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Like their name suggests, Model/Actriz seek to channel raw emotions into striking new forms. The band’s surface glamor is supported by nerves of steel, leveraging their focus into moments of wild abandon. Since their songs roar to life off the back of blistering guitar, relentless drums, and pummeling bass there’s an expectation that Model/Actriz aim first and foremost to be shit-starters. But their instrumental muscle couches a searching heart and the Brooklyn quartet have long made a mission to reconcile undefinable feelings by charting a ferocious new path through sound, one that brings jagged emotions back into full, sweaty alignment with the listeners’ bodies.

Their debut record Dogsbody was sexy, dark, and humid, full of eerie passages and veiled menace. Songs like “Amaranth” and “Mosquito” were hot house scenes cast in foreboding half-shadow, with frontman Cole Haden as the hero at the center of its shifting, sultry gloom. The figure he cut was reassuring and ominous, both an experienced guide who could light up the music’s dim corridors and a haunting presence who was inextricably bound to them. The lyrics found him fumbling around in its darkness to become the person he is today – scarred, but made stronger in pursuit of its seduction.

Model/Actriz’s sophomore album Pirouette, which was co-produced and mixed by Seth Manchester and mastered by Matt Colton, their collaborators on Dogsbody, swerves out of the maze and directly into the spotlight. It is Dogsbody’s equally accomplished, but much more self-possessed sister record – thumping and immediate rather than dark and obscure. The light it casts off originates from within, and reflects a band that’s not only grown into its strengths but conquered its demons. Haden no longer vamps from the shadows but at the very front of the stage – and often in the very thick of the crowd– commanding the music’s chaotic center with a poise that channels Grace Jones and Lady Gaga.

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Sunshine and Balance Beams, Pile’s ninth album, is a Sisyphean fable concerned with labor and living. To write it,singer Rick Maguire inhabited “a dark place,” wrestling with the concept that there is no enlightenment, no end to suffering. Maguire explores workaholism, the myth of meritocracy, and acceptance of mortality—all through a devilish allegory of trudging through a shadowy forest towards the uncertain dream of a bright clearing.

Pile wrestles with existential and social contradictions by evoking sonic in-betweens. The music exists somewhere in the temporary equilibrium of light and shadow, chaos and order. Heated rain-like guitars,shifting drums that pave sinuous roads in sound and pace, eerie synths, and aqueous strings add to a panoramic production of loud-quiet dynamism matching the emotionality of the band’s thunderous performances.

The group also favored freewheeling performances that would animate the storytelling, while enlisting a string section (violins, viola, cello) to perform incandescent, through-composed arrangements co-written by cellist Eden Rayz and Pile.They drew inspiration from cinema and opera scores by Chopin, Bernard Herrmann, and Ralph Vaughan Williams, lending Sunshine a larger-than-life sound that intensifies Pile’s blistering realizations of some of their most accessible songwriting to date. The recording is a noticeable leap in production value, and centers Maguire’s vocals in new and exciting ways. Pile traveled to Pawtucket, RI for two weeks of tracking at Machines with Magnets with longtime engineer Miranda Serra (Kal Marks, Kira McSpice).

The album was mixed by Seth Manchester(Lightning Bolt, Mdou Moctar), and Mastered by Matt Colton (Aphex Twin, Swans, Muse).Sunshine and Balance Beams is Pile’s first album for Chicago’s Sooper Records. 

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As The Horrors approach their 20th anniversary as a band, Night Life sees them shapeshift into a new form, with a new sonic outlook and a new line up centred around the core duo of vocalist Faris Badwan and bassist Rhys Webb, now joined by Amelia Kidd on keys and Telegram’s Jordan Cook on drums, making the new album the band’s first to not feature all 5 original members. 

Night Life is a record of weight and space, of melancholy and euphoria; a record that has the ability to make bedfellows of seemingly disparate ideas as only The Horrors can. The ‘Night Life’ here is not the vim and vigour of pubs and clubs. It’s the thoughts that happen under the cover of darkness; the places your mind takes you when the rest of the world is asleep. A record born out of a desire to revive the raw, instinctive spirit of the band’s early work.

The Horrors are set to play a series of instore dates across the UK this month, including a packed-out Banquet Records at Pryzm last night, and Rough Trade East today on album release day. These shows come ahead of a string of Spanish and Portuguese dates. Full live date details can be found below.

After nearly 20 years making music, there are few bands who’ve created a canon as determinedly innovative and consistently critically-acclaimed as The Horrors. Emerging as zeitgeist-shaking garage-goths on their 2007 debut ‘Strange House’, before taking a sharp left turn for their Mercury-nominated follow up ‘Primary Colours’, since the beginning they’ve roamed freely between genres. 2011’s ‘Skying’ won the NME Award for Best Album; ‘V’ was heralded as “a triumph” in a five-star Guardian review, while 2021’s pair of EPs - ‘Lout’ and ‘Against The Blade’ - marked a new chapter with their most industrial, uncompromising output yet.

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Lambrini Girls have released their long-awaited debut album Who Let The Dogs Out via City Slang. With their record in-stores starting today, most of which are sold-out, and a UK April headline tour, which are also almost sold-out, they have now announced their return to the US to follow after.

Already gracing the covers of DIY, NME, Kerrang! Magazine, NOTION, and features with the likes of Variety, The Line Of Best Fit, BBC Radio 1, and more to come, the Brighton-based duo of Phoebe Lunny (vocals/guitar) and Lilly Macieira (bass) have spent the last few years on a tear in more ways than one.

Who Let The Dogs Out bottles everything wrong with the modern world and shakes it up. If peppering political songs with humour is like sticking a sparkler in some bread, then their debut is like a fireworks display in the factory itself: strange, dangerous, exciting, and it rips through a laundry list of social ills.

“You know how Fleetwood Mac almost dedicated Rumours to their cocaine dealer? I think we should dedicate this album to all the booze we bought at Tesco.”

Praise for Lambrini Girls:

"…you see the sense of community they can foster in just 30 minutes.” Rolling Stone UK (Wide Awake Festival)

“Lambrini Girls were built for a place like Glastonbury.” DORK (Glastonbury Festival)

“They don’t yet have an album to their name, but believe us when we say Lambrini Girls are a festival must-watch.“ Kerrang! Magazine (Reading Festival)

“Lambrini Girls’ draw an enormous Far Out crowd with their razor-sharp punk and impassioned inter-song speeches.” CLASH Magazine (Green Man)

“an as-expected riotous late-night show” DIY (End Of The Road)

“Lambrini Girls aren’t afraid to piss people off” Variety Magazine

Age restriction: 14+ / 14 - 16s accompanied by an adult

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There’s nothing more resonant than the human voice. It contains timbres and textures no other instrument can replicate, but most importantly, it’s immensely powerful: One voice can spark an uprising, but many voices in unison create a movement. Nya Gazelle Brown, Sabrina Cunningham, and Piya Malik, the three women who front NYC punk-chic, discodelic band Say She She, understand how to wield such power. They soar above irresistible grooves, locking together in gorgeous three-part harmonies that cleverly disguise the feeling of righteous rebellion permeating their music. Theirs is a multi-pronged call to action: Move your body, expand your mind, and recognize your strength. 

Say She She, whose name pays homage to Nile Rodgers, made Cut & Rewind, their third record, almost immediately after wrapping the tours supporting 2023’s Silver. The band’s trajectory has skyrocketed over the past few years, earning praise from The Guardian, the LA Times, MOJO, and NPR, and touring with Thee Sacred Souls. They have performed at venues like the Hollywood Bowl in Los Angeles and the Roundhouse in London, as well as festivals including Glastonbury, Austin City Limits, and Pickathon. They’ve long mined the sounds of the '70s and '80s, citing Minnie Riperton, Rotary Connection, Liquid Liquid, and ESG as influences. Cut & Rewind expands their scope, incorporating elements of Lonnie Liston Smith and the Lijadu Sisters into their sonic palette while channeling the spirit of contemporaries like Lambrini Girls and Amyl and the Sniffers. It all combines into a psychedelic soundscape of pulsing disco beats, astral whistle tones, and earwormy melodies.

Over a couple of short, intense sessions, Brown, Cunningham, and Malik gathered with their rhythm section, Dan Hastie, Sam Halterman, Dale Jennings, and Sergio Rios—all members of cult funk band Orgone—at Rios’s North Hollywood studio, Killion Sound. Say She She’s writing practice is an exercise in presence, as each of the three channels their front-of-mind thoughts and feelings into cathartic transmissions. There’s an element of spontaneity at play, informed by the players’ affinity for The Meters-style jamming and the studio discipline of Booker T and The M.G.’s, as well as Malik’s time in a post-punk improv band with Liquid Liquid’s Sal Principato. “The writing room is very free,” says Brown. “We’re able to just be, and fully express ourselves.” They’d write a song and record it that day, cutting the instrumental to tape no more than three times, choosing their favorite take, and immediately laying vocals. To preserve that raw, spur-of-the-moment vibe, they stick to a hard and fast rule: “We never record anything that we can’t recreate live,” explains Malik. “It’s the same thing when the three of us are up on stage that happens in the studio.”

Each of the 12 tracks on Cut & Rewind crackles with palpable energy, practically daring you to keep your head and hips still. The cosmic boogie of “Chapters” ripples out into the ether, while the no-wave throb of “Shop Boy” glides like rollerskates through a warehouse loft. The silky “Under the Sun,” written in solidarity with the 2023 Writers Guild of America strikes, shines like a sun flare in a camera lens. The three vocalists deftly weave around each other, sometimes creating an interlocking rhythmic lattice (part of a technique they’ve dubbed the “Say She She sigh”), sometimes coalescing in a heavenly triad. But a politically charged undercurrent buzzes beneath the lush, strobing sonics, giving these jams an added heft. In a time of political turmoil where community is more necessary than ever, Say She She offers a particular salve: protest music dressed up as a sweat-dripping, body-moving, consciousness-raising good time.

“She Who Dares” is a simmering slice of psych-funk that imagines a near-future dystopia wherein women’s rights have been decimated globally. The group started writing the piece as a way to exorcize a notably insulting male interaction, but it morphed into a more universal, fist-raised anthem. It starts with Cunningham’s voice filtered through a megaphone, explaining how hundreds of thousands of women have suddenly been imprisoned across the world. “It feels scary, setting a Handmaid’s Tale tone,” explains Cunningham, “but ultimately, it’s meant to be empowering for other women.” The song doesn’t linger in fear; instead, it seizes and becomes that megaphone, issuing a chant of encouragement to keep up the good fight.

Early album highlight “Disco Life,” whose unbreakable beat and shimmying tambourine live up to the name, is one of Cut & Rewind’s most overtly political cuts. It examines the 1979 “Disco Demolition Night” at Comiskey Stadium in Chicago, a publicity event-turned-riot organized by shock jock Steve Dahl. Attendees were encouraged to bring a disco record in exchange for cheap admission, which Dahl would then burn in a dumpster—already an implicit attack on a genre fronted by Black people, queer people, and women—but the crowd brought and destroyed anything made by Black musicians. The lyrics decry the event’s racism and homophobia, understanding that the roots of the riot still linger. Say She She knows a better world is possible, and uses “Disco Life” to manifest “a playing field where all are free.”

Cut & Rewind is Say She She at their most vital, both outside of time and profoundly of the now. It urges us to stay present and attentive to the challenges we must endure, but offers a way to recharge our collective battery. It’s a shimmering, celebratory epic, equally suited for the dancefloor and the demonstration.

Security – Bag Policy

Large bags – including rucksacks are not allowed.

There are no facilities to leave large bags or luggage.

If you really have to bring a bag – and it’s preferable you don’t – please make sure it’s small.

Only one small bag per person is permitted and it must not be bigger than A4 size.

Height: 28.7cm

Width: 21cm

Depth 15cm

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THIS IS TMRW PRESENTS // WEIRD ON PURPOSE
CELEBRATING EMERGING TALENT FROM THE SECOND CITY
THURS NOV 27TH
HARE AND HOUNDS

TRUST CLUB (indie, slacker-rock)

THE POST ELEMENTS (indie, alt-rock)

ME AND THEE (indie, folk-rock)

DOORS: 7.30PM
TICKETS: £5

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The Bug Club are back, again, for their annual appointment at the garage rock makers’ market, where they’re flogging yet another pedigree record. 

LP number four, Very Human Features, arrives June 13th, hot on the heels of the band’s first Sub Pop release, 2024’s On the Intricate Inner Workings of the System. That record saw the band continue their love affair with BBC Radio 6, start up a new one with KEXP thanks to a session with them, and crop up in the pages of the NME. Anything else from the bucket list? Oh yeah, festival slots including packing home ground Green Man’s Walled Garden to its non-existent rafters. Then shows across the US in those venues us Brits tend to hear about and that’s as far as we get. This record gives the band an excuse to continue their never-ending tour and feed their baying fans, engorged and expectant thanks to this band’s relentless record-releasing hot streak, a new batch of typically playful, riff-laden, smart Bug Club Tunes.

But first, a standalone single, because that’s how things are done here. “Have you ever been to Wales?”, asks the band in “Have U Ever Been 2 Wales.” If not, why not? It’s good. A new, discordant national anthem, if they didn’t already have a decent harmonious one. Oh, to be from a country where national pride is something other than the mark of a tosser. Starting as a classic, chugging chantalong, it’s interrupted by what sounds like an alien choir before they let rip. Think Dinosaur Jr. with a job at the tourist board. And Welsh. Definitely Welsh (read more at Sub Pop).

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THIS IS TMRW PRESENTS
BOXING DAY 2025
HARE & HOUNDS

MERRY GANS XMAS
SUPPORT FROM GINGHAM AND VINNIE BLOOM, MORE GUESTS TBA

TICKETS: £15
£5 FROM EVERY TICKET GOES TO BIRMINGHAM CENTRAL FOOD BANK FOOD COLLECTION ON THE DAY OF EVENT

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Founded in Falmouth, Cornwall by songwriter and producer Benjamin Woods, The Golden Dregs released two albums in quick succession—Lafayette (2018) and Hope Is For The Hopeless (2019)—before signing to 4AD for 2023’s On Grace & Dignity.

With a love of storytelling delivered in a lulling baritone often compared to Leonard Cohen and Bill Callahan, Woods’ music blends sardonic wit with existential unease. As The Line of Best Fit put it, The Golden Dregs sound like “a soundtrack to happy hour in some smoke-ridden edge-of-town bar.”

Now based in South London, Woods launched his own label, Joy of Life International, in 2024—a fiercely independent home for ambitious, artist-led work. The label’s ethos reflects the spirit of Godspeed, The Golden Dregs’ fourth album, released in April 2025: a record that explores stasis and adventure, dread and defiance, through collaborative arrangements and vivid, storm-laced imagery.

The Joy of Life Revue brings this ethos to the stage. Featuring very special guest Dana Gavanski, the tour is a celebration of kindred spirits and DIY community—a traveling showcase of songwriting, solidarity, and strange beauty.

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In a world still shaken by online misogyny and narrow ideas of femininity, The Pill are the defiant, irreverent voice Gen Z punk has been waiting for. Formed by Lily Hutchings (vocals/guitar) and Lottie Massey (vocals/bass), the Isle of Wight duo have spent the past few years honing their riotous blend of satire, sarcasm, and spitfire punk into something entirely their own. Now, they’re ready to unleash it with the release of their self-titled debut EP, a sold-out UK headline tour, and a run of shows with Green Day, The Hives, Panic Shack, HotWax, plus appearances at over 30 UK and European festivals throughout 2025.

 What began as a joke, a fake band dreamed up after school, has evolved into one of the most exciting new acts in British punk. The Pill’s sharp commentary and sub-two-minute bangers are turning heads across the with influences from The Slits and Beastie Boys, to the fearless attitude of Amy Winehouse. Their music lands hard both sonically and thematically.

 “We’re really thankful to the female musicians who were angry and aggressive before us,” says Lottie. “They made it possible for us to take this approach, to say what we want, how we want.”

 From their debut single ‘Bale of Hay,’ a tongue-in-cheek takedown of the “dumb blonde” stereotype, to recent track ‘POSH,’ which gleefully skewers the internet’s obsession with class-based commentary, The Pill’s lyrics are as cutting as they are clever. Their debut EP also features fan favourites like ‘Money Mullet,’ which dissects the upper-class spin on punk fashion, and ‘Scaffolding Man,’ a brutally honest, and darkly funny, portrait of intrusive male behaviour and the everyday indignities of womanhood.

 As their profile grows, so does the backlash, mostly from angry men online. But for Lily and Lottie, the trolls only prove the point.

“If you’re getting that kind of reaction, it probably means you’re doing something right,” says Lottie. “They’ve missed the whole point, and that makes it even funnier,” adds Lily.

 Humour and friendship are The Pill’s lifeblood. Best friends for more than a decade, their on- and off-stage chemistry is infectious, finishing each other’s sentences, laughing through interviews, and turning shared frustrations into feminist anthems. Whether they’re reclaiming insults, satirising stereotypes, or dressing up “like little ladies” to play furious punk, they refuse to conform.

 “There’s no rule that says women can’t be feminine and punk,” says Lily. “Guys, I just want to dress up and play my angry songs.”

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Kavus Torabi is a British/ Iranian composer, multi-instrumentalist, performer, author, artist, broadcaster and DJ. His largely autobiographical solo work marries the human with the celestial.

Since 2016 he has fronted legendary psychedelic band Gong with whom he is principal songwriter. He is a member of the semi-modular experimental/ psychedelic trio The Utopia Strong. He is a former guitarist of British cult band, Cardiacs and avant rock instrumentalists Guapo. As part of a a DJ duo with Steve Davis, he has performed festivals throughout the UK, recently performing at Wembley Stadium between bands for Blur's comeback performance. In 2021 White Rabbit published, Medical Grade Music, his memoir with Steve Davis which was Shindig's music book of the year. In April 2024 his commissioned piece 'Lion Of The Lord's Elect' made its debut at Roadburn Festival, NE.

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Formed in 1995, The Dears released their first, ultra lo-fi album, End of a Hollywood Bedtime Story, in 2000. The orchestral, dark pop sound and dramatic live shows cemented The Dears at the foundation of the then-emerging Canadian indie-rock renaissance. Their live show was described as “the sonic equivalent of seeing the face of god.” In 2001 and 2002, they released two separate concept EPs Orchestral Pop Noir Romantique and Protest, respectively. In 2003 they released their second full-length album No Cities Left in Canada, and a string of highly anticipated shows at SXSW ‘04 prompted the international release of No Cities Left with Bella Union. Their 3rd album, Gang of Losers, came in 2006, was well received by the press, and was shortlisted for the Polaris Music Prize. In 2008, the band released Missiles, followed by Degeneration Street (2011), Times Infinity Volume One (2015), Times Infinity Volume Two (2017), and Lovers Rock (2020). In 2024 The Dears partnered with Outside Music/Next Door Records and in the spring of 2025 completed their 9th studio album, release details forthcoming!

The Dears have toured the world over, including performances on Letterman (twofold), Jimmy Kimmel, Jonathan Ross and at Glastonbury, T in the Park, Wireless, Montreal Jazz Fest, Siren Festival, Coachella, Austin City Limits, V Fest, Reading and Leeds, Les Inrocks (France), Montreux Jazz Fest, Istanbul Jazz Fest, Pop Montreal, CMW, NXNE and countless appearances at SXSW. They have shared stages with Spiritualized, Broken Social Scene, Daniel Lanois, Rufus Wainwright, Zemfira, Bloc Party, Keane, Morrissey, The Tragically Hip, Metric and Death From Above, to name a few.

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After the runaway success of their debut album Terrapath, which cemented their status as the stewards of the UK's prog-rock scene, Plantoid have returned with their sophomore release: the enigmatic, arresting, and at times downright catchy Flare. Staying true to the band's math-rock roots, the album is awash in heavy, reverberated guitar licks, tempo changes, and mind-altering chord progressions-all while expanding Plantoid's signature sound towards new horizons, like wall-of-sound shoegaze and vocal-forward rock-pop. It does what all second albums do best; retain the core DNA that set its predecessor apart from the fray, yet evolve enough to excite old fans and new listeners alike.

"While making Flare, we did knowingly acknowledge that our sound had been very erratic," explains drummer Louis Bradshaw, who along with vocalist/guitarist Chloe Spence and lead guitarist Tom Coyne, make up the nucleus of Plantoid. "We never stayed on anything for too long. Before going into writing this album we wanted to slightly redefine what we were doing-it's less directly proggy. It strays from that sound a bit, while retaining that character."

If you're here for the time changes, long track durations, and jazzy mid-song freakouts, don't you worry, you'll still find plenty across the album's nine sprawling tracks. It's just that Plantoid have been able to tap into something deeper, more lived-in. With the help of producer/sometimes live member Nathan Ridley, who has helped the band craft their sonic identity since Terrapath, they've sought to indulge their groovier side, dissecting their songs further and letting their ingredients properly ferment into something new. "We wanted to sit in the music for a while, make a mood out of it rather than like changing it up so quickly," says Chloe. "We wanted to see ideas to their fullest extent."

There was a circumstantial element to this artistic evolution, as well as a creative one. After spending a solid year gigging in support of Terrapath, the band needed time away from the hustle and bustle to properly focus on their next chapter. This refuge came in the form of a writing retreat in Anglesey, Wales, where their label were able to set them up with [XX] Laurie [XX] who gave them full use of this converted studio. Under the (actually, quite prog-rock-sounding) Snowdonia mountains, the band were able to fully let loose and reconnect.

"We were at this beautiful place called Penhesgyn Hall," says Tom."We didn't intend to actually record the album there, but we loved it so much. There wasn't really much gear there, but the room itself is amazing." It's in this environment where the majority of the songs on Flare were conceived, during insular jam sessions that went late into the night. "We'd never really done that as a band before," explains Chloe. "We ended up writing and tracking pretty much a song a day-we'd have so much material. That's how we ended up with "Splatter": we were like, 'Well, we've done everything, let's try something new.'"

"Splatter" is one of the most innovative tracks on Flare, no less because Plantoid challenged themselves to write a track that was less than three minutes-something they'd never done before. It sounds raucous and off-kilter, Chloe's soprano register streaming through crunchy, wet guitar riffs and an itchy drum beat shuffling along at light speed. In a way, it stands in opposition to one of Flare's focus tracks, "Ultivatum Cultivatum", which is more classic Plantoid: Chloe and Tom's guitars languidly swirl around each other while her vocals recall the dreampop landscapes of bands like Cocteau Twins and Beach House. Both tracks are flipsides of the same coin, showcasing both the heaviness and intricate musicality that has become the band's calling card.

While Plantoid being a slightly different flavor to each one of Flare's tracks, it's perhaps lead single "Dozer" that is able to encapsulate the group's ethos as a whole. Six blistering minutes of labyrinthine math-rock, "Dozer" shifts from frenetic, pulsing riffs to subdued, experimental breakdowns and back again, gleefully throwing out the rulebook while anchoring the album's listening experience.

"It just kind of came together really quickly, and we instantly knew it was going to be a single," says Louis of the experience of writing "Dozer". "We're massive fans of Can and Neu! and all of those German krautrock bands, and wanted to do something similar to that, but with a really heavy, rhythmic hook. We wanted to really elongate the groove and really nail down on that motoric feeling. But that's also how we tackled everything with the album, it's all birthed from jams that we chipped away, glued together, and restructured."

On tracks like "The Weaver" and album closer "Daisy Chains", Chloe's vocals take center stage like never before. Plantoid have always been a band that have been able to create vast worlds through their instrumentation and production choices-on these tracks, a renewed focus on lyricism adds yet another layer. "When I was writing "The Weaver", I kept thinking of an animation of a little frog or mouse going on a really big journey, one that's bigger than itself," describes Chloe. "With that came this idea that the character in it was really squeaky and tiny, which kind of is where my vocal tonality came from, because this thing is innocent and going on a little humble journey-but then things start going wrong." Making space for Chloe's vocal experimentations was crucial in bringing the universe of Flare to life. "When we're writing the music comes quite quick and natural for us, but then it can be like, 'Shit, are you meant to sing over that?" laughs Tom. "A lot of these new songs were shaped around the vocals, which I think is a key feature to the progression of our sound."

And progress, clearly, is the name of Plantoid's game. Not just in terms of progressive rock, but leaning into the urge of always pushing forward, always discovering something new, excavating the layers and layers of stratified sediment between them until only a gleaming, polished stone remains. It's this dedication to the expansion of their craft that makes them both endlessly fascinating, and one of those most intensely imaginative rock bands in the UK today.

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London-based band Whitelands release their second album Sunlight Echoes on 30th January 2026 via Sonic Cathedral. It builds on 2024's Night-bound Eyes Are Blind To The Day - the elemental debut that won them fans from Slowdive to David Jonsson - with a more expansive sound that takes them out of the shoegaze shadows to somewhere bigger, better and brighter.

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Mermaid Chunky are an audio visual duo made up of artists Freya Tate and Moina Moin. Bathing in milkmaid serenity and improvised chaos, the duo boast of pumping trance rhythms, sad Easter time chicks and seriously arousing sax solos. Catching their live performances may cause havoc on your retinas as they are often accompanied by euphoric sculptural visuals and an entourage of sweating puppy's in frills.

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By the time Irish musician Maria Somerville started writing Luster, her landmark label debut for 4AD, she had lived away from her native Connemara for quite some time.

Having grown up amongst the wild, mountainous terrain of Galway's rural west coast, she later relocated to Dublin, where she patiently developed an atmospheric dream pop signature inspired by the landscape of her youth - a spellbinding soundworld of gusting ambient electronics, ethereal guitar strums, sparse percussion, and hushed lyrical vignettes. In 2019, this culminated in All My People, a self-released LP steeped in reverb, nostalgia and a yearning for home that won praise from discerning press and listeners alike.

It was upon returning to Connemara, in a house near where she was raised overlooking one of the country's largest lakes, Lough Corrib, that work commenced on the songs that would eventually become Luster, an album that illuminates Somerville's music anew, pushing it forward in both sound and spirit. Where All My People conveyed memories and melancholic longing with misty slowcore balladry, these 12 tracks show us an artist who's more assured in the path her life has taken, and the person she's become in the process. As she sings in 'Trip' - "I can see more clearly than I could before. I know now what's true for me."

Invigorated by her surroundings and emboldened by her community, Somerville found a renewed sense of creative energy upon returning to home soil. It provided "fertile ground" for free-flowing recording sessions in her small living room studio, where she stitched together demos that were then fleshed out with friends and collaborators, and later mixed by the renowned New York-based engineer Gabriel Schuman. Contributors included producers J. Colleran, Brendan Jenkinson and Diego Herrera (aka Suzanne Kraft), as well as Lankum's Ian Lynch, whose uilleann pipe drones you can hear in 'Violet', and Margie Jean Lewis, whose violin bows reverberate through the ambient haze of 'Flutter'. Sessions with musicians Henry Earnest and Finn Carraher McDonald (aka Nashpaints) helped "tie it all together", while contributions from friends Roisin Berkley and Olan Monk enshrined the companionship they've shared since Somerville returned to Connemara.

Listeners have had a window into Somerville's world every Monday and Tuesday morning since 2021 via her beloved Early Bird Show on NTS Radio, where her dawn chorus selections range from blissful ambient and shoegaze to traditional Irish folk songs. Since signing to 4AD that same year, Somerville has toured with her label mates Dry Cleaning, and released two covers for the label's 40th anniversary celebrations - taking on Nancy Sinatra's 'Kinky Love' and Air Miami's 'Sea Bird'. With the release of Luster, she has signaled the arrival of a new era that will see her play around the world in 2025 accompanied by a live band. Rest assured though, no matter where Somerville goes, she'll take a piece of home with her - a living, breathing, timeless essence you can sense in every note, as clear as the air by the Corrib.

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Like a sweet spring breeze after a long, cruel winter, Cory Hanson’s blowing through town again. And like the wind, I Love People comes from parts unknown. Need a ride? Long as you’re ready to find yourself wherever it dies down, jump on! Despite all the complications of life here in Central Casting 2025, Cory and the boys are happier than ever to be playing music at its most beautiful for ALL the people: eminent hipsters bellied up to the bar alongside the ropers, riders and all the other jokers for whom freedom’s just another word for nothing left to lose or do. Followers of Cory’s twin arcs as solo singer and Wand member will be intrigued to learn that the lineup here is the same band that recorded last year’s Vertigo. Yep, Wand — their Masters of Unbounded Space robes traded in for Wrecking Crew trucker’s caps, as they reel out licks both tasty and smooth, like chopsmeisters of yore. That’s Robbie Cody co-producing behind the desk, Evan Backer playing bass and arranging strings and horns, Evan Burrows on drums and percussion and Cory on piano, guitars and voices and songs.

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Originally recorded in a friend’s kitchen, their debut album, Music to Practice Safe Sex To, earned a fan in Paramore's Hayley Williams. Pool Kids' 2022 self-titled record netted wide critical acclaim with its lush, high-contrast mixture of pop, emo, and math rock. Over the past few years they've shared stages with The Mountain Goats, PUP, Beach Bunny, and La Dispute.

Throughout their rapid artistic growth, they've held fast to the principles of their DIY origins and have earned over 24 Million global streams across their catalog. At their shows, they hammer home the message that anyone can do what Pool Kids do. Anyone can start a band. Anyone can make a record. Everyone deserves to chase their dream.

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Birmingham's original punk group The Prefects had been part of The Clash's 'White Riot Tour', recorded a couple of Peel sessions, released a 45 on Rough Trade and, years after splitting up, had a retrospective CD released by NY label Acute Records to all round glowing reviews - from Rolling Stone to webzines.

The Nightingales was formed by a few members of The Prefects following that band's demise in 1979.

Described in John Robb's definitive book on post punk ("Death To Trad Rock") as "The misfits' misfits" and comprising an ever fluctuating line up, based around lyricist/singer Robert Lloyd, the Nightingales enjoyed cult status in the early '80's as darlings of the credible music scene and were championed by John Peel, who said of them - "Their performances will serve to confirm their excellence when we are far enough distanced from the 1980's to look at the period rationally and other, infinitely better known, bands stand revealed as charlatans".

The group recorded a bunch of critically acclaimed singles - pretty much always 'Single Of The Week' in the music press - and three albums, plus many radio sessions for their great supporter Peel. They also regularly toured the UK and Northern Europe, as headliners and supporting acts as diverse as Bo Diddley and Nico.

In the late Eighties the Nightingales stopped working but, following the occasional gig between times, they re-grouped in 2004.

After fucking about with various part timers, starry eyed wastrels, precious sorts and mercenaries the group arrived at a long standing line up, which featured Lloyd, Andreas Schmid from Faust on bass, ex Violet Violet wonder drummer Fliss Kitson and on guitar James Smith, who Lloyd had spotted playing with Damo Suzuki.

Since restarting the group have been more productive than ever - releasing seven vinyl singles, a couple of EPs, two 6 song mini albums, nine full length studio albums plus a movie soundtrack and a double live LP. They have regularly toured UK, mainland Europe and also the USA numerous times, playing various festivals and recording many radio sessions along the way.

The band continue to operate with no actual manager, booking agent, et al, but they get by. And they work equally well with pop musicians, rock n rollers and the avant garde. The group is independent, maverick, diligent, daft, blah blah.

Until recent times the Nightingales made one record for a label and then, by choice or otherwise, moved on. But in 2017 they started going steady with Tiny Global Productions.

The first TGP release was the sold out "Become Not Becoming" 10" EP, followed in 2018 by a 45rpm collaboration with Vic Godard - "Commercial Suicide Man"- and another critically acclaimed 'Gales album "Perish The Thought" and to support this album the group toured Europe extensively, from Scotland to Serbia.

2019 saw the recording of a new album plus filming of a feature length Nightingales documentary film, "King Rocker" - written and presented by brilliant stand up comedian Stewart Lee, directed by Michael Cumming ('Brass Eye', 'Toast Of London', etc).

The album, "Four Against Fate", was released in May 2020 but unfortunately the accompanying UK tour had to be postponed, several times, until late 2021 and pencilled European and U.S shows were cancelled until much later.

Plans for "King Rocker" were also disrupted in 2020, but the film had it's TV premiere on Sky Arts in February 2021, and was reviewed and received with great gusto and stunning comments ('Best rockumentary ever', etc) by the public and respected film critics alike.

Seemingly loved by all who have seen it, the movie was an Official Selection at the prestigious Sheffield Doc Fest and received it's World theatrical premiere in June 2021, with more TV and cinema screenings around the globe booked for later that year and beyond.

A split single with Stewart Lee was released in by Fire Records, alongside 'deluxe' expanded, remastered LP reissues of the band's first three albums - "Pigs On Purpose", "Hysterics" and "In The Good Old Country Way" - plus the first vinyl release of their "Out Of True" album.

The Nightingales finally fulfilled their, four times rearranged and largely sold out, "Four Against Fate" UK tour in October 2021 and in early 2022 the band's original soundtrack album to the film "King Rocker" was released alongside a bookback DVD of KR featuring assorted extras. There was also an odd but exciting FAF remix 12" 'Disco 45' titled "The New Nonsense".

"The Last Laugh" album was released in 2022 and the the double LP "Live In Balsall Heath" followed in 2023. In between these two records the group were special guests of The Damned on an extensive UK tour.

Meanwhile, the 'Gales have staged their own live dates in Ireland and the short "Off The Beaten Track" tour, taking in an assortment of the UK's smaller towns.

In 2024 the group had an amicable divorce from Tiny Global Productions to record a new album for their old pals at Fire Records. "The Awful Truth" was the first all new album for the label responsible for "King Rocker" and the reissues of the early catalogue. The follow up to TAT is due in 2026.

Following the release of "The Awful Truth" the band was officially augmented by wonderful viola player Natalie Mason who had previously guested with the group on stage and record. In February 2026 the five piece Nightingales will make their initial tour of the UK, their first city tour as headliners in three years.

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Monster Florence have always operated on the edge of genre, blending hip-hop, punk, and anything that fits the moment into something uniquely their own. Their last album, Master System, earned critical acclaim for its barbed lyricism and dark, cinematic atmosphere, capturing the anxieties of the digital age. Since then, the six-piece from Colchester has taken their explosive live show across two UK tours and their first European tour. Now, with their new EP, Petty Cash, they push their sound even further. A currency for the careless, Petty Cash captures the thrill of fleeting pleasures. The EP moves through the highs and lows of excess and aftermath. It's the sound of nights that blur together, moments that slip through your fingers, and the echoes they leave behind. With Petty Cash marking another evolution, Monster Florence step into the year ahead, ready to defy expectations all over again.

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Somewhere within a lifetime of repeats, reruns and reboots, TVAM lives, crafting work which touch on our memories but toy with our fears. A world in which broadcast becomes performance. Hypnotic tracks which straddle an impressive spectrum of influence; with Boards of Canada's irresistible nostalgia, Suicide's deconstructed rock'n'roll and MBV's infinite noise all becoming touching points in Joseph Oxley's musical output.

Since his debut album, Psychic Data, first burst onto the scene (direct from a small bedroom studio in Wigan, UK), TVAM has defined the sound and spectacle of nostalgia's grip on our lives; from the sloganeering of Porsche Majeure, to the electioneering of Semantics.

TVAM's debut Psychic Data spawned an 'Album Of The Day' and two daytime playlists at BBC 6Music whilst signature tune 'Porsche Majeure' was KEXP Track Of The Day and featured in HBO's smash-hit Succession. Follow-up High Art Lite was released on Geoff Barrow's Invada Records and received daytime playlist for 'Double Lucifer' on BBC 6Music and "Album of the Week' at Louder Than War.

Words: "It's like someone took Spiritualized to the club!!" - Lauren Laverne , BBC 6Music

"Quite simply, this is one of the best debuts in recent times. Utterly and unashamedly brilliant." - Electronic Sound "

An industrialised pop record that throbs and pulses with an infectious, entrancing haze that's instantly addictive ... roaring great fun" - Loud & Quiet

"A Ballardian synthesis of rock grind, mechanoid tension and ether-gazing vocals which variously recalls The Normal, Suicide and Add N to (X)" - Mojo

" Indulge in the disaffected rage that beats through this darkly glittering experimental masterpiece" - Gigwise

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congratulations are a hall of mirrors party troop. they are devils and tarts in equal measure. they lock their horns and then spin round and round and round until dizzy cacophony erupts. sugarcane hooks vs. slaughterhouse screams. taut, fizzing guitars & caustic electronics nipping at the heels of huge fuzz bass & booming percussive grooves. leah is the green one. jamie is dressed in blue. greg's red, james is yellow. they're here to move you.

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Joan Shelley has long factored place into her recordings. For her self-titled album (2017) she landed in Chicago, at The Loft with Jeff Tweedy producing. In 2019 she went to Iceland, bringing along collaborators Nathan Salsburg and James Elkington to make Like The River Loves The Sea. The pandemic kept her close to home in Kentucky for The Spur (2022), but as a new batch of songs began to take shape in late 2024-and as Shelley and her family began settling into their new home in Michigan-she began searching for a place where she could record in the company of talented friends. Joan, with husband Nathan Salsburg and their 4-year-old, traveled to snowy Toronto, ON in the winter of 2025 to make a record with Ben Whiteley, friend and bassist for The Weather Station. Ben tapped his rich community musicians for the session, including drummer Philippe Melanson, saxophonist Karen Ng, singer/songwriters Doug Paisley and Tamara Lindeman, Matt Kelley, and Ken Whiteley. Joan's partner, guitarist Nathan Salsburg, also appears. Toronto artist Heather Goodchild designed and painted the cover and inner sleeve.

Real Warmth is the follow-up to Shelley's acclaimed 2022 album The Spur, a record praised by The New York Times, Pitchfork and The Guardian. It was deemed the #2 album of that year by Uncut Magazine and prompted MOJO to ask:" "Is Joan Shelley America's most consistently exceptional songwriter? Right now, that does not seem like too much praise"."

Shelley has toured and performed with the likes of Richard Thompson, Wilco, Patty Griffin, Michael Hurley and Bonnie "Prince" Billy. She has been featured on the covers of Fretboard Journal and Acoustic Guitar Magazine, and has appeared as a guest on WTF with Marc Maron, Fresh Air with Terry Gross, and Later... with Jools Holland.

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A pollyanna is defined as an excessively cheerful or optimistic person. For it to be the title and inspiration of the opening track and lead single from Just Mustard's third album, WE WERE JUST HERE, signals a Damascene moment for the Dundalk five-piece. Across their first two albums - 2018's Wednesday and Partisan Records debut Heart Under from 2022 - the Irish band had become masters at creating haunting noise rock, Katie Ball's bewitching vocals swirling amongst the sounds like smoke.

Heart Under, defined by a maelstrom of dark industrial noise and dreamy textures, explored themes of grief and longing, with imagery of being submerged deep underwater and gasping for air. On the remarkable WE WERE JUST HERE, the band reemerges, leaning towards the light and the rush of euphoria.

Across these 10 tracks, the band's signature elements are still intact: guitars that are warped beyond recognition, twisted sound design that draws from the luminary world of Aphex Twin and cavernous low ends. Guitarists David Noonan and Mete Kalyoncuoğlu continue to take their instruments to wild and unrecognizable places, while the rhythm section of bassist Robert Hodgers Clarke and drummer Shane Maguire bring thudding sub bass and clattering percussion respectively. This time though, it's all been channeled into a warmer and more anthemic path, opening up a new dimension of sound for the band.

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On 9th January 2026, Dry Cleaning will return with Secret Love, the group's third studio album, produced by Cate Le Bon. Today, they share its first single, 'Hit My Head All Day'.

Secret Love is the finest expression yet of the profound friendships that created Dry Cleaning, between frontperson Florence Shaw, guitarist Tom Dowse, drummer Nick Buxton and bassist Lewis Maynard.Here, the south London four-piece take their place in rock's avant garde, catalysing the Reaganite paranoia of early 80s US punk and hardcore with the dry strut of Keith Richards, stoner rock, dystopian degradation, playful no wave and pastoral fingerpicking, while Florence's delivery, meticulously calibrated to her bandmates' soundscapes, asserts her in a lineage of spoken-word artists stretching from Laurie Anderson to Life Without Buildings' Sue Tompkins.

The follow-up to Stumpwork started life in Peckham rehearsal spaces, all four members writing, playing and responding to each other in the room: in Dry Cleaning, music and lyrics form an inseparable, generative whole. Secret Love evolved through affirming sessions at Jeff Tweedy's Chicago studio the Loft and explosive ones with Gilla Band's Alan Duggan and Daniel Fox at Sonic Studios in Dublin, taking advantage of the sonic particulars of each space, and finally with Cate Le Bon at Black Box in the Loire Valley. After interviewing various potential producers, they picked Cate - an esteemed solo artist who has also made albums for Deerhunter, Devendra Banhart, Wilco and Horsegirl - for her unabashed positivity and openness. "Being in a room with them and hearing that vitality and life force that exists between them all, it's such a unique expression," she says.

Trust is Secret Love's guiding theme, as signified by compulsively catchy 'Hit My Head All Day' which opens the album. Powered by pistons of breathy synths and cresting arcs of guitar, Florence's signature mix of absurdism and sensitivity, "The song is about manipulation of the body and mind. The lyrics were initially inspired by the use of misinformation on social media by the far right. There are powerful people that seek to influence our behaviour for their own gain; to buy certain things, to vote a certain way. I find it hard to read people's intentions and decide who to trust, even in everyday life. It's easy to fall under the influence of a sinister stranger who seems like a friend.

We took a playful approach to the song. At one point it had harmonica on it instead of a vocal. At the demo stage we were inspired by There's a Riot Goin' On by Sly and the Family Stone."

Secret Love is released on 9th January 2026 and will be available digitally, on CD, cassette, black vinyl, limited edition Apricot vinyl (4AD store & indie retail) and Pearl/Arctic vinyl (Rough Trade exclusive). An exclusive run of white labels of Secret Love will be available to order for 48 hours only from today via the 4AD store, and a small quantity of JCD's will be available exclusively on Bandcamp. A limited number of signed photo prints will also be available via the 4AD and indie stores.

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Blood Wizard is the moniker of Cai Burns, a singer songwriter hailing from South London by way of Nottingham. He burst into the scene with his debut album 'Western Spaghetti' in 2021, released to a frenzy of underground acclaim through the revered indie label Moshi Moshi Records. Offering a twisted interpretation of the earthy tones and introspective musings of artists like Aldous Harding and Kurt Vile, Blood Wizard carved his own unique path. Performances at End of the Road's main stage, Pitchfork Festival and an endorsement from Wet Leg followed, as did sold out headline shows in London and further afield.

Now, with his sophomore effort 'Grinning William', Blood wizard unveils a more intricate and diverse body of work. Without compromising his distinctive sound, this second album ventures into sonic realms akin to the captivating discographies of artists like Alex G. Produced by Theo Verney (of Lime Garden, English Teacher, and Egyptian Blue), the 2024 offering signifies a monumental leap forward for the former Kagoule frontman. Exceptional songwriting and a kaleidoscope of moods are united by Blood Wizard's wry vocals and poetic lyrics that have become his signature. Stepping beyond the enigmatic allure of his debut, 'Grinning William' sees Blood Wizard emerge once more from the woody undergrowth with a 10-tracker of even greater originality: another seminal record for those in the know.

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Lorelle Meets The Obsolete is the sonic partnership of Lorena Quintanilla and Alberto González, a duo originally from Guadalajara, Mexico, now based in Ensenada, Baja California. Since forming in 2011, they have forged a reputation as one of Latin America's most vital and visionary acts-drifting from heavy psych into post-punk, noise, avant-pop, and electronic minimalism.

Their early albums On Welfare and Corruptible Faces caught the attention of the international psych scene, leading to their signing with UK label Sonic Cathedral in 2013. From there, Lorelle Meets The Obsolete embarked on over a decade of relentless touring across Mexico, the US, UK, and Europe, performing at festivals including LEVITATION, SXSW, Liverpool Psych Fest, NRMAL, and Hipnosis.

Over the years, their sound has morphed dramatically. From the hazy, swirling textures of Chambers and Balance, to the raw experimentalism of De Facto-which landed at #5 on Piccadilly Records' Albums of the Year-the band has continuously pushed forward. Their sixth album Datura (2023) marked a radical shift: a concise, bass-driven post-punk statement that earned critical acclaim and placed #18 on Rolling Stone's Best Spanish-Language Albums of the Year.

Lorelle's collaborators over the years have included Emma Anderson (Lush), Pye Corner Audio, and Dälek, and their music has won admiration from icons like Iggy Pop and Henry Rollins. They've recorded live sessions for BBC Radio 6 (Marc Riley) and KEXP, further cementing their cult status.

With lyrics that navigate the turmoil of modern life-cultural colonialism, political tension, sleepless nights, and emotional unrest-Lorelle Meets The Obsolete balance venture with confrontation. Their live shows are intense, incendiary experiences, driven by catharsis, distortion, and defiance.