TOMORROW, ST. PETER new 12” LP premiere!

TOMORROW, ST. PETER‘s debut LP will be released on vinyl by Paul from the amazing German DIY label Through Love Records on March 20th, but you can already stream the whole thing below! The band is heading out on tour in Sweden, Denmark and Germany with their friends from I LOVE YOUR LIFESTYLE – go here to see the dates and listen to the newest EP from ILYL.

Play the amazing LP now and scroll down to see how the band breaks down the entire record just for you! The amazing guys from TOMORROW, ST. PETER took the time to walk us track-by-track through the meanings and stories behind their newest work!

Tyne – Not only is Tyne the emo anthem of the album – it’s also the football anthem (which album is complete without a song about football, duh?). After yet another defeat of “The Best Team in the World” in the Tyne–Wear derby, Axel decided to turn his sorrows into an even bigger emo-fest and wrote some lyrics on the aftermaths of a post-match hooligan fight. Complete with twinkly guitar, big drums, and a straight bass line, this is probably lyrically the saddest we get on this album. Another fun fact is that the song was almost entirely written by drummer, Simon Dovhage, in an open tuning, and later re-worked into standard E by André.

Oakland – If Tyne was the emo anthem, this is definitely the indie anthem. Apart from boasting our favourite bass line on the whole album, it has these Johnny Marr-esque guitar riffs that sound so much unlike our other material that we sometimes find ourselves thinking: “is this even our song?”. The name of the song is also its setting. It tells the story of an unsuccessful Oakland-based artist who decides to hang her/himself as a performace art installation. Axel says that he understands if this story tempts the listener to isolate a “what is art?”-kind of statement. This, however, was not his sole intention. In fact, it’s more of an “I really dislike the people at pitchfork.com”-kind of statement.

Iceberg – Now that we’re on the topic of “anthems”, we feel obliged to term this song the “post-rock anthem” of the album. This song was originally just a semi-serious post-rock jam, which was radically shortened (count yourself lucky) and turned into a strange song about a lonely, conservative academic living in Scotland; in other words, Axel explores the version of his future self that he fears the most. If you’re into introspection, self-criticism, and all that Mike Kinsella-shit, this is the closest you’ll get.

Sharah’s Dead – We are now going to leave the topic of “anthems”, because this would just be the “???-anthem” (We don’t think any member of the band actually knows what time signature this song is in or what anyone else is playing). This is a short and aggressive homage to Axel’s favourite author of all time, Graham Greene, and, especially, the last of his four Catholic novels. To treat topics such as God, loss and non-belief in a one and a half minute song is quite some challenge, but he’s tried his best. Actually, if you don’t like it, blame Graham Greene – he stole everything from him anyway.

Figurine – This is a remake of an old song called “Fireflight” (from  our demo Soft Patterns EP) which is one the first songs we ever played together as a full band. With its complex instrumentation and choppy rhythms, it’s become a bit of a surprise-favourite among fans here in Stockholm. Nonetheless, it treats the popular topic “white, meat-eating men”, so we guess we could see why some enjoy it.

Hard Patterns – There’s a clip on youtube in which Noel Gallagher shares a rather mean-spirited story about his brother’s countless attempts at song writing. Nevertheless, he did end up writing “I Believe in All”, which is, admittedly, not the best Oasis song (are there any good ones, really?) but we still find it at least somewhat enjoyable. Hard Patterns is our “Believe in All”; it’s the only song written by Axel (apart from the choruses – do you think we trust him that much?) and is probably the strangest song on the album.

Oh, and in case you’re wondering what the song is about: it’s about sex.

Locas Liebt – Since Sweden’s political climate is so extraordinarily boring (something for which we are actually quite thankful), Swedes have become experts at getting (mildly) interested in foreign politics and conflicts. This song is set in Belfast and tells the story of a not-so-mentally-stable protestant boy, Locas, who falls in love with a not-so-mentally-stable dissident republican from the Falls Road area. It was the first song we wrote for the record and one of the songs we enjoy playing live the most, due to its frantic pace and raw energy.

Interlude – The backing track was written by André and the lead mellotron by Simon. We figured we needed a short break in the album after so many twists and turns in each song.  In the background, Axel foreshadows the poem that the lyrics of the next song are based on. We had a bit of a dispute on how shit we could make the sound-quality on this song and still get away with it. The shit-camp won.

By Nietzsche’s Grave – By Nietzsche’s Grave is the second homage on this album. This time, it’s a translation of the Finland-Swedish poet Edith Södergran’s poem “Vid Nietzsches Grav”. It’s our contribution to the battle of poets that The Smiths once started but never finished (and really, Morrissey, if you knew anything about poetry, you’d accept that Edith settles it). Musically the song was put together from three other demo songs we had which makes it sort of a franksteinish creation.

Watch the band’s recent performance at Joelk Sessions, shot by Erik von Campenhausen:

Catch the band on the road and be sure to grab their new cool merch!