From a chance encounter on an online musicians’ forum, to the release of their highly anticipated debut album ‘Remember!,’ Brindle’s Manse have forged a unique sound that defies easy categorisation. Hailing from diverse backgrounds—Florida, Ukraine, and Northumberland —the band’s journey is a testament to the power of shared musical tastes and a passion for creating something truly original. Their distinctive blend of angular guitar, jazz-infused drums, and captivating vocals has carved out a loyal following, proving that in a world saturated with digital music, there’s still a strong appetite for authentic, engaging live performances and tangible releases.
Our recent chat at Baba Yaga’s in North Shields provided a fascinating insight into the band’s formation and their perspectives on the music industry. It was clear from the outset that their passion for creating and performing music runs deep, a driving force that has seen them navigate challenges and evolve their unique sound.
The genesis of Brindle’s Manse is as unconventional as their sound. The band comprises Bill Carey and Paul Thompson on guitars and vocals, Borys Manokhin on bass, and John Hirst on drums. The founding partnership of Bill and Paul was formed not in a local pub or rehearsal room, but “on a musicians dating site,” Bandmix. Their collaboration began across a vast geographic and time divide, with Bill working from Florida and Paul in North Northumberland, exchanging music “across the ether” for some time before the band was fully realised.
The world was in the middle of a pandemic at the time and Bill was in the midst of moving to the UK. Bill explains, “I was in Florida, where they were like ‘Pandemic, what pandemic?’ so I was able to come back-and-forth because they just pretended nothing was really happening.” This transcontinental origin story provides a crucial lens through which to view their music.
Bill’s extensive career includes releasing independent records and playing in bands from Tampa, Baltimore, New York City and London since the late 1970s. Paul, in turn, has been active in the Newcastle, Leeds, and Reading scenes since the 1990s. Completing this international mosaic are Borys, a seasoned musician from his native Ukraine, and John, a rhythm section stalwart whose primary background is in jazz.
Borys recalls his journey to the band: “I did the same as Bill and connected through Bandmix,” he says. But his circumstances were very different; Borys played in bands in his native Ukraine but in 2022, his family’s life changed after Russia invaded. “We decided to move to the UK and I spent maybe 14 months just trying to find someone to play with.” It was through the same website that Bill used that he made contact.
The convergence of these wildly different musical histories—from New York City’s post-punk fervor to the UK’s 90s indie scene, Ukrainian rock, and the fluid improvisational nature of jazz—is what produces the band’s distinctive, multi-genre sound. The band offers a defining metaphor for their sound by describing their “gene pool” as the fusion of the CBGB’s and C86 movements, pointing to two pivotal eras in independent music. The CBGB’s scene in New York City gave birth to a raw, nervy energy that defined bands like Television and Blondie, while the C86 movement in the UK celebrated a DIY ethos and the shimmering, chiming guitars of bands like The Pastels and The Wedding Present. The combination of these two sensibilities—the kinetic energy of New York’s post-punk and the melodic charm of UK indie pop—forms the foundation of Brindle’s Manse’s musical approach and a culmination of a vast collective experience, resulting in a project that is profoundly seasoned and creatively uninhibited.
Brindle’s Manse have meticulously crafted a sonic identity that they themselves describe with vivid, almost paradoxical terms; a potent description of their sound is their own comparison: “Think of Television jamming with The Fall after a night out arguing about the best album by The Beatles.” It’s an accurate deconstruction of the style of music they play; from Television, the band inherit an appreciation for complex, artful guitar interplay—a signature sound built on melodic lines rather than brute force. The Fall’s influence is evident in their iconoclastic nature and rhythmic, almost verbose lyrical delivery. And the subtle yet profound influence of The Beatles underpins it all, providing a foundational pop sensibility that ensures their melodies remain approachable despite their experimental leanings.
The individual contributions of the members further enrich this complex sonic stew. John Hirst, with his jazz background, brings “considerable rhythmic skill” and “a layer of subtlety” to the drums. This is not the straightforward backbeat of a typical rock band; instead, the rhythms are nuanced and adaptable, providing a fluid foundation for the guitar work. The band’s songwriting builds upon this foundation, allowing for the exploration of diverse lyrical themes, often characterized by a “penchant for a dark turn of phrase.”
This is exemplified in their single “Snakes Crawl,” a song that tackles the grim aftermath of Hurricane Irma in Florida. Bill explains, “It’s about the hurricane but there are layers of socio-political drama going on as well. So it’s both a factual account and a metaphor.” The choice of such a specific, real-world event connects directly to Bill Carey’s history in the state, demonstrating that their lyrical narratives are not abstract but are deeply rooted in lived experience. This grounding in authentic, often difficult topics gives their music a visceral edge and allows for a literal or metaphorical interpretation by the listener, making it feel intellectually engaging as well as sonically compelling.
This philosophical depth extends to their approach to music creation and consumption. In an era dominated by streaming and the single-track economy, Brindle’s Manse stand as a defiant throwback. They liken themselves to “one of those Japanese soldiers they found in the jungle who still thinks the war is on. We still think indie guitar music is fresh and trendy. It is, isn’t it?”. This statement is not self-deprecating; it is a proud declaration of their commitment to a sound they believe in, regardless of its current commercial standing. Their music is an act of artistic conviction, not a bid for viral fame.
I enquire about the band’s name, wondering whether there is an oblique explanation.
“The name came about when I was working on my house in Northumberland,” explains Bill. “The builder was late in getting it finished so he had to put me up somewhere. He had a holiday home near Seahouses on an estate called ‘Brindle’s Manse’ and when Paul and I worked on a song one time when I was over, Paul took it home and made a mix of it and sent it to me with the working title of ‘Brindle’s Manse’.”
“It was even more prosaic than that,” Paul interjects. “It was just the title of the email I sent. It fits because we’re both fans of the band Fatima Mansions so it’s just a posher version of that,” he laughs.
The band’s view of the contemporary music scene is both pragmatic and intransigent. They acknowledge the ease of digital release but recognise its ephemeral nature and emphasise the lasting quality and tangibility of physical releases. contrasting them with the fleeting nature of digital files.
“Whether it’s a CD, record or even cassette, I think it should be a tactile experience. I also think the ideal listening time is around 40 minutes,” Paul adds.
This commitment is reflected in their approach to their upcoming album, which is due for release on 10 October 2025 with an album launch gig at The Cumberland Arms in Ouseburn. They intentionally designed it to “hang together as a 2 x 20 minutes album rather than just a bunch of songs.” The deliberate structure is an attempt to “recreate the excitement and jeopardy” of a time when listeners would purchase a physical record, read the sleeve notes on the bus home, and dedicate time to fully absorbing the music. Their plan to release the album on a full suite of physical formats—from vinyl and CD to cassette, as well as an “eight track cartridge and wax cylinder”—is both a humorous nod to history and a sincere statement of their artistic values revealing a profound appreciation for music as a tangible, lasting artefact.
They are also massive champions of a thriving local music scene but “everyone has to do their bit. Our message is if you don’t come and see us, make sure you go and see somebody else,” Paul adds.
Luckily for us, the band has adopted North Shields as the beating heart of their project. The bassist, Borys, lives here, they rehearse at Traxx Studios and, perhaps most importantly, are big fans of the “unpretentious, up and coming vibe.”
Their debut album ‘Remember!’ promises to be more than just a collection of songs; it’s a testament to their belief in the enduring power of authentic, engaging music and the tangible experience of a physical album. By forging their own path and embracing a sound that defies easy categorisation, Brindle’s Manse proves that true artistic conviction can still resonate deeply with listeners, even in a world saturated with fleeting digital trends.
Catch them live at The Cumberland Arms on 10 October 2025.
https://brindlesmanse.bandcamp.com
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