We're a wild band of mountain kids armed with twangy acoustic implements of trad mayhem and destruction. We're a pro-boogaloo band.

Once contenders for the mantle of Britain’s most self-conscious band — guilty, by their own admission, of pandering to audiences’ tastes following their move from Pompey to London — Hotel Lux have crafted an identity that is truly their own on bold debut album ‘Hands Across The Creek’.
 
But in 2020, the roots of Hotel Lux’s transformation were soon in place. The band’s classic influences — Dr Feelgood, The Stranglers, Ian Dury — meshed with the sounds of artists like Neil Young, Brian Eno and The Waterboys, and, in the end, Hotel Lux found themselves “doing the whole ‘haha, that’s what the fourth album will sound like’ thing” on their first, says Cam.
 
They decamped to The Wirral, with Bill Ryder-Jones (The Coral; Arctic Monkeys) as multi-faceted influences, £20 Casio keyboards and marauding song structures fell into place. Lead single ‘Common Sense’ was influenced by ‘80s group the Beautiful South and inspired by the RMT strikes, trade union leader Mick Lynch, and the media’s treatment of Jeremy Corbyn. It’s a rhythmic anthem full of funk bass, machine gun snares and clattering guitars reminiscent of Television or Glasgow icons Orange Juice. It's the band’s most euphoric and danceable single to date.
 
With ‘Hands Across The Creek’ set for release in early 2023, Hotel Lux look set to become something their early critics might have not foreseen: a band full of confidence, with the ability to transcend their peers and carve out their own corner of British music tapestry.

Max Richter trained in composition and piano at Edinburgh University, at the Royal Academy of Music, and with Luciano Berio in Florence.

On completing his studies, Max co-founded the iconoclastic classical ensemble Piano Circus, where he stayed for ten years, commissioning and performing works by Arvo Pärt, Brian Eno, Philip Glass, Julia Wolfe and Steve Reich.

In the late 90s he worked with a number of electronic artists, notably Future Sound of London on their album 'Dead Cities". He subsequently collaborated with FSOL over a period of two years, also contributing to the albums "The Isness" and "The Peppermint Tree and Seeds of Superconsciousness". Max also collaborated with Mercury Prize winner Roni Size, on "In the Mode".

In June 2002, Max released his debut solo album, "memoryhouse", recorded with The BBC Philharmonic Orchestra. This was followed in March 2004 by FatCat's release of "The Blue Notebooks", with featured readings by Tilda Swinton.

In 2005 Max produced Vashti Bunyan's outstanding comeback album "Lookaftering".

2006 saw the release of "Songs From Before" based on Haruki Murakami texts read by Robert Wyatt. That same year, Max began performing "from The Art of Mirrors", an evolving score to previously unseen Super 8mm films of Derek Jarman.

Max's more recent work continues to stretch the notions of what Classical music is.  ‘24 Postcards In Full Colour’, released in August 2008, is an experimental work made up of 24 composed ringtones.

Max works widely in film music, installation and the theatre, most recently on INFRA, made with Wayne MacGregor and Julian Opie for The Royal Ballet, London. The Ballet was the subject of a BBC 'making of' documentary.

Max was named 2008 European Composer Of The Year for his score to Ari Folman's Waltz With Bashir, for which he was also nominated for the Prix France Musique.

mgmt: max@audisbliss.com

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