In Colour

Brudenell Presents...

A winter edition of our all-day celebration of some of the best new music around at the moment, In Colour Festival returns to The Brudenell!
SQUID:
Squid have come a long way since forming in 2016 as an instrumental jazz band for a monthly night in Brighton whilst living in cheap rented accommodation across the Sussex coast as they finished their studies. The band started expressing influences from outsider punk to Fourth World, and became known for their chaotic and increasingly incendiary live shows. The band relocated to London to make the most of their burgeoning reputation, and having heard them at the Brixton institution The Windmill, producer Dan Carey invited them to his studio; releasing a string of fine singles on Speedy Wunderground and the Town Centre EP (2019) which cemented their reputation. An album deal with visionary label Warp followed, and the hype grew further.
Their debut album Bright Green Field (2021) arrived as the world was starting to open up after the pandemic and they broke into the top 5 in the UK chart. In 2023 they released their sophomore album, the brooding O Monolith, which took the band all over the world and broke new ground that hardly seemed possible five years prior. Like the bravest sophomore albums, O Monolith charted a trajectory beyond their breakthrough sound, taking the band towards an experimental career ahead. Fans growing with them, disseminated alternative versions of songs and demos in setlists and NTS sessions.
Now on their third album, Cowards, the English art rock quintet extend and explore textures of folk, kosmische, psychedelia, jazz and electronics – hovering at 30,000 feet above distinct tales of human evil: apophenia-tinged songs punched by vantablack comedy.
Squid are Louis Borlase, Arthur Leadbetter, Laurie Nankivell ,Anton Pearson and Ollie Judge.
WORKING MENS CLUB:
Working Men’s Club started life as the sound of singer and songwriter Syd Minsky-Sargeant processing a teenage life in Todmorden in the Calder Valley, writing and demoing in his bedroom, the 18 year old lyricist was armed with a Korg Volca FM synthesiser, a 1986-vintage Roland Rhythm TR-505 drum machine a MIDI sequencer, and a battered MacBook Pro laptop.
The self-titled debut was the album of that year, a refreshing sonic and lyrical breakthrough, top to bottom rigour with influences between Krautpop, Afrobeat, jolting dancefloor energy and the sonics of Cabaret Voltaire. Sell out tours TV appearances on ‘Later with Jools Holland’ Q Awards, and Aim Award nominations soon followed.
Aged 20, he got up and out of the Valley, and follow up album ‘Fear Fear’ was Minsky-Sargeant’s empathetic lyrical reach out following the pandemic of that year, critically acclaimed across the board and with a UK chart place of #11 the album cemented Minsky Sargeant of one of the most exciting and intriguing songwriters and frontmen of a generation. ‘Working Men’s Club’ rounded off their second album campaign with a…