An unwarranted amount of time has passed since I spoke to Tugboat Captain in a booth with a pole in the middle of it ahead of their show at Proud Camden this summer, however, with their new album Everybody Seems To Think That I’m A Raincloud out today it may be, maybe just, the opportune time to share what I have failed to share for so long.
With rotating instrumentation, akin to Gorky’s Zygotic Mynci (bar any pointed reference), the self-described ‘folk orchestra of ruffians’ manages for humour to stay afloat amidst a plethora of sad, sad songs. But to peg Tugboat Captain as a comedy band, would be to mistake antics and clothes for hilarity over seriousness, and this is a very serious band, into dreaming, memeing, scheming*, Reddit threads**/ pickled eggs*** and Jean Shorts****.
It has been since the release of their first LP at the beginning of this year that you can see how gigging has afforded them the opportunity to remove their sound from the bedroom: the one microphone and a laptop set-up typical of the first record, allowing it to be hijacked by onstage revelry (Sloppy Giuseppe : “I think [the crowd] want to see people naked playing the electric bassoon”). The second record follows on from that, it’s as if the band has come home, where the music is still ringing in their ears when their heads are laid down and their eyes shut, back at home for the night where they very much find themselves embedded in reality. That’s what you can hear, the echoing of a playfully married dichotomy between persona and present person lifted from the scraping sentimentality of the songwriting amidst the floating flotsam of cornets, banjos, accordions (The Captain: “and some chanting”). When speaking to them about the shift in sound from the first record to the new singles coming from the second, Tugboat Captain was keen to enlighten and expose every aspect of their process: The Captain: “yeah, the first album was a pretty lo-fi record, but we bought a new microphone.” Lo-fi seeming to be a common thread within indie music, the band instead view it as consequential of their process than of their sound in particular, yet adopting it as their own nonetheless rather than out of necessity.
(We then spoke more, and at quite some length about lo-fi. Tugboat Captain loves lo-fi.)
Sloppy Giuseppe: Lo-fi means you smoke clove cigarettes when producing the album.
The Captain: We only have one microphone at home, so that makes it lo-fi, we record it in our house, that’s how we do it: hazy, dreamy… clove cigarettes.
But [the singles released so far from the new record] do signal a change for the next record, it’ll be a bigger record
Sloppy Giuseppe: We have four separate sticks of different incensed incense.
The Captain: You can actually hear the incense on the record…
So the new record won’t be more hi-fi, it’ll just be better arranged, there are bigger arrangements, the full band is involved.
 
As in the way indie music is a spiritual bedding for self-preservation of the male ego, Tugboat Captain sidesteps associations of being a boyband (despite their heavy male to female ratio), claiming there to be “a little bit of Mrs Doubtfire in all of us”, or being part of the hollowness of nameless gig-culture: four-white-guys-with-guitars. Instead, they’ve made their somewhat cultish indie sound outward facing and warranting of an ego trip.
CitR: Listening to your previously released material it seems to have been rooted in principally singer-songwriter/ boy and guitar mode. How has that evolved to become the raucous six-piece that can be seen at your gigs and on the latest record?Lawrence: Well I mean, we saw The Captain busking on his own and we thought, you know what he needs? A folk-orchestra of (background yelling: “freaks”)… ruffians.
Sloppy Giuseppe: So we’ve now added to the mix spaghetti, electric bassoon, sitar, we’re hoping to get some smashed chocolate cake in, a Black Forest gateaux…
The Captain: Yeah there’s some cornet in there, there are some drums
Honey Glaze: An accordion
Boatswain Joe: And essentially what I bring to the band is a little thing I like to call The Groove. Without me on the drums, I’m afraid that Tugboat Captain would just be wandering the streets of Camden and Shoreditch and Peckham. Just singing… into the air. But then I come down with a hard kick,
And snare.
And everyone knows what the score is.
 
Tugboat Captain is a collaborative band, a coincidental grouping, a cobbled together collection of friends from, they’ll say South London (although from as close to the river as you can feasibly get, take that as you will), “it started off as The Captain choosing a gig to play and just asking his friends who can make it, and people just would turn up with varying degrees of instruments, ideas, skills, clothes and just kind of go on stage and people up till now have been quite keen, on this kind of… look”.
As far as DIY goes, the band has raised the term in status, funding the mastering and promotion of their latest album through Kickstarter, members seem to take it upon themselves to promote their other interests within the grounding of the band. The music videos are the product of Grimshaw Mink, who are in name Jesus Bigboy and Boatswain Joe (‘in name’ being particularly loose phrasing considering the onstage pseudonyms of the band members). As well as creating the cover art for the first record, the t-shirt design was made and hand-printed by Honey Glaze. The art DIY aesthetic has been raised from simply an art school game to serious business within the set-up of Tugboat Captain.
The new record Everybody Seems To Think That I’m A Raincloud (for the uninitiated, Tugboat Captain are a fan of long album titles, even longer track names, but actually quite short songs), is expected to be markedly different from the first record which was released less than a year ago. They’ve got more members now and more fun clothes – although wearing less and less of them. Whereas the first album was a cathartic exercise for The Captain, lonely bedroom confessions told through lyrical musings, this new record speaks of something a little less telling. For one, Tugboat Captain is now a full band/ ensemble, and that collaboration has made its way into the new record in more ways than just sonically. There is a lot more fun to be had with the second record, songs of heartache are restricted to quick torrents of anger as opposed to the meandering lyrical prose the first record made us used to. Everybody Seems To Think That I’m A Raincloud also seems to straddle the gap between the intimate sounds of the first album and the onstage performances that emerged from it. It’s a product of them becoming hyper-aware of their audience, but also able to guide their audience into the sort of music they want to make and play.
When discussing the short gap between releasing the first and this second record, The Captain went on to say that the “first album was made up of a lot of tracks that I’d written a long time ago, I guess it was like the amalgamation of a year’s worth of work. And we just started working on new music, and we want to put a new record out because we’ve been playing live, we sound very different now, we’re a better band, I think in general… we’ve all grown, as individuals, we’ve developed.”
Sloppy Giuseppe: We’ve got some tugs to our boat.
CitR: So how then has playing live, especially with the number of gigs you have put on in the last few months, influenced the music you make, or how you play and perform the music?
The Captain: I don’t think it’s changed the songwriting, it has definitely changed the arrangements, and in the way that we’re now playing with a full band, it has taken into consideration that often it doesn’t translate onto the records how rowdy the shows are, and how involved we are as a group of fans, band members, and other bands who are also involved. So I think definitely in terms of the arrangements and the recording of the new record we’ve looked at replicating that live sound a little more and involve the wider… and new, involve new fans into the raucous environment that is Tugboat Captain live.
CitR: Do you see the varied instruments (electric bassoon, sitar, accordion, banjo, cornet…) as key to the sound of the band, or something novel for the live shows?
Sloppy Giuseppe: No, no
Not at all
The Captain It’s not like an orchestra, it’s just for fun
Sloppy Giuseppe: At the end if the day it’s –
The Captain: Novelty
Sloppy Giuseppe: Yes it is
CitR: Speaking of your live shows, everything about the music from the first album suggests it should translate to anything but the raucous performances that you put on. Has that aspect of performing been planned or has it evolved since starting to perform live and forming the whole band?
The Captain: I guess it happens because of the fans.
Sloppy Giuseppe : I think when you’re playing live you want the people to have a good time, they don’t really want to hear about breakups and heartbreaks, I think they want to see people naked playing the electric bassoon.
The Captain: Yeah I think everyone wants to see that.
CitR: The set up of your live shows, with a rotating crew of members, strikes me as being in the same vein as the collaborative nature of the Falmouth music scene (where members shift between multiple bands). Do you feel that studying in Falmouth influenced the way you now carry out your live shows?
The Captain: Yes, yeah, yeah. I suppose that ethic of rotating the band members and making a big group, that’s a big thing, like multiple contributors, and the shows to always be different. The plan is, if you come to a show, then the next one you come to could be a completely different one, and it could always get more exciting. Every show is a different line-up.
 CitR: So, would you say, considering the difference between them, the records you put out or your gigs are truer to the nature of the band as a whole/ sound of Tugboat Captain?
Honey Glaze: I feel like the band is more like a band of coincidence, which is our aesthetic. It’s like a lot of things are accidents and I feel that’s part of like, the band. We happen to have loads of instruments, and so we just use them.
The Captain: And it’s always exciting, as we’re constantly adding and morphing.
Sloppy Giuseppe: Square-wave Grieg transforms into Greensleeves, which translates into Andrew WK, and that’s just the nature of the party.
The Captain We just want to party hard.
Sloppy Giuseppe: We just want to party hard
And when life’s a pizza you’ve just got to take it slice by slice.
Papa Issac: And you have different toppings
Tugboat Captain’s new album is out now: Friday 27th October, and if you’ve managed to make your way through this article, with snippets from one of the most insightful interviews to this date, then listening to the album will be a breeze (so it’d be foolish not to). Stream it on Spotify, buy it on Bandcamp or Itunes, connect with them on Linkedin, they’ll take it all.
Tugboat Captain, as of today, are on tour, so check their Facebook to see if they’re coming near you (they probably are).
<a href="https://tugboatcaptain.bandcamp.com/album/everybody-seems-to-think-that-im-a-raincloud-bonus-edition">https://tugboatcaptain.bandcamp.com/album/everybody-seems-to-think-that-im-a-raincloud-bonus-edition</a>
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*n.b. The Red Roadie
**DWTWUOMO
***Rider
****I Love My Jeanshorts

Interview: Tugboat Captain

Why does this brush me – grazing me. And it hurts so much. It wears away at my skin, at my throat where I take the sound in gulps, but then I’ll go back for more.
Appointments is so close, it’s so enclosed and so still, it is situation and reflection, and I’m aching from the conversation; all but ruined but all defiant. Feeding into this hope laced around misery, I cannot help but want to take it all in, be all within it.
It is beautiful.
It’s caring, it’s painful.
This single is the most fulfilling entry into a second album after her debut ‘Sprained Ankle’. Holding the holy-than haunting of a hymn, I’m taken by it, completely, what a wholly gratifying, stunning continuation.
If this is your first introduction into Julien Baker, she’s a beautiful musician from Memphis Tennessee, and member of the band Forrister. You’re in for a treat – give her music your time, she is one of my unfailing favourites. Her upcoming album, ‘Turn Out The Lights’, is out October 27th, her first release since signing to Matador Records, and you can find the full track listing for the album on their <a href="https://matablog.matadorrecords.com/2017/08/17/32077/">website</a>. (Also, make sure to check out the gorgeous album art.)
Julien Baker is making her way around our Fair Isle this Autumn/ Winter, with dates including Bristol, Leeds, Glasgow and London, yet for the latter of which: unless you have a ticket by now, the likelihood of obtaining one is slim, as it’s sold out (!) I know. I’m incredibly, incredibly sad.
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New: Julien Baker – Appointments

As far as ambient music stretches, it is to be said that minimalist efforts don’t equate to minimal effort but, more to my greatest sadness, it generates a hit n miss situation: sticky and sad. YET, leaning further across to experimental electronic side of ambient, Zól Bálint layers up sounds so buttery beautiful that the aural tactility splinters my s.o.u.l. The improvisation leading all, tracing over the evolving quality of the sounds that are hitting – ur – ears – and cascading around you in generated whirs, trances you into a weightless lucidity suspended throughout the track’s almost moody muster; moody in the sense it’s beyond you rather than it having sadness levels beneath you.
Further fun to add: Zól Bálint has a wonderful, handy-seeming custom acoustic-electronic guitar allowing for in-the-moment sound manipulation centring attentional focus and directing the track through, narrowing its chances of wandering off, instead adding more wistful interest to my e.a.r.s. ahhh.
Domino is the first track from Zól Bálint’s upcoming Lane Splitting EP which I for one am very excited about, please be too.
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New: Zól Bálint  – Domino

Sad, but not: sad-sad.
Lauren Auder makes cool, cool music: with all its surfacing glitches and wonder.
Pathetic fallacy and the like, ‘Rain’ instantly bringing more dreary associations – there is a bleakness that fills your ears before your awareness catches up to what you are to be listening to. Its tensions are shallowed, surfacing sombreness discerned, but it’s not coated in misery: it’s more affecting than affronting. There is elevation, elevation in realisation or elevation in fragmentation (a lift either way), allowing moments of gravity to righteously fall: as they should. It shakes awareness into you, your conscious state and your listening when edging to a closing it dwells upon, disturbing a set moment with its present utterings.
Also: heroic looking artwork: fun.
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New: Lauren Auder – Rain

Casually Here, a vacant – kinda aloof – sentiment in name, and one half of the Rainer duo, has been making music for several years now. Too many years in fact for the debut album only to be released this September: something I am grateful/ very excited about. I am not bitter about the wait AT ALL.
Tagged as “night bus music”: music for the most intense, movie-like, bus ride of your life perhaps, ‘Burst’ is one of those tracks where you sit there initially for a few seconds with an internal monologue running like so: will there be some form of vocals? Is it solely instrumental? Will vocals ruin it? Vocals may compromise it… let there be no vocals, this is perfect how it is (valid fears it may seem, disregarding the almost vocal-less/ minimal-but-perfect-vocals track record Casually Here has). And then you sit for the next three minutes on the inhale (if you’re me… otherwise you would probably just chill out and enjoy the track), obsessing about the presence or lack of presence of vocals. (Spoiler: there aren’t vocals, my anxious-edge-of-the-seat self was relieved to realise).
Instead, you’re hit by musical mastery and tight production (intense night bus vibes) and a synesthetic visual landscape of sound. The track seems to have been formed by forging together a collection of uniquely concentrated and interesting sounds that blend together, balancing intensity and atmosphere in equal measure, to present the obnoxiously cool ‘Burst’: a track which transports you further than that bus journey home ever could. If listened to under the tag instruction of “night bus music” (which I feel you owe the track to do so) I can almost guarantee you will be that person: dancing to the beat of their own heart/headphones. But it’s the nightbus, so you’ll probably fit in just okay.
Casually Here’s ~~debut~~ album ‘Kept’ comes out on September 25th, but if you just cannot wait until then, <a href="https://soundcloud.com/casuallyhere" target="_blank">Soundcloud</a> can offer you a back catalogue of 4 years’ worth of music from him, including the pretty cool ‘Lonely for Trick or Treaters Mix’, which you can download. !!
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New: Casually Here – Burst

Capturing the fluidity between music and art, film-maker and musician Pablo Nouvelle takes Aurora’s Running With The Wolves to a whole new, ambient, level. Playing with the balance between the tensions and anxieties and the blank spaces of the breaks in the music, Nouvelle injects a layer of artistic originality into what was already an attention-grabbing listen.
A remix of a piece of music made originally by an artist you already have immense respect for is sometimes a difficult genre to navigate, not wanting to invalidate the original credibility of the song. However, in this instance, Nouvelle has served to heighten the atmosphere, working on top of the beauty of the original track. The building up of layers, loops and repetitions results in the music lingering, running into the next beat, the movement achieved almost mesmerising.
The intensity and excitement Nouvelle amplifies within Aurora’s Running With The Wolves, demands much of the track, conveying another facet of the story and mood being told; perhaps even also accentuating the more melancholy dimension of the track – the fear and anxieties originally more latent elements.
Pablo Nouvelle is also a musician in his own right and is playing in Dalston in the next month. And fortunately for you, Aurora is also playing in Shoreditch in June – both of which should be very good if you manage to get yourselves there.
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New: Aurora – Running With The Wolves (Pablo Nouvelle remix)

Obey City AKA Sam Obey AKA one of the founders of the record label Astro Nauti AKA signed to Lucky Me  (already = good start) has dropped some pretty epic… sizeably ambiguous – nonetheless exciting, tracks onto Soundcloud.
I don’t know what Obey City is exactly up to lately, the track titles “<a href="https://soundcloud.com/obey-city/wt-e">W?T?? ?E?</a>” and “<a href="https://soundcloud.com/obey-city/w-ae-w-o">W??? ??A?E W? ?O</a>” are certainly cryptic, to say the least. Yet, the certain ambiguousness, giving no prior context or suggestion for what is to come, is fairly exciting. Not that a track title is ever a reasonable suggestive of a piece of music, because it’s not: at least not in the way a title can be for more linear forms of expression, but leaving this already vague element to music even vaguer did its part to peak my interest.
Shifting slightly from previous works like ‘Champagne Sounds’, these uploads are still heavily experimental, the latter track of which I can only (and I don’t want to say it) say is almost funk(y). Self-described as “influenced by my surroundings to influence my surroundings”, this track/ fragment is s.m.o.o.t.h: bringing you up with features of (almost) nostalgia and then running right through you. The overlapping of audible elements is briefly unsettling, but as soon as you can recognise that, it’s over; all in its charm I guess.
Whatever’s going on here is exciting, that’s all I’m really able to establish at the moment. So I’m excited to get more from Obey City, and hear some more of thee stuff that he’s working on that is sure to be hitting our ears very, very soon.
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Introducing: Obey City

Immense is surely the only word fair to accurately describe the new track from Lupa J. A classical violinist with an emerging penchant for spiralling synths and ghostly beats, Virus is an upwards journey into the realms of “electronica, folktronica and indie pop” (Triple J Unearthed) for which it knows no bounds. It almost catches you by surprise; with every break the track gives more, adding more layers in order to form a complete multifaceted, multi-genre artistic piece. Lengthened and then pausing, Virus isn’t one to play softly to the listener, it is… immense, and it won’t wait for you, fooling you through its melodic tones, but all the while putting forth this vastly enthralling, all encapsulating sound, strengthened by the hollowness of those shatteringly beautiful vocals. It is indeed a step up from the previous releases, and hopefully a positive indication of the (I won’t say immense again) things to be expecting from her.
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New: Lupa J – Virus

Let Go is an infinite track (and has become the adopted soundtrack of my life as of late.)
It is immensely understated and isolating, giving out what appears to be only a fragment of its full capacity. It is laced with darkness and subdued and silenced by itself, but it is boundless: a collection of sounds which come together to form their own world, of which we have only been allowed a slight glimpse into. 
Bruised Skies’ music evokes the imagery its name puts forth; it is battered and hollowed, transparent in nature, yet a mighty, impactful force to be reckoned with. As to rest of their story… it all remains pretty ambiguous. This collaboration with Morsø: undoubtedly young, but undoubtedly talented, proves to be a worthwhile match: each pinpointing an aspect to emphasise within the other, and drawing out the subtleties which fuse together to make the track what it is:
(infinite)
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New: Bruised Skies – Let Go ft Morsø

Delicate in nature and carefully centred around the elusive understated strength that Rae Morris’ voice holds, Skin is an introspective track encircled with a shattering, entrancing edge. Balancing, careful so as not to give way to the true extent of her power, it washes over you – bells, strings and all – echoing grace into every crevice of the track. 
With its haunting presence, capturing your breath for a full 3 minutes and 41 seconds, Skin keeps its focus with the alternating chimes, heralding back to childhood haunts and music boxes. But the intense message that the song brings forth breaks any conceptions that this is in any way shape or sort an amateur piece… that despite her 19 years of age, Rae Morris is a fully developed artist with several demos and EPs already included in her litany of achievements; with a forthcoming album soon to cause inevitable waves. 
This new track is miles apart from what I would have ever expected in my wildest wishes for Rae Morris when first hearing her supporting Tom Odell back in May. 
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ 
Rae’s unmistakably raw and effortless voice is also that noticeably un-Bombay-Bicycle-Club voice featured on their new track “Luna”, complementing, and completing the track and indicating big things to come for her which with knock her out of current near-obscurity. 
Skin is also a free download via Soundcloud, what else do you need as an incentive?
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New: Rae Morris – Skin

Lorde has evidently and unapologetically created some of the most incredible music of 2013, and although under normal circumstances it would be almost inconceivable for me to suggest listening to anything other than her original, sobering, silencing vocals… it does appear that Lorde produces the perfect sound which beckons successful remix after successful remix. 
Ryan Hemsworth is the Canada-faring DJ/producer whose works always seem to be around, and who always, unquestionably delivers. His remix of Ribs by Lorde breaks down and fractionises the song, so that it is undoubtedly Lorde, but with some overtly ethereal elaborations – obviously down to the “Let’s have a sleepover” treatment… whatever ever that beauty is.
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New: Lorde – Ribs (Ryan Hemsworth remix)

Averting attention away from itself, yet subconsciously enticing the listener to experience something that is knowingly unobtainable to them, is a skill that Broken Twin has mastered and brings to her new recording, the sombrely titled Sun Has Gone. 
Sun Has Gone has an acute awareness of itself and of what it presents to the listener with its impeccable timing and conscious, melancholy focus; whilst still remaining restrained enough to present itself as modest. Broken Twin’s music – with its belated release of energy and tension – is used as a means only to tell us of her story, a story underlined with grief, but outlined with beauty; as her latest track evidences.
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New: Broken Twin – Sun Has Gone

Unfolding to the sound of a dreamy, honest narrative, Female‘s Clouds is a lesson in pure, sobering reality making a track all the more enticing.
Driven by a shattering beat, the clean, yet undeniably complex, makeup of the song is testimony to the skill possessed by the 17 year old Melbourne-faring guy behind the pseudonym.
With his Study EP set for release later this month and even more promising collaborations lined up for release at a later date, Clouds is just the beginning for Female. But it’s also the perfect primer to the intricacy of Female’s music, where the modest makeup of the track is used to take the listener to a new, heightened level.
Incredible.
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Crack in the Road

Interview: Tugboat Captain

Julien BakerAppointments

Zól Bálint Domino

Lauren AuderRain

Casually HereBurst

AuroraRunning With The Wolves (Pablo Nouvelle remix)

Introducing: Obey City

Lupa JVirus

Bruised SkiesLet Go ft Morsø

Rae MorrisSkin

LordeRibs (Ryan Hemsworth remix)

Broken TwinSun Has Gone

FemaleClouds