Showing posts with label Peter Hai. Show all posts
Showing posts with label Peter Hai. Show all posts

Monday, 10 August 2015

ZYGMUNT DAY & ECHO PRESSURE ANNOUNCE NEW EP, SHARE VIDEO FOR ‘MR SOL’


Soundcloud link: https://soundcloud.com/zygmunt-day/mr-sol-1


Embed code: <iframe width="560" height="315" src="https://www.youtube.com/embed/YdqjfsL6isE" frameborder="0" allowfullscreen></iframe>


Zygmunt Day & Echo Pressure follow up last year’s full-length, “On Streets That Know,” with their new Ep, “No Hood, No Dogs, No Food, No Drink”. The band, which also includes drummer Joe Hyam, guitarist Giancarlo Grasso and bassist Nathan Kerntiff, recorded the EP in Madrid at Mr. Soul Estudio with engineer David Hyam, Joe’s cousin, in the heat of July 2014.


Once again, the band’s music addresses the difficulty and hopefulness of the UK’s current way of life, with the title being taken from an apt sign in the window of Zygmunt’s local charity shop. This time the band embraced more streamlined arrangements than the folk/drone of their debut album, drawing on rock, samba, disco and jazz rhythms. The new sound was made possible by the wealth of equipment available at Mr. Soul Estudio – a fully functioning Hammond organ and Leslie speaker, Wurlitzer and Rhodes electric pianos, a Yamaha upright, a beautiful vintage Gretsch drumkit, and a wealth of guitars, basses, amps and microphones.


‘No Hood, No Dogs, No Food, No Drink’ is released on September 18th and a release event is scheduled for the 17th September at The Finsbury in Manor House, London.



Sunday, 3 August 2014

Peter Hai - Blitzkrieg

Echo Pressure bassist Nathan Kerntiff, aka Peter Hai, has just released his new album "Blitzkrieg," a lyrical instrumental album featuring violin and woodwind drones, intricate fingerpicked guitar, growling bass synths and even me (Zygmunt) playing trombone.

Listen to it below:




Although cinematically wide in scope, the album retains a homespun intimacy and personality, achieved through honest recording techniques - buzzing strings, atonal brass waverings and the rasping of fiddles are all left in - building up a rustic, impressionistic soundscape, that, for me, evokes the desolate, war-torn European countryside that seems to be suggested by the title, a dreamscape of small lives snatched up in the darkness of huge events beyond their knowledge or power to change.

However there is also a timelessness to the music, which is perhaps partly down to the tasteful use of modern insturments to flesh out, rather than ornament, the music - synths are used as part of the fabric of a whole, working in harmony with the acoustic instruments, not as signifiers of the cutting-edge.

Anyway, since Nath joined the band we have had many discussions about the record and it's great to finally hear it in it's entirety. Give it a listen.

- Zygmunt