Girls Names - My Arms Around a Vision - VINYL LP
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Girls Names return with their third album. Although they formed in Belfast, they've long considered themselves a European band. The distinction is important - their vision of Europe is one of weird, labyrinthian histories, blackest-ever-black coffee, and long drives to dismal places. The band initially came together as a lean two-piece in 2010, but over the course of a handful of EPs and three very different albums, they've grown in number and ambition. Their last album, The New Life, was an underground hit in early 2013, taking the band around the world and garnering much critical praise, culminating in nominations for both the Northern Irish and Irish Music Prizes. On Arms Around a Vision, they're more widescreen than ever but also more direct and aggressive. The bass, drums and guitars are still there, but so are saxophones, organs, detuned broken guitars and pianos, and even sheets of metal assaulted with hammers. The album opens with 'Reticence', a song in two parts that's half metallic knockout, half midnight swagger. It sounds unlike anything they've ever done before, and is a perfect primer for an album that treads a course between Eno-era Roxy sleaze, Birthday Party dissonance and the repetition, repetition, repetition of the Fall.InchMost guitar music now is just a playground for the rich middle classes and it's really boring and elitist. We're elitist in our own way, in that we're on our own and you can't F**k with us when we've nothing to loseInch. The near-6 minute 'A Hunger Artist' tackles that subject full on, addressing that age old adage of suffering for one's art.
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VINYLSpecifications
- GenreRockDescriptionGirls Names return with their third album. Although they formed in Belfast, they've long considered themselves a European band. The distinction is important - their vision of Europe is one of weird, labyrinthian histories, blackest-ever-black coffee, and long drives to dismal places. The band initially came together as a lean two-piece in 2010, but over the course of a handful of EPs and three very different albums, they've grown in number and ambition. Their last album, The New Life, was an underground hit in early 2013, taking the band around the world and garnering much critical praise, culminating in nominations for both the Northern Irish and Irish Music Prizes. On Arms Around a Vision, they're more widescreen than ever but also more direct and aggressive. The bass, drums and guitars are still there, but so are saxophones, organs, detuned broken guitars and pianos, and even sheets of metal assaulted with hammers. The album opens with 'Reticence', a song in two parts that's half metallic knockout, half midnight swagger. It sounds unlike anything they've ever done before, and is a perfect primer for an album that treads a course between Eno-era Roxy sleaze, Birthday Party dissonance and the repetition, repetition, repetition of the Fall.InchMost guitar music now is just a playground for the rich middle classes and it's really boring and elitist. We're elitist in our own way, in that we're on our own and you can't F**k with us when we've nothing to loseInch. The near-6 minute 'A Hunger Artist' tackles that subject full on, addressing that age old adage of suffering for one's art.ArtistGirls NamesTitleMy Arms Around a VisionFormatVINYLLabelTough Love
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Girls Names return with their third album. Although they formed in Belfast, they've long considered themselves a European band. The distinction is important - their vision of Europe is one of weird, labyrinthian histories, blackest-ever-black coffee, and long drives to dismal places. The band initially came together as a lean two-piece in 2010, but over the course of a handful of EPs and three very different albums, they've grown in number and ambition. Their last album, The New Life, was an underground hit in early 2013, taking the band around the world and garnering much critical praise, culminating in nominations for both the Northern Irish and Irish Music Prizes. On Arms Around a Vision, they're more widescreen than ever but also more direct and aggressive. The bass, drums and guitars are still there, but so are saxophones, organs, detuned broken guitars and pianos, and even sheets of metal assaulted with hammers. The album opens with 'Reticence', a song in two parts that's half metallic knockout, half midnight swagger. It sounds unlike anything they've ever done before, and is a perfect primer for an album that treads a course between Eno-era Roxy sleaze, Birthday Party dissonance and the repetition, repetition, repetition of the Fall.InchMost guitar music now is just a playground for the rich middle classes and it's really boring and elitist. We're elitist in our own way, in that we're on our own and you can't F**k with us when we've nothing to loseInch. The near-6 minute 'A Hunger Artist' tackles that subject full on, addressing that age old adage of suffering for one's art.
It stands to reason that many vital albums come critically close to never being made. The eight-track upshot of doubt, upheaval and financial strain, Stains on Silence by Girls Names is one such . Following 2015s blitzing Arms Around a Vision, and the parting of drummer Gib Cassidy just over a year later, the Belfast band suddenly found themselves facing down a looming void. There was a finished and then aborted mix of the album, which was shelved for six months, reveals Girls Names frontman Cathal Cully. We then took a break from all music and went back to full-time work. We chilled out from the stress of rushing the record and not being happy with it, as well as being skint with no impending touring on the cards and constantly having to worry about rent. The stumbling blocks that proved a strain became the albums defining breakthrough. Recorded in various locations including Belfasts Start Together Studio with Ben McAuley, Cully's home and the bands practice space, spontaneous creation, cut-up techniques and self-editing took centre-stage for the first time. InchWe started tearing the material apart and rebuilding, re-editing and re-recording different parts in my home in early Autumn last year, says Cully. When we got them to a place we were happier with we went back into Start Together Studio with Ben McAuley to finalise the mixes to what they are now.Inch Where AAAV proved a brazen statement of intent, Stains on Silence bounds forth as it's feature-length comedown. What could have seen the band buckle became an opportunity for approaching things tabula rasa. During it's two-year transmutation, Cully, bassist Claire Miskimmin and guitarist Philip Quinn had a single aim for their fourth album to make an old-fashioned record clocking in around 30 to 35 minutes in length that made the listener reach straight for repeat. From the Bang Bang bar-summoning swoon of ope
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