THE BURNING HELL
RELEASE DATE: JUNE 24
SECOND SINGLE: "BirdWATCHING"
RELEASED: MAR 7/2022
FIRST SINGLE: "Bird Queen of Garbage Island"
RELEASED: NOV 1/2021
upcoming SINGLE: "Nigel the gannet"
RELEASE date: may 2/2022
ABOUT "NIGEL THE GANNET"
The Burning Hell preview the upcoming and highly anticipated opus/epic Garbage Island with a sweet-hearted examination of the life of an individual in society, a world filled with good intentions but inevitable misunderstandings. It just so happens that it’s the story of a bird: Nigel The Gannet. Gently referencing XTC’s own Making Plans for Nigel, but trading the capitalist alienation and dread for a warmer new wave of synth hooks and programmed swing, The Burning Hell celebrate the loner, the non-conformist, and a life on the edge, aware of the difference between being lonely and being alone.
Nigel the Gannet animated music video by band member Ariel Sharratt.
Youtube Link (UNLISTED UNTIL MAY 2):
Artwork bY EMMIE TSUMURA
PHOTOS bY GRAEME PATTERSON
FULL ALBUM STREAM
ABOUT GARBAGE ISLAND
The Burning Hell is the ongoing musical project of songwriter Mathias Kom and multi-instrumentalists Ariel Sharratt and Jake Nicoll, often including additional comrades and collaborators. Their densely populated genre-shifting songs are packed with an abundance of literary, historical, cultural, and pop-cultural forebears, heroes and villains, subjects and objects, stories and hooks. They move with heavy rhyme and a light step, incorporating a frequent fixation on apocalypse and ruin into work that celebrates participation in a mutually created, ever surprising, delightful, and even occasionally beautiful world. Which is to say they’re good dance partners and they want to dance with you.
The Burning Hell are DIY in the best possible sense—underlining the “Do”—their albums and singles manifesting from the edges of the music industry as collaborations with independent labels and publishers, and their years of touring forming connections person by person, show by show, in town after town. They’ve famously ventured to every out-of-the-way island and inland neglected by the less adventurous, emphasizing presence and connection across latitudes, longitudes, and time, affirming a commitment to the political power of sharing music. It is a profoundly optimistic gesture delivered by way of killer tunes, exuberant hooks, and joyful live performances.
'Garbage Island,' The Burning Hell's newest album, will be released on June 24 2022 on You've Changed Records in North America and BB*Island everywhere else.
During that first pandemic summer, I walked down to the shore every morning and watched the seabirds shriek and dive. Despite their constant scavenging and my own beachcombing, the ocean was always redecorating the rocks with more old lobster traps, buoys, plastic water bottles, bits of rope, and other ambiguous treasures, like a broken claw machine spitting out knick-knacks at a child who had already claimed her coveted stuffed dinosaur and didn’t want to play anymore. I was reminded of Garbage Island, imagining a volcanic mountain of trash rising from the ocean, perhaps playing host to colonies of screeching gulls or harbouring post-apocalyptic pirates. Also known as the Pacific Trash Vortex, Garbage Island is, in reality, an enormous mass of floating marine debris, mostly microplastics, trapped in an endless gyre by ocean currents. There are no pirates living there.
The image of Garbage Island wouldn’t leave me alone, and somewhere in the dark, soupy brain-place that songs come from, a world began to emerge. A world made from the flotsam of our lives, the ultimate repository for the human race’s epic collective moulting season. A world where birds reasserted their prehistoric dominance, a world where new forms of plant life sprung up, leaves veined with translucent plastic. There were humans in this world, too, but not many. Those that survived relied on endless improvisation, the ingenious repurposing of whatever physical scraps of the old world they uncovered in the elastic soil of their island refuge. Their main pastime: birdwatching.
Garbage Island is an album about what we lose when things fall apart, and what we can gain from collaborative regeneration. It takes place in this crumbling near-future world that bears a distinct resemblance to our own, beginning with the violence of collapse, loosely chronicling the escape of the album’s unnamed protagonists on a pedal-boat swan, as they trade doom for danger on their way to a future home built from the detritus of the past.
Along the way, the album narrates both the need for action and the joys of refusing the hustle, imagines a futuristic nostalgia for the days of post-apocalyptic touring life, celebrates escape and solitude, and concludes with the hesitant suggestion that the end of the world can’t last forever. The songs feature the omnivorous genre-bending and rapid-fire surrealist lyricism the band has been known for in the past, but while there is humour and playfulness in abundance, there are few jokes. It’s either the darkest record The Burning Hell has made, the most reassuring, or the most fun. It might be all three.
Making a record about a future world of disintegration and renewal while the real world seemed to be collapsing around us felt right. Ariel Sharratt and I were locked-down on our farm on PEI, forced to embrace the slowness, patiently collecting sounds and ideas, orienting ourselves toward process. With tours perpetually cancelled, rescheduled, and cancelled again, we reconnected with the primal urge to simply make music, rather than perform or manage it. Our collaborator Jake Nicoll was stuck in Ontario, where he had been visiting his dad’s farm when the pandemic was declared, but he was able to cobble together some forgotten recording gear in an abandoned sheep pen, and we started sending tracks back and forth.
This is the first record the band (Mathias Kom, Ariel Sharratt, and Jake Nicoll) has engineered, produced, and mixed entirely by ourselves, and time and distance allowed us to revel in the slow joy of collaboration and discovery, a joy that leached out onto the tapes and circuit boards. Our comrades in St. John’s (Darren Browne, Jud Haynes, Kelly McMichael, Krista Power, and Mara Pellerin) contributed musical brilliance, and cameos from Ariel’s brother Jesse and her dad Steve enrich the album. We painted over our usual canvas of bass, drums, and guitar with a homemade dulcimer and glass harmonica, ASMR-inspired breakdowns made from the sounds of actual garbage, watery synthesisers, harmoniums, woodwinds, and field recordings of oceans and bird sounds contributed by supporters all over the globe, which stitch the songs together as the album transitions from the end of the world to “The End of the End of the World.” As the first snowdrops emerged in the spring of 2021, what was becoming Garbage Island was mixed in a 1970s camper trailer Jake had spent the winter converting into a mobile, solar-powered recording studio.
BiRD QUEEN OF GARBAGE ISLAND
VIDEO By GRAEME PATTERSON
July 8-10 - Vancouver Island Music Festival
July 28 - Halifax NS - Bus Stop Theatre
Sept 17 - St. John's NL - The Rock House
Sept 21 - Charlottetown PE - Trailside Music Hall
Sept 23 - Montreal QC - Ursa
Sept 24 - Toronto ON - The Baby G
Sept 28 - Nürtingen DE - Provisorium
Sept 29 - Prague CZ - Kampus Hybernská
Sept 30 - Vienna AT - Replugged
Oct 1 - Fürth DE - Badstr. 8
Oct 2 - Dresden DE - Ostpol
Oct 3 - Berlin DE - Kantine am Berghain
Oct 5 - Hamburg DE - Molotow
Oct 6 - Hanover DE - Feinkost Lampe
Oct 7 & 8 - Bremen DE - Schule 21
Oct. 11 - Rotterdam NL - Koffie & Ambach
Oct 11 - Nottingham UK - The Old Cold Store
Oct 13 & 14 - Glasgow UK - The Glad Cafe
Oct 15 - Newcastle UK - The Cluny
Oct 16 - Halifax UK - Town Festival
Oct 17 - Manchester UK - The Deaf Institute
Oct 18 - Bristol UK - Strange Brew
Oct 19 - Lewes UK - Lewes Con Club
Oct 21 - London UK - Bush Hall