{{Short description|Anglo-Irish avant-pop band}} {{Use dmy dates|date=April 2022}} {{good article}} {{Infobox musical artist | <!-- See Wikipedia:WikiProject Musicians --> | name = The High Llamas | image = The High Llamas (3014877069).jpg | caption = The High Llamas performing in 2008.<br />From left: Murcott (obscured), Holdaway, Allum, O'Hagan, Fell (obscured) and Aves. | image_size = | landscape = yes | background = group_or_band | origin = London, England | instrument = | genre = {{flatlist| * Chamber pop<ref name="caldwell">{{cite web|last1=Caldwell|first1=Rob|title=The High Llamas: Here Come the Rattling Trees|url=https://www.popmatters.com/the-high-llamas-here-come-the-rattling-trees-2495457090.html|website=PopMatters|date=18 January 2016}}</ref> * ork-pop<ref name="Rosen1996">{{cite magazine|last=Rosen|first=Craig|title=Building A Perfect Ork-Pop Masterpiece|url=https://books.google.com/books?id=pw0EAAAAMBAJ&pg=PA92|date=25 May 1996|publisher=Nielsen Business Media, Inc.|magazine=Billboard|pages=1, 92|issn=0006-2510}}</ref> * avant-pop<ref>{{cite web|last1=Murray|first1=Noel|title=A year in song (40 great tracks in 40 sentences)|url=http://www.avclub.com/article/a-year-in-song-40-great-tracks-in-40-sentences-66096|website=The A.V. Club|date=6 December 2011}}</ref><ref>{{cite book|first=Peter Ames|last=Carlin|author-link=Peter Ames Carlin|title=Catch a Wave: The Rise, Fall, and Redemption of the Beach Boys' Brian Wilson|url=https://books.google.com/books?id=FGJQSSoSIhMC|year=2006|publisher=Rodale|isbn=978-1-59486-320-2|page=284}}</ref> * electronica<ref name="caldwell"/>}} | years_active = {{circa|1991}}–present | label = {{flatlist| *Target *Alpaca Park *V2 *Duophonic *Drag City}} | spinoff_of = Microdisney | website = {{URL|highllamas.com}} | current_members = * Sean O'Hagan * Jon Fell * Rob Allum * Marcus Holdaway * Dominic Murcott * Pete Aves | past_members = * Anita Visser * John Bennett }} '''The High Llamas''' are an Anglo-Irish chamber pop band formed in London circa 1991.<ref name="aboutus2017"/> They were founded by singer-songwriter Sean O'Hagan, formerly of Microdisney, with drummer Rob Allum and ex-Microdisney bassist Jon Fell. O'Hagan has led the group since its formation. Their music is often compared to the Beach Boys, a band he acknowledges as an influence, although more prominent influences were drawn from bossa nova and European film soundtracks.
O'Hagan formed the High Llamas after the breakup of his group Microdisney. The band initially played in a more conventional acoustic indie pop style, but after he joined Stereolab as a keyboardist, he was inspired to revamp the High Llamas' style closer to the electronic and orchestral sound he preferred. Their second album, ''Gideon Gaye'' (1994), anticipated the mid 1990s easy-listening revivalist movement, and its follow-up ''Hawaii'' (1996) nearly led to a collaboration with the Beach Boys.
==History== ===Formation=== In 1988, the Irish band Microdisney, led by Sean O'Hagan and Cathal Coughlan, broke up. To support himself, O'Hagan briefly worked as a rock music journalist, and in 1990, released a solo album titled ''High Llamas''. The name came from a picture of a Victorian era hot-air balloon that he saw in a magazine.<ref name="Page2002"/> Around 1991<ref name="aboutus2017">{{cite web|author1=The High Llamas|title=About Us|url=http://www.highllamas.com/about-us|website=highllamas.com|archive-url=https://web.archive.org/web/20170904222750/http://www.highllamas.com/about-us|archive-date=September 4, 2017|quote=The High Llamas may have started in 1991.}}</ref> or 1992, the name was recycled for a new band formed by Sean O'Hagan, Marcus Holdaway, Jon Fell and Rob Allum. They could not afford to record a full album, and instead released an EP, titled ''Apricots''. Under a French label, the EP was reissued with two additional tracks, which became the LP ''Santa Barbara''.<ref name="Page2002">{{cite news|last=Page|first=Tim|title=The High Llamas: A Different Breed|url=https://www.washingtonpost.com/archive/lifestyle/style/1999/01/10/the-high-llamas-a-different-breed/994bc35a-42da-4f8a-8b84-f18862c11dff/|date=10 January 1999|newspaper=The Washington Post}}</ref>
At this point, the band's style was conventional compared to O'Hagan's own musical aspirations; he said he "was quite happy with what we were doing, [but] there wasn't really anything remarkable about it, and it wasn't really the kind of music that I enjoyed listening to". He held a frustration with the state of modern rock music, calling it "the most conformist, corporate thing out there"; <ref name="Rosen1996" /> he described himself as being "bored shitless by guitar rock ... From looking at the Beach Boys, I saw the Martin Denny thing [and] the early Yellow Magic Orchestra thing. These people were investigating harmonies in really interesting, nearly orchestral ways, but they were using subversive sounds to do it."<ref>{{cite magazine|title=The Year in Music - Subculture of the Year|magazine=Spin|date=January 1998|volume=14|issue=1|url=https://books.google.com/books?id=_o5qLt04pz4C&pg=PA78}}</ref> ''The A.V. Club'' writer Noel Murray remarked that without the Beach Boys' 1968 album ''Friends'', "the High Llamas probably wouldn't exist."<ref>{{cite web |last1=Murray |first1=Noel |title=A beginner's guide to the sweet, stinging nostalgia of The Beach Boys |url=https://www.avclub.com/a-beginner-s-guide-to-the-sweet-stinging-nostalgia-of-1798273533 |website=The A.V. Club |date=October 16, 2014 |access-date=23 June 2018 |archive-date=23 June 2018 |archive-url=https://web.archive.org/web/20180623113101/https://music.avclub.com/a-beginner-s-guide-to-the-sweet-stinging-nostalgia-of-1798273533 |url-status=live }}</ref> In addition to these influences, he was drawn to "the Left Banke, Van Dyke Parks ... a lot of soundtrack music like John Barry, and electronic experimental music like Kraftwerk and Neu!."<ref name="Rosen1996" />
[[File:Stereolab (1994).jpg|thumb|Stereolab performing in London, 1994 (O'Hagan not present)]]
After attending a Stereolab concert in the early 1990s, O'Hagan met the band's founders Tim Gane and Lætitia Sadier. He became their keyboardist initially as a temporary replacement, but O'Hagan was "allowed to make suggestions and the fun started."<ref name="ps5"/> His first record appearance was on the EP ''Space Age Bachelor Pad Music'' (1993),<ref name="Taylor2006">{{cite book|last=Taylor|first=Steve|title=The A to X of Alternative Music|url=https://books.google.com/books?id=KPOsu8JOHO8C&pg=PA244|year=2006|publisher=A&C Black|isbn=978-0-8264-8217-4|page=244}}</ref> and he remained a full-time member of the band until ''Mars Audiac Quintet'' (1994).<ref name="amsean">{{cite web|last1=McClintock|first1=J. Scott|title=Sean O'Hagan|url=https://www.allmusic.com/artist/sean-ohagan-mn0000839359/biography|website=AllMusic}}</ref> Influenced by his time with Gane,<ref name="ps5">{{cite web|author1=Popshifter|title=Painters Paint: The Definitive Career-Spanning Interview (to date) With The High Llamas' Sean O'Hagan (Snowbug and Buzzle Bee)|url=http://popshifter.com/2011-01-30/painters-paint-interview-with-the-high-llamas-sean-ohagan/5/|website=Popshifter|date=30 January 2011|url-status=dead|archive-url=https://web.archive.org/web/20171225145009/http://popshifter.com/2011-01-30/painters-paint-interview-with-the-high-llamas-sean-ohagan/5/|archive-date=25 December 2017}}</ref> O'Hagan decided to revamp his creative aspirations for the High Llamas.<ref name="Rosen1996"/> In a 1997 article, O'Hagan spoke of the Beach Boys' 1966 album ''Pet Sounds'' as "the beginning of the great pop experiment, [before] rock and roll got hold of the whole thing and stopped it," and intended his new band to carry on in a similar tradition.<ref>{{cite magazine|last1=Smith|first1=Ethan|title=Do It Again|magazine=New York Magazine|date=10 November 1997|volume=30|issue=43|url=https://books.google.com/books?id=J-gCAAAAMBAJ&pg=PA98|publisher=New York Media, LLC|issn=0028-7369}}</ref> He continued to make guest appearances on later Stereolab releases.<ref name="amsean"/> Visser departed the group and was replaced by guitarist John Bennett.<ref name="aboutus2017"/>
===''Gideon Gaye''–''Snowbug''=== In 1994, the High Llamas released ''Gideon Gaye'', an album that reached 94 on the UK Albums Chart for a one-week stay.<ref name="OCC">{{cite web|url=http://www.officialcharts.com/artist/4813/high-llamas/|title=High Llamas|website=Official Charts Company|access-date=7 November 2017}}</ref> It was recorded with a £4000 budget<ref name="Buckley2003" /> in the span of a few months,<ref name="Page2002"/> and anticipated the mid 1990s easy-listening fad.<ref>{{cite book|page=52|last1=Kamp|first1=David|last2=Daly|first2=Steven|title=The Rock Snob's Dictionary: An Essential Lexicon Of Rockological Knowledge|url=https://books.google.com/books?id=1xzZlEniKYUC&pg=PA452|year=2005|publisher=Broadway Books|isbn=978-0-7679-1873-2}}</ref> The album received press coverage from magazines such as ''Q'', ''Mojo'' and ''NME'',<ref name="sexton"/> but only received substantial sales and acclaim after being rereleased a year later.<ref name="Buckley2003">{{cite book|last=Hodgkins|first=Nig|editor-last=Buckley|editor-first=Peter|title=The Rough Guide to Rock|chapter-url=https://books.google.com/books?id=Fie47qSuTsoC&pg=RA1-PA1902|year=2003|isbn=978-1-85828-457-6|pages=[https://archive.org/details/roughguidetorock00roug/page/493 493–494]|chapter=The High Llamas|publisher=Rough Guides |url=https://archive.org/details/roughguidetorock00roug/page/493}}</ref> It was first reissued on the band's Alpaca Parks imprint, then by Delmore Recordings in the United States, and once more by the major label Epic Records.<ref name="Rosen1996"/> British music journalists praised ''Gideon Gaye'', but AllMusic critic Richie Unterberger stated that the album was released "almost as an afterthought [in the US], with virtually no fanfare."<ref name="ambio">{{cite web|last1=Unterberger|first1=Richie|author-link1=Richie Unterberger|title=The High Llamas|url=http://www.allmusic.com/artist/the-high-llamas-mn0000087217/biography|website=AllMusic}}</ref> Also in 1994, the High Llamas accompanied Arthur Lee, co-founder of the 1960s band Love, as his backing band for a brief concert tour.<ref name="Buckley2003"/>
{{Quote box |align=left |text= Although the shorthand description of the High Llamas usually involves phrases like "shameless Brian Wilson imitators," that's never really been the case. Even on their most overtly ''Pet Sounds''-influenced album, 1994's ''Gideon Gaye'', other influences, such as Brazilian bossa nova and European film soundtracks, are obvious. | source=—Stewart Mason, AllMusic<ref>{{cite web|last1=Mason|first1=Stewart|title=Checking in, Checking Out|url=http://www.allmusic.com/song/checking-in-checking-out-mt0008032401|website=AllMusic}}</ref> |width = 25em |}}
''Gideon Gaye'' was well-received from within the record industry, and it became a commonly recommended album among British A&R label representatives.<ref name="sexton" /> The band were soon tagged as part of the nascent "ork-pop" movement, described in a 1996 ''Billboard'' piece as "a new breed of popsmiths going back to such inspirations as Brian Wilson, Burt Bacharach, and Phil Spector in the quest for building the perfect orchestrated pop masterpiece."<ref name="Rosen1996"/> O'Hagan responded to the Beach Boys comparisons that the album had drawn: "[Wilson] has been the biggest influence in my career to date. I was always shy [about] how much I liked him, but this time I decided to be blatant about it."<ref name="sexton">{{cite magazine|last1=Sexton|first1=Paul|title=High Llamas Hope to Scale U.S. Market|url=https://books.google.com/books?id=9A0EAAAAMBAJ&pg=PA22|magazine=Billboard|date=September 23, 1995|page=22}}</ref> He was also hesitant to be associated with the ork-pop movement, saying that the group's "music is a hybrid of stuff from the last 50, 20 or 30 years ... It's definitely about making music for tomorrow."<ref>{{cite magazine|last1=Broome|first1=Eric|title=The High Llamas|url=http://home.earthlink.net/~elbroome/articles/high_llamas.html|magazine=Mean Street|date=March 1998|access-date=25 December 2017|archive-date=26 January 2018|archive-url=https://web.archive.org/web/20180126172321/http://home.earthlink.net/~elbroome/articles/high_llamas.html|url-status=dead}}</ref>
O'Hagan recalled that "we had everybody knocking the door down saying, 'here take the money and make the [next] record.'"<ref name="Clay">{{cite web|last1=Woullard|first1=Clayton|title=The Goat Looks In: Interview with Sean O'Hagan of the High Llamas|url=http://claythescribe.com:80/2016/03/04/interview-with-sean-ohagan-of-the-high-llamas/|website=Clay the Scribe|archive-url=https://web.archive.org/web/20170305111207/http://claythescribe.com/2016/03/04/interview-with-sean-ohagan-of-the-high-llamas/|archive-date=5 March 2017|date=4 March 2016}}</ref> The follow-up to ''Gideon Gaye'', ''Hawaii'' (1996), was released on Alpaca Park,<ref name="Hagerty2016">{{cite book|last=Hagerty|first=Dan|title=Buried Treasure Volume 2: Overlooked, Forgetten and Uncrowned Albums|url=https://books.google.com/books?id=1e0HDgAAQBAJ&pg=PT124|year=2016|publisher=Liberties Press|isbn=978-1-910742-74-7|page=124}}</ref> and reached number 62 in the UK, again for a one-week stay.<ref name="OCC"/> He described the work as a fusion between the music of the "post mid-European Stockhausen era" and the "really screwed up West Coast American sort of music, of the Wrecking Crew variety".<ref name="Highest"/> It incorporated more electronic sounds than ''Gideon Gaye'',<ref name="Highest">{{cite journal|last1=Lien|first1=James|title=Sean O'Hagan: The Highest Llama|journal=CMJ New Music Monthly|date=October 1997|volume=50|url=https://books.google.com/books?id=_CoEAAAAMBAJ&pg=PA10|issn=1074-6978}}</ref> while its lyrics loosely address themes of "nomadism, nostalgia, film and musical theatre, and the effects of colonialism".<ref>{{cite magazine|title=Signal to Noise|url=https://books.google.com/books?id=A28JAQAAMAAJ|year=2007|magazine=Signal to Noise}}</ref> In the US, the album was issued with a 40-minute bonus CD containing material that was previously unreleased in that region.<ref>{{cite web|last1=Erlewine|first1=Stephen Thomas|author-link=Stephen Thomas Erlewine|title=Hawaii|url=http://www.allmusic.com/album/hawaii-mw0000595747|website=AllMusic}}</ref> Dominic Murcott then joined the group on vibraphone and marimba.<ref name="aboutus2017"/>
The High Llamas' American and British fanbase continued to grow.<ref name="ambio"/> ''Cold and Bouncy'' (1998) pushed the band further into electronics.<ref name="Page2002" /> According to O'Hagan, it was named for electronica's "paradoxical" combination of "chill" or digital sounds and "boisterous" rhythms.<ref name="Westlund">{{cite journal|last1=Westlund|first1=Joshua|title=The High Llamas - Cold and Bouncy|journal=Spin|date=April 1998|volume=14|issue=4|url=https://books.google.com/books?id=Jq-A2xEoAHIC&pg=PA128}}</ref> It was accompanied by ''Lollo Rosso'' (1998), a remix album for ''Cold and Bouncy'' featuring remixes contributed by indie electronic musicians such as Mouse on Mars, Cornelius, Schneider TM, Jim O'Rourke, Kid Loco, Stock, Hausen & Walkman, and the High Llamas themselves.<ref>{{cite web|last1=Sendra|first1=Tim|title=Lollo Rosso|url=http://www.allmusic.com/album/lollo-rosso-mw0000601091|website=AllMusic}}</ref> ''Snowbug'' (1999) featured Stereolab vocalists Lætitia Sadier and Mary Hansen.<ref>{{cite web |title=Snowbug Credits |url=https://www.allmusic.com/album/snowbug-mw0000252642/credits |website=AllMusic}}</ref> The album was met with poor sales, and was their last before departing V2 Records.<ref name="Buckley2003"/> A two-disc compilation, ''Retrospective, Rarities & Instrumentals'' (2003), collected tracks from their main discography up to this point. Additionally, it included rarities that had been released as B-sides or bonus tracks on Japanese and American editions of their albums, while one song, "Vampo Brazil", was a previously unreleased outtake from the ''Cold and Bouncy'' sessions.<ref>{{cite web|last1=Sendra|first1=Tim|title=Retrospective, Rarities & Instrumentals|url=https://www.allmusic.com/album/retrospective-rarities-instrumentals-mw0000594052|website=AllMusic}}</ref>
===2000s–present=== thumb|left|O'Hagan performing with the High Llamas in Spain, 2011
The High Llamas started recording for the Duophonic and Drag City record labels with ''Buzzle Bee'' (2000),<ref>{{cite web|title=The High Llamas|url=http://www.dominopublishingco.com/artists/the-high-llamas/|website=Domino Publishing Company|access-date=24 December 2017|archive-date=25 December 2017|archive-url=https://web.archive.org/web/20171225091915/http://www.dominopublishingco.com/artists/the-high-llamas/|url-status=dead}}</ref> which saw the band experimenting more with their sound,<ref>{{cite web|last1=Hoard|first1=Christian|title=Buzzle Bee|url=https://www.allmusic.com/album/buzzle-bee-mw0000741833|website=AllMusic}}</ref> while ''Beet, Maize & Corn'' (2003) eschewed electric guitars and synthesizers in favor of string and brass arrangements.<ref>{{cite web|last1=Sendra|first1=Tim|title=Beet, Maize & Corn|url=https://www.allmusic.com/album/beet-maize-corn-mw0000318431|website=AllMusic}}</ref> The latter marked the arrival of an additional member, Pete Aves, on guitars and banjo.<ref name="aboutus2017"/> Unterberger referred to ''Beet, Maize & Corn'' as "a high achievement for the Llamas with both critics and fans."<ref name="ambio"/> In ''The Rough Guide to Rock'' (2003), music critic Nig Hodgkins commented that despite "adventurous breakthroughs by previously obscure American bands such as Mercury Rev and the Flaming Lips," the High Llamas failed to attract a comparative following and were seen as "a little too esoteric and experimental to threaten a mainstream that had once warmed to the strong melodies of ''Gideon Gaye''."<ref name="Buckley2003"/>
{{Quote box |align=right |text= The band does not make a living, but my arrangements and collaborations just about do. ... So an unmarketable band does have consequences. Tours have to be underwritten and those days are gone I'm afraid. ... We never get to the U.S. now because it’s too expensive. | source=—Sean O'Hagan, 2016<ref name="Clay"/> |width = 25em |}}
''Can Cladders'' (2007) received generally favourable reviews.<ref>{{cite web |url=http://www.metacritic.com/music/can-cladders/high-llamas|website=Metacritic|publisher=CBS Interactive |access-date=24 December 2017|title=Can Cladders}}</ref> ''Pitchfork'' reviewer Eric Harvey wrote that the album "emerge[d] as the most enjoyable High Llamas record in over a decade. ... with a bounce and sway nearly absent from its largely rhythmless predecessor."<ref>{{cite web|last1=Harvey|first1=Eric|title=Can Cladders|url=https://pitchfork.com/reviews/albums/9887-can-cladders/|website=Pitchfork|date=21 February 2007}}</ref> Another four years went by until their next release, ''Talahomi Way'' (2011), described by O'Hagan as a "spring album".<ref>{{cite web|last1=Neyland|first1=Nick|title=Talahomi Way|url=https://pitchfork.com/reviews/albums/15354-talahomi-way/|website=Pitchfork|date=4 May 2011}}</ref> He said that the band's slowed output was due to low finances, and that he could only sustain a career in music through arrangement commissions. He could not afford commercial studios and recorded in improvised spaces "as much as possible, which allowed the budget to go on strings and brass. But I also wanted to create more space on the records. I was tired of density."<ref name="Clay" /> In 2013, the group contributed a song, "Living on a Farm", to an episode of the children's television programme ''Yo! Gabba Gabba''.<ref>{{cite news|title=Josh Holloway Visits 'Yo Gabba Gabba!' As A Guitar-Playing Farmer (PHOTO, VIDEO)|url=https://www.huffingtonpost.com/2013/07/24/josh-holloway-yo-gabba-gabba_n_3644565.html|work=The Huffington Post|date=24 July 2013}}</ref><ref>{{cite web|url=https://vimeo.com/95386519|title=Living On A Farm / Yo Gabba Gabba|last=Peepshow|date=15 May 2014|via=Vimeo}}</ref>
In 2014, the High Llamas premiered a theatrical play, ''Here Come the Rattling Trees'', at the Tristan Bates Theatre in London's Covent Garden. ''Pitchfork'' critic Robert Ham summarized the plot as "extended anecdotes [used] to comment on the rapid changes happening in London, particularly in Peckham, a region in the southeastern part of the city where O'Hagan has lived for over 20 years." The play originally featured a cast of actors and actresses, but when a studio album adaptation was released in 2016, the record only featured instrumental performances.<ref>{{cite web|last1=Ham|first1=Robert|title=Here Come the Rattling Trees|url=https://pitchfork.com/reviews/albums/21458-here-come-the-rattling-trees/|website=Pitchfork|date=20 January 2016}}</ref> O'Hagan explained that this was because the label felt that its promotion "would be difficult as the record would appear to be from a different medium."<ref name="Clay"/>
In 2019, Drag City released O'Hagan's second solo album, ''Radum Calls, Radum Calls''. During an interview to promote the record, he commented that the High Llamas were not defunct and that he was attempting to secure the rights to the band's work from Universal Music Group, "who are extremely reluctant to do ''anything'' with our catalog, and I’ve really been wanting to get them remastered and pressed on vinyl, and maybe do an expanded series like Stereolab have done. If we can get that to happen, we’ll tour. ... Then we might use that as an opportunity to officially retire—it would be a great way to close that book, don’t you think?"<ref name="recoup">{{cite web |last1=Kyle |first1=Joseph |title=Pull Up A Chair For A Spoken Gem: A Conversation With Sean O'Hagan |url=https://therecoup.com/2019/10/25/pull-up-a-chair-for-a-spoken-gem-a-conversation-with-sean-ohagan/ |website=The Recoup |access-date=10 November 2019 |date=25 October 2019}}</ref>
In March 2024, a new album, ''Hey Panda'', was released under the High Llamas banner. The album contains elements of R&B and trap music, and features vocal contributions from singer Rae Morris <ref>{{cite web | url=https://www.popmatters.com/high-llamas-hey-panda-review | title=The High Llamas Embrace Their Past, Present, and Future » PopMatters | date=18 April 2024 }}</ref> and O'Hagan's daughter Livvy. <ref>{{cite web | url=https://theartsdesk.com/new-music/album-high-llamas-hey-panda | title=Album: High Llamas - Hey Panda | date=23 March 2024 }}</ref>
==Members== '''Current''' * Sean O'Hagan – lead vocals, keyboards, guitar * John Fell – bass * Rob Allum – drums * Marcus Holdaway – cello, keyboards * Dominic Murcott – vibraphone, marimba * Pete Aves – guitar
'''Former''' * Anita Visser – vocals, guitar * John Bennett – guitar <!---
'''Timeline''' {{#tag:timeline| ImageSize = width:900 height:200 PlotArea = left:120 bottom:60 top:15 right:10 Alignbars = justify DateFormat = dd/mm/yyyy Period = from:01/01/1991 till:01/01/2017 TimeAxis = orientation:horizontal format:yyyy Legend = orientation:horizontal position:bottom ScaleMajor = increment:2 start:1992 ScaleMinor = increment:1 start:1993
Colors = id:bars value:gray(0.9)
id:vocals value:red legend:Lead_vocals id:guitar value:green legend:Guitar id:bass value:blue legend:Bass id:drums value:orange legend:Drums_/_Percussion id:keys value:purple legend:Keyboards id:vibes value:lightpurple legend:Vibraphone id:studio value:black legend:Studio_album
LineData = layer:back color:studio at:01/01/1992 at:01/02/1994 at:25/03/1996 at:27/01/1998 at:01/01/1999 at:23/10/2000 at:07/10/2003 at:19/02/2007 at:19/04/2011 at:22/01/2016
BarData = bar:Sean text:"Sean O'Hagan" bar:Marcus text:"Marcus Holdaway" bar:Fell text:"John Fell" bar:Rob text:"Rob Allum" bar:Anita text:"Anita Visser" bar:Bennett text:"John Bennett" bar:Dom text:"Dominic Murcott" bar:Pete text:"Pete Aves"
PlotData= width:11 bar:Sean from:01/01/1991 till:end color:guitar width:7 bar:Sean from:01/01/1991 till:end color:keys bar:Sean from:01/01/1991 till:end color:vocals width:3 bar:Marcus from:01/01/1991 till:end color:keys bar:Marcus from:01/01/1991 till:end color:vibes width:3 bar:Fell from:01/01/1991 till:end color:bass bar:Rob from:01/01/1991 till:end color:drums bar:Anita from:01/01/1991 till:01/01/1993 color:guitar bar:Anita from:01/01/1991 till:01/01/1993 color:vocals width:3 bar:Bennett from:01/07/1994 till:01/01/2000 color:guitar bar:Dom from:01/01/1998 till:end color:vibes bar:Pete from:01/01/2002 till:end color:guitar
}}--->
==Discography== {{Infobox artist discography |Artist = The High Llamas |Image = |Caption = |Alt = |Studio = 10 |Compilation = 1 |EP = |Singles = |Option = 1 |Option name = Remixes }} '''Studio albums''' {| class="wikitable plainrowheaders" style="text-align:center;" |+ ! scope="col" | Title ! scope="col" | Release |- ! scope="row" | ''Santa Barbara'' | * Released: 1992 * Label: JBM |- ! scope="row" | ''Gideon Gaye'' | * Released: 1994 * Label: Target |- ! scope="row" | ''Hawaii'' | * Released: 1996 * Label: Alpaca Park |- ! scope="row" | ''Cold and Bouncy'' | * Released: 1998 * Label: V2 |- ! scope="row" | ''Snowbug'' | * Released: 1999 * Label: V2 |- ! scope="row" | ''Buzzle Bee'' | * Released: 2000 * Label: Duophonic |- ! scope="row" | ''Beet, Maize & Corn'' | * Released: 2003 * Label: Drag City |- ! scope="row" | ''Can Cladders'' | * Released: 2007 * Label: Drag City |- ! scope="row" | ''Talahomi Way'' | * Released: 2011 * Label: Drag City |- ! scope="row" | ''Here Come the Rattling Trees'' | * Released: 2016 * Label: Drag City |- ! scope="row" | ''Hey Panda'' | * Released: 29 March 2024 * Label: Drag City |}
'''Compilation''' {| class="wikitable plainrowheaders" style="text-align:center;" |+ ! scope="col" | Title ! scope="col" | Release |- ! scope="row" | ''Retrospective, Rarities and Instrumentals'' | * Released: 2003 * Label: V2 |}
'''Remix EP''' {| class="wikitable plainrowheaders" style="text-align:center;" |+ ! scope="col" | Title ! scope="col" | Release |- ! scope="row" | ''Lollo Rosso'' | * Released: 1998 * Label: V2 |}
==References== {{Reflist}}
==External links== * {{url|highllamas.com|Official site}} * {{Facebook|High-Llamas-99951660585}}
{{The High Llamas}} {{Authority control}}
{{DEFAULTSORT:High Llamas, The}} Category:Avant-pop musicians Category:Chamber pop musicians Category:Psychedelic pop music groups Category:Drag City (record label) artists Category:Pop music groups from London Category:Musical groups established in 1991 Category:Stereolab Category:V2 Records artists Category:1991 establishments in England