Out 5/28 on Rough Trade
No second album syndrome and no sophomore slump for Britain’s most exciting andchallenging young rock band. black midi’s follow up to Schlagenheim is a dynamic, hellacious,inventive success. Cavalcade, their second studio album for Rough Trade, scales beautiful newheights, reaching ever upwards from an already lofty base of early achievements.The meaning of the word cavalcade is a procession of people, such as a royal parade, andblack midi picture their new album as a line of larger than life figures – from a cult leader fallenon hard times and an ancient corpse found in a diamond mine to legendary cabaret singerMarlene Dietrich – strolling seductively past them. The album art – again, another intricatecollage created by David Rudnick – brings this idea colourfully to life, drawing the listenerinexorably into this mysterious world, reinforcing the idea that Cavalcade is a glorious collectionof stories just waiting to be dived into.
Geordie Greep, the band’s mercurial guitarist and primary singer explains the fundamentals ofCavalcade: “A big thing on this album is the emphasis on third person stories, and theatricalones at that.” Cameron Picton, the inventive bassist and occasional singer agrees: “Whenyou’re listening to the album you can almost imagine all the characters form a sort of cavalcade.Each tells their story one by one and as each track ends they overtake you, replaced by thenext in line.” Morgan Simpson, the powerhouse drummer advises: “Enjoy it, live with it, spendsome time living in it.” When pressed to choose one word to describe the album, Geordie electsfor “drama” adding: “The emphasis when we were making and sequencing Cavalcade was tomake music that was as dramatic and as exciting as possible. The flow has the feel of a story,which is rewarding to listen to.”
But the record is dynamic in its musical ambition above all else. black midi listen widely anddeeply not just to rock and jazz but to hip hop, electronic dance music, classical, ambient, prog,experimental... And their ethos is simple according to Geordie: “We just combine lessonslearned from all of this music to make something that’s very interesting to listen to andsomething that is brand new.” They are quick to bat away any suggestion that it’s a riskystrategy drawing from such a wide source of influences, that the resultant eclectic mix ofinfluences could produce something resembling a mad man’s breakfast. Geordie says simply: “Ifyou worry about that before you start you’re limiting yourself. You have to try because you couldeither end up with a madman’s breakfast or you could end up with a fantastic kaleidoscope andthe only way to find out which one it’s going to be is to try. If you fail, so what? Try again.”Ground was broken on Cavalcade in those now weird seeming pre-pandemic days of 2019.Songs that had been brewing since the release of Schlagenheim in July began muscling theirway onto set lists and finally became individual entities by October, getting refined in betweenan extensive world tour and a scorching turn at the Mercury Prize ceremony. Early in 2020, the
fourth member of black midi from the original line up, guitarist/vocalist Matt Kwasniewski-Kelvin, told the other three that he needed some time away from the group due to problems
with his mental health. They went on to play several live dates as a trio augmented bysaxophonist Kaidi Akinnibi and keyboard player Seth Evans. This hook up felt right and thepair feature prominently on Cavalcade. But then, just as they were gearing up to record thealbum, the pandemic hit, initially throwing everyone into a state of disarray. But to say lockdownforced black midi into a different style of songwriting is to put the cart before the horse.Speaking about jamming, Geordie said the band had gotten into a rut, that for this record therewas a “yearning” to take a different approach, to be more considered, record something thatwas more harmonically interesting and challenging: “It’s easy to get wrapped up in theimprovisation myth of divine intervention, that if a song doesn’t happen in the room naturallywithout it being guided by someone specifically, when we’re all just feeling the vibe, then it’s notproper and it’s not pure. That’s kind of a dangerous thing because you end up never tryingsomething different, or you just abandon an idea if it doesn’t work at first because you’re alwayswaiting for that thing to arrive perfect. This time there was more of an emphasis on hard work.”So the second half of the album was written by individual members at home under lockdownand brought to the table when it was time to record. Morgan confirms it was an advantage: “Theexperience this time round was completely the flipside to Schlagenheim. A lot of the materialwas really fresh but that was something that played into our hands and we relished it.”After recording one track with Marta Salogni in London the band found themselves in the aptlynamed Hellfire Studios, a remote Irish facility in the Wicklow Mountains, south of Dublin insummer 2020 under the eye of Lankum producer, John ‘Spud’ Murphy for the purpose ofrecording a demo for the album but something clicked. Morgan says: “The studio itself justsounded really natural and after doing a few takes there was a real feeling of, ‘Oh yeah!’ Goinginto Hellfire we weren’t too sure what the sound we were looking for was but as soon as we gotthere and had it we knew. Hence the trial sessions ended up becoming the actual albumrecordings.” Geordie adds: “It worked really well with John. We wanted a natural, open soundcombined with fourth wall breaks – for lack of a better expression. Do you know on record whenyou can hear the tape screeching, the things that make you aware that you’re listening to arecording? [With a lot of records] it feels like either you’re listening to the ECM, high-fidelity, 25mic amazing sound or you have the lo-fi album full of crazy effects. And I thought, ‘Why nothave an album where you combine the two?’ That was one of the main ideas going into it andJohn was very keen on that idea.”And you can hear that all the planets aligned for this recording session. Album opener and leadsingle ‘John L’ slaps harder than a dominatrix on a works night out. This might well be amassive Magma-sized sound and driven by some gutsy Discipline-era King Crimson thrust butany comparisons can only be tangential as it’s never been more clear that black midi are one ofthe few young bands breaking through now who have their own inimitable sound. And some ofthe huge energy on this track is wrought by the inclusion on violin of Jerskin Fendrix, their palfrom the venue where they cut their teeth, The Windmill, Brixton. The ensemble tease the ragingtrack to the point of nonexistence before leading it through caverns of reverb and gauzysnareskin landscapes, just for it to return, hitting hard as hell once more. The story painted is ajet black comedy delivered in stentorian tones about what happens to cult leaders when their
followers turn on them. One of the many surprising left turns on the album is the stirring bossasashay of ‘Marlene Dietrich’. Geordie says: “She was someone who couldn’t really dance,couldn’t really sing, wasn’t the greatest actor and spent all her years in Hollywood on the wrongside of 30, but she had that indefinable but undeniable quality: incredible presence. Sheembodies the joy of magic and the joy of performance.”When talking about future single, ‘Chondromalacia Patella’, the band are tight-lipped aboutwhich band member actually suffered from runner’s knee (which the title refers to) but confirm itis a song about “convalescence”. The track will wrong foot any listener moving, as it does,assuredly, from abrasive noise rock chords and circular drumming until it finally climaxes in asunburst of arpeggiated guitars skyscraping above and beyond power metal. ‘Slow’, which pullsoff the unlikely coup of imagining a fruitful collaboration between cult mathcore outfit DonCaballero and jazz rock kings Steely Dan, is one of two songs fronted by Cameron and he sayswhile the lyrics don’t refer to anything specifically, initially his lyrical inspiration came fromCOVID-19 paranoia on their February 2020 UK tour when the song was first being written butlater drew on thinking about counter revolutions, how easy it is to destroy things and how long itcan then take to rebuild them."The second of Cameron’s track’s is the chiming and introspective ‘Diamond Stuff’ which isnamed after a brilliant experimental novel by Isabel Waidner and channels the same languidslow core, post rock vibes as The For Carnation before venturing blissfully further and furtherout into territory that only black midi can currently occupy. He describes the lyrics as concerning“dying and being thrown in a peat bog just to be discovered hundreds of thousands of yearslater by a mining company”. This, more than any other track on Cavalcade, shows just howassured black midi have become in pushing their studio practice outwards in all directions. Thekit list for this song alone includes a cello, a sax, a grand piano, two bouzoukis, a late 19thCentury zither called a Marxophone, a flute, a lap steel, synths and a wok. Hold on a second...a wok? Morgan laughs: “With this track in particular there was so much space for scary soundsand little colours to be introduced so I got a lot of percussion out to use. I’d been making a damnfine stir fry during lockdown so that probably inspired me to bring the wok in from the kitchenand play it with a violin bow. We had a lot of fun making this track, trying out lots of cool things.”After the prowling, bristling funk of ‘Dethroned’ explodes into a maelstrom of noise, ‘HogwashAnd Balderdash’ is a pure rager calling to mind the berserk prog energy of the Cardiacs andthe lysergic funk of Primus seen through the black midi prism. And then the album ends with theepic ‘Ascending Forth’ which dares to dream a 21st Century update of classic folk rock andRock In Opposition styles; exploding and then reassembling them into a sublime new whole.Spend some time with Cavalcade and you’ll acknowledge black midi are back with the biggestof bangs.John Doran, Wiltshire, 2021
Las Vegas' premier blues band Orange Tree Boys have won fans in all strata of Nevadan society by destroying all preconceptions of what 12 bars can do. Catch them live this Fall supporting their biggest supporters black midi.
This event is 18 & up. There is no re-entry to the venue for those under 21.
To ensure that your tickets are genuine, please buy them only through our ticket vendor, SeeTickets. We cannot confirm tickets bought through a third party.
All guests are required to wear masks while at Saturn. Thank you for your cooperation in keeping shows safe.
Orange Tree Boys