この "The Emptiness Machine "は、今週のHot100（9月21日付）で初登場21位を記録し、ニューメタルグループとしては15年ぶりのビルボードHot100最高位となった。彼らのこれまでの最高位は、2009年に9位を記録した『トランスフォーマー／リベンジ・オブ・ザ・フォールン』のサウンドトラック・シングル「ニュー・ディバイド」だった。
イギリス/リーズを拠点に活動するポストパンクバンド、HONESTYがデビューアルバム『U R HERE』を2025年2月7日にリリースすると発表した。
昨年の『WHERE R U EP』、今年の『BOX mix』に続き、『U R HERE』の最初のテイストは、推進力のあるニュー・シングル／ビデオ「MEASURE ME」。
流動的で爽快なクラブ・ミュージックのコレクションに、深く内省的なひねりを加えたU R HEREは、現代の心理的影響を音でマッピングし、新たな始まりに伴う活力と自由を利用しようというHONESTYによる斬新な試みである。彼らの幅広い実験的な影響力を基に作られたU R HEREは、時に崩壊しそうな世界の中で、新たな創造的表現の感覚を表現している。
デビュー・アルバムについて、HONESTYはこう語っている。「このアルバムは、二次会でAUXケーブルを回すような、有機的な共同作業になった。シューゲイザーからUKベースまで、幅広い音楽にインスパイアされたから、ひとつのジャンルにとらわれないようにしようと決めたんだ。リスナーには、自分たちだけのサウンドスケープの地図を自由に歩き回りながらも、U R HEREというピンポイントを明確に示すような感覚を味わってほしかった」
Allegra Krieger 『Art of the Unseen Infinity Machine』
Label: Duble Double Whammy
Release： ２０２４年９月１３日
Review
Rolling Stone、Pitchforkの両メディアが先週注目していたのが、ニューヨークのシンガーソングライター、アレグラ・クリーガーである。先週のアメリカのインディーロック/フォークの注目作の一。大げさに騒ぐほどのアルバムではないかも知れないが、良質なメロディーや切ない感覚を織り交ぜ、ソングライター/ギタリストは一応のことニューヨークの音楽シーンで存在感を堅持している。 以前のアルバムまでは、分散的な音楽という印象もあり、少し散漫な感じであったが、この最新作『Art of the Unseen Infinity Machine』ではフォーク・ロックやオルタナティヴロックを起点として、秀作を制作している。アルバム全体には、何かしら淡いペーソスのようなものが漂うが、これは制作時、アーティストの住居の一室が燃えたという不幸に見舞われたことのよるものか。そして、ぼんやりとしているが、何かそういった哀感が漂う作品である。
西海岸のカルチャー「フラワー・ムーブメント」とも称されるこれらの現代的な牧歌性は、「Burning Wings」にも見出すことが出来る。例えば、この感覚が太平洋を隔てたリスナーにも共鳴するものがあるとしたら、それは、現代の競争主義、新自由経済社会、後期資本主義社会に疲弊していることを意味している。主流派とは別の指標や価値観がないものか、多くの現代人はそれらの考えをシェルターに見立て、その場所を安息所とする。謂わば、そうではないふりをしていても、日常的な違和感や何らかのボタンの掛け違いのような感覚は日を追うごとに増えている。そういった現代的な感覚ではなく、牧歌的な空気感や平和主義を折衷したフォークソングは、「I'm So Happy I Can't Face Tomorrow」にわかりやすい形で表れ出ているのではないか。Florist、Big Thiefの系譜にある紛うことなくニューヨークのフォークロックソングであるが、やはりこの曲に滲み出ているのは、現代的な人間として生きる「しがらみ」のようなものを抱えながらも、そこから一歩踏み出したいというような思いである。それらの思想はやはりアコースティックギターをベースにした牧歌的で温和なフォーク・ソングという形に乗り移っている
アルバムの中盤の３曲「Over And Over」、「Into Eternity」、「Interude to Eternity」では、華美なサウンドを避け、徹底して70年代のレオナード・コーエンのような古典的なフォーク・ロック主義に沈潜しながら、アルバムの序盤の切ないような感覚を織り交ぜる。これらは表面的な思想に潜っていくというよりも、その音楽的な感覚をより深い場所へと踏み込もうと試みているように感じられる。それはまたフォーク・ロックの音楽性に基底に含まれる瞑想的なイメージを呼び覚ますような感じなのである。これらの感覚的なフォークロックは、現代的なサウンドプロダクションではなく、アナログのレコーディング寄りのミックスやマスターによって、ビンテージな感覚を呼び覚ますことがある。中盤から中盤にかけて、クリーガーはより内面の世界に一歩ずつ降りていくかのように、内省的なフォーク・ロックソングの世界を作り上げている。これらは稀に、エリオット・スミスのようなサッドコア「How Do You Sleep」に近づく。
本作は単なるフォークロックの集積というより、個人的な感覚の流れをエモーショナルなフォークソングで縁取ったかのようである。それは一定して暗鬱な印象が起点となっているが、アルバムの終盤で、アレグラ・クリーガーの曲は少しだけ明るい場所へと抜け出る。謂わば悲しみからの再起や立ち上がる瞬間の過程を縁取るかのように。「Where You Want To Go」では、力強いボーカルと巧みなドラム、ギターに支えられるようにし、はつらつとした瞬間を描き出す。 クローズ「New Mexico」では、古典的なカントリーの文脈に近づく。しかし、やはり、そこには包み込むような温かさと優しさという感覚が内在している。懐古的な音楽というイメージは表向きのもので、むしろ現代的なフォークロックのサウンドといえるのではないか。
ジョッシュ・ティルマンは、ドリュー・エリクソンと共に新作アルバム『Mahashmashana』をプロデュースした。さらにジョナサン・ウィルソンがエグゼクティヴ・プロデュースした。シングル「I Guess Time Just Makes Fools of Us All」は、先月リリースされたベスト盤にも収録されている。最新アルバムは2022年の『Chloë and the Next 20th Century』である。
ジョン・コングルトンのプロデュースによる 『God Gets You Back』は、典型的なモグワイの曲のようにゆっくりとした雰囲気で始まり、豊かなハーモニーとともにドリームポップ／ロックの領域へと突入する。
この曲には意外なコラボレーターもいる。バリー・バーンズはこの曲について、「メロディーかボーカルが必要だと思ったが、歌詞が思いつかなかったので、7歳の娘に歌詞を作ってくれるように頼んだ。「Hand Held Cine Club 」(Justin and James Lockey)によるビデオは以下から。
2022年のKITCHEN. LABELデビュー作『In Science and the Human Heart』に続く本作は、Hiroshi Ebinaの特徴とも言える静謐で浮遊感のあるアナログ・サウンドスケープをより深く掘り下げ、夜の静かな時間のために特別に制作された作品。パートナーの不眠症のために音による癒しを作ろうとしたのがきっかけで、Ebinaはこのプロジェクトに着手したのだが、レコーディングが進むにつれて、夜のミステリアスで神聖な性質を探求する複雑な作品へと変化していった。
オフィシャル・チャートへの声明で、ギルモアはファンへの多大なる感謝を表明した。「僕のニュー・アルバム『Luck And Strange』を買ってくれて、オフィシャル・アルバム・チャートで1位を獲得する手助けをしてくれたみんなに感謝したい」
『ウィッシュ・ユー・ワー・ヒア』（1975年）や『ディヴィジョン・ベル』（1994年）など、ピンク・フロイドで6枚の全英No.1アルバムを含む輝かしいキャリアを持つギルモアは、今回の快挙でそのキャリアに新たな一歩を踏み出した。しかし、ロッカーのプレスリリースによれば、彼の最新プロジェクト『Luck and Strange』は、"1973年以来、『Dark Side of the Moon』以来のベストアルバム "だという。
The WAEVEの音楽には表向きに聞こえるものよりも、かなり深甚な文化性が内包されている。それは、先日、ラフ・トレードが公開した大掛かりなロンドンの音楽の数十年の歩みを収めたプレイリストを見ると分かる通り、７０年代から２０年代にかけてのUKミュージックの５０年の流れを現代人としてあらためて俯瞰するかのようである。１９７０年代頃、一大的なムーヴメントとなったロンドン・パンクというジャンルは、三大バンドを始め、無数のサブジャンルとフォロワーを輩出したが、他方、ジョニー・ロットンのバンドがメジャーレーベルと契約した頃から、急速に最初のウェイブは衰退していくことになった。それは、簡単に言えば、パンクバンドが次々とメジャーレーベルと契約を交わしたことに大きな原因があった。パンクバンドが商業的な成功を収めていく中、音楽性そのものに精神性が失われていったことが要因であった。
ポストパンク・ユニットとしての性質は、「3-Moth To The Flame」においてひとまず発揮される。ゴツゴツとしたオーバードライブのかかったベースラインに、グラハム・コクソンは、拡張器のようなボーカルのエフェクトを掛け、「声明代わり」と言わんばかりにふてぶてしいボーカルを披露し、この曲を牽引していく。求心力がある曲で、ライブではかなり盛り上がりそうだ。しかし、ルート進行のベースに対して歌われるコクソンのボーカルは、意外なことにかなり迫力があり、そして精細感もある。いわばコクソンさんが現代のミュージシャン/ボーカリストであることを実証するようなパンクサウンドである。
アルバムの音楽的な性質は収録曲ごとに変化し、スムーズでゆるやかな変遷をたどる。UKの７０年代のフォーク・ミュージックの受け継いだ「7-Song For Eliza May」では、再び、ローズ・ドーガルがメインボーカルを取り、コクソンのバンジョーの巧みな演奏に合わせて、スコットランドのケルト民謡のテイストを作り出す。６/８のワルツの形式を踏まえ、バンジョー、ギター、ピアノの演奏が舞楽的な音楽的な効果を生み出し、ドーガルのボーカルは、優雅さや開放的な空気感、ケルト民謡の持つ牧歌的なアトモスフィアを醸成する。ひとつひとつのアコースティック楽器の演奏がきわめて精妙に演奏、録音されているため、比較的自由な歌い方をしても、曲全体の構成が崩れることがない。これらの卓越した演奏力と録音技術に合わせて、実際的にボーカルの夢想的な感覚は、実際的に聞き手をイギリスの中世的な世界の奥底へと優しく誘う。
The Waeveの音楽はロンドンのカルチャーを反映させるかのように多彩で、一定の音楽の中に収まることはない。それは、二人がどれだけ音楽を愛しているかを表し、同時に深い信頼関係で結ばれていることを表すかのようである。音楽的なバリエーションやイマジネーションは、その後の収録曲でも衰えることはなく、少しずつ広がりを増していくような感覚がある。「8-Druantia」では再び、ニューウェイブサウンドに回帰し、ユニークなサクソフォンの演奏を取り入れて、フュージョン・ジャズとポスト・パンクの中間にあるダンサンブルなサウンドを生み出す。かと思えば、続く「9-Girl Of The Endless Night」では、Lankumのようなダブリナーズのアイルランド民謡をベースに、現代的なイギリスのフォーク・ミュージックの理想的な形を示す。
・Second album by Graham Coxon and Rose Elinor Dougal. The depth of London's musical culture.
In fact, even before Blur was relaunched, Graham Coxon had launched a new project, The Weave. It largely coincided with the release of Blur drummer Dave Rowntree's solo album The Waeve began as a duo between Graham Coxsone and his wife Rose Dougal.
Graham Coxon's remarkable success on the British music scene needs no brief description. As for Rose Dougal, she was active in a girl group called Rose Pippet. The chemistry of different talents, the musicality of The WAEVE, a unit of two men and two women with similar qualities, is intended to follow the popular music of the late 70s new wave, the 80s and 90s, and then bring in the nuances and context of contemporary popular music.
As you can tell from listening to the first album, The WAEVE, the unit is not just a side project for fun. The WAEVE takes the art-rock side of Blur, so to speak, and then, from the nuances of new wave and no wave, absorbs the chamber pop of the Beatles era, the Brit-pop of Oasis in the 90s and the experimental pop of the 2010s and beyond, and sublimates them into a contemporary popular music. The aim is to sublimate them as contemporary popular music.
The style of the songs is wide-ranging, as if to reflect the depth of the duo's musical insight. The austerity of Graham Coxon's vocals and the contrasting nature of Rose Dougal's voice, which is mainly characterised by clear, clean, high tones, produce popular songs that are highly enjoyable to listen to. There is a defiance in them that modern punk bands are losing. However, Graham Coxon has chosen this form of new wave output, perhaps because the genre still has untapped potential, and because it is the most dreamy music of all.
The WAEVE's music encompasses a considerably more profound cultural nature than what it sounds like on the surface. It's as if we, as modern-day people, have a bird's eye view of 50 years of UK music from the 1970s to the ‘20s, as evidenced by the recent Rough Trade playlist that chronicles decades of music in London on a grand scale. The London punk genre, which became a huge movement around the 1970s, produced three major bands and countless sub-genres and followers, but on the other hand, the first wave rapidly began to decline from the time John Lydon's band signed to a major label.
This was largely due to the fact that, simply put, punk bands signed to major labels one after the other. This was due to the fact that as punk bands became more and more commercially successful, the musicality itself lost its spirituality.
However, as this first London punk wave was on the wane, another genre emerged in tandem with New York. This was the wave now known as ‘Post Punk’, which gave rise to movements including Crass, The Fall, 1/2 Japanese and Public Image LTD.. Its final form was Manchester's Joy Division, led by Ian Curtis, who at the time was both a civil servant and a indipendent musician, and whose new wave sound was distinctive, combining European experimental electronic music such as Kraftwerk and NEU, popular music and the punk rock that had preceded it. The idea is to link the three contexts. Even more precisely, it contained an ‘art-rock’ musicality.
This took its first form in the club culture of Manchester's "Hacienda" (the birthplace of catalogue-style release numbers) from the late 1980s onwards, and The Stone Roses and The Smith, who emerged as the inheritors of Northern Soul in the USA, and subsequently, in the early 1990s, as the sum total of these The Brit-pop boom was booming.
It was the bands of the 1990s that brought the genealogy of British music, both mainstream and underground, to fruition, and it also mirrored the chamber pop aspect of the The Beatles and The Rolling Stones of the 1960s. However, it should be pointed out again that the wave also contained a promotional aspect, as the music industry was at its most prolific. Since then, a number of new music acts have emerged, but they have inevitably had to deal with the perennial problem of not being able to escape the category of ‘music for publicity’. This is also a problem facing the music industry today. This is because of the aspect of corporate profitability that it is forced to focus on.
In a sense, British music has updated itself by absorbing or crossovering into some other genre, rather than looking back and nostalgically remembering the past. This is symbolic of the typically British disposition to create new forms of expression, rather than affirming the past in its entirety, but half-negating it. In this respect, there was a tendency to link up with the "No Wave" movement in New York, produced and led by Brian Eno. This simply means that there were a certain number of musicians who thought that falling into anachronism was a matter of good name as a modern man.
The WAEVE is a unit that belongs to these groups, half-denying the past and creating a new form of expression. Of course, while following and paying homage to the music of yesteryear, there is something in it that refuses to bury itself in the past. This is, perhaps, what Graham Coxon wants to show, and it reveals something of the real image of another musician, ostensibly different from that of a guitarist in a popular band.
On ‘1-City Light’, which opens the second album, dissonant sounds from the New Wave or New York no-wave lineage shimmer over a contemporary post-punk sound. It seems to rise to the noisy side of electric guitar, or avant-garde like saxophonist John Zorn, who replaces the guitar solo in the middle part of the song.
On the contrary, ‘2-You Saw’, in which Coxson's wife Rose Dougal takes the main vocals, is a track that is completely opposite to the first one. Dougal's plaintive vocals, and musicality, bring a joyful musical flair that can be associated with the girl groups of the 80s.
These progress around the multiple musical forms of the X-Rey Specs of the 70s, the glitz and glamour of the American disco sound of later years, and art rock. Overall, the song is in a major key, but like the first track on the album, it weaves together partially monotonous melodic progressions and dissonances, drawing on a variety of scales and chord progressions. It seems to wander through abstract spaces that arise in reality, and it can be said to contain a surrealistic musicality.
However, if these musicalities are somewhat manic, Dougal's vocals, like Graham Coxon's songs, give them a populist quality. Even if dissonance and strange transpositions are introduced, the song can still be enjoyed as a catchy pop song on the whole. Then, around the 3:06 minute mark, the tone suddenly changes and elements of chamber pop/baroque pop appear. The atmosphere of the song changes drastically when Graham Coxon's gentlemanly vocals enter the song.
The intro to ‘You Saw’ leads one to believe that the music is based on new wave or disco sounds of the same era, but in the second half of the song, it transitions into a contemporary pop song of epic proportions. Then the main vocals are smoothly taken over by Graham Coxon, with Dougal's dreamy chorus work in the background, and the music turns into abstract music crossed with New York proto-punk represented by Televison and Talking Heads, and eventually Dougal's vocals form the impression of a contemporary pop song. It is a wonderful piece of music, as if one were to water a seed and watch the seedling slowly grow and blossom into a beautiful flower.
The nature of the band as a post-punk unit is momentarily demonstrated on ‘3-Moth To The Flame’. Over a lumbering, overdriven bassline, Graham Coxon drives the song along with augmented vocal effects and a swaggering vocal delivery that is a ‘statement replacement’. The song has a centripetal force and would be quite exciting live. However, Coxson's vocals, sung against a root-progressed bass, are surprisingly quite powerful and detailed. It is, so to speak, a punk sound that demonstrates that Coxson is a modern musician/vocalist.
Above all, the smooth legato of the saxophone, which, like the first track on the album, reflects free jazz and fusion influences, adds a dancelike impression and a joyful air to the song.The synthesiser homophonic progression, which is essential in unravelling the new wave genre, cleverly enhances the energy of the song.
Coxson's vocals are also very powerful, and it's surprising that the words don't go over the top or end up in catchphrases. This is a sign that The WAEVE's musical expression is pointed, and in no small part a rebellion against the ideas and temperaments of the establishment. This is not a superficial rebellion, but an inward reflection of the inexhaustible thoughts and feelings that have been cultivated over the years.
In addition to these punk qualities, the songs also include orchestral and electronic music in the form of popular songs. ‘4-I Belong To’ brings something from the dreamy days of the 1970s back to the present day and updates it anew. And it shows a multifaceted take on hard rock, progressive, electronic and even Brit-pop music, accurately absorbing the mod-rock of The Who and The Jam, and even the rock opera epitomised by ‘Tommy’.
It is true that they are entering deep musical territory, but what is most important is that the unit has accurately captured the musicality at the heart of rock opera. What is missing from this music is a form of vocalism that is now losing its contemporary Britishness, its gentlemanliness, its near-spoken-word form of gentry versification, so to speak. It is discernible that at the heart of rock opera, it was not incendiary, but the gentlemanly expression symbolised by classical theatre.
In particular, the two following tracks are the finest on the album. ‘5-Simple Days’ combines dreamy and restful sensations, wrapping bossa nova-like South American world music and fusion jazz with a nostalgic 80s popular sensibility. The acoustic/electric guitar playing is excellent, but it is Rose Dougal's vocals and the pleasant textures of the synthesizers that aptly capture the heavenly atmosphere of the song. The abstract slide-guitar-led guitar and Ennio Morricone's whistling macaroni western motifs embody the open splendour and celebratory feel of the music.
It is framed by a magical beauty, like coming on a brief holiday to a tropical country and catching the afterglow of the sun setting behind palm trees and the sea out of the corner of your eye. These aesthetic sensations culminate in the outro guitar arpeggio. This song can be seen as Coxson and Dougal's paean to the beauty of this world. It is also, and perhaps more importantly, a compassionate look at the wonders of nature and the landscape that led to the creation of these heavenly atmospheric songs.
The following track, ‘6-Broken Boys’, was praised by ”UNCUT magazine” and reflects the post-punk side of the unit. These transitions from heavenly music to songs that frame the realistic aspect with some thought may surprise the listener with their targeted impression and have a significant impact. Practically, Dougal's vocals, sung against the caustic image of guitar and bass, show that the singer brings a girl-group quality to The Waeve's sound. Their coolest side rises to the surface and it oozes with the feeling of wind whipping across an urban city on your shoulders.
The musical nature of the album changes from track to track, with a smooth and gradual transition: on ‘7-Song For Eliza May’, a legacy of UK 70s folk music, Rose Dougal once again takes the main vocals, accompanied by Coxson's deft banjo playing. Building on the 6/8 waltz form, the banjo, guitar and piano create a dancelike musical effect, while Dougal's vocals foster the elegance, openness and pastoral atmospheres of Celtic folk music. The individual acoustic instruments are played and recorded extremely exquisitely, so that even when the singing is relatively free, the overall structure of the song is not disrupted. In conjunction with these outstanding musicianship and recording techniques, the dreamy sense of the vocals in practical terms gently takes the listener deep into the medieval world of England.
There are also images rising from the song itself, evoking soundscapes, but these are ultimately linked to the kind of solitude and classical rockiness that The Smith's Morrissey portrayed in the late 80s, once the strings enter. The second half of the song takes on a white-hot air with a guitar solo. Interrupted by a clever bass line, the song transitions into big, theatrical music.
The second half of the song also contains elements of 70s British hard rock and LA's psychedelic rock such as The Doors(Jim Morrison). The band has thoroughly read the rock textbooks, so to speak, and sublimated them in such a way that they sound great live. An innovative piece of music that places them in the next generation of rock opera.
The WAEVE's music is as diverse as it is reflective of London's culture, and it never fits within a certain musical category. It is an expression of how much they love music, but also of their deep trust in each other.
The musical variations and imagination do not diminish in the subsequent recordings, and there is a sense of gradual expansion. ‘8-Druantia’ once again returns to the new wave sound, incorporating unique saxophone playing to create a danceable sound somewhere between fusion jazz and post-punk. On the other hand, the following ‘9-Girl Of The Endless Night’ demonstrates the ideal form of contemporary British folk music, based on Dubliners' Irish folk songs such as Lankum.
The album's climax, ‘10-Sunrise’, is based on the pop songs of the 60s and 70s, where Graham Coxon's talent as a songwriter flourishes in a spectacular way. He adds an austere vocal, akin to Tom Waits or M.Ward, and a touch of saxophone jazz, before handing over the main vocal to his partner Rose Dougal in the chorus. This not only demonstrated a new duet form that could only be achieved in the form of a duo, but also how to connect them to a contemporary style, taking into account classical popular music. This is the greatest result of the insatiable inquisitiveness of both musicians.
The band absorbs all the good music - chamber pop, AOR, later urban contemporary, Scandinavian pop like ABBA - and sublimates it into theatrical pop music in the vein of Florence Welch.
At the end of this song, the sensations that had been suppressed for so long come pouring out, as if in an outburst. Theatrical musical expression is combined with a magnificent orchestral string run up and down to create a popular music full of originality. As the title suggests, it seems to embody the moment of "sunrise". The climax of the final piece is nothing short of spectacular, and allows the listener to experience "the splendour of the music". It's great!!
* The Waeve's second album, City Lights, is out this weekend (20 September) on Transgressive.
The coming together of two musicians who, through working together have formed a new, singular, sonic identity. A powerful elixir of cinematic British folk-rock, post-punk, organic song-writing and freefall jamming. Themes of oblivion and surrender are juxtaposed with suggestions of hopefulness and light. Against a brutal global backdrop of impending apocalypse and despair, Graham Coxon and Rose Elinor Dougall strive to free themselves through the defiant optimism of making music.
With the release of their acclaimed eponymous debut album in February 2023, The WAEVE established themselves as a songwriting partnership to watch, with a body of work that was “...ambitiously structured, lovingly arranged… unhurriedly crafted songs full of bona fide thrills, unexpected twists, and an elegant but never gratuitous grandeur.” (UNCUT); a collection of tracks… ”Cinematic in scope, often luscious in its arrangements, it’s a singular gem.” (DIY).
Now, after a year of touring and studio sessions, The WAEVE are back with their sophomore studio album City Lights, 10 brand new tracks that illustrate the evolution of their collaborative musicianship, allowing this meeting of musical minds to further push the boundaries of their individual creativity.
Respectively, Graham Coxon and Rose Elinor Dougall are titans of UK rock music. Coxon made a name for himself as a founding member of Blur, while Dougall came up playing in alternative girl group The Pipettes. In recent years, the duo have teamed up in the project The WAEVE. This Friday, September 20th, 2024, they'll release their second album, City Lights, via Transgressive Records.
To celebrate the release of City Lights, The WAEVE will play four very special live performances at Rough Trade, as follows: Rough Trade Liverpool on 20th September;Rough Trade Nottingham (SOLD OUT); Rough Trade Bristol (SOLD OUT), and Rough Trade East, London. The band will return to London later this year for a sold out performance - and their largest headline show to date - at the Village Underground in late October.
The Rough Trade shows follow an extensive summer tour which has seen The WAEVE play to 100,000 plus fans across a run of festival and show dates including a headline slot atLatitude's Sunrise Arena, Green Man Festival; eight dates with Elbow including a performance at Audley End; plus a high profile show at Warwick Castle with Noel Gallagher.
A year on from their acclaimed eponymous debut album, The WAEVE is back with City Lights, a collection of 10 songs that illustrate the evolution of their collaborative musicianship and sees the band’s sound solidified into something bolder, more expansive and self-assured. Written by Graham Coxon and Rose Elinor Dougall, and produced once again by James Ford, the album features Graham and Rose on vocals, as well as keyboards, guitar, bass guitar, drums and saxophone.
20/09 - Liverpool, UK @ Rough Trade 21/09 - Nottingham, UK @Rough Trade - SOLD OUT 23/09- Bristol, UK @ Rough Trade - SOLD OUT 24/09 - London, UK @ Rough Trade East 29/10 – London, UK @ Village Underground - SOLD OUT
