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Soundcarriers Wilds Will Salmon , January 21st, 2022 10:00

After seven years away, Soundcarriers return with more exotica-tinged boot-fair futurism

We have Lodge 49 to thank for the existence of a new Soundcarriers album. The excellent – if little seen – comedy drama about a secretive esoteric order featured a precisely curated soundtrack attuned to showrunner Jim Gavin and music supervisor Tom Patterson’s own eclectic tastes. Broadcast, Beautify Junkyards, Lake Ruth, and other psychedelic, radiophonic, and library music revivalists all appeared, but none more so than this Nottingham four-piece, whose back catalogue was a near constant presence throughout the show's first season.

The band were on extended hiatus and scattered around different parts of the UK when a call from Patterson prompted them to start work on new material. Two tracks, ‘Driver’ and ‘At The Time’, were both recorded for the show’s second season and get their first wider release here. Opening track ‘Waves’ also has its origins in the show – it’s developed from an idea that was originally pitched as a potential series’ theme.

It’s perhaps no surprise, then, that Wilds has such a cinematic quality to it. Despite having been recorded in various rural cottages, schools, and art galleries around the country, it sounds lush and sun-dappled, a heady blend of West Coast-influenced psych and folk.

What is a little surprising for anyone familiar with the band’s occasionally whimsical or baroque previous work (which included, on 2014’s Entropicalia , a twelve-minute groove narrated by Elijah Wood) is how full-blooded, even aggressive, it sounds. Clocking in at just nine songs and thirty-eight minutes, it finds the band at their most focussed, playing at full pelt to keep up with drummer Adam Cann. His percussion and Paul Isherwood’s bass, both high in the mix, drive the songs here. While their contemporaries Vanishing Twin have become more elusive, embellishing their recent Ookii Gekkou with playful jazzy abstractions, Soundcarriers have honed in on going fast and going hard.

‘Waves’ crashes in on a quartet of cymbal strikes before racing against insistent organ and flute melodies to a false finish and climactic drum solo. ‘Driver’ is propulsive pop with a subtle funkiness, while ‘At The Time’ adds a touch of Martin Denny exotica to the mix, with Leonore Wheatley and Dorian Conway coming off as lounge singers in some sub-aquatic realm. The duo’s lyrics are usually simple brief repeated snatches of phrases – “You fall back on yourself / you keep turning me roun”" on the relentless flute funk of ‘Falling Back’ – but their harmonies effortlessly invoke that late 60s sound, like Pentangle’s Jacqui McShee and Bert Jansch fronting Stereolab.

Quieter moments come with the shadowy pop of ‘All These Things’ and ‘Saturate’, a sweetly shimmering ballad that nods to The Ronettes, as Cann joins the long line of drummers to cheerfully nab Hal Blaine’s ‘Be My Baby’ beat. ‘Happens Too Soon’ is reflective, too, a solemn piano solo slowly giving way to Wheatley and Conway at their most dreamily imperious. It’s a lovely, quietly epic finale to the record.

Soundcarriers went away for seven years. In that gap the likes of Khruangbin, Kit Sebastian, Maston, and the aforementioned Vanishing Twin have all flourished. Wilds feels like a homecoming for a band that was doing the 60s-influenced, boot-fair futurist thing long before it was cool. What a treat to have them back.

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The Soundcarriers

A Nottingham four-piece evoking the sounds of the late '60s with their sweet vocal harmonies and infectious guitar melodies.

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The Soundcarriers Announce First Album in Eight Years, Share New Song “Waves”

Wilds due out january 21, 2022 via phosphonic label.

The Soundcarriers have announced the release of their first album in eight years, Wilds . It will be out on January 21, 2022 via the band’s own Phosphonic Label. They have shared the album’s opening track, “Waves.” Listen to the song and view the album’s cover art and tracklist below..

“We’ve always done things our own way and without any outside pressure,” states band member Adam Cann in a press release. “Making music like this keeps things fresh, you always lose something and gain something as you go along but I think of it as just another chapter.”

Band member Paul Isherwood adds: “A lot of the tracks started with a feel or groove. Then building it into a more concise arranged piece. We were conscious that we didn’t want the recording to sound too over-polished so although a lot of the tracks were quite painstaking in how they evolved we wanted the actual recording to be quite raw and not be reliant on cutting things up or overly editing things. We wanted it to sound natural rather than perfect.”

Wilds Tracklist:

1. Waves 2. Traces 3. At the Time 4. All These Things 5. Falling Back 6. Saturate 7. Driver 8. Wilds 9. Happens Too Soon

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The Soundcarriers – Wilds

Hauntologists increasingly more than their influences

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The other two reissue their debut album, the other two & you, back to black, watch a video for rich ruth’s new single, “no muscle, no memory”, linda thompson announces new album, proxy music, jane weaver – love in constant spectacle.

It’s unfortunate that The Soundcarriers are so identified with ‘hauntology’, the term coined by Simon Reynolds to describe what he referred to as “ghostified” music. While it’s unquestionably invited and warranted, this emphasis on the Nottingham band’s expertise at evoking a bygone era, as well as the technical manner in which they do so, focuses the spotlight on their historical influences. Prioritising style over their substance does the quartet few favours, however, because it makes it harder to think of them as a ‘living’ band. The reality is that while they may raise ghosts from the past – among them producers from the 1960s and early 1970s such as Joe Meek , David Axelrod and Serge Gainsbourg – The Soundcarriers are considerably more substantial than they are spectral.

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On Wilds that’s more obvious than on their three previous collections, which have generally been more whimsical, flower-power affairs, indebted to breezy sources of folk, tropicália and psychedelia like Pentangle , Erasmos Carlos and The United States Of America . Leonore Wheatley’s maidenly vocals still indicate a fondness for chasing white rabbits like Grace Slick or skipping round maypoles in the style of The Wicker Man – though occasionally her detachment also brings to mind another classic film, 1975’s psychological horror The Stepford Wives – but the trio behind her have never sounded more muscular. Indeed, one wonders whether, had they hired, say, Alan Moulde r as producer, they might even have ended up sounding like Ride on Nowhere , whose choirboy harmonies contrasted so effectively with their barrage of noise. Wilds , in other words, leaves the flowers to Wheatley and the power to Dorian Conway , Paul Isherwood and Adam Cann .

This is especially notable in the force with which Cann drums, whether thwacking his kit like it’s a recalcitrant child in a Barry Hines novel amid “Falling Back” ’s relentless, Electric Prunes fuzz – compare his technique, incidentally, with Loz Colbert’s on “Seagull” , Nowhere’s opening track – or meting out more measured punishment on “Traces” , around whose abrasive effects and loping beat he hammers his cymbals or rolls his sticks on the snare for extra frills and spills. There’s a motorik quality to some rhythms, too, contributing to the songs’ propulsive immediacy and, simultaneously, their mesmerising character. The smell of sweat, one imagines, is as potent in their studio these days as the marijuana and incense thickening the air.

Such energy is similarly evident in Isherwood’s bass playing, the scratchy, percussive sound of his strings sometimes genuinely overwhelming the notes he’s plucking. Indeed, its physical nature is almost central to the frantic “At The Time” , certainly more vigorous than the synths pulsing through its verses. It’s as vital, too, to “Trace” ’s forward motion as “Driver” ’s, another high-throttle tune on which he scurries around his fretboard, hurtling towards a climax distantly echoing the finale of David Bowie’s “Suffragette City” . In addition, many of these tracks are pacier than any they’ve previously put to tape, exhibiting an oft-uncontained, formerly absent aggression which intimates a greater urge to animate their audience, previously only suggested by Celeste’s knowingly titled “The Last Broadcast” .

It’s knowingly titled, of course, because The Soundcarriers have frequently been compared to another hauntological act, Broadcast , and there’s little question they inhabit an analogous world. The galloping “Waves” ’ chiming zither and reverbed flute provoke irresistible memories of Get Carter – a touchstone they also share with Stereolab , who covered the theme tune – and “Happens Too Soon” conjures up The Free Design , whose Chris Dedrick wrote the liner notes for The Soundcarriers’ debut, 2009’s Harmonium . Even their choice of guerrilla studios, including a Peak District cottage, a gallery and a former primary school, subliminally – if advertently – summons up memories of what the late Mark Fisher once referred to in a 2012 essay, “What Is Hauntology?” as “the lost futures that the 20th century taught us to anticipate”.

The Soundcarriers’ future, however, is far from lost. For all the geeky talk of plate reverbs and tube amps which inevitably surrounds them – and which, like Stereolab’s space-age imagery, tends to exclude more mainstream audiences by implying a demand for familiarity with its significance – what they are is timeless. That’s best illustrated by Wheatley’s evocative, infectious melodies, which could be compared to Amelia Fletcher’s or Sarah Cracknell’s . Wilds will continue to content those eager to brandish their knowledge of Ennio Morricone , Os Mutantes or Jacques Dutronc , but it nonetheless cries out for attention from those looking for more primal, immediate pleasures: beauty, bliss and release.

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The Soundcarriers

Neo-psych quartet whose cinematic sound encompasses a myriad of influences from library sounds and acid folk to the Free Design.

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The Soundcarriers – Wilds

The Soundcarriers released their debut album Harmonium in 2009, coincidentally the same year that long-running UK indie pop legends Stereolab—whose second single bore the same title—called an extended hiatus. Though neither a specific homage to that band nor a carbon copy of their sound, The Soundcarriers represented a new generation of like-minded musical omnivores with a penchant for crate-digging eclecticism, building something new of mid-century cool reference points such as French pop, British prog and Brazilian psych (as worn stylishly on the sleeve of their 2014 album Entropicalia ). As much a feeling of bingeing on ear candy as a transparent communication of their own voracity as listeners, The Soundcarriers’ music was refreshing for a reason that seems speciously rare: It sounded like it was made by people who loved hearing music as much as making it.

The Nottingham group had a prolific first few years, releasing three increasingly stronger studio albums, reaching what was then their career best with 2014’s Entropicalia before going relatively quiet for the next seven years. The members of the band spread to different parts of the country and prioritized time with family over more time on the road or the studio, but a call to create some music for the AMC show Lodge 49 was the catalyst for getting them back in the studio. Three years later, they emerged from sessions that began in a rural cottage with their aptly titled fourth album Wilds , a record born of pastoral settings but surging with vibrant, psychedelic electricity.

Wilds is at once a gorgeously immersive extension of The Soundcarriers’ previous three albums as well as a case study in how the group is able to build dazzlingly colorful landscapes from elements that might not initially seem like natural counterparts. Opening track “Waves” swings with the modular cool of ’60s French yé-yé pop, intersected with delay-heavy prog-rock flute solos. And it’s interesting to imagine a song like “All These Things” stripped of its rhythmic pulse—the pairing of acoustic guitars with Leonore Wheatley and Dorian Conway’s harmonized vocals is something more akin to the baroque British folk-rock of Pentangle. It’s in these unlikely pairings where The Soundcarriers find serendipitous inspiration, their ear for arrangements just as strong as their penchant for immersive and immediate songwriting.

What’s most striking about Wilds is how much heavier it feels at times than the group’s previous albums. Paul Isherwood’s bass and Adam Cann’s drums are the driving force behind a lot of the album’s best tracks, such as the jazz-punk of “Falling Back,” the opium-den Hot Buttered Soul shimmer of “Traces” or the John Barry motorik groove of “At the Time.” The sense of urgency is an exciting surprise, one that’s never seemed outside of the band’s aesthetic or capabilities, but which is put into practice in ways their past output could’ve only hinted at.

What hasn’t changed is The Soundcarriers’ omnivorous appetite for all manner of sounds and styles, their fourth album a diverse and fluid a combination of their myriad influences and impulses. Not surprisingly, everything sounds incredible—The Soundcarriers’ best platform is a good pair of speakers or headphones, where every detail can be given its proper space and sense of animation. But it’s more than just strong production or interesting arrangements that make Wilds such a strong entry in their catalog. There’s a sense of joy that beams through each of these nine tracks, not unlike that infectious, giddy feeling of hearing a record you just can’t wait to share with your friends.

Label: Phosphonic

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Jeff Terich is the founder and editor of Treble. He's been writing about music for 20 years and has been published at American Songwriter, Bandcamp Daily, Reverb, Spin, Stereogum, uDiscoverMusic, VinylMePlease and some others that he's forgetting right now. He's still not tired of it.

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