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Big Scary Monsters new compilation out now

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Album release: 'Let's Just Do It And Be Legends' by Big Scary Monsters
More info: Label website

Today, Big Scary Monsters announce and celebrate their 250th release with their new compilation 'Let's Just Do It And Be Legends'.

Featuring new album tracks from American Football, Martha, Delta Sleep, Pedro The Lion and more, alongside vinyl exclusives from Cursive, Kevin Devine, We Were Promised Jetpacks and Jamie Lenman, the 12" picture disc is available now, for whatever price you'd like to pay. There's no minimum.

Commemorating years of critically acclaimed releases, the exclusive tracks on the record include Kevin Devine's 'Outstretched & Never Ending', which is taken from his digital only split with Worriers earlier this year; Jamie Lenman's cover of 'Good Riddance' by Green Day, which was on a Kerrang covermount several years ago; A new exclusive taken from We Were Promised Jetpack's recent album recording sessions, and an outtake from Cursive's new 'Vitriola', which was previously only available via a flexi disc which came free with New Noise magazine in the US. Additionally, the Martha and American Football tracks are both new singles, which are included in the compilation ahead of their respective album's that will come out in March.

Speaking about the release, Kevin Douch (label founder) says, "We think our roster is the best in the world and, as such, it deserves shouting about, SO WE MADE A LOVELY COMPILATION FOR YOU ALL.

We're immensely proud of the extremely talented artists' we're lucky enough to work with and only wish we could've squeezed more of them onto this record. It's release marks the beginning of a very busy period for BSM, with loads of brilliant new releases, showcases at SXSW, The Great Escape and Truck festivals, in addition to the return of our own multi-venue East London event, Big Day Out, on 28th September. Running a record label is never straight-forward and nor should it be (the fact that this release's catalogue number is accidentally BSM250 says it all) but we absolutely love what we do and hope this pay what you want LP helps introduce lots of people to their new favourite band."

'Let's Just Do This And Be Legends' is available, alongside hundreds of other records and merch items, via the labels new website.

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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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Charly Bliss new album out 10 May 2019

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Album release: ‘Young Enough’ by Charly Bliss
Release date: 10 May 2019
Label: Lucky Number
More info: Band website

Today, NYC's Charly Bliss return by signing to Lucky Number (Sunflower Bean, Dream Wife, Hinds, Sleigh Bells and more) for the World excl America and announcing their highly anticipated new album, ‘Young Enough’, with a video for its lead single ‘Capacity’. Watch here.

‘Young Enough’ is available for pre-order now and due out May 10th via Lucky Number.

Charly Bliss' Eva Hendricks says "'Capacity' is a song about wanting to kill your inner people-pleaser, and Michelle beautifully presented a parallel concept, which warns of the perils of getting swept up in other people's bullshit.”

Video director Michelle Zauner of Japanese Breakfast, says: "Charly Bliss has always made great narrative music videos, so I wanted to stay in line with that tradition and take advantage of working with a band that are all such great, funny actors individually. I was watching a lot of heist movies at the time, and I thought a sort of post-heist fall out between friends was the perfect setting for this song about reaching your limit with someone. Eva had an amazing mood board she brought to the table with references to Paris, Texas, Five Easy Pieces and Badlands so it was important for us to showcase a warm, 70's colour palette."

Additionally, Charly Bliss have announced European tour dates for May, as well as a return to SXSW. All dates here.

About Charly Bliss by Lizzy Goodman

"I don't know why it's easiest for me to frame the darkest lyrics in the context of upbeat songs," says Charly Bliss' Eva Hendricks. "It's completely instinctual and not something I ever plan out. It sort of mirrors how I am, and maybe it's a way of protecting myself. In my opinion, the two best emotional releases are crying and dancing, so it makes sense to me to marry the two."

That combination is the core of Charly Bliss who, on this record, embraced both sides of that equation more than ever before. Challenging each other to be exposed, to be seen for who they really are as people, and then to double down on the sound that emerged from that process is the story of the band's evolution from the scrappy upstarts who made 2017's brash punk LP Guppy, to the confident, assured artists behind the comparatively dynamic, unapologetically pop Young Enough. "We definitely go to different places on this one," says bassist Dan Shure. "But it still sounds like us. It's still fun." As they started writing, they tapped into their mutual love of pop music. "You know, bangers? Songs that just stick with you for a really long time," Dan says. In particular, the expansive but gritty title track and the synth-driven, emotive song "Chatroom" served as key points of reference for the overall direction of the album.

For Eva, the path to these moments of exaltation was fraught. Many of the singer's Young Enough lyrics were inspired by a past abusive relationship, one that had Eva - as such relationships are designed to do - doubting herself on many levels. Songwriting, which "wasn't something that I grew up thinking I could do," as she puts it, became a new source of respite, and, eventually, of redemption. "You go through experiences of loss or extreme pain and you just keep moving," Eva says. "You look around and wonder, how has the world not stopped? But it's also powerful. I'm still here, I'm not a person who is ruled by pain, I still like who I am." If the singer had any lingering doubts about her craft, they're gone now. "For a long time I understood my ability to write songs as like, OMG another one just fell from the sky, what luck - another one will never come again!" Eva says. "Now I know, I'm meant to be doing this. And I accept and honor that."

Exposing oneself emotionally, even to close friends and creative collaborators, is never easy -- especially when one of those people is your brother. Growing up in Connecticut, it was their parents' "wildest dream," as Eva puts it, that she and Sam, the band's drummer, would wind up playing in a band together, so of course they avoided it for as long as possible. The Charly Bliss origin story begins instead at performing arts summer camp, where guitarist Spencer Fox first met Dan. Eva and Dan also knew each other through musical theater; they did shows together as pre-teens. "We are super hardcore," jokes Spencer.

It was Spencer who first saw in Eva the possessed energy the bands' fans are so drawn to, this tornado of joy and rage and celebratory sorrow spinning out to mesmerizing effect on stage night after night. "It was just there," he says. "It was obvious." He eventually asked Eva out of the blue if she'd been writing songs, which shocked her a little; dudes didn't usually care. "I would always ask the guys at my high school who played music if we could start a band or write or do something together, but they pretty much ignored me," she remembers. "But Spencer totally encouraged me." Before long, the pair was writing together, and they called on Eva's big brother to join on drums. "It was kind of like, oh why didn't we do this a long time ago," Sam says.

By 2014 Charly Bliss was a fully formed band, living in New York, working the standard barista/bartender circuit by day, rehearsing by night. They recorded and released their debut EP, Soft Serve, and played lots and lots (and lots) of shows. There was a purity to those years. "I loved it," remembers Eva. "I really loved working in a coffee shop. I'd write songs while I was putting away milk." After they released Guppy through Barsuk Records in 2017, time spent out on the road increased, as did the Charly Bliss fanbase. But the essence of the band's sound, two and a half minute torrents of blissfully tight chaos that blew the roof off the place, (not to mention the band members' lifestyles) didn't change much.

When it came time to record a follow up, that's when things shifted. They all quit their jobs to focus full time on music and challenged each other to write as many songs as possible. Sam and Eva collaborated more closely than ever and found a prolific songwriting rhythm. After penning 20+ songs, they solicited the input of producer Joe Chiccarelli (the Shins, the White Stripes), who won their hearts immediately. "He just got us," says Eva. For Chiccarelli, the "infectiousness" he was initially drawn to when he heard the band play live in early 2017, was more apparent than ever. "There is a high level of energy in the vocal delivery, there is a sophistication and musicality in the guitar parts, the rhythm section just works, the parts are simple but they come alive," he says. "It's all the elements that make a great band."

The first five or six songs they wrote, felt good but a little too familiar, like Guppy 2.0. Then things started to open up. "Chatroom" and "Young Enough" were linchpins, as was the soaring, mini epic, "Fighting In the Dark." The delicate synth confessional "Hurt Me" also felt, as Eva puts it, "like something we hadn't explored yet." The entire record sounds like a newly explored realm, from the deceptively easeful confessional "Capacity" to the propulsive, more classic pop of "Hard To Believe." In the end, Young Enough feels joyful and celebratory, but also infused with a new sense of depth and maturity. "I want people to feel strong when they listen to this record," says Eva. "Like you're working through some shit but you feel really strong and beautiful, even if you're in a lot of pain. That's what I want people to feel. The opposite of broken."

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DADDY LONG LEGS new album out 10 May 2019

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Album release: ‘Lowdown Ways’ by DADDY LONG LEGS
Release date: 10 May 2019
Label: Yep Roc Records
More info: Band website

Brooklyn, NY-based trio DADDY LONG LEGS - Brian Hurd (vocals, harmonica, guitar), Murat Akturk (slide guitar), Josh Styles (drums, maraca) will make their Yep Roc Records debut May 10 with ‘Lowdown Ways’, their third studio album.

Produced by Jimmy Sutton and engineered by Alex Hall (JD McPherson, Pokey LaFarge, Jake La Botz) at Hi-Style Studios in Chicago, the album features 12 original compositions with songwriting contributions from JD McPherson and Sutton. A new direction from their first two studio albums (released by Norton Records), ‘Lowdown Ways’ sees the boys widen their sonic horizons with field hollers, gospel, Cajun, and Mississippi Hill Music, coupled with their renowned supercharged, harp-driven R&B bangers.

The first single, ‘Mornin’ Noon & Nite,’ premiered at WFMU. The track is now available at all streaming services.

Frontman Brian Hurd describes ‘Mornin’ Noon & Nite’ as “a Hoodoo Stomper in the vein of John Lee Hooker and is about one’s pure, savage lust for his or her lover.”

When asked by Village Voice “What is DADDY LONG LEGS?,” Hurd answered, “Rock and roll salvation through the spirit of roots and blues.” While influenced by the likes of Son House, Captain Beefheart, Howlin’ Wolf, MC5, and Dr. Feelgood, their sound personifies garage rock and punk with a contemporary raw twist performed in their own brand of supercharged R&B.

Since forming in 2010, the band has released two studio albums, a live album and two 45s on Norton Records. Their last album was 2015’s ‘DADDY LONG LEGS Rides Tonight’. The band has toured with Jon Spencer, Hurray For The Riff Raff, The Sonics, Nikki Lane, Nick Waterhouse, amongst others.

‘Lowdown Ways’ is now available for pre-order. The vinyl LP arrives on limited edition opaque white vinyl.

“…like Chicago blues fired at the moon, played by the demented children of the Pretty Things.” – Rolling Stone

“DADDY LONG LEGS takes the blues and turns them inside out, upside down, round about and renews their primal energy. My favorite rompin’ stompin’ New York band of the moment.” – Lenny Kaye

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Craig Finn new album out 26 April 2019

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Album release: ‘I Need A New War’ by Craig Finn
Release date: 26 April 2019
Label: Partisan Records
More info: Website

Partisan Records announces the release of Craig Finn’s eagerly awaited new album, ‘I Need A New War’ arriving Friday, April 26.

The third album in a trilogy (following 2015’s Faith in the Future and 2017’s We All Want The Same Things), I Need A New War once again sees Finn expertly chronicling our complex, often confusing, modern era, drawing deeply felt character studies about regular people trying to respond to extraordinary times, attempting to find connection whilst wondering how to keep pace with a world moving faster than they are. The LP further finds Finn focusing his lens on New York City – his home for the last 18 years.

“Going in, I saw this record as the third part of a trilogy,” says Finn. “Thematically, this was the third group of songs that I had written about smaller moments - people trying to stay afloat in modern times, attempting to find connection, achieving tiny triumphs and frustrating let downs in their day to day lives.”

‘I Need A New War’, Finn’s fourth solo LP, was recorded throughout 2018 at The Isokon in Woodstock, NY with producer Josh Kaufman and engineer D. James Goodwin, both of whom teamed with Finn on his widely acclaimed previous solo releases. In addition, the album features musical contributions from many of his regular solo collaborators, including Kaufman, horn master Stuart Bogie (Antibalas), pianist Sam Kassirer,vocalists Annie Nero and Cassandra Jenkins, and drummer extraordinaire Joe Russo.

“Perhaps forward motion is everything,” says Finn. “The characters in the songs on this record, and the last two, are trying to keep up and keep their heads above water. They succeed or they don’t, but their stories are the tales of their attempts at pushing ahead. And so, with my own push forward, I feel lucky and excited to be sharing these songs and stories.”

The first song from the new record premiered on NPR today and is available now on all DSPs. “Blankets is a song about someone who has never gotten over a past love, and goes searching for her. But time is running out,” says Finn. Listen to Blankets here.

Beginning today, fans can pre-order I Need A New War in physical and digital formats here. All orders through Finn's D2C store include a bonus digital EP featuring five b-sides from the album. Other items exclusive to the store include: a one of a kind, signed hardcover lyric book (featuring lyrics to all songs from FITF, WAWTST, INANW and photos by Dan Monick), signed vinyl, an enamel pin set, and more.

Perhaps best known as the singer of The Hold Steady, Craig Finn is a Minnesota-bred singer-songwriter and guitarist based in New York City. With his highly descriptive lyrical style and a defining focus on narrative, Finn has crafted whole worlds for the people in his songs to exist within. After five critically acclaimed albums with The Hold Steady, 2012 saw Finn release his first solo album, ‘Clear Heart Full Eyes’ prompting The AV Club to write, “As a solo artist, Finn has created a new world of characters and songs...working in new sonic territory while still sounding like the same old storyteller obsessed with falls from grace and calls for redemption.”

Largely written in the wake of his mother’s death, Faith in the Future earned four stars from Rolling Stone and ultimately, a top 10 spot on American Songwriter’s “Top 50 Albums of 2015.” “It’s time to pay attention to Craig Finn, who made his mark as the frontman with the Hold Steady — an infectious, Replacements-style rock act from New York — but really steps up on his own,” wrote the Boston Globe “Finn’s second solo album is packed with songs rich in street intelligence and wry humour.”

Finn’s remarkable third solo album, We All Want The Same Things, proved one of the most acclaimed releases of 2017 with inclusion on a wide range of high-profile year-end lists. ‘God In Chicago’, the extraordinary centerpiece track that gives the album its name, was ranked #1 by American Songwriter on its “Top 25 Songs of 2017,” noting, “We expect strong characters and compelling stories from Craig Finn, whether he’s recording solo or with The Hold Steady. We even expect beautiful details and excellent location scouting. But we didn’t expect a song as powerful, as specific, as lived in, as beautiful, as insightful, as risky as ‘God in Chicago’.” The Guardian, In a four-starred rave, hailed We All Want The Same Things as “a deeply personal work from a master storyteller,” while Paste simply declared the LP “[Finn’s] most self-assured album...The subtler sense of musical adventurism he has come to embrace on his own work, make these songs essential.” Finn celebrated ‘We All Want The Same Things’ by touring extensively throughout 2017. Highlights included an acclaimed headlining trek backed by his live band, The Uptown Controllers, as well as solo living room tours of the U.S. and the U.K.

Finn will support I Need A New War with a North American and European live schedule. He tours the UK in support of Brian Fallon on the dates here.

"There's a sensation of instability, but also a spirit of inevitability, and as with so much of what Finn weaves, there's grace through it all." - NPR

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Crows debut album out 22 March 2019

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Album release: ‘Silver Tongues’ by Crows
Release date: 22 March 2019
Label: Balley Records
More info: Band Facebook

London's Crows were today announced as the latest signing to Balley Records (IDLES, Heavy Lungs, Lice) and will deliver their long-awaited debut album ‘Silver Tongues’ on March 22nd (pre-order 12" here). The album's thrilling first single ‘Chain Of Being’, this week's Lamacq's Livener on 6 Music, is a real statement: a widescreen slice of post-punk that combines heaviness and brooding melody in equal measures.

Stream ‘Chain Of Being’ here | Spotify.

Pre-order album here.

Joe Talbot said the following of his decision to sign Crows to his Balley Records label:

"I saw them play at the Louisiana in Bristol a few years ago and both the performance and the quality of their songs blew me away. Everything about them excites me; so when I heard they were looking to release an album, I had no choice but to chase them. It's a dream to work with them.”

Crows formed in 2015 and have since built a considerable following for the intensity of their live shows which have seen the band members break bones as well as instruments. Supporting the likes of Girl Band and Wolf Alice in the past, the band will take their deafening live show on the road in support of IDLES for their sell out April tour.

With a string of successful singles and EPs under their belt, ‘Silver Tongues’ has been a long while coming. Recorded in near total darkness to build a sense of atmosphere, the album fulfills both their early potential and confidently showcases a band comfortable across a variety of sonic avenues. From the monolithic noise-rock of the title track and opener, to the sky-scraping ‘Demeanour’ and ‘Wednesday's Child’ to the blissed-out closer ‘Dysphoria’, each listen reveals new layers, fresh ideas.

‘Silver Tongues’ is a huge step forward for the band, not only musically, but emotionally. A touring band who have been through so much already, this album rightly took time: now, both Crows and the listener can reap the rewards for their patience.

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LAGS new album out 29 March 2019

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Album release: 'SOON' by LAGS
Release date: 29 March 2019
Label: Casu Marzu Records (UK/US)
More info: Band website

Today, Italian post-hardcore band LAGS have announced their return with their new single 'Knives and Wounds'. The track was premiered via Consequence of Sound, who called it "an anthemic track with a sound reminiscent of bands like Hot Water Music, BoySetsFire, and Sparta, as singer Antonio Canestri delivers the lyrics with a powerful rasp."

Hear/share new single 'Knives and Wounds' here.

Speaking about the 'Knives and Wounds', frontman Antonio Canestri says, "‘Knives and wounds’ is the opening track of our new album and is the first song we wrote for the new album. It’s a song written in collaboration with our former singer (Luca de Santis aka SUVARI) and addresses two very important themes in the record: a disease and the search for a cure; the difficulty of being sabotaged by our own body, the failure in breaking down the "walls" in our mind, that most of the time we build as a form of self-defense from others and also from ourselves. The video is based on the concepts expressed in the lyrics and it was written by the director Stefano Pedretti: “I am my own fears, that’s what I’ve become.”"

The new track is taken from their forthcoming sophomore album 'SOON', which is due out 29th March 2019 via the newly-formed UK/US Casu Marzu Records, as well as the lauded Italian label's To Lose La Track (Crash of Rhinos, Delta Sleep, Tiger! Shit! Tiger! Tiger!, DAGS etc.) and Fuzzy Cluster Records.

The new album is available to pre-order here.

More than three years have passed since Rome’s post-hardcore quartet LAGS released their debut album ‘Pilot’; a cult favourite across the Italian scene, but a well-kept secret to most. Since releasing their debut on Italian label To Lose La Track (home to likes of: Crash Of Rhinos, Delta Sleep, Tiger! Shit! Tiger! Tiger!), LAGS have played over 80 shows throughout the peninsula with the likes of Beach Slang, Delta Sleep, Screeching Weasel and Raein, as well as performing at a number of national and international festivals, winning over new fans with each set. Now, March 2019 will finally see the release of their highly anticipated follow up album ‘SOON’.

Punchier and more proactive, the new album distils the sound of 2015’s ‘Pilot’ LP, coupled with a production that is consciously raw and provocative. ‘SOON’ is the sound of LAGS at their intoxicating best, mirroring the restless energy of their live shows alongside moments of measured temperance that balances the whole thing on a razors-edge.

Architects of intense contrast the band’s powerful instrumentation regularly flirts with the fragility and weight of the emotionally driven lyrics, flitting between huge anthem-to-be, shout along vocals, intricate guitars and decisive drum work. From the immediate and incendiary opener ‘Knives and Wounds’, to the hook heavy vocals of ‘Echoes’, right through to the emotive and climactic LP closer ‘I Still Remember’, the new record places its focus squarely on power, melody and understated complexity. With a nod towards classic Dischord, 90s post-hardcore and anthemic 00s indie-punk, whilst calling to mind the likes of ‘After The Eulogy’-era BoySetsFire, At The Drive-In, DeSoto, METZ and Self Defense Family, it's safe to say that long-time fans, and fans anew, will not be disappointed.

Thematically, the new album is about arrivals and departures, losses and conquests, and illnesses and healings. Full of deeply honest lyrics ‘SOON’ is a cathartic and self-realising record with moments of surprising uplift. Speaking about the record, frontman Antonio Canestri says, “Soon is a word inextricably linked to the present. It suggests immediacy, but also anticipation and uncertainty about arriving safe and sound to some place that can be either extremely beautiful or extremely painful.”

Incredibly sentimental and sonically accomplished, the new album sees LAGS hone familiar expressions from their debut into refined, darker aesthetics that give their direct sound renewed vigour. ‘SOON’ is a brazen statement of intent and a chance to prove their true prowess having spent the last few years writing and touring. LAGS are climbing steadly, gunning for soft spots and proving that they should be anything but a well-kept secret.

‘SOON’ will be released on ltd. edition cassette as well as vinyl, CD and across all digital platforms. Following the album’s release, the band will head back out on the road playing dates across Italy as well as heading overseas to play their first UK dates.

“Post-hardcore gets a fresh breath of life” – Stereogum

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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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Active Bird Community tour dates January 2019

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Tour announcement: Active Bird Community
Tour dates: January 2019
Label: Barsuk Records
More info: Band website

Following the release of their new album 'Amends', Active Bird Community have announced a short run of UK tour dates with Slothrust for January 2019.

The band will be playing the following dates:

22nd Jan - Stereo - Glasgow

23rd Jan - The Deaf Institute, Manchester

24th Jan - Boston Music Room, London

25th Jan - The Hope & Ruin, Brighton

26th Jan - The Sunflower Lounge, Birmingham

Recently signed to Barsuk (Death Cab For Cutie, Charly Bliss, Rilo Kiley and more), the band -- who have been playing together since middle school -- have previously toured with the likes of Cymbals Eat Guitars, We Were Promised Jetpacks and more, and have already seen significant support from the likes of Billboard, Stereogum, Consequence of Sound, Audiotree and more for their distinct brand of indie-rock. There’s lyrical depth to their output and their music is brutally honest, but not without being completely infectious.

Hear recent singles here:

'Unwind With Me'

'Baby It's You'

'Sweaty Lake'

“In the simplest of terms, Amends is a record about forgiveness,” says Tom D’Agustino, one of the singers and primary songwriters of the Brooklyn-based band Active Bird Community. “Forgiving your parents for splitting up, forgiving your friends for not always understanding you, learning to forgive yourself.” The band’s forthcoming album, Amends, dwells in the intricacies of relationships — broken bonds between friends, family, and lovers — and hoping to heal.

In Hastings-on-Hudson, a small town just north of New York City, the band’s founding members — D’Agustino, co-songwriter/lead guitarist Andrew Wolfson, and bassist Zach Slater — were three teenagers without direction. Long summers were spent learning how to write and perform songs, and how to communicate complex emotions, which at such a young age brought the friends closer and closer together. “I think starting the band was almost a symbol of our friendship,” says D’Agustino. “I think we wanted to build something together.” Active Bird Community became an exciting new world for them to explore, a home to run away to whenever life got too confusing, too difficult to navigate. They didn’t expect the band to last through high school, so when it did, they had to choose: separate and head off to different colleges, or stay together and see where the band could go. They chose both, and with the addition of Quinn McGovern on drums, Active Bird Community’s lineup was finalised.

In the years since, as its members made their way through young adulthood and graduated college, the band has self-released three albums: the scrappy, lo-fi Magnum Opus, the tender garage-rock assemblage I’ve Been Going Swimming (2015), and their most recent release, the anthemic Stick Around (2017). They’ve cultivated a dynamic live show that’s fortified by a collective chemistry only possible from years of friendship. Active Bird Community is finely-tuned and musically tight — their earnestness and kinetic enthusiasm is wholly contagious, and still evident despite their advanced age of…24. And now, they’ve returned with Amends — their Barsuk Records debut and perhaps their most deeply felt album to date.

Amends is a contemplation on loss and forgiveness that volleys between the perspectives of D’Agustino and Wolfson. “We’ve both written for the records before,” Wolfson says. “But on Stick Around it felt like Tom’s voice was the protagonist and mine was the narrator.” D’Agustino’s anxious search for maturity was countered by Wolfson’s hesitation to stop and absorb the world around them. A similar step-ball-change of action and commentary drives Amends forward, only this time specific memories are unpacked, and the past is explored and confronted rather than avoided.

Take the title track — a driving, bittersweet song that feels sonically indebted to bands like Built to Spill, and fraught with the tension of family, loss, and learning to move on without resentment. Later there’s “Unwind With Me,” a breakup song that feels like it’s as much of a condemnation of the singer as a lamentation for failed love. “I’m unraveling everything, I need it slower than before, I need to call somebody more,” D’Agustino sings, refusing to skirt around his own culpability. There’s the McGovern-penned track “Downstairs,” a song about formless anxiety that begins delicately then gradually swells into a wall of guitar. “Silver Screen,” meanwhile, is a glowing vision of life ascending, how Wolfson imagines the future could be.

And lastly there’s “Lighthouse.” The track caps the record with a final story about D’Agustino’s mother, about familial turmoil, misunderstanding, and eventual absolution — of both oneself and others. “When I was in high school, my mom became obsessed with painting lighthouses. She’d paint them on everything, buy little lighthouse magnets or keychains, there were lighthouses everywhere. I think they gave her safety, some moments of stability in her chaotic life. There were times when my mom would be struck with this mania that would inspire and awe me, while also terrify me,” he says. “Sitting at the table with what felt like a makeshift family was too much to handle, so I checked out. Convinced myself that there was nothing wrong with me, the pain that my mother felt that drove her to incessantly make lighthouses wasn’t my pain. Enough time passes and I realize that pain isn’t crazy, it isn’t the end of the world. I’m old enough now to poke holes in how I was as a teenager, point out some faulty logic, but young enough still to remember where that logic came from, why it had to be formulated at all.”

Amends represents Active Bird Community’s efforts to contend honestly with the pain of their experiences and explore the empowering nature of forgiveness. “If you can’t forgive yourself, that robs you of your responsibility to be a force for good outside of your own immediate universe. When you take the step from blaming and wallowing, there is an opening for you to become a fuller person,” D’Agustino says. “In saying ‘it’s ok’ to your life, there’s so much power there. You can blame other people for how you feel or the choices you make, or you can take some responsibility for your feelings and your actions and try to make a change, and that first step is making amends.”

"Active Bird Community have got the swagger and the daring, but also the intense vulnerability that permeates your life when you’re young and trying to find out exactly where you fit in the world." - The Line Of Best Fit

"The Brooklyn four-piece may sound laid back, but they don’t shy away from really digging into their own vulnerabilities, fears, and frustrations and fleshing these out in their songs" - Stereogum

"a winning missive; smart and accessible, dazzling in its brightest moments and suitably sullen when the light fades. These birds are ones to watch…" - Upset

"one minute The Crocketts’ chaotic delivery, the next Fountains of Wayne’s measured rock with the poppier bits of Jimmy Eat World." - Loud & Quiet

"...a scrappy punk slugfest rife with immediate post-college struggles." - Billboard

“Off piste and defiantly surreal” before going on to say, “it somehow hangs together remarkably well, like a smash hit from an alternative dimension.” - CLASH

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Mozes and the Firstborn new album out 25 January 2019

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Album release: 'Dadcore' by Mozes and the Firstborn
Release date: 25 January 2019
Label: Burger Records
More info: Band website

Following the worldwide release of their third full-length album 'Dadcore' on Jan 25th via Burger Records, Mozes and the Firstborn will bring their potent mix of grunge and powerpop to the UK for an exclusive show at Shacklewell Arms, London on March the 12th. Full dates for their newly announced EU tour can be found below, Mozes and The Firstborn’s European Tour kicks off after their US dates with "Madrid's finest" The Parrots in February 2019.

Mozes and the Firstborn European tour dates and tickets

California's Burger Records were the first to jump onto the addictive, raw energy of Mozes and the Firstborn, releasing their debut album in 2014. Since then the band have had praise from the likes of Pitchfork, NPR Music, Noisey, released various singles on Universal B.V. and played countless SXSW shows, winning fans across the world.

Listen to latest singles 'Hello' and 'If I'.

Pre-order the new album here.

Ask an average 15 year old kid nowadays what rock music means to him and they'll probably say: "That's something my dad listens to". With 'Dadcore', Mozes and the Firstborn embrace this sentiment by exploring their favorite styles within the paternal genre. The band present the record as a mix-tape, a colourful collection of eclectic songs that they've hand chosen and want you to fall in love with and pick out your favourites, like any other mix-tape. The production of each song was approached differently to highlight the wide influences on the album. Melle Dieleson explains the love behind their music:

"Dadcore is a love letter to rock music. It's an ode to being in a band. After eight years we still sometimes play shows where only twelve people show up, there's no backstage and the fee is a case of beer and a place to crash. Nonetheless, there's four people up on that stage rocking out as hard as they can. That's Dadcore to me."

Dadcore was produced by drummer Raven Aartsen with Chris Coady (Beach House, Yuck, together PANGEA) on board as co-producer. On this third record the band has worked with different mixing engineers including Chris Coady, Rob Barbato (Kevin Morby, The Babies, The Fall), Roland Cosio (together PANGEA, Fuzz, Peach Kelli Pop) and Andrew Schubert & Eric Carlson (together PANGEA, Mean Jeans, Wand).

"...like something that might waft out of a California garage in the 1960s...sunny, crunchy, extremely catchy." - NPR Music

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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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The Rocket new single out now

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Single release: ‘Lost At Sea’ by The Rocket
Release date: Out now
More info: Band Facebook

  • Watch the video for ‘Lost At Sea’ here.

Belgian pop-punk outfit The Rocket are sharing the video for their latest single ‘Lost At Sea’, taken from their forthcoming album ‘Another Reason Not To Fear The Sky’, which is due out 30th November. The follow-up to recent single Focus, can now be watched here.

Speaking about the single, the band said;

"Lost at Sea might be one of the most personal songs our singer Tom has ever written. Although he’s this great charismatic dude who fills every room with joy, he’s not always great with expressing his feelings and thoughts. When he does so in lyrics like these, it’s always so poignant. He went through a bad breakup when we were writing the album, and Lost at Sea is about coming to terms with his own feelings.

We’re really proud of the clip we did for this one too; we fully directed and edited it ourselves, which was a painstaking process with lots of post-production and effects. For not being a high budget production, we really feel like we were able to stay true to our original concept and idea and the images just complete the song so well. The video shows a kid astronaut getting stuck on a planet without people, which to us seemed like a great metaphor for the loneliness depicted by the lyrics."

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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Deer Tick new album out 1 February 2019

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Album release: ‘Mayonnaise’ by Deer Tick
Release date: 1 February 2019
Label: Partisan
More info: Band website

On Feb 1st Deer Tick will release a new compilation album entitled ‘Mayonnaise’ – a 13-song companion piece to last year's full-length albums 'Deer Tick Vol. 1' and 'Deer Tick Vol. 2.' Listen to two tracks from ‘Mayonnaise’ now - a cover of George Harrison’s ‘Run Of The Mill’ as well as brand new track ‘Hey! Yeah!’, which is accompanied by a Scorpion Dagger animated visualizer.

  • Check out ‘Hey! Yeah!’ here.

  • Listen to ‘Run Of The Mill’ here.

The band explains: “On ‘Mayonnaise,’ you’ll find alternate versions of songs from ‘Vol. 1’ & ‘Vol. 2’ that we feel have their own merit and wanted to share. We also decided to record some of the cover songs that ‘Vol. 1’ & ‘Vol. 2’ inspired us to play on our Twice Is Nice Tour. We had such a good time playing these covers live that it felt appropriate to document them here. And, lastly, if we are going into the studio, why not write a few new songs, record them, and give the fans something new to round everything out? So, here you go, this is ‘Mayonnaise.’”

'Deer Tick Vol. 1' and 'Deer Tick Vol. 2' were the band’s first new material since 2013’s ‘Negativity’ and were recorded at the legendary Ardent Studios in Memphis, TN. The albums earned raves everywhere from Vice Noisey, Consequence of Sound, Mojo, Uncut, Uproxx, as well as a performance on CBS This Morning. The band will be on tour in the UK / Ireland this November, with more dates to be announced soon.

Praise for 'Deer Tick Vol. 1' and 'Deer Tick Vol. 2’

"...with Vol. 1 and Vol. 2, McCauley solidifies his status as a modern-day barstool poet...throughout both albums, the band varies its rhythms and arrangements with surprising agility." – Pitchfork

“Vol.1 is raw, introspective and rootsy… Vol.2 is its noisy yang” – Mojo

“Vol 1 is reflective and rootsy… Vol 2 is high-class punk thrash” – Uncut

"...'Deer Tick Vol. 1' and 'Vol. 2' find the Rhode Island roots rockers back and better than ever...Deer Tick's most optimistic effort yet, a masterclass in newfound maturity not losing what made the band so likeable in the first place." – Noisey

"If the motive behind putting out two albums with contrasting volumes was intended as a demonstration of ambition and range, well, mission accomplished" - NPR Fresh Air

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The Joy Formidable on tour February 2019

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Tour announcement: The Joy Formidable
Tour dates: February 2019
More info: Band website

The Joy Formidable’s new album ‘AAARTH’ has keenly shone the spotlight back onto the Welsh alt-rock trio. An album packed with inventive and emotive rallying cries, born from a place of renewed vision, ‘AAARTH’ has become their most experimental work to date, and among their most heralded.

As their live outings in support of the new album got underway in the summer – with main stage appearances at Reading & Leeds Festival, a sold-out show at The Lexington, followed by extensive touring in support of Foo Fighters through the US and Canada – their latest material has been connecting with fans old and new, and is turning into a defining record in the band’s already storied career. Three huge singles - ‘Dance of The Lotu’, ‘The Wrong Side’, and ‘The Better Me’ – have picked up airplay across BBC Radio 1 and BBC 6 Music too. Watch the video for latest single ‘The Better Me’ here.

Never ones to sit still for long, the band are already plotting an extended return to UK venues and have confirmed their first full UK tour of the album through Feb 2019. Tickets will be on sale on Weds 24th Oct from 10am at the band’s website here. They will bring their magnetic live show to the following cities.

Listen to new album ‘AAARTH’ here.

Praise for new album AAARTH

The Welsh rockers build their towering songs on wobblier foundations for the sheer thrill of trying to make them topple. - Pitchfork

All Beck groove, Beatles psych, volcano solos and guitar hooks that sound like Elon Musk trying to catapult himself to Mars. – The Guardian

Tightly-wound rock riffs and pummelling drums. A great leap forward. - Q

An album of compositional daring and fierce experimentation. – DIY

It’s an album that sees them back on solid footing, re-energised and ready to take on the world again. – Upset

Joyfully experimental and refreshing. – Total Guitar

A biting, visceral return. - CLASH

Riffs as high as a Welsh mountain. – Louder Than War

The trio have found their form again (4/5) - Dork

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The Hold Steady concerts 8 - 10 March 2019

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Tour announcement: The Hold Steady
Tour dates: March 2019
More info: Band website

After three sold-out shows in London earlier in the year, The Hold Steady has announced plans to return next year for a very special three-day concert event. THE WEEKENDER will see the NYC-based band taking the stage at London’s Electric Ballroom on Friday, March 8 and Saturday, March 9, followed by a limited capacity third show at Oslo, in Hackney, London on Sunday, March 10. In addition, an exclusive screening of The Hold Steady’s acclaimed 2009 documentary, A Positive Rage, will be held the afternoon of Sunday, March 10 at the Picturehouse cinema in Hackney. Tickets for THE WEEKENDER – which marks The Hold Steady’s only scheduled UK live dates for 2019 – are on sale now here.

The Hold Steady have also just unveiled plans to join Frank Turner at his upcoming LOST EVENINGS III festival, serving as special guest at Boston, MA’s House of Blues on Friday, May 17. Tickets for LOST EVENINGS III are available here.

“The UK has always been so great to The Hold Steady,” says Finn. “We’re excited to be returning for another weekend in 2019. As for Frank, he’s has always been a vocal fan of ours. It’s an honor to be asked to play his festival. Looking forward to being a part of the energy in Boston!”

That same weekend will also see The Hold Steady hitting the tri-state area for a pair of additional live dates, set for Jersey City, NJ’s White Eagle Hall on Thursday, May 16 and Hamden, CT’s Space Ballroom on Saturday, May 18. Tickets for these shows will go on sale November 2. For complete details and ticket information, please see here.

Last, but certainly not least, The Hold Steady is currently getting ready for the third annual MASSIVE NIGHTS celebration, set for Brooklyn, NY’s Brooklyn Bowl on November 28 through December 1. Friday, November 30 and Saturday, December 1 are already sold out; limited tickets for Wednesday, November 28 and Thursday, November 29 remain and are available now here.

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Deer Tick new album out 1 February 2019

deer tick.jpg

Album release: ‘Mayonnaise’ by Deer Tick
Release date: 1 February 2019
Label: Partisan
More info: Band website

On Feb 1st Deer Tick will release a new compilation album entitled ‘Mayonnaise’ – a 13-song companion piece to last year's full-length albums 'Deer Tick Vol. 1' and 'Deer Tick Vol. 2.' Listen to two tracks from ‘Mayonnaise’ now - a cover of George Harrison’s ‘Run Of The Mill’ as well as brand new track ‘Hey! Yeah!’, which is accompanied by a Scorpion Dagger animated visualizer.

  • Check out new track ‘Hey! Yeah!’ here.

  • Listen to ‘Run Of The Mill’ here.

The band explains: “On ‘Mayonnaise,’ you’ll find alternate versions of songs from ‘Vol. 1’ & ‘Vol. 2’ that we feel have their own merit and wanted to share. We also decided to record some of the cover songs that ‘Vol. 1’ & ‘Vol. 2’ inspired us to play on our Twice Is Nice Tour. We had such a good time playing these covers live that it felt appropriate to document them here. And, lastly, if we are going into the studio, why not write a few new songs, record them, and give the fans something new to round everything out? So, here you go, this is ‘Mayonnaise.’”

'Deer Tick Vol. 1' and 'Deer Tick Vol. 2' were the band’s first new material since 2013’s ‘Negativity’ and were recorded at the legendary Ardent Studios in Memphis, TN. The albums earned raves everywhere from Vice Noisey, Consequence of Sound, Mojo, Uncut, Uproxx, as well as a performance on CBS This Morning. The band will be on tour in the UK / Ireland this November. More dates to be announced soon.

Praise for 'Deer Tick Vol. 1' and 'Deer Tick Vol. 2’

"...with Vol. 1 and Vol. 2, McCauley solidifies his status as a modern-day barstool poet...throughout both albums, the band varies its rhythms and arrangements with surprising agility." – Pitchfork

“Vol.1 is raw, introspective and rootsy… Vol.2 is its noisy yang” – Mojo

“Vol 1 is reflective and rootsy… Vol 2 is high-class punk thrash” – Uncut

"...'Deer Tick Vol. 1' and 'Vol. 2' find the Rhode Island roots rockers back and better than ever...Deer Tick's most optimistic effort yet, a masterclass in newfound maturity not losing what made the band so likeable in the first place." – Noisey

"If the motive behind putting out two albums with contrasting volumes was intended as a demonstration of ambition and range, well, mission accomplished" - NPR Fresh Air

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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Death By Unga Bunga on tour October 2018

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Tour announcement: Death By Unga Bunga
Tour dates: October 2018
More info: Band website

Ash have just announced that the brilliant Oslo-based power-punks Death By Unga Bunga, will be joining them on their upcoming UK tour latest this month. The band will also be performing a headline show in Huddersfield in and amongst the dates with Ash.

The band have been handpicked by Ash for the dates as they are known for their wild live shows across Europe and the US.

Death By Unga Bunga recently celebrated their 10 year anniversary as a band by releasing the brilliant album 'So Far, So Good, So Cool' via Jansen. The band have been described by Brookyln Vegan as making "an infectious racket that recalls late ’60s Britpop and mid-’00s garage". In 2017, the band joined punk legends Stiff Little Fingers on their 40th Anniversary World Tour.

Find all upcoming UK live dates, below:

  • Oct 16th: Sheffield, Leadmill

  • Oct 17th: Glasgow, The Garage

  • Oct 19th: Bristol, SWX

  • Oct 20th: Birmingham, O2 Institute

  • Oct 21st: Norwich, Waterfront

  • Oct 22nd: Huddersfield, The Parish (without ASH)

  • Oct 23rd: Manchester, O2 Ritz

  • Oct 24th: London, O2 Forum

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Minus the Bear new single out now

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Single release: 'Viaduct' by Minus the Bear
Release date: Out now
Label: Suicide Squeeze Records
More info: Band website

Minus the Bear are thrilled to share their new single, 'Viaduct', the latest offering from their forthcoming EP, Fair Enough, which is due out October 19th on Suicide Squeeze Records. The song premieres today on Revolver, who who hail it as “a warm and catchy track propelled by jaw-dropping, shimmering guitar lines,” another banger delivered by the “guitar-virtuoso post-punk favourites” ahead of their final EP. The band is also excited to announce a charity auction they’re partnering on with MusiCares, a nonprofit that provides support and community services to musicians in need of medical, personal and financial assistance. Today, Minus the Bear launch an auction for the first in a series of four original paintings by artist and Minus the Bear bassist Cory Murchy, created for the cover of Fair Enough. Cory has the following to share on his thoughts behind the painting and EP cover art:

“It was important for me to create a cover relevant to the band and our history, as well as something strong enough to stand on its own artistic merit. The picture we used for our first EP was a blurry photo of the band walking through the forest. We were grainy and not so well defined, monochromatic, youthful. This painting is a response to those same young men and the 17 year-long journey they took together. The human figures, now much more defined, have been replaced by shapes that are now finding their own colors to live in. Much less unified but still working within each other’s orbit. The wonder of the woods has been replaced with a milled piece of working lumber. It’s a representation of who we’ve become as individuals and I think it reflects the music in a lot of the same ways. Distilled by time and purpose.”

MusiCares holds a special place in Cory's heart, as he personally benefited from their aid while struggling with a chronic back injury. You can learn more about MusiCares here. For more about Cory Murchy and his paintings, see here.

This past July, the band announced their breakup in tandem with a final farewell tour, which kicks off in Nashville on October 9th and culminates with three sold out shows in their hometown of Seattle on December 14th, 15th and 16th. Since their first shows in 2001, the Seattle group have been thrilling crowds with their virtuosic songwriting and play from Los Angeles, New York, London and Tokyo, to Jimmy Kimmel Live and Bonnaroo. Their melding of genres and innovative use of pedals, loops, and electronic elements in their music has been a defining contribution to indie rock in the mp3 and streaming era, and an influence on the band’s peers and those that followed in their wake.

You can check out the remaining VIP presale packages for this fall’s farewell tour here, as well as pre-order the Fair Enough EP. All upcoming tour dates are listed below.

Stream ‘Fair Enough’ via Stereogum or SoundCloud

Pre-Order the ‘Fair Enough EP’ here

Minus the Bear is a product of the first two tumultuous decades of this century. From their first show in 2001 to their impending dissolution at the end of 2018, the Seattle band thrived on the musical awakening in the era of the mp3, the internet, poptimism, and the endless cross-pollinations generated from an expanded consciousness of new forms of music. With the aim of sounding like “classic rock from the future,” they initially forged their music from the dichotomous blend of David Knudson’s prodigious finger-tapped guitar lines and Jake Snider’s cool-tempered narratives set against a backdrop of souped-up dance beats. Throughout their career, spanning six full-length albums and a raft of EPs, singles and split 7”s, they’ve carried on the trailblazing traditions of ‘70s prog rockers and guitar-centric indie rock pioneers of the ‘80s and ‘90s, but they’ve also always been a band of new sounds. Synths, drum machine break beats, omnichords, and pedalboard gadgetry all contribute to the band’s electronic flourishes. You can hear the poptimist appreciation for a club banger, a new wave hook, or a solid hip-hop beat in any number of their songs. And with their final EP, ‘Fair Enough’, Minus the Bear closes the book on their inimitable hybrid of scholarly art-rock, breezy indie pop, and warehouse party appeal.

One of the first tracks written for their last album VOIDS was ‘Fair Enough’, a reserved track that went through a variety of permutations before winding up on the backburner. Like most Minus the Bear songs, it began as a loose framework of interlocking guitar parts created by Knudson that quickly changed shape as the other members contributed their parts. “It’s interesting because we tried re-doing it twice in the studio,” says keyboardist/vocalist Alex Rose. “I was really into the first new direction as it was very pop, but collectively it didn't seem to fit. Then we tried a more ambient one… it just ended up being one of those songs that didn't beat the others.” But as the band was digging through their archives earlier this year, they stumbled upon an early version of the song. “It jumped out as sounding done,” Rose recalls. “I touched up the mix, fixed a few edits and sent it to everyone while we were on the recent Planet of Ice anniversary tour. The other guys all listened together and by all accounts had ‘a moment.’ I think the song had taken on new meaning after we decided to end the band.” Given Snider’s prescient lyrical lament of lost passions and finding “the exact moment we turned it off,” it’s hardly surprising to hear that the song resonates strongly within the group. Snider insists it was written to eulogize a failed romantic relationship, but it’s hard to not hear the lyrics as foreshadowing the band’s break-up.

The other three songs of Fair Enough are both a continuation and a culmination of Minus the Bear’s diverse sounds. The adrenalized up-tempo drumbeats, lush electronics, and nimble guitar work that initially set them apart from their peers back in 2001 are on full display during “Viaduct”. It certainly sounds like the same band that wrote “Monkey!!!Knife!!!Fight!!!”, but with a whole new arsenal of tricks, techniques, and toys to embellish the sound. “Dinosaur” has the punctuated groove of early hits of “Fine + 2 PTS ”, but crafted with the understated Steely Dan-esque delivery of their more current slow jams. In keeping with their “classic rock from the future” approach, the opening keyboard line of “Dinosaur” is a ham-fisted hook originally conceived on a cheap iPhone piano app. The EP closes with a nod to their ongoing remix collaborations, this time with a vibrant rave-up reinvention of “Invisible” by Sombear.

The EP album art comes courtesy of bassist Cory Murchy. “The picture on our first EP—This Is What I Know About Being Gigantic—was a blurry photo of the band walking through the forest,” Murchy explains. “The cover to Fair Enough is a nod to that almost 20 years on. The figures are much more defined, coming into their own colors, a little less unified but still working within each other’s orbit. The wonder of the woods has been replaced with a milled piece of working lumber as the canvas. I think it reflects the music in a lot of the same ways—distilled by time and purpose.”

Minus the Bear are a band born in the new millennium, when the gateways to cult artists were blown open by the internet, rock’s purist aesthetic rules were challenged, and technological advancements completely altered the way we create and consume music. If there was some middle ground to be found between King Crimson’s fretboard gymnastics, Midwest indie rock’s cerebral songcraft, Warp Records’ glitchy compositions, and FM radio’s current bump-and-grind staples, Minus the Bear staked it out first. Suicide Squeeze is proud to release Fair Enough on October 19, 2018. Fair Enough will be available on CD, digital formats, and as a 12” cut at 45rpm. The initial vinyl run consists of 2000 copies on coke bottle green and 1000 copies on black.

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Semisonic 20th anniversary album out 19 October 2018

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Album release: ‘Feeling Strangely Fine’
Release date: 19 October 2018
Label: UMe
More info: Band website

To celebrate the 20th anniversary of their seminal album Feeling Strangely Fine, Semisonic will release a deluxe edition reissue of the record on October 19th via UMe. The album will be released on deluxe edition CD and digital, as well as a limited edition gold vinyl pressing, which marks the first time ever a Semisonic album has been pressed to vinyl LP.

In addition to hits like ‘Closing Time’, ‘Secret Smile’ and ‘Singing In My Sleep’, the deluxe edition features four B-sides taken from international CD singles that were released at the time of the album.

To mark the announcement of the release Semisonic shared a previously-unreleased demo of ‘Closing Time’ giving fans a glimpse into the evolution of the song. The Grammy-nominated, final version of ‘Closing Time’ appears on the upcoming release out October 19.

Stream ‘Closing Time’ (Demo) here.

Stream ‘Closing Time’ here

The album is currently available for pre-order via PledgeMusic and includes unique premiums including lessons with bassist John Munson and drummer Jake Slichter, as well as the original ‘Closing Time’ 2" safety master tape reel.

When I started writing songs for the album that would become Feeling Strangely Fine, John Munson and Jake Slichter and I were living in South Minneapolis. I had decided a while back that my best songs were about me and the people I loved or admired and our adventures and troubles, and the new songs really reflected that ideal. I was writing about our lives," reflects Dan Wilson. "I remember telling Jake I wanted to make a record that had the folk music simplicity of Simon & Garfunkel but also the loudness of U2 and Nirvana. I wasn't thinking that these songs would become the soundtrack for so many people's lives. We definitely weren’t thinking that these songs would still be played on the radio 20 years later."

Last year, Wilson released Re-Covered, a unique album that finds the Grammy-winning songwriter reinterpreting songs from his storied career that he wrote for and with other artists.

About Dan Wilson:

Dan Wilson is a Grammy-winning songwriter, artist, and producer. His long songwriting resume includes three modern classics: “Closing Time”, which he wrote for his band, Semisonic, “Not Ready to Make Nice” (co-written with Dixie Chicks) and “Someone Like You” (co-written with Adele). Prior to his time with Semisonic, he was a member of the band Trip Shakespeare. Since Semisonic, Dan has released four solo albums and has become a highly sought-after songwriting collaborator. He has written with and produced a diverse group of artists including Adele, Dixie Chicks, Chris Stapleton, Phantogram, Bishop Briggs, The Head & The Heart, Dierks Bentley, My Morning Jacket, Keith Urban, Taylor Swift, and many others. Recently, he co-wrote Halsey’s top 40 hit “Alone,” the Vance Joy single "We're Going Home," Leon Bridges' "Shy," and Noah Cyrus' "Almost Famous," which he also produced. Wilson’s 2017 album, ‘Re-Covered’ is a collection of his reinterpretations of songs he wrote for and with other artists. Dan has also created a series of songwriting and collaboration advice on Instagram titled Words & Music in Six Seconds.

About Jacob Slichter (drummer for Semisonic):

In addition to drumming for Semisonic, Jacob Slichter is the author of So You Wanna Be a Rock & Roll Star (Broadway Books, 2004). He has written for the New York Times, has been a commentator for NPR’s Morning Edition, and currently teaches creative nonfiction at Sarah Lawrence University. He also blogs about connections between music, writing, and other art forms at portablephilosophy.com

About John Munson (bassist for Semisonic):

Since Semisonic, John Munson has continued to be a leader in the thriving Minneapolis music scene. He currently plays with The New Standards (alongside Chan Poling of The Suburbs); the group recently played sold out shows at The State Theater and Orchestra Hall in Minneapolis. He also plays with The Twilight Hours alongside Matt Wilson (of Trip Shakespeare and Dan's brother) who are working on their new record. Munson held the title of Music Director for the nationally broadcast American Public Media program Wits! during its six years on air. He recently produced critically acclaimed records for Minneapolitan artists Dylan Hicks and Lucy Michelle.

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The Hold Steady new single out 7 September 2018

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Single release: 'Confusion in the Marketplace' b/w 'T-Shirt Tux' by The Hold Steady
Release date: 7 September 2018
Label: Frenchkiss Records
More info: Band website

The Hold Steady has released a brand new single. 'Confusion in the Marketplace' b/w 'T-Shirt Tux' arrives at all DSPs and streaming services via Frenchkiss Records today, September 7.

'Confusion in the Marketplace' b/w 'T-Shirt Tux' can be heard now exclusively at The Hold Steady’s Bandcamp page. Fans can download the single now by donating to The K + L Guardian Foundation, a fund set up to benefit the children of Unified Scene founder 'jersey' Mike Van Jura, who died in November 2012.

Recorded at Isokon Studios in Woodstock, NY with producer Josh Kaufman and engineer D. James Goodwin, 'Confusion in the Marketplace' b/w 'T-Shirt Tux' continues a string of recent THS single releases that includes 'The Stove & The Toaster' b/w 'Star 18', 'Eureka' b/w 'Esther', and last year’s 'Entitlement Crew' b/w 'A Snake In The Shower'” All eight of these new songs mark the return of keyboard player Franz Nicolay.

Additional performers on the new songs include Stuart Bogie and Dave Nelson on horns and Annie Nero on backup vocals. All three singles are available now at all DSPs and streaming services as well as the official Hold Steady Bandcamp.

'Confusion in the Marketplace' b/w 'T-Shirt Tux' arrives just as The Hold Steady gets set to continue its 'Constructive Summer' series of North American live dates with an eagerly anticipated sold out four-night-stand at Toronto’s Horseshoe Tavern. The dates begin with a special 10th anniversary performance of STAY POSITIVE in its entirety on Wednesday, September 12 and then continue through September 15. On September 21 and 22, The Hold Steady will be in Chicago as part of Goose Island’s 312 Block Party. 

“We are counting the days before we hit Toronto for our four-night stand at The Horseshoe Tavern,” says The Hold Steady’s Craig Finn. “Toronto is one of our absolute favorite cities to play, and the (legendary) Horseshoe Tavern has hosted some classic THS shows. These will be no exception, to be sure. Night One, we will be paying tribute to the 10th anniversary of STAY POSITIVE by playing the album in full, as well as a bunch of jams from all the other albums. So come raise a toast to 10 years of STAY POSITIVE with us and hear a few that we don’t pull out very often."

“It won’t all be looking backwards though, as we are pleased to announce some new songs: ‘Confusion in the Marketplace’ and ‘T-Shirt Tux.’ We had a blast making these and hope you enjoy hearing them. We hope to play them for you in Toronto for their live debut. Can’t wait to see you all there and celebrate the last four shows of ‘Constructive Summer’ before we move onto what’s looking like an already pretty constructive autumn…”

The Hold Steady is returning to the Brooklyn Bowl for the third annual 'Massive Nights' celebration, November 28 through December 1.  Limited tickets remain for 'Massive Nights III' and are available here.

The Hold Steady is: Bobby Drake (drums), Craig Finn (vocals), Tad Kubler (guitar, vocals), Franz Nicolay (keyboards), Galen Polivka (bass), and Steve Selvidge (guitar, vocals).

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