EIOH - new single.

Electricity In Our Homes continue to plug away. Their new AA-side 12" 'You're Doing So Well'/'Appletree' (released yesterday, self-distributed) is a return to form, a stonking post-punk fist to the stomach which takes the trio back to their roots in the DIY sound of The Desperate Bicycles but maintains the sophisticated sound developed by the trio since the loss of their original vocalist back in 2008. Jerky cut-glass riffs jostle against a funk-informed rhythm section and hypnotic looped vocals: it's a little bit A Certain Ratio, a little bit Josef K, a big bit brilliant. Order one of the 300 copies available from the EIOH MySpace now, and watch the video to 'You're Doing So Well' here:

electricity in our homes : WE AGREE COMPLETELY

ELECTRICITY IN OUR HOMES
WE AGREE COMPLETELY
(PARLOUR RECORDS)

Electricity In Our Homes continue to push their idiosyncratic noise onwards. Moving away from the scratchy Fire Engineisms of their first singles, their sound has evolved into a more complex series of minimal rhythmic layers and artful repetition, sounding a little like the Desperate Bicycles covering Can. The spiky three-way vocals grant them a further remove from any other band around today. As an extended release, though, We Agree Completely doesn't go far to prove EIOH's credentials as anything more than a singles band. While the two best tracks, Hooves and Don't You Want To? (Follow) would make a fantastic seven-inch on their own, the other four tracks are rather more throwaway: Scenes from the Life of a Double Mattress and Goodbye feel like undeveloped sketches, Message of Joy is utterly unmemorable, and the ironically-titled Are They Wearing Thin? is an unlistenable failed remix experiment (so yes, they are). Over the course of an album some of these cuts could probably make the grade, but since this is EIOH's first progression beyond the single format it would be nice if it had a few more songs to bear it up. It's not a complete failure, but it does suggest that this is a band best suited to serving up bite-size listening rather than a full meal. Although we'd love to be proved wrong next time around.

We Agree Completely is released on 27th July, and is limited to 500 12" copies, now available for preorder. Electricity In Our Homes perform live at Rough Trade East on the 25th to mark the release.

electricity in our homes : GYMNASTICS / MOTORBIKE

ELECTRICITY IN OUR HOMES
GYMNASTICS / MOTORBIKE (4AD)

Electricity In Our Homes can't be accused of overburdening their audience: this is their third release in as many years. The first two sold out as soon as they hit the shelves; this is their most high-profile single to date, since they've got the muscle of the renowned 4AD label behind them for this one-off, and, after the departure of vocalist Thomas Warmerdam last year, this 7" is their first opportunity to prove their recording worth as a three-piece. So the stakes are high even before the needle hits the groove.

Thankfully, EIOH haven't slipped. Charlie Boyer takes vocal duties from the outset, exploding out of the starting blocks with a frantic guitar line to reaffirm the band's debt to bIG fLAME and The Fire Engines: both sides of the single are milestones of jerky, lo-fi post-punk. As far as subject matter goes, the group follow up songs about shop mannequins and gears with the tale of a practising gymnast - it's not philosophy and it doesn't ever pretend to be, fitting the DIY atmosphere to a tee. Oh, and the stop-start structure, nailbiting sound attacks which could cut glass alternating with groaning complaints of 'bends my back' from all three members, seems artfully designed to get a roomful of people dancing for thirty seconds at a time and then standing about awkwardly until the guitar kicks in again. Which is brilliant. The b-side is a cheeky Beach Boys cover in disguise: Electricity In Our Homes's 'Little Honda' breaks down every few yards, but the nervous instrumental tension and a straight-faced spoken section from Bonnie Carr keep the band in the saddle while Paul Linger kickstarts the engine with jerky snare rolls. Thrilling stuff, and highly guaranteed.

'Gymnastics' / 'Motorbike' is limited to 500 copies, and available to order from Rough Trade and Norman Records.

EIOH single details - FINALLY

After cries and whispers of a new Electricity In Our Homes single, here it is: 'Silver Medal In Gymnastics' / 'Motorbike' will be released by 4AD as AD2828 on 16th February, and is available for preorder from Rough Trade, HMV, and the label. Only 500 7" copies are available, so grab one while they last.

EIOH delay.

Bad news: the next Electricity In Our Homes single on 4AD has been pushed back to a January release. Good news (for Americans at least): they're due to play South By South West in Texas next March.

Belated EIOH news.

Just noticed:

'we are now a three piece band and have scrapped all of our old material and written (and are writing) new songs. we are recording a new 7" single next monday to be released on 4AD in the next couple of months. we are aranging some uk and european dates also for the near future.'

Sorry for taking our finger off the pulse. We can, however, let you know that the single is 'Silver Medal in Gymnastics', and it's been produced by John Linger. More to follow.

OFFSET FESTIVAL. review, pt. 2;

EXP. CIRC. TENT, SUNDAY 31ST AUGUST

Two thirds of An Experiment On A Bird In The Air Pump returned to the stage early on Sunday afternoon to open the day again, this time in their guise of Eve Black/Eve White. As with their other group, the duo can’t be described as an exciting live act in the traditional sense, but their deep vocal stylings and haunting electronics sent a shiver down the spine and once again spread an instant atmosphere around the tent, not least with a superb cover of Otis Blackwell’s Fever.

The next act, Maria and the Mirrors, had more in common than An Experiment... than the Eves, with their drums and bass guitar set-up, but also shared a distinctive hypnotising tribal wail with Effi Briest. As far as the two ladies literally mirroring each other on the drums and pumping out these soulful evocations went, they were a fascinating live act, with elements of New York punk-funk groups ESG and Liquid Liquid; but the fly in the ointment was their bassist, who lurked at the back of the stage between the two. The framing effect and the drums and costumes made the whole performance look a bit like a pagan sacrifice, and the imposing central figure exerted an extreme influence, jabbering horribly into the microphone and actually halting the drummers with his hand several times. The distorted bass gave the sound a thrilling edge in contrast to the drums and chanting, but the overall impression was simply one of ego. If that’s reined in, though, Maria and the Mirrors will prove a promising addition to the shriekbeat canon.

Occupying the next slot were O Children. The stage was an intriguing sight before they came on with its central microphone at least a foot higher than its partners on either side, but when the four-piece arrived they got straight down to a riveting set of no-nonsense post-punk. The immense presence of vocalist Tobias seemed to lend the whole band a sense of unity, and they tore through a brief set of songs ranging from creepily downbeat (Ace Breasts and Dead Disco Dancer) to creepily triumphant (Radio Waves). Their obsessive lyrics tie the disparate sounds together, and a set of melodies which are both substantial and instantly memorable make O Children an excellent package, and one which is sure to garner more attention. Listen now.

The Ruling Class swagger onto the stage and launch into their psychedelic Madchester sound as though they’re playing Brixton Academy. While the music they play is by no means original, it’s both unusual in modern indie rock, and possessed of an enticing vibrancy. Jonathan Sutcliffe on vocals bears a slight and highly appropriate resemblance to Ian Brown, and the riffs and harmonies on Flowers and Umbrella Folds scream Waterfall, but it’s difficult to criticise the energy the five-piece show, and far easier just to sit back and enjoy Tomas Kubowicz’s intricate guitar lines and Alfie Tammaro’s baggy backbeat. A couple of high-profile support slots in the near future should establish this band as firm ‘ones to watch’, and it seems likely that they’ll get the popular status that they so clearly crave. Whether their current material will hold up to radio scrutiny is a separate matter.

Having dropped vocalist Thomas Warmerdam only three weeks before their Offset performance, Electricity In Our Homes have become a jerky power trio with all three remaining members contributing vocals. These weren’t perhaps as strong as they could have been, and Warmerdam’s distinctive voice is still missed, but promising touches on a set of all-new material including an excellent cover of the Beach Boys’ Little Honda show a development already underway. This was after all their first gig as a three-piece, and in time the new format should offer more freedom to experiment for one of London’s most innovative bands.

As ever, The Violets gave a performance which is technically flawless and delivered with extreme competence: Alexis Mary is a perfect frontwoman, slinking across the stage to deliver everything from a croon to a shriek and even improvising to fill in for a missing melodica, and Joe Daniel’s guitar work gathers unsettling flickering and storms of noise in one masterful stroke, almost making the band’s rhythm section obsolete of his own accord (though they too are highly professional). There is something about them, though, which is slightly unsatisfying; I would say they lacked soul were it not for the emotional depths of their songs, but it' probably just that they’re too polished and competent, especially when following the DIY charms of Electricity In Our Homes. Their set is highly enjoyable and very energetic, but slips past quickly without leaving much lasting impact. That’s hardly a complaint however, and I would hate to give the impression that they aren’t a great live band. See and enjoy them; they play rarely enough.

They’re followed by a much-anticipated set by Neils Children, who have been working in seclusion on their LP X.Enc. for the past few months. Some album tracks surface, including the revived Communiqué and Sometimes It’s Hard To Let Go, and recent single Reflective/Surface gets an enthusiastic reception, but more surprising is the presence in the set of older songs such as Stand Up and the closing attack of ancient-but-great single Come Down. Could it be that John Linger, ever the progressive, is finally embracing his band’s past? An interesting diversion is provided by the SKIPTheatre company, who perform a piece of PiL-soundtracked physical theatre before Neils Children take the stage, as well as skipping with hoops and scattering black feathers during An Exchange in an echo of the collaboration on the band’s latest video for I’m Ill.

The final performance of the evening, aside from a slightly dubiously-placed late set from electronic act Prinzhorn Dance School, were Ipso Facto, who proved the persistence of their current rise by filling the tent for the first time. The band have taken leaps and bounds since their early concerts, and their skill as musicians is now beyond question; Victoria Smith in particular has turned into a sharp and skilful drummer. Theirs isn’t exactly music to fight to, but they certainly created an eerily beautiful atmosphere in the packed tent with their sombre and serene psychedelia, before finishing with a triumphant new song in - controversially - a major key, which spread the smile from their faces throughout the audience. As happy, bob-haired aficionadoes spilled grinning out of the tent, it was obvious that Ipso Facto had taken another step on their ascendant road, and provided the perfect way to close the Experimental Circle Club tent for the weekend.

EIOH - change in the air.;

Lead vocalist Thomas Warmerdam has left Electricity In Our Homes, leaving them to continue as a three-piece. The split seems to have been friendly, with Warmerdam wishing to concentrate on other interests; the band are not currently seeking to replace him, but intend to test out their current members as vocalists. The band's next concert is on the 30th August at the Offset Festival in Essex, as they continue to promote their successful latest single 'We Thought It Was But It Wasn't'.

EIOH single delay;;

News in brief: the date for the next release from Electricity In Our Homes has been pushed back a week to the 9th June while artwork is being developed. More information as we hear it.

Exp. Circ. Tent announces line-up;;

This year Essex's Offset Festival plays host to a tent curated by the Experimental Circle Club, and the line-up has just been announced: a veritable 'Who's Who' of the best new music from London and beyond. Included on the bill are...

Ulterior
S.C.U.M // Electricity In Our Homes
Eve Black/Eve White // I Am The Arm // ddd
Futurism Vs Passeism // Factory Floor // Micron 63
**K // S.I.N.S. (tbc) // ErrorOrchestra // Cementimental

Also included are DJs from London's The Sect and UFO Club, Brighton's Where To Now?, Nottingham's Noise*, Southend Kool Kids Klub, and Madrid's The Junkettes, as well as Exp. Circ. Club sounds and visuals.

The festival takes place in Hainault Forest (30 minutes from London on the Central Line) on 30th-31st August, and features another six stages with over one hundred artists yet to be announced - including some very special main-stage headliners still under wraps - as well as sideshows, stalls, and a zoo.

The full line-up is to be announced soon, and we've also been promised even more acts in the Exp. Circ. Tent, so earballs must, as ever, be kept open. Tickets go on sale on May 1st for £35. You cannot afford not to attend.

Forthcoming releases;;;;

These New Puritans have announced the release of 'Swords of Truth' as the next single off LP Beat Pyramid. The video can be seen here; the single will come out on 5th May on 7" and 12" vinyl, as well as a digital download, with Angular Records in the UK and Domino worldwide. B-sides are yet to be announced.

Electricity In Our Homes, meanwhile, will also be releasing a new single next month. The release date is May 19th, the label is Waks/Too Pure, but other details are a little thin on the ground.

Finally, Billy Trivial is set to release his debut release, a 7" EP, on the Salvador Dali's Garden Party label in the summer.

That's about all for now. Further details...will be here.

Next release from EIOH;;

Electricity In Our Homes have announced first details of the follow-up to September's successful 'The Shareholders' Meeting' EP. The DIY post-punks will release a 7" single on Waks Records in late April, with pre-orders available in a few weeks. Tracklisting and further details to follow... watch this space.

EIOH new single//P:K demos;;expansion

Hot on the heels of Neils Children (see below), Electricity In Our Homes have revealed a new single to be released soon. In EIOH's case, we don't know the name of the song. What we do know is that it'll be out in December on Waks Records, as a limited 7" single.

There's also movement in Project:KOMAKINO. Kris Komakino has made a three-track CD of demo tracks, with hand-drawn artwork. As well as being his first release, what makes them special is that there are only 25 of them. P:K is also in the process of recruiting a bassist and a drummer to form a post-punk power trio for live performances (and the studio, maybe?), so maybe there'll be a shift in their sound, probably for the better.

Anyway, hopefully we'll be able to review both of the new releases for you. Watch this space.

EIOH EP//Band spotlight: ddd

The Shareholders Meeting, the debut EP from Electricity In Our Homes, is finally on its way! The 200 pre-order copies were sent out to the expectant shareholders today, according to Modern Pop Records, and should arrive tomorrow (so, only eleven days late). We at The New Thing will be reviewing it as soon as we get our hands on it, and the review should appear in our first print fanzine, due out in a couple of weeks. Watch this space!

In other news, our band spotlight shines today on ddd, a London duo who are set to play at the Experimental Circle Club's first birthday party in November. Ddd have been making experimental electronic noises, with distorted guitar and jerky vocals - in fact, they sound a little like the paranoid, edgy cousins of The Errorplains - since 2005, when the band was a solo project. They've since added a member, released three sold-out singles, and made various appearances on some almost sickeningly hip compilations. 'Can't Explain', the A-side of their first single, is available for download from myspace. Go and see them at Exp. Circ. - they're very good.

ddd MySpace

EIOH DELAY//NC TOP 5

The debut release from Electricity In Our Homes, the Shareholders Meeting EP, has been delayed, apparently due to problems at the manufacturing end. Since The New Thing was planning to bring you a review of the release today, we'll fill the gap with...

THE NEW THING's TOP 5 FACTS ABOUT NEiLS CHiLDREN

5// Cool. John Linger managed to get onto the NME's 'Cool List' in 2004, at number 30. Not so impressive, you may say, but 1// this is NME we're talking about, and 2// he beat Robert Smith by 10 places.

4// Covers. The band have recorded a few cover versions in their time. Apart from their version of Pink Floyd's 'Lucifer Sam' (recorded in one take last year to pay tribute to the late Syd Barrett), they've played an experimental version of 'Tears On My Pillow' (last heard on the Grease soundtrack) and have blended Pink Floyd's 'Interstellar Overdrive', Public Image Ltd.'s 'Poptones', and The Specials' 'Ghost Town' in a live medley called 'Popthings'.

3// Name. A source of controversy. While some say the band are named after 1960s proto-punks John's Children (who are best known nowadays for featuring a young Marc Bolan), the band have also claimed that 'Neil' is an everyday, average name, and that 'Neil's Children' refers to middle-class suburb-dwellers in general. You choose your favourite meaning.

2// Bassists. The band have had no less than three since their foundation in 1999. The first, Tom Hawkins, left after a year and became a sound engineer for pop-punk band The Subways. His replacement, James Hair (who regrettably didn't really live up to his name that well) left due to musical differences in December 2005, and now plays in a jazz-punk band called Vile Imbeciles. Keith Seymour, who took up the role after this departure, had played for post-rock group Hope Of The States before joining the Children.

1// Genres. The Children are more genre-bending than people credit them with. While nowadays they play gothic post-punk, they're most famous (thanks to their best-known song, 'I Hate Models') as snotty punks. But before that, they were definitively Mod freakbeaters - unreleased songs from their aborted first album, 'Demand the Impossible', sound more like The Who than anyone else.

There's a lot more to say about the Children, but it'll have to wait for now. I'm off to change my needle and wait for The Shareholders Meeting. More Top 5 Facts coming soon for your delectation and interest.