BRIX & THE EXTRICATED ANNOUNCE NEW ALBUM & UK TOUR

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BRIX & THE EXTRICATED ANNOUNCE NEW ALBUM “SUPER BLOOD WOLF MOON” RELEASED ON 25TH OCTOBER 2019

Brix & The Extricated will release their new album “Super Blood Wolf Moon” on 25th October on Grit Over Glamour Records. They embark on a UK tour from 26th October – details below. Honouring the prolific output that is historically embedded in the DNA of this band, Brix & The Extricated release their third studio album in as many years. 364 days after the release of their second record “Breaking State”, the band have changed gears once again. This album sees the band decimate dimensional boundaries resulting in a body of work that is sure to resonate. Super Blood Wolf Moon is both challenging and addictive in equal measure. This record shows growth of a band who have stepped clearly out of the confines of the shadow of the past. At times it touches on dark emotional pain and at other points reaches euphoric bliss. This is an album that has diversity with a focused thread throughout. The record combines top level musicality with deep hypnotic grooves and elements of unforgiving brutality. As has come to be expected this record is loaded with melodic hooks, riffs and infectious choruses. These musical devices however simply act as a portal to the beating heart of this band which is the art of songwriting itself. The guitar work is at times dangerous, edgy and transcendent. The conversational relationship between Jason Brown and Steve Trafford shows a high level of musical intelligence and an intuitive sense of freedom. The legendary Hanley Brother rhythm section are true to form as the engine room of this band. Additional strings and harpsichord arranged by Sarah Brandwood-Spencer bring a rich spectral elegance. Lyrically Smith Start speaks honestly about the uncomfortableness of depression, drug addiction, death and loss. There is more social commentary on this record than its predecessors with songs like “Dinosaur Girl” (over medicating culture), “Strange Times” (global feeling of despair) and “Wasteland” (climate change and destruction of the environment). Smith Start reflects on pack mentality and the freedom to show your scars in the song “Wolves” and the juxtaposing “Crash Landing” deals with drug overdose and suicide. The album closes with the epic, glorious and deeply moving “The God Stone” which breaks all bounds of expectation.

Track Listing 01 Strange Times 02 Hustler 03 Wolves 04 Waterman 05 Dinosaur Girl 06 Crash Landing 07 Wintertyde 08 Wasteland 09 Tannis Root 10

TOUR

The God Stone UK Tour Dates 2019 26 October Leicester The Cookie 27 October Brighton Patterns 31 October Stoke Sugarmill 1 November Manchester Band On The Wall 2 November Huddersfield The Parish 9 November Hull The New Adelphi 15 November Stockton Georgian Theatre 16 November Clitheroe The Grand 17 November Glasgow Broadcast 23 November Bedford Esquires 24 November Leeds Brudenell Social Club 30 November London The Lexington 10 January 2020 Rockaway Beach

https://www.facebook.com/extricated/

Brix Smith Start is one of the few true female rock icons of the indie and alternative era, an inspiration for generations of women, not just those who play music. Her best-selling 2016 autobiography, The Rise, The Fall And The Rise, detailed a hugely eventful life including the years in which she was married to recently passed Fall singer Mark E. Smith and wrote songs and played guitar in the group. Last year she won the hearts of many BBC 6Music listeners when she spent a number of weeks sitting in for Guy Garvey. Brix currently hosts her own bi-weekly show on Boogaloo Radio called The Brix Show. Steve Hanley released his own acclaimed memoir, The Big Midweek in 2014. It revealed what is was really like to spend 18 years in the Fall, the longest spell of any member of the iconic and influential Salford group. Paul Hanley, drummer in the Fall from 1980 to 1985, released his book Leave The Capital in 2017. Published by Route Publishing, the book explores the history of recording in Manchester and puts forward the argument that Manchester’s unique musical heritage is directly traceable to the 1960s beat-boomers who started their own studios

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