Released on 23rd June. Featured on Spotify's New Music Friday UK & Fresh Finds UK/Ireland editorial playlists & broadcast on Radio X + BBC Introducing Lancashire on the weekend of release.

Led by wild and captivating front-man Fred Farrell, “Saytr Play have a burgeoning reputation for delivering a live show that’ll leave your jaw on the floor, ears begging for more” (This Feeling, Gigslutz). Over the past few years the band have sold-out several headline shows at some of Manchester’s most iconic music venues as well as appearing at YNot?, Kendal Calling, 110 Above and Great Escape Festival. 

Receiving playlisting from Radio X, Spotify (New Music Friday UK, Hot New Bands, Indie List) Amazing Radio and BBC introducing, the band have racked up over a million streams on Spotify & a dedicated fanbase. 

Following their hiatus, Saytr Play came back this January with singles, 'like a Ghost', 'Crowded Room' and 'Serotonin Serenade' amassing over 80k streams on Spotify, BBC Introducing support, playlisting on XS Manchester and national radio coverage on Radio X. Off the back of this success, Saytr Play sold out their hometown headline show at Manchester's Deaf Institute a month in advance. Saytr play release 'The Butterfly Stitches EP' on 23rd June.

“Behind the uptempo backdrop of chiming catchy guitars and choral vocal harmonies, Butterfly stitches is a story of being in love in a small town where everybody knows everyone’s business & the idea that the initial butterflies you have towards someone eventually leave scars”

Butterfly Stitches

'Underworld' - Track 03
BARGAINING

(Instrumental by Tykun II)

Insecure

Human Rain Delay is an EP consisting of reworked versions of songs recorded at various points over the last ten years or so that never found their way onto a record. If that makes them sound like sweepings from the cutting room floor then, well, there's probably some truth in that. But having gone back to them I think they're worth putting out into the world anyway. Hopefully you'll agree. On Repeat has been sat on my phone as a rough demo for years. I'm fond of it, but it never seemed to quite fit with previous collections of tunes. The Final Hit is a tune originally intended for the album Out Beyond the Radar that I never got around to finishing until now. One Twenty Four is new and was originally going to be on a new album called Free the Night which will definitely be coming out this year (I've been saying that now for three years, but this time I really mean it). Human Rain Delay is a song I recorded 10 years ago and if you dig around in the Victory Kicks back catalogue on Bandcamp you can still find that version. This one isn't much different, but it does have a backing vocal cameo from my sister - thanks Harriet. And for anyone wondering, Human Rain Delay is one of the many phrases from baseball glossary that I'll probably end up stealing for a song title. It was coined for former Cleveland Guardian's first baseman Mike Hargrove, each of whose plate appearances took roughly the length of time it will take you to listen to these four songs.

Human Rain Delay [EP]

The Final Hit

Produced, recorded and mixed by PROJECTOR
Mastered by Katie Tavini 
Out now

chemical - PROJECTOR

At The End Of The World

flakebelly // dandelion

https://linktr.ee/flakebelly
https://songwhip.com/flakebelly

(P) 2023 flakebelly - all rights reserved
(C) 2023 flakebelly - all rights reserved

Dandelion

Buy Me Here!

Sweet Like Rosa

You niggas listen to this hit🔥💪I can rap and there's more on the way 🎶

Here's the rapper(Freestyle).mp3

Xtreme Krell Gestures

All is fine, when I close my eyes
And keep dancing though the night
All is fine, when I close my eyes
And keep dancing though the night

All is fine, when I close my eyes
And keep dancing though the night
All is fine, when I close my eyes
And keep dancing though the night

It ended somehow, but we kept going
It ended somehow, but we kept going
You lost your soul, but you kept going
You lost your soul, but you kept going

Just keep dancing through the night
Just keep dancing through the night
Just keep dancing through the night
Just keep dancing through the night

All is fine, when I close my eyes
And keep dancing though the night
All is fine, when I close my eyes
And keep dancing though the night

All is fine, when I close my eyes
And keep dancing though the night
All is fine, when I close my eyes
And keep dancing though the night

Just Keep Dancing - (Outro) (prod. thayerperiod)

What if this is it

Indie, Acoustic & Psychedelic music from The Western Isles of Scotland.

Hidden away in the windswept landscapes of the Outer Hebrides, flakebelly shapes songs that wander between psychedelic indie rock, folk-jazz, and the quiet strangeness of the everyday. Acoustic warmth, blues-stained guitars, jazz-streaked piano, and dreamlike textures fold into each other, creating music that drifts between clarity and haze.

His track In Parks Of Tall Trees found its way to Tom Robinson’s BBC 6 Music Introducing Mixtape, a small ripple in what has become a steady tide of restless ideas. From first picking up a guitar in the late 90s and stumbling through those formative songs in the early 2000s - many of which later resurfaced on Apprentice Green - flakebelly’s path has been one of constant diversion and reinvention. The early singles collections - The Orkney Tapes (2022) and The Christmas Morning Outcome (2023) - were restless, experimental documents of sound-searching, sketchbooks where ideas were tested, broken apart, and pieced together again in the pursuit of a voice. Those experiments fed directly into the indie-folk EP Behaviours (2022), the rough-edged Lo Fidelity (2024), and the kaleidoscopic album Apprentice Green (2024), described by SNACK Magazine as “like being Alice in Wonderland, transported through a maze of moments in flakebelly’s imagination.”

Now comes The Boy In The Diving Bell - out now - a 17-track reckoning with past ghosts, unfinished business, and the fragments of memory that refuse to settle. It is a psych alt-folk soup of acoustic laments, fractured tape loops, and warped dreamscapes. Much of the sound was dragged through the teeth of a battered 1960s reel-to-reel, used not as a recorder but as an instrument - reels halted, jolted, rewound, coaxed into blurples, screeches, and ghostly echoes. Mistakes are left in, first takes are preferred, imperfections celebrated. The result is an antidote to the sterilised sheen of digital perfection and the creeping spread of AI-reproduced music: deliberately irregular, defiantly human.

The Boy In The Diving Bell is only the beginning - the first of three interconnected albums, the demos for which are already written. Yet even as that arc unfolds, flakebelly has begun detouring into a very different landscape: a new project built from vinyl samples, drum loops, and dirty guitars driven through vintage outboard gear, cassette recorders, and battered mixers. It is dark, abrasive, and deliberately uncomfortable - sound pushed to the point of collapse, distorted tape glued together with transformer saturation, live mixes through old delay units, dials twisted until frequencies scream. If The Diving Bell trilogy is haunted by memory, this parallel work dives into raw sound destruction and the strange beauty of degradation.

True to his solitary instincts, flakebelly writes, records, and produces everything from his home studio. The result is music that feels lived-in and handmade - always shifting, never fixed, and forever searching for new shapes in the sound.

All socials: @flakebelly //

"Extensive and wildly eclectic sonic adventures" - Tom Robinson, BBC 6 Music

"flakebelly is ultimately the sort of the artist we need more of – a genuine weirdo-auteur carving his own path purely for the love of the game." - Lewis Wade, Is This Music?

"Refreshingly individual and very likeable" - Neil March, Trust The Doc Media

Dandelion

flakebelly

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