Black Country, New Road announce new live dates


Following the announcement of their new single "Sunglasses", mixed by Dan Carey, Black Country, New Road have now announced further EU/UK live dates for 2019.

The full dates are as follows:

13.09.19 - Hop Pop Hop, Orleans, France
14.09.19 - 100 Club, London, UK - SOLD OUT
19.09.19 - Reeperbahn Festival, Hamburg, Germany
24.09 - Boston Music Rooms, London, UK - SOLD OUT
29.09 - The Portland Arms, Cambridge, UK^
30.09 - Hope & Ruin, Brighton, UK - SOLD OUT
01.10 - Rough Trade, Bristol, UK* - SOLD OUT
02.10 - Yes Basement, Manchester, UK* - SOLD OUT
03.10 - Poetry Club, Glasgow, UK*
04.10 - Elsewhere, Margate, UK*
19.10 - SWN Festival, Cardiff, UK
20.10 - Future Days, Birmingham, UK
09.11 - Primavera Sound 20th Anniversary, Benidorm, Spain
10.11 - Sonic City, Kortrijk, Belgium

^ = w/Culture CT
* = w/Famous

The band's new single 'Sunglasses' was released digitally on 26th July on BC,NR / Speedy Wunderground and is out physically on the Thurston Moore-affiliated Blank Editions today. 


The initial press of the 7” (500 copies) - each copy a unique product, with different Polaroid images on each cover taken by the band - sold out shortly after the initial announcement. Today, BC,NR and Blank Editions have also announced second pressing of the record. Limited to 250 copies, each record is hand assembled and features the now "classic" trumpet image affixed to the front of the sleeve. It will also include a new collectors insert which is hand numbered.


Front man Isaac Wood has the following to say about the single's themes, "it describes a series of events, loosely connected, all yet to happen. The song was intended to be highly inspirational. The lyrics are sometimes concerned with symbols of wealth or affluence but they are not written from a critical or even external position."

Despite scarce information available on the band up to now, their debut single “Athens, France” sold out of its pressing on Speedy Wunderground in a matter of days, they were featured in The Guardian’s tips for 2019 and they have performed in session for 6 Music alongside other early accolades. A precociously young seven-piece featuring both prominent sax and violin in their line-up, BC,NR have cut their teeth playing their first shows alongside the likes of Fat White Family, Black Midi and more.

Black Country, New Road are:

May Kershaw - Keys
Charlie Wayne - Drums
Luke Mark - Guitar
Isaac Wood - Vocals/Guitar
Tyler Hyde - Bass
Lewis Evans - Sax
Georgia Ellery – Violin

Selected praise for "Sunglasses":

“a nine-minute post-punk exposition, rhapsody and rant about the hollow consolations of materialism” – NY Times

“a gorgeous nine-minute glide/free-jazz squall” – The Times 

“Funny, vivid and anthemic.” – The Guardian

“Its nine minutes are a wild ride, morphing from post-rock to post-punk to an explosion of free-jazzy noise” – Stereogum

“Black Country, New Road capture life’s absurdity and cruelty in a ghastly post-punk odyssey.” – PASTE

"The seven-piece are utterly spellbinding and showstopping in every respect" - The Quietus

"the twisting 8-minute trip is a chaotic thing fuelled by unparalleled tension" - NME 

“Hilarious and terrifying nine-minute Grinderman-esque tirade about the tyranny of cool and other modern psychoses” – Uncut

“The new eight-minute song sees them exploring Slint-like territory with a little avant-jazz-rock in the mix too. – Brooklyn Vegan

“we've been playing it non-stop sent it was sent across.” – CLASH

“chaotically brilliant” – DIY 

“Black Country, New Road personify a creative post-punk ingenuity that's rare and take it a step further with eclectic and experimental tendencies that firmly set them apart.” – The Line Of Best Fit

“poetic gold” – So Young

“Ones to keep your eyes and ears on.” – The 405

New Music Friday - NPR

No Shit Playlist - Loud & Quiet


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Young Guv announces second part of album


Young Guv is dedicated and prolific songwriter Ben Cook. Today he's announced the second part of his double LP series, GUV II, coming via Run For Cover on October 25. Just off the heels of GUV I, released earlier in the summer, GUV II serves as a sequel collection of profoundly poignant and infectious pop tunes with choruses you'll never forget and lyrics whose dry wit and understated acuity will knock you flat.

He's revealed the album's lead single "Try Not To Hang On So Hard" which Cook notes was written "on a bit of acid. I was house-sitting for my mom and looking at all the photos and all the very British trinkets she keeps around and on her walls that make her happy. It had a pretty profound emotional effect on me, probably due to the LSD, so I wrote a song about how it's ok to feel a little lost or lonely and to keep things around you that make you feel comforted."


Think of the contemporary guitar music that's meant something to you in the last 18-odd years. Ben Cook has probably had something to do with making it or influencing it. Think of No Warning, which he's fronted since he was in high school in the '90s, who pioneered a self-aware, intertextual, and technically adept style of New York hardcore that has became a subgenre unto itself, dominating scenes all over the world for close two decades and counting. Think of Fucked Up, for which he's played guitar since 2006, the aesthetically omnivorous, thematically ambitious punk-rock-deconstructing band-like entity that, unlike the bulk of their contemporaries in the late-2000s festival-circuit indie-rock boom, no one is ashamed of having associated themselves with. Think also of his behind-the-scenes presence, the co-writing and production work he's done for a host of artists at all levels of renown.

Ben Cook doesn't like talking about his music but he understands it. "To me Young Guv songs are like people-watching in a foreign country in the morning," he says, ever the master of the vivid metaphor. "I'm there and I'm trying not to cry from the overwhelming feeling of sadness and happiness."

As it happened, when the new songs started coming in May 2018, Ben was in a foreign country, albeit one - the U.S.A. - where he knew his way around, and could speak the language, observe local custom, and blend in, effectively disappearing, into the streetscape, into thoughts and longings, and, inevitably, back into his Brooklyn apartment, in the confines of which he wrote a song every single day.

People-watching in a foreign country. Another way of putting that would be to say that Young Guv songs are about being alone. As the years have passed, as material and social conditions have conspired to make everyone feel increasingly alone, Ben has built a Guv discography out of invoking the desolation that arises when you're isolated in physical and mental space but surrounded nonetheless by millions of other isolated, solitary people, literally any one of whom you could, for all you know, love with all your heart for the rest of your life, but almost none of whom, you're forced to admit, will become anything more than a briefly transfixing stranger, at best a wraith that recurrently haunts your dreams.

The city told him, in its aloof way, that a great record was waiting to be written and, most important, to be offered like a bouquet of flowers to the people of the world, in a humble act of love and communion. Ben's been a true songwriter long enough to have recognized, and heeded, the coded command when it came. He's since moved back to NYC and plans to stay awhile.

Young Guv has confirmed September dates with label-mates Turnover this month and will confirm more North American dates soon. See below for a full list and go here to pre-order GUV II, and listen to GUV I here.


Album Artwork By: Braulio Amado | Hi Res Version Here

Young Guv
Run For Cover
October 25, 2019

1 - She's A Fantasy
2 - Try Not To Hang On So Hard
3 - Caught Lookin'
4 - Trying To Decide
5 - Forgot To Feel
6 - Can I Luv U In My Own Way
7 - Song About Feeling Insane
8 - Can I Just Call U
9 - Can't Say Goodbye

Young Guv Live Dates:

09/07: Toronto, ON - MattyFest
09/08: Rochester, NY - Montage Music Hall #
09/10: Cleveland, OH - Phantasy #
09/11: Indianapolis, IN - Citadel Music Hall #
09/12: Grand Rapids, MI - Pyramid Scheme #

# w/ Turnover

Find Young Guv online: InstagramTwitterRun For Cover.

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Spielbergs announce new single


"It's a bracing (re)introduction to a band that match joy and intensity in equal measures."

The FADER on "Running All The Way Home"

Download hi-res image HERE

Running All The Way Home marks Spielbergs’ first new music since the release of their critically acclaimed debut album This Is Not The End, earlier this year. Released on the back of a packed-out spring UK tour, UK festival appearances and a recent tour support to Foxing – Running All The Way Home is Spielbergs at their triumphant best, condensing the mood of an entire world into a four-minute, adrenaline-shot thrill-ride.

Listen to Running All The Way Home HERE

The single also heralds the imminent arrival of the Running All The Way Home EP. The EP houses a handful of new songs (Running All The Way HomeOh No and Fake A Reaction) as well as unreleased material from the album recording sessions, including the expansive and thoughtful electronic soundscapes of The Sum, and the ferocious and guttural This Is Not The Endwhich inspired the title of their debut album and now find its release as part of the EP.

Pre-order EP HERE

The EP will be released on limited CD, digital and a limited clear-blue vinyl - the vinyl containing three additional bonus tracks, Daisy! It's The New MeGhost Boy & Setting Sun, all taken from their breakthrough debut EP and all previously unavailable on vinyl.

Running All The Way Home EP tracklist (digital / limited CD):

1. Running All The Way Home
2. This Is Not The End
3. Oh No
4. The Sum
5. Fake A Reaction

Running All The Way Home EP tracklist (LP):

 1. Running All The Way Home
2. This Is Not The End
3. Oh No
4. The Sum
5. Fake A Reaction
6. Ghost Boy 
7. Daisy! It's The New Me
8. Setting Sun

Pre-order the EP HERE


Download hi-res artwork HERE

Lead singer and guitarist Mads Baklien notes on the new single; “Running All The Way Home is a song about regret. You can’t undo what you’ve done. You can apologise to the people you’ve hurt all you want, you can promise to do better in the future, but it will not fix things. You will just have to wait it out and see what happens.”

With a whole host of live shows in the calendar for the remainder of 2019, drummer Christian Lovhaug comments; "We are full of energy after the run of gigs we have had in the first half of 2019. With all the new countries and festivals we’ve visited this summer we are certain that these Autumn dates will be the best yet. We've our biggest ever headline tour in the UK, before we return home to Oslo and BLÅ for the same there. With shows to come in the UK, Norway, Sweden, Denmark, France - and our first German tour in December. The second half of 2019 is looking really exciting." 

Upcoming live dates:

Sept 06 - Granittrock, Oslo, Norway
Sept 18 - Think Tank? Underground, Newcastle, UK
Sept 19 - The Poetry Club, Glasgow, UK
Sept 21 - The Flapper, Birmingham, UK
Sept 22 - Yes (Basement), Manchester, UK
Sept 23 - Picture House Social, Sheffield, UK
Sept 24 - Oporto, Leeds, UK
Sept 26 - Louisiana, Bristol, UK
Sept 27 - Underworld, London, UK (supp. Mallory Knox)
Sept 28 - Big Scary Monsters Big Day Out, Paper Dress Vintage, London, UK
Sept 29 - Black Star, Paris, France
Oct 26 - BLÅ, Oslo, Norway
Nov 07 - Blå Båten, Malmø , Sweden
Nov 08 - Stengade, København, Denmark
Nov 30 - Hamburg and Booze Cruice, Germany
Dec 02 - The TUBE, Düsseldorf, Germany
Dec 03 - LUX – Concerts, Hanover, Germany
Dec 05 - Kreativfabrik Wiesbaden, Wiesbaden, Germany
Dec 06 - Backstage München, Munich, Germany
Dec 07 - Cassiopeia Berlin, Friedrichshain, Berlin

Further praise for Spielbergs:

“Big, heart-on-sleeve guitar-rock with a go-for-broke anthemic intensity.” - Stereogum

“Physical intensity, gooey emotions, and devotionals that are joyous.” - Pitchfork

“They’ve perhaps made the best debut of 2019 so far.” – NME

"one of the year's most triumphant rock albums." - The FADER

“Joyfully ragged, emo-esque, power-pop songs.” - The Guardian

“Fizzing with energy and seemingly perpetually on the brink of collapsing into thrilling chaos.” – Q

“An amazing band” – Dan P Carter, Radio 1

“Fans of fuzzy, propulsive cathartic jams, are about to have a new favourite band.” – Kerrang!

“Pummelling yet melodic guitars batter you round the heart with nary a pause for breath. “ - DIY

“[This Is Not The End] is a gem of an album.” – The Line of Best Fit Album of The Week

“A roller coaster ride of rollicking riffs, descending and ascending with a luminous fury and friskiness, before delivering us back home again safe and sound, but breathless.” - The 405

“Tunes so pummelling you’ll need a sit down and a nice cup of tea afterwards.” - Dork

“Guitars drill down at all angles, while the pummeling percussion sounds like a cement mixer trying to chew up a steel beam.” - CLASH

“It offers the kind of swaggering, punch-drunk escapism we used to spend all our time wishing for in our teenage years, while making it feel utterly achievable even now we’re much older and far more cynical.” – Gold Flake Paint

“One of the most exciting bands of the year.” – The i Paper

10/10 - Powerplay

“Spielbergs sound is a sort of widescreen Superchunk, wrestling glassy, reverberating tones, into surprising forms.” - Total Guitar

“A thrilling experience of riotous anthems, driven by high-octane energy.” - Louder Than War

“True raiders of the lost grunge art.” - Classic Rock

“Spielbergs’ craftsmanship is something very special.” - Upset

“Anthemic songs that assert both urgency and aptitude” – Alt Press

More about Spielbergs 

Beating an intense, heavy path in the mould of Japandroids, Dinosaur Jr., Trail of Dead, Titus Andronicus and No Age, their ability to marry the soaring and uplifting with the dark and gloomy – forever bound by their strong sense of melody - has become something of a calling-card for the band, as have their knock-out live shows.

Spielbergs are: 

Mads Baklien (guitar, vocals, synth)
Stian Brennskag (bass)
Christian Løvhaug (drums)

FInd Spielbergs online: Facebook | Twitter | Instagram | Spotify
By The Time It Gets Dark: 
Website | Facebook | Twitter | Instagram

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Michael Janisch shares new single and announces album


Following the breadth of 2015’s live and post-processed electro-acoustic release Paradigm Shift, bassist Michael Janisch launches new project Worlds Collide with a band featuring saxophonist John O’Gallagher, trumpeter Jason Palmer, guitarist Rez Abbasi and drummer Clarence Penn. Recorded in Abbey Road’s legendary Studio 3, and engineered/mastered by Tyler McDiarmid, it also includes guest saxophonist George Crowley, keyboardist John Escreet and drummer/percussionist Andrew Bain.

Tirelessly active as solo artist, session player, composer, producer and record label owner across the British, US and European scenes, Janisch recalls the beginnings of this creative shift in direction. “At the 2017 EFG London Jazz Festival, a triple bill of Whirlwind bands was showcased by Serious at Rich Mix, where I was thrilled to premiere a sequence of new music that I’d been writing. The original tour (mainly in the UK) featured this core band who had all come over  from New York; but excitingly, as a project recording, it now provides a springboard for me to develop and perform these and upcoming compositions with other line-ups, including the next phase with fellow London-based artists. The influence of living in the capital, over the past fifteen years, has crept into my musical being, so I see this new era as a big transition.”

Twofold title ‘Worlds Collide’ primarily speaks of the variety in Janisch’s six engaging tracks. Each is quite different to its neighbor because this is a collection of individual pieces written over a period of time, often personal in their inspiration, driven purely out of his mindset and experiences in those moments. But he also sees it as analogous to what is going on in the wider world right now, especially the continual toxicity of social disclosure driven by tribalist views from differing positions on the political spectrum.”

The rock-driven strut of ‘Another London’, with fundamental ostinato bass groove, guitar-and-synth vistas and lush horns, reflects Janisch’s positive view of walking through this great city – away from the bile of social media platforms, clear evidence of “people from different cultures and backgrounds actually getting on in their lives, generally living in harmony with each other.” It’s a decidedly cool groove, interspersed with contemplation, featuring an epic alto arc from O’Gallagher (“Everyone’s ‘the best’, right? But John really is one of the very best”). Rez Abbasi’s mesmeric guitar figure maps out ‘An Ode to a Norwegian Strobe’ (Janisch is a big fan of Strobes and Aphex Twin, as well as regularily performs with Norway’s jazz star Marius Neset), and its sumptuous buoyancy is fully explored by the band to cinematic conclusion.
‘The JJ Knew’ – a personal, family lament originating as spontaneous improv on Michael’s previous album – illuminates its foundational melancholy with positive thought. His fabulously mobile Fender is still at heart of this questioning episode, and it’s a great result of his assertion that “improvisation is right-in-the-moment composition, so why not just trust in it?” Kids can be massively, even randomly creative, and the free-spirited nature of ‘Frocklebot’ is named after “an imaginary toy looking like a giraffe with mechanical wings” created by the bassist’s daughter. Ornette Coleman and Don Cherry might be summoned in this exploratory world developing free solos between Palmer and Abbasi, then Janisch and O’Gallagher.
A beautiful alto intro to four-part mini-suite ‘Pop’ (‘poppet’, dedicated to Sarah, his wife), belies its minor key with a happy, sunshiny glow, the slow and glorious progression reflecting her “peaceful powerfulness”; and ‘Freak Out’ – a tricksy “good old-fashioned shred for Rez” with near-on big-band hits finds the guitarist building sheets of sound redolent of ‘70s McLaughlin and Holdsworth.
The technical and emotional wonder of Worlds Collide was nailed in Clarence Penn’s immediate, adrenalin-rushed quip to Michael Janisch, once the whole album was ‘wrapped’: “Congratulations on a great record – you’re really gonna turn some heads with this!” What he was chiefly getting at is the simple truth that, right here, is a celebration of boundary-crossing contemporary jazz unfolding in all its captivating, artistic magnificence. Janisch has glimpsed a new horizon for himself and, with inimitable verve, is going for it.


Michael Janisch
'Worlds Collide'

Out 6th September 2019 via Whirlwind Recordings

1. Another London
2. An Ode to a Norwegian Strobe
3. The JJ I Knew
4. Frocklebot
5. Intro to Pop
6. Pop
7. Freak Out

Pre-order - CD / VINYL

Performing with a new band at Kings Place, London on 27th Sept - 

Full tour dates:

Blue Arrow, Glasgow (24 Sep)
The Jazz Bar, Edinburgh (25 Sep) 
East Side Jazz Club, Birmingham (26 Sep) 
Kings Place, London (album launch, 27 Sep)


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Kit Philippa announces debut album


“…impressive is too weak a word” Hozier

“…they are extraordinary. I think they are a shining future star.” Mary Anne Hobbs, BBC 6Music

“Sweeping, enchanting…simple but never simplistic.”  The Line Of Best Fit

“Emotive, powerful…Kitt’s brand of somber alternative is reaching shores far beyond their homeland.” – The 405

For Kitt Philippa – 2018 Winner of the Northern Irish Music Prize – the process of putting together their debut album has been one steeped in a desire to capture the push and pull of what it means to be human in 2019. As a result, thematically, Human largely details what it is to struggle. With one eye focussed on the enormity of what this subject matter entails, the other is trained firmly on the smaller details, and how these coalesce to create significant experiences. It is this particular point – the clarity in the detail - that gives Human its notable poignancy.

In the same way that the album musically shifts form – through contemplative slow-burns, swirling digital soundscapes, and rousing chorales – so too does the route through the record for the listener, as the outlines are drawn by overarching themes of love, burden, loss, time and place. It is deliberate in its direction but, like the unpredictability of life itself, is punctuated by unintentional moments that bring a ringing consequence to the album. Fahrenheit for example, with the weight of its lyrics and intensity of their delivery, addresses the difficulties of interaction, while Lion’s smouldering and touching portrayal of strength under the weight of adversity provide one of the album’s highlights. The resulting theme of mental health came along unintentionally – in the same way it can lurk in amongst the shadows of human emotion.

Elsewhere, Kitt Philippa’s talent for devastating songcraft and the conjuring of stark imagery are rarely more in evidence than on Untitled and Atlas. Of Untitled, they say; “I had a specific image in my head of an older woman wearing a long, dark, heavy coat walking along a street in warm weather. She moved in a slow, measured way. The heat amplified the coat and there was something about its ability to physically conceal. It paralleled mental burdens that are hidden and carried. The end of the song is a prayer for the woman's safety. The drone is a prominent feature of the track. They were present in a lot of early church chant music and can ground a piece of music like an anchor.”Similarly, Atlas comes from a concerning visual scene in a dream, as Kitt Philippa continues, “The track knows fear and recognises the need for positive action. Life feels dangerous sometimes. Atlas looks to strength and source(s) of strength.”

Just one of Human’s many outstanding qualities is its ability to challenge. It doesn’t claim to have all of the answers, but it asks the right questions as it makes emotive pleas, wrestles with feelings of isolation, and ultimately shows us how Kitt Philippa’s corner of the universe feels.

'Human' track-listing:
1, Human
2, You
3, Lion
4, Grace
5, Fahrenheit
6, Moth
7, L
8, Untitled
9, Atlas
10, 68 2/4

Find Kitt Philippa online: Website | Facebook | Twitter | Instagram

See Kitt Philippa live: Wednesday 23rd October - SET Dalston, London

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Alice Zawadzki announces new album


"A genuinely unclassifiable yet entirely thrilling piece of music."

“She is a genuine original”
– The Guardian

“Something of a phenomenon”
– MOJO Magazine

“Uncategorisable, beautiful – a real force to be reckoned with”
– Jamie Cullum, BBC Radio 2

“The woods are still when I look in from the outside. The more I listen, the more I can hear them. My blood is spiked with emerald and I become green, glowing, sprouting new shoots from all over my body…”

Diffracting through a greenwood canopy, the poetic words and music of vocalist/violinist/pianist Alice Zawadzki illuminate her unique artistry and the concept behind new album Within You is a World of Spring – the follow-up to acclaimed Whirlwind debut release China Lane. Zawadzki leads an inspiring band of musicians and improvisers in realising her extraordinary, often moving, occasionally droll, original songs: Fred Thomas (piano, drums, percussion, banjo, organ), Rob Luft (guitar), Misha Mullov-Abbado (double bass) and Hyelim Kim (taegum). Integral to the impressive, layered detailing is the Amika String Quartet of Simmy SinghLaura SeniorLucy Nolan andPeggy Nolan, and engineer Alex Killpartrick.

“The title represents the journey that many of us can go through”, reveals Zawadzki, whose striking bodily transformation for the front cover was painted by artist Charlotte Mann. “We get to a certain age and begin to understand more about the brutality and turbulence of the world, experiencing heartbreak, social injustice, etc. My songs focus on the idea of remembering, during those times, that there’s a seed inside us which carries the life force to help us blossom again – we can change.”

rgent portamento strings and intense drumming powerfully energize the title track, its words (‘When I feel done and done, your Spring returns to heal’) inspired by an Emil Aarestrup poem. Working in the ‘Calais Jungle’ proved life-changing for Alice, witnessing the resilience, dignity and goodness of many people there. So ‘God’s Children’ asks us not to forget their plight (‘Do you dare to dream? Are dreams not for all men? Let me ask you again - are dreams not for all God's children?’) through diaphanous, tumbling phrases and anthemic affirmation. “Tears can act as a conduit between us”, explains Zawadzki, “building the foundation for understanding.” Near-operatic ‘Superior Virtue’ recalls a beautiful, unfulfilled encounter, as violin, guitar and piano textures twinkle, while tongue-in-cheek romance ‘Es Verdad’ jigs with infectious, whimsical abandon.

luttering bamboo taegum (Korean flute) evokes Zawadzki’s woodland discovery as ambient swirls cushion her path through a love poem to one who could not cry, yet finally… ‘The tears running down his face are more rare and precious than jewels’. Sumptuously soulful ‘Keeper’ emphasizes the thread of ‘change’ – described as “thosemoments where the passage of time refracts and bends, where the end is the start and the start is the end” – heightened by blissful blue guitar. Sinewy violin in ‘Twisty Moon’ announces a scintillating imagined overture to a detective movie; and in elegantly traditional style, with Buenos Aires backdrop, ‘O Mio Amore’ speaks of heartbreaking separation across the Atlantic.

Sometimes I try to court a kind of naivety when writing, at least at the start”, says Zawadzki, “to follow my curiosity or instinct without an agenda of what the piece should end up being. It keeps things fresh. All these musicians are brilliant and unique improvisers, so the spirits of jazz and folk are here, both sonically and in the themes of consciousness, humanity, and love”


Album Art


Alice Zawadzki is a vocalist, violinist, songwriter and composer based in London. Her work as a performer, collaborator, composer and speaker, has seen her gain considerable repute as “a genuine original” (The Guardian), and a distinctive and individual presence on the creative European music scene.

Anglo-Polish Alice’s rich musical background and “whimsical hypercreativity” (MOJO Magazine) converge into artistry which draws upon her early exposure to New Orleans jazz and gospel with the legendary Lillian Boutté who took Alice under her wing and on tour as a teenager, an extensive classical training as a violinist, and a continuous exploration of improvisation, poetry, and folk music from diverse traditions, “all propelled in a voice of velvet suppleness and gutsy emotional power” (The Arts Desk). She performs extensively as both a soloist and as a collaborator, with headline performances at the major UK alternative and jazz venues and festivals, including the Royal Albert Hall, Ronnie Scott’s, the London Jazz Festival, the Vortex, Celtic Connections, and internationally at festivals from Taipei International Jazz Festival (Taiwan) to Coventry Calling (Massachusetts, USA) to Sűdtirol Jazz Festival (Italy), Ottawa Chamber Music Festival (Canada), Musicá Impopular (Brazil), and many more. She also performs and collaborates at underground venues in the London scene and on unexpected platforms, with a keenness to nourish music at its roots, and to support inclusive community-wide music making.

Her forthcoming release, ‘Within You Is A World Of Spring’, features a who’swho of celebrated players, including guitarist Rob Luft, bassist Misha Mullov-Abbado, pianist, drummer and producer Fred Thomas, Korean taegum player Hyelim Kim, and the Amika string quartet.

She released her debut solo album China Lane (Whirlwind Recordings) in 2014, a collection of original songs and arrangements infused with modern, ancient and invented folklore. China Lane was met with widespread critical acclaim, being made Album of the Week by BBC Radio 3, and making the The Guardian’s Best Albums End of Year List, described as “beguiling, unorthodox and pure” by The Independent, and “a real force to be reckoned with” by Jamie Cullum, who invited Alice and her band to perform live on BBC Radio 2 at Maida Vale. The success of China Lane also led to her nomination for British Vocalist of the Year by both Jazz FM (2015 and 2018) and the Parliamentary Jazz Awards (2015 and 2017), and she was selected to take part in Take Five, the professional development programme run by international music producers, Serious Ltd, sponsored by the Performing Rights Society and Arts Council England.

As an in-demand interpreter of new and unusual works, Alice has had the privilege to premiere several new large-scale pieces, including Daniel Cohens ‘Reciprocity’ at the Ottawa Chamber Music Festival, Alex Roth’s ‘Arvoles Lloran Por Luvia’ at Battersea Music Hall, Alya AlSultani’s ‘Two Sisters: An Arabic Opera’ at the Ahbab Festival in Cambridge, Peter Wiegold’s ‘The Third Orchestra’ at the Barbican, as well as performing exciting virtuosic works for the voice including Osvaldo Golijov’s ‘Ayre’ and Arnold Schoenberg’s ‘Pierrot Lunaire’ with the Orquestra Filarmonica de Goias, Louis Andriessen’s ‘M is for Man, Music and Mozart’, with Sinfonia Viva at Nottingham Symphony Hall, and many more. She has performed extensively on live BBC Radio in association with the London Jazz Festival, BBC New Generation Artists programme, and many others.

Her striking ability to perform across and transcend genres whilst retaining her own expressive and intelligent musical style gives her a unique accessibility, and her distinctive voice can be heard on numerous film and television scores, including Disney’s major motion picture African Cats, written by Nicholas Hooper, Charlie Brooker’s Black Mirror (BBC). She also performed live throughout Germany as the vocal soloist with the Prague Philharmonic for George Fenton’s Planet Earth Live in Concert arena tour, and as the vocal and fiddle soloist in James Horner’s iconic score of the film Titanic, performed live internationally with the Kansai Philharmonic, (Taiwan) Osaka Symphony, Tokyo Philharmonic, (Japan), Moscow City Symphony Orchestra, and the St Petersburg State Symphony Orchestra (Russia).

She has performed on acclaimed albums for labels including Whirlwind Recordings (China Lane), Babel (What Do You See When You Close Your Eyes? – The Moss Project), Chaos (Impossible Things – Corrie Dick), Odradek (Lela – Dan Whieldon), Boombetter Records (Lifecycles – Engines Orchestra), and Ubiquity Records (The Myth of the Golden Ratio – United Vibrations), and has enjoyed regular radio play from BBC Radio 2, BBC Radio 3, Jazz FM, and Resonance FM, including live session features for BBC Radio 2 and at Jazz FM with her solo project, and as a speaker on vocal practices for programmes on BBC Radio 3.

She trained in jazz singing and composition and gained an MA at the Royal Academy of Music, with a scholarship from the Musicians Benevolent Fund, after completing undergraduate studies in classical violin at the Royal Northern College of Music, where she also won the Hilda Collens Prize and the Cove Park Emerging Artists Residency, supported by the Jerwood Foundation and the Scottish Arts Council.

Alice has held several higher education posts as a teacher, and delivered vocal and improvisation programs for the RNCM, Salford University, the University of Kent, and the Engines Orchestra. She has worked extensively for Live Music Now, a charity which takes live music into places where it is hard to access, including special needs schools, hospitals, care homes and prisons, and is currently a member of Play For Progress, an organization who provide music workshops and friendship to unaccompanied teenagers who have or are seeking refugee status in the UK.

Alice Zawadzki
'Within You Is A World Of Spring'

11th October 2019
Whirlwind Recordings

01 - Within You Is A World Of Spring
02 - Gods Children
03 - Superior Virtue
04 - Es Verdad
05 - The Woods
06 - Keeper
07 - Twisty Moon
08 - O Mio Amore

Alice Zawadzki
 – voice, violin, piano, Moog
Fred Thomas – piano, drums, Hammond, percussion, cello, double bass
Rob Luft – guitar
Misha Mullov-Abbado – double bass
Hyelim Kim – taegum
Simmy Singh – violin
Laura Senior – violin
Lucy Nolan – viola
Peggy Nolan – cello

Live dates:
24 September: Private album launch
14 November: Manchester show w/ RNCM
19 November: Kings Place Hall 1, presented by EFG London Jazz Festival

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LIFE share new single


“tightly wound guitars and lyrical zingers combine for maximum '80s Peel session effect”

 – The Guardian

“LIFE combine inescapable energy with unshakeable hooks”
 – Dork

“Whether they’re rallying against the establishment or helping us escape, LIFE’s debut provides comfort and support for us all”
 – DIY

“Equal parts menace and mosh-pit friendly bounce”
 – Metro

‘LIFE are everything you could possibly want from an artist – they are politically astute, angry, intelligent, gritty and air-punchingly brilliant”
 – God Is In The TV

Following the announcement of their highly anticipated second album ‘A Picture Of Good Health’, a recent A-listing on BBC 6 Music for ‘Hollow Thing’ and a blistering BBC Radio 1 Maida Vale session for Jack Saunders, Hull outfit LIFE have now shared a new single from their forthcoming album ‘A Picture Of Good Health’ entitled ‘Bum Hour’


Speaking about the new single frontman Mez Green said the following: 

“Bum Hour is the isolation when you shut your door. Bum Hour is about not being at ease on your own. Bum Hour is ‘that’ pattern and routine broken. It’s the need to live again in that moment as you watch the bars buzz from your lone-parent window. Your only comfort, your saviour, your little boy in his bedroom. You find yourself scrolling through your phone an act of self-harm and torture. Your mates are out - you lie down and sleep.”

‘Bum Hour’ is the third single to be taken from LIFE’s new album (full track list below). Produced by Luke Smith (Foals) and mixed by Claudius Mittendorfer (Parquet Courts), the band home in on a bigger and more focused sound whilst also channelling the lyrical content inwards. Whereas the band’s debut album ‘Popular Music’ was broadly political, the new album takes a more personal approach with beguilingly honest and brave lyrics that are bold in both sound and feeling, whilst also retaining the core DNA of their previous material.

Going on to speak about the album Mez says “A Picture of Good Health is not a collage of work but rather a snapshot of time; our time and the time of those around us. It’s political, but in a personal way. It’s a body of work that explores and examines the band's inner-selves through a precise period; a period that has brought pain, loneliness, blood, guts, single parenthood, depression and the need for survival and love. It is the sense and need for belonging that is the resounding end note!”

Alongside the new single the band have also recently announced a series of EU/UK headline tour dates, including four UK instore events, two new Irish dates and one new Northern Irish date for December. The band recently embarked on a sold out two-week European tour as main support for IDLES as well as playing one of three sold-out London shows at the Electric Ballroom and have played packed out sets at various festivals throughout the year including: Glastonbury, The Great Escape, Liverpool Sound City, Pukkelpop, Best Kept Secret, Rock For People, Pahoda, Latitude and more. They will play the following dates:

Sun 1, September - Wilkestock Festival, Frogmore Hill UK
Fri 20, September – Warren Records, Hull UK
Mon 23, September – Rough Trade, Bristol UK
Tue 24, September – Rough Trade, Nottingham UK
Thurs 26, September – Rough Trade East, London UK
Sun 29, September - MTC, Cologne DE
Mon 30, September - Molotow, Hamburg DE
Sat 5, October - Musik & Frieden, Berlin DE
Sun 6, October - Hydrozagadka, Warsaw PL
Mon 7, October - Famu, Prague CZ 
Tues 8, October - Kranhallen, Munich DE
Thurs 10, October - Dynamo Werk 21, Zurich CH
Sat 12, October - Freakout, Bologna IT 
Tues 15, October - Costello Club, Madrid ES
Wed 16, October - Sidecar, Barcelona ES
Thurs 17, October - L’Espace, Paris FR 
Sun 20, October - Cinetol, Amsterdam
Mon 21, October - Kavka, Antwerp BE
Thurs 24, October - Phase One, Liverpool UK
Sat 26, October - Bootleg Social, Blackpool UK
Sun 27, October - YES, Manchester UK
Mon 28, October - Hyde Park Book Club, Leeds UK
Tues 29, October - Fulford Arms, York UK
Wed 30, October - King Tuts, Glasgow UK
Fri 1, November - Tunnels, Aberdeen UK
Sat 2, November - Think Tank, Newcastle UK
Mon 4, November - Sugarmill,  Stoke UK
Tues 5, November - Cookie, Leicester UK
Wed 6, November - Moth Club, London UK
Thurs 7, November - Clwb Ifor Bach, Cardiff UK
Fri 8, November - West End Centre, Aldershot UK
Sun 10, November - Anvil, Bournemouth, UK
Mon 11, November - Green Door Store, Brighton UK 
Tues 12, November - Joiners, Southampton UK
Wed 13, November - Forum, Tunbridge Wells UK
Thurs 14, November - Horn, St Albans UK
Fri 15, November - Crauford Arms, Milton Keynes UK 
Weds 4, December – Academy 2, Dublin IRE
Thurs 5, December – McHughs Basement, Belfast UK
Fri 6, December – Kasbah Club, Limerick UK

Tickets are on sale now from

‘A Picture Of Good Health’ is due out 20th September 2019 via band's own label 'Afghan Moon' and also sees them partner for the first time with [PIAS]

Pre-order the album HERE



“The new album is more personal, about mental health and inner turmoil. I think all of us had a breakdown at some point while making it” – Mez, Life.

Hull’s post-punk absurdist polemics LIFE made quite an impact with their DIY debut album. 2017’s Popular Music was championed by BBC 6Music’s Steve Lamacq and won firm fans (and friends) in fellow post-punkers Idles. Most unexpectedly, Popular Music even ended up in BBC Radio 1 Albums Of The Year list, where Life’s gnarly, Humberside riffs and scattergun wordplay kept unlikely – but deserved - company with the likes of Jay-Z, Skepta, the xx and Wolf Alice. Two years on, their eagerly awaited, dryly-titled second album, A Picture Of Good Health, ups the ante musically and lyrically. 

Popular Music - recorded one or two tracks at a time, over a long period – was a musical collage that documented their development and emergence. By contrast, A Picture Of Good Health is the product of an intense four week recording period in Tottenham, North London. Producers Luke Smith (Foals) and Claudius Mittendorfer (Parquet Courts) and new bass player Lydia have helped craft a sound that's more robust and musically broader, but which hasn’t lost any of the quartet’s trademark fire and wallop. Lyrically, the first album took a sideways glance at the modern world, where lyrics about 2-for-1 supermarket deals, Donald Trump, the impact of American right to bear arms, Brexit and UK austerity policies blazed forward in a hailstorm of firecracker imagery comparable to Mark E. Smith’s The Fall. This time, their subject matter is more inward, as brothers and lyricists Mez (vocals) and Mick (guitars) have examined their own emotions, experiences and motivations. 

“The first album was quite political and talked about young people, including ourselves, having problems living and surviving,” explains Mez. “On the second album we take the spotlight away from the wider community and bring it on us. It’s a broader sound, more angular, more precise. We both share the lyrics but this album very much reflects what was going on in my life – I was coming out of a long term relationship, becoming a single dad. I wanted to express and write about the turmoil I was going through. I think it’s quite brave, in terms of politics and community. There are songs about single fatherhood and mental health. Do people sing about that stuff? I’m not sure they do.”

Indeed, sessions for the album proved so intense – with the pressure for a superior follow-up piling on from the band themselves, rather than a record company or external forces - that Mez reveals that each of the band members had a breakdown of one sort or another during recording. “At one point, Lydia was trying to nail a bassline and the producer kept playing the lyric “Stop hating yourself” over and over again. The song was about inner turmoil and mental health. Lydia smashed the bassline and just ran out of the room in tears, screaming.”

Although LIFE have become firm friends with kindred spirits Idles since meeting in a hotel foyer, there isn’t another band quite like them. They’re the first four-piece guitar band from Hull to make a big splash since the halcyon days of the Housemartins way back in the 1980s. More unusually, their music reflects the community and spirit of their experiences working in the city’s Warren youth project, a rare haven for vulnerable people aged under 25, which also functions as a drop-in advice centre, youth club, educational resource, food bank, music centre and record label.

“We’re very community based and try to comment on everything around us,” explains Mez. “Three members of the band work or have worked in the Warren youth project. Young people can come in – we’ve got free counselling, sexual health, drug advice and a massive LGBT community. Nobody sits in corners. Everybody mingles. Youth culture has been squeezed financially and otherwise for years, but the Warren is a special place where you can literally see a community of people helping each other.”

The band’s DIY ethos came partly out of necessity – and reflects their geographical location in Hull, a geographically isolated, coastal city which resident poet Philip Larkin once said was “a city in the world yet sufficiently on the edge of it to have a different resonance”, and where things happen because people have to make them happen.

“In Hull you’ve got to do it yourself,” agrees Mez. “It’s a place with one way in and one way out. Getting here is a nightmare, but we’ve a long tradition of doing our own thing. Hull literally told the King to fuck off, they wouldn’t let him in! But lately people have started to look outwards rather than inwards.” Indeed, becoming the City Of Culture has coincided with an explosion of Hull music, from LIFE to the burgeoning grime scene (whose leading light, Chiedu Oraka appears on the B-side of single Grown Up). “The City Of Culture has been massive for Hull. It shone a light on the community and the artists and the repercussions have been nothing but positive.”

LIFE have come a long way themselves, since the days when, growing up with a “very liberal” upbringing, Mez and Mick’s Dad used to drop them off at school in a battered old Nissan Bluebird with a different coloured door, blaring the Clash (a significant influence, alongside The Fall). The brothers shared a stage with Mark E. Smith’s legendary band in their first musical incarnation, The Neat, achieving the special honour of being insulted by the frontman. They recorded for Kaiser Chiefs’ Simon Rix and Nick Hodgson’s label, Chewing Gum, and it's during this period that they first attracted the attention of Steve Lamacq. 

The Neat imploded as young bands often do – “We were young and taking drugs” – explains Mez – but since starting LIFE the brothers wanted to “take control of the sound, make it bigger and take ownership of it”. PRS funding helped them record a stream of killer singles, which were collected for inclusion on Popular Music, which Mick compares to “one of those classic singles collections which came out in the 70s”. Since then, LIFE have toured in Europe and America, appeared with kindred spirits IDLES, Slaves and Nadine Shah, and made their Glastonbury debut this year. Every gig is played like it was their last, “whether it’s a back room in a pub or a 2000-seater,” as Mez puts it. “We get young people and their dads, who’ll say things like, ‘It was the best show I’ve seen since the Clash in 1979’.” 

Their new songs reflect this hurtling trajectory and the band’s growing maturity and insights. The twangy, riff-laden Half Pint Fatherhood (“let’s build a home, I built a home”) articulates a common experience of a single, lonely parent going through the pain of shared access. Similarly, Bum Hour describes the experience of relocating from a family home into a small flat, as lines such as “All my mates are out of town, this is the bum hour calling”, reflect the feeling of staring at four walls and an empty room. Another common theme is unattainable beauty, as driven by magazines, TV and especially social media. As Mez explains: “People are posting for likes, trying to show that they’re having a good time, but in that moment they’re vulnerable. 

The instantly catchy, narrative-driven, Thoughts also, at least partly, reflects the emptiness that can come with the internet age, but is otherwise about “getting on with your life and trying to be someone. There’s a line about getting ‘all these books that I might never start or finish, but which might get me laid’. It’s about the animalistic nature of the human kind.”

“And emptiness,” adds Mick. “We’re talking about the mobile phone as an extension of your hand. Take that away and there’s nothing to lean on but yourself.” Other tracks employ the familiar LIFE trope of using the minutae of modern life to take a wider look at the way we live. The jokier Moral Fibre – surely the first pop song to use the 1930s jazz slang term “pissants” - is a bubblegum, cheeky track full of wordplay and partly inspired by the experience of watching music industry types court a “buzzy” band and ply them with cocaine – that band have gone and been forgotten already.

It’s A Con – like first album highlight In Your Hands – comments on consumer culture and started as a in joke in the van. “Someone would mention something and someone would go ‘It's a con, it’s full of sugar’,” chuckles Mick. “We’ll sing about everything. We’re not scared of embracing daily life.” Never Love Again is a vibrant, jerky, Fall-ish wounded love song which erupts into a relentless, hypnotic Buzzcockian coda. Together, the songs form a cohesive, rip-roaring, confrontational, emotional, unsettling, dizzying concoction of sound and imagery, a hurtling statement of our times, universal, political and very personal. 
“We’ve always believed in ourselves,” says Mez. “We don't care what people say. We want to make music and help our community and that's what we’ve done. There are no filters now.”


‘A Picture Of Good Health’ Tracklisting:

1. Good Health
2. Moral Fibre
3. Bum Hour
4. Hollow Thing
5. Excites Me
6. Never Love Again
7. Half Pint Fatherhood
8. Grown Up
9. Niceties
10. Thoughts
11. It's A Con
12. Don't Give Up Yet
13. New Rose in Love


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James McArthur announces new album


“Strong and beautifully articulated, sometimes evoking the feel of Nick Drake’s Pink Moon.” - Mojo

“Bucolic melodies, intricate acoustic guitar-picking and lazy, dusty vocals...a British answer to Iron and Wine's Sam Beam.” - Uncut

“A Beta Band-like roots rondo with jazzy touches that a modern-day Pentangle might pilfer.” - Classic Rock

“As close as we'll get to a modern-day Heron.” - Record Collector

“His sound is immersive and bubble like, it felt like I was inside the music looking out.” - Jimmy Cauty (KLF, The Orb)

“James McArthur’s music is like his gardens: intricate, beautiful and a wonderful way to spend an afternoon.” - Jamie Morrison (Stereophonics)

Introducing: Intergalactic Sailor, the third album from Welsh born folk singer/songwriter James McArthur with his band, the Head Gardeners.

Today, McArthur has shared first cut from the album 'Plane Sailors', which has been described by Folk Radio UK as being reminiscent of the "metamorphosis that British folk underwent during the late 1960's, when the influence of psychedelia and the counterculture saw the idiom being twisted into all kinds of new and exotic shapes".

'Plane Sailors' features Syd Arthur's Joe and Liam Magill and according to McArthur, was inspired by planes that land on the sea and pick up water to put out forest fires, and "how communities can help improve the planet, whilst also helping each other."

In collaboration with label Wonderfulsound, a double A side 7” vinyl of tracks “Tourist Town” and “Plane Sailors” will be released as part of their bi-monthly singles club Wonderfulsevens.

Listen to 'Plane Sailors' HERE
Sign-up to Wonderfulsevens 


Download artwork HERE

More on 'Intergalactic Sailor":

Featuring guest appearances from brothers Joel and Liam, of Noel Gallagher and Paul Weller-collaborators Syd Arthur, 'Intergalactic Sailor' follows McArthur’s previous album Burnt Moth, which was released to critical acclaim in 2017.

I received a call out of the blue from Joel Magill (Syd Arthur) inviting me over to East Wickham Farm to do some recording. As it happened, me and the Head Gardeners were ready to roll, and spent 15 days with Joel putting Intergalactic Sailor together. I played some drum loops to start with, then we sonically painted in all the parts...

I'd always wanted to work with Liam Magill, (brother of Joel, with whom we had already worked on previous Head Gardeners albums with) we had played on the same bills in Canterbury and London over the years, but never worked in the studio together. Liam came down to their place - Wicker Studios - we had a productive session and he ended up on quite a few songs. Luckily for me, Liam & Joel (who played bass throughout the album) are natural 'Head Gardeners'.

The remainder of the album was recorded at East Wickham Farm, the nearly 400-year-old building bordering Kent and South-East London that was the childhood home of Kate Bush and is still owned by the family today.

Intergalactic Sailor demonstrates McArthur’s, now signature, intricate plucked guitar lines and hushed vocals that are beautifully accompanied with yearning violin from Jim Willis and haunting pedal steel guitar from Johnny ‘O, who make up the Head Gardeners. Throughout his career, McArthur has valued the overall listening experience. From performances alongside ambient DJs at the Tate Modern, to live shows on the top of a mountain, to miniscule gigs in a vintage golden caravan, his devotion to creating the perfect atmosphere is key to the beautifully intimate feel in his music.

McArthur cites inspiration for the new album from road trips around Sardinia and mainland Italy, visits back home to Wales, the re-working of a Suffolk coastal garden, and all the experiences of central London living in-between. The lyrical themes of Intergalactic Sailor range from financial loopholes to astronomical black holes, though McArthur always retains his connection to the natural world, particularly on tracks like “Drain The River”, and “Clearing Up”, that focus in on our relationship with the environment. Integrating nature and nurture, McArthur invites you to interact with the living landscape, unite and connect with each other and, consider our place in the world, all with his own subtle charm.

James McArthur & the Head Gardeners
Intergalactic Sailor
October 11th 2019
Moorland Records

1. Clearing Up
2. Tourist Town
3. Heavy Sleeper
4. Plane Sailors
5. Drain The River
6. Defending The Fort
7. Wait For The Letter
8. Hard Landings
9. Mountain Rescue
10. Intergalactic Sailor

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Twelfth Day share new single


Twelfth Day are today sharing the video for their new single, Keep Me. Shot in the studio, Keep Me premieres today at Clash who call it a "bewitching mini-epic", going on to say that it "matches folk touches against a true pop kween." It's a song inspired by the recent rise in awareness of climate change in the media, with the lyrics are from the point of view of Mother Nature as she expresses her relief that we’ve finally realised serious action needs to be taken to save the planet.

Keep Me makes up part of an in-the-works new album that will confront societal conventions by exploring a wealth of urgent current issues such as gender roles, power balance and the challenges of working in the arts as a young woman, the threat of climate change and society’s reluctance to act, and the struggles of mental health. Expressed through their unconventional use of harp and violin - and their inclusion of drums and bass for the first time - they make something that’s greater than the sum of its small parts, drawing on a love of pop, folk, jazz and classical.

Watch the video, created by Lost Clock Productions, below.

UK tour dates in full:

15th November - Scots Fiddle Festival, Edinburgh
18th November - Hug and Pint, Glasgow
19th November - Colchester Arts Centre, Colchester
22nd November - Ashburton Arts Centre, Ashburton, Devon
23rd November - Tolmen Centre, Constantine, Cornwall
24th November - The Acorn, Penzance, Cornwall
25th November - The Bell Inn, Bath
26th November - Cambridge Junction, Cambridge
27th November - Cecil Sharp House, London
28th November - Warwick Arts Centre, Coventry
29th November - Hyde Park Book Club, Leeds
30th November - Victoria Hall, Settle

Tickets are available here.

Find Twelfth Day online: Website | Facebook | Twitter | Spotify

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Moon Panda announce debut EP and new single


...dreamy guitar pop with a slightly baroque feel" - CLASH

"Sounds like: St. Vincent, The National...dreamy instrumental, catchy synths" Indie Shuffle

"Deliciously woozy...a sound that nestles nicely between the likes of Tame Impala and Beach House" - KALTBLUT

"...takes you on a weird and wonderful journey through space and time." - It's Nice That

"Like a modern-day Jefferson Airplane, Moon Panda take us on a psychedelic mind trip." - The Wild Honey Pie

'Rabbit' & 'Gun' reached #1 Hype Machine's Most Popular Chart in 2018


When Californian songwriter/bassist Maddy Myers and Danish guitarist Gustav Moltke decided to collaborate, the band Moon Panda was born. Today, Moon Panda are delighted to share a brand new single entitled "On The Attack" and announce their debut EP "Pastel Pools".

"On The Attack" poignantly documents the more painful side of a long distance relationship and the dizzying effects it can have. Myers explains further:

"Going back and forth between self reliance and feeling like an unattached wild animal, chasing affection and adoration. Waiting for a text back, a call, some proof that I'm missed. Hopefully, it outlines that chaos that can happen inside you when you just want that warmth and acceptance."

Moon Panda will be performing in Denmark this September 18th supporting Honeyhoney's Suzanne Santon at Loppen, Copenhagen.

Listen to "On The Attack" via:
Soundcloud / DSPs


More on Moon Panda:

Moon Panda received an impressive response on their debut single 'Rabbit' which reached #1 on Hype Machine's Most Popular chart in the summer of 2018 and was described as "languid, dreamy guitar pop with a slight baroque feel" by Clash Magazine while Indie Shuffle admired the "progression of the track and addition of sharp, catchy synths" and compared the sound of the track to that of St. Vincent and The NationalThe song was produced by Cameron Blackwood who is known for his work with the likes of London Grammar, Florence & The Machine, and The Horrors.

Follow-up single 'Gun' looked to outline the darker thoughts within "the capricious human mind", explains Myers, with Berlin's KALTBLUT Magazine describing it as "deliciously woozy", and saying the track, "nestles nicely between the likes of Tame Impala and Beach House". The single was produced by established engineer Tom Biller who has worked on records such as Warpaint’s 'The Fool' and Fiona Apple’s 'Extraordinary Machine', to Elliott Smith’s 'From a Basement on a Hill', and Beck’s track 'Everybody’s Got to Learn Sometime' from the OST of Eternal Sunshine of the Spotless Mind.

The work of Portishead, Men I Trust, Mitski, Beach House, and Angel Olsen have been key to the formation of Moon Panda, as well as their early concept of sound-tracking a "big, lush forest surrounded by the cosmos, filled with giant creatures - a space jungle". Understandably then, the visuals accompanying the music are hugely important to the band. The videos for 'Rabbit' and 'Gun' were both stunning in their own way, praise crossing over to animation-lovers and cinephiles like Motionographer, Lester Banks, It's Nice That and curators at Vimeo who highlighted it as a 'Staff Pick'.

Change is a part of life, and Moon Panda have had their fair share of shifts in line-up and location during their lifetime as a group. In 2019, Moltke and Myers have found themselves in Denmark, with an important addition being 'BMO' the puppy (and now number 1 Moon Panda fan). Upcoming EP "Pastel Pools" will collect singles 'Rabbit', 'Gun', 'On The Attack' and include more new work for fans to look forward to.

Listen to previous singles:

See Moon Panda live:
September 18th - Loppen - Copenhagen, Denmark
(Supporting Honeyhoney's Suzanne Santo)

Find Moon Panda online: Website | Facebook | Twitter | Instagram | Spotify | Soundcloud | Vimeo

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The Wants share new single


Following the organic buzz around shows at SXSW and a debut single for Council Records (Scalping, Talk Show) in "Clearly A Crisis", NYC's The Wants return with the follow-up, "Fear My Society", an immediate slice of gloomy art-punk that pairs both new wave sensibilities and off-kilter hooks to an influence from minimal techno.


Their second single took years to find it's final form, as songwriter Madison Velding-VanDam explains:

"Fear My Society is a song that has gone through multiple genre shifts and moods until it finally clicked this past year. In one sense, the lyrics couldn’t be more straightforward — a reflection of the always-shifting (though recently seismically so) political, economic, and technological atmosphere of the United States. But I didn’t write the song in reaction to this. I was reflecting on the pressures I put on myself to achieve — “will you love me if I’m a failure?” is an honest concern of mine, a universal and primal concern that spans generations and even species. I’m interested in always pushing a step further towards what scares me."

The Wants front-man Madison and bassist Heather are also members of Bodega, with Madison fulfilling both guitar duties and also producing new material for the band set for release later this year.

Madison also handles co-production alongside Jason Gates for The Wants' own material and has directed their accompanying visuals in collaboration with Philadelphia-born photographer Madison Carroll. For the “Fear My Society” video, the Madisons traveled to Detroit where Velding-VanDam’s mother resides, near where he spent his formative years. He was compelled to film there after a recent visit to Zug Island, an industrial park and coal mine right on the edge of the Detroit river.

Departing from New York, the two spent time along Highway 80, between the Northeast and Midwest urban centers where they spent their respective upbringings. The Madisons found themselves drawn to these landscapes considered “liminal”, literally deemed “unincorporated areas”, where vast expanses of land surrounding stretches of rest stops and motor inns were speckled with glowing houses in the eerily silent early hours of the morning. The isolation and economic dissolution of the Midwest felt more 
 relatable to native Velding-VanDam’s core than the gentrified, hyper-curated outer world of New York City.    

This idea of parallel realities ebbed back into the psyche of Velding-VanDam in the conception of the “Fear My Society” video, inhabiting a character and lifestyle that he had envisioned in a previous chapter of life, which had been spent working odd-yet-more-properly-stable jobs in retail, customer service, and the service industry.


The Wants will follow the release of "Fear My Society" with a short run of headlining dates around the UK. You can catch them at the following venues:

September 16th - The Waiting Room, London
September 18th - The Hope & Ruin, Brighton
September 19th - YES, Manchester

September 20th - The Lanes, Bristol
September 21st - Acapulco Bar, Portsmouth

The Wants are:

Madison Velding-VanDam - guitar, vocals
Jason Gates - drums, electronics
Heather Elle - bass

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Pile announce UK tour dates


"In certain parts of Boston, Pile are beheld with the kind of reverence traditionally reserved for local sporting heroes and/or minor deities...their music crackles and explodes alongside frontman Rick Maguire's over-firing neurons."

"Pile is well-known as idols for their peers...The band balances the acrobatic and the annihilating as it shifts between gnarled melodies and heavy thrashing."

"Messy, loud, and rhythmically intense…the tension between softer, sadder moments and the abrasive ones feels vital"
"Refined, delicate songs alongside unnerving inventiveness. It’s rare to say those things about a rock band…but that’s because you can only really say them about this one."

AV Club
"[Pile] have achieved the kind of mythical status typically ascribed to long-since-passed rock legends"

"A guitar band that doesn’t sound like a guitar band; there’s something intense and brave about them, but it feels feminine, not macho, not over the top"

Consequence Of Sound
"[Pile have] a nimble sense of timing more often associated with jazz or classical musicians, and a compositional ambition exceeding that of nearly all of their peers"


Today, ahead of their September EU/UK tour, Pile have shared a new version of their album track "My Employer".

Speaking about the new version, frontman Rick Maguire, says "This is the version of the song that generally sits better with the rest of our live set. Because I still feel strongly about the song's sentiment, I really appreciate that it's form carries some dynamic versatility."


The forthcoming tour follows the release of their highly acclaimed 7th album, 'Green and Gray', and will see the band play a run of 5 UK dates in Oxford, Leeds, Glasgow, Bristol and London with a headline show at the Moth Club. The full list of dates so far is as follows:

08/09/19 : Paris FR - Frisson Acidulé @ Theatre de Verre
11/09/19 : Hasselt BE - MOD
12/09/19 : Rotterdam NL - V11
13/09/19 : Leffinge BE - Leffingeleuren
14/09/19 : Oxford UK - If Not Now, When?
15/09/19 : London UK - Moth Club
16/09/19 : Leeds UK - The Lending Room
17/09/19 : Glasgow UK - Nice N Sleazy
18/09/19 : Bristol UK - Crofters Rights

19/09/19 : Amsterdam NL - Indiestad @ Paradiso
21/09/19 : Hamburg DE - Reeperbahn festival
22/09/19 : Copenhagen DK - Loppen
23/09/19 : Berlin DE - Urban Spree
24/09/19 : Dresden DE - Scheune
25/09/19 : Prague CZ - CafeVlese
26/09/19 : Poznań PL - Pod Minoga
27/09/19 : Warsaw PL - Hydrozagadka
28/09/19 : Vienna AT - Chelsea
29/09/19 : Budapest HU - Auróra
02/10/19 : Milan IT - Spazio Ligera
03/10/19 : Kreuzlingen CH - Horst Club
04/10/19 : Luxembourg - Rotondes
05/10/19 : Brussels BE - Autumn Falls @ Botanique



The follow up to their 2017 critical breakthrough, 'A Hairshirt of Purpose', the band's new record (released via Exploding In Sound Records in Spring) has been shaping up to become one of the most exciting rock records this year, earning plaudits from the likes of Pitchfork (7.9), Kerrang!, The 405, Sterogum, The FADER, Noisey, Consequence of Sound, NPR, London in Stereo, The Line Of Best Fit, Louder, Brooklyn Vegan and many more.

Speaking about the new record, frontman Rick Maguire says, "I’m just trying to figure out where I’m at with the whole thing. Living like this never ceases to be strange. I’m doing exactly what I want to do and I love it very much, that’s stayed there for me, but I’m just watching things change around me as I go.

I’m a mid 30s guy on that line, and these are my own emotional observations on those feelings. I put a lot of energy into making these things that are about, on some level, how I feel, but the feelings themselves are like riddles, so the songs are the best answers I can come up with. I put a lot of myself into it. I think it’s a good honest piece of work."

'Green and Gray' is out now via Exploding In Sound Records - Order HERE


Tour poster artwork by Bradley Pinkerton


From their earliest days as the solo project of frontman Rick Maguire, Pile have followed an unusual path through a decade in which rock bands have generally receded from the cultural spotlight. Starting out in 2007, in the then thriving Boston DIY scene, the band rapidly became heroes and standard-bearers for their hometown’s music community, garnering a cultish-adoration that has only intensified as that cult has grown, expanding by word of mouth along the Eastern seaboard and across the country over 10 years that have seen 6 full length albums and 100s of shows in basements, bars, punk houses and clubs.
With their last full length, 2017’s A Hairshirt of Purpose, Pile found their widest audience to date. Hailed as a release that communicated the inimitable quality of the live shows that have made the band near-legendary in certain circles, the album received praise from all quarters, earning them a critical-acclaim commensurate with the praise, heaped on them by their contemporaries, that had long granted them “your favorite band’s favorite band” status.

Critics noted that Hairshirt was a release that displayed a different kind of focus from Pile, who have always had a penchant for writing songs packed full of ideas. Pitchfork claimed the band had “surpass[ed] themselves” by making “what [felt] in some sense like their first proper album,” a release that maintained the “asymmetrical” songwriting style that has become their hallmark, while finding a greater cohesion as it swung from places of vicious intensity to moments that were delicate, and often shockingly beautiful.  

On their 7th LP, Green and Gray (out now on Exploding In Sound), Maguire and co. have travelled further down the path they set on A Hairshirt of Purpose to create their most considered and ambitious album to date. An album that has the potential to be the definitive expression of the qualities that have inspired the passionate support of Pile’s ever-expanding fanbase.

The process of writing and recording Green and Gray was distinct from Pile’s previous releases, in part because their years of touring have changed the shape of the band. Longtime drummer Kris Kuss, who has been playing with Maguire since 2009, is still present, but guitarist Matt Becker and bassist Matt Connery left Pile and were replaced by Chappy Hull and Alex Molini, who live in different parts of the country. These changes, combined with Maguire leading what he describes as a “somewhat transient existence” in recent times, meant Pile had to adapt.

“When we all lived in the same place we’d get together a couple times a week and that was when we would flesh out ideas,” says Maguire. “Some nights I would bring more than we had time to work and some nights I would have nothing, but at the end of it we would have a record. This time we got together for blocks of time, ten days to two weeks, that we would dedicate to writing and rehearsing, so I took a lot of liberties reconfiguring and rearranging songs because of the time we had. Leading up to those blocks there was a lot of uninterrupted time that I was able to dedicate to writing and I spent that either in my room actually playing, writing, reading, and when that wasn’t working, I would just walk around.”

This change was mirrored by the album’s recording process, which took place over two weeks in the upstate New York studio of engineer Kevin S. McMahon (Titus Andronicus, Frightened Rabbit, The Walkmen, Swans), Marcata Recordings, double the studio time of most of Pile’s previous albums. This allowed the band time to experiment, and to expand on the more elaborate instrumentation that crept into the margins of previous releases. Overdubs in the form of strings, auxiliary percussion and keyboards are handled with a deft touch, never overwhelming the songs, but slipping in and out of the arrangements to add a textural depth to McMahon’s expert mixes, which Maguire describes as “almost like oil paintings.”

Pile’s songs often function as direct and relatable expressions of Maguire’s interior life - at turns anxious and chaotic, but imbued with a self-effacing humor and moments of bracing clarity. On Green and Gray the songwriting is no less densely packed with ideas, both musical and lyrical, and Pile don’t pull back from either of the extremes that have defined their sound, but spend more time between the two poles. The effect is to give the album the feel of a contiguous whole, which combined with it’s almost orchestral sonic palette, serves to heighten its emotional resonance.  
The album’s thrilling opener “Firewood,” hits like a statement of purpose, cycling through a staggering number of changes in feel and mood as lurching rhythmic shifts, strings and Maguire’s searing vocal performance lend an apocalyptic urgency to a reflection on shifting personal and professional relationships. “Bruxist Grin” relates the experience of Maguire’s first panic attack with an almost psychedelic flair. “Hair,” which Maguire describes as “a polite request to be left alone,” abets gentle guitar figures with brushed drums and building orchestral adornments, before, two songs later, the thunderous screed “The Soft Hands of Stephen Miller” is as direct and ferocious as anything in the band’s catalog.

From the album’s opening lyric (“no longer burdened by youth“), the album is preoccupied with mortality, and the anxieties, loss and self-discovery inherent to the passage of time. Perhaps as a result, Green And Gray feels like a reflection on Pile’s career, collecting the ideas that have made up the last 10 plus years of Maguire’s output and synthesizing them into a new whole constructed with the benefit of his growing understanding of who he is and what he is capable of.


Album artwork by Lindsey Boss


1. Firewood
2. Your Performance
3. On a Bigger Screen
4. Other Moons
5. Hair
6. A Labyrinth With No Center
7. The Soft Hands of Stephen Miller
8. Lord of Calendars
9. Bruxist Grin
10. A Bug On Its Back
11. My Employer
12. Hiding Places
13. No Hands

Press Pic (Elisabeth Fuchsia) Album Art

Find Pile online: Facebook | Twitter | Instagram | Bandcamp | Website

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Dearly Beloved announce new album


Album release date: 25th October 2019
Aporia Records
More info: Dearly Beloved’s website

Dearly Beloved is the creative braintrust of vocalist/bassist Rob Higgins and vocalist/percussionist/Theremin abuser Niva Chow and the Toronto band will release Times Square Discount on October 25 via Aporia Records.

Today they share the video for album opener “Race To The Bottom”, an anthemic salute to the mom-and-pop shops and the families that run them. The track and video is inspired by Higgins and Chow’s shared experiences working in their first-generation immigrant grandparents’ small businesses as teenagers.

Higgins adds, "The song is a tribute to our grandmothers, who both ran convenience stores that Niva and I worked in as kids growing up. Their stories and achievements as immigrants to Canada that could barely speak English are even more incredible when you put them in the context of 2019."

Watch the video below.

Times Square Discount is, as Higgins puts it, “a rabbit-hole record,” and one partially born of “binge-ing on Kubrick and drugs” and ruminating upon such fancies as “How do we make Kubrick an album?” and “How do you make an album version of The Shining?” in the van long enough for it to set in that the band’s thirst for weird and/or forbidden knowledge and collective capacity for conducting on-site empirical research could be put to far better use in each of the cities that it visits than simply binge-ing on Kubrick and drugs in a van. 

The album was conceived on the road, as the band has already travelled hundreds of thousands of miles on the road in over 26 countries, but came together through an open journey. “If there was any grand design, it was just to take control of ourselves and just slow down," says Higgins. "Like, the way Kubrick made films, man – they would have teams go out and do short research missions about shit, live places for months. Gather shit, learn shit. When you’re playing shows, you have all this time off, so it was, like, ‘Well, we could just get loaded all the time or we could research everything and go see it.’ We would be on tour in the Ukraine or in Arizona, going down every rabbit hole associated with said place and then researching the living shit out of it and taking notes, and those things became lyrics and the basis for songs." 

“They’re all kind of references to characters and people and conversations and things and moments and rabbit holes, so it’s got this very dystopian, almost WWII, Operation Paper Clip filter that we put on the whole fucking narrative that’s hard to get away from. But the more you make yourself aware of these days, the more disturbing it all is. So there’s a certain mania that comes with processing this much information. And now you’re being manipulated by it.”

Above and beyond this loose conceptual framework, however, came the liberty of recording here and there at Dave Grohl's Studio 606, Rancho de la Luna or Dearly Beloved’s home studio on Phoebe Street in Toronto whenever the mood struck. And never for more than four days at a time.

“So we got to play, try different things,” adds Chow. “No producers, no fucking pressure. We’ve always done it on our own, but this time we had so many options and avenues to do stuff. So it was kinda fun to, y’know, step back and tour a lot and come back and kinda rejig.”

Ironically, the freedom of once again being left completely to its own devices has, on Times Square Discount, yielded some of the most pop-savvy material yet to appear in the Dearly Beloved canon. “Vacation” and “LSD” have an undeniably slinky, stick-in-your-head seductiveness about them, “Close Encounters” and “Dog Food Thumbs” a decidedly sing-song quality lurking amidst the battery. 

Some of Dearly Beloved’s newly honed pop smarts might be traceable to Higgins’s recent gig toiling on and off again as a songwriter-for-hire in Los Angeles, a position that has drawn such friends and collaborators as Dimitri Coats of OFF! (who plays most of the guitar on Times Square Discount)James Di Salvio of Bran Van 3000M83 conscript Jordan Lawlor and engineer-turned-keyboardist Tyler Beans into the DB fold alongside drummer Aaron Morrice on Times Square Discount. As Higgins notes, “there are, like, 18 guests on this record, people we met along the way.”

Including, on the diced-up electro-sprawl “Superhero” that concludes the second side of Times Square Discount’s deep dive into an increasingly elusive and experimental rabbit hole of its own, guest MC Maia, a five-person choir from Woodland Hills, James Di Salvio, and Lorca Cohen, daughter of Leonard Cohen.

“It’s kind of hard to get away from that, in a way, because I’ve spent two years in L.A. writing songs for other people. So it’s fuckin’ with my shit, there’s no question,” says Higgins. “I’ve never spent two years writing, in a different context, while making a Dearly Beloved record.”

Tentative dalliances with “evolution” and “maturity” aside, nothing’s about to change in the feet-on-ground, rubber-to-the-road sense of Dearly Beloved’s existence anytime soon. The band will continue to tour at a masochistic pace, vows Higgins, “because we have to, in some kind of fucked-up way.”

The band heads to Europe & the UK for a tour with Sebadoh this fall, with tour dates below and will be adding US dates in early 2020.

Dearly Beloved Tour Dates (all dates w/ Sebadoh)

Sep 20 – Cologne, GER @ Stadtgarten
Sep 22 – Berlin, GER @ Musik & Frieden / Blue Room
Sep 24 – Groningen, NL @ Vera
Sep 25 – Nijmegen, NL @ Doornroosje
Sep 26 – Rotterdam, NL @ Rotown 
Sep 27 – Antwerp, BEL @ Trix 
Sep 28 – Brighton, UK @ Patterns
Sep 29 – London, UK @ Scala 
Oct 01 – Bristol, UK @ Fleece
Oct 02 – Birmingham, UK @ O2 Academy 2
Oct 03 – Leeds, UK @ Brudenell
Oct 04 – Glasgow, UK @ Broadcast
Oct 05 – Manchester, UK @ O2 Academy 2

Oct 07 – Paris, FR @ Le petit Bain
Oct 09 – Bilbao, SP @ Kafe Antzoki 
Oct 10 – Barcelona, SP @ Razz 2
Oct 11 – Madrid, SP @ Sala 
Oct 12 – Valencia, SP @16 Toneladas 
Oct 13 – Majorca, SP @ Fabric Ramis 
Oct 14 – Cadiz, SP @ Edificia Constitucion 1812
Oct 16 – Vigo @ La Iguana 


Times Square Discount Track Listing

1. Race To The Bottom
2. Vacation
3. LSD
4. Close Encounters
5. The Conqueror
6. Fuck the Banks
7. New Versus
8. Dog Food Thumbs
9. Al P
10. Super Hero

Find Dearly Beloved online: Website | Facebook | Twitter | Youtube

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Great Grandpa announce second album


"Inspired by the works of Kazuo Ishiguro, “Mono no Aware” peers into childhood mysteries and loss of innocence to make sense of an elusive present. It is an admission that we, as thinking, feeling beings, are always in a state of beautiful loss.” Pat Goodwin

In the Wildwood Tarot deck, the ‘Four of Arrows’ is adorned with a painting of man face down on the ground. The titular arrows surround him, sticking straight up from the ground but never making contact; a large butterfly hovers above him. The card symbolizes rest – a call to recharge and recovery. This card revealed itself to Great Grandpa’s Pat Goodwin in a reading and the symbolism aptly embodied where he and his fellow bandmates were in their lives.

Following the 2017 release of Plastic Cough, the band were a unit, they lived together, worked together, and toured tirelessly across the country. As tours ended and band members relocated across the US, they found themselves suddenly separated and eventually isolated. The time spent apart wasn’t planned, but it proved to be necessary. It was a chance to gain perspective into their lives, relationships, and creative purpose.

Thus enters Four of Arrows, a creative turn toward introspection and Great Grandpa’s collective result of rest and solitude. Undoubtedly, the 11 songs comprising Four of Arrows are a departure from the playful nods to pizza and zombies on Plastic Cough. The writing and recording process had evolved — less Seattle garage jams and more vulnerable solo songwriting sessions. Most of the songs on Four of Arrows were written in isolation by Patrick and Carrie Goodwin while traveling and living in the Midwest. Though written separately, the songs came to life when the band reunified and began recording with producer Mike Vernon Davis (Modest Mouse, Portugal. The Man) on New Year’s Day in 2019.

The band instantly found common threads between their individual contributions, citing mutual love and admiration for vulnerable and emotionally resonate music. Four of Arrows embraces subtlety and pays close attention to the quiet. From the methodical dirge of “Dark Green Water” into the haunting and howling guitar of “Digger” — Great Grandpa try something new by letting the acoustic guitar and piano lay the foundation for many of the album’s tracks

Despite the quiet, Alex Menne’s charismatic vocals burst triumphantly through on each song. The attention to detail is clear down to each echo and the silky addition of vocoder. Since most members contributed lyrics, Menne is that of an emotive voice for the group — channeling the heart of each song’s message and keeping Great Grandpa’s playful touch alive.

The songs weave through the pains of familial divisions, partnership, internal and external forgiveness, and the struggles of mental illness. Pat Goodwin describes “Digger” as the emotional pillar of the album. The lyrics allude to the titular tarot cards and set the scene for Four of Arrows — solitude and an exploration of the obsessive, neurotic and even paranoid existential questioning seen in ourselves and the characters in our lives. “Shouldn’t go out in the darkness” repeated over tranquil guitar, serves as the mantra of the song before it erupts into an evocative and tense outro.

Thankfully, Great Grandpa go headfirst into the darkness and escape from the other side with their most transparent and accomplished work to date. Though the content remains heavy, the bright poppy arrangements of “Mono No Aware” and “Bloom” serve as an unreliable light amongst the dark. “Mono No Aware” a wistful ode to loss of innocence, impermanence, and more explicitly “the pathos of things” combines starry synths and polished harmonies that when paired feel like floating. “Bloom,” the seemingly most hopeful track on the record, shines with conversational charm and demanding hooks (“When I think about Tom Petty, and how he wrote his best songs when he was 39”), before dramatically shedding the facade to reveal it’s melancholic heart in a grandiose, Phil Specter esque outro.

Leaving it to the cards, Great Grandpa used their time off to grow, and their time together to reunify. Their collaborative approach cultivated a musical backdrop for their shared emotions and Four of Arrows is a testament to themselves and their ability to adapt.

1, “Dark Green Water”
2, “Digger”
3, “English Garden”
4, “Mono no Aware”
5, “Bloom”
6, “Endling”
7, “Rosalie”
8, “Treat Jar”
9, “Human Condition”
10, “Split Up The Kids”
11, “Mostly Here”


Download hi-res artwork HERE

Praise for the band's debut album, Plastic Cough:

“…like the best of Weezer. Only cooler.” The FADER

"The band orbits around Alex Menne’s towering voice, which serves as an anchor to the rest of the group’s nervous thrashes and squalls that build and break down with gale-strength force." Stereogum

“…the Seattle indie-rock band Great Grandpa doesn't ignore the gracelessness of youth. It embraces it.” NPR

“…contorted and off-kilter riffs mixed with witty lyricism to charm audiences and build a reputation as one of Seattle's most thought provoking bands" KEXP

“Led by singer Alex Menne, the Seattle band arrives with a solid debut of anxious bubblegum grunge…” Pitchfork

“…layered instrumentals that push and pull in different directions without ever coming off as chaotic" Get Alternative

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Wintersleep announce new album


This September 6th, Wintersleep will release two new singles Free Fall and Fading Out via Dine Alone Records. Originally released together on an exclusive 7” for Record Store Day – a release that became the #1 seller at the Canadian national event – they will be available digitally worldwide for the first time.

Free Fall and Fading Out mark the latest in a particularly fruitful release period for the band, having earlier this year put out their seventh full-length album In The Land Of – a longlisted album for the Polaris Music Prize. They also contributed a track, The Twist, to the recent Tiny Changes - A Celebration of The Midnight Organ Fight (Atlantic Records) release, a tribute to the late Frightened Rabbit singer Scott Hutchison, to whom the band had become close co-conspirators. They also worked with the award-winning director Christopher Mills on an incredible animated video for latest single Forest Fire, which you can watch below.

Like all Wintersleep records, In the Land Of encourages thought and introspection. The new record’s title is an incomplete thought, a blank that is filled in across the record with different places, words, and sounds. Free Fall and Fading Out mark themselves out as outstanding additions to the band’s canon – proud extensions to the album - all thoughtful anthemia and rousing, sky-high melodies.

The band says of them; "These are both songs we’re incredibly proud of recording and sharing with you. Free Fall is a really exciting song for us. It taps into our love of progressive rock songwriting. We kept it off In the Land Of because it has such a strong identity on its own. Fading Out is a sort of bridge from Great Detachment to In the Land Of era of songs, completed a bit too late to be included with Great Detachment but one of the first tracks we worked on when we started getting ready for In the Land Of. It’s interesting as it sort of gave In the Land Of a direction but ended up being a bit of an outlier. It has this neat guitar line that somehow ties in sonically with Free Fall and feels like a really good accompanying track. Both songs centre around the idea of dissolution. Fading Out starts as a sort of conversation about a dissolving relationship. Free Fall around the idea of coming to terms with the death of a loved one, how to continue living with someone after they have passed, taking the relationship forward into future."

In September Wintersleep will take to the road with tour dates throughout Europe. Full tour dates can be found below. The JUNO Award winners have previously toured several continents and shared stages with Pearl Jam, Editors, MACABEES, Frightened Rabbit, Broken Social Scene and The Hold Steady, a performance on Late Night with David Letterman and even an opening slot for Sir Paul McCartney.

10th Sept // Switzerland, Zurich // Bogen F
11th Sept // Germany, Munich // Milla Club
12th Sept // Germany, Berlin // Musik & Frieden
13th Sept // Germany, Hamburg // Molotow
14th Sept // Denmark, Odense // Kansas City
16th Sept // Germany, Bremen // Tower **
17th Sept // Germany, Cologne // YUCA **
18th Sept // Germany, Wiesbaden // Schlachthof **
19th Sept // Belgium, Antwerp // Trix Bar **
20th Sept // Netherlands, Amsterdam // Cinetol **
21st Sept // France, Paris // Secret Show
23rd Sept // UK, Manchester // The Castle Hotel ^
24th Sept // UK, Glasgow // Venue TBA ^
25th Sept // Ireland, Dublin // Grand Social ^
27th Sept // UK, London // Omeara ^

** = Support from Cascade Lakes
^ = Support from FISKUR

Buy tickets here:


Free Fall / Fading Out artwork by Hayden Menzies
Download hi-res HERE

September live dates

10th Sept // Switzerland, Zurich // Bogen F
11th Sept // Germany, Munich // Milla Club
12th Sept // Germany, Berlin // Musik & Frieden
13th Sept // Germany, Hamburg // Molotow
14th Sept // Denmark, Odense // Kansas City
16th Sept // Germany, Bremen // Tower
17th Sept // Germany, Cologne // YUCA
18th Sept // Germany, Wiesbaden // Schlachthof
19th Sept // Belgium, Antwerp // Trix Bar
20th Sept // Netherlands, Amsterdam // Cinetol
21st Sept // France, Paris //  Secret Show
23rd Sept // UK, Manchester // The Castle Hotel
24th Sept // UK, Glasgow // Venue TBA
25th Sept // Ireland, Dublin // Grand Social
27th Sept // UK, London // Omeara

Find Wintersleep online: Facebook | Twitter | Instagram | Website | Dine Alone

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Jeremy Ivey shares new song


“Jeremy Ivey has long been one of Nashville’s most beloved behind-the-scenes musical magicians … Ivey’s lyrical approach is both narratively vibrant and heavily poetic.” - Rolling Stone

“Image-rich storytelling with brooding psychedelia, accented by manic guitar stabs and sparkling stacks of vocal harmonies courtesy of Price’s production.” -
Nashville Scene

“I’ve spent a good amount of time when I didn’t have a working vehicle on a Greyhound bus seeing the country from a big dirty window,” singer and songwriter Jeremy Ivey says of his latest song’s inspirations. “Everyone on a Greyhound seems homeless, even if it’s just a temporary thing. In transit, between two lives. Everyone seems like they are in the throes of some intense drama. An alcoholic returning to a rehab in Tuscaloosa, a retired tollbooth operator with a Christmas present for his estranged son in Chattanooga. It’s like a mobile society. A modern caravan through a burned out Canaan.”

Listen to “Greyhound”, featuring backing vocals from Ivey’s wife Margo Price, HERE.

“I remember the first time Jeremy played this song for me, we were outside of The Library, which is a pub on the lower east side of New York City,” Price said. “We were stranded in the city during an intense blizzard and he sang it to me on the street. He wasn’t going to include it on his album and I made him. It’s got a simple sort of brilliance to it that I love.”

Price has also been an enormous supporter since the day they met when Ivey was 25 and she was 20. “My 20s were a mixed bag between learning to play, but also being told not to,” Ivey says, recalling an earlier relationship. “I didn't go to college. I grew up very sheltered in a very religious home, and I wasn't allowed to listen to a lot of music. I was pretty green and naïve. And then when I met Margo, of course, she was a musician herself, and she was encouraging and telling me that I was good.”

Recorded in a “little bitty house studio” in Nashville, The Dream and the Dreamer – also produced by Price – is a nine-song album that hosts a collection of homespun, deeply introspective tracks. Ivey, who writes prolifically and ideally wants to release an album a year, cites everyone from the Beatles to Neil Young, Leonard Cohen, and Bob Dylan as influences.


Download hi-res album artwork HERE

Pre-Order ‘The Dream and the Dreamer’

Find JEREMY IVEY online: 
Website | Facebook | Instagram | Twitter

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The Murder Capital share new single


Single release: 16th August 2019
Record label: Human Season Records
More info: The Murder Capital website

Ahead of the release of their debut album this Friday, Dublin's The Murder Capital have shared a new recording entitled 'More Is Less', the live version of which went viral and forged the band's breakthrough last year.


The release follows the recent live session for Steve Lamacq on 6 Music, where they have been B-listed for latest release "Don't Cling To Life", that you can listen to again HERE

The band have also recently released the first in a series of four live videos, starting with 'Green & Blue', which you can watch HERE

The Murder Capital have seen previous single releases - "Feeling Fades" and the 12" of the aforementioned "Green & Blue" - top the vinyl charts already this year, and last month announced a series of strictly limited in-stores and intimate performances for later this week:

Thursday 15th Aug - CORK
Music Zone - (evening show) performance + signing

Friday 16th August - DUBLIN
Tower Records - (afternoon show) performance + signing

Saturday 17th August - KILKENNY
Rollercoaster Records (afternoon show) performance + signing

Saturday 17th August - LIMERICK
Steamboat Records (evening show) - performance + signing

Sunday 18th Aug - DERRY
Cool Discs @ Sandinos (afternoon show) - performance + signing

Sunday 18th Aug - BELFAST
Strange Victory Records (evening show) - performance + signing

Mon 19th Aug – GLASGOW
Monorail – performance + signing

Tues 20th Aug – MANCHESTER
FOPP (afternoon show) – performance + signing

Wed 21st Aug – LEEDS
Crash (afternoon) – signing

Thurs 22nd Aug – LONDON
Rough Trade East (afternoon show) - performance + signing

Thurs 22nd Aug - BRIGHTON
Resident Music (evening) – performance + signing

You can see a map of all of the in-store locations HERE


The signings and in-stores are in support of their much-anticipated debut album, "When I Have Fears", set for release on August 16th through Human Season Records.

The album will be available on gatefold colour LP, black LP, as part of a limited bundle (gatefold colour LP, t-shirt, pin & journal), CD and as a digital download.

You can pre-order HERE

Produced by Flood (PJ Harvey, New Order, Foals) the album features all four singles from the band so far, "Feeling Fades", "Green & Blue" & "Don't Cling To Life" and 'More Is Less'

An exercise in both darkness and light, “When I Have Fears” only serves to highlight the early ambition in the band's sound. From the post-rock build and breakdowns of the two-part "Slowdance", to the tender, bruised confessional of "On Twisted Ground" and industrial pulse of closer "Love, Love, Love", there's a consistent intensity throughout that marks out The Murder Capital as a band arriving fully formed on their debut album.

As well as festival dates across the summer, the band will head out on two headline tours - once in July and again in October / November.

Full dates below with tickets available from:

You can catch the band live on the following dates:

16th August – The Button Factory – Dublin, IRE - SOLD OUT
23rd August – Cabaret Vert – Charleville Mezieres, FR
25th August – Rock En Seine – Paris, FR
30th August – Into The Great Wide Open – Vlieland, NL
1st September – End of the Road – Salisbury, UK
7th September – Misty Fields Festival – Asten-Heusden, NL
26th September – Death Disco – Athens, GR
7th October – The Exchange – Bristol, UK
8th October – Bodega Social Club – Nottingham, UK
10th October – Dome, Tuffnell Park – London, UK
11th October – The Haunt – Brighton, UK
12th October – Castle & Falcon – Birmingham, UK
14th October – Brudenell Social Club – Leeds, UK
15th October – The Mash House – Edinburgh, UK
16th October – King Tut’s Wah Wah Hut – Glasgow, UK
18th October – YES (The Pink Room) – Manchester, UK

19th October – Ritual Union – Oxford, UK
20th October – Swn Fest – Cardiff, UK
25th October – London Calling – Amsterdam, Netherlands
26th October – V11 – Rotterdam, NL
28th October – Le Grand Mix – Tourcoing, FR
29th October – Portobello – Caen, FR
31st October – Le Rocher de Palmer – Bordeaux, FR
1st November – La Rex – Toulouse, FR
2nd November – La Paloma – Nimes, FR
4th November – Joker’s Pub – Angers, FR
6th November – Nouveau Casino – Paris, FR
8th November – L’Autre Canal – Nancy, FR
9th November – La Poudriere – Belfort, FR
10th November – Sonic City – Kortrijk, Belgium

12th November – Molotow Musikclub – Hamburg, DE
13th November – Music und Frieden – Berlin, DE
14th November – Artheater – Cologne, DE


The Murder Capital are:

James McGovern - vocals
Damien Tuit - guitars
Cathal Roper - guitars
Gabriel Paschal Blake - bass
Diarmuid Brennan - drums

If you have ever seen The Murder Capital live then what will strike you most about the experience is not the heaviness, the bleakness or the rage you might expect, but witnessing a most extreme vision of tenderness. Their debut album, ‘When I Have Fears’, recorded over the Spring with Flood (PJ Harvey, Nick Cave & The Bad Seeds, New Order etc.), embodies this tenderness; it is a purple bruise on the hard knee of the so-called post-punk resurgence. It is not a labour of love but a struggle through love, loneliness and grief that now sits weightless upon their five shoulders, not marching, but dancing, out into the cold light of day. It exists in two worlds which oppose each other yet breath each other’s air, because ultimately it is an album about accepting that which you fear, loving that which you hate, feeling the excess that can only be found in isolation. The name, ‘When I Have Fears’ acknowledges its own vulnerability, and was given very early on to ensure that consistency of thought, and that beautiful arch in the narrative which gives space for the purging of guilt and leads, ultimately, to its final cathartic moments.

Listening to how many places opening track For Everything reaches sonically within the first ten seconds is representative of the album’s attempt to touch upon “the whole spectrum of human emotion”. The guitars, like saws, sing to each other, tenor and baritone; a chiming tambourine compliments even the methodical and angry deep-set drums. ‘Not at all, not for everything,/ It’s not for everything at all./ Not for everyone, it’s not for anyone at all,’ is so much more than just a smart, slick trick of the tongue, because the poetic and sonic landscape of which it speaks, and that which the whole album speaks, is both a mountain and a valley - it really becomes both everything and nothing.

The music was secondary, and the ethos of compassion and ability to fully understand one another always came first. “The last time we played through the album we felt every second of those 6 months spent writing it and a lot of it is a reflection of what we went through together.” Just to hear Feeling Fades, to glimpse it, you immediately understand The Murder Capital’s insatiable need for unity and empathy both to banish and beautify the crux of loneliness. We hear that isolated voice searching out to sea, ‘And as the feeling fades away/ The tearing streets create a wave’: it lurches forward with uncertainty over the resounding bass that creeps slowly, slowly, and eventually catches up with a crack of those chugging drums. And suddenly we have union, we are there running alongside that voice, hand in hand. And, as everything falls in time and into place, we become acutely aware of the present, and that present which the voice sings of, ‘the now elapsed round you and me’, is no longer a lonely existence.

You might be surprised to know that the debut album from that dark, twisted Dublin quintet, The Murder Capital, is in all its boyish innocence and vulnerability, a coming of age album. “When you get to your teens you begin to feel like you’re playing catch up with your inner child. You have to dismantle all the shit that was put into your parents brains and given to you.” A generational baggage handed to us perhaps not consciously, but by virtue of blood and guilt, as explained in More Is Less: ‘If I gave you what you wanted/ you’d never be full./ That’s the trappings of your boyish mind/ Become unshakeable”. Something as small as questioning why at six years old your hands were clasped in prayer, becomes a quiet revolution, “and we’ve tried to dismantle it in the fact that we've been completely honest in attempting to dismantle ourselves.”

It is an attempt to hold a mirror up to emotion, to pain, which for this group is quite a specific pain; an unequivocal suffering as sharp as a shard of this reflective glass. But by focusing in on this struggle it comes undone, unanchored, deconstructed- but never diluted. It is simply allowed to float freely within the soundscape, where it may become transformed as another harnesses it. The same, but different- it is the cracked mirror. ‘Came home from somewhere,/ Somehow covered in myself./ Came home from nowhere,/ ‘Somehow now I’m someone else’ sings Slowdance I, with its intense reverb, drone-like bass and stinging atonal guitar. Its murky, anonymous and unsure compared to the elation of Slowdance II, and even though the tracks bleed into each other, you can sense it emerging from the pain, reborn as the cello sings and we enter the second half of the record.

This relationship between pain and freedom is an important one. The suicide of a close friend led not only to the birth of the band’s name but to the philosophy of the entire record, “every single one of those lyrics relates back in some way to his death”. Discovering the work of photographer Francesca Woodman who took her own life at 22, was also a significant touch point. “The biggest impression her work left on us was relating to the loneliness of her photos. That sense of being completely on your own, but also taking solace in the beauty of the work as well. I think we’d be lying if we ever truly admitted to ourselves that we weren’t afraid of dying young. I think we push the boundaries at times. There’s something about Francesca Woodman’s work that just takes control of that.” Listening to Green and Blue, a track written immediately after discovering her work, you can hear that isolation as each instrument seems to exist entirely in a world of it’s own- so self aware. Lyrically too, its completely subjective. It's a song that can see only out of your eyes, it blurs the background and draws a thick black outline around the iris, gothic and indulgent.

If this work inspires within us a sense of self-reflection and confrontation, then the album too came to realise itself, and in the most poignant way possible. One member buried his mum half way through recording, and so was born the dark grooves and tragic beauty of the record’s bravest track, Don’t Cling To Life. “Even through everything that was going on we didn’t want to write a sad song, we wanted to write a song you could dance to. Feeling grief and wanting to dance through it, and feeling the rawness and emptiness of our own grief, because any relationship that involves love is so specific to you.” And this quiet but violent contemplation will eventually lead you to the sobered ecstasy that we hear in the anti-chorus of Love, Love, Love. The final track’s words are weighted with their own importance, they are sure, and the instrumentation is round and whole and warm with the friction of the constant flitting snare, beating like a human heart. Love, fear, hate, grief: it is not the fact of these experiences but their uniqueness, that makes them universal. It is the knowledge that no one else is feeling how you feel, and yet you all find yourselves huddled round that same small dignified fire in the corner of the room at your darkest, coldest moments.

When I Have Fears is not black and white, it is a unique experience that becomes universal simply through listening, tethered together by an unbreakable tenderness.

Not black and white, but three anonymous bodies, cloaked and embracing in a pallid, grey-beige.

It is everything and it is nothing.

Shared by everyone and no one.








The Murder Capital
When I Have Fears

Out August 16th on Human Season Records


1. For Everything
2. More Is Less
3. Green & Blue
4. Slowdance I
5. Slowdance II
6. On Twisted Ground
7. Feeling Fades
8. Don't Cling To Life
9. How The Streets Adore Me Now
10. Love, Love, Love

Press quotes so far:

“The Murder Capital are more than a punk band, and in a league of their own.”
Loud & Quiet

"An album just waiting eagerly to be a classic."

“"a band gearing up to scorch the earth around them... a fierce debut"

"A debut album of raw potency."

"One of the best debuts for some time."

“The Murder Capital are outrageously exciting live. The young Dublin quintet’s brutal art-punk rock is thrilling on the edge of terrifying: new year fireworks in a metal tent. They make the brutal beautiful.”
The Guardian

“Their audacious debut album illustrates The Murder Capital are already a killer.”
Long Live Vinyl

“The Murder Capital are one of those most oddly entertaining prospects – a punk band that can truly instill can’t-look-away levels of captivation.”

“Cacophonous noise and stage theatrics that could make them stars very, very soon.”
DIY on Eurosonic

“The Murder Capital are as unstinting, honest and vicious as you’d expect the next great punk band torn from the streets of Dublin to be. They see the bar, clear it, and raise it dauntingly high.”
Discovery, The Line Of Best Fit

“The Murder Capital emit a passion that will turn heads, but importantly they are a voice with something to shout about, and that could truly cement them as something to cherish.”
So Young

“If you’re into your post-punk brutal and bolshy, The Murder Capital have got you sorted. The Murder Capital as one of those most oddly entertaining prospects – a punk band that can truly instil can’t-look-away levels of captivation.”
NME Hot 100 For 2019

“As with any new band, the question always comes down to whether they can be just as sharp and thrilling when it comes to studio recordings, and today The Murder Capital give us the definitive and unforgiving affirmative on their debut single”
Track Of The Day, The 405

“A group whose live shows and sessions have (rightly) been garnering much attention… the soundtrack to your Friday night.”

“Ireland’s best new band?”
The Irish Times

“Surging like waves and creating the same nervous, edge-of-your-seat atmosphere that their live shows have been so well spoken of for… beautiful chaos.”
NEU Pick Of The Day, DIY

“A brooding beat and a menacing bassline, The Murder Capital have delivered the goods.”

“Not just a band primed to rip your head off, but to make you throw shapes.”
Dork Hype 2019

“Furious, bellowing Irish punks who would beat you in a staring contest.”
DIY Class Of 2019

More information

If you would like some more information about this release, or would like to contact us about interview opportunities / review copies, just contact us via our press enquiries form.

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Redd Kross announce new album


Album release: 23rd August 2019
Record label: Merge Records

Stream: "When Do I Get To Sing 'My Way'" at Brooklyn Vegan

Stream: "The Party Underground" at Classic Rock Magazine

Stream: "What's A Boy To Do?" at Flood Magazine

Stream: "Beyond The Door" at Stereogum

Today, California legends Redd Kross have released “When Do I Get To Sing 'My Way'” the latest single to be lifted from their much anticipated album Beyond The Door out August 23rd on Merge Records. On “When Do I Get To Sing “My Way’ Redd Kross reinterpret the beloved Sparks single with a new blast of fresh hooks and hum-able melodies. 

About the cover Sparks' Ron Mael says, "Redd Kross has always been one of my favorite bands and that opinion was cemented when I heard their amazing version of our 'When Do I Get To Sing 'My Way.' To do a version of that song with a completely different musical approach from the original while keeping every ounce of the original sentiment was an amazing feat. I love it!" "When Do I Get To Sing 'My Way'" premiered today at Brooklyn Vegan.

Listen via YouTube
Listen via Brooklyn Vegan
Pre-order album via Merge Records

Beyond the Door can be pre-ordered now on CD, digitally, and on limited-edition opaque purple Peak Vinyl in the Merge store. Redd Kross have also announced a massive US tour with the Melvins which kicks off on September 3rd in San Diego and includes shows in major markets including Los Angeles, Seattle, Boston, Philadelphia, Brooklyn, and more.

Beyond the Door is an album inspired by the band’s “total commitment to having the best f*cking time we can have while we’re all still here” (what they like to call “The Party”). Musically, it’s guitars, bass, and drums topped with a generous portion of sweet vocal melodies often delivered with an ambiguous edge. The album marks Redd Kross’ most collaborative record to date. Steven describes this evolution: “Jeff is still very much the driving force behind the compositions, but with more help from me than ever. Jeff and I haven’t shared this much of the writing and singing since Born Innocent in 1981.” Guitarist Jason Shapiro and drummer Dale Crover (Melvins, OFF!) are longtime members of the Redd Kross live band, but this album marks the pair’s recorded debut with the group. Mixed in Los Angeles by Steven McDonald, Beyond the Door includes notable guest appearances from Anna Waronker (That Dog), Geré Fennelly, Buzz Osborne (Melvins), and Josh Klinghoffer.

On the surface, the album title is a playful reference to an Italian horror film the McDonald brothers watched as children, a loose rip-off of both The Exorcist and Rosemary’s Baby that stars Juliet Mills of ’70s television program Nanny and the Professor. But like all things Redd Kross, it would be a sad injustice to stop digging there. No one knows what lies Beyond the Door… but we’re all in front of it.

Inspirations as varied as K-pop, glitter gangs, embarrassed tweens, long-term relationships, a mysterious character named Fantástico Roberto, and much more all contributed to Beyond the Door, an album that lures the listener into Redd Kross’ secret club full of riddles and inside jokes, with the ultimate reward of the perfect pop moment!


Beyond the Door Track List:
1. The Party
2. Fighting
3. Beyond the Door
4. There’s No One Like You
5. Ice Cream (Strange and Pleasing)
6. Fantástico Roberto
7. The Party Underground
8. What’s a Boy to Do?
9. Punk II
10. Jone Hoople
11. When Do I Get To Sing “My Way

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BATS share new single and album


Album release: 10th October 2019
More info: BATS’ Facebook page

Today, Dublin avant-rock 5-piece BATS have announced details of their first new album in 7 years, 'Alter Nature', and have shared the first single to be taken from the record, 'Old Hitler'. 

Having formed in 2006, the band released their EP 'Cruel Sea Scientist' in 2007, their debut LP 'Red In Tooth & Claw', produced by Converge's Kurt Ballou, in 2009 and ‘The Sleep Of Reason’ produced by These Arms Are Snakes’ Chris Common in 2012. Sporting their own brand of science inspired metal/post-hardcore and surprisingly danceable post-punk, the band have received critical acclaim from the likes of the Quietus, NME, Kerrang!, Metal Hammer, Rock Sound and more. 

With the forthcoming release of their third studio album ‘ALTER NATURE’, BATS seek to continue their ongoing quest of promoting science and reason while combating superstition and pseudoscience with blastable riffs and existential grooves. This evident on the new single 'Old Hitler', with the band explaining:

"Old Hitler was a legendary giant hammerhead shark, nicknamed by US naval officers in the midst of WWII. This song posits the question... what if Old Hitler showed up at the sinking of the USS Indianapolis in 1945? What carnage would he have wrought? This question and many more answered on ALTER NATURE."


'ALTER NATURE' is a full-frontal attack to all of the senses. BATS incredibly idiosyncratic and cacophonous yet entirely rousing experimental noise-rock delves into intelligent and complex territory both lyrically and musically, but BATS understand that it need not exclude it from having a raw, rhythmic energy and a strong sense of melody.

This translates perfectly into their live shows and has seen the band earn plaudits and fans playing alongside the likes of The Locust, These Arms Are Snakes, The Jesus Lizard, Gang Gang Dance, Sebadoh and Chrome Hoof. BATS will also play this year's ArcTanGent festival with further live dates TBA. 

7 years in the making, the band have purposefully set about honing and crafting these tracks with precision and dedication. If you’re lucky enough to have heard BATS before or have even seen them live, then this incredibly strong third effort should be instantly recognisable as a consummate and direct snapshot of the devastatingly efficient unit; let alone as another step towards wherever the band might take themselves. If you're still yet to hear them, then you could have picked no better space-time.

'ALTER NATURE' is due out 10th October - pre-order HERE


Find BATS online:



1. Summoning The Demon
2. Christian Science
3. The Call Of Chtulhu
4. Old Hitler
5. In The Court Of The CRISPR King
6. Ergot
7. Dyson Sphere
8. Family Planning
9. Current Affairs

More information

If you would like some more information about this release, or would like to contact us about interview opportunities / review copies, just contact us via our press enquiries form.

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Miss June announce world tour


Tour starts: 6th September 2019
More info: Miss June’s website

New Zealand’s Miss June is excited to announce new tour dates to support the forthcoming release of debut album Bad Luck Party.

The LP will be released on September 6th via Frenchkiss Records and The Bad Luck Party Tour will kick off in Wellington, New Zealand on that same day, before hitting Australia, Europe, the UK, USA and Canada for two months until early November. All tour dates are on sale now at:


September 6th - San Fran Bath House - Wellington
September 7th - Galatos - Auckland
September 11th - The Vanguard - Sydney
September 18th - Maze - Berlin
September 19th - Blue Shel - Cologne
September 20th - Reeperbahn Festival - Hamburg
September 23rd - Cinetol - Amsterdam
September 24th - Trix - Antwerp
September 28th - The Flapper - Birmingham
September 29th - Yes - Manchester
September 30th - Headrow House - Leeds
October 1st - Poetry Club - Glasgow
October 2nd - Sneaky Pete's - Edinburgh
October 5th - Tiny Rebel - Cardiff
October 6th - Port Mahon - Oxford
October 7th - Rough Trade, Bristol
October 9th - Latest Music, Brighton
October 10th - The Lexington, London

October 14th - Rough Trade - Brooklyn, NY
October 15th - Once - Boston, MA
October 16th - DC9 - Washington, DC
October 17th - Kung Fu Necktie - Philadelphia, PA
October 19th - Velvet Underground - Toronto, ON
October 21st - Subterranean - Chicago, IL
October 23rd - The Basement - Nashville, TN
October 24th - The Earl - Atlanta, GA
October 27th - Bronze Peacock - Houston, TX
October 28th - Hotel Vegas - Austin, TX
November 1st - Valley Bar - Phoenix, AZ
November 2nd - Morrocan - Los Angeles, CA
November 4th - Rickshaw Stop - San Francisco, CA

Miss June recently released the third cut ‘Enemies’ from the upcoming album. The Line Of Best Fit said that the single is “a big step forward for Miss June and a determined signal of intent ahead of their debut” with front person Annabel Liddell “in prime form, destabilising not just in her performance but her lyrics.”

The New York Times had labeled their previous release ‘Best Girl’ a "nod back at a pantheon of powerful statements and sounds... calibrated for 2019 ears craving a clever, irresistible outlet." Consequence of Sound called ‘Best Girl’ “a bolstered, anthemic pop-punk jam for the next generation” and in the UK, BBC Radio 1 said “a creative forward thinking piece of punk music… this band are brilliant.”

Buy the ‘Best Girl’ / ‘Twitch’ 7" HERE

Watch video for 'Enemies' HERE

Pre-order "Bad Luck Party" HERE

Raised in the embers of punk rock and described as “some unholy union between Sonic Youth and Le Tigre,” the Auckland four piece harness jagged, noisy guitars filtered through the unrivalled stage presence of Liddell, guitarist Jun Park, bass player Chris Marshall and drummer Tom Leggett.

The band has built a reputation for fierce, formidable and head-spinning live shows which have caught the attention of acts like The Foo Fighters, Shellac, Wolf Alice, Idles and Die! Die! Die!, who have all eagerly harnessed their support on stage.

Combining elements of post-punk, no-wave and rock, Miss June hold close their DIY roots while creating a blistering, reckless sound full of melodic hooks and overdriven riffs that are at once immediately recognizable and yet entirely their own.

Full biography available HERE


Bad Luck Party Tracklisting:
1. Twitch
2. Best Girl
3. Two Hits
4. Anomaly
5. Orchid 
6. Double Negative
7. Enemies
8. Aquarium 
9. Scorpio
10. Please Waste My Time
11. Polio

Find Miss June online: | Facebook | Bandcamp | YouTube | Soundcloud | Frenchkiss Records

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