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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.

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.

Frontman Stuart Murdoch encourages strength and sunny optimism in Belle and Sebastian’s new single “Sister Buddha.” The track will be featured in the Glasgow band’s score for Days of the Bagnold Summer, out September 13th.

The monochrome video features a woman getting up out of bed, buttoning her overalls and putting on roller skates that glide her along as she hoists a silver serving tray up in the air. “Step across the lonely threshold of your selfish mind,” Murdoch tells her. “And embrace the loving goodness of your human kind.”

The directorial debut of actor-comedian Simon Bird, the soundtrack also features some Belle and Sebastian deep cuts, including “Get Me Away From Here, I’m Dying” from 1996’s If You’re Feeling Sinister.“Simon was adamant he wanted to use it,” Murdoch said in a statement. “He’s a proper fan of the group.” Also included is “I Know Where the Summer Goes,” from the 1998 This Is Just a Modern Rock Song EP and the incredibly rare “Safety Valve.” “That one’s ancient,” Murdoch says of the latter. “It predates the band; it’s maybe 25 years old. The only time I can remember ever playing it was in a coffee shop with a friend of mine, and people scratching their heads.”

The band kicks off a summer tour tomorrow in Sheffield, England. They’ll hit the U.S. on July 10th at New York’s Brooklyn Steel, playing major cities across the country including Boston’s House of Blues on July 13th and Chicago’s Pitchfork Festival on July 20th, where they’ll play If You’re Feeling Sinister in its entirety.

Belle & Sebastian have composed the soundtrack for new film Days of the Bagnold Summer. The film, which is based on the 2012 graphic novel by Joff Winterhart and directed by Simon Bird (The Inbetweeners), is not out till 2020 but the soundtrack is out September 13 via Matador. It includes 11 new Belle and Sebastian songs, as well as re-recorded versions of “Get Me Away From Here I"m Dying” (from If You’re Feeling Sinister) and “I Know Where The Summer Goes” (from This Is Just a Modern Rock Song EP). “Everything we do that becomes an album is a big deal for us,” says Murdoch. “We’re quietly pleased with how the collaboration went, but the truth is that you don’t know what’s going to happen when it goes out into the world, and people hear it," adding, "The whole thing with music is to make a good moment better. Deeper, more thrilling, more heartfelt.” You can check out the video for "Sister Buddha" below.

If you"re unfamiliar with Days of the Bagnold Summer, it"s a coming-of-age story "of a heavy-metal-loving teenager’s holiday plans falling through at the last minute, leading to him having to spend the summer with the person who annoys him most in the world: his mum" and stars Monica Dolan, Earl Cave, Rob Brydon, Alice Lowe, Tamsin Greig, and Elliot Speller-Gillott.

Belle & Sebastian will start their North American tour next week which includes a NYC show at Brooklyn Steel on July 10 with Barrie (tickets). They"ll also be at Pitchfork fest where they"ll play If You"re Feeling Sinister in full. All dates are listed below.

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.

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.

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