belle and sebastian safety valve factory

Belle and Sebastian have soundtracked so many real-life depressed teenagerhoods that they practically invented the genre of “songs to stare out car windows to.” This is probably why, in their 23-year tenure as indie-pop royalty, so many movies and TV shows have relied on their songs, from Juno to High Fidelity to “The O.C.” and “Gilmore Girls” and beyond.

Their original film soundtrack Days of the Bagnold Summer will feel familiar to anyone who’s heard the band underscore a dreamy montage sequence. The film, an adaptation of the graphic novel of the same name from rookie director and Inbetweeners star Simon Bird, stars Earl Cave (son of Nick Cave) as a teen equally obsessed with metal and moping in the bathtub. His ennui is only heightened when plans to visit his father in the U.S. are canceled and he’s forced to spend summer vacation alone with his mum.

The soundtrack consists of 11 new Belle and Sebastian songs and some instrumentals, along with “I Know Where the Summer Goes,” from the 1998 This Is Just a Modern Rock Song EP, and “Get Me Away From Here, I’m Dying” off of 1996’s If You’re Feeling Sinister. Also on the album is the ancient and excellent “Safety Valve,” a paean to codependency Stuart Murdoch wrote before Belle and Sebastian formed but had never released. “It’s maybe 25 years old,” he wrote in a press release. “The only time I can remember ever playing it was in a coffee shop with a friend of mine and people scratching their heads.”

Perhaps we live in a time more accustomed to anxiety and excessive emotional dependence on friends, because there’s no need for head-scratching now: The lyrics (“’Cause sometimes I just need a pal/Thanks for being my safety valve… Hey, I’ve been there before/I’ll save you, it’s a serious bore”) nail the feeling of knowing you’re emotionally overburdening a friend but doing it anyway.

Days of the Bagnold Summer’s instrumentals, which comprise the score of the film, are actually are some of the album’s best moments. “We Were Never Glorious,” a greensleeves-y fiddle track, nails the delicate balance of “hopeful yet totally melancholic” and is just the kind of music suited to walking around pretending you’re in a movie.

The new songs, meanwhile, feature a return to form for Belle and Sebastian, whose more recent releases have ventured away from their trademark style of “puckishly depressed” and into explorations of the dancy, the jazzy, and, occasionally, the kinda bad. No one can blame them for wanting to experiment, but it’s good to see they’ve shelved the synths for this album. When you have Belle and Sebastian soundtrack your film, there’s likely a particular sound you’re after, and the band doesn’t disappoint.

The film — a coming-of-age story about a teenager and his mother — marks Bird’s directorial debut and stars Monica Dolan, Earl Cave, and Rob Brydon. The soundtrack is comprised of 11 new Belle and Sebastian tracks and includes deep cuts like “Get Me Away From Here, I’m Dying” from 1996’s If You’re Feeling Sinister, as well as “I Know Where the Summer Goes,” from the 1998 This Is Just a Modern Rock Song EP, and the incredibly rare “Safety Valve.”

Belle and Sebastian just wrapped up a summer tour. They’re currently scheduled to tour in Europe this summer, including a headlining slot at Pitchfork Music Festival in Paris.

Days of the Bagnold Summer is the tenth studio album by Scottish band Belle and Sebastian. Released on 13 September 2019 through Matador Records, it serves as a soundtrack for the 2020 film of the same name directed by Simon Bird.

Album Review: Although it’s been four year since the last full-length album by the indie-pop/alternative band Belle and Sebastian, from Glasgow, Scotland, this new release might not qualify exactly as its latest release, as Days of the Bagnold Summer is a soundtrack album for the film of the same name. The film, described as a coming-of-age comedy, is the directorial debut of Simon Bird, based on a graphic novel that tells the story of a teenage boy forced to spend the summer break with his mother in the south of England. One has to imagine that harnessing one’s musical creativity in service of supporting the narrative of a film forced an artist to flex a completely different set of muscles than they might bring to creating new stand-alone music of one’s own, that grows out of your own life and experience.

For this project, the group’s main vocalist Stuart Murdoch and company have re-re-recorded a couple songs from previous albums. The pop/ballad “I Know Where the Summer Goes” first appeared on the band’s 1998 EP, This Is Just a Modern Rock Song, and the pop rocker “Get Me Away From Here I’m Dying” came from 1996’s If You’re Feeling Sinister. The album’s first single is more of a rocker, “Sister Buddha,” which appears twice on the album, the full-production number sung by Murdoch, and an acoustic, instrumental version opens the album.

Elsewhere, the rest of the album is made up of pop songs and instrumental tracks that were likely created to match particular moments in the film’s narrative. In an interview about the process of writing and recording for the movie, Murdoch mentioned “The Graduate,” so it will surprise no one that some of these songs feel like a Belle and Sebastian take on Simon and Garfunkel’s soundtrack for the Dustin Hoffman classic. “Did the Day Go Just Like You Wanted?,” “I’ll Keep It Inside,” and “Wait and See What the Day Holds” fall nicely in that acoustic vibe. “Safety Valve” is a bit of Scottish folk rock, with a bit of violin, while “This Letter” is a bit of jazz pop, but all the instrumentals, like “Jill Pole, “The Colour’s Gonna Run,” and the album closer “We Were Never Glorious,” which contains some spoken dialogue from the movie, seem designed to work primarily as backdrops to whatever’s going on in the movie rather than musical statements.

Fans of Belle and Sebastian will likely enjoy hearing these musicians apply their craft in this kind of collaborative effort, but given that four years have passed since their last full-length release, How to Solve Our Human Problems (Parts 1, 2 and 3), along with the fine single version of “Sister Buddha.”

Brian Quincy Newcomb has found work as rock critic and music journalist since the early 80"s, contributing over the years to Billboard Magazine, Paste, The Riverfront Times, and The St. Louis Post-Dispatch.

Arriving almost back-to-back with their acclaimed 2022 album A Bit of Previous,Belle and Sebastian return with Late Developers a surprise new album arriving Jan 13th. Recorded during the sessions for A Bit of Previous, the new album is a full-hearted embrace of the band"s brightest tendencies that is not only fresh and immediate but possessing of the groups tuneful ability to be there for you with the perfect word or melody for the moment.

Not only is actor/comedian Simon Bird lucky enough to have achieved his dream of being a director, making his feature debut Days of the Bagnold Summer (due for release next year), on top of that, he also convinced his favorite band, Belle and Sebastian, to provide the soundtrack. The Scottish indie rockers—who formed in Glasgow in 1994 and are known for cutting classic albums such as Tigermilk, If You’re Feeling Sinister, The Boy With the Arab Strap,andThe Life Pursuit—also dug up some long lost (and even one unfinished) vintage rarities for Bird’s film. The band also penned new songs for Days of the Bagnold Summer, which is Bird’s directorial debut after making a name for himself in his native UK as an actor on the hit TV and movie series The Inbetweeners. Based on Joff Winterhart’s graphic novel of the same name, Days of the Bagnold Summerstars Earl Cave (son of legendary rocker Nick Cave and also previously in the Netflix show The End of the F***ing World) as a embittered teen spending the summer with him mum (a librarian played by Monica Dolan of Eye in the Sky) after his father fails to deliver on his promise of a glamorous summer Stateside.

Below, Belle and Sebastian frontman Stuart Murdoch tells us more about soundtracking this coming of age story, along with dishing on what it’s like to have a shout-out in an older time honored flick such as High Fidelity,not to mention naming the moment in Belle and Sebastian’s history that is best suited for its own silver screen treatment.

Stuart Murdoch (Belle and Sebastian): It’s one of a number of songs on the record that are older. One of the things that happened when Simon [Bird] contacted us about doing the soundtrack, I happened to be going through a case from a certain period, around 1994 or so, digging up old songs I had never done with the band before, and that was one of them, along with “Safety Valve.” The mood of the songs immediately gelled with the feeling of reading the comic novel. I didn’t have to do much to that one [“I’ll Keep It Inside”]. The words were intact. But even when I wrote it, it’s the kind of song that came from a mystical memory that probably never even happened from my school days. That’s the songwriter’s privilege. If you have a hazy memory of catching someone’s eye, you can then extrapolate from there.

Yes, that’s very well researched of you! That was one that I could remember in part. It was actually because I was looking for “Safety Valve” that I dug up all these other bits and pieces from right before the band got together. But I found to my disappointment that I didn’t actually have much more than I remembered. I pretty much remembered all that I had, what I’d dug up wasn’t complete enough to fill in the gaps, so I had to flesh that song out a bit for the soundtrack.

I think the film gave me an excuse to do it. It was the perfect match. It was easy and went along with the recording process. We didn’t try too hard, we didn’t try to fill them out with an orchestra or anything. Some of them only have me with a guitar, Dave [McGowan] on standup bass, and Richard [Colburn] tapping softly along softly on the drums. And sometimes you can get a cool sound from that.

Apparently director Simon Bird is a huge fan of your band? And that he insisted on using your song “Get Me Away From Here I’m Dying”? How did it come about?

It was a typical conversation for these cases—he spoke to the producer about getting someone like Belle and Sebastian to do the music. And the producer replied, “Why don’t you just ask Belle and Sebastian?” It’s not like we’re in a gilded palace over here, we’re just sitting around. So I’m glad that he got in touch. It was just a simple phone call, and we met up pretty quickly, and we visited the film set. It was easy. I’m not sure if it was his plan to use our music in the film, but he certainly became attached to it. What often happens when you’re making a film, from speaking to people, is you put in music as a marker and then you can’t get rid of it, it’s hard to edit the song out.

As a fan of your band, he must’ve had an interesting reaction to you digging up old half finished songs like “Safety Valve” and providing them for his soundtrack.

I’d never seen them, though it might’ve been a generation thing because The InbetweenersI know is such a huge show. But I was a fan of his when I met him, because it was clear his sensibilities were in the right place. It didn’t take much convincing for me to get involved, because I liked the comic novel as soon as I read it. The day I met Simon he gave me a copy, and I couldn’t put it down.

I do like comic novels. I don’t read them voraciously, but I’m a big fan of the Optic Nervecomics, because they have so much comedy in them. They have a similar sensibility to Days of the Bagnold Summer.Sort of angsty, coming of age books. And it was just really well written.

I think I could understand him at least. Anybody whose gone through puberty could understand these kind of frustrations. He’s angry at his mom who doesn’t deserve it, she did nothing but bring him up, but his dad left for a more glamorous life, and he was meant to go visit him over the summer, but when his dad cancels it’s when the story begins.

The mom is really the main character. The son acts like a typical angry youth. But it’s the mom who has all the emotional legwork. She plays it beautifully in the film. There’s a lot going on there. The son probably doesn’t think of it but the mom is probably feeling lonely, and is struggling without a partner, and we really get to explore her story throughout the course of the movie.

Yeah we get to see the scenes. We basically saw it, got inspired and record enough stuff for him to work with. It wasn’t like working on a film score, where each piece of music has to fit on a technical level with what’s happening on the screen.

Something like Harold and Maudewas something we talked about a lot while working on this soundtrack. Cat Steven did the music, and I remember reading about the process, he and the writer/director took a whole week before shooting and got a real feel for the movie. So their thoughts and efforts were intertwined. That’s a great benchmark for me, going into a soundtrack project.

Yes, it was a very different project. We came out of the end of that process and were desperate to give our best effort, but the movie was already done and the director just wanted some simple pieces of music for filler, he didn’t need much of what we came up with. So in a sense, we invented our own soundtrack to a movie that doesn’t exist. We made this album based on the movie, with a little of it used in the movie.

This was a more satisfying experience. I mean, I’m fond of the Storytellingrecord, but this was definitely better, to come in earlier before the film was even made. And we wanted to give people their money’s worth, so we packed it full of old songs too.

Lastly, I wanted to ask about your band’s early days, like in 1997 when you recorded music in a church that you were living in. Do you look back on that fondly, or was it tough at the time?

I moved into the church when the band started actually, and it went very much hand in hand with the story of the band at the start. We rehearsed everything there, and because I liked the acoustics we ended up recording there as well, because we were chasing a particular sound. So it was a really interesting time. One of these days I could maybe see dramatizing it. For years I couldn’t even get a band together, and then all of a sudden I had these people, just as I got a job living and working as a janitor at the church; trying to juggle practice with the band while the local retirees had their bridge club in the next room and didn’t want to be disturbed. It feels like a bit of a movie now, looking back.

Like any young rock band, Scotland’s Belle and Sebastian were excited for their first visit to New York. But in some ways, it didn’t live up to one band member’s expectations.

“I think by the time we came to New York, which was like ‘97 or ‘98, we’d already seen Manhattan had cleaned up a lot. Gentrified,” says Belle and Sebastian keyboard player Chris Geddes, a founding member of the Glasgow collective. “I think I was kind of disappointed there wasn’t graffiti on the subway train, kind of like how you see New York portrayed in the movies.”

Despite the kindler, gentler Gotham that greeted them, the indie pop band has made the city a memorable stop on its tours, including a very hot night at Forest Hills Stadium in June of 2018 — “we really enjoyed the vibe of the stadium and watching people in the tennis club at night,” says Geddes — and will return to the area on Wednesday for a show at Brooklyn Steel.

Belle and Sebastian’s most recent traditional, full-length album release came in 2015 with “Girls in Peacetime Want to Dance,” which they followed up in 2018 with three EPs — “How to Solve our Human Problems,” parts one through three. Last week they announced the Sept. 13 release of their soundtrack to the upcoming film “Days of the Bagnold Summer” and shared a single from the album, “Sister Buddha.” The soundtrack work follows on frontman Stuart Murdoch’s 2014 film, “God Help the Girl.”

Visual accompaniment — on album covers and in music videos — has been a cornerstone of the band’s art since 1996’s debut album “Tigermilk” (the cover features a topless Joanne Kenney in a bathtub cradling a toy tiger, photographed by Murdoch). The dreamy, two-tone aesthetic is down to Murdoch’s vision, says Geddes.

“Stuart’s definitely the person who has the visual ideas for each cover,” he says. “I suppose it’s interesting, I think sometimes he consciously tries to do something different. With the one for ‘Girls in Peacetime’ it was a conscious effort to do something a bit more futuristic. I think Stuart’s definitely got a take on life and he’s got a kind of sensibility, and even when he wants it to be different it kind of falls within that field. I feel like with every project he follows his muse, but you always know it’s him.”

“The way the actual image came about was we were filming a video for Isobel’s song ‘Is It Wicked Not To Care?’ and it involved sword fighting,” Geddes recalls, referring to former band member Isobel Campbell. “We got a bit too enthusiastic with the swords, and one of them got broken, so that’s how we ended up with the image. … I didn’t really think about it that much, but seeing a poster of you up on the wall is funny.”

As part of Belle and Sebastian’s North American tour — which starts at Brooklyn Steel — they’ll play their critically beloved “If You’re Feeling Sinister” album from front to back at the Pitchfork Music Festival in Chicago on July 20.

Another important date for hardcore B&S fans — Aug. 8, when the band will set sail from Barcelona, Spain, to Sardinia on the Boaty Weekender, its first waterborne event, with a who’s who of indie rock shipmates including Mogwai, Yo La Tengo, Camera Obscura, Buzzcocks, Alvvays and Japanese Breakfast. Geddes says it’s an excursion they wanted to do “almost since the outset of the band.”

Before we wrapped up our interview, we had to ask Geddes about the song “Piazza, New York Catcher,” from 2003’s standout album “Dear Catastrophe Waitress,” with the key lyric, “Piazza, New York catcher, are you straight or are you gay?” inspired by the Mets legend calling a press conference in 2002 to announce, “I’m not gay,” in response to an item in The Post.

In 2016, Murdoch told Rolling Stone he didn’t know if the Hall of Famer had heard the song. Geddes updates, “I’m not aware of him having any reaction to it or the band.” It’s hard to believe Piazza hasn’t heard the song, but there’s a good chance he’ll hear it if he comes to Brooklyn Steel on Wednesday — which just happens to fall one night after the 2019 MLB All-Star Game.

Two things happened in 2019 that changed my listening habits pretty radically. First I went to Primavera in Barcelona and discovered lots of bands I’d never heard of before. It was also the year I discovered the Feelings show hosted by Michele with one ‘l’ on WFMU. (I’d always loved Shut Up Weirdo, the call in talk show she used to do with her partner in crime Frangry. )

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by Ben HenryBuzzFeed StaffFacebookPinterestTwitterMailLink In case you missed it Kim Kardashian and Kanye West are fighting with Drake on Twitter Roy Rochlin / Getty Images Despite Kanye receiving no response he went on an incredibly long rant spanning a couple of hours where he called Drake out for apparently threatening his family and safety Twitter: @kanyewest Kim also chimed in @ing Drake on Twitter Kim Kardashian West @KimKardashian @drake Never threaten my husband or our family

07:38 AM - 14 Dec 2018 Reply Retweet Favorite Kim Kardashian West @KimKardashian My husband is the most brilliant person, the most genius person that I know

07:38 AM - 14 Dec 2018 Reply Retweet Favorite And Ariana Grande appeared to tell both men to put a lid on it so we could all concentrate on her latest single Imagine which by the way is a bop Ariana Grande @ArianaGrande guys, i know there are grown men arguing online rn but miley and i dropping our beautiful, new songs tonight so if y"all could please jus behave for just like a few hours so the girls can shine that"d be so sick thank u 03:54 AM - 14 Dec 2018 Reply Retweet Favorite Obviously Twitter doesn t need much encouragement to start creating memes and jokes and in no time at all the timeline was full of them @retrosalvador Kanye when Kim fell asleep 05:40 AM - 14 Dec 2018 Reply Retweet Favorite connor tiedt @connortiedt @KimKardashian @Drake “kanye, give me my fuc-“ “KANYE” “MY PHONE GIVE IT BA-“ 08:00 AM - 14 Dec 2018 Reply Retweet Favorite EastCoast @mommabearplus4 So this is going around and its the best yet #kanye #drake 09:20 AM - 14 Dec 2018 Reply Retweet Favorite But amongst all the chaos parody accounts soon began to pop up and insert themselves into the narrative On first glance they look like Kanye s twitter profile often with the same display picture and names But with the parodies tweeting more wild and outlandish jokes by the second many are starting to take them as bible Roy Rochlin / Getty Images So let s have a little debunking session First up I think we can safely assume Drake isn t leaving owl noises on Kanye s voicemail As you can see that tweet comes from an account using Kanye s display picture and name but the handle definitely doesn t say @KanyeWest Twitter: @HDKG Same with these set of tweets so don t go assuming Drake bought his beard and is texting Kim eggplant emojis Twitter: @HDKG But one of the tweets that has caught on and is currently being spread around Twitter is a screenshot of Kanye apparently admitting that Kim slept with Drake twitter

com For those of you who don t know not too long ago there was a theory on the internet that Drake had secretly revealed on his latest album that he was having an affair with Kim Michael Steele / Getty Images The tweet that started the whole thing has more than 80 000 retweets and really set the timeline on fire for a couple of days Tyler Morrison @tmorrison24 Drake’s been telling us for months now he slept with Kim K, we just haven’t been listening - a thread 05:05 PM - 31 Aug 2018 Reply Retweet Favorite I won t get into the theory too deep you can read about it properly here but Kim eventually shut the talk down simply saying Never happened End of story Chris Delmas / AFP / Getty Images So you can imagine why this new tweet which everybody immediately assumed came from Kanye had people reaching for the popcorn However it doesn t appear in Kanye s rant and when you search the words of the tweet it leads back to the same Twitter account which is 1 now private and 2 not Kanye West Twitter: @screwyoumegn But it looks like we have an explanation Screenshots from before the account went private show that it changed its name and picture to impersonate Kanye while still being able to keep the verified tick it already had Ryan Mac @RMac18 A verified user was able to change their display name and avatar to mimic @kanyewest while keeping their blue check mark

04:39 AM - 14 Dec 2018 Reply Retweet Favorite According to the thread a Twitter spokesperson revealed that they d locked the account and made the person behind it delete the offending tweets Ryan Mac @RMac18 A Twitter spox says the account violated the company"s rules around impersonation

co/b2ycVt8CD7 04:58 AM - 14 Dec 2018 Reply Retweet Favorite So one more time for the people in the back — no Kanye didn t reveal that Kim has slept with Drake But is the drama over I m going to say probably not Tap to play GIF Tap to play GIF E! More on this There"s A Conspiracy Theory That Kim Kardashian Is Having An Affair With Drake And It"s WILD Ben Henry · Sept