Shanghai Restoration Project announce new album


Album release: 8th November 2019
Underground Culture Music
More info:
Shanghai Restoration Project website

Today, genre-bending multidisciplinary electronic duo, Shanghai Restoration Project, return with their new single 'Tactile Sonic Glide'. Alongside the new single the band have announced a new album due out 8th November entitled 'Flashbacks In A Crystal Ball', which will be released via Underground Culture Music.

The new single was premiered with Pop Matters yesterday, who described the single as "not frantic, but cosmic, an expanse of wondrous melody that serves as an aural isolation tank for the overwhelmed." 

Speaking about the single the band said, "'Tactile Sonic Glide' is a reaction to the increasingly fragmented and mindless sound-bite culture we live in. The fifteen minute piece is an invitation to a musical meditation, where thoughtful melodic development, meaningful transitions, gratifying stretches and breathable pauses can happen. Synth, vocals, kalimba, bass, and percussion instruments freely rise and fall in the soundscape, allowing for a unique experience on each listen."


For all press enquiries please contact Will Vincent on

Shanghai Restoration Project (SRP) is the Brooklyn based electronic duo of Dave Liang and Sun Yunfan. SRP’s genre-bending, border-traversing, retro-futuristic soundscape often uses poetic melodies to draw audiences into imaginary settings where unexpected adventures unfold with a dissonant and polyrhythmic palette. In the shadow of murmuring outer space particles, one might encounter atonal analog synth lines against the backdrop of a tropical storm, household item percussion, and lost and found street sounds from around the world.

Initially inspired by the 1930s Shanghai jazz scene, SRP started out in 2006 as a solo project of Dave Liang. Having cut his teeth as a producer within the Bad Boy Records system, Liang’s early works such as Instrumentals: Day - Night stood out for their organic synthesis of Chinese instrumentation and hip-hop. With Zodiac, SRP began expanding stylistically and brought choral music, electronica, and folk into its lexicon.

In 2011 Liang met multidisciplinary artist Sun Yunfan and the two soon started collaborating - first on music videos and live performance visuals and later on songwriting and production, beginning with 2015’s playful fusion album Life Elsewhere featuring jazz vocalist Zhang Le.

In 2017, the duo released R.U.R., a dark futuristic electronic album that imagines a world in which humans have been replaced by robots, who are trying to understand what led to its predecessors’ extinction. This release marked the group’s shift toward introspection: how to dream a different future and find balance in a changing world.

The group’s upcoming album Flashbacks in a Crystal Ball (Nov 8, 2019) is a collection of songs about “aha” moments: moments of reflection or intuition where we suddenly see the world in a different light. These moments are sprinkled throughout our lives: the instant children realize their parents are flawed, the acknowledgement that a pipe dream is no longer worth the pursuit, the revelation of truth in the passing of a loved one, or the decision to dedicate a lifetime to a craft.

SRP has been featured on The 405, BBC Radio London, NTS Live, Electronic Sound, NPR Music, Little White Lies, & Last Call with Carson Daly. Past live performances include Rio Cinema London, Silencio Paris, Amsterdam Dance Event, and the Great Wall of China. Most recently, the group’s music appeared in an Apple commercial as well as the film “Have a Nice Day,” which premiered at the Berlin Film Festival and was released by MUBI in the UK. The film’s soundtrack received positive mentions from VICE, NPR, Variety, and The Guardian.


Shanghai Restoration Project
'Flashbacks In A Crystal Ball'
8th November

Underground Culture Music

1. Sudden Rush Of Memories
2. Tactile Sonic Glide
3. Time Gambler
4. Jazzy Grandma
5. Dance School At Dusk
6. Soft Diamond
7. LIC Colour Blast
8. Beeswax Chamber
9. Elegy For Wave Organ

Find Shanghai Restoration Project online: FACEBOOK | TWITTER | INSTAGRAM | WEBSITE

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Pale Honey announce new single


Single release: Out now
Bolero Recordings
More info:
Pale Honey website

“…the cold command of PJ Harvey in Tuva Lodmark’s vocals, guitars that flit between the rough squall of Sonic Youth and the icy composure of The xx”  DIY

“…the band embrace a full spectrum of sound, characterized by a myriad of electric guitars, percussive synthesisers and catchy basslines.” – Dork

“Playful, immediate, and effortlessly cool…translates the memory of 1990's alternative rock into the digital realm for a new generation.” – Aesthetica

“(Devotion‘s) combination of strength and vulnerability makes for an honest and poignant representation of what it means to love another, and what it means to love oneself.” – London In Stereo

Today, Swedish band Pale Honey release their new single 'Set me Free', the first new music from the band since 2017 album 'Devotion'. The single is accompanied with news of their third album, to be released in February 2020 on Bolero Recordings.

Listen to 'Set me Free' via:
Soundcloud / Spotify / Apple Music / Amazon

'Set Me Free' started as a mere sketch in the dawning age of Pale Honey but has since been transformed into "a lead track about freeing yourself from others’ comments and opinions", says Pale Honey drummer, Nelly Daltrey. Musically somewhere in-between light 80’s disco and sad 90’s indie, it balances on a knife edge, perfectly.

A melancholic yet groove-laden track, it can be treated as a liberating experience in itself, songwriter and guitarist Tuva Lodmark explains: “To me, the song symbolizes the emotions following a recent break-up. I was pissed and bitter, and at the same time regretful and sad. There was also an energy in me that was about to explode. I couldn’t be still, couldn’t sit at home, I had to go out and constantly meet new people. Everything had to happen, and it needed to happen all at once. The danceable element of the song represents the stage in a separation where you’re rediscovering yourself. Or simply going out into the night and not getting home until dawn.”

Pale Honey’s third album is, as well as their earlier work, produced by Anders Lagerfors. The journey to release has not been plane sailing, Daltrey reveals, "it’s been tough as hell getting there, to be honest, but no matter what the road has been like, we have to bring it out into the light. We need to be able to write and play while having those doubts and horrible moments."

The artwork for the new singles features illustration by Daltrey and looks to “portray different forms of what Pale Honey is. At the time, I actually just wanted to sit by myself and create something without showing it to anyone. But I feel like the illustrations found their way into the music. They are a tribute to everyone I look up to.

Is 'Set me Free' based on their own experiences? You bet. Did they know from the start this was how raw it would turn out? Hell no. But there is something very special about staring at yourself in the mirror, and confronting your face fully swollen from all the ugly crying. Because you know, through some deep resilience, that you’re gonna be alright in the end, and that in the meantime you can find comfort in dancing yourself free from the pain you've been through. Daltrey says it best: "Sometimes you just need to dance ugly and be held, without having to ’perform’ to be rewarded with love.”


Download artwork HERE

See Pale Honey Live:
October 26th: Female Future Festival - Hamburg, Germany
October 27th: 086 - Darmstadt, Germany
October 28th: Blue Shell - Köln, Germany
October 30th: Urban Spree - Berlin, Germany
November 7th: Colours Hoxton - London, UK
November 9th: Heartbreakers - Southampton, UK
November 16th: Queen Elizabeth Stadium - Hong Kong, China

Find Pale Honey Online: | Instagram | Facebook

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Craig Finn shares new single


Single release: Out now
Partisan Records
More info:
Craig Finn website

Craig Finn will celebrate his upcoming European and U.S. tour with the release of “It’s Never Been A Fair Fight,” available now on Partisan Records along with an acoustic version of the song as its B-side. A powerful live performance video of “It’s Never Been A Fair Fight” filmed earlier this year at a special concert performance at Brooklyn, NY’s Murmrr Theatre can be seen online. Finn has also announced a one-off instore at London's Rough Trade East on October 18th. This event is free entry, with the option to pre-order an album and ticket, ready and waiting to collect on the day.



“It’s Never Been A Fair Fight” precedes a range of upcoming live dates surrounding Finn’s acclaimed new solo album, I Need A New War. The tour – which sees Finn backed by his touring band, The Uptown Controllers – begins October 11th at Exchange in Bristol, England and reaches the U.S. November 1st at Austin, TX’s Cactus Cafe Presents at the Texas Union Theater.

“‘It’s Never Been A Fair Fight’ is about the extreme difficulty of staying true to the rigid rules of a subculture as you get older,” says Finn. “The character in the song revisits an old peer and finds struggle and disappointment in the place he left behind. I’ve always really loved this song, and people seemed to connect with it on my acoustic tour with Brian Fallon. Excited to be sharing the full band version with the world.”

The dates in the U.K. and Europe are the first to feature The Uptown Controllers overseas and will see Finn play his first headline shows in Beligum, Netherlands and Germany. Laura Stevenson will be special guest on all of the U.K. and Europe shows.

On touring, Finn says, “I’m beyond thrilled to be bringing the Uptown Controllers to the UK and Europe for the first time. The band has developed into something very musically exciting, and is able to do much justice to the material on I Need A New War and the prior two solo releases. The Uptown Controllers are loose, lush, elegant and fun. We will be joined in the UK by our friend Laura Stevenson, who has been known to join us on stage. These shows will be very special. Following the UK/Europe we will be touring Texas and West Coast USA for the first time with this band lineup. We are greatly looking forward to all of it.”

For complete details, please visit

TOUR 2019

11 - Bristol, England – Exchange *
12 - Nottingham, England – Bodega *
13 - Glasgow, Scotland - King Tut’s Wah Wah Hut *
15 - Leeds, England - Brudenell Social Club *
16 - Manchester, England - Deaf Institute *
17 - London, England - Olso20 October *
18 - London, England - Rough Trade East (live + signing)
19 - Liverpool, England - Phase One *
20 - Dublin, Ireland - Sugar Club *
22 - Antewerp, Belgium – Trix *
23 - Amsterdam, Netherlands – Paradiso *
24 - Hamburg, Germany - Molotow Skybar *
25 - Berlin, Germany – Privitaclub *

1 - Austin, TX - Cactus Cafe Presents at the Texas Union Theater **
2 - Dallas, TX - Club Dada **
5 - San Diego, CA - Soda Bar **
7 - Los Angeles, CA - Bootleg Theater **
8 - Mill Valley, CA - Sweetwater Music Hall **
9 - San Francisco, CA - The Chapel **
12 - Mississippi Studios - Portland, OR **
13 - Seattle, WA - Triple Door **

* w/Special Guest Laura Stevenson
** w/Special Guest Cassandra Jenkins


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

Finn celebrated the release of I Need A New War with a pair of high profile TV appearances, including NBC’s Late Night with Seth Meyers and a three-song performance and in-depth chat with Anthony Mason on CBS This Morning Saturday.

Finn further marked I Need A New War by plotting geographic references from his entire solo discography onto a map interface. Fans are able to browse the pins to learn more about the lyrical landmarks in his songs, complete with additional analyses from Finn himself and a Geo Game to play for exclusive merchandise.

Recorded throughout 2018 at The Isokon in Woodstock, NY with producer Josh Kaufman and engineer D. James Goodwin, both of whom teamed with Finn on his widely acclaimed previous solo releases, I Need A New Warfeatures musical contributions from many of his regular solo collaborators, including Kaufman, horn master Stuart Bogie, vocalists Annie Nero and Cassandra Jenkins, and drummer extraordinaire Joe Russo.

I Need A New War was greeted with unanimous critical applause from media outlets around the world:

“In their vivid specificity, and even repetition, Finn’s stories channels truths that are timeless and universal. This trilogy shows he’s doing more than moonlighting from his main gig, along with a body of elliptical tales that deserve a fuller telling” – Rolling Stone (****)

“Finn has already built a sturdy legacy, but his solo records yield their own durable pleasures: I Need A New War shines like a beacon of light in a dark time.” – Pitchfork (8.0)

“Finn, the most human of story tellers, has created a record and a world within which you will never feel ashamed or alone.” – Line of Best Fit (9/10)

“There’s a fatigue that can come with fandom for a long-running band, but there’s also a sense of fulfillment in watching an enduring artist continue to find meaning all these years in. At this stage of his career, Finn’s become a reliable fixture, and repeat listenings through his discography are rewarded. This latest entry is further proof of his consistency and longevity.” – NPR


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Catholic Action share new single


Single release: Out now
Modern Sky Records
More info:
Catholic Action website

The SAY Award-nominated Glasgow quartet Catholic Action will return with their sophomore album Celebrated by Strangers in March 2020. Lead single One Of Us was given its debut last night on John Kennedy's X-Posure show on Radio X, marking the first new music from the band in almost two years.

Listen to One Of Us on SoundCloud HERE
Listen to One Of Us on Spotify HERE

One Of Us packs a fuzzed-out stomp alongside masterfully giddy melodies that sees lead singer and guitarist Chris McCrory recount “the welfare son of a welfare son”, taking aim at the billionaire-owned media and their Bullingdon Club ilk who shirk responsibility for sowing the division we see in the UK.

It sets the tone for a record that asks both searching questions of the self, while pointing the finger at inaction in the wider world. Through a procession of skittish, off-kilter riffs and squawking saxophones, Celebrated by Strangers doesn’t just call for action, it demands it. Fizzing with invention, accusation, self-belief and creativity, it never stutters under the weight of its own message.

The album was produced by lead singer and guitarist Chris McCrory (SPINN, Walt Disco) at Hermitage Works in London and at Shady Lane Studio in Erskine, and mixed by Rich Turvey (Blossoms, Cabbage, The Coral) at Parr Street Studios in Liverpool. McCrory explains further:

One of Us was written as a direct response to what I see happening in the UK – a country ravaged by poverty and a disintegrating social fabric of increasingly isolated and intoxicated people. A neglected group spun in circles by an uncaring billionaire-owned media, (mis)led into pointing the finger at one another as opposed to those truly responsible for this situation. A depressing but common problem in 2019…sound familiar?

This song is a comment on the aggressive divide and conquer politics that has kept this status quo of radical inequality in the UK firmly in place.

Keep the people divided, drugged and distracted. Racism, sectarianism, vodka, sexism, PornHub, classism, Remain or Leave, heroin, Netflix…Whatever works – just don’t let them rise above their station.

I believe people are good hearted at their core but are embittered and led astray by what they’re fed – what they’re seeing, hearing and being told. As long as we stay divided, nothing will ever change. So it’s pretty simple. If people want to shift the status quo they need to organise, come together and fight for equality – a way of life that’s positive, progressive and inclusive. We’re all human (apparently) after all.

So, are you one of them, or one of us?


Download hi-res album artwork HERE

Celebrated By Strangers track listing

1. Grange Hell (South London In D)
2. Witness
3. I’m No Artist
4. One Of Us
5. Yr Old Dad
6. And It Shows
7. People Don’t Protest Enough
8. Another Name For Loneliness
9. Sign Here
10. There Will Always Be A Light
11. Four Guitars (For Scottish Independence)

Find Catholic Action online: Website | Facebook | Twitter | Instagram | Spotify 
Find Modern Sky Records online: Website | Facebook | Twitter | Instagram | Spotify

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Bambara share new single


Single release: Out now
Wharf Cat Records
More info:
Bambara’s Facebook Page

Bambara's post-punk has always had a sleek sort of menace to it, a taut rhythm section wrapped in psychedelic noise. It's mesmerizing to listen to, and seeing the band live is an experience wrought from sharp curves and frontman Reid Bateh's rapturous baritone.

There's no end to the malevolence, from early Swans' back-basement seething to the dark triumphalism of stadium-goth, but-- Georgia boys that [they] are-- there's a thick streak of black-of-night country swirling around in the tempest, too.

Bambara write chaotic songs held together with formless washes of noise and anxious vocal drones, crafting pallid but vibrant pieces that thrashed with...mutant energy.

Shadow On Everything is one of the year’s most gripping listens.

Bambara hail from Athens, Georgia, famously home to REM and The B-52’s, but what they do is far noisier, angrier, scarier. They sound like a band always on the lookout for something bigger
The Quietus

Founded in Athens, Georgia by twin brothers Reid and Blaze Bateh, and bassist William Brookshire, Bambara are now based in Brooklyn, NYC and have been steadily attracting attention since the release of their 2013 debut.

Earning praise from places like Pitchfork, NPRVICEBandcamp, SpinDIYBrooklyn Vegan and The Quietus, and touring non-stop in the US and Europe with like-minded artists like IDLESMETZGirl Band and Daughters, the band released their most celebrated album to date in 2018 with Shadow On Everything, a release that NPR dubbed a "mesmerizing western, gothic opus." Today, Bambara are announcing their follow up Stray (due out via Wharf Cat on February 14th, 2020 - pre-order HERE), with the premiere of the album's first single "Serafina" on the FADER and first play on 6 Music with Steve Lamacq (listen back HERE).  

WATCH: Bambara's "Serafina" lyric video on
The FADER // YouTube

A thunderous squall of a song, "Serafina" provides an arresting introduction to the album. Channeling the anarchic energy of The Birthday Party and The Gun Club, in combination with Reid Blateh's dramatic lyrical style the track imbues the story of a pair suburban misfits with apocalyptic weight. Bambara's rhythm section rattles and bursts behind a frantic descending guitar lead as Reid, in a fraying baritone, weaves a tale set in his home state of Georgia that acknowledges the history of the place with subtle Civil War allusions, while conjuring an immediate atmosphere of backwoods unease. As Reid tells to FADER, it's a song built to communicate an unhinged energy. 

"Stray is a death-obsessed album," says Reid. "Most of the songs are about different characters’ futile attempts at living meaningful lives under the weight of imminent annihilation. I wanted "Serafina" to feel different. I wanted the song to radiate a sort of wild-eyed hope. A youthful disregard for death itself. Serafina and Sadie live exactly how they want to live, exploring their love for one another before a backdrop of flames. The knowledge of their own mortality takes nothing from their enthusiasm for life. If anything, they see it as a challenge they might one day overcome together. When they say, “We’ll never die” I want it to feel like they might actually have a shot."

Bambara are embarking on a UK tour that begins in Bristol at the Simple Things Festival on October 19th. Additionally, they are today announcing a Brooklyn show at St. Vitus on November 8th and a full US tour in support of the album to take place in 2020. Full details can be found below. 

Further information:

One thing you won’t be able to avoid on Bambara’s Stray is death. It’s everywhere and inescapable, abstract and personified. Death, however, won’t be the first thing that strikes you about the group’s fourth album. That instead will be its pulverising soundscape; by turns, vast, atmospheric, cool, broiling and at times – as on stand out tracks like “Sing Me To The Street” and “Serafina” – simply overwhelming

The album began when the band locked themselves in their windowless Brooklyn basement to write. Despite the success of their preceding full length, Shadow On Everything, Decisions were made early on to experiment with new instrumentation and song structures, even if the resulting compositions would force the band to adapt their storied live set, known for its tenacity and technical prowess. Throughout the songwriting process, the band pulled from their deep well of creative references, drawing on the likes of Leonard Cohen, Ennio Morricone, Sade, classic French noir L’Ascenseur Pour L’Echafraud, as well as Southern Gothic stalwarts Flannery O’Connor and Harry Crews.

Once the building blocks were set in place, they met with producer Drew Vandenberg, who mixed Shadow On Everything, in Athens, GA to record the foundation of Stray. After recruiting friends Adam Markiewicz (The Dreebs) on violin, Sean Smith (Klavenauts) on trumpet and a crucial blend of backing vocals by Drew Citron (Public Practice) and Anina Ivry-Block (Palberta) Bambara convened in a remote cabin in rural Georgia, where Reid laid down his vocals.

The finished product represents both the band's most experimental and accessible work to date. The addition of Citron and Ivory-Block’s vocals create a hauntingly beautiful contrast to Bateh’s commanding baritone on tracks like “Sing Me to the Street”, “Death Croons” and “Stay Cruel," while the Dick Dale inspired guitar riffs on “Serafina” and "Heat Lightning" and the call-and-response choruses throughout the album showcase Bambara’s ability to write songs that immediately demand repeat listens.

While the music itself is evocative and propulsive, a fever dream all of its own, the lyrical content pushes the record even further into its own darkly thrilling realm. If the songs on Shadow On Everything were like chapters in a novel, then this time they’re short stories. Short stories connected by death and its effect on the characters in contact with it. 

But it would be wrong to characterize Stray as simply the sound of the graveyard. Light frequently streams through and, whether refracted through the love and longing found on songs like “Made for Me” or the fantastical nihilism on display in tracks like the anthemic “Serafina,” reveals this album to be the monumental step forward that it is. Here Bambara sound like they’ve locked into what they were always destined to achieve, and the effect is nothing short of electrifying.

Stray will be released on Wharf Cat Records on February 14th, 2020.

It is available for pre-order here.



1. Miracle
2. Heat Lightning
3. Sing Me To The Street
4. Serafina
5. Death Croons
6. Stay Cruel
7. Ben & Lily
8. Made For Me
9. Sweat
10. Machete

Tour Dates

10/19/2019 - Simple Things Fest - Bristol, UK    
10/20/2019 - SWN Fest - Cardiff, UK    
10/22/2019 - Soup Kitchen - Manchester, UK   
10/23/2019 - Hyde Park Book Club - Leeds, UK 
10/25/2019 - Record Junkie - Sheffield, UK    
10/26/2019 - The Poetry Club - Glasgow, UK    
10/28/2019 - Green Door Store - Brighton, UK    
10/29/2019 - Sebright Arms - London, UK    
11/8/2019 - St. Vitus - Brooklyn, NY    
2/19/2020 - Union Stage - Washington, DC    
2/20/2020 - Boot & Saddle - Philadelphia, PA   
2/22/2020 - Great Scott - Boston, MA  
2/24/2020 - Bar Le Ritz - Montreal, QC    
2/25/2020 - The Garrison - Toronto, ON   
2/26/2020 - Beachland Tavern - Cleveland, OH    
2/27/2020 - PJ's Lager House - Detroit, MI    
2/28/2020 - Sleeping Village - Chicago, IL   
2/29/2020 - 7th Street Entry - Minneapolis, MN   
3/3/2020 - The Sunset - Seattle, WA   
3/4/2020 - Fox Cabaret - Vancouver, BC   
3/5/2020 - Doug Fir Lounge - Portland, OR   
3/6/2020 - Cafe Du Nord - San Francisco, CA  
3/7/2020  - The Echo - Los Angeles, CA    
3/9/2020  - The Rebel Lounge - Phoenix, AZ    
3/10/2020 - Lowbrow Palace - El Paso, TX    
3/11/2020 - Barracuda - Austin, TX   
3/12/2020 - Ruins - Dallas, TX    
3/13/2020 - Hi Tone (Small Room) - Memphis, TN    
3/14/2020 - The High Watt - Nashville, TN    
3/15/2020 - The Earl - Atlanta, GA   
3/17/2020 - Cat's Cradle Back Room - Carrboro, NC    

Press pic (Kevin Condon) Album art

Find Bambara online: Facebook | Twitter | Instagram | Bandcamp

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Kiwi Jr announce debut album


Toronto’s Kiwi Jr. are excited to announce worldwide release of their debut album Football Money, via Persona Non Grata Records, who turned heads with Pip Blom’s debut EP in 2018.

Football Money will come out worldwide on January 17th, 2020, following a March 2019 Canadian release on Mint Records, best known for releasing early recordings by the New Pornographers, Neko Case and Lou Barlow.

Today the band share the video for their single “Salary Man.” A virtual explosion of power-pop, the track, like the full LP,  was engineered by Aaron Goldstein, and mixed by Holy Fuck's Graham Walsh

Of the video Kiwi Jr note, “after the fall of civilized society, all that’s left is a future rife with radioactive dogs and the remains of parties that never really took off. Clad in suit and tie and unable to part with their old routine, our hero wanders aimlessly through debris and clean up crews, searching for the remnants of something compelling and desirable.” The clip was directed by Ben Rayner who says: “putting together a perspective for this video, I wanted it to be fast paced, low budget, tongue-in-cheek, and highly personable. What we ended up with is ‘Salary Man.’” Watch the video here, or click below:

All natives of Charlottetown, Prince Edward Island, Kiwi Jr. are now based in Toronto and much of their songwriting is informed by the city that surrounds them. They have spent the last 5 years honing their craft both in the studio and live, including opening spots with Wolf Parade, New Pornographers and Alvvays.

Football Money was recreated at high volume on stages across Canada; a dispatch stitched out of fragments, a lustrous twelve-string paint-job unraveling ten booksmart tracks in under thirty minutes. A product of two years of labor, a monument to work-life balance, the record is not unattractively scarred by its circumstance: recorded by nightfall in dormant studios, friends and enemies drafted as backup singers and engineers, the LP untidily fuses the yin of work with the yang of life, chronicling a dual-existence, unkempt instrumentalists moonlighting as undercompensated administrators by the harsh fluorescent light of day, borne back ceaselessly into the Greater Toronto Area by night.

Kiwi Jr,: Rickenbackers detuned to the frequency of a blue-screen migraine, equal parts jangle and punk - a modern day Modern Lovers with the Kinks cc’d.

Find Kiwi Jr. online:  Website | Facebook | Twitter | Instagram | Songkick

UK tour dates:
27/1 - Glasgow, Hug & Pint
28/1 - Manchester, Gulliver’s
29/1 - London, Waiting Room

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FUR announce new single


After the success of their debut EP released earlier this year, FUR returned in July with single "Nothing (Until Something Else Comes Along)". Today, the band have released a brand new single "Trouble Always Finds Me" that is accompanied with a lyric video by Raissa Pardini. A perfectly formed pop song with the signature FUR sound of nostalgic teen-angst delivered with a knowing smile, the band package it all into two and a half minutes.

FUR guitarist, Josh Bowes, has explained the deeper concept behind it, "Trouble is about being a calamity. It’s dancing with accepting that you have a problem without having to address it. Lyrically, it’s tongue in cheek with its obscure Chas and Dave reference as a response to the way the industry can glamorize self destruction and place people in the spotlight who are in a dark place."

FUR are currently on their biggest headline tour to date, the UK run of which culminates in a show at London's Scala on September 25th.

Their self-titled EP was released earlier in the year on Nice Swan Records (Pip Blom, Sports Team, Sweaty Palms) and was described by DIY as "a pure, twinkle-eyed joy from start to finish." You can purchase the band’s EP on 12” vinyl direct from the label HERE.

Full 2019 Tour Dates below:
21st Sept - Liverpool, Sound Food & Drink
22nd Sept - Birmingham, The Sunflower Lounge
24th Sept - Bristol, Exchange
25th Sept - London, The Scala
3rd Nov - Gudfest, Jakarta
9th Nov - Tropicalia Festivzl, Long Beach
11th Nov - Gold Diggers, Los Angeles
13th Nov - Babys All Right, NYC
17th Nov - Very Festival, Bangkok

More information on FUR:

In the modern world of streaming-dominated music consumption, there are a few standard ways that artists tend to rack up the numbers. They’re either signed to a major label, who have the leverage and cash to get them all up in people’s eye-lines, they’ve managed to nab a lucrative top spot on a New Music Friday playlist, or they’ve made friends with Hugh Jackman and wound up on the still omnipotent soundtrack for 'The Greatest Showman'. Rare, however, is the track that climbs into seven-figure streams just by virtue of being very good. And even rarer still is the occasion when that happens to a virtually unknown indie band.

‘If You Know That I’m Lonely’, the jangling, sepia-tinged and '60s-inflected bop released by Brighton quartet FUR in the autumn of 2017, however, is currently sitting at over 7.5 million YouTube views.

It’s had no car commercial sync deals and no celebrity endorsement, and its aesthetically-pleasing, Wes Anderson-esque video literally cost “about £100 to make” - likely giving the track the most cost-effective money: stream ratio on the entire platform. “It 100% changed everything,” says singer Murray of the impact of the early track. “It's not just people saying 'cool video' and sharing it; a lot of these people are buying our records and merch and have adopted us as their new favourite band.”

He's not exaggerating, either. In the time since the release of the single, the band have traveled Europe, have imminent plans for their first US trip and, recently, headlined a 5,000-capacity event in Jakarta, Indonesia. “It was just a bit nuts; when we walked on it was quite overwhelming, but then we said just to treat it like any other show,” Murray recalls. “After the show, we were getting swamped by people. The reception was incredible,” continues bassist Tav. “If they like a band out there, [fans] give their whole life to it. It’s on a whole other level.”

Formed just over four years ago in the seaside town that the band - completed by drummer Flynn and new guitarist Josh - still call home, FUR might not have expected this rapid ascent, but their ambition and determination has been there ever since Day One, when Murray decided to hunt out university flatmates based purely on their ability to play an instrument.

Once he'd found the others, they began to pen tracks based equally in the ‘00s indie they’d grown up with and an increasing rekindled interest in the older music they’d always known from home. "It started off [influenced] by The Strokes and The Cribs, who are another band we all really adore. But as we kept on writing, I found myself really enjoying and being really good at tapping into that [other] place,” explains Murray. "So then it was a case of getting that balance where it doesn't sound like a band from the ‘60s, it sounds like if a '60s band were doing something modern.”

Following that first hit up with a string of singles and this year's debut self-titled EP, what FUR have specialised in to date is this ability to mix the old and the new, to take a particularly nostalgic strain of lovelorn guitar music but make it sound fresh again. Now, with Josh joining Murray at the writing desk, there's an even more potent balance going on at the band's core. “Josh has more of a guitar-driven viewpoint and it’s not changed us, but there’s a new energy in the band; we’re really excited because it’s like a new side of us is coming out,” enthuses the singer. “There was one week of madness, a few months ago, when me and Josh were in Brighton and we pretty much stayed up for three days just recording and writing. We recorded tens of tracks, and it was just [compulsive]. I'd look up and be like, 'Oh, 18 hours have gone by'. That was the first point that we'd done that together and it felt really good.”

The first output to feature the current line-up is set to come in the form of next single 'Nothing Until Something'. “It's a step in the direction that some of the newer stuff lies, the perfect in between point of what we have done and what's to come,” explains Murray. Immediately recognisable as FUR, but with a greater sense of directness and immediacy, you can see the bridge being created; thematically, meanwhile, it also sees the singer speaking more candidly than ever. ”It was written while I was at the end of a relationship that I didn't really want to be in anymore but I didn't know how to tackle it; going back and forth to London, drinking wine on the train,” he says. “I normally like writing songs that have a slightly wider angle, but I think this one has a more directly biographical feel.”

Garnering acclaim from the likes of BBC 6 Music, DIY and So Young, alongside their notable worldly travels (the quartet are set to return to Asia later this year to play on a bill with Billie Eilish, Noel Gallagher and more), next on the agenda for the band is to crack the crowds on their home turf. “FUR here and FUR in Indonesia are like different bands. I find it quite humbling coming home and not being at that stage. You come back and say, alright, well how do we try and get that over here?” says Murray. “I quite like the fact that it makes you hungry and aware of the potential. It makes you work harder.”

Case in point: the band's forthcoming September tour, which will see them play their biggest UK headline shows to date, including a stop off at London's Scala. “When we did the show at Omeara on Valentine's Day, we got heart-shaped balloons and decorations, and people really said how memorable it was, so we want to do something special like that again,” enthuses the singer. “I think people often don't make the effort to make a gig more than just going to watch a band, whereas I want it to be an experience.”

With a solid new line-up, a wealth of new material and an ever-increasing group of supporters on board to experience it with them, FUR are charging through 2019 with impressive momentum. "When we all think back to where it started with ‘If You Know That I’m Lonely’, doing it on such a shoestring and seeing where we’ve got to now from that, it’s mad,” sums up Murray.

You sense it’s still probably just the beginning...


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Son Little announces new EP


Son Little, the musical nom de plume of LA’s Aaron Earl Livingston, whose “impeccably crafted songs are honest and unpretentious” (NPR Music), today announces invisible, a new EP due October 11th via ANTI-. Recorded at Paris’s iconic Studios Ferber with producer Renaud Letang (Feist, Manu Chao), invisible offers up a tantalizing preview of Little’s third full-length album, set for release early next year. Watch the video for lead single, “hey rose,” below.

Watch video for “hey rose”

While Little plays nearly every instrument on the EP himself, he put his songs in the hands of an outside producer for the first time here, collaborating with Letang to create his boldest, most self-assured statement yet. Equal parts vintage and modern, the collection blends classic soul, old-school R&B, and adventurous indie sensibilities into a timeless swirl fueled by gritty instrumental virtuosity and raw, raspy vocals. It’s an ambitious work of vision and reflection, to be sure, but more than that, it’s an ecstatic testament to the freedom that comes from letting go.

Little’s newfound liberation is clear from the outset of invisible, which revels in freewheeling wordplay and daring sonic juxtaposition. Opener “hey rose” marries distorted, jittery guitar with smooth, sinuous vocals, while the slow-burning “about her. again.” injects trippy psychedelia into Sam Cooke soul, and a cover of “Skid” from Love’s long lost masterpiece Black Beauty uses a 1973 meditation on homelessness to make a pointed statement about our indifference to suffering in modern America.

Born to a preacher and a teacher in Los Angeles, Little first came to international prominence with his self-titled 2015 debut. While Little had already made a name for himself in his adopted hometown of Philadelphia for his collaborations with hip-hop legends The Roots and electronic pioneer RJD2, critics on both sides of the pond were quick to recognize the unique power of his solo recordings. The album landed Little dates with everyone from Leon Bridges and Kelis to Shakey Graves and Mumford & Sons alongside festival appearances at Bonnaroo, Newport Folk, and more. Never one to rest on his laurels, Little showed off his production chops the following year, earning a GRAMMY Award for his work helming Mavis Staples’ acclaimed See That My Grave Is Kept Clean, and in 2017, he released a critically lauded sophomore album, New Magic.

invisible EP Tracklist:
01. hey rose
02. about her. again.
03. i’m a builder
04. skid
05. hey rose (quantic remix)

Listen to “hey rose” / Pre-save invisible:


Find Son Little online:
Artist Site | Facebook | Twitter | Instagram | YouTube | ANTI-

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Spearmint announce new album


"One day Spearmint will be hailed as gods" – NME

"Celebrates being hopelessly head-over-heals in love - revel in its purity and joy" – Mojo

“Everything that makes pop music special" – Melody Maker

"Sweet sounds... exquisitely precise" – Uncut

“One of the most life-affirmingly brilliant pop bands” – Drowned In Sound

Today, cult-favourites Spearmint have announced a brand new album 'Are You From The Future' to be released on November 1st on their hitBACK label.

This year marks the 20th anniversary of their debut release 'A Week Away', but Spearmint have their minds firmly focused on the years to come. Spearmint’s singer and song-writer Shirley Lee explains, "The title ‘Are You From The Future?’ refers to the younger folk, who will see a future that I won’t. I can only apologise for what my generation and the baby boomers are passing on – the sooner the current teens and twenty-somethings are running the world the better, as far as I’m concerned."

The first taster from the release comes in the form of new single '24 Hours in A and E', that was a late addition that has become a favourite with the band themselves. "It was written when we were half-way through actually recording the album. I was so proud of the song, especially the structure, which I think is unique. I was worried that band or JB wouldn’t get it, and would want to change it to make it more orthodox. But they all got it straight away, it was a pleasure to work on, and makes the perfect opener to the album", says Lee.



More on 'Spearmint' and 'Are You From The Future?':

London-based Spearmint have been quietly getting on with making great albums for a couple of decades now. Still the same line-up, still all on their own label. Often referred to as ‘Britain’s best kept secret’, the band have resolutely ploughed their own path, ignoring all else, to concentrate on what they set out to do. Their single-minded search led Joseph Gordon Levitt to bemoan “I don’t want to live in a world where no-one’s heard of Spearmint” in the movie ‘500 Days of Summer’ (itself inspired by the band’s ‘My Missing Days’ album), and led US publishers Image to issue a coffee-table book of graphic novellas based around 19 Spearmint songs.

Singer Shirley Lee says, “Somebody compared us to those soldiers who were still in the forest years later, because they didn’t realise the war was over. I get that, but for us there never was an army, let alone a war… we never were part of a movement, or part of a scene, we’ve been on our own all the way... and we still are. It sometimes makes it hard financially, but it’s worth it. We’ve been happily ignored most of the time, but it’s allowed us to just get on with it.” As a result, the band sound as fresh now as they did when their debut album ‘A Week Away’ was released twenty years ago.

Now comes the new Spearmint album 'Are You From The Future?', a heady, energetic, romantic exploration of the chaos we are all living through. Re-united with their original producer JB to make the record in Brighton, the band feel that the album is one of their very best.

Spearmint is still Shirley Lee (singing, guitar), Simon Calnan (singing, keyboards), James Parsons (bass, artwork) and Ronan Larvor (drums). The band are occasionally joined by Andy Lewis (Paul Weller). Andy was busy with other projects during the making of this album but will return in the future.

As well as the 20th anniversary of their debut album ‘A Week Away’ (featuring ‘Sweeping The Nation’, ‘We’re Going Out’, ‘A Trip Into Space’), the band are also celebrating the 50th release on their own hitBACK label. “We only started hitBACK to avoid all that business of sending off demo tapes to labels. We saw so many good bands losing heart because they were rejected, or worse, splitting up because they were signed and then got dropped."

Some of Spearmint’s key previous albums are the afore mentioned ‘A Week Away’ (1999), as well as ‘A Different Lifetime’ (2001), ‘My Missing Days’ (2003), ‘Paris in a Bottle’ (2006), ‘Shirley Lee’ (2009) and ‘It’s Time to Vanish’ (2016), which was their latest release. ‘Are You From The Future?’ is out on 1st November digitally, on CD, and on extremely limited customised vinyl.

Spearmint will premiere the new songs live with some choice cuts from the band’s catalogue at the legendary Water Rats venue in November.

See Spearmint live:
14th November - Water Rats, London

'Are You From The Future' track-listing:
1, 24 Hours in A and E
2, Pick The Papers Up
3, Senseless
4, Fireflies
5, Thomas
6, I Don't Sleep Well Without You
7, Boom Boom Boom
8, As I Write This
9, St Thomas In The Darkness
10, I Met A Boy
11, The West Pier
12, It Won't Happen To Me

Find Spearmint online: | Facebook | YouTube | hitBACK

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When Saints Go Machine announce new album


Copenhagen's When Saints Go Machine today return with the announce of the much-anticipated "So Deep", their first album since 2013's "Infinity Pool", and its first single in the skewed melody and electronics of "Reflection Of You (Bloodshot)":


Nikolaj Manuel Vonsild (vocals, production), Jonas Kenton (production) and Silas Moldenhawer’s (production) unique brand of digital pop experiments has seen them collaborate with the likes of Killer Mike (Run The Jewels), carved themselves an exciting niche and received critical acclaim worldwide.

The three-piece’s sound was born of a complicated melting pot of musical influences. Crossing dance, post punk, experimental electronica, pop and two-step, the end result resembles a heady mix of modern electronics, European club culture, contemporary rap and a dualism between composed and produced sounds as seen with Oneohtrix Point Never and Arthur Russell although really doesn't sound like anything else out there. 

And with their latest material, the band push that originality to another level. The engaging, extra-terrestrial feel to "So Deep" is another ambitious move from the three-piece and its genesis came about through a collaboration with the Copenhagen Philharmonic Orchestra, who reinterpreted material from earlier records for live performances in their home country. That rewarding process inspired further collaborations and the expansive sound of "So Deep" is the result of that continued affinity between two tribes of musicians who, on paper, may seem the antithesis of each other.

The album incorporates club inspired elements, both in sound and arrangement, exploring the process and dialogue between traditional music creation and modern digital creation. The band work tirelessly to create an expansive sample bank of orchestra recordings to put into a digital world, and then pushed and stretched them into something else entirely.

The band manipulated sounds while recording in real time, which then became the sample. Samples were crafted into a score that was given back to orchestra, completing the work. A symphony of synthetic and traditional was the result, sinews between the past and future of music to create something truly unusual.

This playful sense of pushing forward, of a restless desire to do something different and otherwordly is apparent across the record, an alien experiment in sound. This is pop music, celebrating the universal, but cerebral nonetheless - an example of this would be an imitation of speed through the sound of strings playing with the same tonal shift as race cars changing gears. 


Vocalist and founding member Nikolaj Vonsild has the following to say about the new recordings:

"This is our first album in six years and the only reason we did it is that it felt like the right project, it felt important. We were inspired again.
Working with the Copenhagen Philharmonic felt like the most significant project we could think of. The most giving project."

The band will play the following dates in the support of the release:

16.10 - Hamburg - Uebel & Gefährlich   
17.10 - Berlin - Lido
18.10 - Prague - Meet Factory
19.10 - Poznań - Projekt Lab
20.10 - Warsaw - Smolna   
22.10 - Vienna - Fluc
23.10 - Bratislava - Ateliér Babylon
24.10 - Munich - Rote Sonne
25.10 - Lucerne - Schüür 
26.10 - Zurich - Stall 6
13.11 - London - The Pickle Factory

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Touché Amoré share new track


In the three years since the release of their critically acclaimed fourth studio album, Stage Four, Touché Amoré has spent their time touring and reflecting on a record that was deeply personal. Time heals, and singer Jeremy Bolmexplains that moving forward, they want to shake things up, “This time around, we need to take a chance with the unfamiliar. Someone who would take us out of our comfort zone. Enter Ross Robinson. A man who knows no comfort zone. I followed his career all through my youth to being a young adult. When we returned from our recent Midwest tour, we entered the studio to record a song with Ross and see if there was chemistry…” That chemistry was captured with Robinson’s (Korn, At the Drive-In, Glassjaw) signature analog recording style and “Deflector” was born in a small basement studio in Atwater Village, CA.


“Deflector” will be featured on an exclusive 7” with previously released track “Green.” Fans can pre-order the 7” now in olive green with white splatter via the band’s webstore, here. The band will also have exclusive tour variants for sale on the road this fall.

Touché Amoré will kick-off a month long European co-headlining tour with labelmates Deafheaven on Monday November 16th in Budapest. For ticketing information visit:

EU/UK co-headline dates w/ Deafheaven:

16-September, 2019 - Budapest, A38 (HU)
17-September, 2019 - Ljubljana, Kino Siska (SL)
18-September, 2019 - Milan, Santeria Social Club (IT)
20-September, 2019 - Vienna, Arena (AT)
21-September, 2019 - Prague, Meet Factory (CZ)
22-September, 2019 - Berlin, SO36 (DE)
23-September, 2019 - Copenhagen, Vega (DK)
25-September, 2019 - Hamburg, Markthalle (DE)
26-September, 2019 - Haarlem, Patronaat (NL)
27-September, 2019 - Wiesbaden, Schlachthof (DE)
29-September, 2019 - Bristol, SWX (UK)
30-September, 2019 – Newcastle, Riverside (UK)
1-October, 2019 – Glasgow, Garage (UK)
2-October, 2019 – Manchester, Academy 2 (UK)
3-October, 2019 – London, Electric Ballroom (UK)
4-October, 2019 – Brussels, AB Ballroom (BE)
5-October, 2019 - Paris, Trabendo (FR)
7-October, 2019 – Cologne, Live Music Hall (DE)
8-October, 2019 – Munich, Backstage Werk (DE)
9-October, 2019 - Zurich, Rote Fabrik (CH)
10-October, 2019 – Lyon, Epicerie Moderne (FR)
11-October, 2019 - Barcelona, AMfest (ES)
12-October, 2019 - Madrid, Sala Shoko (ES)
13-October, 2019 – Porto, Amplifest (PT)

Formed in Burbank, California, across 2007 and 2008, the band’s urgent sound has grown tighter and more refined through four full-length albums, a series of EPs, and various single releases. Lead singer Jeremy Bolm, guitarists Nick Steinhardt and Clayton Stevens, bassist Tyler Kirby, and drummer Elliot Babin have created a trajectory for themselves through hard work and dedication. Over the years the band rose to prominence with 2009’s …To the Beat of a Dead Horse, 2011’s Parting the Sea Between Brightness and Me, and crossed into new territory with the 2013 art-punk masterpiece Is Survived By. In late 2016 Touché Amoré released their fourth studio album, Stage Four. The album graced many critics’ lists including A.V. Club’s “20 Best Albums of 2016” list, Stereogum’s “50 Best Albums Of 2016” list, and one of the 20 best emo/punk albums of 2016 by Brooklyn Vegan. In celebration of playing their 1000th show in their hometown of Los Angeles to celebrate their 10-year anniversary as a band in 2018, the band released their live album 10 Years / 1000 Shows at The Regent Theater.


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Dry Cleaning announce new EP


Album release date: 25th October 2019

Today South London's Dry Cleaning have announced their second EP, "Boundary Road Snacks and Drinks", following the critical success of summer 2019’s debut "Sweet Princess". As well as available digitally, both EP's will be compiled together for a 12" vinyl release on October 25th (pre-order HERE).

"Sweet Princess" saw the band arrive fully-formed, and in the brief two months or so since a debut single - their paean to Meghan Markle, "Magic of Meghan" - landed, the band have seen significant international press and radio support, including a 7.8 for the EP at Pitchfork and playlisting at 6 Music.

Following their sold out headline show at The Shacklewell Arms, the band have also announced an EP launch show at The Lexington on October 23rd and released Sit Down Meal, the first single from the release.



Lyrically, Sit Down Meal is about being lost for words; there is some reference to both the language of placeholder text and greetings cards throughout the song.

Vocalist Florence Shaw has said the following about the inspiration for the single:

"It’s set at the moment just after being suddenly dumped. You cling to details, things you did together and reel at their significance. If you smell their perfume on someone else you feel overwhelmed, but immediately and painfully aware of how lightning quick a relationship can evaporate into thin air."

Boundary's collection of songs takes its name from the location and context of a shared genesis, and marks a significant chapter for the band as the last tracks to be written in their original rehearsal space.

The offering displays a more evolved sound than its predecessor; more textured and confidently realised without overlooking the melodic subtleties or minimal approach implicit on their debut.

There is a pop sensibility to the lyrics and a sense that this writing process has become more fluid; words are consciously used with more economy and are often repeated.

With this new recording, Dry Cleaning are seeking to expand the palette of their sound without nagging the simplicity and directness of their songwriting.

The band will play the following dates in support of the EP:

17.10 - Workman's Club, Dublin
19.10 - Simple Things Festival, Bristol
20.10 - SWN Festival, Cardiff
23.10 - The Lexington, London
23.11 - Great Western Festival, Glasgow
24.11 - Picture House Social, Sheffield

Buy Tickets

Dry Cleaning - Boundary Road Drinks and Snacks
Out October 25th on It's OK

1. Dog Proposal
2. Viking Hair
3. Spoils
4. Jam After School
5. Sombre One
6. Sit Down Meal

Further information on Dry Cleaning:

Firm friends for years, the band (Lewis Maynard, Tom Dowse, Florence Shaw & Nick Buxton) only started making music after a party in 2017 inspired a collaboration. They wrote instrumentally to begin with and six months later Shaw, a university lecturer and picture researcher by day, joined on vocals with no prior musical experience. They recorded their debut “Sweet Princess” EP before playing their first show only last year.

Dry Cleaning’s music is simple - direct and uncomplicated. The Feelies, the Necessaries, the B52s and Pylon all served as inspirations when the band first came together. The small and intimate garage / rehearsal space had a huge influence on the sound; anything unnecessary was to be left behind.

A discussion among the four band members about how to make the prospect of performing as comfortable as possible for Florence (a first timer) ahead of the band’s first rehearsal as a four piece, led to her using her speaking voice. There were several references for this; Will Powers, The Anaemic Boyfriends and Grace Jones, among others.

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Black Country, New Road announce new live dates


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

The full dates are as follows:

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

^ = w/Culture CT
* = w/Famous

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


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


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

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

Black Country, New Road are:

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

Selected praise for "Sunglasses":

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

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

“Funny, vivid and anthemic.” – The Guardian

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

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

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

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

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

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

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

“chaotically brilliant” – DIY 

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

“poetic gold” – So Young

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

New Music Friday - NPR

No Shit Playlist - Loud & Quiet


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Young Guv announces second part of album


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

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


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

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

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

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

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

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


Album Artwork By: Braulio Amado | Hi Res Version Here

Young Guv
Run For Cover
October 25, 2019

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

Young Guv Live Dates:

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

# w/ Turnover

Find Young Guv online: InstagramTwitterRun For Cover.

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Spielbergs announce new single


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

The FADER on "Running All The Way Home"

Download hi-res image HERE

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

Listen to Running All The Way Home HERE

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

Pre-order EP HERE

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

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

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

Running All The Way Home EP tracklist (LP):

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

Pre-order the EP HERE


Download hi-res artwork HERE

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

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

Upcoming live dates:

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

Further praise for Spielbergs:

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

10/10 - Powerplay

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

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

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

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

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

More about Spielbergs 

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

Spielbergs are: 

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

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

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Michael Janisch shares new single and announces album


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

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

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

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


Michael Janisch
'Worlds Collide'

Out 6th September 2019 via Whirlwind Recordings

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

Pre-order - CD / VINYL

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

Full tour dates:

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


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Kit Philippa announces debut album


“…impressive is too weak a word” Hozier

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

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

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

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

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

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

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

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

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

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

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Alice Zawadzki announces new album


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

“She is a genuine original”
– The Guardian

“Something of a phenomenon”
– MOJO Magazine

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

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

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

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

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

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

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


Album Art


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

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

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

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

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

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

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

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

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

Alice Zawadzki
'Within You Is A World Of Spring'

11th October 2019
Whirlwind Recordings

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

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

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

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LIFE share new single


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

 – The Guardian

“LIFE combine inescapable energy with unshakeable hooks”
 – Dork

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

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

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

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


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

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

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

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

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

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

Tickets are on sale now from

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

Pre-order the album HERE



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

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

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

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

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

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

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

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

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

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

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

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

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

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

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


‘A Picture Of Good Health’ Tracklisting:

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


More information

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

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James McArthur announces new album


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

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

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

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

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

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

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

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

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

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

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


Download artwork HERE

More on 'Intergalactic Sailor":

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

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

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

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

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

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

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

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

More information

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

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