Announce new single album, “Raise High The Roofbeams, Carpenters”, listen here: https://soundcloud.com/black-peaches/09-raise-high-the-roofbeams
Available to download now.
Read Rob Smoughton’s guest column for Q Magazine re the track here.
WHITE DENIM support slots confirmed:
Feb 15 Deaf Institute – Manchester
Feb 16 Islington Assembly – London
Debut album, “Get Down You Dirty Rascals”, released March 4, 2016 on 1965 Records
Pre order the album here.
Coming hot on the heels of debut single, “Fire & A Water Sign”, Black Peaches announce their second single, “Raise High The Roofbeams, Carpenters” which is taken from their debut album, “Get Down You Dirty Rascals” released on 1965 Records on March 4, 2016.
Black Peaches is the new project of Rob Smoughton, probably best known as a long-time member of Hot Chip and Scritti Politti, while his alter-ego Grovesnor has released a number of albums to critical acclaim.
Listen to “Raise High…” here: https://soundcloud.com/black-peaches/09-raise-high-the-roofbeams
The track is available to stream and download now.
Smoughton describes the track as a “disco courtroom drama” where “ bongos and handclaps keep the groove, while Steve Wonder-style Clavi and bubbly analogue synths keep it slinky”
He expands on the process behind the writing of the song:
“I often think filmically when writing songs – and this is no exception.
It is set in New England in the 17th Century; specifically in the courtroom for a Witch trial. The first verse is from the point of view of a girl accused. She’s protesting that she only meets the other girls in the woods at night to dance around a fire, to feel free – not to indulge in witch craft activities. She’s protesting her innocence. The second verse is sung from the perspective of the accusing menfolk of the village – claiming the girls drink ‘chicken-blood’ and cast spells enabling them to fly. The ‘dust on her fingertips from the roof beams of the barn’ is proof. They ask ‘What next?’ – People being turned into pillars of salt?
The tension in the courtroom reaches it’s peak and the 4/4 breaks into an off-kilter tempo shift for some fuzz-tone guitars as the the closing credits roll.”
Black Peaches recently performed at Radio Theatre on the Boxing Day special of BBC Radio 4’s Loose Ends live at Radio Theatre– listen back to that here.
A midway point between the swamp and the tropics, Black Peaches’ music is gloriously loose-limbed and strung-out: a psychotropic stew of country boogie, spiritual jazz and funk.
Black Peaches is not just a sextet, but in the mind of its skipper, Smoughton, a destination where various strands of musical flavour and colour coalesce to form a heavenly brew, equal parts melody and groove, grit and bliss, sublimely tight and gloriously loose-limbed.
Black Peaches demanded a band format so, Smoughton sent his initial demos to musicians he fancied roping in, like Nick Roberts, Grovesnor’s live drummer, and Charlie Michael (The Severed Limb, Shock Defeat), a master of Brazilian percussion. Smoughton had played with bassist Susumu Mukai in (Hot Chip frontman) Alexis Taylor’s live band. Duelling guitarist Adam Chetwood, is a fellow country and jazz fan and plays pedal steel too. Thomas Greene (Cold Specks) on keyboards completes a consummate line-up that added ideas to Smoughton’s demos, which he took away and wrote more parts for.
Inspirations include ‘70s Nashville combo Barefoot Jerry and their guitarist Mac Gayden – that combination of southern soul and country coming together, with Caribbean or South American music seeped in.
Steven Stills’ first post-Crosby Stills Nash & Young ensemble Manassas were a blueprint in terms of Black Peaches’ line-up, with percussion and pedal steel.
Then from Brazil, the rhythm section of Baden Powell’s 1966 album Os Afro Sambas and the double guitar attack of the psych-tinged Novos Baianos, alongside Chicago’s funky post-rockers 5ive Style and Krautrock legends Can.
After all, peaches don’t only grow in Georgia…