Electronics-hardware synths and IOS apps only,no computer used!

Black and White Memories Ignited by the Scent of Springtime (w/ Lila Tristram) out now:
https://thelastdinosaur.bandcamp.com/album/black-and-white-memories-ignited-by-the-scent-of-springtime-explode-in-colour

"As if airing some precious lost and unmixed tapes from a recently discovered secret studio session involving Vashti Bunyan and guest players that Ivo Watts-Russell once conscripted from his extended 4AD family for This Mortal Coil albums." Concrete Islands

"This album is wistful and downbeat, yet comforting and captivating. It's a beautiful work of art, and a wonderful display of musical talent. Brilliant stuff." Fog Songs
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The Arteries of New York City self-titled album:
https://thearteriesofnewyorkcity.bandcamp.com/album/the-arteries-of-new-york-city

“A soundtrack to a movie whose images have been deleted” Marc Masters (Pitchfork, Bandcamp) - Best of Bandcamp Experimental
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Wholeness (released 2020): https://thelastdinosaur.backl.ink/wholenessalbum

"Wholeness is wonderful. Rarely has sorrow sounded so seductive." Elizabeth Alker, BBC Radio 3

"A deeply personal record and all the more affecting for it." Electronic Sound

"A very personal & artistic triumph, ‘Wholeness’ shimmers and dazzles like no other. Truly outstanding."
★★★★★ Get Ready to Rock

"The ultimate message of the album is that hope remains possible even in the hardest of circumstances. Demons can be conquered, at least for a time, long enough to declare the essential goodness of life." A Closer Listen

"Wholeness speaks to the heart with unrelenting intensity." Echoes and Dust

"This follow-up is poles apart from its predecessor. To use a Talk Talk analogy, if The Nothing was the semi-mainstream The Colour of Spring, Wholeness is a leap into Spirit of Eden/Laughing Stock territory." No More Workhorse

"Prepare yourself for a timeless moment of twenty-six minutes of delicate reverie between trembling folk, orchestral, and rainy ambience."
★★★★ 1/2 Sound of Violence

“Life is a muddled melting pot of uncertainty, joy, emptiness, confusion, hope and longing, one that we only drift through for a brief time before realising that everything is temporary and there are no real answers, and this album is no different.”
82% Belwood Music

"Wholeness is an acknowledgement that a human’s state is always temporary and mostly random, whilst at times exponentially breathtaking."
7.5 out of 10 Live4Ever
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The Nothing (released 2017): smarturl.it/TheNothing

"Elegiac, cathartic, rewarding, and beautifully moving."
★★★★ Uncut Magazine

"A labour of love about life's transience and fragility."
★★★★ Mojo

"An extended meditation on life, death and memory."
★★★★ The Independent

"This profoundly personal album will linger long."
★★★★★ Music News

"All told, it’s the kind of record you could obsess about; the kind of record you’ll foist on friends, music that you know you’ll be playing months from now. Highly recommended."
★★★★ The Skinny

"Poignant."
★★★★ Classic Pop

"A wide-screen dreamscape of a record, brimming with emotion without ever becoming maudlin."
★★★★ NARC

"It's one of the albums that just needs to be heard."
★★★★ Norman Records

"An outstanding second album & mesmerising musical journey."
★★★★ AmericanaUK

"To say this is one of the best albums of 2017 doesn't do it any justice. It's beautifully written & composed, from its delicate atmospheres to its sweeping harmonies and bright, elaborate arrangements. One of the most accomplished indie folk albums you'll come across this year besides Father John Misty's Pure Comedy."
91% Sound & Silence

"It's soul bearing, heart wrenching & most importantly; breathtakingly honest. These qualities are the hallmarks of truly great artistry and Jamie Cameron has firmly cemented himself as a time transcending artist of impeccable quality."
The Line of Best Fit

"The Nothing manages to be elegant without pouring into the lachrymal or the neurasthenic. And just for that, it deserves all your attention." TSUGI

"The Nothing is an album of transcendent beauty and is one of the finest pieces of music I’ve had the privilege of reviewing."
93% -Belwood Music
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Hooray! for Happiness was home recorded + released April 2010. Listen: smarturl.it/hoorayforhappiness

BBC 6 Music "One of the most underrated bands in the country."

Uncut Magazine "An album that's warm, engrossing and impressively original."

The Line of Best Fit "One of the most refreshing, creative and inventive records of the year."

4or The Record "This is a masterpiece, and each second is a reminder of that"

The 405 "One of the most refreshing, original and gratifying records of the year."

God Is In The TV "Hooray! For Happiness is a revelation."

Echoes & Dust - "Filled with moments of startling beauty and gloriously melodic melancholy."

[For enquiries about my BBC Radio Wales music show, please email my BBC email address... you can easily guess it. Music submissions for the show should be sent via the BBC Introducing Uploader (please). I can't guarantee that I'll see messages sent via Soundcloud - thank you.]

The Immediate are a three-piece indie, power pop band from Mold in north Wales.

We release our Mold EP on Friday 3rd March 2017. The EP will be available to buy on limited edition CD and digitally via bandcamp / iTunes etc.

Mold features 4 brand new recordings, 3 of which are exclusive to the EP.

Lead track, What’s The Matter Kevin Jones?, is a song about some of the kids we went to the Alun School with, who weren’t as fortunate as us and didn’t make it into their 30’s. 

Light Dimensions is the first song we wrote when we reconvened after a long hiatus.

Manbuoy is the title track of our forthcoming debut album, however it does not feature on the album itself. It’s a mostly spoken-word piece that exaggerates all of its writer’s worst qualities.

Mold was recorded at Orange Sound Studios in Penmaenmawr, North Wales by Russ Hayes, who has worked on recordings by Peaness, Campfire Social, Kidsmoke, Catfish and the Bottlemen and Billy Bibby and the Wry Smiles.

The sleeve design was done by Paul Maurice from Wrexham. It’s a detail of Shire Hall, the brutalist former seat of Flintshire County Council that sits on a hill, above Mold town centre.

The Mold EP will be launched at a hometown gig at Theatr Clwyd, Mold on Friday, 3rd. March. We’ll be joined by our friends Campfire Social and Skellums. Tickets are £7 and available here:

https://www.theatrclwyd.com/en/whats-on/headliner-rock-night/

Mold EP tracklisting (r/d 3rd March 2017):

1.	What’s The Matter Kevin Jones?
2.	Light Dimensions
3.	Tremble
4.	Manbuoy

If you have any further enquiries, please contact:

theimmediateband@gmail.com

http://facebook.com/theimmediate
http://twitter.com/the_immediate

There is a YouTube video telling the story of the band so far, here:
https://www.youtube.com/watch?v=EtERsE3ihDg

We originally split in 1997 due to frustration, an argument over a mouth organ and the success of Stereophonics.

We released one single (unaccountably popular in Sweden), made every conceivable mistake in the How To Be A Successful Indie Band handbook, toured with some excellent bands (Mansun, 60ft Dolls, Dodgy) and flickered out, leaving behind the memory of some great gigs, a few fine songs, and little else.

In March 2016, we reconvened to repair friendships and renew tinnitus. New songs came much more easily than the old ones, probably because we are playing to please only ourselves - with no thoughts of success or acclaim - for the first time in our existence.

There is more truth and resonance in our songs now than ever before. And power. And invention. We write songs about hope and love in the face of the moribund, daily grind. 

You will possibly hear fragments and echoes of the following artists in our sound (The Jam, Wire, XTC, Pixies, Badfinger, REM, Dr Feelgood, Small Faces, Husker Du, The Who, Ride, Big Star, The Cure, Joy Formidable, The Go-Betweens, Teenage Fanclub), but nothing has been plagiarised or misappropriated to mask a deficiency of our own ideas.

The Immediate are a three-piece power pop band from Mold in north Wales.
We originally split in 1997 due to frustration, an argument over a mouth organ and the success of Stereophonics.

We released one single (unaccountably popular in Sweden), made every conceivable mistake in the How To Be A Successful Indie Band handbook, toured with some excellent bands (Mansun, 60ft Dolls, Dodgy) and flickered out, leaving behind the memory of some great gigs, a few fine songs, and little else.

Earlier this year, we reconvened to repair friendships and renew tinnitus. New songs came much more easily than the old ones, probably because we are playing to please only ourselves - with no thoughts of success or acclaim - for the first time in our existence.

There is more truth and resonance in our songs now than ever before. And power. And invention. We write songs about hope and love in the face of the moribund, daily grind. 

You will possibly hear fragments and echoes of the following artists in our sound (The Jam, Wire, XTC, Pixies, Badfinger, Dr Feelgood, Small Faces, Husker Du, The Who, Ride, Big Star, The Cure, Joy Formidable, The Go-Betweens, Teenage Fanclub), but nothing has been plagiarised or misappropriated to mask a deficiency of our own ideas.

Our new EP, Shadows and Ghosts (available as a free download via: http://theimmediate.bandcamp.com from Friday 2nd September and on CD from Whipcord Records) smoulders with melodicism, melancholy and power.

We hope you enjoy it.

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Antonymes : In Formation

Antonymes music emerges from the adjustments and erasures of ambient, the pace and persistence of minimalism, where music expresses nothing but itself, from the serenity and austerity of Morton Feldman and the profound prettiness of Harold Budd, from the relationship between continuity and repetition rather than of contract and interplay, from secrecy, from quietness, from pause, from thought, from emptiness, from time, from far off, from itself, from where it is set and where it is setting off to.   
 
“My chief aim is to make a piece of music. You make it for yourself firstly, and then if other people want to join in, then there we are.”
 
Antonymes makes music at the edge of, and deep inside, and from above North Wales, which you can think of as a very real place, available to be visited at any time in the solid present, and also as a very strange, fantastic, ultimately unreal place, which is all it has ever been, legend, spirit, mist and fluctuating stillness stretching back to a time and place where it was seemed like the beginning of a dream, one that would always become another dream, and another, and so on. It’s worth mentioning that Antonymes is of North Wales: to take an approach to the music understanding the location where it was made up and produced, to approach the music as if it is the beginning, or the end, of some kind of map, that will take you up mountains, across streams, to the sea, where the tide comes in, and the tide goes out, under the waves, through the woods and into the obscure wilderness that stretches between one patch of land and another, between one village and the next. So: Antonymes, of North Wales, recalling the lines of the great North Welsh poet RS Thomas, “to live in Wales is to be conscious at dusk of the spilled blood that went into the making of the wild sky, dyeing the wild rivers in all their courses.’
 
Formed at some point during 2008 by designer, photographer, conceptualist and musician Ian M Hazeldine, as a group that could contain just himself, and others when it seemed appropriate, Antonymes first album was titled ‘Beauty Becomes The Enemy of the Future’. Released initially on David Newlyn’s Cathedral Transmissions label in December 2009, and as a self-published book in spring 2010. A second 2010 release, ‘31: Before The Light Fails’, was released as a digital download and as a special box, an edition of one, containing music and photography, representing Antonymes fear and suspicion of the herd mentality. The piece consisted of two tracks to be played simultaneously in separate rooms. One review described the work as “a daring and inspired exercise in creating a timeless work of art.” Various pieces by Antonymes have appeared on compilations produced by Soundcolours, Dezordr, Cathedral Transmissions and Audio Gourmet.
 
Antonymes music is made up, something coming from nowhere, with no clear sense of what might happen next, and yet a vague sense of what might happen after that. It begins at the piano, where notes, space and intention, and something of the soul, and the mind catching itself combine over time, until a shape appears, which suggest other shapes, and lines, and something else, an anatomy, the lateral spread of a single surface, and a shadow or two. A composition, the result of a mystical sequence of events involving improvisation, imagination, presentation, communication, intuition and manipulation, has been completed. It is the improvisation, certainly, more of Pauline Oliveros, Terry Riley, Alvin Curran and La Monte Young than jazz, the patient, probing occasionally accidental forming of structure, tension and atmosphere around spontaneity and a form of focussed daydreaming, which is a near relation of a form of praying.

Paul Morley, January 2011.

London based record label, home to Beach House, Father John Misty, Midlake, John Grant, The Flaming Lips , Susanne Sundfør and many more...

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