Amusement Parks On Fire came to prominence in 2004 with the release of the eponymous debut album, conceived and consummated by the then-adolescent founder Michael Feerick and phonically actualized on a shoestring with Nottingham cohabitant Daniel Knowles. Issued on Geoff Barrow (of Portishead)’s Invada label, it was described by the New Musical Express as ‘hedonistic teenage genius’.
A live line-up was essentially performed and extensively performed with the likes of Dinosaur Jr, M83, and dEUS among innumerable other acts of the era. The unit then retreated to Sigur Rós’ private swimming-pool sanctuary Sundlaugin in Álafoss, Iceland to complete the venturesome sophomore release ‘Out Of The Angeles’, during which time they experimented with sleep, food and sunlight deprivation at the insistence of V2 Records. After several years of international incidence, the band crash-landed in Los Angeles in 2009 to make ‘Road Eyes’ with producers Michael Patterson (Beck, NIN) and Nicolas Jodoin (Arcade Fire, BRMC). Again inspired by the locale, the collection was intended as ‘a skewed Californian contemporary-classical’, with Alternative Press defining it as ‘sun-drenched, challenging and gratifying… a near-perfect album’.
Last year, Amusement Parks On Fire returned with their first release in ‘8.8 years’. The single ‘Our Goal To Realise’ saw the British art-rockers reappear with signature songwriting sophistication and sonic scope. All The New Ends seeks to further cement their insignia whilst eschewing genre-tropes and preconceptions of form. Like the expansive concept singles surrounding their second album ‘Out Of The Angeles’, the medium-length format once-again provides the perfect platform to push perceptions and extend expectations.