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Young Guv announces second part of album

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

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

LISTEN & SHARE "TRY NOT TO HANG ON SO HARD" HERE

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

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

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

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

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

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

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Album Artwork By: Braulio Amado | Hi Res Version Here

Young Guv
GUV II
Run For Cover
October 25, 2019


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

Young Guv Live Dates:

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

# w/ Turnover


Find Young Guv online: InstagramTwitterRun For Cover.

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Michael Janisch shares new single and announces album

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

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

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

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

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Michael Janisch
'Worlds Collide'

Out 6th September 2019 via Whirlwind Recordings

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

Pre-order - CD / VINYL

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

Full tour dates:

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

Find Michael Janisch online: FACEBOOK | TWITTER | WEBSITE | WHIRLWIND RECORDINGS

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Kit Philippa announces debut album

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“…impressive is too weak a word” Hozier

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

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

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

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

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

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

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

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

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

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

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Alice Zawadzki announces new album

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


“She is a genuine original”
– The Guardian

“Something of a phenomenon”
– MOJO Magazine

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

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

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

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

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

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

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

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Album Art

Bio:

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

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

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

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

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

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

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

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

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

Alice Zawadzki
'Within You Is A World Of Spring'

11th October 2019
Whirlwind Recordings

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

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

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

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James McArthur announces new album

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

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

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

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

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

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

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

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

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

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

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

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Download artwork HERE

More on 'Intergalactic Sailor":

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

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

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

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

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

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

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

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

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Dearly Beloved announce new album

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

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

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

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

Watch the video below.

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

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

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

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

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

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

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

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

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

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

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

Dearly Beloved Tour Dates (all dates w/ Sebadoh)

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

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

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Times Square Discount Track Listing

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

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

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Great Grandpa announce second album

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

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

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

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

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

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

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

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

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

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

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Download hi-res artwork HERE

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

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

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

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

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

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

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

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Wintersleep announce new album

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

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

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

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

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

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

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

Buy tickets here: https://umc.lnk.to/_Wintersleep

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

September live dates

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

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

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Redd Kross announce new album

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

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

Stream: "The Party Underground" at Classic Rock Magazine

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

Stream: "Beyond The Door" at Stereogum

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

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

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

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

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

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

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

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

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BATS share new single and album

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

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

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

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

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

HEAR/SHARE 'OLD HITLER' HERE

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

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

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

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

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Find BATS online:
FACEBOOK | TWITTER | INSTAGRAM

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TRACKLISTING:

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

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Elvis Depressedly announces new album

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Album release: 4th October 2019
Label: Run For Cover Records
More info: Elvis Depressedly’s Facebook page

Elvis Depressedly, the enigmatic project of prolific songwriter, Mathew Lee Cothran, has announced Depressedelica, a brand new full-length due out October 4th from Run For Cover Records. Depressedelica marks the North Carolina based musician's first new album as Elvis Depressedly in four years, following 2015's critically acclaimed New Alhambra. Today The FADER is premiering the album's first single "Jane, Don't You Know Me?" an adventurous cut of infectiously off-kilter pop that captures Cothran's unique ability to combine hazy experimental elements with undeniable hooks. 

Listen to "Jane, Don't You Know Me?" via The FADER

Listen to "Jane, Don't You Know Me?" via YouTube
(embed at bottom of email)

Preorder Depressedelica

Depressedelica finds Cothran processing years of growth and change. The time of self-reflection inspired him to revisit the music he loved growing up and apply those classic influences to Elvis Depressedly's creative abandon. The resulting record pushes Cothran's sonic boundaries into new territory, often blurring genre lines, while also tapping into a timeless style of songwriting and Cothran's unabashed love of music itself. "Music has always been the most powerful, beautiful thing in my life," Cothran explains, "And more than anything, I wanted this album to capture how much it means to me."

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Depressedelica tracklist:

1. Who Can Be Loved In This World?
2. Jane, Don't You Know Me?
3. Chariot
4. Primal Sigh
5. Can You Hear My Guitar Rotting?
6. Holo World
7. Chariot (Reprise)
8. Peace On Earth
9. Control
10. Let's Break Up The Band
11. New Love In The Summertime

Biography:

“I went through a lot of cataloguing of the self over these last few years,” says Mat Cothran, the North Carolina artist behind the acclaimed indie project Elvis Depressedly. “It felt like I was saying goodbye to an era of my life, and a big part of that process was going back and listening to the music that I loved growing up. I wanted to pay homage to the songs that got me through.”

In that sense, Cothran’s stellar new album, ‘Depressedelica,’ is something of a love letter to music itself, a synthesis of the broad spectrum of art and influence that shaped his youth and forged his singular sensibilities. ‘Depressedelica’ marks Cothran’s first album of new material under the Elvis Depressedly moniker in four years, and it finds him writing and recording more adventurously than ever before, pushing sonic boundaries and blurring genre lines with gleeful abandon. As wide-ranging as the arrangements here are—autotuned vocals and remixed video game samples sit side by side with hazy guitars and droning synths—the collection as a whole feels remarkably cohesive and sharply focused, the unmistakable vision of a songwriter and producer with a voracious musical appetite and a firm grasp on his identity.

“I might be known for making this kind of low-fi bedroom music,” reflects Cothran, “but I really love electronic and experimental and psychedelic stuff, too. Music has always been the most powerful, beautiful thing in my life, and more than anything, I wanted this album to capture how much it means to me.” 

While Cothran has issued critically lauded records under a variety of banners through the years (his discography also includes work as Coma Cinema and Matthew Lee Cothran), he first began recording as Elvis Depressedly in 2011, initially introducing the project as a solo endeavor but later building it up to incorporate a rotating cast of live and studio collaborators over the course of what Rolling Stone described as “a string of excellent low-fi releases.” In 2015, he signed to Run For Cover and released his breakout label debut, ‘New Alhambra,’ to rave reviews on both sides of the pond. Pitchfork hailed the music as “a utopian sort of indie-pop,” while The Guardian likened its “murmured, murky melancholia” to “a lugubrious Ariel Pink with a crate full of country and psych records,” and NPR praised it as “the sound of an artist in search of happiness and deeper meaning.” 

Success couldn’t have come at a better time for Cothran—he was dead broke and barely scraping by when he got signed—but in the years that followed his breakthrough, he found himself grappling with a series of tumultuous changes. He turned thirty, wrestled with depression and anxiety, ended his Coma Cinema project, and watched helplessly as his grandfather passed away, all in a short window.

“When I lost my grandfather, it felt like I lost my childhood, too,” says Cothran. “I know that sounds like a strange thing to say at thirty, but once he was gone, I realized that I was on my own, that I was the oldest person I knew that I could rely on.”

It was that revelation that prompted Cothran to begin looking back on his youth in detail, revisiting the music he grew up on and even physically traveling to meaningful locations in search of some sense of closure.

“After my grandfather died, I went back to this science museum I used to visit as a kid,” says Cothran. “I probably hadn’t been there in twenty years, but it was my way of saying goodbye to that part of my life. I remember walking around the exhibits with tears in my eyes.” 

Though Cothran recognized he was embarking on a new chapter, some things remained as they always had. When it came time to cut ‘Depressedelica,’ he returned to the same old-school Korg multi-track recording machine he’d been using since he was fifteen, and he reverted back to his more solitary ways, recording nearly every element of the music himself. This time around, though, Cothran felt a creative liberty that he hadn’t experienced before, a lifting of pressure and expectation that enabled him to break new ground in both his writing and production.

“I wanted to experiment and try new things and do weird shit and fail,” he laughs. “Everybody’s so scared to fail these days because everybody’s trying to keep up with everybody else on social media, but I just reached this point where I realized that none of it mattered. I’m not trying to pretend I’m too cool to care—I genuinely hope people love the music I’m making—but ultimately all that I wanted to do was make something that I loved, and there was real freedom in that.”

That freedom is apparent from outset on ‘Depressedelica,’ which begins with the relentless “Who Can Be Loved In This World?” Driving and infectious, the song mixes stark simplicity with unconventional flourishes, offering up an ideal introduction to a record that relishes subverting expectation as it tips its cap to artists as varied as Elliot Smith, Prefab Sprout, Cocteau Twins, and Pink Floyd, all of whom helped spark Cothran’s love affair with music as a youngster. The dreamy “Peace On Earth,” for instance, toys with ethereal voice manipulation, while “Jane, Don’t You Know Me?” embraces auto-tune and an 808’s and Heartbreak-esque approach to sonic experimentation and darker subject matter in a pop context.  The hypnotic “Can You Hear My Guitar Rotting?” plays like an off-kilter take on Britpop, and the otherworldly “Primal Sigh” is constructed almost entirely of samples from a Nintendo 64.

“Every musical element of that song except from a drum or two come from a video game,” Cothran explains. “I twisted all of the sounds up on the Korg, which has become like another band member of the last fifteen years. I feel like I pushed it farther than I ever have this time around.” 

That much is abundantly clear on tracks like the shimmering “Jane, Don’t You Know Me?” and R&B-influenced “Control,” which reckons with trauma and forgiveness. It’s perhaps the wall-of-sound distortion of “Let’s Break Up The Band,” though, that best captures the resilient spirit of ‘Depressedelica.’

“That’s a song about loving music but remembering you’re able to walk away from the aspects of it that bring you down,” says Cothran. “Its about recognizing that whether I’m in a band or not, I’m still going to have music in my life, because music is my life.”

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Binker Golding announces new album

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Album release: 27th September 2019
Label: Gearbox Records
More info: Binker Golding’s Facebook page

“Is Binker Golding the new Sonny Rollins? The new Coltrane? Or both?”
– MOJO

Binker Golding is a musician of many talents: skilled composer, educator at Tomorrow’s Warriors and frequent collaborator with top musicians from the London jazz scene.

Born and raised in North London, Golding has recorded and performed regularly with the city’s finest; Zara McFarlane, Moses Boyd’s Exodus, Sarah Tandy and Maisha amongst others. He has learned from and played alongside many great saxophonists including Steve Williamson, Jason Yarde, Denis Baptiste and Gilad Atzmon. An all-rounder musician, he is the Musical Director of the Tomorrow’s Warriors Youth Orchestra and has composed concert repertoire and conducted the Nu Civilisation Orchestra.

His main projects include the free jazz duo Binker & Moses. The pair scooped up a MOBO award for their debut album ‘Dem Ones’ (2015) as well as two Jazz FM awards and a Parliamentary Jazz award. Their subsequent album ‘Journey To The Mountain Of Forever’ was voted #1 Urban Album of the Year by MOJO magazine in 2017 (beating Loyle Carner and Kendrick Lamar). The inimitable line-up behind the album includes the legend Evan Parker, tabla player Sarathy Korwar, and drummer Yussef Dayes amongst others. Their memorable album launch performance at Total Refreshment Centre also became the live album ‘Alive in the East?’ (voted #2 Jazz Album of the Year by Mojo in 2018).

Not one to pigeon-hole himself, Golding’s last experimental project with Elliot Galvin produced the live album ‘Ex Nihilo’, which duly stretches the boundaries of improvised music and was described by the London Evening Standard as “smashing convention and revelling in raw avant-gardism.”

Golding’s new album “Abstractions of Reality Past & Incredible Feathers” was recorded at Abbey Road, mixed by the legendary James Farber (Michael Brecker, Joe Lovano, Brad Mehldau), and mastered at Gearbox Records. The record features a distinctive quartet with Joe Armon-Jones on piano, Daniel Casimir on double bass, and Sam Jones on drums. On the new album, Golding’s quartet navigates a reflective path by exploring and honouring the pioneering 60s/70s sounds that paved the way for that same style of innovation that can be seen across today’s jazz climate. Merging through-composed jazz fusion of previous decades and the hip hop/broken beat-influenced sound of the contemporary London jazz scene.

The record also explores the same nostalgic themes on a personal level. Speaking about the album, Golding says, “It’s about experiences I had throughout my teenage years & twenties. It’s about remembering, forgetting, thinking you've forgotten & remembering again. It's about people & friends that you'll never see again & times that you can't go back to, so you have to settle for the memory of them instead, whilst holding on to some hope for the future.”

Binker Golding has long been a key proponent of the guiding ship in London jazz. This new album explores the roots of the music being celebrated so widely at present, whilst also creating something entirely new. In some ways you could say that this extends his practice of teaching which has been such a big part of his life and musical career. However, firstly and fore-mostly, this is Golding stepping out and making his mark whilst looking back at the experiences and music that have brought him to where he is today. 

TRACKLIST:

1. I Forgot Santa Monica
2. Exquisite She-Green
3. Skinned Alive, Tasting Blood
4. … And I Like Your Feathers
5. You, That Place, That Time
6. Strange-Beautiful Remembered
7. Fluorescent Black

Find Binker Golding online: FACEBOOK | TWITTER | GEARBOX RECORDS

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Darrin Bradbury announces new album

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Album release: 20th September 2019
Label: ANTI- Records

Like a more self-deprecating, decidedly morose John Prine, or perhaps a more jovial Guy Clark, New Jersey native Darrin Bradbury's songs are riddled with hilarious, obvious-once-you-hear-them observations on mundane everyday life.

The eleven songs on Talking Dogs & Atom Bombs, Bradbury's new release on ANTI- Records, leave listeners singing along with sometimes ridiculous, often dark, but instantly familiar tunes. Take sixty seconds to learn more about Darrin Bradbury HERE.

Produced by Kenneth Pattengale (The Milk Carton Kids), Talking Dogs & Atom Bombs is a collection of songs born from dealing with depression and the pressures of life in the only way Bradbury knows; by poking fun at it. "It's an album trying to combat depression, to laugh your way out of depression, and to be honest and accurate with that depression," Bradbury quips. "I try to write things that make me chuckle, and that chuckling is usually making peace with the existential dilemma of both the times and life in general."

Listen to the title track HERE; the album is available for pre-order HERE today.

With only one co-writer on the entire album-ANTI- label-mate, friend, and fellow esteemed Nashville musician, Jeremy Ivey-Bradbury's one-of-a-kind style is allowed to shine brilliantly, unobstructed by outside opinion. The tracking of Talking Dogs & Atom Bombs was completed in a similarly simple way; using the same combo of musicians for every song on the record. Aside from producer Pattengale's mellotron and vocal contributions and the aforementioned Ivey's bass and piano playing, only two extra musicians were called to round out the band; Alex Muñoz on additional guitars and Dillon Napier on drums. The only exception is the lone guest vocalist on the album, modern outlaw country queen and long-time supporter of Bradbury, Margo Price, who adds a sombre harmony to a track titled "The Trouble With Time."

Of the eleven songs on Talking Dogs & Atom Bombs, only two of them are more than three minutes long. The shortest of which, "Strange Bird," clocks in at one minute, seventeen seconds. "In the writing of this album, what was important to me was that the song was over when the thought was over. It wasn't about having to fill a certain amount of space," Bradbury says. "If I'm not motivated to say anything more about this particular thing, I won't force it. I would rather have a minute-and-a-half song that I felt conveyed something unique."

Talking Dogs & Atom Bombs will be Darrin Bradbury's first release on ANTI- Records. "Darrin possesses a wonderful, darkly sardonic sense of humour and a matter of fact wisdom that reminded me of some of my favorite writers from Chuck Berry to Mose Allison to John Prine," says ANTI- founder, Andy Kaulkin. "I haven't heard anyone do this sort of thing on this level for a very long time. His songs keep me on the edge of my seat."

"When I write, there are things that I want to get away with," Bradbury says. "I want to get away with the line, 'I woke up this morning and I got out of bed / Tripped on my pants and fell on my head.'" Overall, Talking Dogs & Atom Bombs is a beautifully refined version of Bradbury's writing; going for broke, connecting the dots, and doing it with blunt honesty that brings it all home. "If I can get you to take that seriously, and not skip a beat when you listen to it, that's what I want."

Track listing:
1. Talking Dogs & Atom Bombs
2. Breakfast
3. Hell's More or Less the Same
4. The Trouble with Time (feat. Margo Price)
5. Strange Bird
6. Nothing Much
7. The American Life
8. This Too Shall Pass
9. Motel Room, Motel Room
10. So Many Ways To Die (Frozen Pizza)
11. Dallas 1963

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Download album artwork - HERE

About Darrin Bradbury

Darrin Bradbury writes about the way things really are in America - a singular perspective shaped by a natural gift for storytelling, a lingering battle with depression, and a sly sense of humor. A self-described folk satirist who has toured the country for more than a decade, Bradbury collects his oddball observations in his newest album, Talking Dogs & Atom Bombs.

Bradbury grew up in New Jersey with an early interest in performing, partly because of his mother's career as a circus clown. At the age of 7, he felt certain that he would either become a songwriter or a cartoonist. He learned to play guitar as a vessel to tell his stories -- and because his handwriting and grammar steered him away from being a novelist. By the age of 18, he'd discovered Bob Dylan, Jack Kerouac, and Paul Simon, and decided to hit the road.

At 25, he moved from Charlottesville, Virginia, to Nashville, to try making it as a songwriter. For three months, he slept in his car in a Walmart parking lot and developed a local following by playing open mic nights. With a handful of self-funded EPs and albums, Bradbury steadily cultivated a national audience by touring constantly. Produced by Kenneth Pattengale of the Milk Carton Kids, Talking Dogs & Atom Bombs is Bradbury's first release for ANTI- Records.

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Third Eye Blind release new album and announce tour

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Album release: 18th October 2019
More info: Third Eye Blind’s website

“My current mood resonates with rebellion, energy, courage, and risk,”
says Stephan Jenkins, on Third Eye Blind’s sixth full length album, "Screamer" out October 18th. “I seek to combine it with a percussive level of musical immediacy in this collection of songs to cultivate collective idealism and an unapologetic aspiration towards humanistic values.”

Hear the title track “Screamer,” available on all streaming services now.

"Screamer" on: YouTube / Spotify  / Apple

The follow up to 2018’s EP "Thanks for Everything", "Screamer" finds Third Eye Blind collaborating with Alexis Krauss of Sleigh Bells (“Screamer”), Ryan Olson of Marijuana Death Squad and Poliça (“Who Am I” and “Got So High”), and the album’s musical consigliere, Billy Corgan.

“We have always been so insular,” says Jenkins, “and on Screamer we adopted an open door policy --  come in, be musical, and follow the song where it takes us.”

Going strong for over two decades, Third Eye Blind have broken their own attendance records with 2019’s Summer Gods tour. The biggest tour in the band’s history will wrap August 3 in Irvine, CA with Jimmy Eat World and Ra Ra Riot. Third Eye Blind has offset the tour’s carbon footprint by donating a portion of each ticket sold to a US-based carbon offset project managed by ClimeCo.

“It’s an incredible feeling to be in a good rock band,” adds Jenkins. “The gift that’s been given to me is that people view my music as enlivening them.”

"SCREAMER" EXPLORES THE DUALITY OF OUR DYSTOPIAN PRESENT AS CATALYST FOR PASSIONATE HUMANISM. FURTHER, CRITIQUES OF MUSIC CULTURE CONSUMERISM, ESCAPISM IN THE CONTEXT OF POST-PATRIARCHAL MORES WEAVE THROUGH MUSICAL LANDSCAPES OF RAW BOMBAST, THREADBARE BREAKDOWNS, AND JUDO FLIPS OF COMPUTER-BASED MUSICAL SLICKNESS.

Find Third Eye Blind online:
thirdeyeblind.com | Instagram

---

Full tour dates:

July 24th Nashville, TN - Ascend Amphitheatre +
July 25th Rogers, AR - Walmart AMP +
July 26th Irving, TX - The Pavilion at Toyota Music Factory +
July 27th Houston, TX - Cynthia Woods Mitchell Pavilion +
July 31st Phoenix, AZ - Ak-Chin Pavilion +
Aug 1st San Diego, CA - North Island Credit Union Amphitheatre +
Aug 2nd Las Vegas, NV - Pearl Concert Theater at Palms Casino Resort +
Aug 3rd Irvine, CA - FivePoint Amphitheatre +
Oct 11-13th Austin, TX - Austin City Limits Festival
Oct 21st Dublin, Ireland - The Academy
Oct 22nd Glasgow, UK - The Garage
Oct 24th Manchester, UK - Ritz Manchester
Oct 25th London, UK - Forum Kentish Town
Oct 26th Paris, France - Les Etoiles
Oct 27th Cologne, Germany - Luxor
Oct 30th Copenhagen, Denmark - Amager Bio
Oct 31st Stockholm, Sweden - Debaser Strand
Nov 1st Oslo, Norway - Vulkan Arena
Nov 3rd Berlin, Germany - Bi Nuu
Nov 4th Hamburg, Germany - Knust

+  = Summer Gods Tour with Jimmy Eat World & Ra Ra Riot

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Boy Scouts announce new album

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Album release: 30th August 2019
Label: ANTI- Records
More info: Boy Scouts’ website

“Vick had a knack for wrapping wrenching ballads in tender arrangements that foreground her voice in innovative ways.” - NPR Music

“Her music is defined by its warm tenderness—twangy guitars, cooing vocals, supportive keys—but she doesn’t necessarily want to be your caretaker.” - Paste

“Pure bedroom-folk, luring you into finding yourself lost with yesterday’s thoughts, occupied by today’s choices, and captivated by tomorrow’s chances.” - The 405

As Boy Scouts, Oakland-based songwriter and multi-instrumentalist Taylor Vick makes the kind of music that hits like good advice from a beloved friend. It's generously warm and inviting, built atop her open, searching voice, but it doesn't shy away from tough emotional truths.

Vick's songs survey the damage that can come from loving other people with curiosity and grace. Her new album, Free Company – her first for ANTI- Records set for an August 30th release - is her most vital and incisive work yet, a stunningly tuneful rumination on heartbreak and loss that is always galloping toward the horizon. So far, two singles have been released as tasters of the record to come.

Watch Taylor perform “Get Well Soon” on a couch floating through Los Angeles via balloons; the video was directed by Ramez Silyan (Lil Peep). Watch Taylor celebrate her birthday surrounded by friends in the new music video for “Expiration Date”. Her producer Stephen Steinbrink joins her in the clip, contributing harmony vocals to the song; Madeline Kenney (Hand Habits) directed the video.

WATCH:
"Get Well Soon" / "Expiration Date"

The album’s opener, "Get Well Soon" reckons with the difficult epiphany that comes when you've worked overtime to help someone you love, only to realize they won't meet you in the middle and help themselves. "It's a hard thing to say. You're hoping somebody will eventually feel better, but there's also this weird new distance between you. You can't do anything else, but you still really hope that they're OK," Vick says.

With its jangly electric guitar chords and sky-high vocal melodies, "Expiration Date" tackles that universal human quandary of impermanence. "Everything changes all the time. Nothing will last forever," says Vick. "It's such a hard concept to grasp because we just get so attached to things and people and situations. But stuff can't stay how it is forever. That's also to be said about bad stuff that happens. It won't weigh you down forever."

Her tightest and most cohesive collection of songs, Vick recorded Free Company in a tiny studio her friend Stephen Steinbrink set up inside a rented shipping container--a unique spot that ended up being perfect for her. "It's a windowless little room, but that made me feel really comfortable," she says. "We did it in the comfort of a weird, atypical recording space."

Steinbrink plays drums, synth, and bass throughout the record in addition to singing backup. It was the first time Vick had opened up her recording process to someone besides herself, and the inclusion of her friends (Rose Droll, Nikolas Soelter, and Chase Kamp also contributed to the album) helped her polish Boy Scouts' indie pop sound to a sparkle.

With a keen ear for melody and a palpable sense of empathy, Vick picks apart all the confusing and contradictory ways that people glance off of each other while moving through their lives. Her music is an invitation to shake off the weight that's been dragging you down, to lighten your step and keep moving forward no matter what lies ahead.

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Download artwork HERE

Pre-Order ‘Free Company’:
boyscouts.ffm.to/freecompany

Find Boy Scouts online:
boyscoutsband.com | Facebook | Bandcamp | Instagram

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Miss June announce album

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New Zealand’s Miss June is excited to announce the forthcoming release of their debut album. Entitled Bad Luck Party, the LP will be released on September 6th via Frenchkiss Records. Today, they share the newest single “Enemies” by way of a video directed by Dylan Pharazyn. He notes, “the track gets at that feeling of instability in a relationship when there’s full on confusion around who your friends are or who you are... reality runs amok.  I started to imagine this full throttle dream sequence in which a young couple bash through a bizarre night. As they find new places, they encounter strangers who at first seem normal become weird and dangerous creep characters… or ENEMIES. I felt like this erratic narrative had a powerful connection with the song - fast  and heavy in a super off-kilter way."

Pre-order "Bad Luck Party" HERE

Watch the video for "Enemies" HERE or below:

Previous to “Enemies,” Miss June released a double A-sided 7” consisting of “Best Girl” b/w “Twitch.” The New York Times labeled “Best Girl” a, "...nod back at a pantheon of powerful statements and sounds...but calibrated for 2019 ears craving a clever, irresistible outlet." Consequence of Sound said it is, “a bolstered, anthemic pop-punk jam for the next generation” and in the UK BBC Radio 1's Jack Saunders said “a creative forward thinking piece of punk music… this band are brilliant.” Find the 7” HERE.

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

The band has built a reputation for fierce, formidable and head-spinning live shows which have caught the attention of acts like The Foo Fighters, Shellac, Wolf Alice, Idles and Die! Die! Die!, who have all eagerly harnessed their support on stage. The band recently made their first trip to the U.K. and played to packed rooms in London's Old Blue Last and Brixton's Windmill as well as being a highlight for many at Bushstock Festival. The band will be back in Britain this autumn with dates to be announced soon. 

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

Full biography available HERE

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


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

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Automatic announce album

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Today, LA post-punk trio Automatic announces their debut album Signal, due September 27th via Stones Throw Records, and shares the new single “Too Much Money”.

Listen to "Too Much Money" via:
YouTube | iTunes | Apple | Spotify |  Bandcamp

Automatic, composed of Izzy Glaudini (synths, vocals), Lola Dompé (drums, vocals) and Halle Saxon (bass, vocals), worked with producer and engineer Joo Joo Ashworth of FROTH for the album. Signal ties together the band’s taste for dub reggae, motorik rhythms and gnarly synth work inspired by bands like NEU! and Suicide with the eerie atmosphere of films by auteurs like David Lynch and Dario Argento, to capture what it's like to feel at an angle to the world. 

New single "Too Much Money" chronicles the pitfalls of social media. The track follows previous release "Calling It" and arrives ahead of their month-long residency at The Echo every Monday in August, followed by a Europe and UK tour in October.

Signal speaks directly to the band members' experiences, tied together by a sense of anxiety and alienation so common to life in the 21st century. "Humanoid" echoes "Too Much Money"s sentiment on the disappointing falsity of social media, "Electrocution" recounts a near-death freak accident singer Izzy experienced – alluded to on the album art – and the title track captures the feeling of being trapped in the drudgery of a mundane life "and the realization that nobody is going to rescue you from it but yourself." As they put it: "The world is so fucked up, we don't know how any musician could say, 'This is all peachy.'"  

Hear "Too Much Money", see upcoming tour dates and album details below, and stay tuned for more from Automatic coming soon.

"Too Much Money":
https://youtu.be/L1qXQXsKAy0

Upcoming Tour Dates:
August 5th - Los Angeles, CA @ The Echo
August 12th - Los Angeles, CA @ The Echo
August 19th -Los Angeles, CA @ The Echo
August 26th - Los Angeles, CA @ The Echo
October 17th - Paris, France @ L'Aéronef
October 19th - Groningen, Netherlands @ Vera
October 20th - Eindhoven, Netherlands @ DDW Music Festival
October 22nd - London, UK @ Shacklewell Arms
October 23rd - Bristol, UK @ The Lanes

October 25th - Amsterdam, Netherlands @ London Calling Festival
October 28th - Berlin, Denmark @ Urban Spree
October 29th - Antwerp, Belgium @ Trix

Automatic
Signal
Stones Throw Records
September 27th, 2019

1. Too Much Money
2. Calling It
3. Suicide In Texas
4. Love You Fine
5. Highway
6. Signal
7. Humanoid
8. Damage
9. Electrocution
10. Champagne
11. Strange Conversations

Listen/watch video for previous single "Calling It":

‘Calling It’ single:
YouTube | Bandcamp | Spotify | Apple Music | iTunes | Amazon

Follow Automatic:
Spotify | Facebook | Instagram

Follow Stones Throw Records:
Website | Soundcloud | Facebook | Twitter | Instagram

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Louien shares new single and announces new album

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Album release: 13th September 2019
Label: Jansen Records
More info: Louien’s Facebook page

Louien – AKA Live Miranda Solberg – returns today with new music in the form of latest single I Follow You. Taken from an album set to emerge later this year on revered Norwegian label Jansen Records, I Follow You forms part of a new works that explores how the process of mourning and grief can change a person’s outlook. It focuses not only death, but isolation and separation in general. Live’s ability to marry these themes with delicate and intricate melodies make I Follow You an immediately rewarding listen.

About the album, Louien says, “Grief allows for beautiful things as well - love and hope, for instance - and you really get in touch with your own feelings. But this album is probably more about the first phase of a grieving process – hopelessness, isolation, anxiety and depression."

Listen to I Follow You HERE

Louien has appeared at some of Norway’s biggest festivals, including Oya and by:Larm. The album was recorded with Øyvind Røsrud Gundersen at Brageveien Studio in Oslo. Among the guests are Kaja Fjellberg Pettersen, Henrik Lødøen, Øystein Braut, Kristine Marie Aasvang, Signe Marie Rustad and Einar Kaupang.

The album None of My Words will be released on Jansen Records September 13th 2019.

Find Louien online: Jansen Records | Facebook | Spotify

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Press Club announce new album and share lead single

Photo credit: Ian Laidlaw

Photo credit: Ian Laidlaw

Album release: 16th August 2019
Label: Hassle Records
More info: Press Club’s website

When Melbourne punks Press Club released their debut album Late Teens, it was received as a cacophonous battle-cry, resonating with fans far beyond their native Australia. Marked out as a band to keep an eye out for very early on, their music was singled out for its honesty and integrity, and the band praised for their social awareness, calls for self-improvement and powerhouse live performances. Today, the band announce their anticipated follow-up album, Wasted Energy, along with new single Thinking About You.

Pre-order Wasted Energy HERE
Listen to Thinking About You
HERE
Official Youtube Audio Stream
HERE

Press Club’s sonic calling cards are all present on Wasted Energy; the fuzz-addled, kicked-in speaker bass of Iain MacRae, the thick guitar tones of Greg Rietwyk, the merciless drumming of Frank Lees, and the emotionally charged vocal deliverance of Natalie Foster. On new single Thinking About You, amongst the climactic clatter of the band giving it everything, is Foster recounting her experience with a stalker. Never one to shy away from what is uncomfortable, the song embodies a freak’s tongue, cooing unbridled down the phone line; abrupt, uninvited, and out of the blue.

In contrast to Late Teens, lyrically, Wasted Energy approaches the microphone through a lens of extrospection. It examines the negative behaviours in the world around us and how we’re all learning to exist in today’s ever-evolving socio-moral landscape. Wasted Energy is broadly about change, and life’s watershed moments that change its course. These shifts are laterally represented lyrically and sonically in many of its songs. Sweeping about-faces and musical departures are an expansion of the musical fibre that make up the Press Club repertoire.

Don’t miss the band in August as they embark on their biggest UK headline tour to date, including performances at Reading & Leeds Festivals. The full list of upcoming shows is as follows.

Full tour dates are below

Thu Aug 22 - The Parish, Huddersfield UK
Fri Aug 23 - Reading Festival, Reading UK
Sat Aug 24 - Leeds Festival, Leeds UK
Sun Aug 25 - Greenbelt Festival, Northamptonshire UK
Tue Aug 27 - Redrum, Stafford UK
Wed Aug 28 - Bodega, Nottingham UK
Thu Aug 29 - Surf Cafe, Newcastle UK
Frid Aug 30 - Broadcast, Glasgow UK
Sat Aug 31 - Night People, Manchester UK
Tue Sep 3 - Annie's, Worcester UK
Wed Sep 4 - Bermuda Bob’s Hi-Fi, Norwich UK
Thu Sep 5 - New Cross Inn, London UK – VENUE CHANGE FROM THE BORDERLINE
Fri Sep 6 - Prince Albert, Brighton UK
Sun Sep 8 - Cinetol, Amsterdam NL
Tue Sep 10 – Haldern Pop Bar, Haldern DE
Wed Sep 11 - Sonic Ballroom, Cologne DE
Thu Sep 12 - Alte Hackerei, Karlsruhe DE
Fri Sep 13 - Dynamo, Zurich CH
Sat Sep 14 - Strom, Munich DE
Sun Sep 15 - Cross Club, Prague CZ
Wed Sep 18 - Stengade - Copenhagen DK
Thu Sep 19 & Friday Sep 20 - Reeperbahn, Hamburg DE
Sat Sep 21 - Vera, Groningen NL

Tickets are available now HERE

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Download hi-res album artwork HERE

Praise for debut album Late Teens

“An amazing, amazing record. There’s no answer to where they could end up.”– Kerrang! Hottest Bands of 2019

“A breathless exorcism of adolescent emotion. Late teens will leave a remarkable imprint.” - NME

“The centrepiece both on record and in the flesh is the powerhouse performance of vocalist Natalie Foster.” – DIY

“This is one club that the world will be clamouring to join.” - Upset

“Press Club install a rackety underlay to their sound that gives them a uniqueness most bands would kill for.” - Alt Press Bands to Watch 2019

“Suburbia is such a big track” - Jack Saunders, BBC Radio 1

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

“A listen-all-the-way-through-and-hit-repeat masterpiece.” - Aesthetica Magazine

“Nat Foster adds a lot of star power. You can see Press Club going far.” - Louder Than War

“Headwreck is a whirlwind of a track.” - The i Paper

Find Press Club online: 
Website | Facebook | Instagram | Youtube | Spotify

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Slaughter Beach, Dog announce new album

credit: Jess Flynn

Album release: 2nd August 2019
Label: Big Scary Monsters
More info: Slaughter Beach, Dog’s Facebook page

Philadelphia's Slaughter Beach, Dog - which began as the solo project of Jake Ewald (Modern Baseball) but has grown into a band with the addition of bassist Ian Farmer (Modern Baseball)Nick Harris (All Dogs) and Zack Robbins (Superheaven) - recently announced a new record, entitled Safe And Also No Fear. Out August 2nd, 2019 on Big Scary Monsters, it is available for pre-order HERE.

Today, SBD has shared a video for a new track from the record, 'Heart Attack', which can be seen HERE. The announce follows the release of the irresistibly catchy "One Down" and the effervescent "Good Ones" - both tracks can be heard HERE.

More news from the band will be announced soon.

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Slaughter Beach, Dog Bio:

Across the previous Slaughter Beach, Dog albums, Jake Ewald has crafted a specific sound. It’s one that incorporates pop music, indie-rock, folk, and just the faintest dash of punk in order to create something that’s accessible but still artistically rich. With Safe And Also No Fear, the band’s third album, Ewald has abandoned his usual practices in service of creating something that, try as one might, isn’t so easy to describe.

In the wake of 2017’s Birdie, an album awash in warm tones and bubbly pop hooks, Safe And Also No Fear can’t help but feel like a turn toward darkness. It’s not one that’s instigated by the outside world—as inescapable as it may be—but instead the dramatic shifts of a person’s interior life. Where Ewald once offered tightly woven vignettes about characters that mirrored the people in his life, Safe And Also No Fear finds him naked at the album’s center, questioning everything he knows about himself. Around him, bassist Ian Farmer, guitarist Nick Harris, and drummer Zack Robbins spin out songs that are dense, swirling amalgams of difficult questions and hard-earned realizations—the kind that can’t be expressed through the accepted structures of pop music.

This isn’t to say there aren’t hooks, as songs like “Good Ones” and “One Day” have effervescent melodies anchoring them, but Safe And Also No Fear generally avoids taking the clear-cut path. As Ewald tells it, that’s a horrifying thing to put out into the world. After putting the finishing touches on the album, he sat down and listened back to the demos he’d first made, then the album itself, and realized it sounded unlike anything he’d ever done before. His creative impulses had changed over the years, and the result was a record that maybe his followers wouldn’t actually like. 

Ewald seemingly addresses this anxiety during the album’s most ambitious track, the seven-minute long “Black Oak.” It’s fitting that midway through the longest song Ewald has ever written he offhandedly remarks, “Realizing this may put my career on the line.” It’s part of a larger narrative, but one that’s more textural and ambiguous than what the band has been known for. Is that lyric about Ewald and Slaughter Beach, Dog? We’ll maybe never know—and that’s the beauty of Safe And Also No Fear. It’s an album so profoundly singular, one that sees the band willing to wade out into deep waters without a life vest, that it encourages you to go out there with it. You hear the band fully embrace the unknown at the end of “Black Oak,” when the song explodes open and Ewald’s vocals are looped into a refrain that’s haunting and impossible to sing along with accurately. You can pick out phrases and hum a melody, but there’s no didactic meaning behind it. It’s there for you to find if you need it.

Safe And Also No Fear is a bold gesture, not just because of the music contained therein, but because it required Ewald to interrogate his artistic tendencies, breaking himself of his habits in service of making something he never thought he could. That involved trusting his band, with whom Ewald collaborated for a full year of writing and recording. Unlike Birdie, where Ewald played every instrument, with Safe And Also No Fear everyone’s fingerprints are on it. Though the album is a product of Ewald committing to his vision, it’s also proof of the way that Farmer, Harris, and Robbins are able to expand Slaughter Beach, Dog’s sonic boundaries in subtle, evocative ways.

The result of that collaboration is Safe And Also No Fear, an album that doesn’t leave easy clues as to its influences or intentions, instead offering up vague sketches of what it feels like to be a person who is constantly confused and anxious, yet completely committed to finding a way through it. It’s not simple, and Ewald’s never didactic, but the message begins to come through the more you revisit it. Every part of Safe And Also No Fear is a risk, and that’s exactly what makes it so beautiful. It’s a record that sees a band fully committed to their art, in spite of what everyone else would advise. And if you’re listening close enough, it really does make a lot of sense.’

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