New Electric Soft Parade Album

Electric Soft Parade Facebook ***NEW ESP ALBUM!!!***

Hold onto your hats (and scarves), it’s coming…

With many thanks to the folks at Pledge for their help thus far, we are delighted to announce production for ESP#5 will commence Summer 2018. There is more info on our page – where you can pre-order the album, snoop through the various bundles, or go for some really wacky shit (a day in the studio while we argue the toss over drum sounds!? personalised cover versions?!) – and we’ll be adding more bits and pieces as the album progresses.. Anyway, this thing goes live today, and we would be extremely, EXTREMELY honoured if you’d support us in this endeavour. It’s gonna be huge. ❤

More news very soon.

Tom & Al
xxx

pledgemusic.com Five years since 2013’s heroic pop masterclass Idiots, Brighton’s beloved ESP return this year with their most ambitious project to date. Written and devised entirely by elder brother Alex, the new album comprises seven songs, each from a distinct point of view, often several. Many years in development, this song-suite was originally conceived as a solo project, but once an initial round of demos was completed it was decided these songs needed to be heard by as many people as possible, and as such would be reimagined as ESP #5. While previous albums have used the power pop of such legends as Big Star or Super Furry Animals as a springboard, these new songs take aim at a very different target – paring broad, circular chord patterns and driving repetition with lush horns, keening vocals and thundering guitars, ESP have arrived at some of their most emotionally raw and direct material in years, while also boldly pushing the envelope for what could reasonably be considered an Electric Soft Parade record. A meditation on overcoming, transcending. But fear not: there are huge pop songs within, and beauty abounds. Illuminating, joyous, cathartic. Anyone familiar with past records will know the calibre of producers ESP are known to work with, and augmenting the White brothers in the studio this time will be a raft of choice collaborators cherry-picked from across the group’s career.

“When we first spoke to PledgeMusic about making a new record, we made it clear we wouldn’t entertain the thought for a single second if we didn’t think we could make the album of our lives. It took a little while to realise it, but without even knowing it Alex had written this absolute monster – a fully-formed, self-contained masterpiece, pulling together all these emotional and stylistic strands that have affected and continue to inspire both of us. Being brothers, we’re pretty well tuned in to one another, so I didn’t struggle at all to find ownership of these songs. I don’t say this lightly – this is some of Alex’s most intense, emotional writing, and we cannot wait to get started. Given where we’re at as a group, the idea of our (extremely loyal) fans being part of the story of a new album, and new chapter of the group, seems perfectly apt.” – Thomas White

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Thomas White Interview

fanfare-pop.com Translation: Meeting with Thomas White, head of The Fiction Aisle.

With the fabulous Jupiter, Florida, Tom White probably comes to realize the centerpiece of his already well-developed discography (The Fiction Aisle, but also The Electric Soft Parade and Brakes). The native of Brighton comes back here to talk about his desires, the genesis of his music and his influences.

Jupiter, Florida … why this title? What does this association of names represent for you? Does it refer to a place that really exists (Jupiter is a Florida resort) or a dream place?

The title was just right – it had something magical, familiar and strange at the same time. I wanted to evoke a feeling of escape and belonging at the same time. All these contradictory things that we feel every moment. That’s what I wanted. I am less interested in the direct meaning of things these days.

You seem to have expanded your musical palette on this album, less jazzy, more pop, also injecting a small dose of electronics. Is it a deliberate desire to evolve The Fiction Aisle or did it come naturally?

With this new record, I deliberately incorporated more elements that I see as “pop” and accessible – a wider frequency range, simpler, repetitive arrangements (musically and at the lyric level), though there are still many chords, and the music is still very dense in places. I do not know exactly what I was listening to at the time, nor what influenced that change. About halfway through the recording, I played some rough mixes with my friend Andrew Mitchell, and he answered me by playing Jesus Love Never Failed Me Yet by Gavin Bryars (post-minimalist music composer and british bassist), which is a wonderful piece. The slow movement and evolution of this piece had a profound effect on me, and definitely gave me the courage to be really bold in this regard – to allow whole passages to evolve at their own pace and take more time than they should, before everything suddenly resolves – as if you’re holding your breath underwater for as long as you can, then coming in to get some fresh air.

What inspires your lyrics and makes you want to write songs?

Part of what I do is to preserve moments in my life, to revisit them and remember them more easily, and maybe learn from them, even though I’m sure I do not realize that at the moment I decide to write about a particular thing. I try not to over analyze what I do. I really do not believe in writing songs with other people or in committee. Dalí did not paint his paintings with art dealers in the room telling him which colors to use. Song writing is no different. It’s an art, and my approach is to allow the unconscious to guide this process as much as possible. Throughout the process, my conscious brain will try to intercept and shape these unconscious expressions, and it’s the constant battle: try to shut your brain down long enough to let the good things go. I think the best things happen when you are detached from other people and let the universe guide you. It is at this point that you potentially reach a place where others are not and the best art is when we come back from this place and we can translate the experience into something elusive for others. No matter what form it takes – art, songs, film, writing – that’s what I always aim for.

The atmosphere of your music is quite melancholy but it seems more serene, sometimes almost optimistic about this album. Is this an impression or is it really the case?

I think everything I’ve done may sound superficially optimistic, but there’s always a line of melancholy going through it. I think it’s an expression of what it’s like to be human, and that’s something I’m very proud of in my work. Many writers or musicians would not want to project that kind of thing, and I appreciate that it is a complex and moving thing – many people are not interested in songs that could make them sad and happy at the same time and have to deal with what that brings them. For me, it’s just the reality, and I reflect it in music. I do not see it as objectively good or bad, it’s just like that.

Musically, do you have influences or models? Do you always listen to pop or have you moved on? I find some of your songs very cinematographic, is that part of your influences? (I’m thinking of John Barry for example or a few musicals) How did this taste for the jazz or orchestral ambiances that characterize The Fiction Aisle?

There were some turning points in my writing. I’ve been very influenced by writers Simon Gray and Nicholson Baker in recent years, both using an incredible amount of detail, John Updike as well. I love everyone who can go into the details of something and get something broader and deeper. I feel that it has become something that really interests me and that I always come back to it – something very specific and lyrical in detail, often very personal and perhaps obscure to others, coupled with music that gives a greater scope to interpretation. Alasdair Maclean of The Clientele does it very well, and I am a big fan.

Do you consider The Fiction Aisle a real group or rather a solo project that includes the collaboration of musicians as needed? Electric Soft Parade was the project of two brothers, Thomas and Alex. What is Alex’s role in The Fiction Aisle?

I do not really see it as a group, unless we all play together in the same room. At the moment, the band is made up of six people – all the people who have played on the albums – but whether it’s alone in the studio with my voice and building songs from scratch, or a group of twelve musicians with a brass section, it’s still The Fiction Aisle. So far, Alex has played on the first album, helping with drums and various drums, but he recently joined the band on guitar, so he is currently very involved.

Do you intend to play in France then?

I would love to take the group to France. We are about to tour much more than we have ever done, and this new album was our best in terms of welcoming fans and journalists. We will therefore try to make the group play as much as possible in the rest of Europe. It’s a certainty.

Electric Soft Parade Festival for Music Minds Matter

Sat 26 May 2018 – Circle Arts Centre, 55 North Street, Portslade, Brighton, BN41 1DH. Visit link for more info: Chord Orchard presents a new one-day Festival raising funds and awareness for Music Minds Matter, providing mental health support for the music industry. Featuring: BC Camplight, The Electric Soft Parade, Danny & The Champions Of The World, Diamond Family Archive, Brother Twain, Fierce Friend, The Delta Bell, Hattie Cooke + DJs, fully stocked bar and stalls. TICKETS: eventbrite.co.uk/e/mind-my-music-tickets-42785094369

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New Electric Soft Parade album?

From the Electric Soft Parade Facebook So if Alex and I were to do ESP #5 and fund it through some sort of Kickstarter-esque crowd-funding setup, would you lot support us in that kind of endeavour? We’ve umm-ed and ahh-ed about how to do some new stuff for quite a while now, and this looks like it might be the most feasible way forward. It may even allow us to tour the record at home and abroad, etc etc. We’d start album 5 tomorrow if we knew we could afford studio time and turn out the best fucking record of our career for our none-more-loyal peeps! Whadda y’all think?

The Fiction Aisle – limited download EP

facebook.com/thefictionaisle To coincide with our shows this week (see Facebook) we’ll be issuing a limited download EP featuring a new mix of Blue, along with remixes of the lead track by Acquaintance, JØTA and British Sea Power, available completely free from our Soundcloud page from 28/08/15. It is with great pleasure that we can also announce the upcoming release of our debut album proper, Heart Map Rubric, available digitally worldwide (with extremely limited edition hand-numbered gatefold digipaks available direct by mail order from Chord Orchard), 27/11/15. Pre-orders from late October…

Blue JØTA Remix

goldflakepaint.co.uk Blue announces the arrival of his latest grouping, however, and the track is every bit as searingly sensitive as we’ve come to expect. Shaped by White’s dimmed lead vocal, the track is a nocturnal ode to self-inspection, a darkened unraveling that comes alive under a weighty backdrop of flourishing instrumentation which always treads one step behind the protagonist.

themetropolist.com The Fiction Aisle is a new band, of sorts. If you’re Brightoner though, you might know them. Tom White of the Electric Soft Parade has always been busy, be it playing with Sparks, Patrick Wolf or his own solo efforts. He’s now sitting soft, musically. For all the thrashing we love as teenagers, Tom’s moved, big-time, into an orchestral Burt Bacharach-esque appreciation of lounge music in it’s finest, most stirring, form.

Having previously only teased out a couple of remixes, including one of British Sea Power’s Loving Animals, Blue, the Fiction Aisle’s debut offering – and let’s be clear this is a band, a 10 piece band no less – has the percussive soft salsa-shuffle of Sergio Mendes, the piano tinkles of New York’s early morning cocktail club performers and Tom’s voice croons like Robert Wyatt in a deeper baritone.

Being a 10-piece everything is here; a brass swell, rhythmically plucked guitars, lingering pianos. Yet whilst the band has more than enough capacity for bluster, this is a soft piece. The chorus shimmers… softly. Tom reflects on a love not quite strong enough to endure… softly and without malice or regret. It’s sublime.

Lounge music and the theatre of musicals are maybe niche genres when it comes to the average music fan’s repertoire, but they shouldn’t be. In many respects both are genres in desperate need of resurrection for music’s sake if nothing else, and The Fiction Aisle have the talent to turn an ember into a fire. The Fiction Aisle are a band at the start of an exciting journey, and Tom White a writer moving beyond being a proponent of the zeitgeist into a truly unique voice.

The Fiction Aisle – New Single

The Fiction Aisle – New Single: Major Seventh / Each & Every One Debut AA-side single, released to coincide with Record Store Day 2015. Written by Thomas White. Recorded and mixed at Church Road Studios, Sept 2014 – March 2015. Thomas White: vocals, guitars, keys – Heather Urquhart: vocals – Louis Macgillivray: guitar – Adam Kidd: guitar – Alan Grice: keys – Craig Chapman: trumpet – Gemma WIlliams: clarinet – Holly Fitzgerald: clarinet – Jordan Duggie: bass – Alex White: drums, percussion. The Fiction Aisle FacebookChord Orchard Label

A Promise Kept seems to be also known as Major Seventh.

magicrpm.com And it is precisely The Fiction Aisle that interests us today on the occasion of a brand new single. Openly influenced by The Clientele and Broadcast or jazz luminaries like Chet Baker, Thomas White offers with A Promise Kept and Each & Every One two precious compositions arranged with the tact that is known to him, directing without blinking the nine musicians of his together pop. Another title, Blue, was unveiled last November.

tastyfanzine.org.uk There’s a feel much akin to ‘Mars Audiac Quintet’ era Stereolab when listening to this Brighton combo’s Double A-side header “A Promise Kept”. The climb on this track is reminiscent of some of the music in James Bond’s ‘Moonraker’, especially during the assassination of Drax’s deadly weapon! I’m enjoying the outro of polished sax, which more than suits their wall of sound. Tight rhythms complement the brass section, with spells of what sounds like a xylophone. “Each & Every One” has more of a jazz influence to it. I like the lyrics as they relate to isolation and realism. Ry Cooder springs to mind with this offering and maybe even The James Taylor Quartet. I could imagine this going down well in The Bee’s Mouth on Western Road, so may have to venture to my old place of residence to catch them live at some point.