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Press

"Dreams of slavery and masturbation..."

Interview/live clips with Zwarte Jas New Wave:

Static Magazine, Germany: Interview Aug 10.

Static Magazine, Germany: Artist of the Month feature Jul 10.

BBC Radio 6 - Lauren Laverne's blog Jul 10.

Komodo Rock, Live Review DV8 Fest Jul 10.

Sphere Webzine - Live review DV8 Fest Jul 10.

Of The Twilight, Interview Apr 10.

The Original Sin, Interview Feb 10.

The Original Sin, 'Desolation' Review Feb 10.

Sphere Magazine, Interview January 10.

Live Review, Nottingham Live October 09.

The Guardian, 'The Guide', 26/09/09: Click to enlarge

Freeq Magazine Interview - Click the images below:

'The Mick 45'

The interview with Mick Mercer - click the image below:

'This City Magazine' Live Review

With REM in mind may we present the jury with Simon York, a glam frontman from a time before it became a dirty word and so gloriously made-up, it doesn't just make us jealous, but would likely turn Stipe himself green were it not for the moonheaded frontman's perma-paint. With an act that lends itself so much to the mascared likes of Messrs Gahan, Smith and Stipe, whether York and band Luxury Stranger could carve out their own sound is a doubt banished as they take to the stage and launch into 'Atmosphere' - a Fugazi meets My Bloody Valentine wig-out, via the nihilist anti-rock of early Manics. It's evident they're more than the sum of their influences; 'Elements' is a Spector-produced Public Image jam, while 'Paradise Untouched' and 'Dirt' both strut through an Interpol/Kasabian gangland and what 'Where You've Gone' lacks in the "fairy dust" York seeks, it more than makes up for in the windswept grandiosity of classic line-up Echo and the Bunnymen, before McCulloch went all Mark E Smith. What likely lasts 45 minutes passes in an instant and before we know it, York has removed his guitar and is off the stage; a suitably abrupt ending to a fine evening of tightly woven and impressive performances.

Sandman Magazine Album Review:

Luxury Stranger are a 3 piece from Nottingham consisting of Simon York - vocals, guitars, Chris Ruscoe - bass, and Owen Walton - drums and percussion, they have recently released their debut album 'Desolation'. Luxury Stranger cite a range of influences through the realms of music and art from Joy Division to Baudrillard and as such they produce a dark, rock sound. Upon first listen Simon York's vocals reminded me of Tom Hingley from the Inspiral Carpets, perhaps this is what his solo album would have sounded like.

Opener 'Dirt' is a bass heavy track beginning with a distorted feedback intro before giving way to a pounding bass and enthralling lead with an under-stated rhythm guitar nicely backing up proceedings. Next 'Substance' continues the fast pace but unfortunately the lyrical content seems to suffer as such though the guitars are imposing and threaten to break into 'Love Will Tear Us Apart' with its compressed strumming.

'Marlene' would be an obvious single choice with its sing-along chorus and Interpol like guitars in which the obvious Joy Division influence becomes more contemporary. 'NMQP' continues this pace though it cries out for a hook in the chorus to compliment the impressive lead guitar.

The drumming of Owen Walton is easily shown at its best on 'Paradise Untouched' when you are reminded of Stephen Morris, it does though bode the question as to why he is in the background for much of the album as guitar and bass are most commanding.

Closer 'Don't Go' brings a slow finale with an acoustic guitar and clean lead, again the bass is prominent with a repetitive lead guitar becoming rather enchanting. Simon York vocals are a sleepy and somber delight with The Cure's influence quite evident.

Desolation is overall a striking debut, that anyone who likes Joy Division, The Cure or more recently Interpol should definitely check out.

International Press:

Darkerradio.de

AlterNation.eu

GraveConcernsEzine.com

'Desolation' review by Larissa Wodtke

From 'Condemned to Rock 'N Roll'

"Dressed in Borrowed Time and Finery: Luxury Stranger's Desolation"

Several months ago I found out about a Nottingham-based band called Luxury Stranger via MySpace. Oddly enough, I had already met the bass player, Chris Ruscoe, who happened to be at the two IAMX shows I attended a year ago, but who wasn't in Luxury Stranger yet. The rest of the band is composed of drummer, Owen Walton, and vocalist/guitarist, Simon York, who used to be signed to Roadrunner Records with former band Delirium (and who incidentally is related to William of Orange). They are about to release their debut album, Desolation, which reminds me of my favourite post-punk/new wave bands like The Chameleons, Echo & the Bunnymen, and the Pornography/Faith/Seventeen Seconds era of The Cure (in fact, perhaps I would still be enjoying The Cure if Luxury Stranger wrote their melodies for them), but as much as York's vocals veer into Robert Smith agonized cadences and tones and the occasional Ian McCulloch quaver, they also remind me of the gravelly, masculine posture of grunge and the full bass tonality of someone like Eddie Vedder. Luxury Stranger has also cultivated a rather enigmatic profile via guerrilla marketing; for example, if you were lucky enough to find a Luxury Stranger card lying around, you became an honourary member of the Luxury Stranger elite. After listening to Desolation, it seems the world this elite occupies is one of industrial decadence, like a limousine pulling up to the curb in the Lace Market, offering you a few sordid moments above your station. There is both a sense of dangerous urgency and a doomed despondency, a naked bipolarity that seems too tenuous and tense to last without tearing the narrator in two.

Opening track, Dirt, is indeed dirty in its gritty guitar sounds and self-loathing lyrics. York's delivery of "I'm dirt" ranges from petulant declaration to raspy scream, demanding attention like a dark dare to all the "clean girls." Substance is more punky and angular than Dirt and features verses that are actually reminiscent of Kiss Me Kiss Me Kiss Me Cure and then a poppy, infectious chorus. Inner Eye slouches along like a shambolic shadow in lockstep to ticking, precise drums as though the narrator's wrought desire cannot be unshackled nor diluted in shady alleys. Falling on the punkier side of post-punk like Substance, Marlene has an incredible hook as it conjures up images of a femme fatale worthy of The Blue Angel. Slowing down to a more contemplative tone, Paradise Untouched builds layer upon layer of dramatic sound as escapist promises escalate, dressed in borrowed time and finery. Grounded is one of the most memorable tracks for me on the album with its propulsive guitars and "wrap you up in plastic" refrain; in this song there's an unabashed, transparent revelry in the way human relationships become power struggles of puppetry.

The album then takes a slower, more atmospheric turn. With its echoing drums and gentle washes of guitars, Dreaming Our Lives Away is a moody ballad of romantic intentions that reiterates some of the escapist tendencies of Paradise Untouched, emphasizing a yearning for preserving ephemera, which wouldn't be so precious if it weren't so transient. Item continues the atmosphere of sombre brooding with an insistent lower register that swells like a dirge against the backsliding backbeat as the narrator drags his directionless feet away from the wreckage of his heart that he can now only view as a detached, abstract item. NMQP picks the pace back up again with the plea of "no more questions please" and breezier guitars. The record's coda is Don't Go, a track that begins with a skeleton of acoustic guitar, but which continues to round out its sound and culminates in more wounded self-absorption reaching for the last vestiges of love, or for what would pass for love for any navel-gazing romantic. The naked last breaths that plead "don't go" belie a true vulnerability behind the gothic bravado of the earlier tracks.

In addition to the tracks from the album, I was also able to listen to two bonus tracks (which are currently streaming at Luxury Stranger's MySpace): Completion and Precious For Evermore. The former is a driving melody with a vindictive, vicious vocal performance from a possessive lover - a Phantom of the Rock Opera; the latter is a bass-driven ode to masochistic voyeurism and more need for preservation and possession of an idealized lover. Hopefully, both are to see some sort of official release whether as part of a sophomore effort or as bonus tracks for this debut.

Overall, if you're a fan of the darker, brooding side of post-punk and also into fist-pumping forceful rock, I would definitely recommend Luxury Stranger. Considering I'm in Canada and that there's a low likelihood of my returning to the Nottingham area any time soon, I asked whether I would be able to get some cards of my own to spread throughout Canada. Though the cards were ostensibly sent to me twice, I never did end up receiving those cards, which leads me to believe that I am neither luxurious nor strange enough to be a part of the Luxury Stranger elite. Or perhaps our postal worker is indeed more luxurious and a bit stranger than I thought.

Desolation album review - Sphere Magazine

From Sphere Magazine, December 09:

This material recalls the decadence of Joy Division, Brian Eno and The Cure with a pinch of Siouxsie And The Banshees...sound good so far? We thought so. This type of nostalgia is central to the Luxury Stranger sound – it’s got a mournful temper, and it’s dark and tastefully rocky. Embedded within this quirky sound there exists a deep desire to evoke those old times and to revive the ancient spirit of Goth from the early 80s.

Indeed, there is diverse Jeckyl and Hyde-style spontaneity to this material with dirty guitars plucked with as much venom as if they were being played live. Simon York’s voice is a mixture of Robert Smith and a hint of Paul Banks (Interpol) especially in songs like ‘Marlene’ and ‘Paradise Untouched’ – these are emotionally loaded with individual expression, not that thin squeak like some of the wannabe wave singers today. The group calls The Chameleons an influence, nevertheless on this record we find the Luxury Stranger more powerful. Within the track ‘Item’ they show exciting variations of possibilities to move between a variety of ideas. There’s some simple, but nuanced drumming; and stick to the same formula with ‘Inner Eye’. Last but not least, ‘Don’t Go’ is a wonderful piece of a silent, melancholic balladry - it's very well done.

This is an album for fans of traditional new wave and post-punk. The tunes are warm and wistful; the whole production is homogenous and somehow true in these uncertain times. While there is nothing particularly modern about the music in terms of its influences, the sound still manages to come across as vibrant and very relevant.

This album was created and released exactly a year ago, and we wanted to dig it out, dust it off and give it another spin to remind you to check this Nottingham-based three-piece out. We’ve also had a listen to two tracks from new material that’s being worked on and it moves the LS sound forward. ‘Completion’ veers off in a more electro-orientated direction while ‘Precious Evermore’ digs out some of the group’s more brit-pop style influences including The Stone Roses – totally raw, accessible and emotive. Luxury Stranger are definitely worth your attention.

Desolation album review - Mick Mercer

From Mick Mercer's online journal.

You know the old adage, you wait all day for a ‘Dickensian Mod Band’ and then one comes at once? Well, it has some relevance here, although the astute listener will notice a distinct lack of Mod leverage, or indeed any Victorian influences. That aside, I must say the press release was interesting, and the record totally screwed up my plans for the weekend as I’d intended reviewing something else but this so grabbed me I had to reschedule. In fact this is as good as the Torpedoes and Everything On Black albums, and you hopefully know how good those are.

A weird little trio, then, and it’s particularly interesting that bassist Chris Ruscoe admits to Cure influences because these leak into Simon York’s vocals, although this could even be coincidental as his approach simply doesn’t match Smithsonian intentions, but the result is often as enjoyable. Drummer Owen Walton is also influenced by Dave Barbe of the Ants, so they’re unpredictable if nothing else, and unpredictable is what we like.

Sensibly they kick off with the clanging, meanly driven ‘Dirt’ and no, it’s no Stooges cover but a trucculent, succulent cousin of Kingmaker, trudging then infectiously spreading the infection; guitar dipping and diving behind vigorously melodic vocals, the rhythm steady and guiding. ‘Substance’ is friskier, like spirited puppies left alone in a studio full of old Senseless Things singles. Then a languorous feel infuses ‘Inner Eye’ but it still rotates eagerly because there’s an energy seemingly trapped in everything they do, and being a trio they have that extra layer of oxygen all around them. And perky drums.

‘Marlene’ nosedives intentionally and stylishly to swarm across the ground like an armadillo in a smoking jacket, a hoary guitar grimacing in the middle of a frowning pop song. Then comes Robert Smith’s ghost tottering graciously through ‘Paradise Untouched’ and the chorus creeps quietly up the stairs as The Cure always do, wordy and keeping it eyes on the ceiling. You’ll adore it, for all its historical debt.

‘Grounded’ goes for the raw, spindly approach and then vibrates like a double decker bus traversing a lunar landscape, equally bright and cute. ‘Dreaming Our lives Away’ hugs itself gloomily, thoughtfully subdued, as ‘Item’ is cautious, tremulous and ravishingly pretty even as doomed self-pity scratches from the inside out. The stocky ‘N.M.Q.P.’ scampers off from the start, and then implodes, before the closing ‘Don’t Go’ goes all moodily emotional which is ironically amusing, because the sum of the songs is a lyrical protagonist who sounds right bugger to be hanging around, and yet here he is imploring someone to stay by his side!

Now, while there’s nothing radically new here, they just do the song thing so well and create the sort of record you should, depending on age, be cranking up before going out for the night. It’s one of those perfect life-affirming collections.

A strange luxury indeed.

BBC Interview:

'Introducing Luxury Stranger'

National Gig Guide

"Nottingham new wave/postpunk band with secrets to tell..."

Luxury Stranger are one of those rare bands that spring up every once in a while who keep listeners on their toes.

The name Luxury Stranger first appeared on Myspace in September 2007 when vocalist/multi-instrumentalist Simon York decided it was time to reveal his new work to the world.

Simon York was once in a Nottingham band (Delirium) who were signed to Roadrunner Records however the deal came to an abrupt end when the company's MD was 'moved on'. After a few tour dates with art-glam indie band Mansun, Delirium disbanded leaving Simon to work solo writing music for film and TV. During this time, Simon continued to write mainstream/commercial music some of which turned into the now called Luxury Stranger.

After setting up the Luxury Stranger myspace site, Simon recruited musicians to help take the music out live. After a faulty start, Simon then re-recruited, this time finding the perfect musicians to take Luxury Stranger to the next stage. Using 'guerrilla tactics' to advertise the band, Luxury Stranger has left business cards in various places for people to discover (some of the cards have even found their way to Berlin, Amsterdam and New York). The 'LS' cards state that "if you have found or been given this card then you have been invited to a secret society". Alongside this message is the band's myspace URL. From this campaign, the band have managed to recruit a sizeable (and continually growing) fan base.

Luxury Stranger is: Simon York (vocals/guitars/other instruments), Chris Ruscoe (bass/other instruments) and Owen Walton (drums/percussion). After spending three months rehearsing solidly through the material that Simon had written and recorded under the album title of 'Desolation', Luxury Stranger played its first gig at Junktion 7, Nottingham UK. The performance was electric and turned a few heads locally and within the music industry (more news on that to follow at the Luxury Stranger myspace site).

Luxry Stranger are about to play their second gig at the Maze, Nottingham UK on Saturday, 11th October and more dates are coming in at a reasonable pace.

Luxury Stranger once advertised themselves as a 'secret society'... the society is definately becoming less of a secret.