Join us this month as we welcome FLY ressie, Liam Doc to Sneaky Pete’s. With productions on labels such as Sulta Selects Silver Service and Shall Not Fade, we are in for a cracker.
This month’s door tax and ticket price will be £7. Our FREE guest list does make a return, but how to get on it will remain a secret. Guestlist numbers will be VERY limited this month.
Lazy Habits is a 6-piece group influenced by New Orleans Jazz, Soul and Hip Hop, blast their sound into the 21st century with gritty rolling beats and slick lyrics about modern British culture and urban like inspired by their home, East London
After their self titled debut album reached the top 10 in the I-Tunes Uk Hip Hop Chart, Lazy Habits released their follow up “The Atrocity Exhibition” in April 2016. The first single “The Breath” received plays from 6music and accumulated of 310,000 youtube views and starred Taron Egerton (Legend, Kingsman The Secret Service). Lazy Habits again charted in the top 10 iTunes Hip Hop chart in the UK, along with charting across Europe. Today both albums are still in the Deezer charts in Austria.
Across the years Lazy Habit have collaborated with renowned names of the industry including, DJ Premier, Reeps One, Dizrali, Baby Sol, Hackney Colliery Band and Joshua Whitehouse.
Sending it into the start of next week every Sunday at Sneaky Pete’s. Postal is our weekly Sunday session with cheap tickets for the hottest names in underground dance, and our pick of Scotland’s finest selectors.
When 2020 ground to a halt, it could have been the end for Savage Mansion. The release of their critically acclaimed second album Weird Country – the swift follow up to 2019’s Revision Ballads – was overshadowed by a state of collective panic, a litany of cancelled tour dates, and plans not so much put on the backburner as thrown out the window of a van somewhere between Glasgow and Birmingham.
But instead, with the excellent Golden Mountain, Here I Come, they’ve doubled down, solidifying their reputation as one of Scotland and the UK’s most prolific emerging guitar bands, and as a hardworking collective drawing from a diverse palette of musical and literary influences.
Re-emerging as a five-piece, they’re back with a record that’s hook-laden, poignant, and cryptic. It’s indie rock that’s both an instant feast for the senses and a rich tapestry of sounds and words to pore over and savour.
Golden Mountain, Here I Come is a triumphant comeback for Savage Mansion. While the new material features the same razor-sharp songwriting, melodic intertwining guitars and close harmonies, it’s the artistic focus that elevates the band to a new level. The DIY, lo-fi ethos remains but the ambition is undimmed, the output infectious.
After last October’s return to Sneaky Pete’s, after a Mediterranean break, Resident Andrea Montalto is back joined by Joe Cardone.
?During the past 5 years Joe, through his Sweetnighter Party, has established himself amongst one of London’s finest selectors.
Expect an energetic mix of Funk from around the globe, Disco oddball, and peak time Latin Jazz bangers.
Advanced ticket £5
On the door 7£
Orindal Records recording artists Advance Base (Chicago, IL) & Karima Walker (Tucson, AZ) bring their electronic, cosmic Americana to the UK for a night of intimate & immersive solo sets featuring gentle synthesizers, sleepy drum loops, ambient field recordings, psychedelic visuals & folk-style vocals.
Advance Base is the melancholic story song project of Owen Ashworth (formerly of Casiotone for the Painfully Alone), making their much anticipated return to the UK following the release of 2020’s Live at Home & 2021’s Wall of Tears & Other Songs I Didn’t Write. Singer, sound designer & filmmaker Karima Walker makes her UK debut following the critical acclaim of her 2021 folk/ambient album Waking the Dreaming Body (co-released by Keeled Scales), featured on best of the year lists by GoldFlakePaint, Gorilla Vs. Bear, For the Rabbits & more.
Support from local artist Faith Eliott.
£10
Doors at 7pm
Another round of vinyl fetishism with a stupid amount of new music to debut. Fryer, Bob Disaster and Lel delve into the strange world of rare and exotic dance-floor vinyl.
Edinburgh’s wildly popular Athens of the North label’s sell-out night back with their top picks from their extensive record (yes record) collections. Deep soulful funk & disco, rare Brazilian, lovers rock, 80’s boogie, with a sprinkle of O.G house music.
Due to demand, we’ve added a second date for Bambara, over from NYC.
One thing you won’t be able to avoid on Bambara’s Stray is death. It’s everywhere and inescapable, abstract and personified – perhaps the key to the whole record. Death, however, won’t be the first thing that strikes you about the group’s fourth – and greatest – album to date. That instead will be its pulverising soundscape; by turns, vast, atmospheric, cool, broiling and at times – on stand out tracks like “Sing Me To The Street” and “Serafina” – simply overwhelming
Bambara – twin brothers Reid and Blaze Bateh, singer/guitarist and drummer respectively, and bassist William Brookshire – have been evolving their midnight-black noise into something more subtle and expansive ever since the release of their 2013 debut Dreamviolence. That process greatly accelerated on 2018’s Shadow On Everything, their first on New York’s Wharf Cat Records and a huge stride forward for the band both lyrically and sonically.
The album was rapturously received by the press, listeners and their peers. NPR called it a “mesmerising…western, gothic opus,” Bandcamp called the “horror-house rampage” “one of the year’s most gripping listens,” and Alexis Marshall of Daughters named it his “favorite record of 2018.” Shadow also garnered much acclaim on the other side of the Atlantic. Influential British 6Music DJ Steve Lamacq, dubbed them the best band of 2019’s SXSW, and Joe Talbot of the UK band IDLES said, “The best thing I heard last year was easily Bambara and their album Shadow On Everything.” The question was, though, how to follow it?
To start, the band did what they always do: they locked themselves in their windowless Brooklyn basement to write. Decisions were made early on to try and experiment with new instrumentation and song structures, even if the resulting compositions would force the band to adapt their storied live set, known for its tenacity and technical prowess. Throughout the songwriting process, the band pulled from their deep well of creative references, drawing on the likes of Leonard Cohen, Ennio Morricone, Sade, classic French noir L’Ascenseur Pour L’Echafraud, as well as Southern Gothic stalwarts Flannery O’Connor and Harry Crews.
Once the building blocks were set in place, they met with producer Drew Vandenberg, who mixed Shadow On Everything, in Athens, GA to record the foundation of Stray. After recruiting friends Adam Markiewicz (The Dreebs) on violin, Sean Smith (Klavenauts) on trumpet and a crucial blend of backing vocals by Drew Citron (Public Practice) and Anina Ivry-Block (Palberta), Bambara convened in a remote cabin in rural Georgia, where Reid laid down his vocals.
The finished product represents both the band’s most experimental and accessible work to date. The addition of Citron and Ivory-Block’s vocals create a hauntingly beautiful contrast to Bateh’s commanding baritone on tracks like “Sing Me to the Street”, “Death Croons” and “Stay Cruel,” while the Dick Dale inspired guitar riffs on “Serafina” and “Heat Lightning” and the call-and-response choruses throughout the album showcase Bambara’s ability to write songs that immediately demand repeat listens.
While the music itself is evocative and propulsive, a fever dream all of its own, the lyrical content pushes the record even further into its own darkly thrilling realm. If the songs on Shadow On Everything were like chapters in a novel, then this time they’re short stories. Short stories connected by death and its effect on the characters in contact with it. “Death is what you make it” runs a lyric in “Sweat,” a line which may very well be the thread that ties these stories together.
But it would be wrong to characterize Stray as simply the sound of the graveyard. Light frequently streams through and, whether refracted through the love and longing found on songs like “Made for Me” or the fantastical nihilism on display in tracks like the anthemic “Serafina,” reveals this album to be the monumental step forward that it is. Here Bambara sound like they’ve locked into what they were always destined to achieve, and the effect is nothing short of electrifying.
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Ahead of your show at Sneaky Pete’s we kindly ask that you have a look at our rules:
* Proof of vaccination may be mandatory at the time of this show
* Please take a lateral flow test before you come to the venue
* Don’t come if you test positive or have any symptoms
* Check in on our Test & Protect QR code on arrival
* Wear a face covering unless drinking or dancing
* Wear a face covering when ordering at the bar
* Use the hand sanitiser
* Please be respectful of others and leave space when moving around the venue or queueing
* Please don’t high five, handshake or hug staff
Sneaky Pete’s and Palidrone present a one-off ‘Night Music’ electronic music showcase at Edinburgh’s Fruitmarket featuring Djrum, Loraine James (live) and object blue on 15th April. This will be the debut electronic music event at Fruitmarket’s new Warehouse space, under the eaves of Jyll Bradley’s awe-inspiring installation ‘Pardes’, an immersive meditation upon the inter-connectedness of nature, culture, people and place, making it a truly one-off sound and light experience.
About the performers:
Djrum is an artist in his own personal and bewitching universe. Perennially acclaimed by critics and peers, he’s now exciting a wider audience since his extraordinary live stream from atop London’s Tower Bridge. A technically gifted three-deck turntablist with production chops to match, he deftly fuses jazz, hip hop, techno, electro, dubstep and jungle.
London electronic experimental artist Loraine James is breaking the mould of a predominantly white male IDM scene. Her stunning hybrid sound meshes IDM with R&B, jazz and drill influences. It’s chopped and screwed but honest, bare and emotional. Her two recent albums on Hyperdub, ‘For You & I’ and ‘Reflection’, made it to many notable end of year lists. Hers is an anomalous voice in the next generation of UK dance music.
object blue is a Tokyo-born experimental club DJ and producer who straddles dancefloor and avant-garde techno. With links to fashion and experimental art worlds, she’s like no one else. Her string of EPs to date have been supported by i-D, Pitchfork, Resident Advisor, The FACE, Dazed, CRACK, Mixmag, DJ Mag. As a remixer, she’s stamped her identity reimagining the sounds of artists from diverse scenes such as Murlo, Jasper James and Seb Wildblood. She soundtracked Vivienne Westwood’s SS20 show at Paris Fashion Week and was invited to DJ at the iconic Smithfields Market as part of fabric’s incredible ‘London Unlocked’ stream series.
About the organisers:
Sneaky Pete’s is the home of new and exciting music in Edinburgh, voted best grassroots music venue in the UK and 99th best nightclub in the world. Not bad for a 100-cap Cowgate hole in the wall. Although they have expanded to host many events in other venues and festivals in recent years, this is the first away-game for ‘Night Music’, their long-standing series of electronic showcases that have previously hosted dozens of artists including Machinedrum, Laurel Halo, Koreless, Palmbomen II, Com Truise and Blanck Mass.
Palidrone is a genre-fluid party series taking residence across various venues in Edinburgh, with previous editions welcoming city debuts from boundary-pushing electronic acts such as Giant Swan (live) and Errorsmith. Adding to other sell-out events with DJ Stingray, DMX Krew, Josey Rebelle, SPFDJ and more, they were tipped as one of DJ Mag’s Top 10 Club Nights in the world October 2019.
One thing you won’t be able to avoid on Bambara’s Stray is death. It’s everywhere and inescapable, abstract and personified – perhaps the key to the whole record. Death, however, won’t be the first thing that strikes you about the group’s fourth – and greatest – album to date. That instead will be its pulverising soundscape; by turns, vast, atmospheric, cool, broiling and at times – on stand out tracks like “Sing Me To The Street” and “Serafina” – simply overwhelming
Bambara – twin brothers Reid and Blaze Bateh, singer/guitarist and drummer respectively, and bassist William Brookshire – have been evolving their midnight-black noise into something more subtle and expansive ever since the release of their 2013 debut Dreamviolence. That process greatly accelerated on 2018’s Shadow On Everything, their first on New York’s Wharf Cat Records and a huge stride forward for the band both lyrically and sonically.
The album was rapturously received by the press, listeners and their peers. NPR called it a “mesmerising…western, gothic opus,” Bandcamp called the “horror-house rampage” “one of the year’s most gripping listens,” and Alexis Marshall of Daughters named it his “favorite record of 2018.” Shadow also garnered much acclaim on the other side of the Atlantic. Influential British 6Music DJ Steve Lamacq, dubbed them the best band of 2019’s SXSW, and Joe Talbot of the UK band IDLES said, “The best thing I heard last year was easily Bambara and their album Shadow On Everything.” The question was, though, how to follow it?
To start, the band did what they always do: they locked themselves in their windowless Brooklyn basement to write. Decisions were made early on to try and experiment with new instrumentation and song structures, even if the resulting compositions would force the band to adapt their storied live set, known for its tenacity and technical prowess. Throughout the songwriting process, the band pulled from their deep well of creative references, drawing on the likes of Leonard Cohen, Ennio Morricone, Sade, classic French noir L’Ascenseur Pour L’Echafraud, as well as Southern Gothic stalwarts Flannery O’Connor and Harry Crews.
Once the building blocks were set in place, they met with producer Drew Vandenberg, who mixed Shadow On Everything, in Athens, GA to record the foundation of Stray. After recruiting friends Adam Markiewicz (The Dreebs) on violin, Sean Smith (Klavenauts) on trumpet and a crucial blend of backing vocals by Drew Citron (Public Practice) and Anina Ivry-Block (Palberta), Bambara convened in a remote cabin in rural Georgia, where Reid laid down his vocals.
The finished product represents both the band’s most experimental and accessible work to date. The addition of Citron and Ivory-Block’s vocals create a hauntingly beautiful contrast to Bateh’s commanding baritone on tracks like “Sing Me to the Street”, “Death Croons” and “Stay Cruel,” while the Dick Dale inspired guitar riffs on “Serafina” and “Heat Lightning” and the call-and-response choruses throughout the album showcase Bambara’s ability to write songs that immediately demand repeat listens.
While the music itself is evocative and propulsive, a fever dream all of its own, the lyrical content pushes the record even further into its own darkly thrilling realm. If the songs on Shadow On Everything were like chapters in a novel, then this time they’re short stories. Short stories connected by death and its effect on the characters in contact with it. “Death is what you make it” runs a lyric in “Sweat,” a line which may very well be the thread that ties these stories together.
But it would be wrong to characterize Stray as simply the sound of the graveyard. Light frequently streams through and, whether refracted through the love and longing found on songs like “Made for Me” or the fantastical nihilism on display in tracks like the anthemic “Serafina,” reveals this album to be the monumental step forward that it is. Here Bambara sound like they’ve locked into what they were always destined to achieve, and the effect is nothing short of electrifying.
_
Ahead of your show at Sneaky Pete’s we kindly ask that you have a look at our rules:
* Proof of vaccination may be mandatory at the time of this show
* Please take a lateral flow test before you come to the venue
* Don’t come if you test positive or have any symptoms
* Check in on our Test & Protect QR code on arrival
* Wear a face covering unless drinking or dancing
* Wear a face covering when ordering at the bar
* Use the hand sanitiser
* Please be respectful of others and leave space when moving around the venue or queueing
* Please don’t high five, handshake or hug staff
