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The Magic Numbers are an UK-based four piece comprising two pairs of siblings (Romeo and Michele Stodart, Sean and Angela Gannon) who are known for their unique harmonies, melodic hooks, songwriting craftsmanship and timeless sound.

Their Mercury Prize-nominated self-titled debut album was released in 2005 to outstanding critical acclaim, and contained top ten hit singles such as 'Forever Lost', 'Love Me Like You' and 'Love is a Game'. It went on to sell over a million copies worldwide, making them one of the nation’s best-loved bands. They have earned a reputation for their exciting and uplifting live performances, leading them to tour the world, building a loyal fan base, as well as supporting the likes of Neil Young, Brian Wilson, Radiohead, The Flaming Lips, The Who, U2, Elbow and Bright Eyes amongst many others. The Magic Numbers have released five successful albums to date, and are currently working on new music. 

The band have also become known for their collaborations with a diverse range of artists over the years - from Romeo writing and producing songs for the late Jane Birkin, Natalie Imbruglia, Ren Harvieu to co- writing ‘Close your eyes’ with the Chemical Brothers for their Grammy-Award-winning album ‘Push The Button’, and producing Billy Bragg’s most recent album. His sister,  Michele Stodart has released three critically acclaimed solo albums, and is also an award-winning artist and collaborator. 

The Magic Numbers' outstanding musicianship, blood harmonies and skilfully crafted songs, make them a truly unique, exciting and unmissable live band. They continue to tour the world building their audiences and explore new ground in the studio together producing albums. 

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Erupting from a frenzied passion for the ‘song’, Keg toe a fine line between the angular throb of contemporary post-rock sensibilities and a timeless necessity for harmony and meticulous songwriting. Taking hints and tips from their forebears Minutemen, Fugazi and Radio 4 the band intend to confound genre, but mainly stick to the rock arena.

Armed with 7 musicians, Keg creates a frantic chaotic energy. Barbed guitars, wonky synth lines, peppered with trombone, and a glimpse into a confused man’s brain. The band rarely rest easy on one approach, equally happy to explore a college rock sound as a hardcore one. Its this indecision which leads Keg to continue to push their sound further, delving into ambient landscapes and melodic songwriting.

It is the live arena, where KEG is understood best, they’ve earnt their stripes at Greenman (Big Top), Latitude (Sunrise Arena), Sur Le Sac (CH), Sacred Ground (DE), End of The Road (Big Top), Dour Festival (BE), Vida Festival (ES) and built a loyal following of fans across the UK and Europe.

The band have released two critically acclaimed EPs ‘Assembly’ (2021) and ‘Girders’ (2022), garnering attention from Loud and Quiet, NME, Dork, So Young and support from BBC radio 6 and Radio X. DIY are real champions of the band, awarding them a slot in their prestigious Class of 2023.

They return with their anxiously awaited debut ‘Fun’s Over’ early 2025, and the chaos will ensue.

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Skydaddy, the moniker of London-born Lebanese/Grenadian artist, Rachid Fakhre, began life in early 2023 as an offshoot of his previous acclaimed project Spang Sisters. Before releasing any music, there was a buzz around the new project in the London scene - 2 weeks before Fakhre released his first single, ‘That Morning’, he toured the UK with his 7-piece backing band supporting Black Country, New Road. Following that, he spent the rest of that year releasing singles - including ‘Tear Gas’ a collaboration with BC, NR’s Tyler Hyde - that eventually became part of his debut mini-album Pilot.

Released on February 2nd of this year, the release quickly garnered Fakhre a reputation of “a modern day chamber folk virtuoso redefining musical narratives” (Still Listening). The songs demonstrated his compositional prowess and ambitious production and arrangements. As Clash wrote, “‘Pilot’ is a reclamation of the multi-instrumentalist’s Lebanese heritage… careening between ambient-jazz sound collages, marathon orchestral codas and oblique confessionals”. Fakhre took his show on the road on a UK-wide headline tour soon after Pilot’s release, selling out shows in Edinburgh, Brighton and Bristol, finishing with a headline at London’s 100 Club.

Skydaddy's forthcoming EP 'Anchor Chains, Plane Motors & Train Whistles' will be out on January 10th. Taken from the mouth of George Bailey of ‘It’s a Wonderful Life’, the title symbolises a blind faith in technological advancement. He described these as the “three greatest sounds in the world.” Even a century on, these sound images denote grandeur and expanse. This is what Skydaddy wanted to achieve in the sound of this forthcoming record: a surrendering of being tied to the old world and an exploration of modern anxieties.

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The upcoming new album from Du Blonde is an album of many faces… some belonging to her, others belonging to a host of characters from past loves, to record industry executives, each played with humour and heartbreak in a one-man pantomime of glam-rock, punk, and a single, acrylic nail adorned middle finger. The glimmers of pop teased on 2021’s Homecoming LP become firework displays that illuminate stories of missed connections, anxiety, controlling relationships and hard earned peace. In spite of darkness, Du Blonde is choosing fun.

The album rides a pendulum between soft laments and strummed acoustic guitar to raging chants, three-minute rock operas and percussive, fuzzy and ostentatious pop-punk guitars. It is glorious and angelic; hilarious and ridiculous. 

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Joe Lally was onstage, playing at full throttle, when he realized that his band had found a true kindred spirit. It was the fall of 2021 and the Messthetics — the instrumental trio of Lally on bass, his former Fugazi bandmate Brendan Canty on drums and guitarist Anthony Pirog — were at Brooklyn venue the Bell House, digging into their uptempo riff workout “Serpent Tongue.” Joining them for the piece was a special guest, acclaimed jazz saxophonist James Brandon Lewis, making only his second cameo with the group after a drop-in at another New York show back in 2019. That first meeting had been a success, but this time, Lewis’ presence sparked something new.

The sense that there was more to explore within what began as an ad hoc union among the four musicians — lingered after the performance ended. Now, Lewis, Pirog, Lally and Canty are ready to unveil their first full-length album as a quartet. Recorded in just two days in December 2022 at Takoma Park, Maryland, studio Tonal Park, with engineer Don Godwin, The Messthetics and James Brandon Lewis features nine tracks that capture the combustive chemistry Lally originally sensed onstage while expanding the collaboration in all directions. Across the album, due out on March 15th via the legendary Impulse! label, the quartet can be heard locking into a hard, swaggering funk groove on “That Thang,” cradling a wistful, jazz-like theme on “Asthenia” or rocketing into ecstatic art-punk overdrive on “Emergence.”

Back in the UK for the first time since covid… the legendary rhythm section of Brendan Canty & Joe Lally (Fugazi),  & visionary guitarist Anthony Pirog, will be joined by acclaimed jazz tenor saxophonist James Brandon Lewis.

Dischord Records –https://dischord.com/band/messthetics

Impulse Records -https://jazz.centerstagestore.com/products/the-messthetics-and-james-brandon-lewis-the-messthetics-and-james-brandon-lewis-lp

Listen: https://themessthetics.bandcamp.com/album/the-messthetics-and-james-brandon-lewis

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

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Reared in Georgia and now settled in North Carolina, Jake Xerxes Fussellhas established himself as a devoted listener and contemplative interpreter of a vast array of so-called folk songs, lovingly sourced from a personal store of favorites. On his latest album, When I’m Called—his first LP for Fat Possum, and his first as a parent—Fussell returns to a well of music that holds lifelong sentimental meaning, loosely contemplating the passage of time and the procession of life’s unexpected offerings. 

The album was produced by James Elkington and mixed by Tucker Martine. In addition to Elkington, it features the playing of Ben Whiteley (The Weather Station), Joe Westerlund (Bon Iver, Califone), and others. Blake Mills contributes guitars on several tracks. Joan Shelley and Robin Holcomb provide backing vocals. 

“…Fussell is the rare contemporary to approach folk in its pure form, shunning self-penned compositions about bummer relationships to concentrate on material handed down from bygone, hardened times.” – The New Yorker

“(Fussell) is one of the great magpies of American song, collecting forgotten, tarnished gems with a folklorist’s zeal… his renditions aren’t so much cover versions as composites…” – The Guardian

“…maybe the leading interpreter of American folk music right now.” – Ann Powers, NPR

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

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Man/Woman/Chainsaw are Billy Ward (vocals, guitars), Emmie-Mae Avery (vocals, keys/synths), Vera Leppänen (vocals, bass), Clio Starwood (violin) and Lola Cherry (drums).

A precociously talented band from London, who recently celebrated their 100th gig. Since their debut at 16 years old and across three self-released singles,the band have proven themselves as one of the most exciting and unpredictable young acts in the capital, both joyous and raucous in equal measures. Last year’s “What Lucy Found There” was to be their breakthrough, securing attention for the band from the likes of The Quietus, NME, The Line Of Best Fit, So Young, BBC 6 Music and more. 

This November the band truly come of age with their debut EP, “Eazy Peazy”, to land on the indie taste-maker label Fat Possum Records. Recorded with Gilla Band’s Daniel Fox at Echo Zoo studio in Eastbourne, the group present us with cinematic arrangements, mauled by moments of cacophony; the band’s Billy Ward says of their writing process, “we thrive on the thin line between pretty and noisy, often trying to jump between the two-it’s that chaos that excites us.”

From the driving immediacy of opener “The Boss”, to the robust backbone of “Sports Day”, to the theatrical beauty of “Grow A Tongue In Time” and orchestral highlight “Ode To Clio”, the six track EP captures all the cerebral intensity, and celebratory melody, of the Man/Woman/Chainsaw live performance. It signals the start proper for a band who have been allowed to experiment, given the time to find their sound and line-up in a vibrant, supportive DIY community, and who will surely finish the year ready to take on the next with unbridled confidence. With boundless potential like theirs, you’d not bet against them.

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A sense of rootedness is at the heart of Anna B Savage’s third record You and i are Earth, a record that is as much about healing as it is an unbowed sense of curiosity, and, more simply, “a love letter to a man and to Ireland.”

Following on from her critically acclaimed records A Common Turn and in|FLUX, You and i are Earth manages to convey a sense of intimacy, while also being open-ended. Sounds of the sea and bright-eyed strings coax us on opening song Talk to Me, a study in tenderness, which brings us to a place of the elemental. It is a charged signifier that sets the tone, “I don’t think I feel nervous because of the intimacy of it,” says Savage, “the thing I feel nervous about is that it is so delicate and subtle, and the attention economy has made us desire big shiny things that will whisk us away.”

Yet You and i are Earth transports differently, swept along by an abiding sense of calm, a major progression from Savage’s earlier work, “when I was writing the first record, it felt difficult. I wanted to make sense of something I didn’t really understand. Then with the second record I had done some therapy, and was getting to grips with myself, but my old self was still pulling me back a bit, but with this one it was quite different”.

Gentleness is as radiant a touchstone on the record as earthiness, something that Savage attributes to the place she finds herself at present, both geographically and emotionally. And quite literally the record bears witness to a particular piece of earth - Ireland, and Savage’s relationship to it as her new home.

Savage’s connection to Ireland goes back over a decade to when she studied a poetry Masters in Manchester, where both her teachers were Irish, “and I totally fell in love with Seamus Heaney” she recalls. “Then in 2020 I did a Masters in Music (in Dublin) and was reading essays about sean-nós singing, watching Cartoon Saloon stuff, reading about Irish mythology - I wanted to educate myself”. Since then Anna has spent much of her time on the west coast of Ireland, dipping back to her home in County Donegal between bouts of touring (this year supporting The Staves and St Vincent - having previously toured with Father John Misty and Son Lux amongst others) and trips to London for work (this year alone she has soundtracked a new Alex Lawther-directed short film “Rhoda” which premieres at London Film Festival - and was part of Mike Lindsay’s “Supershapes” - a collaborative album and super-group led by the Tunng & LUMP producer and multi-instrumentalist).

This delicate, yet blossoming, relationship with her new home is all laid bare in her pact with the sea on Donegal, where amid skittering percussion, she asks it to “please look after me”, and then Mo Cheol Thú which morphs into an almost-lullaby for a person, a place, and perhaps, a hope. “One of the things that I was reading while I was making this record was Manchán Magan’s book 32 words for Field, and the idea that language can have an explicit connection to the land. When I am in Ireland, that sense of grounding is vast but also intimate, and sometimes it’s a bit magical and sometimes a bit scary.”

It’s fitting then, that You & i are Earth folds in some of Ireland’s brightest contemporary musicians, with Kate Ellis and Caimin Gilmore from Crash Ensemble, Cormac Dermody from Lankum and Anna Mieke contributing vocals, strings, harmonium, bouzouki, taishōgoto and clarinets to the album, all tied together by producer John ‘Spud’ Murphy (Lankum, Black Midi).

A sense of reckoning underpins a compassionate piece of work, with a conflation of many strands; histories and people, and nature and human nature, with the title song You and i are Earth taking inspiration from a 17th century plate that was found in a London sewer that has inscribed that unifying sentiment. And yet the song, while epic, is also pared back and graceful, warming to something that sounds like a swirling storm of strings. The record is not trying to hide anything, but instead unfurls a vulnerability that binds, such as on the delicate I Reach for You in My Sleep with its dreamy marriage of guitar and choral flecks, and the sweetly aching The Rest of Our Lives, which really serve Savage’s magnetic, elegant voice.

That process is brilliantly rendered on Agnes, a complicated piece of work featuring Anna Mieke that turns on tropes of duality and transformation. It mirrors an unsettling experience that Savage had through meditation, which ultimately ended in an immersive, beautiful feeling, “I felt like I was part of the earth, completely connected to the mycelium network, I felt like I was where I was meant to be.”

In many ways, that experience framed the album’s artwork, a photograph taken in some woodlands in Co. Sligo, with Savage looking up at the trees, their fractals reflected in her eyes, mirroring something she had felt in her meditation, bringing us back full circle, and to that sense that we are essentially in unison, or at least striving to be, that “you and I are earth”.

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

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The dynamic trio from Lisbon, comprising João (guitar), Tomás (bass), and Halison (drum + vox), made a significant impact on the Portuguese music scene with the release of their debut album on January 27, 2023. With their energetic performances that blend dance culture with heavy-hook songcraft, the band quickly gained a reputation among audiences.

Drawing inspiration from repetition/minimalism-centered styles such as Krautrock and Industrial Techno, MAQUINA. fearlessly explores the boundaries of these genres by incorporating elements of rock and electronic music into their distinctive sound. The album "DIRTY TRACKS FOR CLUBBING" showcases a mix of pulsating beats, scuzzy bass riffs, and noisy guitars, challenging norms and pushing the limits of conventional music. They have successfully carved out a distinctive identity in the music scene.

One of the standout features of MAQUINA.'s live performances is their commitment to authenticity and musicality. Unlike many electronic acts that heavily rely on machines and programmed beats, this trio challenges convention by excluding the use of machines and clicks during their concerts. Instead, they embrace the raw power of live instruments, providing an electrifying experience that resonates with the audience on a deeper level.

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Beloved Spanish indie rockers Hinds announce their utterly triumphant fourth album today, entitled VIVA HINDS, and share its lead single “Boom Boom Back” featuring Beck. Shortly after the band made their debut ten years ago, they hit what felt like an insurmountable obstacle – they had to change their name from Deers to Hinds for legal reasons. But, as their fans began to greet them at shows by cheering “¡VIVA HINDS!”, the band soon realised that what initially felt like an ending was actually just the beginning. Fast forward to 2023, and VIVA HINDS was written by the band’s co-founders, co-vocalists, co-guitarists and co-songwriters Carlotta Cosials and Ana Perrote after a series of endings. They hit a creative rut after releasing their 2020 album The Prettiest Curse, and their bassist and drummer devastatingly decided to leave the band. They also split with their management team, lost touring revenue due to lockdowns, and were without a label for the first time. But when Perrote and Cosials got together to write again it became clear that their connection, one so special that they call themselves “millionaires in friendship,” would be all they needed to get them through. VIVA HINDS – the most accomplished, sonically adventurous, honest and celebratory record of Hinds’ career – is only the beginning.

VIVA HINDS, which features the band’s first-ever Spanish language songs, as well as collaborations with the likes of Beck and Fontaines D.C.’s Grian Chatten, will be released on September 6th via Lucky Number. Recorded in rural France, the album was produced by Pete Robertson (Beabadoobee), engineered by the GRAMMY-nominated Tom Roach, and mixed by GRAMMY-winning engineer Caesar Edmunds (The Killers, Wet Leg). See below for album artwork and tracklisting, and pre-order the album now HERE.

Alongside the announcement of VIVA HINDS, the band shares their massive lead single “Boom Boom Back.” Following the previously released single “Coffee” which also appears on the album, “Boom Boom Back” is the first song Hinds wrote for the record and the hypnotic track features Beck, who they met by chance at a film screening on a trip to LA. The accompanying music video, brimming with bravado and Hinds’ unmistakeable charm, was filmed in Hollywood and directed by Perote and Cosials themselves. Listen to the song and watch its video HERE.

The energy at a Hinds show is always palpable, and they kicked off 2024 playing several UK shows for Independent Venue Week, followed by SXSW in March, alongside two sold-out shows at Baby’s All Right in New York. Next up is a sold out tour this month encompassing London, Brighton, Paris, Munich, Berlin and more. Hinds will return to the UK in September, playing a London headline show at Lafayette on the 13th.

Hinds have created the most accomplished album of their careers, one that celebrates their shared history and reaffirms that this band is in it for the long haul with “VIVA HINDS”, expect to hear much more in the coming months.

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Hailing from the Welsh town of Carmarthen, Adwaith grew up surrounded by a rich tradition of Welsh-language indie-rock, and a tight-knit scene of experimental, artistically-minded bands that frequented their beloved local venue The Parrot. Inspired by the lineage of boldly experimental bands that emerged out of Wales in the ‘80s - Datblygu, TraddodiadOfnus and Fflaps to name three groups spearheading new wave Welsh rock music at the time – Adwaith knew that they wanted to be similarly uncompromising in their own vision. When Hollie Singer, Gwenllian Anthony and Heledd Owen first went about founding their own band in 2015, they were also equally influenced by newer acts they’d seen playing at local indie venues and Welsh-Language music festivals, where they bore witness to another new wave of musicians wielding Welsh as an exciting musical instrument.

Now, the dynamic Welsh trio Adwaith proudly announce the release of their highly anticipated third album, Solas. Meaning “light of being” or “enlightenment” in Celtic, Solas marks a significant milestone in the band’s journey. Recorded across diverse locations—including the Outer Hebrides in Scotland, Lisbon in Portugal, and multiple studios in Wales—Solas reflects Adwaith’s growth and evolution as artists. Overflowing with romance and magic, this 23-track double album completes a coming-of-age trilogy chronicling their transformation from teenagers into empowered women, exploring themes of self-discovery, escape, and resilience.

After signing to Carmarthen-based indie label Libertino, Adwaith released their debut single ‘Pwysau’ in 2016, and steadily built on these promising foundations as they delved into mangled, free-wheeling post-punk recalling just some of their heroes: CAN, The Breeders, and NEU! That same year, debut album ‘Melyn’ perfectly skewered the anxiety and unease of becoming an adult in a fraught political climate, in a region too often sidelined and ignored by Westminster. The record went on to win the prestigious Welsh Music Prize, and the likes of BBC Radio 1, BBC 6 Music, KEXP, NPR and BBC Introducing’s Huw Stephens all threw their support behind the group along the way.

In 2022, meanwhile, the band released their widescreen follow-up ‘Bato Mato’ – inspired by illuminating train journey into the remote rural reaches of Siberia aboard the Trans-Siberian Express to play UU.Sound festival in Ulan-Ude. In a historic first, the band became the first act ever to win the Welsh Music Prize twice over, and now have three headline tours, two acclaimed Glastonbury sets and Manic Street Preachers and IDLES support slots under their belts.

Adwaith might be a band with clear roots set down in Wales – but looking towards the future, they’re now keenly focused on taking the language worldwide.

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Dustin O’Halloran is an American pianist and composer who has had a lengthy career as a film and TV composer. He is an acclaimed solo musician and is one half of the duo A Winged Victory for the Sullen. With six solo albums released, he has a dedicated following all over the world. His music has been described as ‘subtle, yet powerful.’ His last album, ‘Silfur’ (2021), was released with the renowned classical music label Deutsche Grammophon.

He’s the winner of an Emmy Award for his main title theme to Amazon’s comedy-drama ‘Transparent,’ and he was nominated for an Oscar, a Golden Globe, a BAFTA, and a Critics Choice Award for his score for 2016’s ‘Lion’ – written in collaboration with Volker Bertelmann. His collaborations across film, dance, and art include artists like Sofia Coppola, Ane Brun, Katy Perry, Leonard Cohen, Wayne McGregor, Slater Bradley, and Jóhann Jóhannsson, among others. More recently, he co-composed ‘The Essex Serpent’ with Herdís Stefánsdóttir and scored the ITVX mini-series ‘A Spy Among Friends.’ ‘1 0 0 1,’ his newest release for Deutsche Grammophon, is an album presented in four movements, an exploration of consciousness and the emerging intelligence we’re crafting.

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Mattiel is a songwriter and musician with three critically-acclaimed albums on ATO Records in the US and Heavenly in the UK: Mattiel in 2017, Satis Factory in 2019 and Georgia Gothic in 2022. Mattiel has headlined multiple months-long tours in the US, UK, and Europe, playing on Jools Holland, Stephen Colbert, and at 2019’s BBC Proms at the Royal Albert Hall in London.

Mattiel has also supported Tame Impala on tour, and her very first US arena tour was opening for Jack White, who originally encouraged Mattiel to pursue a career in music. In 2023, Mattiel released a cover of “Moon River,” recorded with Jeff Goldblum and his Mildred Snitzer Orchestra. She toured with Goldblum and his band in early 2023, appearing on Late Night with Seth Meyers in the US, as well as "This Morning” and “The Jonathan Ross Show” in the UK.

Mattiel’s songs have been featured in Guy Ritchie’s ‘The Gentlemen,’ (Miramax), Steven Soderbergh’s ‘Let Them All Talk’ starring Meryl Streep (HBO Films), ‘Ballers’ (HBO Series), Good Girls (NBC Series), and Outer Banks (Netflix Series) among many more. NPR describes Mattiel as a “natural-born performer.” Rolling Stone compares “gorgeously yearning, full-voiced alto range” to Nico.

Mattiel currently lives in Florence, Italy, where she has been writing her forthcoming fourth album. In talking about this exciting new material, Mattiel says, “I keep following my voice wherever it wants to go - but this time I’m using it in ways I never have before. The sounds coming out of me have never felt more holistically in-sync with my mind and my body. I’m also more in-control of my songwriting now and I can be more intentional with it. I needed years of experience to get to this place. I can’t wait to share this new music.”

Mattiel will be workshopping several of these songs at her tour of the UK in February, 2025.

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Over three studio albums and nearly a decade, Wirral-born Louisa Roach has built She Drew The Gun into a project that fully lives up to its incendiary name. A place for Roach to explore a visceral musical world informed by influences ranging 80's electronica, hip-hop, political poetry, and cosmic scouse psychedelia epitomised by hometown heroes The Coral (whose lead singer James Skelly took her under his wing during She Drew The Gun’s early days), lyrically it’s found her taking aim at the wild injustices she was persistently seeing in the world at large, decrying corrupt conservative governments and rallying for a more empathetic way of living.

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Squid have come a long way since forming in 2016 as an instrumental jazz band for a monthly night in Brighton whilst living in cheap rented accommodation across the Sussex coast as they finished their studies. The band started expressing influences from outsider punk to Fourth World, and became known for their chaotic and increasingly incendiary live shows. The band relocated to London to make the most of their burgeoning reputation, and having heard them at the Brixton institution The Windmill, producer Dan Carey invited them to his studio; releasing a string of fine singles on Speedy Wunderground and the Town Centre EP (2019) which cemented their reputation. An album deal with visionary label Warp followed, and the hype grew further.

Their debut album Bright Green Field (2021) arrived as the world was starting to open up after the pandemic and they broke into the top 5 in the UK chart. In 2023 they released their sophomore album, the brooding O Monolith, which took the band all over the world and broke new ground that hardly seemed possible five years prior. Like the bravest sophomore albums, O Monolith charted a trajectory beyond their breakthrough sound, taking the band towards an experimental career ahead. Fans growing with them, disseminated alternative versions of songs and demos in setlists and NTS sessions.

Now on their third album, Cowards, the English art rock quintet extend and explore textures of folk, kosmische, psychedelia, jazz and electronics – hovering at 30,000 feet above distinct tales of human evil: apophenia-tinged songs punched by vantablack comedy.

Squid are Louis Borlase, Arthur Leadbetter, Laurie Nankivell, Anton Pearson and Ollie Judge

Age restriction: 14+ / U16s accompanied by an adult

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Blitzing together their distinctive styles (Waterfield’s hard-hitting, bouncing-bomb drumming; Thorpe’s expressive avant-rock pyrotechnics; Joe Bell’s athletic basslines; Adkins’ intoxicating synth), Avalanche Party create a noise that blends and twists their individual influences into shapes that defy any neat label.

Newly signed to AMK, the alternative music imprint of Kartel Music Group, Avalanche Party’s second album Der Traum Über Alles is set for release in November 2024. If you were to sit the LP down on the psychoanalyst’s couch, its themes of bloodlust, subversion and incineration might suggest a heavy payload of pent-up aggression being detonated. The record’s first half in particular feels like a sonic exorcism: a 21st century occult primal scream that shifts from the frenzied New Wave of ‘Nureyev Said it Best’ and ‘Shake the Slack’ to the exhilarating war-drum deliverance of ‘Serious Dance Music’ and ‘Collateral Damage’. Der Traum Über Alles sledgehammers and it seduces: the elegant ‘Ecstasy’ has a tenderness that gradually veers into instability, as if Bell is committing himself to a lover at the end of days, while closer ‘Noise Between Us’ has all the fatalistic grandeur of Berlin-era Bowie as the band tempts us towards the void: ‘Into the edge, my love/Falling overboard.’

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

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Blending buzz-saw twin guitars, booming horns and a high-octane live set, Coldwave’s abrasive brand of post-punk is controlled in its chaos. The six-piece’s frantic instrumentation forms the landscape for uncompromising, half-spoken vocal delivery that captures the anxiety and mundanity of the day-to-day.

Coldwave have asserted themselves in the South Australian music landscape over the last three years and are primed to cut their teeth over state borders in 2023. Having taken out the local slot for Adelaide’s Laneway Festival this year, the ever-evolving six-piece were the Triple J Unearthed feature artist in February and selected to showcase at Bigsound 2023.

Wielding a sound described as “post-punk pulse accelerant”, Coldwave’s two EP releases for 2023, ‘Same Window, Different House’ & ‘No Conflict’ have been met with glowing praise, with the title track touted as “precise in [its] chaos” (Dave McCarthy, Laundry Echo) and “a welcome shock to the system” (Dave Ruby Howe, Triple J).

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

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The Tubs' second album, Cotton Crown, sees the Celtic Jangle boyband venture into darker, more personal territory while continuing to hone their highly addictive brand of songcraft. It’s a true level up album which sees the band expand their sonic palette to take in a kaleidoscopic range of influences: everything from soulful pub rock (Chain Reaction) to Husker Du aggression (One More Day) to melancholy sophisto-pop (Narcissist) gets a look in. As Pitchfork noted, The Tubs see jangle as a ‘vast world of moods and muses’ and Cotton Crown sees them continuing to explore this world and creating a distinctly Tub-ular sound in the process. 

The essential trick Cotton Crown plays is to offset Williams’ lyrical bleakness with joyous, hook-laden blasts of pop perfection. This is largely down to the guitar work of George Nicholls, who, across the album, effortlessly slips between the virtuoso jangle of Marr, the driving folk-rock of Pentangle and the chorus-heavy hi-fi grooves of contemporary bands like Tops or The 1975. Add to that the breakneck rhythm section of Taylor Stewart (Drums) and Max Warren (Bass)- who attack each song with power-pop ferocity, recalling Guided by Voices at their drunken-yet-tight best- and you’ve got yourself a recipe for indie rock greatness. 

The band’s debut ‘Dead Meat’ was a word-of-mouth sensation that saw the band earn accolades from Pitchfork, The Guardian, MOJO, SPIN and more. They even gained some celeb fans: the inimitable Mark Proksch (The Office (US), Better Call Saul, What We Do in the Shadows) starred in the video for their “Round the Bend” single & punk legend Iggy Pop has praised them on his BBC 6Music radio program. Standing in opposition to the UK norm of post punk, and hookless high-minded indie prog, the album was described by Kitty Empire (Observer) as a “shot in the arm for indie rock”. The band’s hard touring and raucous, beery live show have seen them stand out at festivals like Greenman, End of The Road, Melbourne Rising and Canela Party. The band (minus Stewart) were previously members of Joanna Gruesome- who won the Welsh Music Prize, toured the UK and US extensively, and were praised in Pitchfork, Rolling Stone, The NY Times, The Guardian and others. Lan McCardle (Joanna Gruesome, Ex-Void) also provides backing vocals on several tracks. The Tubs are part of the Gob Nation collective-  the London-based network of bands, writers and promoters who were recently profiled in The Guardian. 

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

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Melin Melyn are more than just a band. They’re world-builders; storytellers absorbing various elements of the increasingly strange times around us and using them to create fables that ruminate on grief, love, and hope. 

Their debut album Mill On The Hill sees the band jump between surf-rock, country, prog-rock and psychedelia with the grace and skill of a band with numerous records under their belt, held together by an efficacious and fantastical thematic principle. Melin Melyn translates to ‘Yellow Mill’ in Welsh, and on this album the Welsh six-piece invite the audience into the world they have quite literally built around them. Mill On The Hill transports the listeners to the utopian ‘Melin Village’, a Seussian world where townsfolk “bask in the beauty of song.” Enter our protagonists, the six millers who work at the titular mill on the hill, powered by the music that they create:

Formed in 2019 by Gruff Glyn (lead vocals, guitar, saxophone) Will Barratt (lead guitar), Cai Dyfan (drums) and Garmon Rhys (bass, backing vocals and who also performs as The Mighty Observer) the band was Gruff’s first proper musical project. After a year or so performing as a foursome, the band were soon joined by Rhodri Brooks (pedal steel) and Dylan Morgan (keys), stalwarts of the Welsh music scene with their solo works AhGeeBe and DD Darillo, as well as their works with Novo Amor & Boy Azooga respectively, adding further gravitas and completing the sound that the band had been looking for.

The release of debut EP Blomonj caught immediate attention from UK press, with NME & The Independent naming them as an artist to watch, and venerable UK DJ Marc Riley championed them across BBC 6Music. Soon to follow was 2022’s ‘Happy Gathering’, the band’s second EP which garnered more media attention and allowed the band to embark on their first headline tour of the UK, selling out venues both in their home country of Wales, as well as England. 

2023’s one-off single I Paint Dogs, allowed the band to work with esteemed director and writer of Borat, Flight Of The Conchords, The Muppets and more in James Bobin, and this year saw the band road-testing new music at festivals such as Eurosonic, Deer Shed, Bearded Theory, Wilderness & Future Now to name but a few.

This isn’t the first time Melin Melyn have turned their art into a narrative arc. Their 2023 headline UK tour saw the members perform as employees of the Jolly Baskets Supermarket Store located in Melin Village. But after it’s sad & sudden closure, they have now returned to what they know best - making music. Mill On The Hill sits somewhere between concept album and Lynchian musical theatre show, with elements of its loose narrative spilling into their live shows that have been acclaimed by The Guardian, The I, The Financial Times and many more. 

Age restriction: 14+ (under 16s accompanied by an adult)

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Attention Humans! This is HENGE.

We are not from this world.

We bring you music from distant planets.

We offer this gift for the edification of humankind… so that eventually your species may put an end to war and set up new homes in space.

Extra-terrestrial joymongers - HENGE - have been delighting audiences in the UK and Europe since they landed on Planet Earth nine years ago. Their scintillating live performances earned them ‘Best Live Act’ at the Independent Festival Awards and they have since cemented their reputation with three acclaimed albums, numerous tours and regular main-stage festival appearances.

Their music escapes definition, but occupies a space between rave and prog rock that nobody knew existed. It is energetic, subversive and invigoratingly playful, jovially breaking new ground. Ultimately, these intrepid creatures are spreading a message of hope which leaves audiences feeling amused and uplifted in equal measures.

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Divorce cite a broad range of influences, from contemporary indie heavyweights like Mitski, and Big Thief, to cult icons such as Tom Waits and LCD Soundsystem.

The Nottingham band burst onto the scene in 2022 with their explosive debut EP ‘Get Mean’ and continued to expand their horizons with their second EP ‘Heady Metal’, acquiring key champions at press and radio. Moving strength to strength, they returned in 2024 with their now widely loved single ‘Gears’, and soon followed up with the indie-anthem ‘My Room’, cementing their status as one of the most exciting UK artists to watch out for.

Trademark theatricality is at the forefront of every Divorce performance. With every fanciful music video, alongside consistent displays of outstanding musicality at live shows, the band have captivated audiences of thousands across the U.K and Europe. With a prolific live schedule and sold out tours under their belts, Divorce promise greatness with their debut album ‘Drive to Goldenhammer’ set for release March 2025.

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

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Multi-instrumentalist artist trio, Oracle Sisters is the reunion of two childhood friends, Lewis Lazar and Christopher Willatt, whose lives are deeply intertwined. They were brought together by a twist of fate in Paris, where they met Finnish musician Julia Johansen.

After two EPs, Paris I and Paris II, with retro-futuristic inspirations, they gained attention with their track Asc. Scorpio, before releasing their first album, Hydranism, in 2023.

Their music has roots in the folk tradition from their time spent time in Edinburgh and Dublin, later incorporating americana, rock n roll, psychedelic and soul picked up on their travels.

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For nearly three decades, WHY? have thrived in subverting expectations. Across seven unpredictable and adventurous studio albums, the band led by Cincinnati songwriter Yoni Wolf has stretched the fringes of psychedelic pop, hip-hop, and electronic music. No matter the genre experiments and thematic departures, their discography is remarkably consistent, anchored by Wolf’s disarming lyrical transparency. His writing is provocative, self-lacerating, and always considered, coming from a place of blunt emotional openness. The Well I Fell Into, the eighth full-length from WHY?, is Wolf at his most cohesive and poignant. An autopsy of heartbreak, the album charts the ups and downs of a devastating breakup while trading bitterness for healing. Self-released on Waterlines, Wolf’s new label that follows in the footsteps of Anticon, the trailblazing artist-run collective he co-founded, its 14 tracks stand as the band’s prettiest and most immediate work yet.

Though every WHY? album since 2012’s Mumps, Etc. was recorded at various home studios, Wolf and his bandmates Josiah Wolf, Doug McDiarmid, and Andrew Broder tracked The Well I Fell Into with Brian Joseph (Sufjan Stevens, Bon Iver) at Eau Claire, Wisconsin’s Hive Studio. The move resulted in compelling and accessible arrangements that enhance the strong hooks grounding the songs. “On this one, I’m very interested in classic songwriting,” explains Wolf, who also enlisted a cast of collaborators to flesh out these recordings, including Gia Margaret, Finom’s Macie Stewart, Lala Lala’s Lillie West, Serengeti, and Ada Lea. “I want my songs to be able to be played unadorned by just one person and still hold up. Any production frills should only serve to elevate the song further without being relied upon to tell the story.” 

Compared to the short, collage-like songs on 2019’s AOKOHIO, these songs breathe with lush, curated textures that feel patient and intentional. The palette is inviting, yet still unconventional—as on “G-dzillah G’dolah,” an at once minimalist yet lush ballad featuring strings, set into motion by a twinkling prepared piano. Harmonies also soar throughout The Well I Fell Into; the exemplary, diaristic “The Letters, Etc.” features a cathartic chorus as Wolf, in an array of choral voices sings, “Maria / The letters were a last-ditch effort, rattle of death.” “Nis(s)an Dreams, Pt. 1” slowly evolves with clanging guitars and a Beatles-esque outro complete with grand piano, strings, and a Greek chorus singing, “Keep buffing me off for a brighter day.” 

The Well I Fell Into is an ultimately hopeful record. While it deals with messy emotions, it tackles them with a disarmingly lucid candor and a profound grace. There are no external villains and no wallowing, just a frank dissection of the past and a diligence to move forward. For that, the album stands near the top of the WHY? catalog as a document of an artist pushing through and finding some sense of peace. “I don’t know if it’s the ketamine therapy or meditation or what, but I feel I’m in a little bit of a second wind with my songwriting,” says Wolf. “I was in some kind of pit but I’m not really there anymore. I’m flowing now more than I have in many years.”

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

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‘Never Exhale’ is the sound of a band that hasn’t stopped for a breath. DITZ have toured relentlessly since the release of their first album ‘The Great Regression’ and even before that, travelling at least 100 days a year since COVID. The songs that form their newest offering were written across Europe, often on off days and in borrowed rehearsal rooms just to break up the long drives.

It could be said that the band treat recording and release of music as an afterthought. Often playing songs live years before their release, tweaking them as they go. The songs on the final record may change before they are ever heard as part of the album. 'Never Exhale' was largely recorded at Holy Mountain studios in London during a freezing cold January. The process was fraught with obstacles. The original plan, to go and record in Rhode Island, was abandoned when DITZ were offered a support tour with IDLES, although the album was still mixed by the originally intended engineer, Seth Manchester (Model/Actriz, Lingua Ignota, Big Brave). The result is an album hardened by the pressure of its own making. Laboured but not loved.

The album themes reveal themselves more on further listens. The opening gambit ‘Taxi Man’ is an exploration into what it would be like to weigh up your impact of the world. The eponymous taxi man could be seen as a St Peter type figure, or like Charon, ferrying the dead into the underworld.

Further on the album explores themes of unnecessary hatred and division, ‘Space/Smile’ and ‘It smells like something died in here’, aging, ‘Senor Siniestro’ and the separation of the physical from reality, ‘The Body As A Structure’. It’s political, but ultimately personal. More Genet or Kafka than Orwell or Huxley.

Sonically the album has its roots in the usual DITZ influences, classic noise rock such as The Jesus Lizard or Shellac, or the obtuse post punk of the Fall, but also brings in fresh influences. The closing track ‘Britney’ could be compared to Radiohead or Mogwai. Overall, the album is a clear development from their first effort. A sign of things to come.

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After a busy summer of playing Glastonbury, Reading and Leeds Festivals, Green Man, End Of The Road, and supporting Amyl and the Sniffers around the US, the ferocious Brighton-based noise-punk duo Lambrini Girls show no signs of slowing down with new single ‘Company Culture’.

Elsewhere in 2024 the pair released the singles ‘God’s Country’ and ‘Body Of Mine’, both of which were BBC6 Music Playlisted. The two piece are Phoebe Lunny (Vocals/Guitar - she/they) and Lilly Macieira (Bass - she/they), augmented live by drummer Banksy.

The band have made a name for themselves through unforgettable live performances and support from the likes of Variety Magazine, BBC Radio 1, NME, The Line Of Best Fit, KEXP, Consequence, Evening Standard, CLASH, So Young, and covered Kerrang! Magazine alongside Sleater-Kinney, bagged a nomination for Rolling Stone UK’s Rising Stars Award, and even Iggy Pop is a fan.

Links:

https://bio.to/LambriniGirls

https://lambrinigirls.lnk.to/companyculture

http://lambrinigirls.lnk.to/CC_Video

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

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Newcastle based rockers Pigs Pigs Pigs Pigs Pigs Pigs Pigs are delighted to announce a new headline UK tour for April 2025.

Simultaneously the band bludgeon back with 'Detroit' - the first taste of new material from the Pigs pen since February 2023's 'Land of Sleeper' LP release. 'Detroit' is a huge slab of striking noise rock about a hideous man with even worse behaviours. Says band bellower Matt Baty on the track: "Detroit reflects on the worst manifestations of male jealousy and resentment, and the ways in which the deliberate avoidance of accountability can lead to deflecting responsibility in exchange for blaming external forces like fate or God for perceived injustice".

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South London trio Honeyglaze move from psychedelic-tinged post-punk to alternative folk to create their distinct DIY sound. Described by Clash as “an evocative punch in the gut in the best way”, the band – led by vocalist and guitarist Anouska Sokolow – pairs poetic storytelling with meticulous production. Forming shortly before the pandemic began, the band quickly made Brixton’s The Windmill their stomping ground and supported Wet Leg on their 2022 UK tour.  

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An extraordinary, nocturnally-inclined modernist rock band drenched in Southern Gothic, Brooklyn trio Bambara have evolved their macabre vision to perfection over their previous five albums.

The three members of Bambara – singer-guitarist Reid Bateh, his twin brother Blaze
Bateh (drums), and bassist William Brookshire – first started playing together in junior high school in Atlanta, GA and pretty much every moment ever since then have been obsessively honing their sound and vision; first moving to Athens, GA and finally heading to Brooklyn where they’ve established their long-term base.

Their story really picks up pace after 2020’s breakthrough Stray album – a record whose volatile and frequently explosive wall of sound offered a gnarly backdrop for Reid’s typically twisted midnight narratives. Having toured with Idles and Gilla Band pre-pandemic (both big fans), this was the record – powered by their propulsive ‘Serafina single’ and widespread 6Music support – that really put them on the map on both sides of the Atlantic. They were duly signed to Bella Union (Wharf Cat in the US and today announce a major UK and European tour for 2025.

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

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Viagra Boys are a band that weaponizes absurdity—tossing firecrackers into the middle of the room and standing around to see the reaction.

Led by frontman Sebastian Murphy, whose voice is a compelling blend of impish smirk and smoker's rasp, the band is known for its seething satire and darkly comic edge, encapsulating a unique blend of grit and sleaze.

Murphy's lyrics often reflect on the absurdity and backwardness of the modern world, though he avoids prescribing beliefs or taking sides. Therefore, the band's music is marked by a playful yet incisive critique of societal follies and contradictions, set to heavy-weight, explosive production.

Viagra Boys have garnered significant success and acclaim, performing sold-out shows worldwide, including prestigious gigs at Coachella and Jimmy Kimmel. The band has received high ratings from Pitchfork, NME and Kerrang!, and notable recognitions, including album of the year from The Needle Drop. Their impact extends to the Swedish music scene, where they've won awards such as Album of the Year and Best Live Act at the Swedish Grammis & P3 Guld Awards, highlighting their widespread appeal and influence.

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Cerys Hafana is a composer and multi-instrumentalist who mangles, mutates, and transforms traditional music. She explores the creative possibilities and unique qualities of the triple harp, and is also interested in found sounds, archival materials and electronic processing. She comes from Machynlleth, Wales, where rivers and roads meet on the way to the sea.

Cerys has won over audiences from Green Man to the Eisteddfod and from BBC 6 Music Festival to Celtic Connections with her magical, progressive sound. Edyf, her second album, drew inspiration from material found in the Welsh National Library’s online archive, including fragments of Psalm tunes, hymns about doomsday and philosophical musings on the length of eternity, along with some original compositions, and was selected as one of The Guardian’s Top Ten folk albums of 2022. Cerys’ latest EP, The Bitter, released earlier in 2024 is an innovative exploration of some dark English and Scottish ballads.

“eerie folk fusion and creative use of harp and found sounds. Innovation abounds…. likely to take a song that we all know so well and tilt it to one side.”
Tradfolk
 
"…she’s an adept shapeshifter, entwining tradition with direct and personal
interpretations to create music that’s both progressive, profound and inspiring."
Alex Gallagher, Folk Radio UK
 
"Hafana explores resonances from the past that connect with the modern day in a contemporary, creative way... she uses her harp as a percussive, jagged-toothed tool… sings movingly, her high voice like an indie-pop soprano shorn of its sweetness.’ Jude Rogers, The Guardian.

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

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After three years of silence, the Canadian band Nap Eyes have returned with their own meditations on the monstrous and familiar (or the monstrously familiar). The Neon Gate, their metamorphic fifth long-player, collects a cache of nine fascinating reveries recorded over the four years since their last album, Snapshot of a Beginner(five of which were released episodically throughout the spring and summer of 2024). “I See Phantoms of Hatred and of the Heart's Fullness and of the Coming Emptiness,” the album’s colossal penultimate track, is, along with “Demons,” their languorous adaptation of a phantasmagorical poem by Russian Romantic Alexander Pushkin (1799–1837), one of two ambitious but adept adaptations in which singer and principal songwriter Nigel Chapman unravels knotty, century-old verse into a fluid, memorable melodies across the loom of the band’s pulsing instrumental syncretism.

This fresh engagement with narrative and lyric formality complements the seven original songs on the record, which reveal classic Naps touchstones (the uneasy interplay of physics and philosophy, the nexus of fantasy and science fiction, perambulatory descriptions of landscape and weather, self-interrogating soliloquies, apertures of surreality, technological anxiety, video games), but also evidence of divergent impulses toward nonlinear abstraction and longform improvisational composition (resulting in their most discursive, deconstructed, and deliquescent songs to date). With The Neon Gate Nap Eyes have transmuted, as has their understanding of what a song is, what it can do, where it might go.

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The brainchild of Wooden Shjips guitarist Erik Johnson, Rose City Band’s sun-blushed country psychedelic rock invites listeners on an exploration of California’s diverse terrain. On 2021’s Earth Trip and 2020’s Summer Long, Johnson pairs lulling vocals with flickers of ’70s country. A joyous organic groove underpins his entire catalogue, which is brought to life on stage with a live ensemble.

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Totorro is a French instrumental rock band that has carved a niche for itself with its energetic and melodic compositions, blending elements of math rock, post-rock, and pop with a distinctly euphoric and accessible vibe. Formed in Rennes, France, the band has been known to defy the language barrier through their music, creating wordless narratives that resonate with a global audience.

With their 2014 release "Home Alone," Totorro established a sound characterized by playful guitar lines, dynamic rhythms, and an uplifting spirit. The album was well-received for its polished production and the band's ability to convey emotion and storytelling without the presence of lyrics. Their follow-up album "Come to Mexico," released in 2016, saw the band expanding their sonic palette and exploring more diverse musical landscapes, further securing their position in the European indie music scene. In their recent work, such as the single "Et si l'amour c'était aimer ?," Totorro continues to showcase their unique ability to fuse intricate musicality with catchy, expansive soundscapes. Despite the lack of conventional vocals, Totorro manages to create a rich, emotive experience that has built a strong following and positioned them as one of the intriguing acts in the instrumental music sphere.

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Two decades since debuting as the masked-and-nicknamed drummer and vocalist of Animal Collective, Noah Lennox has led so many creative lives, navigated so many different styles, and been part of so many beloved recordings, that it can be easy to overlook just how consistent his creative vision has remained. From landmarks solo albums like 2007’s Person Pitch and 2015’s Panda Bear Meets the Grim Reaper, to breakthroughs with Animal Collective like 2004’s Sung Tongs and 2009’s Merriweather Post Pavilion, to his boundary-pushing collaborations with Daft Punk and Solange, Dean Blunt and Paramore, all of his work followed an instantly identifiable emotional throughline while influencing multiple generations and genres of artists.

On Sinister Grift, Lennox’s first solo album in five years, he has returned with another statement that feels equally cumulative and unprecedented in his catalog. While his solo records have ranged from starkly intimate expressions of grief to colorful, electronic opuses, his music has never before sounded so warm and immediate. Working in his Lisbon, Portugal home studio with Animal Collective bandmate Josh “Deakin” Dibb, Lennox transforms Panda Bear into something resembling an old-school rock ensemble, playing nearly all the instruments himself and inviting kindred spirits into the process such as Cindy Lee, Spirit of the Beehive’s Rivka Ravede, and—for the first time on a Panda Bear solo album—each of his Animal Collective bandmates.

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

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Since the mid-late 1990s, Kenny Anderson's DIY pop alter-ego King Creosote has released over 100 records (at a relatively conservative guess), and his songs have been covered and performed by artists including Simple Minds and Patti Smith.

Many of his LPs, EPs and CDRs were self-released via Anderson’s homegrown Fife imprint, Fence-amid major label dalliances (2005’s KC Rules OK and 2007’s Bombshell on Warners), and a long-standing kinship with Domino Records, whose KC dispatches include Kenny and Beth’s Musakal Boat Rides (2003), the Mercury Prize-shortlisted Jon Hopkins union Diamond Mine (2011), and 2014’s From Scotland With Love, which soundtracked the award-winning film of the same name.

Anderson’s latest King Creosote outing is I, Des, an album that characteristically digs deep into his previous work - revisiting and recycling lyrics, home-made tapes, half-spun songs- and continues his quest to navigate mortality, ardour, stormy waters, the moon in the sky, and the East Neuk of Fife.

I, Des is a collaboration with multi-instrumentalist and co-producer Derek O’Neill, aka Des Lawson (2016’s Astronaut Meets Appleman, From Scotland With Love), which upholds an enduring tradition: Anderson has long had an affinity for joining forces with other musicians, including his 90s bluegrass punk rabbles the Skuobhie Dubh Orchestra and Khartoum Heroes; insurgent pop cabal The Fence Collective (James Yorkston, KT Tunstall, HMS Ginafore, The Pictish Trail); and indie-folk supergroup the Burns Unit (Emma Pollock, Karine Polwart, Sushil Dade).

He’s equally commanding whether playing live to capacity crowds at London’s Barbican, Edinburgh’s Usher Hall and Glasgow Royal Concert Hall, or serenading fans in the fishing pubs and pottery shops of Crail and An struther; whether playing guitar, banjo, accordion, modular synths or wine glass drones. The common threads are KC’s singular voice, and his roguish, roving, ever-evolving, gorgeous songs in the key of Fife.

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