Like a storm brewing over their native Cumbrian fells, experimental post-rock outfit Seven Seals are ready to unpack lashings of atmosphere and raging intent with the first single from their ‘lost’ album Owl Cage – an exploration of new love via posthumously found sounds and a lesson in the importance of finishing what you started.

No sooner than 14 years since the initial conception of Seven Seals’ eagerly anticipated debut album Owl Cage, Manchester label Cosmic Glue’s relentless persistence to entice the band out of hibernation has paid off. Simon (vocals, synths, percussion, songwriting, production, lyrics), alongside John Powney (vocals, drums, percussion), Jay Glover (vocals, guitar, synths, songwriting, production), and Jim Tyson (bass, vocals) returned to Yorkshire’s Loom studio with producer Grant Henderson (Noel Gallagher), to hone a fresh release capturing the sound of a countryside band who take positivity from nature, whilst sharing their wide-eyed look at the world. “I love the idea of being like nineteenth century romantics The Lake Poets… but musical,” tells Simon.

Lost tapes belonging to former Lush drummer Chris Acland transformed Seven Seals from satirical screwing around to serious musical proposition. A part-time postman, the songs sound tracked Simon’s deliveries around the Cumbrian dales; Television, Bauhaus, The Slits, Gang of Four, The Birthday Party and more, all seeping into Seven Seals’ consciousness. Cuts of Peel sessions introduced bands like Red Lorry Yellow Lorry and then, there were the girlfriend tapes. “I’ve no idea who this girl is, or if there was more than one compilation maker, but one made a number of cassettes of country and bluegrass, George Jones, Jim Reeves, and Burl Ives.. We love and thank her for this.”

Fiery transmissions with thrift shop controlled chaos, the band mix prog-rock and prog-pop alongside post-punk and the 90s sounds discovered in their teens. Books like This Band Could Be Your Life and Get in The Van opened up the 80s US Hardcore scene where Black Flag, Fugazi, Hüsker Dü, and even The Jesus Lizard were thrown into the Seals’ explosive and atmospheric mix. “I like the ideas of apocalyptic music and trying to cheat death, Ingmar Bergman’s The Seventh Seal is amazing,” says Simon of the Swedish fantasy film noir, hinting at the origin of their name.

Bleeding with excitement from the Scouse scene, Bikini was produced by friend and connected Merseyside scenester Yorkie at Liverpool’s Highfield Street Studio. It captures fast times supporting Space and Shack with visits from Echo & The Bunnymen’s Will Sergeant and Pete Wylie. Just as Seven Seals’ Instagram is a litany of old set lists, illustrations and DIY home videos from back then, the record traces their spiritual homes in Cumbria’s foothills around Shap Fell, moments in time when they’d share drinking dens with fellow Cumbrians British Sea Power and Wild Beasts, or create first demo EP As Above So Below in the back room of Kendal’s 500-year-old pub The Fleece Inn. “We recorded on laptops and made videos there. Hung out. The ghosts made us feel welcome,” Seven Seals have arrived revived, back from the dead.

Bikini is accompanied by a new music video made by Bristol street artist Usedpencil, using video footage from the bands studio sessions and a Manchester gig. It explores some of the key themes behind Bikini including nuclear testing at Bikini Atol & decisions in environmental policy & love.

The video features a guest appearance from ‘Aleister Crowley; a figure of inspiration for the band during the making of the forthcoming ‘Owl Cage’ album, with Armadillo being a particularly Crowley inspired track on the LP themes of
destiny, will & sex magick are also echoed in Bikini