Appearances of Collections
Released 18th August 2014
All songs written, arranged and performed by Rumour Cubes Joe Bartlett: Bass Jay Malhotra: Guitar, Piano, Synthesizers, Electronics, Shakers Hannah Morgan: Violin, Vocals, Synthesizer Terry Murphy: Viola, Keyboard, Glockenspiel, Guitar, Bowed Banjo Omar Rahwangi: Drums Adam Stark: Guitar, Piano, Vocals, Synthesizers, Electronics
With the wonderful and invaluable assistance of our esteemed friends Clare Andrews: Cornet on tracks 6, 7 and 8 Tristan Back: Cello on track 6 Daniel Bergsagel: Saxophone on tracks 6 and 8 Sam Duckworth: Vocals on track 4, 12-String Guitar on track 7 Fern Ford: Additional Drums on track 5 Arun Malhotra: Additional Guitar on track 4 Jake Meadows: Harp on track 1, Vocals on track 1 Annie Rew Shaw: Vocals on tracks 5 and 7 Freya Rhodes: Clarinet on tracks 2, 7 and 9 Simon Stark: Additional Guitar on track 4
Recorded and produced at Café Music Studios and Amazing Grace Studios by Cherif Hashizume, Mark Sutherland, Jay Malhotra and Rumour Cubes
Mastered at Black Saloon Studios by Mandy Parnell, assisted by Chris Le Monde
The front cover image is based on a photograph of MEGAfon, an artwork by Thomas Klippers
The Narrow State
Released 27th February 2012
The Narrow State was our debut album. It was the culmination of three years of work for the band over 2009-2012. The record built upon an earlier three-track EP called We Have Sound Houses Also, with those songs remixed and partially re-recorded and three new songs recorded.
Recorded, mixed and mastered at Café Music Studios, London. Produced, recorded, mixed and mastered by Mark Sutherland and Cherif Hashizume.
© 2012 Rumour Cubes
Illustrations by Lauren Mortimer. Collage by Steve Willey.
Released 11th June 2012
1871 was written for (and first performed) at an Art Uncut event on 18 March 2011, which was the one hundred and fortieth anniversary of the Paris Commune; a popular uprising that expelled the Government from the city and put it in the hands of the working class.
It features the work of poet Steve Willey, who had this to say about the poem he wrote for the piece:
“The band had come up with the structure of the song before I had come up with any words, and the song’s form was fast and fragmented, but with aching gaps. Once the date of the gig was set the content came from a consideration of the historical constellation of 18 March 2011 and 18 March 1871: an attempt to bridge one hundred and forty years in the empty spaces of a four minute song. I began in the present hoping that the form of the song and the context of the performance would take care of the past. I began to list all the different cuts that the coalition Government had either made or intended to make. I was overwhelmed. There were literally too many cuts to name. The selected list that I assembled read like a systematic attack. The cuts targeted women, the elderly, the poor, and the young, and all but the richest elements of society. It also appeared as a direct attack on language and memory.”