13 Songs, 50 Minutes

EDITORS’ NOTES

On Strange Pleasures, the London-based duo Still Corners interweaves disco, new wave, and Southern California pop influences with a very modern sensibility. The band’s sophomore project favors clean-edged guitar lines and swirling synthesizers, giving Tessa Murray’s winsome vocals a silvery aural patina. There’s an ‘80s pop sensibility here that recalls everyone from Fleetwood Mac to Mr. Mister, along with a moody sensuality suggestive of Selebrities and Chairlift. Organic and artificial textures merge to create a spacy fairyland that's at once sinister and inviting; it's heard in the tingling washes and billowing rhythms of “The Trap,” “All I Know," and similar tracks. Producer/chief songwriter Greg Hughes backs Murray with austere Krautrock beats (“Berlin Lovers”), gleaming synth backdrops (“Future Age”), and slow, eerie atmospherics (“We Killed the Moonlight”). Though radiating an ethereal presence, Murray reveals a yearning, almost desperate edge at times, cutting through the robotic throb of tracks such as “Beatcity” with palpable desire. Here, Still Corners does it all with a blend of studio precision and darkly obsessive emotion.

EDITORS’ NOTES

On Strange Pleasures, the London-based duo Still Corners interweaves disco, new wave, and Southern California pop influences with a very modern sensibility. The band’s sophomore project favors clean-edged guitar lines and swirling synthesizers, giving Tessa Murray’s winsome vocals a silvery aural patina. There’s an ‘80s pop sensibility here that recalls everyone from Fleetwood Mac to Mr. Mister, along with a moody sensuality suggestive of Selebrities and Chairlift. Organic and artificial textures merge to create a spacy fairyland that's at once sinister and inviting; it's heard in the tingling washes and billowing rhythms of “The Trap,” “All I Know," and similar tracks. Producer/chief songwriter Greg Hughes backs Murray with austere Krautrock beats (“Berlin Lovers”), gleaming synth backdrops (“Future Age”), and slow, eerie atmospherics (“We Killed the Moonlight”). Though radiating an ethereal presence, Murray reveals a yearning, almost desperate edge at times, cutting through the robotic throb of tracks such as “Beatcity” with palpable desire. Here, Still Corners does it all with a blend of studio precision and darkly obsessive emotion.

TITLE TIME
6:14
3:09
3:30
3:26
3:16
2:34
3:03
2:30
4:05
4:24
3:18
5:12
6:07

About Still Corners

With influences that span the spacy experiments of the United States of America, the expansive, cinematic sounds of Ennio Morricone, and glamorous '80s synth pop, Still Corners is the project of Greg Hughes and Tessa Murray. The group formed shortly after Hughes, an American expatriate, met Murray by chance at a London train stop. Eventually, Still Corners became a quartet with the addition of members Leon Dufficy and Luke Jarvis, and released singles and EPs including 2008's Remember Pepper? and 2010's Don't Fall in Love. In 2011, they signed to Sub Pop, which released their full-length debut, Creatures of an Hour, that year. By the time of their second record, 2013's Strange Pleasures, Still Corners were down to the duo of Hughes and Murray, and had ditched the '60s influences in favor of a slicker, more '80s-inspired sound. To record their third album, Murray and Hughes moved from London to the English seaside; inspired by the water's intense color, they named the set of songs Dead Blue. The album, which featured the Brian Wilson-inspired single "Lost Boys," was released on Still Corners' own Wrecking Light Records in September 2016. ~ Gregory Heaney

Top Songs by Still Corners

Top Albums by Still Corners

Top Music Videos by Still Corners

Listeners Also Played