{"product_id":"blackhaine-saints-in-the-wethouse","title":"Blackhaine - Saints in the Wethouse","description":"\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eBlackhaine\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e is the moniker of \u003c\/span\u003e\u003cstrong\u003e\u003cspan\u003eTom Hayes\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e, a rapper, dancer, producer and choreographer from Preston, Lancashire. Emerging from the circle of artists around Salford’s The White Hotel, he first drew attention with a trilogy of EPs, \u003c\/span\u003e\u003cem\u003e\u003cspan\u003eArmour\u003c\/span\u003e\u003c\/em\u003e\u003cspan\u003e (2020), \u003c\/span\u003e\u003cem\u003e\u003cspan\u003eAnd Salford Falls Apart\u003c\/span\u003e\u003c\/em\u003e\u003cspan\u003e (2021) and \u003c\/span\u003e\u003cem\u003e\u003cspan\u003eArmour II\u003c\/span\u003e\u003c\/em\u003e\u003cspan\u003e (2022), which channelled youthful alienation into rugged, futuristic rap. He also developed a dance style of slow, hyper-controlled contortions inspired by Japanese butoh. His live shows and art-world exhibitions carry the same uniquely intense stage presence and clarity of vision, sought for stage and creative direction by artists including \u003c\/span\u003e\u003cstrong\u003e\u003cspan\u003ePlayboi Carti\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e, \u003c\/span\u003e\u003cstrong\u003e\u003cspan\u003eFontaines D.C.\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e, \u003c\/span\u003e\u003cstrong\u003e\u003cspan\u003eFred again..\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e and \u003c\/span\u003e\u003cstrong\u003e\u003cspan\u003eBad Bunny\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e, and presented at the Tate Modern, Centre Pompidou, Sonar, Manchester International Festival, the Venice Biennale and Club2Club.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eThat intensity transposes directly to record on his debut album, \u003c\/span\u003e\u003cem\u003e\u003cspan\u003eSaints In The Wethouse\u003c\/span\u003e\u003c\/em\u003e\u003cspan\u003e. Produced by Blackhaine, joined by North West peers \u003c\/span\u003e\u003cstrong\u003e\u003cspan\u003eRainy Miller\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e, \u003c\/span\u003e\u003cstrong\u003e\u003cspan\u003eCroww\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e and \u003c\/span\u003e\u003cstrong\u003e\u003cspan\u003eSpace Afrika\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e and executive producer \u003c\/span\u003e\u003cstrong\u003e\u003cspan\u003eWraith9\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e (\u003c\/span\u003e\u003cstrong\u003e\u003cspan\u003eEsdeekid\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e), it shapeshifts from claustrophobic drill to industrial ambient, with vocals delivered in single takes. Playboi Carti visited his Oldham studio and hyped up his third verse on ‘\u003c\/span\u003e\u003cem\u003e\u003cspan\u003eValium\u003c\/span\u003e\u003c\/em\u003e\u003cspan\u003e’. Aligned to Blackhaine’s vision and dramaturgy, the cast realise an album worthy of his cinematic namesake.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eSet in a night-world of rain-drenched streets, looming tower blocks and distant sirens, the album charts his near-implosion after becoming a star of the UK avant-garde. His wounded, free-form rapping links stories of self-annihilation, social critique and soul-searching in a noirish exploration of the prisons we build around ourselves, or others build for us, and the possibility of salvation. The title was inspired by \u003c\/span\u003e\u003cstrong\u003e\u003cspan\u003ePenny Woolcock\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e’s 2000 documentary \u003c\/span\u003e\u003cem\u003e\u003cspan\u003eThe Wet House\u003c\/span\u003e\u003c\/em\u003e\u003cspan\u003e, which his partner sent him at his lowest point. It closes with an eight-minute title track set at Liverpool docks, imagining rescue from drowning as the “floodlights in the rain” fade and “morning light comes again”, though it isn’t a happy ending.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eResisting attempts to pin his work to a place or a look, Blackhaine describes himself as “an anti-aesthetic person”, adding: “We should push methodology as opposed to aesthetic.”\u003c\/span\u003e\u003c\/p\u003e","brand":"XL RECORDINGS","offers":[{"title":"Black Vinyl LP","offer_id":60469352366425,"sku":"SDZ-56722","price":32.99,"currency_code":"EUR","in_stock":true},{"title":"CD","offer_id":60469352399193,"sku":"SDZ-56723","price":12.99,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0588\/3455\/0945\/files\/SDZ-56722-96-001.png?v=1794508564","url":"https:\/\/spindizzyrecords.com\/products\/blackhaine-saints-in-the-wethouse","provider":"Spindizzy Dublin","version":"1.0","type":"link"}