BERNARD + EDITH share Samaris remix of ‘WURDS’

Follow the release of their debut album JEM last week, Manchester-duo Bernard + Edith have shared a rather beautiful reworking of ‘WURDS’ – one of the albums many highlights – by Icelandic electronic outfit SAMARIS… sporadic synth lines replace the droning vocals and booming drums of the original to create the sense of a entirely different song.

Check it out below…

Bernard + Edith – ‘WURDS’ (Samaris Remix)

BERNARD + EDITH will be performing a special Rough Trade In-Store next Tuesday followed by an album launch show in Manchester on Friday 29th May.

All upcoming dates below…

Tuesday 26th May – Rough Trade East In-Store, LONDON
Friday 29th May – St. Margaret’s Church, Whalley Range, MANCHESTER
Saturday 6th June – Parklife Festival, MANCHESTER
Sunday 7th June – Field Day, LONDON

Check out the video to the recent single ‘Heartache’ HERE

Already firmly established within the city’s underground music scene, Greta ‘Edith’ Carroll and Nick ‘Bernard’ Delap draw on influences ranging from Fever Ray to Portishead via Cocteau Twins, David Lynch, Kate Bush and Japan to create the most deliciously dark art-pop/soul. In mid-2014 the band released their debut single ‘Poppy’ on the excellent SWAYS Records to much acclaim, followed at the end of the year by ‘Wurds’, their first for Bella Union. Jem expands on these early declarations with a rich soundscape that dazzles with its inventive spread of colour and texture, taking a road less travelled to a more uniquely slanted place within the current pantheon of electronic pop.
Bernard + Edith’s unconventional approach starts with using their middle names for a band name, which evokes the image of an older couple rather than a pair in their early twenties who instantly bonded over music after meeting as teenagers. Theirs is a true collaboration, jointly creating the music and beats (their videos and stage projections too), bringing different influences to the union but meshing them to sublime effect. “Nick was more into indie and electronica and I was a huge jazz fan, singers like Nina Simone, Billie Holiday and Julie London,” says Greta. “But then together we veered toward more experimental composition, like Meredith Monk and Philip Glass. And Twin Peaks was major for us, not just the soundtrack but the imagery and the weirdness.”

The album is a multi-faceted jewel, from the lush Cocteaus-shiver of ‘Crocodiles’ to the exquisite Eastern climes of ‘China’ and the R&B twist of ‘Poppy’. What unites all 13 tracks is a beguiling fusion of intimacy and sensuality with something more mysterious and spectral.

JEM is out now via Bella Union

Happy Release Day, Bernard + Edith!

JEM by Bernard + Edith is out now!
order in our store

Everyone at the label would like to wish the warmest release day salutations to Bernard + Edith!


Jem tracklisting:
1. Wurds
2. Dagger
3. Crocodile
4. Tidal Wave
5. Jem
6. China
7. Heartache
8. Poppy
9. I Will Be
10. Rosemary
11. Underwater
12. Girls Night Out
13. Young Woman

Fellow Manchester-based artist Jamie Lee of the band MONEY has penned the below idiosyncratic bio-cum-tribute to Bernard + Edith:

“Perhaps Bernard and Edith would think that what I’m about to say is going too far. But I remember drinking with vocalist Edith in a bar in Manchester and talking about how her and Bernard come to creating their songs. Edith observed: “Rather than say ‘let’s go out’ or ‘let’s watch TV’ I say, ‘should we make a cheeky song?’ And he says ‘Alright then’.” And that laughter I’ve come to know so well erupts from her maniacally, childishly, freely.

Edith’s singing style reminds me of the kind of emancipatory freedom of the modern American school of writing. Her melodies are uninhibited by traditional rules of structure – she moves where and when she feels the impulse to; and knowing the woman behind the voice I see that the impulse in her can be as chaotic as it is beguiling. She is like a bouquet balanced precariously on the edge of a table unsure of whether it will fall and break – hinged between extreme goodness and feeling on the one hand and on the other, chaos and perhaps even madness. Lyrically, again, the comparison is relevant: “cos poppy says she loves me and I’m feeling right” is as naked, unpretentious and brave as the revolutionary poet Robert Lowell’s assertion; “why not say what happened?” that triggered his confessional movement producing and influencing writers from Sylvia Plath to Anne Sexton – a place where the uncompromisingly personal and high-art met in the middle. This applies to Bernard and Edith too. A place explored by Daniel Johnston and Arthur Russell – it is the artful balance between a highly private expression and having the skill and intelligence to communicate that to the world. It is testing the limits of what a person can say within their art but  also lends a universality to their language and style. Having mentioned these artists, there is clearly a strongly cathartic drive to why Bernard and Edith even exist at all – it is art being made for the right reasons – for the love of it! It is esoteric but never indulgent, original but not reactionary or avant-garde, otherworldly but unpretentious.

It is my belief that whatever art is, it is the direct opposite of whatever money is. It is made by the maker to save oneself briefly from the inevitable and in doing so (where the craft comes in) may end up saving other people briefly too. Bernard + Edith make their music from home and (I cannot help but feel) predominantly for each other – a kind of covenant to their particular and special bond.”