Post-disco (sometimes called club music or dance^[1]) refers to a disco music movement characterized by the heavy use of keyboard instruments, and more specifically, to a historically significant period in popular music history beginning with the commercial death of disco music in the late 1970s and ending with the mainstream appearance of house music in late 1980s.^[2][3]

The stripped-down musical trends followed from the DJ- and producer-driven, increasingly electronic and experimental side of disco,^[4] and were typified by the styles of dance-pop,^[1][5] boogie,^[4] italo disco and the early alternative dance.^[4]

Techno and house music are both rooted in post-disco.^{[1][6][7][8][9][10]}

Characteristics[link]

Synthesizers played a crucial part in the development of post-disco.

Unlike disco music, post-disco usually lacked the typical shuffling hi-hat driven beat, walking basslines and/or string orchestration; it more featured drum machines, synthesizers, sequencers and 4/4 time signature commonly found in rock and pop music. Soulful female vocals, however, remained a part of post-disco. The main force in post-disco were mainly one-hit wonders and short-lived collaborations, while record producers played a significant role in post-disco in general. The music that mostly catered to dance and urban audiences later managed to influence more popular and mainstream acts like Madonna, New Order or Pet Shop Boys.^[3]

Term usage[link]

The term "post-disco" was used as early as 1984 by Cadence Magazine when defining post-disco soul as "disco without the loud bass-drum thump."^[11] New York Magazine used the word in an article appearing in the December 1985 issue; it was Gregory Hines's introduction of post-disco and electronic funk to Russian-American dance choreographer Mikhail Baryshnikov "who has never heard this kind of music."^[12] "Post-disco" is also an Allmusic editorial contributor's attempt to isolate a music genre in the era between the indistinct "end" of disco music and the equally indistinct emergence of house music.^[4]

History[link]

Background events[link]

Disco music backlash had started around 1977.

America[link]

Shortly after the "Disco Sucks" movement of disco bashing throughout the United States, disco records were rejected from the airplay and its circulation literally almost had been stopped. American radio stations began to pay attention to other popular formats of music such as reggae, punk rock and/or New Wave while top mainstream labels and record companies like Casablanca, TK Records or RSO went bankrupt. Since disco music had been on the way of [its] electronic progression, it split itself into subscenes and styles like Hi-NRG, freestyle, italo-disco and boogie.^[3][13] The last one is closely associated with post-disco more than any other offshoots of post-disco.^[14][15]

A watershed album of post-disco was Michael Jackson's Off The Wall, produced by Quincy Jones, which helped establish a direction of R&B/dance music and influenced many young producers who were interested in this kind of new music.^[16] Other examples of early American R&B-influenced post-disco artists are Rick James, Change and Teena Marie.^[17]

Parliament-Funkadelic, a funk band, also set the tone for many post-disco and post-punk bands of the 1980s and 1990s.^[18]

United Kingdom[link]

According to Billboard, American post-disco was merely a crossover of different genres, while focusing on the electronic and R&B overtones, whereas jazz-funk was a crucial element of the British post-disco scene that generated musicians like Chaz Jankel, Central Line or Imagination. Unlike in the United States, where anti-disco backlash generated prominent effect on general perception of disco music, British musicians continued to produce both "old-fashioned" disco music and the new music coming from America, thus creating a characteristic scene.^[17]

1980s: Golden age[link]

This section summary shows commercially successful records (mostly R&B/pop-oriented) from the post-disco movement.

Compare "Open Sesame" (1976) with "Celebration" (1980) by Kool & The Gang, "Boogie Wonderland" (1979) with "Let's Groove" (1981) by Earth, Wind & Fire, "Shame" (1978) with "Love Come Down" (1981) and "(Shake, Shake, Shake) Shake Your Booty" (1976) with "Give It Up" (1982) by KC & the Sunshine Band.

2000s: Post-disco revival[link]

During the late 1990s and throughout the 2000s, electronic and, especially, house musicians were influenced by post-disco. Some of these musicians are: Daft Punk, a French house music group, adopted elements of post-disco, disco and synthpop into Discovery,^[30] Another artist Les Rythmes Digitales released a post-disco/electro-influenced album Darkdancer.^[31] Canadian music group Chromeo debuted in 2004 with the album She's in Control.^[32] Similar Los Angeles-based musician Dâm-Funk recorded Toeachizown, a boogie- and electro-influenced album released in 2009.^[33] Another band called Escort, who hails from New York City, surfaced on the post-disco and post-punk revival scenes around 2006. The story about Escort appeared on New York Times in November 2011.^[34]

Contemporary compilation albums featuring post-disco and electro artists (e.g. Imagination, Level 42, Afrika Bambaataa) include The Perfect Beats series (volume 1–4).^[35] Another compilation series are Nighttime Lovers (volume 1-10) and the mixed-up album titled The Boogie Back: Post Disco Club Jams.

Pioneers and followers[link]

In the late 1970s and early 1980s, DJ Larry Levan was one of the first artists who implemented dub techniques in his productions and mixes for various post-disco artists, including his own group The Peech Boys.

Sinnamon's "Thanks to You", D-Train's "You're the One for Me", The Peech Boys' "Don't Make Me Wait" — all these songs and its attributes and trends of post-disco later influenced a new "never-before-heard" music style. The House music.^[37][38]

The new post-disco and especially boogie sound was flourishing along many mainstream independent record companies, including West End Records, Prelude Records, Tommy Boy Records, SAM Records, and others.^[38][39]

Timeline[link]

	Earth, Wind & Fire - Let's Groove (1981) (sample) noicon Short sample of "Let's Groove", originally released in 1981 by Earth, Wind & Fire.[nb 1]
Problems listening to this file? See media help.

	Michael Jackson - Wanna Be Startin' Somethin' (1983) (sample) noicon Short sample of "Wanna Be Startin' Somethin'", a song that appeared on Michael Jackson's album Thriller.[nb 2]
Problems listening to this file? See media help.

Although there is no exact point when post-disco started, many synthpop and electronic musicians of that time continued to enhance the raw minimalist sound, while focusing on synthesizers, and keyboard instruments. As noted by Darryl Payne, a 1980s post-disco music producer, percussion instruments also played an important part in the urban-oriented music in general.^[17]

Legacy[link]

The most successful artists of post-disco.

The 1980s post-disco sounds also inspired many Norwegian dance music producers.^[48] Some rappers such as Ice Cube or EPMD built their careers on funk-oriented post-disco music (they were inspired for example by dance-floor favorites like Zapp and Cameo).^[49] Also Sean "Puffy" Combs has been influenced by R&B-oriented post-disco music in an indirect way.^[50]

In popular culture[link]

• The word "post-disco" has been implicitly mentioned in a 1989 novel named Crazy Love by Elías Miguel Muñoz.^[51]
• American satirical magazine Spy featured the words "post-punk" and "post-disco" in their Spy's Rock Critic-o-Matic article, whereas spoofing various music reviews published by Rolling Stone, The Village Voice and Spin.^[52]

Related genres[link]

Boogie[link]

Boogie (or electro-funk)^[38][53] is a post-disco subgenre influenced by funk music that was popular in the early to mid-1980s. Sean P. described it as "[sic] disco's poor cousin — too slow, too electronic, too R&B... too black, even".^[54]

Dance-rock[link]

Another post-disco movement is merely connected with post-punk/no wave genres with fewer R&B/funk influences. An example of this "post-disco" is Gina X's "No G.D.M."^[55] and artists like Liquid Liquid, Polyrock,^[56] Dinosaur L, and Disco Not Disco [2000] compilation album.^[57][58] This movement also connects with dance-oriented rock; Michael Campbell, in his book Popular Music in America defines that genre as "post-punk/post-disco fusion."^[59] Campbell also cited Robert Christgau, who described dance-oriented rock (or DOR) as umbrella term used by various DJs in 1980s.^[60]

Dance-pop[link]

Dance-pop is a dance-oriented pop music that appeared slightly after the demise of disco and the first appearance of "stripped-down" post-disco. One of the first dance-pop songs were "Last Night a D.J. Saved My Life" by Indeep and "Love Come Down" by Evelyn "Champagne" King, whereas the latter crossed over to Billboard charts including Adult Contemporary, while peaking at number 17 on the pop chart in 1982.^[61] Another crossover post-disco song was "Juicy Fruit" by Mtume, peaking at number 45 on the Hot 100 in 1983.^[62] Same year also saw the release of Madonna's eponymous album that incorporated post-disco, urban and club sounds. British variation of dance-pop, pioneered by Stock Aitken Waterman, was more influenced by house and hi-NRG and sometimes was labeled as "eurobeat".^[63]

Italo-disco[link]

Italo-disco is a disco subgenre, mainly influenced by post-disco, hi-NRG and synthpop. Originally music mostly played by Italian musicians, but it soon made its way to Canada and United States. One of the earliest post–disco-oriented groups were Klein + M.B.O. and Kano, while New York-based Bobby Orlando was located abroad.^[4]

Non-exhaustive list of artists[link]

Prominent record labels[link]

Compilations[link]

See also[link]

• new wave
• electro
• old school hip hop
• garage house
• italo-disco

Notes[link]

1. ^ Compare to the 1979 "traditionally"-sounding disco song "Boogie Wonderland" with string and horn sections arranged by Benjamin Wright.
2. ^ Demonstrates using horn section and drum machine rhythm at the same time.

References[link]

This article needs additional citations for verification. Please help improve this article by adding citations to reliable sources. Unsourced material may be challenged and removed. (March 2012)

Kasper Bjørke is a Danish DJ, record producer and remixer from Copenhagen.

Career[link]

Filur[link]

He started in Filur made up of Tomas Barfod and Kasper Bjørke himself on lead vocals with various guest singers. They released four albums: Exciting Comfort (2001), Deeply Superficial (2002), Into the Wasteland (2006) and Faces (2011). They are best known for the hits "I Want You" and later for "The Con" and "Concentrate!". They also released "It's Alright" and "Shame" which were minor hits in Italy.^[1] They also toured the United States, Europe and Japan. Tomas Barfod is now part of WhoMadeWho. The band has won two DMA awards for "Best Producers" and "Best Dance Album".

Solo and production[link]

Bjørke released his first solo album In Gumbo in 2007, drawing on elements from rave-rock, disco, psychedelica, house, techno and electro. Two singles from the album, "Back and Spine" and "Doesn't Matter", both appeared on rotation on Danish P3 radio. That was followed by a second album Standing on Top of Utopia that was released on February 1, 2010. The first single from the album was "Young Again" that reached #21 on the Danish Singles Chart. A modern disco-pop hit, it featured the vocals of Jacob Bellens, the singer of I Got You On Tape. Bellens also co-wrote the lyrics. Bjørke also cooperated with Italian producer Davide Rossi.

Bjørke also cooperated with fellow Danish electronic music producer and multi-instrumentalist Anders Trentemøller.

Discography[link]

Albums[link]

as part of Filur[link]

• 2001: Exciting Comfort (DEN #38)
• 2002: Deeply Superficial (DEN –)
• 2006: Into The Wasteland (DEN –)
• 2011: Faces (DEN #23)

Solo[link]

Singles[link]

as part of Filur[link]

• 2001: "I Want You" (DEN #11)
• 2001: "It's Alright" (Filur meets Nellie Ettison) (ITA #49)
• 2001: "Shame" (Filur meets Nellie Ettison) (ITA #53)
• 2006: "The Con" (DEN #12)
• 2011: "Concentrate!" (Filur feat. Simon Kvamm) (DEN #19)

Solo[link]

References[link]

External links[link]

• Official website

Tommie Sunshine
Birth name	Thomas Lorello
Born	(1971-03-26) March 26, 1971 (age 41)
Origin	Chicago, IL, United States
Genres	Electronic Pop Rock Dance Pop
Occupations	Record producer, songwriter, DJ, Vocalist
Years active	1993–present
Labels	Ultra Records, Systematic Recordings, One Love Records, Vicious Recordings
Associated acts	The Disco Fries, Katy Perry[disambiguation needed ], Binge & Purge, Brooklyn Fire, Marc Romboy, Felix Da Housecat, Miss Kittin, DJ Hell, James Murphy, The Aston Shuffle, Tomcraft, Sharam Jey, John Acquaviva, & Maddox

Tommie Sunshine is a record producer, remixer, DJ and songwriter of electronic music from Chicago currently living in Brooklyn, New York. He is perhaps best known for creating dance remixes to popular rock and alternative songs, by artists such as Fall Out Boy, Panic at the Disco, Good Charlotte, Hellogoodbye, Mindless Self Indulgence, P.O.D., Kelis, Kill Hannah, Shiny Toy Guns, and many more. He presently works alongside The Disco Fries and also as a trio with Bart B More and RipTidE under the name Horsepower. In the past he has collaborated with artists such as Felix Da Housecat, Miss Kittin, Marc Romboy, Mark Verbos, Tomcraft, The Aston Shuffle, James Murphy and DJ Hell.

In 2007, Tommie Sunshine released a compilation album on the Ultra Records label as part of their dance compilation CD series titled Ultra.Rock Remixed containing some of his most popular remixes. The follow-up mix CD, Relax This Won't Hurt, was released October 2008.

In 2008, Tommie Sunshine remixed Yoko Ono's new version of Give Peace A Chance for a 12" on Twisted, which reached the number 1 position on Billboard's Hot Dance Club Play Chart. He was also involved in the music production for Konami's latest Dance Dance Revolution game, DDR X. He contributed 2 original songs for the game, along with his "Brooklyn Fire Re-Touch" mix of Wine Red by The Hush Sound.

In 2010, Tommie Sunshine remixed Amanda Lear's new single I'm Coming Up.

In 2012, Tommie Sunshine created a megamix of Katy Perry singles from the album Teenage Dream. Named Tommie Sunshine's Megasix Smash-Up, it was featured on the re-release.

External links[link]

• Official Website
• Discography listing on Discogs.com
• Tommie Sunshine on MySpace
• Interview with DJ Times, 2005
• Tommie Sunshine on Twitter

This article on an American electronic musician is a stub. You can help Wikipedia by expanding it. v t e

Kultur Shock
Kultur Shock 2011
Background information
Origin	Sarajevo, Sofia, Seattle, Brcko, Tokyo, New York, Tucson, Jakarta, San Francisco
Genres	Gypsy punk, alternative metal
Years active	1996−present
Labels	Kultur Shock Records, Koolarrow Records
Associated acts	Esma Redzepova, Saban Baramovic, Faith No More, Nirvana, System of A Down, Ferus Mustafov, Emir Kusturica, Goran Bregovic, , Bijelo Dugme, Yuri Yunakov, Ivo Papasov, Gino Banana, Robert Soko, Gogol Bordello, Balkan Beat Box, Beruit, Slavic Soul Party!, La Plebe, Dubioza Kolectiv, Alexander Hacke,
Website	http://www.kulturshock.com/
Members
Srđan Gino Jevđević Val Kiossovski Chris Stromquist Paris Hurley Guy Davis Amy Denio
Past members
Masashi Kobayashi Mario Butkovic Borislav Iochev Kevin Nortness Brad Houser Matty Noble

Kultur Shock is a Seattle-based gypsy punk band which specializes in mixing music like rock, metal and punk with traditional Balkan music.

Biography[link]

Active since 1996, Kultur Shock combines Balkan folk music with punk, metal and art rock. Its members hail from Bosnia, Bulgaria, and the United States. The band plays in the USA and Europe, has performed over 700 shows in the last few years. Unlike commercial acts exploring a similar musical medley, Kultur Shock is self financed and self distributed on their own label.

In 2011, Kultur Shock released Ministry of Kultur their seventh album and fourth collaboration with engineer/producer Jack Endino. A release of their new EP- "Tales of Grandpa Guru, Vol.1" is due early summer of 2012, on Kultur Shock Records.

The band defines itself as "a live band of blue-collar immigrants".

Current Lineup[link]

• Srđan Gino Jevđević (Bosnia) - vocals, trumpet, tarabuka
• Val Kiossovski (Sofia, Bulgaria) - guitar, vocal
• Chris Stromquist (New York, USA) - drums
• Paris Hurley (Arizona, USA) - violin, vocal
• Guy M. Davis (Jakarta, Indonesia) - bass
• Amy Denio (Detroit, Michigan) - clarinet, saxophone, vocal

Discography[link]

• Ministry of Kultur (2011), Kultur Shock Records
• Integration (2009), Kultur Shock Records
• Live In Europe (2007), Kultur Shock Records
• We Came To Take Your Jobs Away (2006), Koolarrow Records
• Kultura-Diktatura (2004), Koolarrow Records
• FUCC The INS (2001), Koolarrow Records
• Live In Amerika (1999), Pacific Records

External links[link]

• Official Web Site
• Band's MySpace Site
• Band's page on Koolarrow Records site
• Kultur Shock, Osijek (5.12.2009.) - photo gallery
• Drew Adamek, Kultur Shock Plays the Balkans, The New York Times, 7 April 2011

This article needs additional citations for verification. Please help improve this article by adding citations to reliable sources. Unsourced material may be challenged and removed. (April 2009)

Shed Seven
Shed Seven performing at the V Festival Weston Park, 2008
Background information
Origin	York, England
Genres	Britpop Alternative rock
Years active	1990–2003 2007–present
Labels	Polydor Records (1993–1999) Artful Records (2001–2002) Taste Media (2003) Blue Apple Music (2011)
Website	http://www.shedseven.com
Members
Rick Witter Paul Banks Thomas Gladwin Alan Leach Joe Johnson
Past members
Fraser Smith

Shed Seven are an English indie rock band from York and were one of the groups which contributed to the Britpop music scene that evolved during the 1990s, yet never received the degree of mainstream success achieved by bands such as Oasis and Blur. They formed in 1990^[1] and originally comprised Rick Witter (vocals), Joe Johnson (guitar and keyboards, later replaced by Paul Banks), Tom Gladwin (bass) and Alan Leach (drums).

They belonged to the post-Smiths wave of UK musicians such as The Sundays and Marion, with a sound relying heavily on complex guitar arpeggios often in a minor key, and wailing vocals. At the height of their popularity between 1994 and 1999 they had fifteen Top 40 singles^[2] and four Top 20 albums in the UK.^[3] The band officially broke up in 2003, but reformed for a greatest hits tour in July 2007.^[2] The band has continued to play shows around the UK periodically but has not released a new studio album.

History[link]

The early years[link]

Shed Seven formed in 1990 from the ashes of Brockley Haven, a band featuring frontman Rick Witter, guitarist and songwriter Paul Banks, bassist Tom Gladwin, Magnus Thompson and John Leach, brother of Alan Leach. Both Witter and Banks had also previously played together in a band named ENAM, performing to German exchange students in Banks's front room.^[1] The band's name derived from a railway shed^[1] during a return trip to York; as they approached York railway station, they noticed a small shed on the sidings labelled "Shed 7". Prior to signing a six-album deal^[4] with Polydor Records in October 1993,^[5] guitarist Joe Johnson left the line-up and was replaced by Paul Banks. The band twice entered the local Fibbers/Evening Press Battle Of The Bands competition,^[1] twice failing to win,^[1] whilst in September 1993, still unsigned, they were voted the third best live act at London's Inner City Festival.^[1] The initial press attention enjoyed by the band came as a result of the positive reviews of their live shows, coupled with complimentary comparisons to The Smiths. In March 1994, an article by Dave Simpson of Melody Maker, charting the aspirations of "the UK's brightest hopes", stated that;^[6] "...Shed Seven's beautifully posed, epic music is different. Not so much New Wave Of New Wave as post-Smiths, they're taking the insular bedsit angst of Morrissey's early music and subverting it with a brash and insensitive sexual narcissism."

Their debut single, the double A-side "Mark"/"Casino Girl"—labelled by NME as "spirited 'Barbarism Begins At Home' skirl"^[7] —was released on 7 March 1994 to considerable acclaim from some sections of the music press,^[4] but failed to make the UK Top 40. The follow-up single, "Dolphin", a song co-written with former member Johnson^[8] during Banks' two year absence from the band's line-up,^[5] was released on 13 June 1994 peaking at number 28^[3] with first week sales reaching 15,000,^[1] leading to Shed Seven's first Top of the Pops appearance on 23 June 1994.^[1] Despite their third single release, "Speakeasy", entering the UK charts at number 24 and giving them their biggest hit to date,^[3] the first negative press reviews began to emerge. Writing for the UK music magazine NME in August 1994, John Mulvey believed that it represented "[f]our clumsy blokes trying to come over all sensuous, fragile and complex."—"Speakeasy" was later to be re-written as an advertising jingle in 1999, for the mobile phone company The Link,^[9] with Witter later admitting regret at his re-recording and re-wording of the original. As a result, the song was omitted from Shed Seven setlists for a number of years, only making its live comeback as a stripped-down acoustic version on their "farewell" tour in December 2003.

In September 1994, the band released their debut album, Change Giver, entering the UK album chart at number 16^[3] and giving the group their first Gold disc.^[5] Despite it spending just two weeks in the chart, the "critically underrated debut album",^[10] which NME declared "an attempted stab in the face of their critics",^[10] gave the band three UK Top 40 singles.^[3] As well as enjoying popularity in both the UK and Australia, Shed Seven also found an audience in Thailand, where they managed to beat Take That to the Christmas number 1 spot with their fourth single release, "Ocean Pie". The following April, "Where Have You Been Tonight?", the first record to emerge from the band's collaboration with their new producer, Chris Sheldon,^[5] was issued as their fifth single, peaking at number 23^[5] and continuing the band's chart-placing run. Although the single was "rush released"^[11] with the intention of it being followed by a swiftly recorded second album,^[11] the band failed to capitalise on the song's success as it became Shed Seven's one and only release throughout 1995.

Peak of success[link]

With five UK Top 40 entries in 1996,^[3] Shed Seven had more hit singles than any other act that year,^[1] the high point coming with the release of their seventh single, "Going For Gold", which entered the UK chart at number 8 on 17 March^[3] and remains their biggest chart hit to date. A sold-out thirteen-date Autumn tour followed, including their debut at the York Barbican Centre. The definitive band line-up released 3 studio albums - Change Giver (1994), A Maximum High (1996) and Let It Ride (1998) - along with a greatest hits compilation, Going For Gold (1999). The release of the latter was forced upon the band by their record company, Polydor,^[12] after Let It Ride failed to match the album sales of its predecessor, which sold 250,000 copies in Britain alone.^[1][13] Despite the band's reservations about issuing such a compilation so soon in their career, the album went on to sell 130,000 copies^[12] and featured brand new material in "Disco Down" and "High Hopes", both intended to be issued as singles. "Disco Down" went on to become the last Banks-era hit for the band, peaking at number 13,^[3] whilst "High Hopes" was sidelined by Polydor in favour of a proposed re-release of the previous single, "Going For Gold". However, the band refused to comply, leading to Shed Seven and Polydor Records parting company in late 1999;^[12]

The Greatest Hits wasn't our idea - we felt it was a few years too early - but agreed to do it on the understanding that we would release two new singles from the album. 'Disco Down' did really well and we were all prepared to follow it up with 'High Hopes', the video script was approved and it was ready to go to radio, when some higher authority decided it would be a better idea to re-release 'Going For Gold' instead. We put our foot down and said 'no way, we are not going to rip off our fans with old material'. In fact, most people at the label thought it was an awful idea.

Shed Seven mark II[link]

In December of the same year, Paul Banks left the band by mutual discontent, with Rick Witter citing "musical differences" for the split. During an NME interview about his post-Shed Seven band, The Rising, Paul commented on his departure from the group;^[14] "I've never really felt part of a band until now. [Shed Seven] wasn't really about that. I wanted to work with people who I respected who would respect me back. That was something that was definitely lacking. Now I feel like I'm in my favourite band." Banks was eventually replaced by original guitarist Joe Johnson, while part-time keyboardist Fraser Smith was also added to the permanent line-up. The band signed a new contract with Artful Records, and in 2001 went on to release their fourth studio album, Truth Be Told, which spawned two further singles in "Cry For Help" and "Step Inside Your Love". Despite finding themselves a new deal, the band were continually dissatisfied with the lack of promotional support from their label, and frustrated by apparent mismanagement and delayed releases.^[1] This was highlighted by Artful's decision to change the band's "Step Inside Your Love" single release from a 2 CD chart-eligible format to a non-eligible 4-track EP,^[1] ending their chances of a fifteenth consecutive chart hit. The band were further hindered by BBC Radio 1's refusal to playlist them in their post-Polydor days^[1][15] despite DJ Chris Moyles being a long-time supporter of the band.^[1][15] As a result, Shed Seven quit Artful Records in 2002.

Beginning of the end[link]

In 2003, Shed Seven found a new home at Taste Media, and soon returned to the charts in the form of their seventeenth single, "Why Can't I Be You?", released on 5 May and peaking at number 23.^[3] This proved to be their first and last single release for the label, as the band lost patience with Taste's refusal to release their fully recorded would-be fifth studio LP, slated for release in September 2003. With Taste demanding another big hit before they were willing to release a new Shed Seven album,^[1] the ready and complete LP was held back indefinitely. As a consequence, the band announced their imminent split via a statement issued through the official Shed Seven website on 23 November 2003, explaining that their then-current UK tour—which took place between November and December 2003—would become the group's "farewell tour":^[16]