Currently in the studio. Stephen has just completed the score for the US psycho-noir indie ‘The Suspect’ written and directed by Stuart Connelly and is producing an album for Claudia Brucken of Propaganda.

A musical adaptation of The Last Werewolf is in the pipeline and another, King Soho (in collaboration with Marcella Puppini and Mark Davies Markham), is in development.

The next full album will be recorded in Spring for a late Summer release.

Meanwhile, we will be playing selected live shows and festivals over the summer.
See LIVE for details

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Long before the current popularity of electro-swing, The Real Tuesday Weld became known for blending the suggestive hiss of ancient shellacs and vintage radio transmissions with samples and glitchy beats in Jazz-Age era influenced songs.

If you are new to us, since 1999 we’ve made six critically acclaimed albums, a variety of arts projects and many award winning collaborations with film-makers. They call us cult favourites and we’re probably known mainly outside the mainstream for our videos which have been watched by millions around the world and from the various feature films and television things we have music in.

There is a lot here to check out: recordings, videos, radio podcasts, artwork, stories, lies, images. We’re pretty independent and although we have a family of like-minded artists we prefer not be in pigeon-holed into a particular scene. We keep flying on a wing and a prayer buoyed upwards by goodwill. We are not really crowd-sourcing types but if you would like to help us keep floating, join our mailing list, come to our shows, invite us to play, buy our music and merchandise from THE ANTIQUE BEAT BOUTIQUE. We love to make specially limited edition packaging for our music, accessories for shy men, we love performing in peculiar places. If you are a film maker or animator, get in touch. We love collaborating with visual and theatrical artists. Stephen is a also a film music composer, remixer and DJ.

We are currently signed to Crammed Discs in Europe and Six Degrees Records in the US. We play all over the world and our live shows are usually accompanied by atmospheric visual projections of the films and animations we’ve commissioned.

Stephen Coates – Vocals, sampler, keyboards, songs, production.
Stephen founded The Real Tuesday Weld in 1999.

Jacques Van Rhijn – Clarinet
Jacques’s wonderful clarinet playing is a signature part of our live sound. He has played with many artists in many genres and is a founder member of the Eastern European music collective Beskydy. Mercurial.

Clive Painter – Guitar
Clive works with the BBC on outside broadcasts and in the radio theatre. He is a very experienced engineer and recording artist in his own right with several albums as Broken Dog, Wolf and The 99 Call. Wise.

Don Brosnan - Bass
Don is a writer, film maker and creator / host of the Crime Jazz Unit radio series. Good looking.

Matt Snowden – Drums
Matt is a super experienced session drummer, sound designer and radio editor. Inventive.

Josephine Lloyd  - Vocals, Violin
Josie is a musical instrument collector, experimental songwriter, recording artist, engineer and composer. Peculiar.

Guests and collaborators:
Pam Berry – Vocals
Marcella Puppini / The Puppini Sisters – Vocals
Piney Gir – Vocals
Martyn Jacques / The Tiger Lillies – Vocals, Accordion
Joe Coles – Vocals
Mara Carlyle – Vocals
Cibelle – Vocals
Pinky Maclure – Vocals
David Piper – Narration
Glen Duncan – Narration
Serena Bubowski – Narration
Claudia Brucken – Vocals
Frances Gardner – Engineer

And, lest we forget:
Jed Woodhouse – Our drummer for many years
Brian Lee – Violin and piano
Gary Bridgewood – Violin
David Guez – Guitar and vocals
Pierre Duplan – Engineer
Geraldine McEwan – Violin and vocals
Tracy Lee Jackson – Dreamy Records, Manager
Phil Nicholas – Manager

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After a series of low key single and EP releases on British, US and Japanese independent labels our first full-length release When Cupid Meets Psyche (2001) was acclaimed as: “a warm and welcoming arty gypsy knees-up, a psychedelic bossa with the polite reeds of a ’30s dance band crushed by booming hip-hop bass…” (Q Magazine) and was an album of the week in the Sunday Times.

It contains the track ‘I Love the Rain’ (an early example of the style Stephen dubbed ‘Antique Beat’) recently given widespread US coverage as the soundtrack to an award winning Chevrolet campaign.

The follow up I Lucifer (2003) was a ‘soundtrack’ to Glen Duncan’s book of the same name (and another Times, Independent and Guardian album of the week) spawning the international award winning and much imitated track and animation ‘Bathtime in Clerkenwell’.

The US only album The Return of the Clerkenwell Kid (2005) described by New York Times as “oddball electronica-goes-Tin Pan Alley” and “a hit of aural Ecstasy with a champagne chaser” was another highly individual mix up of sounds reprising older songs to “tell the story of a love affair from before its beginning to beyond its end”.

In 2006 we composed and performed an alternative soundtrack for Hans Richter’s 1948 surrealist classic Dreams That Money Can Buy at London’s National Film Theatre. The following year we were commissioned by the British Film Institute to record the score for the release of the film on DVD followed by spectacular performances in the Turbine Hall of London’s Tate Modern and film festivals in the UK, Europe and Russia with Brazilian electronic chanteuse Cibelle.

2007 saw the release of ‘The London Book of the Dead’ another Sunday Times and The Independent album of the week containing the song “Last Words” which formed the basis of the original score to US indie hit feature Nick and Norah’s infinite Playlist.

Several new films and animations made to accompany the album were premiered at the British Film Institute with “Cloud Cuckooland” and “Kix” being special features on YouTube.

In 2008 we premiered “Propaganda from the State of Love” a live installation commissioned by the Victoria and Albert Museum continuing an association with the British art establishment and followed by live dates across Europe and the US.

Stephen also wrote the commissioned music for the Mark Rothko room at London’s Tate Modern

2009′s Live at the End of the World was a limited-edition mini-concept live album set on the eve of the apocalypse in an imaginary London club and provided two songs for the HBO series ‘Bored to Death’.

In 2010 Stephen scored two US independent features: ‘Bomber’ and ‘Meeting Spencer’ as a development of our ongoing composition work with various film-makers. In the same year he produced the first solo album for Marcella Puppini of The Puppini Sisters and began work with her on the forthcoming musical about Soho Porn and property baron Paul Raymond “King Soho”.

2011 saw the release of Rockstar Games blockbuster period game ‘LA Noire’ for which we were commissioned to write and produce the jazz-era styled songs sung by the main character Elsa featuring the voice of Claudia Brucken of Propaganda.

In 2011 Stephen also co-wrote and produced the Lazarus and the Plane Crash album ‘Horseplay’ with Joe Coles of The Guillotines.

The album Soundtrack for the Last Werewolf – another soundtrack for Glen Duncan’s latest novel ‘The Last Werewolf’ (Canongate / Knopf) was released in Summer 2011 and gained Independent, The Times and NPR album of the week. Book and album are currently in development as a stage musical.

Our songs and compositions have featured in many commercials, films and TV shows including spots for Apple, Ariel, Kellogs, Chevrolet, Coca Cola, Mitsubishi, J7, Lucozade, Gerber, Prudential, Hewlett Packard, Yell, Nick and Norah’s Infinite Playlist, Nip and Tuck, Shameless, Bored to Death, Weeds, the Jay Leno show, One Tree Hill.

We’ve recorded many radio sessions in the UK, the US and Europe including BBC Radio 1, 2, 3, and 4, Xfm, Jazz Fm, France Inter, Radio France, Radio Moscow, KCRW, NPR and WNYC.

“beautiful… giddily recalls Gainsbourg, Pulp, Cole Porter, early Disney soundtracks and seedy postwar revue bars.”
(SUNDAY TIMES)
“such genuine tenderness… it’s like a punch in the solar plexus.”
(THE INDEPENDENT)
“Few English pop acts are as distinctive or idiosyncratic as the Real Tuesday Weld..Utterly unique, utterly delightful.”
(TELEGRAPH)
“The Real Tuesday Weld have been making their hazy vintage pop and reimagined Charleston swing for a small but dedicated audience of aesthetes and aficionados for most of this decade”
(THE SUNDAY INDEPENDENT)
“not the same as anything else you’ve  ever heard before…recommended.”
(THE INDEPENDENT, ARTS)
“From the Lemon Jelly-wobble of ‘Bathtime in Clerkenwell’ to the louche Jarvis Cockerism’s of ‘The Eternal Seduction of Eve’, the results are blessed with a wickedly playful charm.”
(Q MAGAZINE)
“Devilishly good.”
(FLUX)
“Utterly decadent and darkly humorous”
(TIME OUT)
“Original and engaging.”
(METRO)
“defiantly touching, a humane comedy of London lives… beautifully bittersweet”
(UNCUT)
“touching, intimate, and with mesmerising melodies. Superbly atmospheric.”
(UNCUT)
“a mix of the mythical and the macabre, with more than a dash of vaudeville”
(THE GUARDIAN)