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Drahla debut album out 3 May 2019

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Album release: 'Useless Coordinates' by Drahla
Release date: 3 May 2019
Label: Captured Tracks
More info: Band website

Today, the Leeds-formed three-piece Drahla have announced their highly-anticipated debut album 'Useless Coordinates' will be released via Captured Tracks on May 3rd 2019.

The band have premiered the arresting first single 'Stimulus for Living' as a taster of the album along with a video for it via The FADER where it was described as "tightly bound and inventive...a frantic and densely packed song full of ideas and angst."

Drahla describe the video as: “a visual composition that reflects the lyric content of the track. Based upon abstracted ideas and thought, challenging standardised format and perception.”

Listen/watch to 'Stimulus For Living' here.

‘Stimulus For Living’ is the second track taken from ‘Useless Coordinates’ following the release of ‘Twelves Divisions Of The Day’ last summer. The album was recorded in Yorkshire in the second half of 2018, and sees the band’s sound continue to evolve with the addition of saxophonist Chris Duffin across the record. Since finishing ‘Useless Coordinates’ the band have spent their time touring the US and Europe, including stops at Eurosonic and La Route Du Rock this winter.

Blending wiry, dark post-punk with unpredictable art-rock, Drahla have established themselves as a formidable and distinctive band across their three sold out 7” singles and 2017's Third Article EP. Formed in late 2015, Drahla quickly found their identity in Yorkshire’s fertile music scene with their minimal yet robust bass-heavy sound. Their reputation as a fervent live act is ever-growing, with the band being asked to share stages with the likes of Parquet Courts, METZ, Ought, Buzzcocks, The Cribs and multiple festival appearances - including Meltdown at the request of The Cure’s Robert Smith.

Drahla will accompany the release with a run of tour dates. Tickets can be found here.

Pre-order 'Useless Coordinates' here.

“Go inwards and be bold.” This was Harmony Korine’s advice to aspiring creatives, during a Q&A at the British Film Institute back in early 2016. For the recently-formed Drahla, his words served as something of a directive, encouraging the trio to trust their own instincts, however far removed they might be from those of their peers. Three years on, the Leeds-formed band have defined their own vital subset of art-rock with Useless Coordinates, a debut album that’s as fearless as it is enthralling.

Speaking from her current base in south-east London with bassist Rob Riggs, singer/guitarist Luciel Brown recounts the record’s somewhat chaotic gestation. “Most of last year was spent touring, so we were squeezing writing and recording in from the beginning of 2018 until end of August.” In-between a headline tour, support slots with Ought and METZ, and multiple festival appearances - including at Meltdown at the request of The Cure’s Robert Smith - Brown, Riggs and Wakefield-based drummer Mike Ainsley managed 10 days in the studio in total.

It was the unsettled nature of the period that part-inspired the album’s title. “[Useless Coordinates] summarised all of our situations,” Brown explains. “We had all these shows coming up and we knew we needed to leave our jobs and change our living situations to make all this stuff happen. So we had all these fixed points and timelines, but at the same time we felt quite lost within all of that.”

Though they felt adrift in their personal lives, artistically Drahla thrived amongst confusion. Experimentation was integral to the creative process, with Brown and Riggs continuing to swap instruments as per their live shows, while collectively they were open to relinquishing traditional song structures in favour of adopting a more instinctive approach. Another integral development proved to be the involvement Chris Duffin of XAM Duo, who played saxophone on large swathes of the record and whose esoteric musical tastes were influential.

Via Duffin, they discovered the work of Japanese synth pioneers Mariah and saxophonist Yasuaki Shimizu. These cult figures figure amongst an eclectic array of musical touch points, from Glenn Miller and Swell Maps, to L.A.-band Behavior. As per their earliest releases, No Wave and post-punk remain integral to Drahla’s musical universe, evident in Brown’s brilliantly deadpan drawl, in the Gang Of Four-esque guitars on Gilded Cloud, and in Duffin’s skronking saxophone on React/Revolt, which draws parallels with the work of James Chance and the Contortions.

The set’s sharp angles, stark tones and claustrophobic textures are reflected in the album’s artwork. Designed by Brown and Riggs - as per all previous record sleeves and promotional videos - the minimalist, mixed media creation takes inspiration from Talking Heads and Gang Of Four album art, the work of American artist Cy Twombly, and the economical, regimented aesthetic of the Bauhaus movement. “Drahla came about off the back of needing an outlet for creative expression,” Brown explains. “So the whole aesthetic is hugely important. As important as the music.”

Whatever the medium, Brown’s interests lie in looking beyond the immediate to the abstract and indefinable. Her lyrics are developed from observations, notes and poems, and the fragmented imagery is spliced together to disorientating effect. On Gilded Cloud elegant snapshots from the golden age of Hollywood are juxtaposed with abrasive guitar textures, Pyramid Estate draws parallels between Ancient Egypt and the present day, and Serenity evokes the violent energy of a Francis Bacon painting. Beneath the abstraction are a diverse array of themes, including gender fluidity (Invisible Sex), city living (Primitive Rhythm) and artistic expression (Unwound).

The result is an uncompromising but deeply rewarding debut where the internal and external, cerebral and visceral coalesce to quite startling effect.

"(Drahla) make the kind of literate punk to kickstart a revolution in your mind" - The FADER

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EuroNoize announced for May 2019

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Event announcement: EuroNoize
Event date: 23 May 2019
More info: Scala website

EU funded "avant-garde Eurovision" event EuroNoize announced for May 2019. Featuring performances from artists such as Winnie Puhh, Asian Women on the Telephone, Mauraudeur, Felix Cubin, Sissy + more

On May 23rd, an “avant-garde Eurovision” called EuroNoize will be taking place at London’s Scala. A celebration of the obscure, the niche and the uncategorizable, music that runs deeper than national borders, EuroNoize was born from Pil and Galia Kollectiv’s grotesque fascination with the Eurovision Song Contest to represent the secret international fellowship of “punx and weirdos” stretching everywhere from Russia to Ireland… The event will feature 11 bands from around the world, who will perform one new song in front of a live audience. The event will also be streamed live online so people can cast their vote from afar for their favourite performance of the evening.

The event will bring an array of artists from across Europe such as Estonia’s cult internet sensation Winny Puhh, Russia’s Asian Women On The Telephone and Ireland’s hard-hitting feminists Sissy to represent their countries. Also, contentiously, despite being set in London and as a testament to the great talent pervading throughout the world and proudly representing a unity currently not felt throughout the country, the UK will not be represented at the event following Brexit. The event will also be hosted by Ruby Waters, drag alter-ego of Andrew Milk from the band Shopping and Kay Isgay of the band Homosexual Death Drive.

The promoters, Galia and Pil Kollectiv, who have previously curated events for Thurston Moore, Simon Reynolds and more have now been settled in London for several years but are originally from Israel – co-incidentally also the host nation of this year’s Eurovision. Please see a full quote from the organisers below as well as full line-up details here.

"The concept for EuroNoize was born of a grotesque fascination. Growing up in Israel, watching the Eurovision Song Contest was an exciting family event. Through a strange set of circumstances, Israel was included in Europe for one night, and a parade of bizarre performances in foreign languages invaded all living rooms around us. The music has always been mostly appalling, but occasionally, a subversive spectacle would penetrate the predictable blandness: a Finnish monster metal band, an Armenian serenading a giant apricot seed or a bunch of out of tune Israeli artists waving a Syrian flag. More than anything, these displays sat uncomfortably with the requirements on the one hand to represent an increasingly meaningless idea of national identity and on the other hand some kind of recognisably Anglo-American popular music. There was also something utterly fascinating about the spectacle of European bureaucracy that occupied almost half the night. Telephone lines, broadcasting authority committees and a complex system of awarded points demonstrated what the enlightened administration of international cooperation is all about. For us, amidst the sectarian violence and chaos of our home town of Jerusalem, it was as exotic as full orchestral arrangements and sequin dresses.

It might have been this early interest in music as a visual spectacle that drove our interest in the idea of the art band. Coming from a background in music journalism, we have always worked with musicians and incorporated music in our artwork. But in 2010, these fields began to merge in our band WE. Initially a performance piece, this project involved four masked musicians intoning the lyrics to famous songs in the plural, retaining little from the originals but the lyrics. It was through curating a series of art and music events spinning off of the band that we began considering the possibility of pursuing our interest in Eurovision further. As fans of the obscure, we had a good collection of barely popular music in diverse languages. What sort of Eurovision could accommodate the type of our weird music we were listening to and making? What would it mean to ask of this kind of group to represent its country of origin? It was also somehow obvious to us, without any real proof, that a network of likeminded individuals existed across the world, that a small group of aficionados in places as far away as Russia, Iceland or Malta might also share our unconventional taste. We became interested in understanding how this global subculture revolving mostly around Anglo-American music intersected with local identities on the periphery of the culture industry.

We set about planning an event where a selection of bands from the continent would be asked to perform one original song in front of a live and broadcasting audience who could vote for the winner. When the opportunity arose to apply for EU funding for the project, the Brexit referendum had yet to take place. However, by the time the project was confirmed, with a book, record, exhibition and conference to accompany a night of live performances, it had gained a new relevance. One decision that followed was to exclude Britain from the competition. It was also important, since we couldn’t afford to include every country in Europe, to try and represent its different regions. Working in partnership with The University of Reading, Kunsthall Oslo and ARE Prague, we set about selecting a line-up of exciting noise and outlandish presentations from a host of loud and unlikely nominees.

Our line-up reflects an attempt to present a broad, although by no means comprehensive European spectrum representing the east, west, north and south of the continent. One of the first bands we approached was Estonian cult outfit Winny Puhh. In 2013 Winny Puhh became an internet sensation for their performance at the Estonian pre-Eurovision televised competition. They performed a weirdo-punk number wearing wrestling gear and Chewbacca masks, singing in a crockery breaking falsetto and playing an electric banjo. Oh, and they had two drummers suspended from the ceiling upside down. Because Winny Puhh never made it to the Eurovision final, we felt we needed to correct a historical mistake by including them in EuroNoize. Also playing are experimental Russian trio Asian Women on the Telephone, who cross dada cult costumes with philosophical musings laid over heavily distorted beat. Our final representatives from the eastern European block are E.P.P.! from Serbia whose songs form short advertising jingles for non-existing products.

Although Germany’s Felix Kubin recorded his first master piece at the age of 12, he has continually challenged musical norms for nearly forty years with his high concept digital hardcore, retaining an uncompromising DiY aesthetic. By contrast, doom-noise metal outfit Golden Core from Norway was only formed in 2014, when its two members were 9 and 11. Representing France is Hassan K, who mixes Persian music and surf guitar. Italian garage-punk veteran Tab Ularasa is an illustrious shapeshifter who probably has more aliases and former bands than all the participants of EuroNoize put together. Hailing from the French side of Switzerland, Mauraudeur’s post-punk is the anti-thesis of the actual Eurovision sound, with its cool, detached vocals and spikey guitars. Ireland’s Sissy are possibly the most melodic entrants, but the hard-hitting feminist politics of songs like their pro-choice nod to Enya, “Sail and Rail”, belie tuneful appeal of their lo-fi power-pop. Finally, completing the line-up are Greek brothers Lakis & Aris Ionas who form the core of art-rockers and Lee Ranaldo collaborators The Callas.

Britain, following Brexit, is not participating.

EuroNoize will be hosted by Ruby Waters, drag alter-ego of Andrew Milk from the band Shopping and Kay Isgay of the band Homosexual Death Drive." - Pil and Galia Kollectiv

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Pile new album out 3 May 2019

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Album release: 'Green and Gray' by Pile
Release date: 3 May 2019
Label: Exploding In Sound Records
More info: Band website

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 adoration, heaped on them by their contemporaries, that has long granted them “your favourite band’s favourite band” status.

Today, Pile are announcing their 7th album, ‘Green and Gray’, which will be out on May 3rd via Exploding In Sound, and sharing the album's first single ‘Bruxist Grin’. Packed with the kind of hairpin dynamic shifts that have become Pile's hallmark, the track, with the aid of the album's engineer Kevin S. McMahon (Titus Andronicus, Frightened Rabbit, The Walkmen, Swans), opens up the space between the two poles of the Pile's sound. Showcasing Maguire's powerful voice, the track pulls from a seemingly bottomless bag of sonic tricks, shifting seamlessly from delicate acoustic guitar figures to pummeling full band rhythmic turns, relating the experience of Maguire's first panic attack with an almost psychedelic flair.

"I wrote "Bruxist Grin" when I was getting ready to move," Maguire explains. "I'd been showing people my place to take my apartment, and getting my life together to go make this record to then move two days after the session. It was a super tight timeline and I went to bed and had a panic attack. I hadn’t had one before, and I thought it came on kind of like a psychedelic experience, like when the acid starts to kick in and it’s like 'oh, here we go.' My heart was pounding and I didn’t know what was happening but I knew that there was a lot about my current way of living that was about to change and I assume it was just my body reacting to all of it. It was pitch black, and I perceived looking at myself and my position to the rest of the world, physically, psychologically and spiritually, and feeling this overwhelming anxiety, and that’s what the song’s about."

In support of the album the band will be heading out on an extensive North American tour. Full details can be found below.

'Green and Gray' will be released via Exploding In Sound on 3rd May. It is available for pre-order here.

Previous praise for Pile

"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." - Pitchfork

"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." - NPR

"Messy, loud, and rhythmically intense…the tension between softer, sadder moments and the abrasive ones feels vital." - FADER

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

"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." - Spin

"Vivid and refined…[Pile have a] delirious energy that's inspired a decade's worth of devoted followers." - MTV

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The Get Up Kids new album out 10 May 2019

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Album release: ‘Problems’ by The Get Up Kids
Release date: 10 May 2019
Label: Big Scary Monsters
More info: Band website

The Get Up Kids today announced their first full-length album in eight years, ‘Problems’ - produced by Grammy Award-winner Peter Katis (Kurt Vile, The National) - will be released May 10th on Big Scary Monsters.

The video for first single ‘Satellite’ is out today; watch it now here and stream the track at all DSPs here. ‘Problems’ is now available for pre-order here. The band today also announced two shows at this year’s SXSW:

The Get Up Kids at SXSW:

3/13 - Austin, TX - The Mohawk - Polyvinyl Record Co. / Double Double Whammy / Big Scary Monsters + Friends Showcase (11:45 PM). Event info here.

3/14 - Austin, TX - Scoot Inn - Brooklyn Bowl Family Reunion (11:00 PM). Event info here.

‘Satellite’ opens on a stark arrangement of acoustic guitar and stripped-bare vocals, then bursts into brightly crashing rhythms and lyrics revealing the time-bending quality of The Get Up Kids’ songwriting. “I started writing ‘Satellite’ about my son who’s 14 and a total introvert - not antisocial, he just genuinely likes to keep to himself,” says guitarist/vocalist Matt Pryor. “But then somewhere down the line I started singing about myself - about how even when you’re playing a show to a room full of people, I can still feel anxious and isolated.” Director Kerstin Ebert explains, “The feeling of being isolated in a big city can be depressing. But instead of making this a sad story, I added a cardboard man named Hank to the storyline -- a guy who lives like a normal human being amongst 8 million other people in New York City. Even though Hank's adventurous ambitions as well as his facial expressions are very limited, he is the heart of the story and the biggest dreamer of all.”

‘Problems’ examines everything from life-changing loss to loneliness to the inevitable anxiety of existing in 2019. But by sustaining the essence of their sound - anthemic choruses with sing-along-ready melodies -The Get Up Kids highlight those troubles as a shared experience, giving way to an unbreakable solidarity. And at the heart of Problems is an invaluable element the band’s embodied since their 1997 debut Four Minute Mile: a penetrating lyricism that’s both acutely introspective and indelibly resonant.

The follow-up to 2018’s acclaimed EP, Kicker, Problems came to life in Bridgeport, Connecticut, with the band - Matt Pryor, Jim Suptic (guitars/vocals), Rob Pope (bass), Ryan Pope (drums), and James Dewees (keys) - holing up together for a three-week span. Working with Katis, The Get Up Kids took a characteristically riff-driven yet decidedly pop-minded approach to song structure, while also allowing themselves a new sense of creative freedom.

Through the years, The Get Up Kids have purposely pushed themselves toward previously unexplored songwriting material. “I’m 41 now, I could never write a song like when I was 19 - all those ‘I miss my girlfriend’ kind of songs” Suptic says. “It’s always important to us to write about wherever we are right now.” As shown on Problems, the resulting output both preserves the beloved spirit of The Get Up Kids and creates an entirely new context for their music. “A big part of the reason why we started writing new songs in the first place is that we have things we want to say about this moment in time,” says Pryor. “We’re still so connected to our past and where this all came from - it’s definitely a celebration of the fact that we still get to do this.”

The Get Up Kids play Slam Dunk North on 25th May and Slam Dunk South on 26th May

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Fontaines D.C. debut album out 12 April 2019

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Album release: 'Dogrel' by Fontaines D.C.
Release date: 12 April 2019
Label: Partisan Records
More info: Band website

Over the last year, Fontaines D.C. have released four critically acclaimed AA side singles, all of which garnered considerable support both from radio, with the band A-listed at BBC Radio 6 Music for their last single ‘Too Real’, and from a vast range of international press, with the band featuring in a number of end of year lists and receiving high praise from the likes of: NPR, Rolling Stone, Q, NME, The FADER, Time Out, DIY, The Line of Best Fit, Dork, Clash, Gigwise, So Young, Stereogum, Paste and more.

Now, ahead of their sold-out UK headline tour in April, Dublin's Fontaines D.C. have announced their highly-anticipated debut album, 'Dogrel', which is slated for release on 12th April 2019 via Partisan Records. Alongside the announcement of their new album, the band have also shared a new video (directed by Molly Keane) for the album opener, 'Big'. Hear/share ‘Big’ here.

Speaking about the video, the band said, "we felt that great ambition was a sickness, and we got Grian's 11 year next-door neighbour to say it to you all because he's got the presence of a hundred frontmen."

Alongside the new album and single, the band have also announced a new EU/UK headline tour starting on 19th November 2019.

Fontaines D.C. have toured extensively over the last year supporting Shame on their UK tour and selling out every date their own UK headline tours in December 2018 and April 2019. Similarly, the band have just completed a 20+ run of sell out dates across Europe and Scandinavia, will support label mates IDLES on their US tour in April 2019 and are also set to appear at various festivals across 2019 including End Of The Road, Truck Festival, Y Not Festival, SXSW and more. Full list of tour dates here.

'Dogrel' is due out 12th April 2019 via Partisan Records and is available to pre-order here. The album will be released on limited edition transparent yellow vinyl, CD as well as all digital platforms.

About Fontaines D.C.

“Is it too real for ya?”

“We were encouraging each other to be who we believed ourselves to be all the time” - Grian Chatten, lead vocals, Fontaines D.C.

With the best bands, it seems to happen fast. The trajectory is steep, the progression seemingly preordained, inexorable. Assembling whilst still at college in Dublin a mere three years ago, from the ruins of early nowhere bands, and having discovered a shared love of poetry and a common zeal for authentic self-expression, the evolution of Fontaines D.C. has been swift, sure and seemingly effortless. Three self-released seven-inch singles (the first of which, “Liberty Belle,” emerged in May 2017) each a confident step onward from its predecessor, and a relentless schedule of live shows have seen them progress at a prodigious, yet wholly logical pace. Through around 200 dates in the UK, Europe, and the US, one word has kept resurfacing in their characteristically eloquent yet direct interviews: authenticity. “I think there's an authenticity to what we do, and people have been starved of authenticity for too long,” Chatten said in one early Irish radio encounter. Not youthful bravado, but a truthful reflection of the shared code that has guided these five young best friends thus far, with what has occasionally seemed a preternatural combination of insouciance and self-belief. This commitment to the authentic, in their music and in each other, is key to understanding the Fontaines D.C. aesthetic. In the course of “going round bars, drinking and writing poetry and romanticizing it to bits,” according to bassist Conor Deegan, the band pushed each other to create, always keeping a collective eye on keeping it real. “We’d call each other out” Chatten has explained, adding, “through each other, we found ourselves a lot quicker.”

Alongside this commitment to each other and the shared goal, another overarching formative dynamic was at work: Dublin City itself; more specifically, the disappearing Dublin embodied most readily in their immediate surroundings, the old working class neighborhood known as The Liberties. As with so many of our cities, the modern malaise of gentrification is steadily claiming vast swathes of the Irish capital. Sure, that's progress, but the underlying cultural cost of this air-brushing of an environment is something that has preoccupied Chatten, feeding into much of the Fontaines’ lyrical content, and indeed the early singles' artwork which featured long-gone, semi-mythical figures like Bang Bang and Forty Coats, real-life quasi-Dickensian characters, legendary in their own time but now becoming lost in the city's fading folklore. Chatten speaks of writing about “the dying romance of the city...the reason we love the Liberties is that seems to be where a lot of that action is happening,” It would be a mistake to view this as some sighing nostalgia, however. Rather, it speaks to the place of Fontaines D.C. in a broader Irish cultural lineage: the bloodline that is more Behan than Bono, evoking poets such as Kavanagh and Lynott, Chevron and MacGowan and yes, even Joyce in the expression of the universal and profoundly human experience through the prism of the local, the familiar, the real. As Lou Reed did with New York, or Ray Davies with London, or indeed The Smiths with Manchester. Write what you know, as the old advice goes. Or, in the words of guitarist Conor Curley: “From talking to these guys about literature, I saw Irishness as being easily romantic about what you see.”

It's a through-line that can be discovered in all the best of Irish art, whichever the medium, and the band's intent is drolly embodied in the album's knowing title: ‘Dogrel.’ To give it its dictionary definition (or close enough for now): crude verse of little artistic worth. The ribald rhymes of the docks, the factories and the early houses. The authentic poetry of the people, which any smart Irish poet knows it is foolish to think oneself above. For in it all is an ineffable beauty, something these young men understand very well.

Not that ‘Dogrel’ isn't rock and roll; it most assuredly is, the best example of the form that you are likely to hear this or any other year. It spits, it snarls, it snaps with the very best of them. But also it yearns, like the greatest Irish music must do. In songs like the almost unbearably sad “Dublin City Sky” there is a marriage of the lyrical to the poetic tradition that bears comparison not just with MacGowan's (the Pogues) best work, but echoes the exquisite heartbreak of Luke Kelly's timeless reading of Kavanagh's “On Raglan Road.” This is an example of one of the great strengths of ‘Dogrel’; its diversity makes it feel less like a debut and more like the work of a band who have long since proven their point, as I suspect Fontaines D.C. may well feel that they have; to the very people who matter above all: each other.

From the short, sharp opener “Big” (surely rivalling “I Wanna Be Adored” as an irresistible opening statement of self-confident intent) the album delightfully surprises at every turn. The singles sit fully at ease along much more complex, emotionally loaded pieces such as “Roy's Tune” and “The Lotts,” both examples of a bruised but unbowed melancholia which is the record's true genome. “Television Screen,” shares its title with the first ever Irish punk single (by The Radiators From Space featuring future Pogue and another of the great chroniclers of old Dublin Town, the late Philip Chevron) and it is a different beast again: melodic and stately, it's a perfect example of the untimely, almost unnatural maturity that this band has already attained. “Boys in The Better Land,” in another twist, perfectly captures the spirit of the album's title. Among a blizzard of evocative couplets, “He spits out 'Brits Out" and only smokes Carroll's,” stands out as as great a pencil portrait as you'll find anywhere. That Lou Reed thing again.

As a band, Fontaines D.C. are on fire throughout: witness the brief, urgent mechanical grind of “Chequeless Reckless,” which perhaps comes closest to a Fontaines D.C. manifesto: "A sellout is someone who becomes a hypocrite in the name of money. An idiot is someone who lets their education do all of their thinking. A phony is someone who demands respect for the principles they affect. A dilettante is someone who can't tell the difference between fashion and style. Charisma is exquisite manipulation. And money... is the sandpit of the soul.” Spat out by Chatten with palpable contempt, they are words that could come back to haunt him, but he's smarter than that, and anyway, somewhere Mister Wilde is wryly smiling.

‘Dogrel’ is a debut which is best enjoyed as a whole; it is very much in the grand tradition of the album as art form, just as this is a band very much in the classic band mold: great singles, an indefatigable work ethic and an utter aversion to standing still.

Reluctant to be viewed as part of any wider movement (“I get a bit uncomfortable with some of the comparisons that have been made,” says Chatten, as he must, though they inevitably shall be) Fontaines D.C. have delivered on their tremendous promise in a way that few bands have. It is to their credit and it augurs well that their collective eye is already on the next phase as they prepare for now to merely take on the world for real. To real.

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Wet Dreams debut album out 29 March 2012

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Album release: Wet Dreams
Release date: 29 March 2019
Label: Black Pop Records
More info: Band website

Norway's newest power-punks Wet Dreams have revealed a brand new single today called 'Boogie', the latest taster of their debut self-titled album which is due for release on March 29th via Black Pop Records. Sebastian Ulstad Olsen of Wet Dreams (and Death By Unga Bunga), explained the inspiration behind the track: "This song basically wrote itself. I’ve been a fan of raunchy and heavily distorted Boogie Rock since I first heard Guitar Wolf."

Listen to the new single 'Boogie' on Soundcloud | Spotify | Bandcamp

Pre-order album here.

The band announced the album with the storming single 'Bad Boy' along with a video that songwriter Sebastian Ulstad Olsen of Wet Dreams said was, "...filmed in the deep forests of our beloved Østfold, Norway, this is the site for a secret festival happening every year.

If you know, you know…"

Watch Wet Dreams 'Bad Boy' video on YouTube

Wet Dreams were consummated in an Oslo basement, when Death By Unga Bunga frontman Sebastian Ulstad Olsen had conceived a few bastard songs he did not know what to do with. The songs grew into a fast and scruffy EP, released in the summer of 2017 – and now the self-titled debut album is finally here.

Wet Dreams is a punk rock/garage group from Oslo consisting of members from FOAMMM, Warp Riders, De Marvells as well as the aforementioned Death By Unga Bunga. They played one of their first ever concerts at Norway’s biggest festival, Øya in 2017, which lead to them being highlighted by NME as one of the best discoveries from the event where they described them as being for fans of "The Ramones to The Vaccines" and said their set was like "Motorhead covering The Hives”. In 2018 they have played festivals in Finland, Sweden, Denmark and Norway. Following the album release in March 2019 the band will tour Norway, Europe and the US.

Wet Dreams recorded the album by themselves, while Øystein Braut (Electric Eye, Dig Deeper, Soft Ride, Low Frequency in Stereo) aced the mixing, birthing an album of gritty, aggressive and ultra-catchy punk rock n roll.

Songwriter Sebastian Ulstad Olsen had this to say on the sound of the band:

"Even if the song structures aren’t miles away from the stuff I write in Death By Unga Bunga, I’ve been longing to challenge the recording and production process. I love music that bends the rules, so Wet Dreams is a great laboratory for this purpose."

The record is about the idea of being – or trying to be – “larger than life” to conceal one’s own insecurities. The collection on the surface may appear a classic testosterone-fueled out-pour, but the lyrics combat this with belief that ultimately we’re all just humans with the same fundamental needs and desires.

The Wet Dream-song 'I Can Fly' will be featured in an upcoming episode of the US TV show 'War Games' - an interactive up-to-date take on the 1983 classic Matthew Broderick-starring film.

“Imagine Motorhead covering The Hives. Add beer, punk, and stir. Doesn’t that sound fun?” – NME (2017)

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The Murder Capital UK tour starts 31 January 2019

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Tour announcement: The Murder Capital
Tour dates: January / February 2019
Label: Human Season
More info: Band website

The Murder Capital ended 2018 as that rare thing: a band tipped from all corners without having released a single song. In an age where people and bands overshare by default, The Murder Capital have been doing the opposite. If you wanted to know about The Murder Capital, you had to get to a show and see for yourself. That’s if you could get in. Based on the caustic strength of one live recording of ‘More Is Less’, which went viral on YouTube (watch), and feverish word of mouth from those who have been lucky enough to attend these early gigs, The Murder Capital have built a formidable reputation. In just over a year, they’ve sold out shows in their hometown of Dublin (to 400 people), played with Slaves, Shame and fellow countrymen Fontaines DC and seen the likes of the NME, Loud & Quiet, Dork and DIY back them already – with The Irish Times calling them out as Ireland’s best new rock band.

With ‘Feeling Fades’ the band fulfill their early promise – delivering a brooding, propulsive slice of post-punk recorded with Flood (PJ Harvey, Nick Cave & The Bad Seeds, Foals). In one of their rare interviews so far, the band have stated they are driven by the genuine desire to affect cultural change, and when front-man James McGovern repeats the lyric “the now elapsed ‘round you and me, and it kept us all together” on this, their debut single, you start to believe that they’re capable of achieving just that.

Stream debut single ‘Feeling Fades’ here.

Watch ‘More Is Less’ (Live session) here.

The Murder Capital will tour the UK in January and February:

31st January – Liverpool – EBGB’s

1st February – Cardiff – Club Ifor Bach

2nd February – London – The Shacklewell Arms

3rd February – Brighton – The Prince Albert

5th February – Birmingham - The Sunflower Lounge

6th February – Newcastle – Think Tank? Underground

7th February – Glasgow – The Poetry Club

8th February – Edinburgh – Sneaky Pete’s

They will also support IDLES at the band’s sold out show at The Electric Ballroom on 6th April.

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

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Press Club tour dates April/May 2019

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Tour announcement: Press Club
Tour dates: April/May 2019
More info: Band website

With Press Club having already risen way out of Australia’s underground punk scene, to become one of the country’s buzziest new bands, today they are sharing their new single ‘Suburbia’, as well as news of a swathe of highly anticipated UK tour dates for Spring 2019. Where previous single ‘Headwreck’ was a dizzying two and a half minutes of frenetic, raw, self-assured and commanding punk – which drew high-praise from Kerrang!, Jack Saunders and Dan P Carter - ‘Suburbia’ takes its time, easing its way into an uproarious chorus that stays with you long after the final chord has rung out.

Watch the video for Suburbia here.

UK audiences will get the chance to see the band for the first time – and find out just why they’ve previously been handpicked to support to the likes of Japandroids, Joyce Manor, Cloud Nothings and Dream Wife in Australia – on the below dates.

April 16 - Frog & Fiddle, Cheltenham

April - 17 Hy-Brasil, Bristol

April 18 - Think Tank? Underground, Newcastle

April 19 - Sneaky Pete's, Edinburgh

April 20 - Manchester Punk Festival, UK

May 2 - The Islington, London

May 3 - Dark Horse, Birmingham

May 4 - Liverpool Sound City, Liverpool

May 5 - Stag & Dagger, Glasgow

May 8 - Cardiff, Clwb Ifor Bach

Tickets are available now here.

The debut album Late Teens is released Jan 25th via Hassle Records. ‘Late Teens’ is what happens when four Melbourne musicians come together to create a body of work entirely devoid of outside influence, being answerable to only themselves. Over six weeks, bassist Iain MacRae’s house was converted into a temporary song-writing sweatshop where the band wrote forty songs that were distilled into the dozen that make up the track list on Late Teens. Relying upon the experiences of their friends and people they know as subject matter, Late Teens thematically approaches displacement, relationships, internal turmoil, gentrification and inequality. Press Club is the musical embodiment of the attitude of a generation experiencing impermanence in every way.

Pre-order Late Teens on limited colour vinyl / CD / Digital here.

“One of our records of the year for sure – so great.” - Dan P Carter, BBC Radio 1

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Wet Dreams debut album out 29 March 2019

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Album release: Wet Dreams
Release date: 29 March 2019
Label: Black Pop Records
More info: Band website

Norway's newest power-punks Wet Dreams have revealed a brand new single today called 'Bad Boy' and announced their debut self-titled album which will be released on March 29th via Black Pop Records.

Songwriter Sebastian Ulstad Olsen of Wet Dreams said that the video was: "...filmed in the deep forests of our beloved Østfold, Norway, this is the site for a secret festival happening every year. If you know, you know…"

Watch Wet Dreams 'Bad Boy' video on YouTube.

Wet Dreams were consummated in an Oslo basement, when Death By Unga Bunga frontman Sebastian Ulstad Olsen had conceived a few bastard songs he did not know what to do with. The songs grew into a fast and scruffy EP, released in the summer of 2017 – and now the self-titled debut album is finally here.

Wet Dreams is a punk rock/garage group from Oslo consisting of members from FOAMMM, Warp Riders, De Marvells as well as the aforementioned Death By Unga Bunga. They played one of their first ever concerts at Norway’s biggest festival, Øya in 2017, which lead to them being highlighted by NME as one of the best discoveries from the event where they described them as being for fans of "The Ramones to The Vaccines" and said their set was like "Motorhead covering The Hives”. In 2018 they have played festivals in Finland, Sweden, Denmark and Norway. Following the album release in March 2019 the band will tour Norway, Europe and the US.

Wet Dreams recorded the album by themselves, while Øystein Braut (Electric Eye, Dig Deeper, Soft Ride, Low Frequency in Stereo) aced the mixing, birthing an album of gritty, aggressive and ultra-catchy punk rock n roll.

Songwriter Sebastian Ulstad Olsen had this to say on the sound of the band:

"Even if the song structures aren’t miles away from the stuff I write in Death By Unga Bunga, I’ve been longing to challenge the recording and production process. I love music that bends the rules, so Wet Dreams is a great laboratory for this purpose."

The record is about the idea of being – or trying to be – “larger than life” to conceal one’s own insecurities. The collection on the surface may appear a classic testosterone-fueled out-pour, but the lyrics combat this with belief that ultimately we’re all just humans with the same fundamental needs and desires.

The Wet Dream-song 'I Can Fly' will be featured in an upcoming episode of the US TV show 'War Games' - an interactive up-to-date take on the 1983 classic Matthew Broderick-starring film.

“Imagine Motorhead covering The Hives. Add beer, punk, and stir. Doesn’t that sound fun?” – NME (2017)

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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Heavy Lungs tour dates January / February 2019

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Tour announcement: Heavy Lungs
Tour dates: January / February 2019
More info: Band website

To celebrate the release of the IDLES and Heavy Lungs split 7” single, Heavy Lungs have revealed a brand new video to accompany their track 'Blood Brother', a reference to their front man's close relationship with Joe Talbot. IDLES return the favour with their anthem ‘Danny Nedelko’, a direct reference to the Heavy Lungs singer of the same name.

Watch Heavy Lungs ‘Blood Brother’ video on YouTube.

Following their support role for IDLES' sold out UK tour last month, Heavy Lungs have their own headline UK tour early next year.

Full tour dates and tickets here.

Danny Nedelko of Heavy Lungs on the collaboration:

“The 'Blood Brother' video is a collaboration with our friend Elliot Pearce, who also directed the video for 'Stutter'. The video is a visually driven narrative that echoes the lyrical content of the song. However, it ultimately stands alone as a separate piece of surrealistic art driven by Elliot’s creative interpretation of the song.”

Editor & Director Elliot Pearce

"The lyrics are very potent and speak candidly about the love, devotion, and commitment that occur in friendship - specifically referring to Danny’s relationship with Joe. I wanted this video to represent these feelings in a more literal and physical sense. I also wanted it to be fun. I don’t come from a music video background, and I find the traditional idea of just watching a band play for three and a half minutes boring and artificial. This was about having fun, and I really hope that translates to anyone watching."

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Lene Lovich tour dates March 2019

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Tour announcement: Lene Lovich
Tour dates: March 2019
More info: Artist website

March 2019 sees the Lene Lovich Band taking to the road to celebrate the 40th anniversary of Lene's classic debut album ‘Stateless’. Containing the smash hit ‘Lucky Number’ and other perennial Lene favourites including ‘Home’, ‘Say When’, ‘I Think We're Alone Now’ and the celebrated ballad ‘Too Tender to Touch’, ‘Stateless’ was an immediate success when it was first released by cult post-punk label Stiff Records, and has held it's place in fans' affections for four decades. Lene Lovich’s work spent over four and a half months in the Top 40 charts after the release of her debut album in 1978 in the UK and 1979 in the US.

The tour will be fans' only chance to catch ‘Stateless’ performed in it's entirety. The show also includes other Lene favourites, such as the Thomas Dolby-penned hit ‘New Toy’, as well as a handful of songs from Lene's highly regarded second album ‘Flex’.

Dates and tickets here.

Listen to ‘Lucky Number’ here.

“It is incredibly flattering to know that people are still interested in Stateless after all these years. And it is always humbling to learn what it has meant to people on a personal level. We all have music which becomes the soundtrack to our lives, and to know that people are still listening is the highest compliment that you can ever be paid as an artist and a performer.

Far from being near nostalgia, taking the album out on the road for its anniversary year is a way of saying thank you, both to the fans who have appreciated it for so long, and also to the songs themselves, which have meant so very much to me and gave me such a wonderful start on this journey.” - Lene Lovich, November 2018

The Lene Lovich Band were formed in 2012 by Lene and guitarist Jude Rawlins and have been performing across Europe to much acclaim ever since. The Stateless 40th Anniversary Tour kicks off in the UK in March of 2019 and sees the band performing across the country for the first time since appearing as special guests of the Psychedelic Furs in 2017.

A new version of ‘Stateless’ is currently being recorded by the band and will be released to tie in with the tour, marking Lene's return to the studio after a 13 year hiatus.

More on Lene Lovich

Lene Lovich was born Lili-Marlene Premilovich in Detroit, Michigan, to an English mother and an American father of Yugoslavian descent. At age 13 her father developed health problems and so the family relocated to Hull, England. Later on she began to perform in cabaret clubs in London as a dancer, recorded screams for Hammer Film Productions to dub onto their horror-films, wrote lyrics for French disco artist Marc Cerrone (including the sci-fi dance hit ‘Supernature’) and worked in various theatre productions.

After finding her feet in the post-punk and new wave developing in the UK, Lovich's musical style combined her own quirky inventions with contemporary punk rock and new wave styles.

Biography by Tony R. Vario

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YOWL new single out now

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Single release: 'John the Collector' by YOWL
Release date: Out now
More info: Band Facebook

Today, Peckham five-piece YOWL have announced their new single 'John the Collector'. The single follows the release of YOWL's third single for ‘Warm (In The Soft White Fire Of Modern Living)’ and is being released with DIY for Jäger Curtain Call ahead of their headline show, which will be taking place on 15th November at The Lexington, London (with support from Sister Talk and Lumer) - Tickets available here.

The single was recorded at London’s Tileyard Education Studios and you can see a video of YOWL in the studio here via DIY. Speaking about the single, singer Gabriel Byrde says: “It’s a loose delve into the male psyche. It’s about a guy who tries to open up a little more and realises the only way he can do that is to murder his friends and stick their faces onto his walls so he has someone to talk to at all times.”

Listen to 'John the Collector' here.

Following Jäger Curtain Call the band have two more shows lined up for 2018 including a show at Rough Trade Bristol on 8th December alongside Hotel Lux, Squid and more, as well as a sold-out end of year IDLES AF Gang Xmas party at Record Junkee in Sheffield on 15th December with John, Heavy Lungs and an IDLES DJ set from Joe Talbot.

'John The Collector' serves as a taster for what's to come from the YOWL in 2019 - Further details TBA

With an EP and three singles behind them YOWL have earned some impressive critical acclaim from the likes of NME, DIY, Clash, The Line Of Best Fit, AnOther, Loud & Quiet, So Young, The Most Radicalist and more. Following the release of 2016's Before The Sleep Sets In EP YOWL released debut single 'My Headache Likes To Speak' in May 2017. Across its noir-laden four minutes, the band marry gnarled razor-wire guitars and a swaggering rhythm section with the sick croon of vocalist Gabriel Byrde. 'My Headache Likes To Speak’ was the second release from London's Big Score imprint, after recently putting out material from Bristol's LICE. The label comes from the minds behind Golden Arm who have watched over the likes of HMLTD, Goat Girl, and The Big Moon.

Nobody’s happy putting up with poor job prospects and a city pricing out the poorest, but the Peckham-formed YOWL capture a frustration of the 9-to-5 London grind like few others. And in frontman Gabriel Byrde, they have someone who can spin poetry on songs about alienation and exhaustion. YOWL are often viciously loud, but Byrde’s fanciful delivery gives them an edge.

Previous praise for YOWL

“YOWL take the mundane and make it sound like a never-ending thrill" – NME

"Cool as hell, a completely natural, unforced slice of post-punk noir reminiscent of everyone from The Fall to Wire to The Birthday Party while retaining its own individual path." – CLASH

"ravaged, poetic and pissed-off rock." – DIY

"The Peckham five-piece perfectly capture anger, cynicism and hilarity in one fell swoop." – THE LINE OF BEST FIT

“YOWL are a band who make Peckham sound like New York City 2002” – LOUD & QUIET

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Fontaines D.C new single out 21 December 2019

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Single release: ‘Too Real’ by Fontaines D.C
Release date: 21 December 2019
Label: Partisan Records
More info: Band website

Following their recent signing to Partisan Records and the announcement of their support slot on both the forthcoming Shame tour in the UK and Ireland, and next year’s IDLES tour in the US, Dublin’s Fontaines D.C. have now shared a video for their new single ‘Too Real’. The single was premiered by Steve Lamacq on BBC 6 Music who called it "poetic and powerful".

Watch the video for ‘Too Real’ here.

Speaking about the visuals in the new accompanying video, director Hugh Mulhern, says it is made up of "low-brow visuals inspired by Buster Keaton, James Joyce, The Dubliners and Jim Henson to discuss high- brow ramblings of some stout swilling stereotypes.”

The band will be releasing the single on a double A-side single including ‘Too Real’ and ‘The Cuckoo Is A Callin’’. The single will be released on 21st Dec and can be pre-ordered here.

Fontaines D.C. met as a quintet in Dublin, influenced and driven in equal measure by the rich history of their hometown’s counter-culture, their response has been to make concise and immediately authentic post-punk, channeling often-unassumingly poetic lyrics with a distinctive gritty Irish brogue that has done anything but fall on deaf ears.

The last year has seen Fontaines D.C. release three hotly received double A-side singles, all of which were named as singles of the week by Rough Trade, and garnered early support from the likes of Steve Lamacq and others on BBC 6 Music where they have previously been b-listed with their latest single ‘Chequeless Reckless’ (self-released) for 4 weeks, presented 6 Music Recommends and played live in session. Similarly, they have also earned plaudits from DIY, Dork, Stereogum, KEXP, Fred Perry Subculture, London in Stereo, So Young and every major Irish publication. The band have also played a number of sold-out shows across Europe, Ireland and the UK earning a reputation for their brooding and trenchant live performances, supporting the likes of IDLES, Metz, The Horrors, Girl Band and The Lemon Twigs, as well as playing festival slots at Primavera Pro, The Great Escape, Dot to Dot, Electric Picnic, London Calling, Hard Working Class Heroes and Simple Things Festival.

This month the band will be embarking on a full UK/IRE tour with Shame and in December will play a short series of headline dates, which have already begun to sell out. They have also announced further European and UK tour dates as well as main support on the IDLES US tour and a SXSW appearance for 2019 - Full dates can be seen here.

Fontaines D.C. have gone from strength-to-strength with each release, and with a vast array of critical acclaim, renowned live shows, a series of sold out releases behind them and their recent signing to Partisan, the new single and forthcoming dates stand as a huge statement of intent, which is not to be ignored.

The band entered the studio this autumn to record their highly anticipated debut album with estimable producer, Dan Carey (Kate Tempest, Bloc Party, Bat For Lashes, Black Midi, TOY, Goat Girl and more) - More details to be announced.

Previous praise for Fontaines D.C

"The best encapsulation yet of that surrealist, lyrical approach to noisy punk." - NME

"With one foot in the shambolic anarchy of The Pogues, and the other in a Las-esque lilt, Fontaines D.C are messy but melodic in the best way possible" - DIY

“Ireland’s latest greatest export” - DORK

“"Snarling, Swaggering Post Punk” - STEREOGUM

"I've played this about 15 times since yesterday. It's a little bit like hearing Idles for the first time. I really think there's something here" - STEVE LAMACQ

“The energy, the urgency and the emotion of these brilliant new songs made me stand up and take notice that this is the band I've been waiting for” - KEXP

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Press Club debut album out 25 January 2019

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Album release: Press Club
Release date: 25 January 2019
Label: Hassle Records
More info: Band website

  • Watch the video for first single ‘Headwreck’ here

  • First UK tour dates set to be announced for Spring 2019

With Press Club having already risen way out of Australia’s underground punk scene, to become one of the country’s buzziest new bands, today they announce that they have signed to Hassle Records for the UK / EU release of their debut album Late Teens on Jan 25. Support from the influential Triple J radio station has come thick and fast for the band, with a number of singles gaining heavy rotation, and a coveted ‘Like A Version’ session slot generating over 150,000 views. Rolling Stone Australia and Beat Magazine have also touted the band as Ones To Watch, as the first pockets of UK media support have begun to emerge from Kerrang! magazine and the BBC Radio 1 Rock Show’s Dan P Carter.

Press Club are also sharing lead single and accompanying video for ‘Headwreck’; two and half minutes of frenetic, raw, self-assured and commanding punk, stacked with buzz-saw guitars and brimming with honesty. The track is about a place we’ve all been; in a relationship with someone that doesn’t treat you right, doesn’t respect you. It’s a call to arms to respect yourself, to demand more. The video was shot in a Collingwood warehouse, with the help of two friends, Nick Manuell and Will Maconachie, who have created a video that captures the band’s brash energy, and embodies how the song was recorded: live and in one take. It’s a glimpse at the kind of performances that have won them so many fans in support of the likes of Japandroids, Joyce Manor, Cloud Nothings, The Smith Street Band and Dream Wife on the road in their native Australia.

Press Club will also play their first ever live shows in the UK this coming Spring, with more details to be announced shortly. Bassist Iain MacRae comments; “Absolutely over the moon to be part of the Hassle posse! It's great to finally have someone we trust in our corner after being independent for so long. Let the Antipodean takeover of Europe commence!”

Late Teens is what happens when four Melbourne musicians come together to create a body of work entirely devoid of outside influence, being answerable to only themselves. Over six weeks, bassist Iain MacRae’s house was converted into a temporary song-writing sweatshop where the band wrote forty songs that were distilled into the dozen that make up the track list on Late Teens. Relying upon the experiences of their friends and people they know as subject matter, Late Teens thematically approaches displacement, relationships, internal turmoil, gentrification and inequality. Press Club is the musical embodiment of the attitude of a generation experiencing impermanence in every way.

Pre-order Late Teens on limited colour vinyl / CD / Digital here.

“A rootsy, passionate emo-punk gem… They’re another band with an incredible frontwoman, Nat Foster, whose voice imbues the songs with passion and yearning.” - Kerrang!

“One of our records of the year for sure – so great.” - Dan P Carter, BBC Radio 1

“There’s plenty of buzz surrounding Press Club, with firebrand frontwoman Natalie Foster proving she has one of the strongest set of pipes that we’ve heard in a while.” - Rolling Stone Aus

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IDLES 2019 world tour

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Tour announcement: IDLES
Tour dates: March to May 2019
More info: Band website

  • Including first ever Australian dates and two headline shows at The Electric Ballroom, London

After a wrapping up sell-out UK and US tours, IDLES have confirmed a 2019 world tour, headlining their biggest venues yet. The run will include two London headliners at The Electric Ballroom and their first ever run of dates in Australia. Tickets go on public sale this Friday Nov 9th at 10am local time, with tickets available at here.

IDLES’ new record 'Joy As An Act Of Resistance' debuted at no.5 in the UK charts, breaking Rough Trade’s all-time record for most pre-orders and sales in a day. It is currently the no.1 best reviewed record of 2018 (average rating of 88 across 25 reviews) at Album Of The Year and in the Top 10 on Metacritic. The band saw not only singles but the album itself A-listed at 6 Music and earned major features, amongst others, with the likes of Q, Mojo, The Guardian and covers with DIY, Loud & Quiet, So Young and NME. They’ve arrived internationally too with only last week NPR Music declaring “I am an IDLES addict. It's like mainlining an uplifting and unifying assault on nationalism, racism, intolerance, and class inequality.”

The band won Best Breakthrough at the Q Awards last month following their Jools Holland debut which NME called “history in the making…incomparably brilliant,” likening it to Arctic Monkeys and Kanye West's first appearances on the show. Watch here. La Blogothèque also just filmed the band performing a couple ‘Joy’ standouts, watch them do stripped down versions of ‘I’m Scum’ and ‘Gram Rock’.

More key tracks:

Selected praise for IDLES

“No hyperbole needed; IDLES are the most important band we have right now." - DIY Magazine (cover story)

“Everything about Joy As An Act Of Resistance is just so perfectly realised. An instant classic, one that people will turn to in times of need for years to come.”

10/10 - NME

“This album is a heart-breaking but jubilant exploration of joy, honesty, fragility and expression as our most powerful means of human resistance.”

9/10 - Classic Rock

“IDLES have released the most relevant and at times gut wrenching album of the year.” - Drowned In Sound

“IDLES make sense of modern chaos on the utterly essential Joy as an Act of Resistance.” - The Line Of Best Fit

“Idles take their rightful place as not Britain’s, nor Europe’s, but the world’s most vital band. It’s a fist-clenched celebration of the full spectrum of phenomena - inexplicable, crushing and totally joyous - that divides and unites us all.” - The Quietus

“IDLES deliver a thunderous and sharp state-of-the-nation address.” - The 405

“Across its 40-odd minutes, Joy As An Act of Resistance makes you want to laugh and cry and roar into the wind and cradle your nearest and dearest. It is a beautiful slice of humanity delivered by a group of men whose vulnerability and heart has become a guiding light in the fog for an increasing community of fans who don’t just want, but need this.”

5/5 - DIY

“The power of ‘Joy As An Act Of Resistance.’ is how it shows society itself in a mirror. Sometimes it’s a bathroom mirror in the morning too bright and over exposed, another time it’s a makeup mirror in a car you struggle just to catch a glimpse of yourself and other times it’s a fairground mirror and everything is distorted and grotesque. But each time you have look yourself in the eye and take stock for your actions.

This is a band to get excited about. Very, VERY, excited about!”

9/10 - Clash

“This album announces IDLES as one of the most exhilarating and necessary punk bands of right now.” - Kerrang!

“…this isn’t good-time, aspirational, radio-friendly pop. But for anyone in need of music that articulates their concerns or helps them to work through their troubles--or anyone who simply appreciates blistering, intelligent punk - they might just be Britain’s most necessary band.” - The Guardian

“Over a visceral torrent of motorik punk-pop pummels recalling prime Pixies or mclusky, Joe hails his “beautiful immigrant” blood brother “Danny Nedelko” and celebrates his “mongrel” upbringing on “I’m Scum” - in a world run by bullish right-wing sex pests, his aggressive compassion is a potent antidote.” - The Independent

“This feels indispensable, as both bereavement therapy and Brexit-era protest.” - Q

“Britain’s most cult-worthy band have a raging vitality.” - GQ

“Joy as An Act of Resistance is a record that bristles with the political and emotional energy of punk’s very best.”

9/10 - CRACK

“One of the most vital albums of 2018.”

5/5 - Dork

“‘Joy…’ is a self-confessed parade. It’s a punch-up and it’s a bear hug.” - Loud & Quiet

“Their follow-up sees them crank everything up to the next level. No band is better equipped to document the here and now, warts and all.” - Mojo

“This must surely win the award for most intense album of the year. An exorcism of sadness and rage, with a burning commitment to honesty of expression throughout.” - The Times

“Bristolian punk – brutally loud, brutally honest.” - Uncut

"IDLES is the best 21st century punk-ish band I've heard.” - NPR Music (Bob Boilen)

“Visceral, joyous, and honest — lightning rods for collective rage, forged from love.” - Noisey

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Jeff Rosenstock UK and Ireland tour

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Tour announcement: Jeff Rosenstock (W/ Chris Farren)
Tour dates: October 2018
More info: Band website

Having released his brand new album ‘Post’ on Quote Unquote Records/Specialist Subject Records earlier this year, which received rave reviews almost everywhere imaginable Stateside (NPR, Pitchfork, Uproxx, The Ringer, Stereogum, MTV, VICE, Philadelphia Inquirer, Chicago Tribune, Paste, BrooklynVegan, Billboard, AV Club, the list goes on...) Jeff Rosenstock is now taking his own unique brand of punk, indie-rock and power-pop on tour across the UK and Ireland. Chris Farren supports on all dates.

  • Stream / download ‘Post’ LP here.

  • Stream ‘Yr Throat’ here.

  • Watch ‘Melba’ here

  • "One of the most important figures in modern punk" – Pitchfork

Further info on Jeff:

It's New Year's Day. You're still coming out of the haze of 2017. Maybe your New Year's Eve got a little crazy, maybe it got a little dark. You're not sure if you're going to actually get out of bed before noon, but you roll over and check your phone, just in case anything terrible has happened while you were sleeping.

Wait. What? Call your best friend. There's a new Jeff Rosenstock record.

Jeff Rosenstock wrote POST- in a double-wide trailer in the Catskill Mountain town of East Durham, the snow-covered hills surrounding him like a landscape of blank pages. The serene, empty space was a big change of scenery for a guy who bounces around the world like a human comet, playing super-catchy, super-devastating shout-alongs to dedicated fans around the world.

After playing with Bomb the Music Industry! for a decade, Jeff switched gears and produced records for The Smith Street Band, Dan Andriano, Mikey Erg and more, and started putting out records under his own name. After the release of WORRY., things started to get way more intense for Jeff and his band. They made their first TV appearance on Last Call with Carson Daly, USA Today called WORRY the #1 album of 2016, and the band took to the road, touring endlessly for the past two years, taking breaks only to record new albums.

"2017 kinda felt like the year when we snuck in the back door," says Rosenstock, "We kept getting opportunities to do stuff - even though we take those opportunities to do stupid shit like say how much we made on stage." (This is the guy whose Pitchfork Music Festival performance last summer trended on Twitter after he took the stage and exclaimed, “Seventy-five hundred! Dollars! For us! To play! This festival!” Because, you know, he felt like he had to come clean about it.)

Written in the days after the 2017 Presidential inauguration, POST-'s lyrics get (really) heavy but the melodies are so catchy and the builds are so big and bright that the end result is more of a rallying cry than a surrender. The album was recorded in a one-week, 86-hour marathon recording session with Jack Shirley (Joyce Manor, Deafheaven) at the Atomic Garden in East Palo Alto, CA. "The four of us stood in a room without headphones on and just played the songs live to tape, and after that we had some friends (Dan Potthast, Laura Stevenson, Chris Farren, PUP) fill out some of the sound," So, if the record feels even more unifying than usual, like a party that turns into a sleepover that turns into egg-n-cheese sandwiches on the beach that turns into a protest march that unites a gang of buddies for eternity, well, maybe that's why.

"Having channeled talent, depression and a pure love of music into something beautiful on debut album ‘Feel Something’, Movements became one of the standout new bands of 2018." - Rock Sound

"Stunning emo/post-hardcore quartet from Southern California" - Kerrang!

"Regardless of you experiences in life, with this record on you'd have to be made of stone to not 'Feel Something'" - Upset Magazine

Movements have announced that they will be returning to the UK in support of their debut album ‘Feel Something’ which was released to critical acclaim at the end of 2017 via Fearless. They and Tiny Moving Parts will support Knuckle Puck on the following rescheduled dates. Info here.

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The Rocket new album out 30 November 2018

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Album release: ‘Another Reason Not To Fear The Sky’ by The Rocket
Release date: 30 November 2018
More info: Band Facebook

Belgian pop-punk outfit The Rocket have shared the first single from their forthcoming album ‘Another Reason Not To Fear The Sky’, which is due out 30th November. The single ‘Focus’ was premiered by New Noise Magazine, who described the band as having “a super keen ear for infectious melodies”, calling the track “punchy and impactful." See the premiere here. Share the video via YouTube here.

Speaking about the single, the band said “It’s a very personal song, about dealing with loss. Or rather: about not dealing with it for way too long. The track has an up-tempo kind of energy to it; we really let our inner Four Year Strong demons out in the intro, ha. In our minds, the song serves as a mission statement for the rest of the album: time to get back from hibernation and literally regain focus.”

Having taken a break from writing together, the Rocket's new album ‘Another Reason Not To Fear The Sky’ sees the band return in full effect. Produced by Marc McClusky (Weezer, Motion City Soundtrack, Bad Religion) and mastered by Chris Athens (Beastie Boys, AC/DC, N.E.R.D), the record is proof of the reinvigorated energy that has seen the quintet earn an illustrious live reputation playing stages at the likes of Groezrock and alongside many other major European festivals.

The album also features guest appearances from Justin Pierre (lead vocals/guitar) & Joshua Cain (lead guitar) of Motion City Soundtrack, merging the band's first-era pop-punk influences (think-Millencollin, NFG, Blink 182) with some of their more synth driven melodic sensibilities.

With years of gigging experience their shows are full of anthemic choruses, hook-driven emotive vocals, melodious synth lines and rapturous drumming, The Rocket are ready to blow all expectations away with a record that pushes genre forward with new layers of intricacy and depth, whilst packing in the vigour and irrepressible choruses fans of the genre have come to know and love.

'Another Reason Not To Fear The Sky' is due out on 30th November and will be see the band continue to a number of shows across Europe throughout the rest of 2018.

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Charly Bliss new single out now

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Single release: ‘Heaven’ by Charly Bliss
Release date: Out now
Label: Barsuk Records
More info: Band website

First new material since last year's ‘Guppy’

Today, NYC's Charly Bliss have released a song titled ‘Heaven’, a staple of their live show. '

Of the song, Eva Hendricks says: "'Heaven' is one of the first songs I wrote after Guppy, and to me it sounds like the ending of one phase of our sound before we knew what was going to come next. We played it live every night of our album release tour and it was really incredible to see the way people reacted to and connected with the song. It's our first love song, and I basically had to force myself to write the lyrics as a songwriting challenge to myself. I think I was always worried that songwriting was something that only existed to me as a coping mechanism, and that once I was happy I wouldn't have anything interesting to say or write about. I'm proud of the sweetness and simplicity of this song, and we're super happy to release it finally!"

Listen to ‘Heaven’ here.

Charly Bliss will be touring the US with Death Cab For Cutie later this month and throughout October.

"Feels familiar even on first listen; you might find yourself singing along by the second chorus, as if this band's been soundtracking your adolescence all along." - NPR

"One of those bands where you either like them or you're wrong" - Upset

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Sunshine Frisbee Laserbeam new album out 9 November 2018

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Album release: 'Blackout Cowboy' by Sunshine Frisbee Laserbeam
Release date: 9 November 2018
Label: By The Time It Gets Dark
More info: Band website

  • Listen to the single 'All The Way Over The Edge' at Stereogum
  • Album available to pre-order as DL / CD / LP here
  • UK tour dates through November

Prolific Birmingham quintet Sunshine Frisbee Laserbeam are today premiering their brand new single 'All The Way Over The Edge (Bros Don't Talk About Anything)' at Stereogum. On a track that makes an immediate impact from the opening riff, its febrile energy, subject matter and crushing, jerking rhythms are characteristic of an album that makes you feel something at every turn. This first track is about the importance of being able to feel like you can talk about your mental health. Lead singer and guitarist Pete Dixon says; "I think the male condition stops us from sharing emotions we tend to either make light of things or brush it off completely and typically men don't talk about our feelings until it's too late."

About the track, Stereogum says; “All The Way Over The Edge (Bros Don’t Talk About Anything) is psyched-out spin on the neurotic power pop of early Weezer and the sprawling guitar rock of Titus Andronicus... When you’re listening to this, everything feels massive and urgent but it never takes itself too seriously, thanks to some darkly funny lyrics." 

What of the bands that can’t stop writing? How do you keep up? Like Bob Pollard and R. Stevie Moore before them, it’s something that must just be there, in the blood. Over the last few years, Sunshine Frisbee Laserbeam have been putting out quality material at an alarming rate – 100+ songs, and if it wasn’t for the day jobs, there’d have been far more – whilst never quite fitting in to any one pigeonhole long enough to be branded with a genre. So, where to start? Here. 'Blackout Cowboy' is that record. It could as easily be their debut. A fresh slate from which to start from. A band with 100 songs distilling everything that makes them great down to just 8 new songs. Like a record from the 70’s, succinct and compact, total confidence in the material.

Early lo-fi offerings in the form of two EPs, a self-titled album, and a Halloween single secured the then three-piece a regular spot on the Birmingham music scene, as well as frequent invites to towns and cities up and down the country. A couple of increases in headcount (most recently Junior Laidley on keyboards and percussion) and the purple patch writing sessions around 'Blackout Cowboy' have allowed the band to move away from the lo-fi aesthetic they once adhered to, and are now able to work the same unique approach to songwriting into an ever expanding range of hooks, riffs and drones that fill any room they play.

Dark lyrical matter permeates throughout the record, as does black humour and the band’s gift for melody. From the power-pop rush of opener 'Running From A Ghost', through to the Malkmus-esque closer of 'Mind Control', there’s both variety and an almost endless slew of good ideas throughout. From the thick guitar tone that brings 'All The Way Over The Edge' to life, to the melodic invention across 'Blackout Cowboy' and 'Meatloaf To The Camera', there’s no let up across the record. And on 'Mrs JR Hartley' the band even channel the neurotic energy of those early Weezer songs, in contrast to that most English of references in the song title.

Some bands hit their stride a few records in, and some bands hit it out of the park entirely: this is Sunshine Frisbee Laserbeam making a strong claim for the latter.

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IDLES new single out now

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Single release: 'Great' by IDLES
Release date: Out now
More info: Band website

Following the single's debut with Steve Lamacq on 6 Music (listen to recent session here) and ahead of a live performance for Annie Mac on Radio 1, IDLES have shared another new song off their much-anticipated new LP ‘Joy as an Act of Resistance,’ out 31st August via Partisan.

'Great' is a pro-immigration black comedy (“Islam didn’t eat your hamster/change isn’t a crime”) as well as a scathing confrontation of the Brexit/Trump era. The song is accompanied by a music video (directed by Theo Watkins), which you can watch here.

Singer Joe Talbot says of the track: “Let us go forward with open minds and open hearts into that fuck off fire we've started. No blame, no hate. Just love and a blue passport.”

‘Joy as an Act of Resistance’ bluntly addresses everything from toxic masculinity, immigration, racism, nationalism + more. The band are able to channel those weighty subjects though pure positivity and even biting humor. 

Earlier this month IDLES also announced an art exhibition to celebrate the release of their album. Open for two days on 30 and 31 August, between 12pm and 8pm, and curated by the band, the exhibition will take place at: HM Electrics Gallery, 65 Nile Street, London N1 7RD

The gallery will contain 18 pieces of work across several mediums. All proceeds going to the Samaritans charity. Watch the exhibition trailer here.

Watch IDLES on News At Ten

The band have also announced a run of live in-store dates around the album:

30 Aug UK London, Banquet Records, 9pm
31 Aug UK Bristol, Rough Trade, 3pm
31 Aug UK Bristol, Rough Trade, 7pm
03 Sep UK Portsmouth, Pie and Vinyl, 1pm
03 Sep UK Brighton, Resident, 6.30pm
04 Sep UK London, Rough Trade East, 7pm
05 Sep UK Sheffield, Record Junkee, 1pm
05 Sep UK Nottingham, Rough Trade, 7.30pm
06 Sep UK Leeds, Crash Records, 1pm
06 Sep UK Manchester, FOPP, 5.30pm
07 Sep UK Cardiff, Spiller Records, 7pm

'Great' is the fourth song to be released from IDLES's much-anticipated upcoming album 'Joy As An Act Of Resistance'. Produced by Space and mixed by Adam Greenspan & Nick Launay (Arcade Fire, Yeah Yeah Yeahs, Kate Bush), The album takes aim at everything from nationalism and immigration to class inequality - all while maintaining a visceral, infectious positivity. Singer Joe Talbot summarises: “This album is an attempt to be vulnerable to our audience and to encourage vulnerability; a brave naked smile in this shitty new world. We have stripped back the songs and lyrics to our bare flesh to allow each other to breathe, to celebrate our differences, and act as an ode to communities and the individuals that forge them. Because without our community, we’d be nothing.”

Read Joe’s full statement on the album’s inspiration and origins here

Watch the video for album opener 'Colossus' 

This autumn, IDLES will embark on their first ever global tour, including their biggest London headliner yet at O2 Forum Kentish Town on 18th October. Their last London headliner, at Heaven, sold out nearly six months in front. Tickets are on sale now here

Watch the video for anthemic single 'Danny Nedelko'

"IDLES might just be the best live guitar band in Europe." - The Quietus

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