Returning to The Pound on the back of the release of their latest Album… Atomise
The Little Unsaid began life in a tiny West Yorkshire town when a teenaged John Elliott rescued an old PC and microphone from the trash and began making records with them. Since then, with long-time collaborators Tim Heymerdinger (drums), Alison D’Souza (strings and FX), Mariya Brachkova (Moog bass and backing vocals) and Sonny Johns (bass and electric guitar) the band have toured the UK and Europe extensively and self-released several acclaimed albums, before signing with Reveal Records in 2018.
The Little Unsaid released their latest album Atomise on May 24th 2019 via Reveal Records. The twelve new songs by this London/Aarhus based alt-folk-leftfield rock band reflect upon an atmosphere of division and unrest that has crept into everyday life, but John Elliott’s lyrics seek to explore those little pools of light in the darkness; moments of real connection, meaning and magic amidst the chaos.
Atomise was written during the summer of 2018, Elliott shutting himself away from the outside world in a remote rural Pembrokeshire cottage where he recorded rough demos of the entire album on an old upright piano. These demos were later taken to the band’s North London studio where Tim Heymerdinger played drums and Elliott added further instrumentation with recording engineer Sonny Johns (Fatoumata Diawara, Portico Quartet) at the helm.
Many of Elliott’s original skeletal demos were maintained in the final recording sessions as their distinct solitary mood – complete with creaking piano keys and nearby birdsong – had captured something very special. The Little Unsaid violist Alison D’Souza assembled a string quartet in Stoke Newington’s 16th century church to lay down the string parts on “Atomise” and the final mix was created in Oxford by composer and orchestrator Graeme Stewart, whose credits include film music with Jonny Greenwood (Radiohead).
"Bold and different" - The Guardian
"A stunning interpretation of contemporary chaos…a gorgeous whiplash of delirium and hazy reveries" - The Line of Best Fit
"Mesmeric. Atmospheric. Totally beguiling" - RnR (R2) Magazine
"A beautiful, bleak, progressive, symphonic, poetic, technically clever and at times heartbreaking masterpiece" - FATEA