black midi – the UK-based trio of Geordie Greep (guitar, vocals), Cameron Picton (bass, vocals) and Morgan Simpson (drums) – announce their third album, Hellfire, out July 15th on Rough Trade. In conjunction with the announcement, they share the album’s lead single/video, ‘Welcome To Hell.‘ Written in isolation in London after the release of last year’s Cavalcade, Hellfire builds on the melodic and
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(Photo Credit: Atiba Jefferson) “Hellfire confidently establishes black midi as a distinct musical personality.” — The Wire “They’ve wrangled chaos into submission, and currently sound like no other band out there.” —
black midi announce their debut full-length, Schlagenheim, to be released on June 21st via
photo by Anthrox Studio black midi, the enigmatic London-based four-piece that “are
Sampha has released his highly-anticipated, sophomore album LAHAI, out now on Young. Taken from his paternal grandfather’s name, which is also Sampha’s middle name, LAHAI revels in the awe and magic of our existence, synthesising the exquisite chaos that one experiences confronting the cycle
(Photo Credit: Atiba Jefferson) “Hellfire confidently establishes black midi as a distinct musical personality.” — The Wire “They’ve wrangled chaos into submission, and currently sound like no other band out there.” —
black midi – the UK-based trio of Geordie Greep (guitar, vocals), Cameron Picton (bass, vocals) and Morgan Simpson (drums) – announce their third album, Hellfire, out July 15th on Rough Trade. In conjunction with the announcement, they share the album’s lead single/video,
black midi announce their debut full-length, Schlagenheim, to be released on June 21st via Rough Trade Records/Rhythmethod. Throughout, black midi – Georgie Greep (vocals/guitar), Matt Kwasniewski-Kelvin (vocals/guitar), Cameron Picton (vocals/bass), and Morgan Simpson (drums) – have dynamic energy, playing as a musical
photo by Anthrox Studio black midi, the enigmatic London-based four-piece that “are less interested in proving themselves the future of indie rock than in imagining indie rock from the future” (Pitchfork), today