At The Bathhouse video, from The Ballet

Al Blackstone -- an Emmy-winning choreographer, and a fan of the band -- approached me with the idea of collaborating on something, and a music video (which the band had never done) seemed fun and timely with the release of the new album. I'd seen a locker room cruising dance he'd choreographed for the Fire Island Dance Festival in 2015, so "At the Bathhouse" felt like the right song for us to work on together. We tossed around a few ideas, but everything really came together after Al found the space we used: an abandoned Boys' Club in the East Village (Manhattan) that's now a dance studio. Gay bathhouses are politically charged spaces for a number of reasons: their role in gay liberation, their stigmatization in the wake of the HIV/AIDS crisis, their promise as a kind of utopian space, but also their reality as a hierarchical space where societal norms of sexiness and attractiveness operate. This political charge can make it hard to raise the topic in a public way without taking some kind of stand: for or against, celebratory or critical. It was important to me to suspend judgement in order to approach the bathhouse with curiosity, excitement, anticipation, ambivalence, and humor -- which, for me, evokes what it feels like to be in a bathhouse. All the posing and non-verbal communication and the chasing or being chased, it can feel serious but also playful and, when you step back, quite funny. Al translated this approach into dance and a kind of narrative where we follow this group as it flows, assembles, and disassembles through the space. Bathhouses can seem hive-like, where everyone is doing their own little bee dance but when you zoom out it feels like one big coordinated organism, and I think Al captured that beautifully.
- Greg Goldberg, The Ballet

At The Bathhouse is taken from the album Daddy Issues, out now on 12” vinyl and digitally.

The Ballet - Daddy Issues [12"]

Artist: The Ballet
Title: Daddy Issues
Format: 12” LP on transparent vinyl
Cat#: Fika095LP
Release date: 26th May 2023
Bandcamp | Spotify

“The amiable embrace of ambivalence distinguishes Greg Goldberg and Craig Willse’s output as the Ballet from the work of their funny musical uncles, like the Magnetic Fields’ implacably ironic Stephin Merritt, the Hidden Cameras’ riot auteur Joel Gibb, even fairy godfathers Pet Shop Boys.”  Pitchfork [7.6]

Formed in 2005 by Greg Goldberg and Craig Willse, The Ballet marry wry poeticism with pop romanticism and a queer DIY ethos to create literate, infectious pop gems. The band self-released their first two albums: ​Mattachine! ​(2006) ​and Bear Life​ (2009). These records caught the attention of indie-label-legends Fortuna Pop!, who released their third album, ​I Blame Society,​ in 2013. After FortunaPop! closed shop, The Ballet partnered with Fika Recordings, who released their fourth album, the critically acclaimed Matchy Matchy, in 2019.

The Ballet have been joined by a few other musicians over the years including Ginger Brooks Takahashi and Michael O'Neill, who left in 2007 to join JD Sampson in MEN, as well as guest appearances on previous albums from Linton of The Aislers Set, Ramesh from Voxtrot, Scott Matthew, and Kaki King. 

In addition to citing Stephin Merritt as a formative influence, Goldberg—who writes and home-records all of the band’s songs—draws from an array of pop artists and periods; from 60’s bubblegum to 80’s synthpop and 90’s indiepop, fusing these genres in sophisticated and novel ways. 

On the Ballet’s new album, Daddy Issues, listeners may spot musical nods to the Velvet Underground, Frankie and Annette, Squeeze, Billy Idol, Lenny Kravitz, the Gothic Archies, Belle and Sebastian, and New Order, among others. Goldberg gravitates towards upbeat tempos, major keys, and basic chords, using these restrictions to craft simple, catchy melodies while also layering instruments in a way that keeps the ear engaged and rewards repeat listening.

The relatively light and smooth sound of Daddy Issues sets the tone for Goldberg’s unorthodox approach to his subject matter. As with previous Ballet albums, Daddy Issues offers a detail-rich examination of contemporary queer life, with a particular focus on the stigmatised desires, pleasures, and relations of gay men. Many queer artists have responded defensively to stigmatisation by asserting the political or psychological value of queer sex. Goldberg’s approach is different. Rather than defending queer sex, he aims to capture some of its complexity and nuance.

On Daddy Issues, Goldberg’s songs describe the appeal but also the challenges of promiscuity and non-monogamy (“Eenie Meenie,” “Two Boyfriends”). His songs find humour in the mundane “dangers” of queer life (“I’m on Drugs,” “At the Bathhouse”) and in the queer juxtaposition of perversion and gentleness (“Daddy’s Boy,” “CumDumpMike”). 

An extramarital affair is treated with the levity of a teenage crush, and masculinity is characterised as both hot and somewhat tedious (“A Married Man”). The narrators of Goldberg’s songs are hedonists who go dancing all night, use illicit substances, and have anonymous, public sex, but they also express loneliness, regret, melancholy, and self-loathing (“Since You’ve Been Gone,” “The Fountain of Youth,” “I Don’t Feel Like Dancing”). To use such negative feelings to stigmatise gayness is homophobic, but so is denying their existence. Daddy Issues avoids both these pitfalls, instead capturing the co-existence of ecstasy and agony with humour, tenderness, and a lack of judgment.

The album’s title references a popular psychological diagnosis for people who are supposedly looking for surrogate fathers in their sexual or romantic partners, but it also suggests the issues of so-called daddies (older gay men). Rather than offering an ethnographic or autobiographical account of what it’s like to be a daddy, Daddy Issues offers a meditation on the role of daddy, inviting listeners to imagine themselves in relation to it in various ways, while also questioning its coherence and stability. 

After all, nobody is born a daddy; it is something one becomes (or doesn’t become), feels like (or doesn’t feel like), and is seen as (or isn’t seen as), if only for the duration of an album.

https://fikarecordings.com/artists/the-ballet
@theballetnyc

The Ballet - At the Bathhouse [Digital]

Artist: The Ballet
Title: At the Bathhouse
Format: Digital Single
Cat#: Fika095SG2
Release date: 21st April 2023
Bandcamp | Spotify

At the Bathouse is the new single from The Ballet, taken from their forthcoming album Daddy Issues, describing the appeal but also the challenges of promiscuity and non-monogamy.

Formed in 2005 by Greg Goldberg and Craig Willse, The Ballet marry wry poeticism with pop romanticism and a queer DIY ethos to create literate, infectious pop gems. The band self-released their first two albums: ​Mattachine! ​(2006) ​and Bear Life​ (2009). These records caught the attention of indie-label-legends Fortuna Pop!, who released their third album, ​I Blame Society,​ in 2013. After FortunaPop! closed shop, The Ballet partnered with Fika Recordings, who released their fourth album, the critically acclaimed Matchy Matchy, in 2019.

The Ballet have been joined by a few other musicians over the years including Ginger Brooks Takahashi and Michael O'Neill, who left in 2007 to join JD Sampson in MEN, as well as guest appearances on previous albums from Linton of The Aislers Set, Ramesh from Voxtrot, Scott Matthew, and Kaki King. 

In addition to citing Stephin Merritt as a formative influence, Goldberg—who writes and home-records all of the band’s songs—draws from an array of pop artists and periods; from 60’s bubblegum to 80’s synthpop and 90’s indiepop, fusing these genres in sophisticated and novel ways. 

On the Ballet’s new album, Daddy Issues, listeners may spot musical nods to the Velvet Underground, Frankie and Annette, Squeeze, Billy Idol, Lenny Kravitz, the Gothic Archies, Belle and Sebastian, and New Order, among others. Goldberg gravitates towards upbeat tempos, major keys, and basic chords, using these restrictions to craft simple, catchy melodies while also layering instruments in a way that keeps the ear engaged and rewards repeat listening.

The relatively light and smooth sound of Daddy Issues sets the tone for Goldberg’s unorthodox approach to his subject matter. As with previous Ballet albums, Daddy Issues offers a detail-rich examination of contemporary queer life, with a particular focus on the stigmatised desires, pleasures, and relations of gay men. Many queer artists have responded defensively to stigmatisation by asserting the political or psychological value of queer sex. Goldberg’s approach is different. Rather than defending queer sex, he aims to capture some of its complexity and nuance.

The album’s title references a popular psychological diagnosis for people who are supposedly looking for surrogate fathers in their sexual or romantic partners, but it also suggests the issues of so-called daddies (older gay men). Rather than offering an ethnographic or autobiographical account of what it’s like to be a daddy, Daddy Issues offers a meditation on the role of daddy, inviting listeners to imagine themselves in relation to it in various ways, while also questioning its coherence and stability. 

After all, nobody is born a daddy; it is something one becomes (or doesn’t become), feels like (or doesn’t feel like), and is seen as (or isn’t seen as), if only for the duration of an album.

View fullsize

“I definitely can see where the comparisons with Stephin Merritt pop in when you listen to the Ballet, though I think that mostly revolves around some of the sexual themes and literary writing. For me, I think Greg Goldberg pulls on a slightly different hat though, with a much more electronic focus on the latest single. In listening here, there’s a definite bounce, perhaps a nod to acts like New Order, albeit spun through the lens of Goldberg and his writing partner Willse” Austin Town Hall

Alison Eales - Mox Nox [12"]

Artist: Alison Eales
Title: Mox Nox
Format: 12” vinyl LP
Cat#: Fika094LP
Release date: 24th March 2023
Bandcamp | Spotify

Alison Eales is a long-standing member of the band Butcher Boy, playing piano, accordion and other keyboards as well as arranging for choir and brass. The band have made three studio albums: Profit in Your Poetry (2007), React or Die (2009) and Helping Hands (2011). All of these albums have been well-received, with React or Die featuring in The Times’ top 100 pop albums of the 2000s. The band have also released two EPs. A compilation album, You Had A Kind Face, was released on Needle Mythology in 2022, along with three new songs, with tracks mastered by Miles Showell at Abbey Road. Butcher Boy have supported bands including Belle and Sebastian, Scritti Politti and The Wedding Present.

Taking inspiration from sundial mottos, Mox Nox is an album about the passing of time – most specifically, the transition from day to night. Its twelve songs explore experiences of all-nighters, anxiety, travel, frustration, and friendship. The album combines acoustic and electronic instrumentation with samples of environmental sound, resulting in an indie pop record that is by turns playful and melancholy and that is likely to appeal to fans of Saint Etienne, The Magnetic Fields, Charlotte Gainsbourg, Stereolab, Jake Thackray and Kirsty MacColl.

With support from Creative Scotland, the album was produced by Paul Savage at Chem 19 studios. Cover artwork was designed by Rhian Nicholas at The Passenger Press in Glasgow, using a mix of traditional printmaking techniques. The design represents a sundial and was inspired by the cover of the Bulletin of the Atomic Scientists, with its stylised Doomsday Clock.

Opening the album with shimmering wine glasses and dulcimer, Rapunzel is the oldest of the songs. It expresses the frustration of feeling isolated and not fully engaging with life. This theme is continued in the second track: Ever Forward is a lyric about being trapped in a dilapidated seaside town as the seasons change, delivered over a string quartet expertly arranged and recorded by Pete Harvey (Pumpkinfield).

Originally conceived as a song about falling in love for the first time, The Broken Song eventually transpired to be a song about the onset of anxiety. The approach to writing this song was unique on the album – it was left deliberately unfinished to create room for experimentation in the studio. Track four, Shadow Blister, is also unique, as the lyric was the result of a challenge to use as many sundial mottos in one song as possible. Negligence is possibly the most personal song on the album.

Closing Side A, the single Fifty-Five North has parallels with Ever Forward, but while both songs are about struggling with the change of the seasons, this song is rooted firmly in Glasgow and expresses how a place can be both transformative and overwhelming. The song features sounds sampled from the Glasgow Subway, with a rhythm track made from the sounds of the train doors closing, and a melody made from the ping of the turnstiles.

Side B opens with Through Hoops, a song about the tensions inherent in friendships between people who are almost too alike. Upbeat and energetic, the song features flute improvised by Diljeet Kaur Bhachu (Kapil Seshasayee). By contrast, Half-French Kiss is a tiny, atmospheric song built around a chromatic music box and bowed cymbal. A Natural History of California was inspired by a single line of cello played by Maya Burman-Roy (James Grant, Idlewild) and images of San Francisco by night.

Mox Nox, like Shadow Blister, is a lyric built around sundial mottos, including the title itself (‘Night, shortly’). Opening with glockenspiel played by Joanne Murtagh (Remember Remember) it builds one instrument at a time, featuring strings, flute, autoharp, dulcimer and kalimba.

A song about walking away from outgrown friendships, Goodbye features guitar played by Basil Pieroni (Butcher Boy), a musical callback to Rapunzel, and an improvised robot choir. The album closes with Come Home With Me, a lyrical counterpoint to Rapunzel with a manic musical setting. 

“It’s a thing of beauty, this record. To do her justice, I won’t compare her to individual artists, but speak (write!) of a sonic palette that binds electronica, chamber pop and folk with gorgeous indie pop, most importantly with the songs to develop all the wonderful ideas going on here” God Is In The TV

The Ballet - Two Boyfriends [Digital]

Artist: The Ballet
Title: Two Boyfriends
Format: Digital Single
Cat#: Fika095SG1
Release date: 17th March 2023
Bandcamp | Spotify

Two Boyfriends is the new single from The Ballet, taken from their forthcoming album Daddy Issues, describing the appeal but also the challenges of promiscuity and non-monogamy.

Formed in 2005 by Greg Goldberg and Craig Willse, The Ballet marry wry poeticism with pop romanticism and a queer DIY ethos to create literate, infectious pop gems. The band self-released their first two albums: ​Mattachine! ​(2006) ​and Bear Life​ (2009). These records caught the attention of indie-label-legends Fortuna Pop!, who released their third album, ​I Blame Society,​ in 2013. After FortunaPop! closed shop, The Ballet partnered with Fika Recordings, who released their fourth album, the critically acclaimed Matchy Matchy, in 2019.

The Ballet have been joined by a few other musicians over the years including Ginger Brooks Takahashi and Michael O'Neill, who left in 2007 to join JD Sampson in MEN, as well as guest appearances on previous albums from Linton of The Aislers Set, Ramesh from Voxtrot, Scott Matthew, and Kaki King. 

In addition to citing Stephin Merritt as a formative influence, Goldberg—who writes and home-records all of the band’s songs—draws from an array of pop artists and periods; from 60’s bubblegum to 80’s synthpop and 90’s indiepop, fusing these genres in sophisticated and novel ways. 

On the Ballet’s new album, Daddy Issues, listeners may spot musical nods to the Velvet Underground, Frankie and Annette, Squeeze, Billy Idol, Lenny Kravitz, the Gothic Archies, Belle and Sebastian, and New Order, among others. Goldberg gravitates towards upbeat tempos, major keys, and basic chords, using these restrictions to craft simple, catchy melodies while also layering instruments in a way that keeps the ear engaged and rewards repeat listening.

The relatively light and smooth sound of Daddy Issues sets the tone for Goldberg’s unorthodox approach to his subject matter. As with previous Ballet albums, Daddy Issues offers a detail-rich examination of contemporary queer life, with a particular focus on the stigmatised desires, pleasures, and relations of gay men. Many queer artists have responded defensively to stigmatisation by asserting the political or psychological value of queer sex. Goldberg’s approach is different. Rather than defending queer sex, he aims to capture some of its complexity and nuance.

The album’s title references a popular psychological diagnosis for people who are supposedly looking for surrogate fathers in their sexual or romantic partners, but it also suggests the issues of so-called daddies (older gay men). Rather than offering an ethnographic or autobiographical account of what it’s like to be a daddy, Daddy Issues offers a meditation on the role of daddy, inviting listeners to imagine themselves in relation to it in various ways, while also questioning its coherence and stability. 

After all, nobody is born a daddy; it is something one becomes (or doesn’t become), feels like (or doesn’t feel like), and is seen as (or isn’t seen as), if only for the duration of an album.

View fullsize

“Check out jangly first single Two Boyfriends” Brooklyn Vegan

“Two Boyfriends is a song heavily routed in gay culture, a somewhat tongue-in-cheek reflection on non-monogamy and promiscuity, reflected in the lyrics, “it started with a hook-up, and then another few, the problem was I liked him enough to see it through”. From there to a soundtrack that’s the middle ground of The Magnetic Fields and New Order, Greg struggles with commitment, decision making and most of all with his own tendency towards problems, ultimately he bows to his own pot-stirring tendencies, ‘monogamy is boring, though not intolerable, I’m collecting boyfriends, must mean that I love trouble’.” For The Rabbits

“I immediately thought of Magnetic Fields, Belle and Sebastian or Jens Lekman. The lyrics recall the work of The Hidden Cameras. In other words this is sweet pop with a focus on ‘a detail-rich examination of contemporary queer life, with a particular focus on the stigmatised desires, pleasures, and relations of gay men’.” Bandcamp Snoop

Alison Eales - Mox Nox [Digital]

Artist: Alison Eales
Title: Mox Nox
Format: Digital single
Cat#: Fika094SG3
Release date: 9th March 2023
Bandcamp | Spotify

Mox Nox is the title track and third single to be taken from Alison Eales’ debut album. Mox Nox is a lyric constructed around sundial mottos, including the title itself (‘Night, shortly’). Opening with glockenspiel played by Joanne Murtagh (Remember Remember) it builds one instrument at a time, featuring strings, flute, autoharp, dulcimer and kalimba.

“I always liked the idea of using shadow puppets for this video, as it’s so in keeping with the sundial theme, but I didn’t think I had the skill to do it myself. Then I saw Manual Cinema’s beautiful work on the 2021 Candyman film.

https://manualcinema.com/work/candyman

I loved the starkness of the figures, and it inspired me to have a go at silhouette animation. I used Powerpoint to create the characters and backgrounds, and then superimposed them over time lapse footage of the sky outside my flat at sunset.”

Alison is a long-standing member of the band Butcher Boy, playing piano, accordion and other keyboards as well as arranging for choir and brass. The band’s three studio albums: Profit in Your Poetry (2007), React or Die (2009) and Helping Hands (2011) have all been well-received, with React or Die featuring in The Times’ top 100 pop albums of the 2000s. The band have also released two EPs. A compilation album, You Had A Kind Face, was released on Needle Mythology in 2022, along with three new songs, with tracks mastered by Miles Showell at Abbey Road. Butcher Boy have supported Belle and Sebastian, Scritti Politti The Wedding Present and more.

Alison is also a member of Glasgow Madrigirls and has collaborated with bands including The Color Waves (USA), The Just Joans (Glasgow) and Featherfin (Norway).

Mox Nox is released on vinyl and digitally in March 2023 on Fika Recordings.

“Mox Nox lifts its title from one such sundial motto, fittingly translating as Soon, Nightfall, the track is Alison at her most stripped back, nodding in equal parts to Monkey Swallows The Universe and Sunday Morning-era Velvet Underground. The production, courtesy of Paul Savage at the famous Chem 19 studios, is fantastic throughout, as Alison’s poised vocal and looping ukelele are adorned by the distant fizz of echoing strings plaintive woodwinds and subtle percussive flourishes, adding gorgeous texture to the sonic landscape.” For The Rabbits [video premiere]

Alison Eales - Ever Forward [Digital]

Artist: Alison Eales
Title: Ever Forward
Format: Digital single
Cat#: Fika094SG2
Release date: 9th February 2023
Bandcamp | Spotify

Ever Forward is the second single to be taken from Alison Eales’ debut album Mox Nox: with lyrics about being trapped in a dilapidated seaside town as the seasons change, and delivered over a string quartet expertly arranged and recorded by Pete Harvey (Pumpkinfield).

Alison is a long-standing member of the band Butcher Boy, playing piano, accordion and other keyboards as well as arranging for choir and brass. The band’s three studio albums: Profit in Your Poetry (2007), React or Die (2009) and Helping Hands (2011) have all been well-received, with React or Die featuring in The Times’ top 100 pop albums of the 2000s. The band have also released two EPs. A compilation album, You Had A Kind Face, was released on Needle Mythology in 2022, along with three new songs, with tracks mastered by Miles Showell at Abbey Road. Butcher Boy have supported Belle and Sebastian, Scritti Politti The Wedding Present and more.

Alison is also a member of Glasgow Madrigirls and has collaborated with bands including The Color Waves (USA), The Just Joans (Glasgow) and Featherfin (Norway).

Mox Nox is released on vinyl and digitally in March 2023 on Fika Recordings.

“In the liner notes to his Tea & Symphony compilation albums, Bob Stanley of Saint Etienne writes about a late-60s pop microgenre close to my heart – the ‘English Baroque sound’, defined by ‘string quartets, woodwinds, and summer-into-autumn melancholy’. Alison Eales may be resident in Glasgow rather than Gloucestershire, but with Ever Forward, she draws from that wellspring to wonderfully yearning effect.
The same grand but minimal style of string arrangement that marks Colin Blunstone’s Say You Don’t Mind or John Cale’s Paris 1919 is in full force on Ever Forward, as is the same refined, vaulting vocal, but the result is every bit Alison’s own. It’s the second track from her upcoming debut album, and if the rest are as good as this we’re in for a real treat.” Fresh On The Net

God Is In The TV premiere

Alison Eales - Fifty-Five North [Digital]

Artist: Alison Eales
Title: Fifty-Five North
Format: Digital single
Cat#: Fika094SG1
Release date: 5th January 2023
Bandcamp | Spotify

Fifty-Five North is the first single to be taken from Alison Eales’ debut album Mox Nox. A song firmly rooted in Glasgow, and expresses how a place can be both transformative and overwhelming. The song features samples from the Glasgow subway, with a rhythm track from the sounds of the train doors closing, and a melody made from the ping of the turnstiles.

Alison is a long-standing member of the band Butcher Boy, playing piano, accordion and other keyboards as well as arranging for choir and brass. The band’s three studio albums: Profit in Your Poetry (2007), React or Die (2009) and Helping Hands (2011) have all been well-received, with React or Die featuring in The Times’ top 100 pop albums of the 2000s. The band have also released two EPs. A compilation album, You Had A Kind Face, was released on Needle Mythology in 2022, along with three new songs, with tracks mastered by Miles Showell at Abbey Road. Butcher Boy have supported Belle and Sebastian, Scritti Politti The Wedding Present and more.

Alison is also a member of Glasgow Madrigirls and has collaborated with bands including The Color Waves (USA), The Just Joans (Glasgow) and Featherfin (Norway).

Mox Nox is released on vinyl and digitally in March 2023 on Fika Recordings.

“The single has parallels with another album track titled Ever Forward, but while both are about struggling with the change of the seasons, this song is rooted firmly in Glasgow and expresses how a place can be both transformative and overwhelming. The song features samples from the Glasgow Subway, with a rhythm track made from the sounds of the train doors closing, and a melody made from the ping of the turnstiles.The use of found sounds is both remarkable and quirky over which Eales’ uplifting vocals bring an enchanting vibrancy and colour. Fifty-Five North is also our Song of the Day.” Folk Radio UK [video premiere]

“a perfect fusion of indie-pop and electronica, nodding to bands like Firestations and Stereolab, as it combines glistening vocal lines with glitchy beats and transient synth melodies” For The Rabbits

“the track almost seems like a purely vocal performance, a remarkable one at that” Austin Town Hall

“‘Fifty-Five North’ is delicately crafted and far more complex and nuanced than it may initially appear. Breezy but chilly, it’s a pleasant and charming debut” Whisper and Hollerin

“a lovely piece of music, with a hint of some of the gentler sounds that were occasionally offered by the late Kirsty MacColl. It’s an ode to Glasgow from someone who is not a native but now calls it home after many years of studying, performing and working.” The New Vinyl Villain

The Winter Sprinter 2023

Advance tickets, including cheaper four day passes, are available from wegottickets.com/fikarecordings

There are a limited number of discounted tickets available for each night for those who are unwaged or on a low wage, and would not otherwise be able to afford to come. No questions asked, we trust you.

Full details of each show available on our Gigs page.

Darren Hayman - You Will Not Die [double 12"/double CD]

Artist: Darren Hayman
Title: You Will Not Die
Format: Double 12” black gatefold vinyl and double digipack CD
Cat#: Fika089LP | Fika089CD
Release date: 4th November 2022
Bandcamp | Spotify

Following a stream of thematic and conceptual albums over the last 15 years Darren Hayman has recently returned to a more introspective, personal kind of music. Darren received critical praise, awards and government grants for albums about the witch trials in the English Civil War; the mid 20th-century boom in new towns; forgotten rural communities; and the political writings of William Morris.

“You Will Not Die is about relationships of all kinds beginning and ending, but it's also about our interior lives and how we process change as we get older. I was thinking about mortality and the temporariness of everything but also thinking of that fragility as a very beautiful thing to try and put into music."

"I think of this record as taking place at night, in contrast to the daytime setting of Home Time. This is an album about empty dance floors, lacklustre parties and lonely night buses home." The record is entirely electronic and recorded on Darren's collection of '70s synthesisers. "These instruments themselves are very fragile and mortal, they corrode and decay and behave in erratic ways. They do however, remain alive, for now."

Darren is the only musician on the album and the music conforms to a strict set of self-imposed rules; only one voice, only 12 tracks, only one polyphonic instrument. ¨Through this control and limited palette I found new melodies and structures. I wanted these old machines to guide me towards my most human record.¨

'A Real Human Being' is inspired by Darren's experience of life drawing. "Modern life encourages us to reduce people to images, jokes, memes. In life drawing, you're treating the person as a form, watching where the light and shadows fall, and then you're reminded that they are real, alive."

In 'No Lime for the Gin', a group of old friends is reunited in middle age, holding a half-hearted party where the talk is dominated by their hopes and broken dreams. 'Turn My Grey Tick Blue' is a wry look at the anxieties of dating in the digital age.

'You Were Always Here' ends the album on an optimistic note. Finding love late in life, the narrator ruminates on how the bad things happened for a reason, and that perhaps we always end up where we're supposed to be.

"In recent years my life has had its own upheavals and it would seem weird not to have this emerge in my music," says Darren. Home Time (2020) was a bright, acoustic, set of songs but was, at its heart, a break-up album. "I wanted to make fun of myself and of this kind of record."

You Will Not Die is a much slower and more brooding voyage through similar waters. It is a seductive, soulful collection of songs and instrumentals that sits among Darren's most emotive and intelligent work.

“bold and unique" The Sunday Times
“Hayman has hit a creative purple patch… a treat” Mojo
“uniquely intimate and very satisfying”  - BBC

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Press for You Will Not Die

“a meditative conversation with oneself, ruminating over various aspects of growing older, amorous connections taking various courses, and the two ideas being somewhat dependent on each other. Kudos to Hayman for letting this discourse take its natural course, rather than frontload the album with its catchiest songs (many of which come towards its end, with the placement reflecting a certain positivity, obtained through such contemplation)” The Quietus

“it sees Hayman at his most withdrawn and introspective, uncovering new truths hidden in well-worn themes. This is something to be celebrated: when a songwriter of Hayman’s skill turns the spotlight back on himself – and in doing so, creates a new world in miniature scale – it’s worth taking note” Folk Radio

“Sonically, Hayman has achieved some really engaging, electronic, synth-based pieces. From the ominous, bass-heavy We Are Repaired, to the bouncy and bright Don’t Haunt Me, there are plenty of little great moments.” NARC

Snack Mag interview with Darren

Biography

Best known as the singer-songwriter of the phenomenally successful and much-loved Hefner, Darren Hayman is now 15 years, and over 14 albums, into an increasingly idiosyncratic career path, where he has taken a singular and erratic route through England’s tired and heartbroken underbelly. Darren is also writing the best tunes of his career; increasingly complex and mature songs, he is a thoughtful, concise and detailed songwriter.

Hayman’s first two solo albums, Table For One (2006) and The Secondary Modern (2007), charmed the critics – with The Guardian opining that Hayman’s profoundly English songwriting was “the match of Ray Davies”. Mostly joined by his band The Secondary Modern – a loose, urban folk collective, underpinning Hayman’s concrete sorrow with rural violins and tired pianos – he has released a series of albums, largely focused on place. This allowed for the exploration of nuanced subjects in detail, with a trio of albums based in Essex (2009’s Pram Town and 2010’s Essex Arms) and culminating in 2012’s The Violence, a 20 song account of the 17th century Essex witch trials. From this he developed an album of English Civil War folk songs of the time (2013’s Bugbears) and stayed with the historical theme for Chants For Socialists, which saw him set William Morris’ words to music, creating an album of kindness and hope that brought Hayman’s most critical acclaim yet. 

In 2016 Darren was awarded ‘Hardest Working Musician’ by the Association of Independent Music for his epic project on Thankful Villages, the 55 villages that survived the Great War with no casualties. 12 Astronauts tells the personal story of the only men to have walked on the Moon.