The Bishops

It’s to The Bishops’ credit that a sound rooted so firmly in the sixties can span decades at the same time.

Excluding opener ‘City Lights’’s Gang of Four post-punk sound and ‘Hold On’s Maximo Park-esque synth, the first half of album number 2 consists of tracks like ‘Nothing I Can Do or Say’;Bishops

reminiscent of a more innocent time, when neatly dressed boys
would bob their heads in unison on family-friendly programming.Bishops

Because of this, it all seems very safe, with nothing to hate necessarily but little to fall in love with either, until the latter half of ‘For Now’ progresses into a more experimental

mindset in an alltoo-short flurry of two-minute psych-pop gems straight from the original Summer of Love. Bishops

A clear progression from their debut, the Bishops now need to leave the 60s.

And, creatively, Nik’s talking about contributing a piece of art to a collaboration the band have in mind with a Japanese clothing label.
“We’ve talked about a collaboration with this designer where we send over some visuals,” Bishops

she enthuses “but we were actually thinking about building something and casting it, and sending over the sections with a diagram of how to put it together,

so it’s like 04 an installation. We’d like to do some more things like that, and
possibly write something for a film, so if anyone’s making a short film out there…”

You’ll not find any visuals at a Factory Floor live show though. Art influences the music but to project imagery over the bands experimental noise-scapes “would dilute both,”

feels Dominic. The music, weird and otherworldly, will be more than enough to hold your attention anyway. It held Bonnie Carr’s of Electricity In Our Homes,

so much so that she made Factory Floor the debut release for her new label, One of One, putting out five-track 12” EP, ‘Planning Application’.

Hypnotically, it loops and, on tracks like the opening ‘Taxidermy’, grooves to
tumbling drum sequences and prepolished Klaxons bass thuds.

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