Tindersticks Soft

Tindersticks' 14th album Soft Tissue showcases their exploratory spirit, mixing intimate songwriting with experimental soundscapes. The album evolves from their previous work, balancing introspective lyrics with innovative musical textures. Band members, including singer Stuart Staples, emphasize the collaborative nature of the creation process, fostering a dynamic dialogue that shapes their music. Key tracks like "New World" and "Always a Stranger" highlight this blend of personal reflection and sonic exploration, underscoring the band's enduring ambition and versatility.

Before lockdown halted their tour in early 2020, singer Stuart Staples was already nurturing seeds for a different kind of Tindersticks album. If 2019’s No Treasure but Hope saw these mavens of intimate, expansive mood song rediscovering themselves as a unit, the follow-up reconfigures that unit so that everything familiar about Tindersticks sounds fresh again. Released through City Slang on February 19th, Distractions is an album of subtle realignments and connections from a restless, intuitive band: rich in texture and atmosphere, it lives between its open spaces and filigree details, always finding new ways to connect with a song.

Today, Tindersticks release the four-song See My Girls EP, along with a video for the title track which was created by the Tindersticks’ Stuart A Staples and Sidonie Osborne Staples. The four song EP features a radio edit of “See My Girls,” an instrumental dub version of the track and two new songs - the David Boulter penned instrumental “A Street Walker’s Carol” and “Blood And Bone,” with Sidonie on lead vocals. The EP is a companion to Tindersticks’ 2019 release No Treasure but Hope. The See My Girls EP will be available as a 12” on February 7th in the UK and March 20th in the U.S.

Tindersticks have announced news of their new studio album, 'No Treasure But Hope', which will be released November 15th via City Slang. Three years since their last album proper, singer Stuart Staples decided Tindersticks’ return called for something special. “I felt we needed to be able to make something meaningful,” he says. No Tindersticks album has lacked meaning, of course, but these mavens of intimate, expansive mood song dig deep and diversify beautifully on No Treasure but Hope. Rich in intuitive warmth, lush melodies and an inquisitive spirit, it’s an album that casts a fresh light on Tindersticks’ core qualities, bathed in the glow of a band intent on rediscovering what they can do.

Dès sa première réalisation (le joliment intitulé Monsieur Obsolète de 2003), Jérémie Kisling est salué ici, ou chez lui (la Suisse romande) comme un auteur au sens noble du terme. Deux années plus tard, l’énigmatique Le Ours lui permet de creuser un sillon original, qui l’entraîne jusqu’à une reconnaissance canadienne. En effet boule de neige, il est invité à ouvrir les concerts pour le compte de talents aussi divers que Bénabar, Julien Clerc, ou la première Dame de France, et est appelé, pour une composition à quatre mains, au côté d’Hubert-Félix Thiéfaine qui, en ermite franc-comtois, n’en décèle pas moins l’inventivité là où elle se trouve.

Horsepower For The Streets is Jonathan Jeremiah’s fifth album, his second for PIAS, a label which feels like a good home for a soulful singer linked to a cadre of artists more readily associated with mainland Europe than his own island. So far at least. Much of the new album was written in Saint-Pierre-De-Côle, the countryside beyond Bordeaux, during breaks in Jeremiah’s first tour of France. Long walks and open log fires. You can take the boy out of Brent… and the continent welcomes him with open arms (see also Tindersticks, Scott Matthew, revered across the Channel, where the artistic tradition is less distracted by Londinium hyperbole). The album was recorded in Bethlehemkerk, a renovated monumental church in Amsterdam Noord, with Amsterdam Sinfonietta, a 20-piece string orchestra. There’s clearly a European influence at work here, a bond which has endured.