The Joy Formidable

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At a Glance

Formed: 2007 (7 years ago)


Biography

BIOGRAPHY JUNE 2010
Some things are just meant to be. Thus it was that Ritzy Bryan and Rhydian Dafydd met at school and discovered their shared love of music. The pair, opinionated and deeply in love with the whole idea of being in a band, started to spend time at North Walian music mecca The Buckley Tivoli, gaining inspiration and experience from the procession of touring and local bands that took to the stage. With Ritzy’s parents enormous, exhaustive record collection delivering an encyclopaedic library of popular music in all its forms the die was cast. Nevertheless, in an otherwise ... Read more

BIOGRAPHY JUNE 2010
Some things are just meant to be. Thus it was that Ritzy Bryan and Rhydian Dafydd met at school and discovered their shared love of music. The pair, opinionated and deeply in love with the whole idea of being in a band, started to spend time at North Walian music mecca The Buckley Tivoli, gaining inspiration and experience from the procession of touring and local bands that took to the stage. With Ritzy’s parents enormous, exhaustive record collection delivering an encyclopaedic library of popular music in all its forms the die was cast. Nevertheless, in an otherwise provincial, sleepy setting, itchy feet and a fleeing were inevitable; Ritzy to Washington DC and Rhydian to Manchester, where they enjoyed separate but strangely parallel journeys as singer songwriters. It was a single phone call that reunited them, this time they would write and record together.
Back in North Wales a flurry of early recordings revealed a voice emerging; the beauty of their surroundings against the sadness of personal circumstances tugging conflictingly in their songs and selves. They decided to move, choosing London as their new home and a base for their live aspirations.
With Matt Thomas on drums, a conjoint surrealist and raw, forceful drummer, The Joy Formidable thrived on the live front. Soundscape layers spiked by the nakedness of a 3-piece, gargantuan, clamorous bass and guitars that come in waves laid down a musical bed on which Ritzy’s voice could seethe and coo in equal measure. Little wonder that early shows gained the band a well deserved reputation as a band you had to see, pushing The Joy Formidable into the public consciousness from the very beginning. With a sound that melds the huge expanses of their native Mold countryside to the hectic nature of their new domicile, The Joy Formidable create a music that is by turns sublime and gothic, punctuating passages of sheer beauty with shards of dissonance and anger, a new loud quiet dynamic for a new decade.

The move to London also determined a working ethos that survives to the present day. The band’s bedroom is a chrysalis that mutates daily from sleeping quarters, to studio, to workshop. It was here they recorded the singles ‘Austere’, ‘Cradle’ and ‘Whirring’ from their 8 track CD ‘A Balloon called Moaning’ - a defiant release of optimism against their own heavy hearts - and it is here that new single, ‘Popinjay’ and the forthcoming debut album are being put together by the trio, independent of any outside influence.
Having sold out multiple UK tours throughout 2009 and taken to the road in this country in support of the likes of Editors, this self contained band, recording studio, label and design company in one has also made their mark across the globe. Having made their mark in mainland Europe, the trio signed a deal to release ‘A Balloon Called Moaning’ via Ayad Al Adhamy of Passion Pit’s Black Bell Records and, on their most recent US visit, celebrated with a series of sold out East Coast shows culminating in two sold out nights at the Mercury Lounge and a roll call of US executives striving to make the guest list and talk business.
A return to the UK saw the band headline their biggest venue to date with a sell-out show at London’s Electric Ballroom to keep the sell out theme moving on both sides of the pond. Single Popinjay, released in May, found favour with NME praising its ‘darker, more narcotic edge’ in making it one of their tracks of that week and the Daily Mirror going for a more direct approach, declaring it a ‘belter’. With the band currently in the studio finishing tracks for their forthcoming debut album and confirmed slots at Glastonbury and Reading and Leeds to come it increasingly feels that some things were just meant to be.

This biography was provided by the artist or their representative.

BIOGRAPHY JUNE 2010
Some things are just meant to be. Thus it was that Ritzy Bryan and Rhydian Dafydd met at school and discovered their shared love of music. The pair, opinionated and deeply in love with the whole idea of being in a band, started to spend time at North Walian music mecca The Buckley Tivoli, gaining inspiration and experience from the procession of touring and local bands that took to the stage. With Ritzy’s parents enormous, exhaustive record collection delivering an encyclopaedic library of popular music in all its forms the die was cast. Nevertheless, in an otherwise provincial, sleepy setting, itchy feet and a fleeing were inevitable; Ritzy to Washington DC and Rhydian to Manchester, where they enjoyed separate but strangely parallel journeys as singer songwriters. It was a single phone call that reunited them, this time they would write and record together.
Back in North Wales a flurry of early recordings revealed a voice emerging; the beauty of their surroundings against the sadness of personal circumstances tugging conflictingly in their songs and selves. They decided to move, choosing London as their new home and a base for their live aspirations.
With Matt Thomas on drums, a conjoint surrealist and raw, forceful drummer, The Joy Formidable thrived on the live front. Soundscape layers spiked by the nakedness of a 3-piece, gargantuan, clamorous bass and guitars that come in waves laid down a musical bed on which Ritzy’s voice could seethe and coo in equal measure. Little wonder that early shows gained the band a well deserved reputation as a band you had to see, pushing The Joy Formidable into the public consciousness from the very beginning. With a sound that melds the huge expanses of their native Mold countryside to the hectic nature of their new domicile, The Joy Formidable create a music that is by turns sublime and gothic, punctuating passages of sheer beauty with shards of dissonance and anger, a new loud quiet dynamic for a new decade.

The move to London also determined a working ethos that survives to the present day. The band’s bedroom is a chrysalis that mutates daily from sleeping quarters, to studio, to workshop. It was here they recorded the singles ‘Austere’, ‘Cradle’ and ‘Whirring’ from their 8 track CD ‘A Balloon called Moaning’ - a defiant release of optimism against their own heavy hearts - and it is here that new single, ‘Popinjay’ and the forthcoming debut album are being put together by the trio, independent of any outside influence.
Having sold out multiple UK tours throughout 2009 and taken to the road in this country in support of the likes of Editors, this self contained band, recording studio, label and design company in one has also made their mark across the globe. Having made their mark in mainland Europe, the trio signed a deal to release ‘A Balloon Called Moaning’ via Ayad Al Adhamy of Passion Pit’s Black Bell Records and, on their most recent US visit, celebrated with a series of sold out East Coast shows culminating in two sold out nights at the Mercury Lounge and a roll call of US executives striving to make the guest list and talk business.
A return to the UK saw the band headline their biggest venue to date with a sell-out show at London’s Electric Ballroom to keep the sell out theme moving on both sides of the pond. Single Popinjay, released in May, found favour with NME praising its ‘darker, more narcotic edge’ in making it one of their tracks of that week and the Daily Mirror going for a more direct approach, declaring it a ‘belter’. With the band currently in the studio finishing tracks for their forthcoming debut album and confirmed slots at Glastonbury and Reading and Leeds to come it increasingly feels that some things were just meant to be.

This biography was provided by the artist or their representative.

BIOGRAPHY JUNE 2010
Some things are just meant to be. Thus it was that Ritzy Bryan and Rhydian Dafydd met at school and discovered their shared love of music. The pair, opinionated and deeply in love with the whole idea of being in a band, started to spend time at North Walian music mecca The Buckley Tivoli, gaining inspiration and experience from the procession of touring and local bands that took to the stage. With Ritzy’s parents enormous, exhaustive record collection delivering an encyclopaedic library of popular music in all its forms the die was cast. Nevertheless, in an otherwise provincial, sleepy setting, itchy feet and a fleeing were inevitable; Ritzy to Washington DC and Rhydian to Manchester, where they enjoyed separate but strangely parallel journeys as singer songwriters. It was a single phone call that reunited them, this time they would write and record together.
Back in North Wales a flurry of early recordings revealed a voice emerging; the beauty of their surroundings against the sadness of personal circumstances tugging conflictingly in their songs and selves. They decided to move, choosing London as their new home and a base for their live aspirations.
With Matt Thomas on drums, a conjoint surrealist and raw, forceful drummer, The Joy Formidable thrived on the live front. Soundscape layers spiked by the nakedness of a 3-piece, gargantuan, clamorous bass and guitars that come in waves laid down a musical bed on which Ritzy’s voice could seethe and coo in equal measure. Little wonder that early shows gained the band a well deserved reputation as a band you had to see, pushing The Joy Formidable into the public consciousness from the very beginning. With a sound that melds the huge expanses of their native Mold countryside to the hectic nature of their new domicile, The Joy Formidable create a music that is by turns sublime and gothic, punctuating passages of sheer beauty with shards of dissonance and anger, a new loud quiet dynamic for a new decade.

The move to London also determined a working ethos that survives to the present day. The band’s bedroom is a chrysalis that mutates daily from sleeping quarters, to studio, to workshop. It was here they recorded the singles ‘Austere’, ‘Cradle’ and ‘Whirring’ from their 8 track CD ‘A Balloon called Moaning’ - a defiant release of optimism against their own heavy hearts - and it is here that new single, ‘Popinjay’ and the forthcoming debut album are being put together by the trio, independent of any outside influence.
Having sold out multiple UK tours throughout 2009 and taken to the road in this country in support of the likes of Editors, this self contained band, recording studio, label and design company in one has also made their mark across the globe. Having made their mark in mainland Europe, the trio signed a deal to release ‘A Balloon Called Moaning’ via Ayad Al Adhamy of Passion Pit’s Black Bell Records and, on their most recent US visit, celebrated with a series of sold out East Coast shows culminating in two sold out nights at the Mercury Lounge and a roll call of US executives striving to make the guest list and talk business.
A return to the UK saw the band headline their biggest venue to date with a sell-out show at London’s Electric Ballroom to keep the sell out theme moving on both sides of the pond. Single Popinjay, released in May, found favour with NME praising its ‘darker, more narcotic edge’ in making it one of their tracks of that week and the Daily Mirror going for a more direct approach, declaring it a ‘belter’. With the band currently in the studio finishing tracks for their forthcoming debut album and confirmed slots at Glastonbury and Reading and Leeds to come it increasingly feels that some things were just meant to be.

This biography was provided by the artist or their representative.

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