Photo credit: Stewart Baxter.

Brodie Milner

shares new single ‘Convenience Store Gospel’

Stream here

Watch the lyric video here

Taken from forthcoming EP ‘Holy Ghost Survivors Group (Part 1), released 8th May

Brodie Milner has released his new single ‘Convenience Store Gospel’ via Wipe Out Music. The track is the latest to be taken from his new EP ‘Holy Ghost Survivors Group (Part 1)’ which will be released on 8th May.

‘Convenience Store Gospel’ features Hull-based Brodie’s captivating and direct lyrical delivery and stripped back musical backing, creating an urgent and compelling track that is built on a mix of blues, garage-rock, folk and pop whilst drawing on the flow of hip-hop.

Brodie speak ahead of the release of ‘Convenience Store Gospel’ -

“The song is about a man who is in an abusive relationship with his own vices, tries to eat himself better but is poisoned by food industry lobbyists in the process.”

Stream ‘Convenience Store Gospel’ here

The single and the new EP have been produced by Matt Peel (Yard Act, Bodega, Divorce) and Jolyon Thomas (Soft Play, Royal Blood, Daughter).

 Lyrically Brodie Milner’s delivery draws on the flow of hip-hop and touches on themes of mental health, metamodernism, and internet culture. Musically, a disparate group of influences inspire him, from Jack White and Ben Howard to Big Thief, Divorce and Declan McKenna. Recently he has played his own headline shows across the UK and Ireland, and been on the road supporting The Coral, Louis Dunford and BC Camplight.

Brodie started releasing music from the upcoming ‘Holy Ghost Survivors Group (Part 1)’ EP earlier this year with the singles ‘God i’ and ‘Drinking Martinis in The Olive Gardens of Gethsemane’ with support coming across radio from Gemma Bradley at BBC Radio 1, Steve Lamacq and Tom Robinson at 6 Music, and Alan Raw, Jericho Keys, and Emily Pilbeam at BBC Introducing.

On the new EP Brodie says - 

“I came to the EP looking to make a consistent body of work that felt like each song was part of a larger narrative. The result was a collection of characters who were all tragic in some ways, and all (darkly) comedic in others.”

“This next collection of songs takes these ideas even further, with story-telling that meets at the intersection of Andy Shauf’s ‘The Party’, Anais Mitchell’s ‘Hadestown’ and David Lynch’s ‘Blue Velvet’. There is a non-linear, almost episodic plot told through these characters, commenting on disparities of wealth, privilege and entitlement, men’s place within those disparities, dysfunctional paternal figures and the cyclical, generational effect this has on their children - all set within a morally complicated, meta-modern world that’s difficult to navigate”

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