This is our first official release from the MinT studio, Fear, unsigned, DIY, #homegrown music. Although we released this a year ago, we had to put the the band on Hiatus since then until a few months ago due to our drummer having an injury. We are now back in the saddle and have new tracks in the pipe line. Check out our VIDEO on https://www.youtube.com/watch?v=3CZgzmg_51o
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fear

Fear

Monday Jam

Dreaming

Original track, recorded and produced at the Mint Studios by Music IN Translation. Poj Pusey - Guitar/ Vocals, Nikki Pusey - Acoustic Guitar/ Vocals, Jake Chambers - Bass Guitar. Produced by Poj Pusey

Summer Salvation

Real Britannia is, as its title suggests, a bittersweet, Potter-esque contemplation of this sceptred but septic isle. Land, as bassist Vanessa Wilson puts it of “knickerbocker glories to Jimmy Savile’s salacious abuse and yet also this green and pleasant land. It’s all bonkers-ly beautiful and harrowing.” Or, as Tiny says, was what it means to British, what that means to people. But also to get to grips with this whole idea of nostalgia; harking back to times that never existed. Things were just as bad and just as good back then; they’re just as bad and just as good today.”

From “No Man’s Land”, triggered by the 80s post nuclear drama Threads, with musical nods to both Pere Ubu and even Jethro Tull, to the single “Kontiki”, whose guitars burst fresh from the cupboards of the late 1990s, to “Soul Girl”, Vanessa’s first ever penned contribution to an Ultrasound album, a motorik, affirmative celebration of a force that will not be denied, to “Asylum”, with its vivid, musty redolence’s of the provinces, Real Britannia is an album that straddles the styles of the late 20th century decades, from segmented Prog to Chicks On Speed-style raw, minimal pop. “It helps the fact that we’re all different ages,” says Tiny. “We all bring something different to the table.”

It’s an album about about low times, bad places yet also propelled, as Vanessa says by “ascension, a feeling of moving towards the light.” It’s an album on which love and care has clearly been lavished, the product of four years of patient architecture, evolved in its own time, wrought outside of the terms and conditions of an increasingly desperate record industry those serious about making music would be better having nothing to do with.

“The music industry gets very heavy,” says co-songwriter Richard Green. “People get very jobsworth about it. We have lot of fun, a lot of laughing, a lot of messing around. It’s not a job. The simple buzz of hearing sounds you’ve made coming out of a speaker.”

The love of the labour is reflected in the vinyl packaging, particularly the glorious artwork of the triple gatefold sleeve, which broadcasts the demand that this album not be merely cherrypicked but treasured as a whole. In that respect, as rocketing vinyl sales demonstrate, Ultrasound are down with the kids. As Tiny says, “You see kids clutching vinyl when they come out of gigs who don’t even own record players because they need something tangible from the experience, in their hands, an artefact.”

What’s more, the album is recorded in analogue; it’s about capturing the vibe rather than achieving some clinical, self-defeating and sterile idea of perfection. 

“You can put fast food in your face quickly but you’ll still feel hungry at the end of it,” says Vanessa. “But recording analogue isn’t just some pretentious gesture against the music industry. It’s nourishing. It’s like a dense weave on a steak. A good quality piece of meat doesn’t have air and water in it - whereas a lot of modern music is full of air and water. Hot air”.

“For us, Real Britannia is about putting the needle on the record and going on a spiritual journey with us into light and dark dreams and wash up on the shores of life somehow changed, hopefully for the better. Music is important to us and to our fans. It is not just a chart obsessed “here today” type thing, but has a lasting permanence – a sense of eternity and something that should outlive us all.”


03 Soul Girl MP01 1

02 God's Gift MP01 1

It has been a tough week, so I sang. Love this song, not really my genre. Hunter Parrish does it so well. Backing track has the wrong key change and tempo at one point! Perfectly Imperfect.

Recorded using audacity

Cover: Beautiful City from Godspell

This is our original xmas song - released for charity November 2016 to support our local community centre - The Lymington Centre. There is also an awesome video we're very proud of at www.musicintranslation.eu
Enjoy!

It's Xmas Don't You Know!

Its Xmas Don't You Know!

remixed by the incredible https://soundcloud.com/ian-o-4

I kissed you on the steps
Above the morning rain
The brandy kick
Begins the trip 
Away from boats and cranes

Onwards onwards
Towards the milky moon
I’ll improvise
The hook and eyes
In the firmament for you

We kissed on the wet grass
Outside the Cloud Hotel
Across the night
The forest cried
this melancholy spell

You kissed me at the gate
And cleared the morning rain
And brandy brave
We catch a wave 
From the people on the trains

Onwards onwards…

you know we were always ticking with the blossom in the trees and so our boots leave the rooftiles of the seashaken house and we move up through the starlings, the weather and the prayers until the town is a map far below that could crumble with a blink, the lights of your eyes, the stars in puddles, and it’s always me and you, always me and you and the milky moon

roses remix

the milky moon - ian:o Remix

Green Grass

Here's a WIP cover of Prince's Raspberry Beret. Hope you like it :)

Raspberry Beret

in the honeysuckle house 
safe from the planes 
that tear down the days on the Hathaway... 
(new E.P. coming soon...)

the milky moon - ian:o Remix

'mingos

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