Miss June sign to Frenchkiss Records

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Record release: 10th June 2019
Label: Frenchkiss Records
More info: Miss June’s Facebook page

Miss June sign to Frenchkiss Records

Watch video for new single 'Best Girl'

Announce double A-side 'Best Girl' / 'Twitch' 7" vinyl out June 10th

UK & US live dates

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Pre-order 7" single
Watch video for 'Best Girl'
Purchase tickets for live dates

Press shot by Nicole Brannen - hi-res version HERE

Early praise for Miss June & 'Best Girl':

"A creative forward thinking piece of punk music… this band are brilliant" - BBC Radio 1, Jack Saunders

"The rising New Zealand outfit hurl the kind of sawtoothed, brooding yet riotous post-punk sure to ignite house shows and festival crowds alike." Consequence Of Sound

"“Rebel Girl,” “Miss World,” the Yeah Yeah Yeahs, the Go-Go’s, Joy Division — but calibrated for 2019 ears craving a clever, irresistible outlet." - NY Times

"Annabel Liddell has found herself cast as a voice of young New Zealand feminism — a title the medical student denies she deserves, but eloquently fulfills." - i-D

"Led by vocalist Annabel Liddell (she of the Courtney Love, Joan Jett and Meredith Graves like pipes), the four piece blast out melodic punk songs." - Noisey

The latest export from New Zealand is coming to us by way of Auckland band Miss June. Described as “some unholy union between Sonic Youth and Le Tigre,” the four piece harness jagged, noisy guitars filtered through the unrivalled stage presence of front-person Annabel Liddel, guitarist Jun Park, bass player Chris Marshall and drummer Tom Leggett.

Today, the band share their newest single “Best Girl” which Liddel notes, “is an anthem for anyone who has been misled from birth, into battle for a spot that doesn’t exist.”

Miss June have also announced their signing to NYC’s Frenchkiss Records (Diet Cig, Bloc Party, Eleanor Friedberger, Passion Pit, etc.) and on June 10th the label will release a double a-side 7” consisting of today’s single "Best Girl" and the previously released and equally brilliant “Twitch.”

The band has built a reputation for fierce, formidable and head-spinning live shows which have caught the attention of acts like The Foo Fighters, Shellac, Wolf Alice, Idles and Die! Die! Die!, who have all eagerly harnessed their support on stage. Next month will see them bring this party to UK and US for shows in London, New York City and Los Angeles.

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

UK & US live shows:
June 11th - Old Blue Last - London, UK
June 12th - The Windmill - London, UK
June 15th - Bushstock Music Fest - London, UK
June 17th - Elsewhere (Zone One) - Brooklyn, NY
June 18th - Berlin - New York City, NY
June 20th - Union Pool - Brooklyn, NY (w/ Twen)
June 21st - La Cita, Los Angeles, CA (Punky Reggae Party)
June 24th - The Avalon - Los Angeles, CA (School Night Party)


Find Miss June online:

FacebookBandcampYouTubeSoundcloudFrenchkiss Records

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concrete concrete share new single and announce album

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Album release: 2nd August 2019
More info: concrete concrete’s website

concrete concrete share new single 'Hues' and announce debut album 'Drifter' out 2nd August 2019

New Album Produced By Mino Takaaki Of Toe

Today, Brooklyn instrumental rock trio concrete concrete have shared their emotive and intricate new single ‘Hues’. The single is taken from their highly anticipated debut album ‘Drifter’, which is due out 2nd August 2019.

HEAR/SHARE THE NEW SINGLE ‘HUES’ HERE

The lead single from the forthcoming record, ‘Hues’ perfectly exemplifies the bands beguiling dynamic. Whereas many math-rock bands focus solely on angular rhythms and complex time signatures, concrete concrete strive to imbue emotion into their material. Whilst the ability to convey readily decipherable meaning into instrumental rock is limited, the context of ideas and themes in which songs are created can permeate the music, making it the carrier of more abstract notions of meaning.

On ‘Drifter’, concrete concrete mirror their own personal lives by telling the story of a restless soul who anxiously leaves its past life for a new destination. The atmospheric eleven-song narrative sways gently from euphoria to melancholia - and then back again - as the main character gradually transitions from a place of chaos and confusion to a new setting in which peace and self-realisation can, and do, occur.

Speaking about the record Pei Pang (guitar) says, “It is a story about the life that’s constantly on the move, where uncertainty and determination play tug of war. It’s often struggles to seek belonging, with occasional glitters of joy and fragments of nostalgia along the way. Eventually, we accept and make peace with where we are and what we have become.”

Formed in 2016, members of the instrumental rock band concrete concrete wandered twelve time zones from home to meet in the vibrant music scene of Brooklyn, New York. Andi Wang and Pei Pang founded concrete concrete after attending the same college. They soon recruited bassist Kenji Tokunaga and drummer Kiyoshi Chinzei. Spurred by their passion for exploring new territory within their favourite genres, concrete concrete embarked on a series of explosive live shows around New York (supporting the likes of Alex Cameron, Caveman and Zhaoze) and intense songwriting sessions that would soon result in ‘Drifter’.

It wasn’t long before they caught the ear of Mino Takaaki, member of Japanese math-rock heroes’ toe. Mino and Kentaro Kimura, the original duo who produced toe’s critically acclaimed cult favourite album ‘the book about my idle plot on a vague anxiety’, mixed and mastered 'Drifter'.

‘Drifter’ is as expansive as it is beautiful, exploring a narrative that journeys through the bands emotional and mental condition on incredibly touching subjects, which evoke feelings of empathy and also attainment. This is a record that requires attention and is one that rewards the listener more and more with every return. Like the nameless character from this debut record, ‘Drifter’ shows that there is much to be excited about on this innovative start of concrete concrete’s journey.

'Drifter' is due out 2nd August 2019 – Pre-order HERE

For all press enquiries please contact Will Vincent on
will@prescriptionpr.co.uk

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concrete concrete
'Drifter'

2nd August 2019

1. Departure
2. But I Still
3. Sequence Rewind
4. Foes
5. Hues
6. The Cassette
7. I Glance Through The Light
8. Iris Sky
9. If Time Has A Turning Point
10. Arrival
11. Reverie

concrete concrete is:
Andi Wang (Guitar)
Pei Pang (Guitar)
Kenji Tokunaga (Bass)
Kiyoshi Chinzei (Drums)

Find concrete concrete online:
FACEBOOK / BANDCAMP / WEBSITE

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Ada Lea debuts video and announces album

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Album release: 19th July 2019
Label: Sadle Creek
More info: Ada Lea website

“…beautiful and insightful…Often, her songs end up revealing the strange and weird thoughts grief and transition can bring out of us, feeling all the more honest and real in its chaos.” - The FADER

Ada Lea -- the project of Montreal-based artist and musician Alexandra Levy -- today debuted her video for second single “mercury” alongside an interview with The FADER. Watch the Monserrat Muro-directed clip now HERE.

Saddle Creek’s newest signing, Ada Lea will release her debut album what we say in private on July 19, 2019, and the album is available for pre-order in multiple formats -- including a limited edition glow-in-the-dark vinyl exclusive to the Saddle Creek webstore -- HEREGorilla vs. Bear debuted first single “the party” last month and the song earned additional praise from outlets including The FADER, Brooklyn Vegan, and Paste, among others.

Following a run of U.S. dates last month supporting Angelo De Augustine, Ada Lea has announced North American tour dates in August. The tour begins the 1st in Toronto and includes a Brooklyn, NY show on the 2nd at Union Pool. She’ll also head overseas for the first time in November for a stop at the Mirrors Festival in London.

To Levy -- who is also a painter -- music and visual art are different vessels for communicating similar ideas. “It's a world that I can build around me and sit inside,” she says. Through all her art, Levy explores the concept of womanhood as it feels and looks to her, as well as love and how it transforms over time. She doesn’t shy away from exploring uncomfortable and painful emotions, either. With the brightness of love, strength, and hope contrasted with the darkness of loss, suffering, isolation, and abandonment, the Ada Lea album what we say in private is a varied and vivid record that constantly seems to shift in the light, bringing together all the intricate influences she’s collected over the years.

"what we say in private" began with a need to document the ending of an important romantic relationship. Following a tormented period of staying up all night (sometimes days at a time), frantically painting or writing songs as a means of coping, she journaled for 180 days in the hope of finding herself again. She conducted this period of analysis and introspection in private, like most of her creative pursuits, and the process eventually resulted in a rebirth: a rediscovery of self and a new sense of freedom and self-acceptance. These chaotic feelings and the resulting catharsis are deeply felt in the final recording of what we say in private. Levy wanted the album to feel like a journal entry from those 180 days as she cycled through emotions. Throughout, she expresses feelings and thoughts that all humans experience behind closed doors and alone, but are conditioned to keep to themselves.

"what we say in private" truly comes alive thanks to the way these recordings utilize the very real world around them, rather than shutting it all out. Expanding the boundaries of the studio, Levy, alongside the record’s producer Tim Gowdy, found new and nuanced ways of allowing the songs to flourish. “It was all part of a bigger idea,” she says. “We stuck microphones out of windows in mid-January to capture the chilly nighttime sounds. We recorded snow removal trucks backing into the lot and airplanes flying overhead. We used voice memos, a piece from here and another from there. I had built a room with the demos of my songs and Tim helped to add a second level.” As such, the album reverberates with human warmth, defined by the signature characteristics that can be found throughout -- as on “the party,” which fittingly comes wrapped up in static white noise, a soft atmosphere lingering in the distance and gently surrounding the stark instrumentation that is gradually introduced.

Read Ada Lea’s full bio / download photos & artwork HERE.

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Ada Lea (credit Bao Ngo) - download HERE

See Ada Lea live in the UK:
November 2nd - 

London, UK
 @ Mirrors Festival 2019

Find Ada Lea online:
Website / Facebook / Twitter / Instagram / Saddle Creek Website

More information

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Automatic sign to Stones Throw

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Single release: Out now
Label: Stones Throw
More info: Automatic’s Instagram

Post-Punk trio 'Automatic' sign to Stones Throw and Stream "Calling It",  the new single out now

Download press shot HERE - credit: Logan White

“Let’s call it off and start again.”

Automatic is Izzy Glaudini (synths, vocals), Lola Dompé (drums, vocals) and Halle Saxon (bass, vocals). The band first met while immersed in L.A.’s DIY music scene and started jamming together in 2017. Once they started playing out, word quickly spread about their explosive live shows. Over the past year they have become a mainstay on the L.A. club circuit.

‘Calling It’ is their first single on Stones Throw. Says Izzy Glaudini on the track, “Its lyrics capture the sensation of being adrift in a wide-open space, and the desire to rip it all up and start over.” 

Look out for more music from Automatic soon, and stay tuned for news of forthcoming tour dates. Automatic play at Froth's (Burger Records) album launch at the Lodge Room in Highland Park, L.A. on June 7th. Tickets are available here. During the month of August they will be headlining a month-long residency at the Echo in L.A. every Monday.

Stream ‘Calling It’ now via:
Bandcamp / YouTube Spotify / Apple Music

Find Automatic online:
Instagram / Spotify

Find Stones Throw Records online:
Website / Soundcloud / Facebook / Twitter / Instagram

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Slaughter Beach, Dog announce new record

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

Slaughter Beach, Dog announce new record 'Safe And Also No Fear' out August 2nd, 2019 on Big Scary Monsters. Listen to two new songs from it 'One Down''Good Ones'

"Jake Ewald of Modern Baseball has found his voice as a musician" -Pitchfork

"Indie rock wails peaking through wistful storytelling" -Stereogum

"A style that recalls long-winded storytellers like Conor Oberst and Stuart Murdoch" -The FADER

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

SBD is streaming two new tracks from the record today, the irresistibly catchy "One Down" and the effervescent "Good Ones" - both tracks can be heard HERE.

Tour dates and more news from the band will be announced soon.

Slaughter Beach, Dog Bio:

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

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

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

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

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

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

Find SBD online: Facebook | Twitter | Bandcamp | Big Scary Monsters

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Swim Deep announce new album

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Album release: 4th October 2019
Label: Cooking Vinyl
More info: Swim Deep’s Facebook page

Photo credit: Ash Kingston

SWIM DEEP herald their return today having been Annie Mac’s Hottest Record on Radio One last night -  sharing To Feel Good and announcing details of their new album Emerald Classics, on their newly formed label imprint Pop Committee through Cooking Vinyl on October 4th, 2019 across all formats.

Newly reconfigured as a five-piece they now number original frontman Austin alongside bassist Cav and James on keyboards with ex-Childhood drummer Tomas Tomaski whilst Cav’s catwalk partner-in-crime Robbie Wood takes over guitar duties.

Following the release of 2015’s album Mothers and a US tour with 1975, the band embarked on a self-induced hiatus to take stock – four years and two albums had taken their dreams and good looks and offered them everything in return – An everything that never quite materialised. Personnel changes, friendships revived, relationships requited sees the original axis of Austin and Cav return together with a steely confidence and a collection of their most fully-fledged pop songs yet.

Emerald Classics is available to pre-order here

Watch the video below.

The first taste of this new relationship is the gospel infused and spoken word of album opener To Feel Good – Featuring Margate’s Social Singing choir, the track’s a big statement and an even bigger song that transcends the group’s intrinsic feel good factor and DIY ethos of the early days through to the synth-pop strains of MothersEvoking a dose of self-loathing in the shape of a particularly dark but wonderfully shot video, To Feel Good opens another chapter in what thus far has been a life-affirming roller-coaster of reality, struggle and proof that you can keep going.

Recorded on the South East Kent coast over a three week period late last summer with Dave McCracken presiding over production duties – who has worked with everyone from Ian Brown to Beyoncé and proceeded to meld the pop sensibility of their debut and the burned out psychedelia of their second – as Austin recognises; “He’s a very vital part of this record. Maybe the most vital.”  Emerald Classics – an album for dreamers and pub jukeboxes.

1. To Feel Good
2. 0121 Desire
3. Bruised
4. World I Share
5. Father I Pray
6. Sail Away, Say Goodbye
7. Drag Queens In Soho
8. Happy As Larrie
9. Top Of The Pops
10. Never Stop Pinching Myself

Having previously announced a run of 0121 Desire hometown shows in Birmingham, now sold out, the band will be announcing further UK shows very shortly.

June live date

18 BIRMINGHAM Sunflower Lounge sold out
19 BIRMINGHAM Sunflower Lounge sold out
20 BIRMINGHAM Sunflower Lounge sold out

Find Swim Deep online: Facebook | Twitter | Instagram

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Roxy Girls sign to Moshi Moshi Records

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Single release: Out now
Label: Moshi Moshi
More info: Roxy Girls’ Facebook page

Roxy Girls sign to Moshi Moshi Records and share new single ‘Trials and Tribulations’ and announce new mini-album ‘A Poverty Of Attention’ out 6th September 2019.

Today, Sunderland post-punk 4-piece Roxy Girls have shared their new single ‘Trials and Tribulations’. Having recently signed to Moshi Moshi Records, the single is accompanied by the announcement of the bands’ forthcoming mini-album ‘A Poverty Of Attention’, which is due out 6th September.

The last six months have seen Roxy Girls light up their homeland releasing a hotly received debut EP which garnered early support from Marc Riley and Tom Robinson at BBC 6 Music (with the band performing for both in session), as well as earning plaudits from the likes of The Line Of Best Fit, Amazing Radio and more. Similarly, the band have played a number of shows across the UK earning a reputation for their angular and intoxicatingly idiosyncratic live performances supporting the likes of Drahla, Du Blonde, Flamingods, The Rhythm Method, Crocodiles, Mush, Duds, Thee MVPS and more.

The new single was given it’s first play with Marc Riley on BBC 6 Music last night and was premiered via Paste HERE, who said “with a nimble post-punk riff, a gyrating groove and frontman Tom Hawick’s talky chirp, Roxy Girls chronicle the quest to remain unfazed by the monotonous daily grind.”

HEAR/SHARE ‘TRIALS AND TRIBULATIONS’ HERE

'Trials and Tribulations' is taken from the bands’ forthcoming mini-album ‘A Poverty Of Attention’. Recorded with David Brewis of Field Music their new record sees the band expand on previous material, stripping down the post-punk format and remodelling it for current generation. Whilst their vernacular might make The Futureheads an easy (albeit apt) comparison, there is an added breathless intensity and intricacy to their instrumentation that calls to mind the likes of Omni or Gang of Four. This is interwoven with indie-pop sensibilities and hooks that are reminiscent of XTC, Television and Modern Lovers, which is driven largely by the surreal and often dry humour that permeate frontman Tom Hawick’s vocals with lyrics that centre around the tropes of modern living.

Speaking about the new material the band says “Everyone knows how it feels to be a little lost or to be stuck in a seemingly inescapable rut. Trials and Tribulations does what it says on the tin really... We get bored when we're on our own and letting other people into our lives can rescue us from this impending insanity.”

Roxy Girls have gone from strength-to-strength at an astonishing rate and with a vast array of critical acclaim, renowned live shows and their recent signing to Moshi Moshi Records, the new single and mini-album is a thrilling prospect and a huge statement of intent, which is not to be ignored.

‘A Poverty Of Attention’ is due out 6th September 2019 via Moshi Moshi Records. Pre-order HERE

The band will also play further dates and festivals across the summer including:

June 5th - Salemango Festival, Hyde Park Book Club, Leeds
June 11th - The Social (For Huw Stephens), London
June 19th - The Cumberland Arms, Newcastle
June 27th - Hyde Park Book Club, Leeds
July 26th - Kendal Calling Festival (Tim Peaks)
24th September – Sebright Arms, London
+ more TBA

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Roxy Girls
‘A Poverty Of Attention’

6th September 2019
Moshi Moshi Records

1.      Two Dead Nuns
2.      Who Is The Problem?
3.      Responsibilities
4.      Trials and Tribulations
5.      Spanners For Hands
6.      Keep Your Head Above Water
7.      Don’t End Up (In My Position)

Find Roxy Girls online: Facebook Twitter Spotify | MOSHI MOSHI RECORDS

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Why? return with new music

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WHY? RETURN WITH NEW VISUAL CONTAINING FIRST NEW MUSIC SINCE 2017's 'MOH LHEAN'

WATCH/SHARE "I MAY COME OUT A BROKEN YOLK, I MAY COME OUT ON SADDLE"

HEAR THE AUDIO-ONLY VERSION 

HEAR THE LEAD SINGLE 'PEEL FREE' 

WHY?
, the creative moniker for consummate wordsmith and beloved songwriter Yoni Wolf, has returned today with a compellingly cryptic visual titled "I may come out a broken yolk, I may come out on saddle."

The video, whose interconnected songs comprise WHY?'s first new music since 2017's masterful Moh Lhean (Joyful Noise), stars Emmy-winning actress Tatiana Maslany (Orphan Black) and was directed by Sundance Dramatic Special Jury Award-winner Miles Joris-Peyrafitte. Stream or embed the video HERE. Hear the entire audio-only version HERE, and hear "Peel Free" on its own HERE.

WHY? recently finished touring behind the 10th anniversary of their modern-classic 2008 LP Alopecia, and earlier this year Yoni collaborated with Lala Lala (aka Lillie West) on the bombastic "Siren 042." Stay tuned for more news and tour dates from WHY? in the coming weeks.

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I. I may come out a broken yolk, I may come out on saddle

1. Apogee
2. The Rash
3. Peel Free

Find WHY? online:
WEB | INSTAGRAM | FACEBOOK |  TWITTER | BANDCAMP

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Redd Kross announce new album

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Album release: 23rd August 2019
Label: Merge Records

Read Stereogum feature on "Beyond The Door" HERE

On August 23, Merge Records will release the much-anticipated Redd Kross LP Beyond the Door. Today, Redd Kross share Beyond the Door release details as well the title track which premiered at Stereogum and is available on all streaming platforms. Beyond the Door can be pre-ordered now on CD, digitally, and on limited-edition opaque purple Peak Vinyl in the Merge store. 

Listen to & share “Beyond the Door” by Redd Kross now

Redd Kross have also announced a massive US tour with the Melvins which kicks off on September 3rd in San Diego and includes shows in major markets including Los Angeles, Seattle, Boston, Philadelphia, Brooklyn, and more.

Beyond the Door is an album inspired by the band’s “total commitment to having the best f*cking time we can have while we’re all still here” (what they like to call “The Party”). It’s a rock and roll record and a celebration of everything brothers Jeff and Steven McDonald love, from cultures both high and low. Musically, it’s guitars, bass, and drums topped with a generous portion of sweet vocal melodies often delivered with an ambiguous edge.

Hi-res photo (credit Julian Fort) HERE

Beyond the Door marks Redd Kross’ most collaborative record to date. Steven describes this evolution: “Jeff is still very much the driving force behind the compositions, but with more help from me than ever. Jeff and I haven’t shared this much of the writing and singing since Born Innocent in 1981.” Guitarist Jason Shapiro and drummer Dale Crover (Melvins, OFF!) are longtime members of the Redd Kross live band, but this album marks the pair’s recorded debut with the group. Mixed in Los Angeles by Steven McDonald, Beyond the Door includes notable guest appearances from Anna Waronker (That Dog), Geré Fennelly, Buzz Osborne (Melvins), and Josh Klinghoffer.

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

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

More information

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Los Retros announce debut EP

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EP release: 21st June 2019
Label: Stones Throw
More info: Los Retros’ Instagram

New Stones Throw signing Los Retros announces debut EP 'Retrospect' 
Shares first single from it: 
'Friends'
EP out digitally on June 21st and physically on Aug 23rd

Artwork for 'Retrospective' - download it here

Today, Oxnard-based artist Los Retros, born Mauri Tapia, announces his debut EP 'Retrospect' and shares a new single, ‘Friends’.

Listen to ‘Friends’ via:
YouTube / Spotify / Apple Music / iTunes / Amazon / Bandcamp

The new single ‘Friends’ is an upbeat and hopeful gem about falling in love, showcasing Mauri's musical prowess as he plays each and every instrument on the track. The song's accompanying visual is a glimpse into Los Retros' world, piecing together footage of Mauri and his friends performing the song and documenting his run opening for Cuco on his sold-out US tour earlier this year.

A first-generation Mexican-American, 19-year-old Mauri began experimenting with music as a child, borrowing his older brother's guitar at the early age of 8. At 16, he began to release his own songs online made with an old mixer, playing each instrument on the tracks himself. Inspired by record collections from his parents' generation, Mauri formulated his own sound based on Central and South American soft-rock and alternative pop from the '70s and '80s, and his name is an homage to Chilean pop group Los Ángeles Negros. 

‘Friends’ follows from Los Retros’ debut track and video for Stones Throw, ‘Someone To Spend Time With’, which racked up over 600k views in three weeks since the release. Watch the music video here.

Los Retros' debut EP 'Retrospect' is a heart-baring journey that draws from Mauri's own experiences, all told through ear-catching melodies and atmospheric sounds. Across the EP's 6 songs, Los Retros reflects on life and love with intimate songs that span across a variety of influences from R&B to psychedelic rock.

Listen to ‘Friends’ above, and see below to read more about Los Retros and his debut EP.

Los Retros
'Retrospect'
Stones Throw Records
June 21 / August 23

1. Never Have Enough
2. Friends
3. Love Tape
4. Nostalgic Vibrations
5. Oh Grace
6. Last Day On Earth

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Press shot by Ross Harris - download it here

About Los Retros:

Los Retros, AKA Mauri Tapia, may only have just finished high school, but he's on the brink of something much bigger. The nineteen-year-old musician has signed to Stones Throw and is set to release his debut EP Retrospect on June 21st. He joined Cuco earlier this year on his sold-out West Coast tour and will be playing shows around the US to celebrate the release of the EP.

A first-generation Mexican-American based in Oxnard, CA (home also to Stones Throw affiliates Madlib and Anderson .Paak), Mauri began playing music as a child, borrowing his older brother's guitar when he was just eight years old. When he was around 16, he started putting tracks online that he'd recorded with an old second-hand mixer, on which he played all the instruments himself. Thanks purely to word of mouth, he built a loyal fan base online, racking up hundreds of thousands of streams, and began performing to sold-out audiences of young people who related to his heartfelt songs.

For inspiration, Mauri looks to the record collections of his parents' generation: American AOR from the '70s and '80s, soft-rock crooners, and leftfield pop from Central and South America. (His name is an homage to Chilean pop group Los Ángeles Negros.) His first single for Stones Throw, 'Someone To Spend Time With', released with a video set at a house party, drew praise from the likes of The FADER, who called it "a lovable daydream custom-built for whiling away the hours to."

Now, Los Retros is set to release his debut EP, 'Retrospect', a collection of open-hearted songs whose unforgettable melodies and woozily romantic atmospheres are perfect for the heady summer months. Unafraid to be vulnerable, Mauri colours his lyrics with his personal experiences, from the thrilling uncertainty of a platonic relationship about to tip over into romance on 'Friends', to his dedication of unwavering loyalty on 'Nostalgic Vibrations'. True to his name, he dips into soulful R&B on 'Never Have Enough' and shimmering psychedelia on 'Oh Grace'. Mauri says: "In my songs I'm just trying to make a beautiful 3 to 6 minute moment that makes you feel more positive about life."

Stay connected with Los Retros:
Instagram Bandcamp | iTunes | Spotify

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The Murder Capital announce debut album

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Album release: 16th August 2019
Label: Human Season Records.
More info: The Murder Capital website

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

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

Today, The Murder Capital announce their much-anticipated debut album, "When I Have Fears", for an August 16th release on Human Season Records.

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

You can pre-order HERE

Produced by Flood (PJ Harvey, New Order, Foals) the album features both singles from the band so far, "Feeling Fades" and "Green & Blue", as well as the first studio recording of breakthrough track "More Is Less".

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

Following sell-out shows on their April tour, the group have also announced a new string of UK & European headline dates for October and November 2019 - see below.

Tickets for this tour now on sale.

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You can catch the band live on the following dates:

21st June - Body & Soul - Clonmellon, IE
29th June - Rock Werchter - Werchter, BE
30th June - Metropolis Festival - Rotterdam, NL

13th July - Heartbreakers - Southampton, UK
14th July - Citadel Festival - London, UK
15th July - The Portland Arms - Cambridge, UK
16th July - The Boiler Room - Guildford, UK
18th July - Valkhof Festival - Nijmegen, NL
19th July - Latitude Festival - Beccles, UK
20th July - The Independent - Sunderland, UK
21st July - Doune The Rabbit Hole - Port of Meredith, UK
23rd July - The Crescent - York, UK
24th July - The Cookie - Leicester, UK
25th July - The Arts Club - Liverpool, UK

16th August – The Button Factory – Dublin, IRE


7th October – The Exchange – Bristol, UK
8th October – Bodega Social Club – Nottingham, UK

10th October – Dome, Tuffnell Park – London, UK
11th October – The Haunt – Brighton, UK
12th October – Castle & Falcon – Birmingham, UK
14th October – Brudenell Social Club – Leeds, UK
15th October – The Mash House – Edinburgh, UK
16th October – King Tut’s Wah Wah Hut – Glasgow, UK
18th October – YES (The Pink Room) – Manchester, UK
26th October – V11 – Rotterdam, NL
28th October – Le Grand Mix – Tourcoing, FR
29th October – Portobello – Caen, FR
31st October – Le Rocher de Palmer – Bordeaux, FR
 
1st November – La Rex – Toulouse, FR
2nd November – La Paloma – Nimes, FR
4th November – Joker’s Pub – Angers, FR
6th November – Nouveau Casino – Paris, FR
8th November – L’Autre Canal – Nancy, FR
9th November – La Poudriere – Belfort, FR
12th November – Molotow Musikclub – Hamburg, DE
13th November – Music und Frieden – Berlin, DE
14th November – Artheater – Cologne, DE

Further information on The Murder Capital

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

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

STREAM "GREEN & BLUE"

STREAM “FEELING FADES”


WATCH “MORE IS LESS” (LIVE SESSION)

HI-RES PHOTO (CREDIT: GAVIN OVOCA) HERE

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The Murder Capital
When I Have Fears

Out August 16th on Human Season Records

Tracklisting:

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

Press quotes so far:

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

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

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

“Caustic punk with widescreen ambition; music that sounds and feels like where it came from.”
Loud & Quiet

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

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

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

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

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

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

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

www.themurdercapital.com

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Oso Oso release new album

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Album release: 16th August 2019
Label: Triple Crown Records
More info: Oso Oso’s Facebook page

OSO OSO TO RELEASE HIGHLY-ANTICIPATED NEW ALBUM BASKING IN THE GLOW ON AUGUST 16

STREAM LEAD SINGLE “DIG” 
HERE. PRE-ORDER AVAILABLE NOW.

Download hi-res images HERE.

Jade Lilitri is used to pessimism. It’s what he’s written most of his band Oso Oso’s music about. But on their new album, he’s radically committed to letting the light in, if only because Lilitri knows the darkness like the back of his hand.

Oso Oso will release their long-awaited new album, Basking In The Glow, via Triple Crown Records on August 16, 2019. Pre-orders are available now HERE.

If 2016’s beloved The Yunahon Mixtape found Lilitri leaning more into the pessimistic side of his brain, Basking In The Glow is an experiment in its glass-half-full opposite. Here, he acknowledges that there are certainly more bad days than good, but maybe for once he could actually embrace the latter instead of just anticipating its inevitable departure.

Sonically-speaking, Basking In The Glow delivers. Lilitri writes songs bigger than himself at times, with “dig (II)” leading us into the light with rainy-day riffing and hushed, staccato vocal delivery on the verse before its tense, charged chorus: “There’s this hole in my soul / So how far do you wanna go?” Lilitri asks, his voice ethereally aware that this won’t last. It’s an ambitious, complex scheme, and one that captures the spirit of the record: clutching tight to the unbridled glee of the short, sunny, major-key moments before they dissolve. 

Basking In The Glow is a wrestle, and it is hard work; it is the sound of refusing to capitulate to darkness, every goddamn day. It is a practice, or perhaps a battle plan (“I see my demise, I feel it coming / I got one sick plan to save me from it,” Lilitri sings, his voice and hurried guitar crackling as if they’re coming through a bedroom tape recorder.) It is filled with the delightful, subtle melodic imagination that characterises the sound Lilitri has perfected with Oso Oso, but this time, he’s put this sound to use declaring happiness (“I got a glimpse of this feeling, I’m trying to stay in that lane,” on “impossible game”).

This “one sick plan” and its bright disposition does falter and fade. The darkness does return—it always will—but Lilitri has come to terms with it, armouring himself with the good he’s found. Even as the record ends, Lilitri is clear-eyed, leaving us squarely in the sunlight: “And in the end I think that’s fine / cause you and I had a very nice time."

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Track listing:

1. Intro
2. The View 
3. Basking In The Glow 
4. Dig 
5. One Sick Plan
6. A Morning Song
7. Priority Change
8. Wake Up Next To God
9. Impossible Game
10. Charlie

Find Oso Oso online: Facebook | Twitter Spotify

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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Laura Stevenson announces Europe and UK tour

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Album release: Out now
Label: Don Giovanni Records

Out now, on Don Giovanni Records, The Big Freeze is the long-awaited fifth album by New York-based songwriter Laura Stevenson. In support of the new album, Stevenson will be touring Europe and the UK this June.

Live Dates:

June 19th - Paradiso, Amsterdam, The Netherlands

June 20th - Camden Assembly, London, United Kingdom

June 21st - Patterns, Brighton, United Kingdom

June 22nd - The Cavern, Exeter, United Kingdom

June 23rd - Brudenell Social Club, Leeds, United Kingdom

June 25th - Broadcast, Glasgow, United Kingdom

June 26th - Night People, Manchester, United Kingdom

June 27th - The Exchange, Bristol, United Kingdom

June 28th - Le Farmer, Lyon, France

June 29th - Mare Culturale Urbano, Milan, Italy

July 3rd - Whelan's, Dublin, Ireland

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LISTEN TO LATEST SINGLE: "LIVING ROOM, NY"
PURCHASE "THE BIG FREEZE"

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"On her fifth solo album, the New York musician both evolves as a singer-songwriter and grows in confidence, addressing heavy emotional themes with candor and grace." - Pitchfork

"The Big Freeze captures her in a moment of releasing every pent-up feeling at once, producing an emotionally harrowing listen full of unflinching honesty." - VICE

If gravity is strong enough, at the end of time our universe will collapse, pulling all of existence back down to infinitesimal size, like before the Big Bang. But if expansion outpaces gravity, eventually the universe will be cold and empty--all light, heat, and connection will be gone. That possibility is called The Big Freeze.

Recorded in her childhood home during the dead of winter, The Big Freeze represents a pivotal step for Stevenson. Despite her pedigree in the punk and indie rock scenes, and the occasional inclusion of a backing band (like the sprightly, C86-inspired pop track “Dermatillomania”), for the first time on record Stevenson’s voice and guitar are in clear and highlighted focus. It is a natural aesthetic choice for the musician, who has often toured as a solo act and who pulls influence from the great American songbook, and a choice that plays to the core strength and organic beauty of her writing. And though it is easily the darkest and most emotionally-devastating album of Stevenson’s career, it is also without a doubt her most powerful.

Stevenson builds on her own private worlds with choruses of multi-tracked voices, swarms of cellos, French horns and violins; orchestration that blooms and swells throughout each intimate performance. Exploring thematic ideas of distance and misconnection; worlds pulling apart, aching loneliness, and attempts to drive out hibernating dormant demons. 

In the opening track Stevenson’s voice insists the listener “lay back with arms out, all-in, unfeeling,” to allow themselves to sink into a flood of instrumental sound that thrums between dissonance and resolution. From waves crashing in an abandoned waterpark on the haunting “Value Inn”, to the last leaves trembling before winter sets in on “Rattle At Will”, a creeping sense of isolation and anxious beauty surrounds every song. And yet there is also warmth, and hope. The album’s third track “Living Room, NY” tells of an intercontinental love and longing which seems to have the strength to thrive despite even the most trying and impossible of circumstances. Across ten tracks, the listener will travel through the cold night, following after a small but powerful flame burning from the other side.

Stevenson is a songwriter whose strengths have gone unsung for far too long, but The Big Freeze is likely to change that. At times you will be reminded of classic songwriters from both the mainstream and the fringe, whether it’s Jason Molina, Judee Sill, Harry Nilsson or Dolly Parton. But always you will be reminded of the power of the human voice (and a single guitar) to invoke the universe. Or in this case, it’s end.

More information

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FUR share video and announce tour

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EP release: Out now
Label: Nice Swan Records
More info: FUR’s Facebook page

FUR announce biggest headline tour to date, including set at London's Scala and share new video for "Love Song For No One", live from The Close Encounter Club WATCH HERE

Debut EP “FUR” out now on Nice Swan Records
Download press shot - HERE

After the success of their recently released debut EP, Brighton's FUR have announced their biggest headline tour to date that culminates in a show at London's Scala on September 25th. The dates follow various festival appearances this summer, the next being a show at The Great Escape, this evening, May 10th.

To accompany the news, the band have shared a new video for single "Love Song For No One" that was recorded live from The Close Encounter Club. You can watch the video HERE.

FUR frontman, William Murray, explained the story behind the single: "It's the tale of a bride who’s troubles and false suspicions of a cheating groom lead her to drown herself in their bath."

The single is taken from their self-titled EP, that was released earlier in the year on Nice Swan Records and that was described by DIY as "a pure, twinkle-eyed joy from start to finish." Nice Swan have quickly become one of the country’s most exciting new labels and landing pad for early releases for the likes of Sports Team, Pip Blom and Sweaty Palms. You can purchase the band’s EP on 12” vinyl direct from the label HERE.

Full 2019 Tour Dates below:

10th May - Brighton, The Great Escape (11.15pm Horatio's)
26th May - Manchester, Yes Festival
6th July - Glasgow, Electric Fields Festival
27th July - Oxfordshire, Truck Festival
2nd August - Kent, Neverworld Festival
14th Sept - Dublin, Whelan's
14th Sept - Belfast, McHugh's Bar
17th Sept - Nottingham, The Bodega
18th Sept - Edinburgh, Sneaky Pete's
19th Sept - Glasgow, Broadcast
21st Sept - Liverpool, Sound Food & Drink
22nd Sept - Birmingham, The Sunflower Lounge
24th Sept - Bristol, Exchange
25th Sept - London, The Scala

More information on FUR:

The band were formed after frontman Murray met original guitarist Harry in a Fresher’s internet forum before their respective University lectures began and the duo instantly began writing songs. "I was very aware that going to a place like Brighton would definitely allow you to do the band thing," explains the singer “So when me and Harry met each other we thought: let's get it started as soon as possible so we're not wasting time.

With bassist Tav and drummer Flynn soon completing the line-up, waste time they did not. Last autumn’s ‘If You Know That I’m Lonely’, is testament to that. Armed with a camera and a £100 budget, the group headed to woodland to shoot the video to the aforementioned single themselves.

Subsequently, and around 4 and a half million YouTube hits later, the band have landed support slots to the likes of The Brian Jonestown Massacre, Matt Maltese and more; their listenership is fast-spreading with praise - and even fan art - coming in from all over the world. "I think the one thing we really appreciate is people telling us we have a fanbase in places we never expected”, noted Murray on this. “Indonesia has become a big thing, and when people in Peru say there are whole groups of people out there that love us, that's amazing.

It goes some way in showing the power of simply uploading a good song can have, even amongst the swathe of music constantly flooding the web. It pricked the ears of the likes of Steve Lamacq, an early supporter via his BBC 6 Music show, and Nice Swan Records; who released their debut EP earlier this week.

Despite being relatively early in their life as a band, FUR sound like a band already capable of crafting intelligent songs; penning a particularly nostalgic strain of guitar music but making it sound fresh again. Taking the age-old love song trope and reinvigorating it, theirs are tracks that feel familiar and classic but with a vibrancy that’s entirely new. “The three most written-about things are love, money and sex”, mentions Murray. “One I’m not that comfortable writing about, and I don’t have that much money, but everyone’s felt some feeling of love and there’s something powerful about that. It’s the strongest emotional connection I can have with a song.”

Find FUR online
Facebook |  Instagram  |  Twitter

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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Silverbacks share new single

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Single release: Out now
Label:
PK Miami Records
More info:
Silverbacks’ Facebook page

Dublin five-piece Silverbacks share new single 'Pink Tide'

"It’s a cruising, catchy verse, and in a way it sets you up for the surprise of the chorus, a sardonic post-punk burst disrupting the seemingly laidback music that surrounded it." - Stereogum

Produced by Girl Band's Daniel Fox

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Press shots/artwork available here

Praise for Silverbacks:

"Dublin art-punks Silverbacks combat martial strife and boredom via tense, methodical beats and prickly guitar riffs."
Paste

"...jagged-yet-slick …modern post-punk"
The 405

"A twisting, spindly take on arty punk-rock" - NME

"...an incisive, intense, pulsating performance" - Clash

Silverbacks return with their new single ‘Pink Tide’, released on Thursday 16th May. Continuing their fruitful studio partnership with Girl Band’s Daniel Fox, with ‘Pink Tide’ they lay waste to easy pigeonholing and strike out on their own, furrowing a path laced with deadpan humour and some sick twin lead guitar lines.

Musically, it was described by Stereogum as having "a cruising, catchy verse, and in a way it sets you up for the surprise of the chorus, a sardonic post-punk burst disrupting the seemingly laidback music that surrounded it.".

Silverbacks' Daniel O'Kelly says the origins of the track came from "another demo, poorly named 'Mark E. Smith Eats His Purple Crayon'. In the end we realised that the riff deserved better, and we started writing what eventually became Pink Tide.".

Listen to 'Pink Tide' now via:
Soundcloud / Spotify / Stereogum

While no less frenetic than their previous barnburners ‘Dunkirk’ and ‘Just In The Band’, ‘Pink Tide’ is an altogether more considered affair. Over a steady chug, vocalist Daniel O’Kelly doles out tales of a slow unravelling of fashionable and futile revolutions in a land drowning in pomp and circumstance. In keeping with the spirit of the band, interlocking guitars hook the audience in for the chorus. “Make way for the guards!” he shouts, in mock reverence for time honoured traditions, followed immediately with a derisive “They're nothing to me”. The spark that threatens to ignite throughout the duration of tune finally catches fire as Peadar Kearney and Kilian O’Kelly’s guitars lock horns over a kinetic backbeat to drive the song home.

After garnering support from the likes of NME, Paste, BBC 6Music’s Steve Lamacq and more for their previous output and recently completing sessions for their debut album, the stage is set for Silverbacks to make their break out of their homeland and bring their inimitable brand of sinewy, groove flecked rock ‘n’ roll further afield.

Listen to previous singles:
'Just For A Better View' / 'Dunkirk' / 'Just In The Band'

Silverbacks is:
Daniel O’Kelly - Guitar, Vocals
Kilian O’Kelly - Guitar, Vocals
Peadar Kearney - Guitar
Emma Hanlon - Bass, Vocals
Gary Wickham - Drums

Find Silverbacks online:
Facebook | Twitter | Bandcamp | SoundCloud | Spotify | YouTube | Instagram

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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Arliston release new single 'Loud'

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Single release: Out now
Label: AWAL
More info: Arliston Facebook page

"... it's about that tinge of regret that any introvert worth their salt feels from time to time. "Looking back, I could have been bolder, looking back, I guess I could have been loud”. Thinking of a thousand moments where you should have said something, but didn’t." - Jack Ratcliffe, Arliston

PRESS IMAGES AVAILABLE HERE

Arliston first began writing in a windowless basement underneath a main road in early 2017, with only the muffled screeching of Whitechapel traffic to soundtrack their creativity. This, combined with working with producer and engineer Chris Blakey (Death In Vegas, Nick Cave and the Bad Seeds), “definitely made us look at the music differently", front-man Jack Ratcliffe explains, "as a retreat from the rushing traffic, rather than an expression of some perfect rural setting”.

Today, Arliston share brand new self-produced track “Loud” that is the first new music from the band since their EP "Hawser" that was released in October 2018. The EP was mastered by Anthony Lim (Kero Kero Bonito, Akala) and was praised by Lim saying, "Jack Ratcliffe et al conjure up the moment right after a major break-up, accompanied by a soothing inner voice telling you ‘it’s for the best’, whilst at the same time dousing you in a fine mist of some unknown narcotic – melancholic, mystical and moreish."

Listen to "Loud" now via:
Spotify / Soundcloud

The notion of guilt certainly was in mind when writing the new track, Ratcliffe confirms, and suggests that, "lyrically, the song is about that tinge of regret that any introvert worth their salt will feel from time to time. "Looking back, I could have been bolder, looking back I guess I could have been loud”. Thinking of a thousand moments where you should have said something, but didn’t."

Influences ranging from the indie-glitches of Bon Iver, Four Tet, and The National, to creatives like Ben Khan, Nao, Frank Ocean and Vicktor Taiwo have inspired the band.

“Loud” retains elements of their earlier sensitivity and lyrical depth, but feels like a huge leap forward and a profound statement of intent from the trio. Ratcliffe explains,"We were really experimenting with how far we could push the envelope in terms of grit and ferocity, while retaining the ambient side of our sound that was so dominant in the Hawser EP (2018)."

Spotify editorial playlisting, loyal local supporters, work with established producers, and plays across the BBC have all primed Arliston for a very bright 2019.

Arliston consists of George Hasbury (Keys, Guitar, Bass & Backing Vocals), Jordi Bosch (Drums, Synth & Backing Vocals) and Jack Ratcliffe (Guitar & Lead Vocals).

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Find Arliston online:
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Jade Jackson announces new album

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Album release: 28th June 2019
Label: ANTI-Records
More info: Jade Jackson website

“A raspy-throated, confident-beyond-her-years songwriter channeling Hank Williams via a somber goth-folk aesthetic.” - Rolling Stone Country

“Jade Jackson is a mistress of minor-key introspection, her songs carrying the kind of emotional weight more often associated with a battle-scuffed veteran.” - Uncut

“Reminiscent of Lucinda Williams, Emmylou Harris and Mazzy Star’s Hope Sandoval, Jackson’s somber songs unfold with the easy grace of dusty sunsets and open-road drives, while her more spirited numbers are driven by a punk swagger and a south-of-the-border slink.” - 
Paste

On Jade Jackson’s second full-length album, Wilderness, she casts a light more focused on her own life than ever before. To be released on June 28th via ANTI- Records, Wilderness – like her debut record Gilded - was produced by Mike Ness, the SoCal punk rock legend has carefully helped her hone her craft and sound.

“I don’t need a man’s hands to open the jar,” Jackson quips on the charming first single, “Bottle It Up”. Watch Jade and her love interest traverse the deserts of Joshua Tree in the song’s new video HERE.

Gilded (2017) was a masterful, critically acclaimed introduction to her strong soulful stylings as told through the eyes of characters and storytelling, with Jackson keeping any hyper-personal glimpses at arm’s length. But for its follow-up, the singer-songwriter from the Central Coast of California decided to embrace the concept of building her songs from an autobiographical perspective.

Two days after her 20th birthday Jackson was hiking in nearby Sand Canyon when she leaped from a rope swing and fell 15 feet onto a rock – she sustained serious injuries and wasn’t sure if she’d be able to walk again. As she recovered, she realized she was depending more and more on prescription painkillers and after stopping cold turkey by destroying her prescription refills and flushing the remaining pills, her body and brain spiraled into depression. She also developed a control-related eating disorder that would haunt her for several years following. Jackson refers to her mind state during that time as “suicidal.”

“Needless to say, for the first time since I had written my very first song, I didn’t believe in my music anymore,” Jackson says. “Because of my depression I didn’t like myself, so I couldn’t possibly imagine someone else liking what I created. But even that couldn’t stop me from writing, and songwriting remained my therapy through it all.”

The theme of her new work deals heavily with those attitudes and feelings while focusing largely on other true encounters and relationships in her real life. Wilderness is a powerhouse of a record about the in-betweens and stepping stones we dwell in and leap across while coming to terms with our senses of self, and how melancholy can be a powerful weapon to wield—especially in the form of a roots-rock or country song. With Wilderness, Jade Jackson has braved the depths of her soul and figured out a course for survival—though she will be the first to admit that her journey still has miles to go.

“Wilderness as the title of my album is this in-between area I’m in right now as a musician. It’s the unknown—like when we’re touring, you don’t know where you’re gonna play, or sleep, what you’re gonna eat, if you’ll have monitors…there’s so much unknown at this grinding stage in the game. I am incredibly thankful for the way my career has started, but I’ve always had this urge propelling me forward. I know where I want to go—I can visualize it—but right now I’m walking through the wild, still picking up tools, still learning, and making my way.”

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Pre-order ‘Wilderness’ HERE

Online:
Website | Facebook | Instagram

Lyrics to "Bottle It Up":

Life goes faster
I'd rather be brave than what you're after babe
It moves through chapters
With no way to know what's on the next page

Bottle it up the way we feel right now
Whenever I get lonely gonna drink a little down
Bottle it up the way you're holding me
If ever I get lonely gonna pour myself a drink

All your patience
Winds down that road to frustration
And all we've dreamt of
Will crash and burn should it turn into love

Bottle it up the way we feel right now
Whenever I get lonely gonna drink a little down
Bottle it up the way you're holding me
If ever I get lonely gonna pour myself a drink

I cross my heart
I don't need a man's hands to open the jar
Where I've captured and kept safe
The things that I'm willing to share with you babe

Bottle it up the way we feel right now
Whenever I get lonely gonna drink a little down
Bottle it up the way you're holding me
If ever I get lonely gonna pour myself a drink

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The Molochs to tour Europe and UK

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Tour dates: Throughout May & June
Album release: Out now
Label: Innovative Leisure

Selected praise for The Molochs:

"...a striking proposition, for two reasons: their spectacularly caustic wit; and their refined ability to chisel away at a song until it is sharp, sinewy and instantly catchy." - The Quietus

"The Molochs introductory is a thrilling and thoughtful beginning for a duo with plenty of promise." NME

"One of the year's best. Which year? Any year." - MOJO

"The baggy basslines tease a slightly warped guitar melody, that only feeds into their youthful sound that contradicts with their retro influences." The Line Of Best Fit

The Molochs are celebrating the release of their second album 'Flowers In The Spring' via Innovative Leisure by touring Europe this summer. The dates stretch through the entirety of May into June with a date at London's Shacklewell Arms on the 1st.

'Flowers In The Spring' was released to critical acclaim at the end of 2018 with The Quietus describing the band as "...a striking proposition, for two reasons: their spectacularly caustic wit; and their refined ability to chisel away at a song until it is sharp, sinewy and instantly catchy", while The Times described the album as having "shades of Jonathan Richman."

FULL TOUR DATES:
MAY
1st, Spain - Barcelona, Sala Upload
2nd, Spain - San Sebastian, Daba Daba
3rd, Spain - Madrid Wurlitzer Balroom
4th, Spain - Murcia, Warm Up Festival
7th, France - Limoges, El Doggo
8th, France - Marseille, Intermediaire
9th, France - Lyon, Le Sonic
10th, Italy - Bologna, Covo
11th, Italy - Firenze Annibale Festival
12th, Italy - Verona, Red Zone
15th, Czech Republic - Prague, Kasarna Karlin
16th, Germany - Berlin, 8mm
17th, Germany - Hamburg, Molotow
18th, Germany - Göteborg
20th, Germany - Dortmund, Labsal
21st, Germany - Cologne, Sonic Ballroom
22nd, Germany - Halle, Pierre Grasse
23rd, The Netherlands - Amsterdam, Paradiso
24th, The Netherlands - Tilburg, O13
25th, Belgium - Ghent, Psych Over 9000
28th, UK - Liverpool, Shipping Forecast
29th, UK - Leeds, Headrow House
30th, UK - Glasgow, The Sleazy's
31st, UK - Middleton-in-Teesdale, Sports & Social Club

JUNE
1st, UK - London, Shacklewell Arms
2nd, France - Vernon, Le Chantier
4th, France - Lille, DIY Café
5th, France - Colmar, Le Grillin
6th, France - Saint-Quentin, La Manifacture
7th, France - Paris, Supersonic
8th, Switzerland - Lugano, Lido San Domenico 

LISTEN TO NEW ALBUM:
smarturl.it/flowersinthespring

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More on 'Flowers In The Spring':

The Molochs' America’s Velvet Glory was the earliest burst of light and energy to hit in 2017, an album of electrified rock ‘n’ roll like Dylan and Lou Reed by a band named after the Ginsberg-ian glutton god who demanded the sacrifice of all things good and pure. But now it’s 2018 and Moloch himself is fatter and happier than ever, so the Molochs couldn’t just make another record. After Glory showed the world who they were, they needed to make an album that showed what they could do. So Flowers In The Spring is where the Molochs worked harder, thought harder and fought harder to be the kind of band that the times demand: “I like to think the world just needs some good solid songs out there,” founder Lucas Fitzsimons says. “It’s simple. It’s not easy … but it’s simple.”

America’s Velvet Glory, their first-ever record for L.A.’s Innovative Leisure label, had sparked their first-ever U.S and European tours, first-ever festival sets, first-ever international press and more. (Mojo even said they’d made one of the year’s best albums—“Any year!”) Follow-up Flowers bloomed almost exactly a year later at Long Beach’s Jazzcats studio between December of 2017 and January of 2018, where Fitzsimons and longtime band member Ryan Foster had recorded Glory. By the time they’d returned, they had a slate of songs that had come to Fitzsimons in flash moments, written on nerve-wracking transcontinental flights or on isolated nights in an L.A. apartment, captured at once in bursts of insight or rescued from almost-abandonment in discarded notebooks.

As on Glory, inspiration from Syd Barrett, Dylan, Nikki Sudden and kindred spirit Peter Perrett of the Only Ones was at work, but the Molochsare endlessly (appropriately?) ravenous when it comes to things to read and listen to and learn from. On Flowers they’d refine and recombine their sound, working in that long tradition of poets who cover (or discover) themselves in pop songs. “To Kick In A Lover’s Door” blows Flowers open with the wit and precision of the Go-Betweens, and “I Wanna Say To You” draws more from some of Creation Records’ dreamiest dreamers than it does from any esoteric 60s howlers. “Flowers In The Spring” and “Pages Of Your Journal” could be two lost Kinks singles from two different Kinks eras—that Ray Davies-ian venom stays the same, of course—and the charming/disarming “Too Lost In Love” makes feeling down sound like cheering up, just like the Clean did.

Yes, they do have their first-ever string section here, and that could confuse some people. (“People go, ‘Wow, it sounds more mature.’” says Fitzsimons. “What kind of boring shit is that?”) But Flowers isn’t a grown-up album or a show-off album or a break-up album or a just-had-to-make-another-album album because the Molochs don’t pick targets that tiny. Love and disgrace and life and death blur and bleed into each other, but at the core of Flowers is a story about standing against the inhuman by being more human, however messily honest that needs to be. (Or like Fitzsimons sings at the end of the record: beware that “determination by a whole / to destroy the human soul.” Funny how that comes in a song where he claims he can’t explain everything that happens to him, because he sort of just did.) So consider their new Flowers In The Spring a meticulously plotted counterattack against all things Moloch-ian, with clear, concise, immediate, undeniable, simple, direct pop songs, says Fitzsimons, each sharpened enough to cut through anything it touched. That’s what he needed to do, he says, because that’s what felt most true. Maybe it really was that simple, even if it wasn’t easy. Like he’d explain in a song with just seven words: “There’s something I wanna say to you.”

PRESS IMAGES AVAILABLE HERE

'Flowers In The Spring' is out now on the LA indie label Innovative Leisure.

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Thank You Scientist release new song & announce album

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Album release: 14th June 2019
Label: Evil Ink Records
More info: Thank You Scientist website

DOWNLOAD PRESS IMAGES

American Alt-Prog rock masters Thank You Scientist are proud to present, “FXMLDR,” which premiered via PROG, and is the lead off track from their forthcoming 84-minute full length album, “Terraformer."

“The video is a special LIVE performance of FXMLDR, recorded using 100% solar power, courtesy of our friends at THE SUN LAB. If you’re the observant type, you may notice a few hundred extra band members. With some frantic planning (and even more frantic arranging), we were able to meet up with DCI world champions THE BLUE COATS for this very special performance.”

The band started a relationship with The Blue Coats after they performed several TYS compositions for their 2017 concert season.  

Previously, Thank You Scientist announced their 4th studio album, “Terraformer,” will be out June 14th on Evil Ink Records. An Exclusive Comprehensive Adult Bundle of "Terraformer" with Limited Edition 2 LP Color Vinyl, exclusive Music Score and Trading Cards is available for pre-order now at www.thankyouscientist.com

You can see the solar-powered live performance for “FXMLDR” here: https://youtu.be/rxrz6RPSww0
The album version of “FXMLDR" will be on all DSPS starting next week.

Guitarist Tom Monda about the album: "This album probably features some of Sal's most personal lyrics, juxtaposed with some far reaching and topical stuff that is new for us.  There are conceptual threads linking the music and lyrics but we prefer that the listeners discover and interpret them on their own. Terraforming in really general terms is taking a planet or some type of celestial body and making it inhabitable for humans. I thought this was a fitting metaphor for the band, in terms of the changes we had gone through in the past two years.  I felt totally creatively renewed, and I think scope of the album speaks to that."

Terraformer is the band's second studio release on the label formed by Coheed and Cambria’s Claudio Sanchez and is the band's most ambitious to date. The album features more than an hour and 20 minutes on a 2-disc set.

Terraformer was recorded at The Barber Shop in Hopatcong NJ and engineer Mike Ferretti's studio in Ringwood, NJ. Main songwriter and guitarist Tom Monda oversaw production, along with contributions from the band.

The front cover was designed by Templar, who also designed the album art for the group’s previous record Stranger Heads Prevail.

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"We're really excited about this new album. We've put in so much work into this limited bundle to make sure it's perfect, and we hope our fans agree and help us crush our release week. We're a bunch of weirdos making music for weirdos that still care about weird music, and I think that's a beautiful thing." - Tom Monda

The album marks the first recordings of the Thank You Scientist's new lineup, which includes Joe Fadem on drums, Sam Greenfield on Sax, and Joe Gullace on trumpet.

“The new members were all guys that myself, Ben, and Cody play with in Cody's band ‘We Used to Cut The Grass.’  They were all a big part of the writing and arranging process for this album and I feel very lucky to be in a band with them.” - Monda

In only a few years Thank You Scientist have created a loyal and dedicated following with their unique style and indescribable sound through the albums Maps of Non-Existent Places (re-released in 2014), and Stranger Heads Prevail (released in 2016 via Evil Ink Records). The band has also toured with the likes of Periphery, Haken, Devin Townsend, as well as Coheed and Cambria, cementing themselves as a must-see live act.

Terraformer will be available 2 CD Digipak, 2 LP Vinyl, Digital, and in a Terraformer Exclusive Comprehensive Adult Bundle (For Adults)

This incredibly rare offering from Thank You Scientist and CREAM CO is available only at www.thankyouscientist.com and includes:

• Limited Edition 2LP Color Vinyl
• 21 Page Full Color Lyric Book (illustrated by Shamfoo)
• Full Score Songbook signed by all members of Thank You Scientist (Limited to the first 750 pre-orders)
• Full set of Thank You Scientist Father and Son Trading Cards (Limited to the first 750 pre-orders)

You can watch the Terraformer Preorder Infomercial Here:
https://youtu.be/mwBiaEYjQuw

Tracklisting:
1, Wrinkle  2:32
2, FXMLDR  7:56
3, Swarm  6:25
4, Son of a Serpent  8:06
5, Birdwatching 3:41
6, Everyday Ghosts  10:03
7, Chromology 9:49
8, Geronimo  6:15
9, Life of Vermin   8:11
10, Shatner's Lament  1:13
11, Anchor  9:56
12, New Moon  2:01
13, Terraformer 8:07

Band:
Salvatore Marrano
Tom Monda
Ben Karas
Cody McCorry
Joe Fadem
Sam Greenfield
Joe Gullace

Thank You Scientist: Facebook | Twitter | Instagram | Website

Evil Ink online: Website | Facebook | Twitter | Instagram

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Kyle Craft & Showboat Honey share new single '2 Ugly 4 NY' & announce album

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Album release: 12th July 2019
Label:
Sub Pop Records
More info: Sub Pop website

Watch Kyle Craft & Showboat Honey’s official video for lead single '2 Ugly 4 NY' from Showboat Honey, their forthcoming new album, available worldwide July 12th, 2019 from Sub Pop. The video is directed by Eleanor Petry, and stars bandleader Craft as Hobo Grimm, a skeleton-faced busker. He says of the video, “Eleanor and I were aiming to snag that “day in the life” feel, following old Hobo Grim around downtown tryin’ to make the illusive busker’s dollar and then heading off into the night to blow it.”

Showboat Honey was recorded and produced by Kyle Craft, Kevin Clark, and Billy Slater at their own Moonbase Studios in Portland over 2018. The album was mixed by Trevor Spencer (Father John Misty) and mastered by April Golden at Golden Mastering.

Showboat Honey is now available for pre-order through Sub Pop Mega Mart. Pre-orders of the LP through megamart.subpop.com and select independent retailers in North America, the UK and Europe will receive the limited Loser edition on a clear blue translucent mix with spots red hi-melt (while supplies last). There will also be a new T-shirt design available.

About 'Showboat Honey'

There is this curious equilibrium to existence: In order to create balance, the universe must giveth, and the universe must taketh. Kyle Craft, along with his now solidified backing band dubbed Showboat Honey, know this all too well. And this is why their self-titled album, the contemplative yet restless Showboat Honey (Sub Pop Records, July 12th, 2019) reflects that sturm und drang. “This is basically an album centered around bad luck and good fortune hitting at the same time,” Craft explains “Then, out of nowhere, I find love. Everything went to shit except that. I guess that’s how life works.”
 
No track better captures this duality than the sweeping “Sunday Driver,” about sticking to your guns, despite a universe of blowback. “At this point, you get baptized by certain fires and start to walk with the dead a little bit, like nothing can harm you anymore,” says the Portland-based musician. “That’s what self-love sounds like to me, as aggressive as that sounds.”
 
The sticky-sweet title of the album is lifted from the brightly choral “Buzzkill Caterwaul” (“Once you were the showboat honey/ But your ship sailed out”). “I wanted to make something that sounded like a raucous collision of Leon Russell and Patti Smith,” he says, “But ‘Buzzkill Caterwaul’ was the only tune that ended up showcasing that vision.”
 
Though aesthetics veer from song to song, Showboat Honey’s steadfast formula remains the same. Drummer Haven Mutlz holds down the machine with a ’60s/’70s fast-molasses groove that locks in with the slinky rolling bass of Billy Slater. When Kevin Clark isn’t bouncing across the piano, his mellotron strings swell in and out of frame. Jack of all trades Ben Steinmetz’s organ parts well up from the deep of the songs, while lead guitarist Jeremy Kale’s solos rip through them like electricity. On top of it all, sits the tongue-in-cheek phantasmagoria created by Craft’s lyrics.  
 
Lyrically, perspectives shift to imbue life into a cast of intriguing, mysterious characters, à la Bob Dylan. (“There is not a single thing in my life that has affected me more than the first time I heard Dylan,” says Craft. “It immediately changed my life.”) “Johnny (Free & Easy)” is seemingly about a date gone awry at a swinger’s party in the Hollywood Hills. And the twangy pop of “O! Lucky Hand” appears to shadow a poor sod desperate to elude a hex. Its antidote is the stunning, cinematic “Deathwish Blue,” which sounds like a deep cut from the book of John Lennon, about the lovesick salvation found in his bride to be, Lydia. 
 
If that’s not head-trippy enough, the carefree sing-along “2 Ugly 4 NY” features a lyrical reference to a previous incarnation of Craft. Its lyrics—“Don’t wanna see Death strum for cash downtown/ Or the look on his face when the change hits the case on the ground”—call out his early days in Portland when he went by the moniker of Hobo Grim. Busking downtown, he’d cover country tunes while dressed as the Grim Reaper so as to conceal his true identity.
 
Craft started writing about as soon as he could play the guitar at the age of 15. He grew up in the isolated Mississippi River town of Vidalia, Louisiana where his chops weren’t honed in a woodshed, but rather an old, dingy meat freezer that was out of commission.  When asked about the first song he’d ever written, he laughs, saying it was an “angsty-rock tune” and “a rare bird of how bad a song could be.”
 
After years of touring, two LPs with Sub Pop Records, and solidifying the band, he’s since grown into a prodigious songwriter, to say the least. The band recorded Showboat Honey—co-produced by Craft, Clark, and Slater—at their own Moonbase Studios in Portland over 2018. “We approached this record differently for sure,” Craft says. “I’d make a demo, and after putting the songs together, shoot it to the band for ideas.” Tracks such as “Broken Mirror Pose” ended up being highly collaborative, while others settled into Craft’s original vision. “Deathwish Blue,” for instance, was tracked in a similar fashion to his solo debut, Dolls of Highland, with Craft tracking every instrument by himself. 
 
Kyle and the members of Showboat Honey worked at such a feverish wine-fueled pace that they actually ended up with two completely different albums. But at the end of the day, they decided to combine the two into what is now Showboat Honey,a moonstruck rock ’n’ roll record teeming with reckless abandon.
 
“We thought we had the album done at one point. But at the last minute, I was like, ‘Shit, this isn’t the album. This isn’t it,’” Kyle says. “It was just a gut feeling. I’m glad for that because I feel like I ended up writing some of the best songs I’ve ever written.”

More information at: subpop.com

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