom was drawn to the hotter colours this time round as opposed to the moodier blue palette of the debut. The colours and figures convey a sense of revival after a period of hibernation. It fits well alongside the band’s hiatus throughout the pandemic and their much awaited return.
With an at times folkloric narrative, ‘Just Rain’ is both poetic and playful retaining throughout a thread of darkness.
The record takes a step forward in terms of production while maintaining the band’s rough around the edges charm. It is an intimate affair punctuated with louder and more unwieldy moments. A true story revolving around a relationship and a world falling apart.
“the second album by this London trio might be an example of what Douglas Coupland described as ‘decade blending’, stylistically flitting through rock history from one song to the next… Singer Tom Charleston is also a decent storyteller - ‘Darling I Wanted To Know’ is a darkly amusing boy/girl conversation in the style of ‘Something Stupid’” Uncut [7/10]
“Like all the best fairy tales the songs on ‘Just Rain’ may superficially appear to be upbeat and joyful but scratch beneath the surface and dark psychological verities emerge, reality becomes distorted and all is not what it seems. It is a credit to Jessica’s Brother that they have, in their idiosyncratic way, captured these qualities and shared them with us in such an engaging way” Americana UK [7/10]
“There’s a sense of bravery to Jessica’s Brother on Just Rain. Not the kind of bravery that we see in heroes, but the kind we find in the ordinary person who fights on because that’s all we can do. Keep fighting.” Folk Radio
“the record is an eclectic affair throughout, from the Sweet Baboo like strut of Caroline to the gothic Americana of the closing track, Big Boy Now, with its distorted vocals and lo-fi guitars it wouldn’t sound out of place on a record by Timber Timbre or Sparklehorse. Elsewhere, recent single Finding Snowdrop is a definite stand-out, the rambling sing-speak vocals conjuring up Bill Callahan or Odelay-era Beck” For The Rabbits
“full of charm” Benzine Mag [in French]
Crake - Lamb's Tail [Digital]
Artist: Crake
Title: Lamb’s Tail
Format: Digital single
Cat#: Fika090SG1
Release date: 2nd November 2021
Bandcamp | Spotify
“A pensive, dejected moment of magic, but magic nonetheless” Gold Flake Paint
"Charming and intimate alt-folk” Dork
"The guitars sizzle like lightning bolts striking against an otherwise clear sky, while Sandle’s distinct, hoarse vocal plays like another instrument” Secret Meeting
"In a world of cynics, [Crake] make you believe anything might still be possible” For The Rabbits
Contemplative Leeds quartet Crake have today shared a new single, ‘Lamb’s Tail’.
A set supporting Buck Meek in their native Brudenell Social Club led to the four-piece supporting Big Thief across the UK and the EU in 2019 at Meek’s behest. Last August, this culminated in a one off 7” with Big Thief’s former label, Saddle Creek. Heralding a new relationship with Fika Recordings, ‘Lamb’s Tail’ is the first material since from the band made up of Rowan Sandle, Russel Searle, Rob Slater and Sarah Statham.
Led by the enigmatic Sandle, Crake is driven by her endless curiosity. Armed with her distinctive, hoarse vocals and inspiration from travel writers like Shirley Jackson and Nan Shepherd, she sings of crinoids, slime mould and Pussy Willow, sending you down newly unearthed rabbit holes. Inspired by childhood superstitions, ‘Lamb’s Tail’ makes for a perfect showcase of how Crake knit the patchwork for these observations to flourish, blending drummer/producer Slater’s rolling percussion with the band’s unifying desire to create ear-catching melodies that are ‘sincere, pure and from the heart’.
Speaking of the track, Sandle said: “When I was a kid and I was worried or anxious, I would leave it to the fates to tell me the outcome of whatever issue I was currently stuck on. I would ask my question to the ether and make up some rule to reveal to me my answer. For example, if whilst walking I land at a lamppost with my left foot, the answer is no, but if I land with my right, then yes.
“Lamb’s Tail deals with a major question pertinent to me now – in my early 30s, without children but knowing I want them, I worry when. And at the opposite end of life’s flight, I’ve recently got to know grief. And it’s a lot. So sometimes we revert to silly rituals that comforted us as a child, noticing the pushing onwards of Spring, or laughing at the fact that Rob once met a cat he could have sworn he taught drums to”.
Accompanied with a video directed by Ash Scott, ‘Lamb’s Tail’ inspires you to claw at the soil and unearth a meaning all of your own.
Press for Lamb’s Tail:
“The Leeds four-piece never fail to produce immortally thought-provoking and chilling songs, and Lamb’s Tail is just the latest testament to this increasingly assured truth. Consider it a maxim: when Crake releases music, listeners will be entranced by it.” Secret Meeting
“It’s a revelation delivered in little more than a silvery whisper, but in Crake’s careworn sound, it washes over like a perfectly-timed warm blanket to block out the cold world and insulate the love.” Beats Per Minute
“It’s got a transatlantic feel that’s part Fairport, part Edith Frost and others; and a natural, instinctive flow that indicates that Rowan and band live and breathe this. It’s no affectation. There’s a grace and a tranquillity at play; they’re at ease in this land.” Backseat Mafia
“What a beautifully intimate vocal performance. Always flickering, on the cusp of breaking almost, Rowan Sandle gives us a glimpse inside his soul. With understated and considered backing from Russel Searle, Rob Slater and Sarah Statham, this is a subtle but stunning tune.” The Rodeo
“As you get older it’s often tempting to wonder if you’ve already heard everything you’re going to love, to question whether there’s anything new or exciting out there left to discover. Then along comes a band like Crake and you realise just how naïve that thought truly is, you have to believe the best is always yet to come, you’ll only ever be proven wrong if you don’t.” For The Rabbits
“Crake turn a basic folk melody into a moving examination of an emotional journey to healing” Nothing But Hope and Passion
“a charcoal-hued carol” The Autumn Roses
Fortitude Valley - Fortitude Valley [12"/CD]
Artist: Fortitude Valley
Title: Fortitude Valley
Format: 12” red vinyl | CD
Cat#: Fika087LP/Fika087CD
Release date: 29th October 2021
Spotify | Bandcamp
“Writing songs on guitar and being the front person for a band is a new thing for me,” admits Fortitude Valley front woman Laura Kovic, laughing “I’ve never been in charge before!”
With a musical restlessness setting in over the past few years during her time as the keyboard player of East London indie pop band Tigercats, Kovic might not be used to being the boss, but she doesn’t seem to be letting that get in the way.
After experiencing writer’s block for a couple of years, she took the bull by the horns, as she explains, “Finally I bought a guitar in February 2018 to see if doing something different would help me...and it did!”
Kovic cemented the band’s line up by recruiting mutual friend and bassist Greg Ullyart from Night Flowers, meeting bandmates Nathan Stephens Griffin (drums) and Daniel Ellis (lead guitar) of Martha/Onsind through their shared label home on now sadly-defunct indie bastion Fortuna POP!
“I played in Mikey Collins’ band with Greg, but our first band together was a Blur cover band called Bleurgh...funnily enough, our first show was opening for Martha!” she recalls.
Named after an area of her home town in Brisbane, Australia, Fortitude Valley is a fitting moniker for the songwriter’s first outfit, who says: “It’s essentially the heart of the music scene in Brisbane, and it’s where I first played a show. As a place, it’s always had a special meaning to me.”
Combining elements of power-pop, indie-pop, pop punk and indie rock, their diverse approach takes influence from the likes of Weezer, Belle & Sebastian, The Beths, The Weakerthans, and Pavement.
“In the past I’ve usually written more gentle melodic pop songs,” explains Kovic, “but I’ve tried to move away from that slightly on this album and experiment with adding more deliberate bite to my songwriting. Nathan, Daniel and Greg definitely helped to make it more punk. Compared to the other bands people might have heard me playing in, it probably has more of an indie rock vibe.”
Addressing those bouts of writer’s block which have plagued her over the years, she says: “I’ve always tended to write in bursts of productivity, then go for long periods without writing anything. The strange thing about this album was that we were ready to record the last four songs in April 2020, then the pandemic hit and we couldn’t finish it, and in the intervening period I ended up basically scrapping some of those songs, and writing new ones instead. My rescue cat Margie has been a great source of inspiration!”
Recording in two stints during 2019 and 2021 with a COVID sized hole in the middle, the band’s forthcoming self-titled debut album was laid down between Soup Studios in London, Rocking Horse Recording Studio in Durham, and the members’ respective homes. The album was recorded, engineered and produced by Giles Barrett and Neil Combstock, mixed by Michael Collins, and mastered by Dave Williams.
Addressing themes of the passage of time, friendships and relationships growing apart, and feelings of insecurity, depression, and anxiety—as well as searching for love and salvation—the album is very much a product of our times.
With songs ranging from recent single ‘Cassini’, about the doomed spacecraft, to ‘All Hail The Great Destroyer’, a tribute to Margie the rescue cat who destroys everything for fun and is “an absolute legend”, it’s an album that’s packed with pathos, humour, and hope.
“The fact that we recorded half of the album before the pandemic hit, and then the other half a year and a bit into lockdown life, those ideas of being stuck in a rut, and looking for salvation, have definitely become more prominent themes,” says Kovic, “but those were there already to some extent. Thinking about time running out has become much more real when everyone has lost a year of their lives (or much worse) to the pandemic.”
And now, with time no longer seeming like such a precious and pressured commodity as we all take a step towards COVID being a thing of the past, what does the future have in store for Fortitude Valley?
“We’re playing End of the Road Festival in September and Twisterella in Middlesbrough in October, but that’s all we have booked in for now,” says Kovic reservedly. “I'm cautiously optimistic about being able to do more when things are safer!”
As for Kovic’s continued never-say-die dedication to the underground rock scene? You can take the girl out of Fortitude Valley, but it seems there’s no taking Fortitude Valley out of the girl...
“Terrifically hooky and brash rock songs from this UK group with tremendous, gleaming hooks that burrow under the skin.” Bandcamp - New & Notable
“when you add tunes to die for and those gliding harmonies then this is an uncut diamond of an album that overflows with buckles being swashed, derring-do and head-bopping glee” JoyZine
“it’s clear that fans of indie-pop will be revisiting Fortitude Valley time and time again” Noizze
“You can just feel the energy emitting from the song, and this band is truly at their best when they let go and have fun” Distorted Sound Mag
“full of perfect, rapid fire, light indie rock tunes” The Punk Site
“The mix of energy, melody, mournful passages and upbeat tempos ensures that this debut is not one you will be forgetting anytime soon” GBHBL
“Durham’s (UK) answer to Auckland’s (NZ) The Beths. Their self-titled debut provides the ear candy that can only be the result of hitting the sweet spot between indie pop, powerpop and pop punk.” Add To Wantlist
“While "Baby, I'm Afraid", the opener here, buzzes with a vibe worthy of early Weezer, other selections on Fortitude Valley are even better. "All Hail the Great Destroyer", for example, recalls The Wannadies, with as much emphasis being put on the fuzzy hooks as on the bright vocals from Kovic, while "It's The Hope That Kills You" marries a Pavement-y melodic line with elements of Rilo Kiley from their peak years. All of this record is just as good, really.” A Pessimist Is Never Disappointed
“perfect little indie rock gems” Popoptica
“vibing a bit of Weezer, The Beths, even Juliana Hatfield’s smooth pop vocal stylings here and there” Pop Rock Record
Why is the vinyl delayed?
For most of Fika’s existence, we’ve been able to put together mastered audio and finished artwork, send them off for the production of vinyl, and receive them back 3-4 months later - sometimes quicker, occasionally a little slower. That’s fitted nicely into our timescales for working press - long lead (that’s monthly print magazines for example) run off a 3 month or so lead time as well, so everything’s been tied in nicely.
That’s all changed over the last 6-18 months. Early on in the Covid pandemic, with recording studios closed, tours cancelled and records pushed back, there was a small window of opportunity where records were coming back from factories at breakneck speed. We’re facing a very different set of circumstances now, where our records are facing ever increasing delays.
That’s partly still due to the Covid19 pandemic - vinyl pressing plants are still taking safeguarding measures to keep their staff safe. Social distancing measures naturally makes it more difficult to keep throughput high.
Vinyl demand has been on the up too. All those cancelled tours and postponed records are being rescheduled and put in for manufacture. The capacity for manufacturing vinyl in Europe has barely changed in years, but sales have been increasing a lot over the past few years. This hasn’t gone unnoticed by the majors (who, of course, dumped their pressing plants decades ago and their vinyl capacity, with the shift to CDs and then digital). Pressing 20,000 copies of yet another Fleetwood Mac re-issue is significantly less work (= higher margin) than manufacturing 40 different records in runs of 500 each. It’s hard to not feel small (tiny) indies are getting nudged ever further down the queue. Special coloured vinyl editions also require the presses to be cleaned down between each run, and it all takes time, reduces throughput, and pushes up costs for us all.
Global supply chains are a mess. From containerships queueing at ports from Felixstowe Shanghai to Los Angeles, shortages of warehouse space, and a lack of lorry and freight train capacity to move goods on, the pinch is being felt globally. Soaring energy and transport costs, global shortages of the PVC pellets used to make vinyl records (not to mention shortages of coloured PVC pellets in particular), and ever more expensive costs for paper and cardboard, means that even if all the component parts make it to where they’re needed when they’re needed, costs are going up rapidly.
And of course there’s Brexit, increasing red tape, costs, and time getting records into the UK.
We’ve tried using different pressing plants for some releases in the hope their estimates on turnaround are accurately quicker than we’re seeing elsewhere (which sadly, doesn’t look to have been a gamble that paid off this time). We’re sitting on records for months and months before starting press work and announcing anything, waiting for our place in the manufacturing queue. I’ve got records in the works now that won’t see the light of day until the autumn of 2022.
While we’re getting quotes upfront when placing an order, plants aren’t committing to prices until the record is about to be manufactured - they don’t know what their input costs are going to be month-to-month currently. While we could walk away at that point if prices have gone up too much, we’d give up our place in the queue and be left without any vinyl being pressed, at a point where we’ll already have kicked off press and promotion for the record, started booking tours and producing videos, etc. And for anything delayed, where we’ve already put up a pre-order, there’s every chance that record comes back costing us 10% or 20% more than anticipated.
As we stand, the Fortitude Valley vinyl, originally scheduled to be delivered in mid October, was recently pushed back to late December, and now we’ve been told not to expect it until early March.
Just Rain from Jessica’s Brother is still scheduled to arrive with us mid to late November, but there’s every chance that could slip back - the plant these are coming back from do seem to be fairly accurate with their delivery estimates, so we’re hoping it’ll come through on time.
We’ve got 3 more vinyl records in production currently, and hoping once we announce those release dates, we should have the vinyl in hand. They’re due from January through to June, so there’s every chance still there’ll be another spanner in the works by the time we get there.
So where do we go from here?
I love vinyl as a format, and will continue to try and find a way to make it work. Given the unpredictability of when they arrive, and what they’ll cost when they do, there’ll be some releases we may just announce, get out, and hope you’re still in love with it enough 6 months later to buy the record.
Pre-orders are going to be increasingly tricky. Manufacturers aren’t committing to prices until just before the record goes into manufacture, which will be 6-10 months after we’ve placed the order and got the quote.
We’ve tried to keep our prices as affordable as possible, but future releases are going to be more expensive, and there’s every chance that current vinyl pre-orders go up in price when they’re released (that’s your chance to save a few quid if you don’t mind a bit of wait).
What if you’ve already pre-ordered a vinyl record, and it’s been delayed?
It’s frustrating for us, as it is for you. We’re doing everything we can, talking to multiple vinyl brokers and manufacturing plants trying to keep on top of where the delays are, where there’s the most sensible lead times, all while ensuring we keep the quality up.
If you’ve pre-ordered a record and want a refund because it’s been delayed, do get in touch and we’ll sort it out for you. You’re welcome to swap your vinyl pre-order for a CD or a digital only pre-order and we’ll refund the difference. And if you’re happy to wait, we thank you for your patience!
Jessica's Brother - Finding Snowdrop [Digital]
Artist: Jessica's Brother
Title: Finding Snowdrop
Format: Digital single
Cat#: Fika088SG3
Release date: 22nd October 2021
Bandcamp | Spotify
‘Finding Snowdrop’ is the final track to be previewed from the new album Just Rain, from London three-piece Jessica’s Brother, comprising songwriter Tom Charleston, The Wave Pictures’ Jonny Helm on drums and Charlie Higgs on bass.
This was the most enjoyable one to record and a track that I'm particularly happy with. I am yet to feel comfortable in the recording studio. The vocals sounded rubbish when we first did them so I retreated to my bedroom where I felt more relaxed and could capture the mood a bit better.
Finding Snowdrop’ is a spiritual rebirth gone wrong, influenced by the rambling poetry and hooks found in Yoni Wolf’s Why? and Bill Callahan. In spite of failure, the potential for growth remains. This budding, on an ageing tree, is celebrated in the joyous rhythms, off-kilter harmonies and a fizzing guitar solo
Stitching together a variety of influences, from crunching indie-rock, to gothic country and contemplative psych folk, Jessica’s Brother create the sound of a band coming together and getting caught up in the rush of starting afresh.
The disintegration of a long-term relationship, coinciding with a global fracturing, provided a catalyst for ‘Just Rain’. The songs explore a relentless collision of melancholy and resilience alongside themes of comedy, agency, and hope.
Jessica’s Brother formed in October 2016. Jonny and Charlie worked together in a framing business and had often talked about collaborating in a band together. Fate intervened when Jonny’s girlfriend Jessica introduced him to her brother Tom, and they found a songwriter in waiting. Their debut, eponymous, album released in 2018 was warmly received.
‘Just Rain’ was produced and engineered by Shuta Shinoda (Hot Chip, Ghost Poet, Anna Meredith) at Hackney Road Studios during the summer of 2020. The album features Dan Mayfield’s elegant touch on violin (he has performed with artists from Daniel Johnston to Allo Darlin’), and new female voices from Polimana (a jazz vocalist from the SoCal suburbia) and Shantha Roberts (whose voice has graced Glasgow’s reggae sound system Argonaut Sounds).
The eponymous Jessica Jane Charleston, a painter and printmaker, provides the meteorological juxtaposition to the album in the visuals, the warmth of a giant sun looming over the contorted figure, rising up to fight another day. Tom was drawn to the hotter colours this time round as opposed to the moodier blue palette of the debut. The colours and figures convey a sense of revival after a period of hibernation. It fits well alongside the band’s hiatus throughout the pandemic and their much awaited return.
With an at times folkloric narrative, ‘Just Rain’ is both poetic and playful retaining throughout a thread of darkness.
The record takes a step forward in terms of production while maintaining the band’s rough around the edges charm. It is an intimate affair punctuated with louder and more unwieldy moments. A true story revolving around a relationship and a world falling apart.
“has this tendency to let the notes meander, going on a nice little musical walkabout, so to speak. It allows for the band, and their backing vocalists, to kind of create this sort of campfire seance, the sort of passionate performance where everyone, listener and musician, sinks into the fabric of the tune” Austin Town Hall
Jessica's Brother - Caroline [Digital]
Artist: Jessica's Brother
Title: Caroline
Format: Digital single
Cat#: Fika088SG2
Release date: 24th September 2021
Bandcamp | Spotify
‘Caroline’ is the second track from the new album from London three-piece Jessica’s Brother, comprising songwriter Tom Charleston, The Wave Pictures’ Jonny Helm on drums and Charlie Higgs on bass.
Caroline is about that feeling of falling behind. Whether it’s a friend, partner, enemy(!) - we often fall into the trap of finding ourselves reacting despondently instead of feeling inspired
Stitching together a variety of influences, from crunching indie-rock, to gothic country and contemplative psych folk, Jessica’s Brother create the sound of a band coming together and getting caught up in the rush of starting afresh.
The disintegration of a long-term relationship, coinciding with a global fracturing, provided a catalyst for ‘Just Rain’. The songs explore a relentless collision of melancholy and resilience alongside themes of comedy, agency, and hope.
Jessica’s Brother formed in October 2016. Jonny and Charlie worked together in a framing business and had often talked about collaborating in a band together. Fate intervened when Jonny’s girlfriend Jessica introduced him to her brother Tom, and they found a songwriter in waiting. Their debut, eponymous, album released in 2018 was warmly received.
‘Just Rain’ was produced and engineered by Shuta Shinoda (Hot Chip, Ghost Poet, Anna Meredith) at Hackney Road Studios during the summer of 2020. The album features Dan Mayfield’s elegant touch on violin (he has performed with artists from Daniel Johnston to Allo Darlin’), and new female voices from Polimana (a jazz vocalist from the SoCal suburbia) and Shantha Roberts (whose voice has graced Glasgow’s reggae sound system Argonaut Sounds).
The eponymous Jessica Jane Charleston, a painter and printmaker, provides the meteorological juxtaposition to the album in the visuals, the warmth of a giant sun looming over the contorted figure, rising up to fight another day. Tom was drawn to the hotter colours this time round as opposed to the moodier blue palette of the debut. The colours and figures convey a sense of revival after a period of hibernation. It fits well alongside the band’s hiatus throughout the pandemic and their much awaited return.
With an at times folkloric narrative, ‘Just Rain’ is both poetic and playful retaining throughout a thread of darkness.
The record takes a step forward in terms of production while maintaining the band’s rough around the edges charm. It is an intimate affair punctuated with louder and more unwieldy moments. A true story revolving around a relationship and a world falling apart.
“The crashing guitars sound absolutely huge, like this stormy wave of distortion (and occasional soloing) bashing us over the head. That said, the trio, pull back in all the right spots, letting you take a breath before smashing you right in the face. And more fun, you can enjoy the noise, but it operates entirely separately from the generous pop moments that course throughout the tune…be that the backing bops or the core vocals from Tom” Austin Town Hall
“This feels like a step forward for Jessica’s Brother, a band moving on without losing the initial glint in the eye that made them such an exciting prospect in the first place.” For The Rabbits
Fortitude Valley - All Hail The Great Destroyer [Digital]
Artist: Fortitude Valley
Title: All Hail The Great Destroyer
Format: Digital single
Cat#: Fika087SG3
Release date: 27th August 2021
Spotify | Bandcamp
Durham-based indie punks Fortitude Valley are pleased to reveal the video for their new single ‘All Hail The Great Destroyer’.
The track is the final single to be taken from their self-titled debut album set for release on 29th October 2021—preorders are live on bandcamp now.
A tribute to vocalist Laura Kovic’s rescue cat Margie, who destroys everything for fun and is “an absolute legend”, it’s the perfect taste of an album that’s packed with pathos, humour, and hope.
Commenting on the track, Kovic says: “At times this past year and a half has felt like we’re all being sucked into a metaphorical black hole. This song is about trying to find little things that bring you joy and holding on to them. We’re all just doing our best to escape the void.”
Recording in two stints during 2019 and 2021 with a COVID sized hole in the middle, the band’s forthcoming self-titled debut album was laid down between Soup Studios in London, Rocking Horse Recording Studio in Durham, and the members’ respective homes. The album was recorded, engineered and produced by Giles Barrett and Neil Combstock, mixed by Michael Collins, and mastered by Dave Williams.
Addressing themes of the passage of time, friendships and relationships growing apart, and feelings of insecurity, depression, and anxiety—as well as searching for love and salvation—the album is very much a product of our times.
Previously-released album singles ‘Wreck’, ‘Cassini’ and ‘Baby, I’m Afraid’ have all received praise from a rapidly growing list of press including LOUD WOMEN, The Punk Site, Noizze, Austin Town Hall, Bring The Noise, For The Rabbits, Get In Her Ears, NARC. Magazine, Sweeping The Nation, Distorted Sound and more.
‘Baby, I’m Afraid’ also made the band’s first splash at radio, landing on the X-Posure Playlist at Radio X, XS Manchester playlist, Idobi Anthm playlist, Amazing Radio playlist, KINK Indie playlist, securing BBC Introducing and local radio support, as well as a swathe of regional and specialist shows jumping on board.
The band will appear at End of The Road Festival 2021 and Twisterella Festival 2021 later this year (see below for listings).
“They keep releasing these pop rock jams that just get stuck up inside your head” - Austin Town Hall
“The most slacker-pop band that’s ever burst forth from [checks notes] Durham” - LOUD WOMEN
“Blistering bubblegum punk...they’re something to get really excited about” - Get In Her Ears
“Amplified pop tunes...reminds us of Dinosaur Jr.‘s slacker electricity” - Turn Up The Volume
"A brilliantly awkward and slacked anthem...set to be the sleeper hit of the year" - Noizze
“Deliciously driving indie-pop” - For The Rabbits
Fortitude Valley is the new outlet for the songwriting talents of Durham-based Brisbanite Laura Kovic. Having spent the majority of her musical career playing keyboards in other people’s bands, bringing their songs to life with a melodic flourish, it was about time for Kovic to find an outlet for her songs: awkward power-pop that’s bound to appeal to fans of The Beths, Weezer or The Weakerthans.
She assembled quite the band, too, teaming up with Martha’s Daniel Ellis (lead guitar) and Nathan Stephens Griffin (drums), and Night Flowers’ Greg Ullyart on bass.
The quartet take their name from Brisbane suburb Fortitude Valley—or just “The Valley” if you’re from Brisbane—the heart of the city’s music scene, and also where Kovic first started playing in bands, before moving to the UK in 2010. “It was a place that objectively felt mythical, a suburb with a special meaning, looking back from the other side of the world and many years later,” she reflects.
@valleyfortitude
https://fikarecordings.com/artists/fortitude-valley
Jessica's Brother - Just Rain [Digital]
Artist: Jessica's Brother
Title: Just Rain
Format: Digital single
Cat#: Fika088SG1
Release date: 20th August 2021
Bandcamp | Spotify
‘Just Rain’ is the opening track from the second album from London three piece Jessica’s Brother, comprising songwriter Tom Charleston, The Wave Pictures’ Jonny Helm on drums and Charlie Higgs on bass.
Stitching together a variety of influences, from crunching indie-rock, to gothic country and contemplative psych folk, Jessica’s Brother create the sound of a band coming together and getting caught up in the rush of starting afresh.
The disintegration of a long-term relationship, coinciding with a global fracturing, provided a catalyst for ‘Just Rain’. The songs explore a relentless collision of melancholy and resilience alongside themes of comedy, agency, and hope.
The title track lays this out with an opening burst of slacker rock as Tom reflects back over a passage of time that feels like persistent unrelenting rain. Vacillating between despair and defiance, we uncover the strength to shrug it off as “just rain”; after all, as the track draws to its conclusion “losing sight can be relieving”.
Interestingly, the lyric, “open up your heart, it can help to wear a mask”, was written before the pandemic had properly struck in the UK.
Jessica’s Brother formed in October 2016. Jonny and Charlie worked together in a framing business and had often talked about collaborating in a band together. Fate intervened when Jonny’s girlfriend Jessica introduced him to her brother Tom, and they found a songwriter in waiting. Their debut, eponymous, album released in 2018 was warmly received.
‘Just Rain’ was produced and engineered by Shuta Shinoda (Hot Chip, Ghost Poet, Anna Meredith) at Hackney Road Studios during the summer of 2020. The album features Dan Mayfield’s elegant touch on violin (he has performed with artists from Daniel Johnston to Allo Darlin’), and new female voices from Polimana (a jazz vocalist from the SoCal suburbia) and Shantha Roberts (whose voice has graced Glasgow’s reggae sound system Argonaut Sounds).
The eponymous Jessica Jane Charleston, a painter and printmaker, provides the meteorological juxtaposition to the album in the visuals, the warmth of a giant sun looming over the contorted figure, rising up to fight another day. Tom was drawn to the hotter colours this time round as opposed to the moodier blue palette of the debut. The colours and figures convey a sense of revival after a period of hibernation. It fits well alongside the band’s hiatus throughout the pandemic and their much awaited return.
With an at times folkloric narrative, ‘Just Rain’ is both poetic and playful retaining throughout a thread of darkness.
The record takes a step forward in terms of production while maintaining the band’s rough around the edges charm. It is an intimate affair punctuated with louder and more unwieldy moments. A true story revolving around a relationship and a world falling apart.
“The crashing guitars sound absolutely huge, like this stormy wave of distortion (and occasional soloing) bashing us over the head. That said, the trio, pull back in all the right spots, letting you take a breath before smashing you right in the face. And more fun, you can enjoy the noise, but it operates entirely separately from the generous pop moments that course throughout the tune…be that the backing bops or the core vocals from Tom” Austin Town Hall
“This feels like a step forward for Jessica’s Brother, a band moving on without losing the initial glint in the eye that made them such an exciting prospect in the first place.” For The Rabbits
We're back live! September 1st at The Shacklewell Arms
We’ve not put on a live event since the Winter Sprinter in January of 2020, our shows from February through to September that year all succumbing to Covid restrictions… but we’re back!
Do come and join us on the 1st of September at The Shacklewell Arms, for Darren Hayman and Common or Garden. An End of the Road festival warm up show, showcasing Darren's recent album Home Time and songs from throughout his career.
Tickets £10+bf adv via WeGotTickets or Dice.
Covid19 guidance:
Please check and follow the latest NHS and government guidance on Covid.
We encourage everyone to take a free NHS lateral flow test before coming to the gig, and if positive, seek a PCR test and isolate as per the current government guidelines.
If you are displaying Covid symptoms, please do not come to the venue.
If you're unable to attend having been required to self-isolate or as a result of a positive PCR test, please get in touch and we'll organise a refund of your ticket if you wish.
We'd encourage you to wear a mask moving around the venue if you wish to, and to be considerate to everyone else attending, we’re all at different stages of getting comfortable returning to live events again.
We hope to give you all an enjoyable and safe evening of music - if you’ve got any accessibility requests, or questions on Covid protocol, please do get in touch.