www.peterloveday.com

past

Peter Loveday's musical prowess spans over 30 years and various points on the globe. He first hit the stage in 1978 in his second hometown Brisbane, in The Supports. The Supports split after a slow, pleasant and unrepeatable tour of North Queensland in a double-decker bus with The Go-Betweens. Peter Loveday then went on to play in a number of bands in Brisbane such as the Birds of Tin before moving to London in 1982, gigging and recording there for the next seven years with the Brisbane-born but London-based band Tiny Town. He then moved to Barcelona and, eventually, fired up the furnaces and took the helm once more to record "A Bend in the Road" (2002), "Sea-shanties for Landlubbers" (2004), "Moving Along" (2006), and "Room at the Inn" (2007).

Peter Loveday inicia su carrera musical con The Supports en Brisbane (Australia), ciudad famosa por haber alumbrado bandas míticas como fueron The Saints y The Go-Betweens. The Supports se separan tras una inolvidable gira por el norte de Queensland en un autobus de dos pisos con The Go-Betweens. Parte de la banda viaja a Londres en 1978 mientras Peter forma Birds of Tin, todavía en Brisbane, tocando allí donde quieran escucharles -clubs de striptease incluídos- y como teloneros para compatriotas como The Birthday Party (Nick Cave) y The Laughing Clowns (Ed Kuepper). Después, Peter hace las maletas y vuela hacia Londres donde forma TINY TOWN, grupo con el que grabará tres singles y un LP. En 1989 se traslada a Barcelona, y en el 2002 Peter Loveday graba "A bend in the road", en 2004 "Sea-shanties for Landlubbers", 2006 "Moving Along" y 2007 "Room at the Inn".

press

room at the inn

A prolific and assiduous live performer, Peter Loveday has the ability to leave his songs at just the right temperature. This Australian singer-songwriter delivers exquisite, crafted pop, graced with acoustic guitar, female backing vocals and the strategic incursions of an opportune violin. The exemplary "Rose-tinted Glasses" and "Room At The Inn" are just two of the many new additions to the repertoire of this outstanding songwriter.

Prolífico y asiduo músico de directo, Peter Loveday tiene la habilidad de dejar las canciones con la termperatura apropiada. El cantautor australiano factura un pop exquisito y bien hilado que agradece el fragor de una guitarra acústica, unas voces femeninas de acompañamiento y las incursiones de un oportuno violín. Las ejemplares "Rose-tinted Glasses" y "Room At The Inn" son sólo algunos de los nuevos botones que cuelgan del cancionero de este notable compositor.

- Dimas Rodríguez - ROCKDELUX

It's always nice when albums tell you when and where they came into being, and when you read this one was recorded in Barcelona on a Sunday in May, it makes perfect sense. It's a wonderfully unpretentious, stripped down collection of songs which feels like overhearing someone on your street strumming an acoustic guitar as the sun goes down. There's an odd 80s alt-rock feel to these songs too and at times it's hard to listen to this album without thinking of The The, since Loveday sounds an awful lot like a less pissed-off Matt Johnson. It's a collection of songs which aren't ever going to change the world, but show a songwriter who's completely on top of their craft who knows how to push the right emotional buttons. Now if you'll excuse me, I'm going to put it on again, fix myself a cocktail and try to persuade myself it's still summer.
Andy Glynn - Tasty fanzine - http://www.tastyfanzine.org.uk

Heliogàbal, Barcelona: Sarah Davison, Andy Gemmell, Peter Loveday and Naomi Wedman

moving along

Este australiano lleva 30 años tocando, empezó como líder de The Supports, luego viajó a Londres [tocó en Tiny Town] y, desde los años 90, se mueve por Barcelona, y toda esa experiencia se nota. Esta hora de escucha lleva a recordar discos de Lou Reed o Leonard Cohen, bueno, cuando no se les va la olla en plan intelectual, claro, algo de lo que no quiere saber nada Loveday que opta por la frescura a velocidad media, que no es poco. Lleva gotas folk.

- Por Paco Ramos - http://www.laganzua.net/

Peter Loveday on lähtöisin Australiasta ja vaikuttaa nykyisin Barcelonassa, Espanjassa. Miehen musiikki on harmitonta maalaisfolkkia, jossa on peruselementit periaatteessa kohdallaan, mutta hyvin vähän siitä jää mitään hyvää mieleen levyn kuuntelun jälkeen. Miehen naseva ja kuiva ääni on ankea yhdistelmä Nick Cavea, Brian Molkoa ja Bob Dylania.
Levyn tuotanto on raavittu jäljestä päätellen kasaan kengännauhabudjetilla. Ärsyttävät epävireiset viulut ja tyylirikoksia tehtailevat bassorevittelyt ovat hirveää kuunneltavaa. Miehen kohtuullisen persoonallinen ääni voi olla jonkun mieleen, mutta tässä osoitteessa se tuottaa kahden ensimmäisen minuutin jälkeen puistatuksia.
Levyn sävellykset ovat vailla persoonallisuutta ja junnaavat pahasti paikoillaan. Samaan kertosäettä hoetaan pahimmillaan kymmeniä kertoja. Jotkut biisit toimivat aluksi hyvin, mutta jossain vaiheessa kaikki ärsyttävät maneerit ja tyylitajun puute saa sormen painamaan nappia, jossa lukee skip. Lisäksi koko biisimateriaali on niin samanlaista, että on todellisia vaikeuksia erottaa biisejä toisistaan.
Pohjanoteeraus on Simple Song, jossa todennäköisesti haluamattaan plagioidaan suomalaisen tusinaiskelmän perussävelkuljetusta, jonka nimeä en nyt saa mieleeni. Olen onnellinen ettei minun tarvitse enää kuunnella tätä.

- Noise Fi - http://www.noise.fi

Now it's not for me to say whether I think it's badass that I keep getting fun records from Barcelona but, well, keep em coming. This one, Moving Along by Peter Loveday is an old fashion lovely record of the ilk made in late sixties New York with Lou Reed on one shoulder and the Zombies on the other. Some gorgeous slide guitar right away floors me and before we're even half way through its easy to see it, well, brilliant. Get it from www.peterloveday.com.

- Shadowplay

Peter Loveday is an Australian displaced and now resident in Barcelona. An interesting starting point, and the music on offer here reflects that dislocation. Some of the songs have that thousand yard stare that come from the very best Antipodean artists including The Triffids and Nick Cave. Indeed, Loveday has live links with Mr Cave and his Seeds, having shared a stage with him. For this album, recorded with a full band, he develops a sound that is rather more fulsome than on his previous collections. Animal comes over like a loaded Lou Reed, which can never be a bad thing. Run has a sweet fiddle and some searching words, whilst the spirit of Gerald Langley from those Bristol Art-Punks the Blue Aeroplanes is also sympathetically resurrected here. One of Loveday's previous bands, The Supports, come to mind in the phrasing of Underworld, while the ballad Boy Found Drowned conjures a spooky Peter Greenaway scene tranposed to Catalonia. This track also conjuring that important afore-mentioned TBS. Certainly, the spirit of a time, though I'm not sure if that is now, is nicely trapped by this collection. Certainly, Peter L is an experienced and astute songwriter and I'd like to catch a live show. Maybe at the next Barcelona Independent Music Festival? Nice thought.

- John Kertland - Tasty Fanzine - http://www.tastyfanzine.org.uk

Two years after "Sea-Shanties or Landlubbers", Peter Loveday -Australian resident in Barcelona for a good number of years- has released his latest offering, "Moving Along". Twelve surprisingly fresh and spontaneous songs that plumb the depths and celebrate the joy of living in equal parts.

- Jordi Nopca - MONDOSONORO

Jubilee Hotel, Brisbane, July 2004: John Willsteed, Peter Loveday, Coojee Timms, Michael Elliott

sea-shanties for landlubbers

Australia, hermosa cantera de estupendos escritores de canciones, es también la tierra de Peter Loveday. De momento, él se exhibe como un dotado y sensible cantautor, con una voz que a veces puede recordar al gran Robyn Hitchcock, y un cancionero que conjuga literatura con cálidas melodías folk-pop. Encantados de conocerle.

- Dimas Rodríguez - ROCKDELUX

Australia, beautiful quarry of stupendous songwriters, is also the land of Peter Loveday. For the moment, he appears as a talented and sensitive singer songwriter, with a voice that, at times, brings to mind the great Robyn Hitchcock, and a songbook that combines literature with warm folk-pop melodies. Delighted to meet you.

a bend in the road

He aquí uno de los tipos con más y mejor prensa de cuantos han pasado por aquí. Tras foguearse en el grupo de post-punk Tiny Town, Peter Loveday, quien acompaña ahora su maqueta en solitario con un fajo de recortes de prensa ('NME', 'Rolling Stone'), viene a confirmar que además de buenas maneras a la hora de releer a Talking Heads este eslabón perdido entre David Byrne y Robert Forster posee un olfato especial para inyectar ambientes campestres a la new wave. Punk acústico. O así.

Here we have someone with more, and better press than many who pass through here. After hanging out in the post-punk group Tiny Town, Peter Loveday, whose CD is accompanied by a wad of press cuttings (NME, Rolling Stone), comes to confirm that, as well as good taste when it comes to rereading the Talking Heads, is the missing link between David Byrne and Robert Forster, with a special taste for injecting pastoral atmosphere into new wave. Something like acoustic punk.

- David Morán - mayo 2003 - ROCKDELUX

GNOMIC IMPORT

As for Brisbane's Tiny Town, a less easily described outfit, and all the better for it. A wise Moodist recently remarked that Australia's isolation yet rabid consumption of Anglo-American pop often leads to misunderstanding of music's original meaning in context. So don't ask me why Tiny Town sound like a version of the Go-Betweens (themselves the result of much absorption of Velvets, Television, Dylan etc), who have in addition clocked various late 60's pastoral West Coast florists - It's a Beautiful Day, Jefferson Airplane maybe. Dense with references sure, but quite an uncluttered, intriguing, even affecting sound results. Geoffrey Titley peppers the beat with stiff-wristed jazz pauses; Lee Bradshaw's keyboards paint some thoughtfully subdued shades; Caroline Bush's viola drones perhaps a touch more Papa John Creach than John Cale; singer-guitarist Peter Loveday chords and croons songs of gnomic import that nonetheless complete an attractively nervous, inward-looking groove thing. Too obsessive to be fey, Tiny Town suggest they're on the verge of confirming that small is beautiful.

- Mat Snow - 5th May 1984 - New Musical Express -

TINY TOWN at THE PINDAR OF WAKEFIELD - London

On this particular night, Tiny Town had reason to be nervous. Not only had they to follow a casually brilliant performance by fellow Australians-in-London the Go-Betweens, but to do so in front of an audience barely numbering 25, two of whom were those young men-about-town John Peel and John Walters. Tonight, charmingly captivating almost despite themselves, they chopped and changed, charging between the Talking Heads (`77) juddering guitar and staccato vocals of their next single, "Living Out of Living", and the elusive Postcard melodics of the closing "Lacklustre". Each piece was endowed with strange strategic violin parts (something akin to Cale's Velvets viola when he wasn't indulging in willful monotony) which slipped over and between the songs' constituents with a reckless inventiveness. Of course, they could be so much better, but even now I'd rather be stirred by these unpredictable precious moments than be soothed by any of those wretched masters of plastic proficiency.

- Chris Heath - 6th October 1984 - Sounds -

discography

peter loveday

a bend in the road - CD - 7 tracks - 2002 Barcelona, Spain

sea-shanties for landlubbers - CD - 11 tracks - 2004 Barcelona, Spain

moving along - CD - 12 tracks - 2006 Barcelona, Spain

room at the inn - CD - 7 tracks - 2007 Barcelona, Spain

tiny town