IRMA VEP shares video for ‘The Feeling Is Gone’, new album Embarrassed Landscape due 3rd April via Gringo Records

February 25, 2020
Photo credit Moema Meade


Shares video for ‘The Feeling Is Gone’

New album Embarrassed Landscape
Due 3rd April via Gringo Records

Irma Vep is the on-going, evolving main vehicle for polymath musician Edwin Stevens and on his latest album Embarrassed Landscape, due 3rd April via Gringo Records, the project has reached a zenith. 

Primarily recorded in Stevens’s adopted home town of Glasgow over two days with frequent collaborators Ruari Maclean and Andrew CheethamEmbarrassed Landscape is an album that breathes in a fetid skip full of millennial dread, self-effacing anxiety and doubt before exhaling it as heartbreaking songs and ecstatic abandon.

Now he shares a new video for ‘The Feeling Is Gone’ which Director Tim Bishop says is “A fan fiction collage piece about navigating your own mental health to positive places in an environment thats out to get you.”

Of the song Stevens adds “the song was written with an almost identical theme, but instead of Butlins, it was my hometown, Llanfairfechan and I was most definitely projecting my woes onto it at a time when I had a lot of bad mental stuff going on. Moving away helped me love and appreciate the village I grew up in, realising that your world can be only as small as you make it.”

Tour Dates

31st March – Glad Cafe, – Glasgow, UK
1st April – Delicious Clam, Sheffield, UK
2nd April – JT Soar, – Nottingham, UK
3rd April – New River Studios, – London, UK
4th April – Rossi Bar, – Brighton, UK
5th April – Venue TBC, Cambridge, UK
6th April – Soup Kitchen, Manchester, UK 

24th April – Funhouse Music Bar, Madrid, ES 
25th April – Arrebato, Zaragoza, ES
26th April – Freedonia, Barcelona, ES
27th June – Chair de Pule, Paris, FR
28th June – Lille, FR

Following a series of limited releases spread out over the course of a decade, recorded in fits and starts around the United Kingdom as the protagonists wanderlust saw fit, Irma Vep’s 4th album proper presents Stevens’s vision in its fullest and most realised form.

For example, Opener “King Kong” is bold in several directions at once. A pummelling trance spurred on by the endlessly enjoyable interplay between drummer Andrew Cheetham’s free jazz-inflected style and Stevens’s barely contained guitar wildness, the music screes for 6 minutes of transportation on its own steam before Stevens’s vocal even comes in. It’s a ballsy album kick-off that makes complete sense with the opening line: “The longest joke I told / Got stuck my throat / And fell flat on its face / So I wrote this song and I called it King Kong.” It’s 10 glorious minutes that feel like ecstasy, over in a minute, the listener plugged into some universal nirvana.

Immediately after however, on “Disaster” Stevens’s self-examination is forensic, with a lurching songwriting dappled with sparkling guitar work reminiscent of Richard and Linda Thompson’s work on “I Want To See The Bright Lights Tonight.””I Do What I Want“and “Standards” feel like classic songwriting vehicles, featuring extra piano by Glasgow musician “Stevie Jones” and atmospheric violin textures by long time friend and IV collaborator dbh that drip through the cracks in Stevens’s voice.

Perhaps the biggest dichotomy at the heart of Embarrassed Landscape is between the unbridled energy of the songs’ performances, their often bold arrangements and the heartbreaking, darkly funny songwriting at their heart. On “Tears Are The Sweetest Sauce“, a scratchy countrified lilt frames Irma Vep’s mask of twice-removed malice peppered with sweet, twisted observations… “pull an apple from a tree and suck out a worm / let it curl up and die on your tongue.” Stevens paints an uncaring protagonist: “Your tears are the sweetest sauce my love, your tears are what I want. I made you cry / and I know why / your tears are the sweetest sauce.” The tension between the gorgeous resolution of the song’s arrangement and the grimly comic lyrics is palpable.

Closing song “Canary” brings most of these tensions to a sweet end. Within the alternating crescendos of violin and guitar Stevens intones about canaries brushing teeth down sinks, alcohol abuse, ghostly images half-seen through the fog of depression yet saved somehow by the social crutches friends and lovers provide. Embarrassed Landscape feels like the album Irma Vep always threatened to make, by some strange alchemy transforming the anxieties and self-criticisms inherent in the lyrics into a liberation, a letting go, a release from the tensions built up by a life lived full.

Built around the skeleton of Stevens’s songwriting and fleshed out with loose, virtuoso playing, it’s a body of work that could have been the anxious songs of an over-thinker but rendered here Embarrassed Landscape revels in a kind of un-selfconscious confidence. Indeed, various tensions through out the album are constantly revealing. Lyrics are riven with poetic, crushing self-analysis and absurdity only to be performed against a backdrop of trance-rock music skewered with Stevens’s own instantly recognisable guitar playing, a style free and full of fire. Songs wring nuggets of uncanny truth out of prosaic, every day activities while sounding like Rolling Thunder Revue era-Dylan. Songs that seem hewn from some unspeakable personal pain are laced with a disarming streak of black humour, massive, world-ending psych jams that harken to Vibracathedral Orchestra’s wall of sound dissipate into tender songs that deserve to be picked apart and cried to. Tension needs release and here the release needs tension.


1. King Kong
2. Disaster
3. I Do What I Want
4. Standards
5. The Feeling Is Gone
6. Tears Are The Sweetest Sauce
7. Not Even
8. Purring
9. Canary


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