Nightingales Album Art

Last September, after getting the heave-ho from yet another label, The Nightingales decided to go it alone. They recorded a new album at Faust Studio in Germany – they can now count a former Faust member Hans-Joachim Irmler amongst their ranks – and they’ve just self-released it, with as they put it: ‘No interference or outside opinions, no label, no distributor, no catalogue number, no bar code or logo shit, blah blah.’

The album has the defiantly radio unfriendly title of For Fuck’s Sake, and comes in the singular format of a 180g vinyl LP that, since the 9th of April, has only been available to buy at Nightingales live shows.

Luckily, if you want to buy one, they are currently touring and have included two Scottish dates in their itinerary, Glasgow’s Nice N Sleazy this coming Wednesday and the Citrus Club in Edinburgh two nights later.

The album is a thing of genuine beauty and is packaged in a matt varnish gatefold sleeve with five very fine photomontages by David Yates, a massively talented artist from Scarborough, whose work you can see at the top of this post and in more detail here. He’s also a musician and, indeed, his band The Crumplehorns supported The Nightingales in Scarborough last night.

Although formed way back in the post-punk days of the late 1970s, this amazingly enough is The Nightingales’ first ever official promo video. Directed by Nick Small, it’s called Dumb and Drummer:

You were thinking during that that how amazingly cool drummer Fliss Kitson is, weren’t you?

For more on the ’Gales:


The first time I heard Dumb and Drummer was when it appeared on the recent Mojo Presents… Death Disco post-punk compilation that also included tracks like Loadstones by The Fall, Simply Thrilled Honey by Orange Juice and Primitive Painters by indie legends Felt, who like The Nightingales, were formed in Birmingham in 1979.

Featuring the inspired pairing of Lawrence with Elizabeth Fraser of The Cocteau Twins, Primitive Painters became a #1 independent hit in 1985 and was voted #7 in John Peel’s Festive 50 at the tail-end of the year.