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Punk firebrands Mourn began as a collaboration between guitarists/vocalists Jazz Rodríguez Bueno and Carla Pérez Vas, a pair of teenage friends from El Maresme, Catalonia, Spain. When they met at school, their shared fondness for '90s indie rock led them to make music together. The pair uploaded videos of their bracing acoustic songs online. To record their first album, Mourn became a quartet, adding drummer Antonio Postius and bassist Leia Rodríguez (who was just 15 when she joined). The band recorded its self-titled debut album in two days and it was released it in September 2014 in Spain. The following February, Captured Tracks re-released Mourn in the rest of the world. Just over a year later, the band returned with Ha, Ha, He., which included songs informed by Throwing Muses, mid-'90s Chicago post-rock, and the poetry of William Blake. In 2018, after having a long dispute with their former Spanish Record Label, Mourn released their third record Sorpresa Familia. With their last work they got to tour all around the US, Canada, Europe and Japan. In 2020, during a global pandemic, Mourn released their fourth album Self Worth.

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The UK’s first & only emo band, Los Campesinos! have become one of the most important and influential cult acts in the country since they formed in the mid-2000s. Starting out in the Cardiff indie scene and soundtracking Budweiser adverts,the seven-piece’s musical evolution since then has been slow, steady and remarkable. From the frenzied chaos of debut album Hold On Now, Youngster... (2008) through 2010 breakthrough Romance is Boring and the self-mythologising of latter day highlights NO BLUES (2013) and Sick Scenes (2017), their discography is an interconnected web of niche references, big swings and unflinching honesty.

Making self-professed sleeper hits for weeping dipshits, they’re as influenced by The Beautiful South as they are U.S emo, with emotional intensity and connection always at the core. Their lyrics are a treasure trove of football references, tales of romantic woe and painfully frank exorcisms, which have been tattooed across hundreds of fans’ bodies and served as comfort and insight during that break-up you had (there’s a reason the band’s tagline is “your ex-girlfriend’s favourite band”).

Live, they have developed a reputation as a progressive and forward-thinking band, leading the way in accessibility, transparency and affordability in an era when all the above are far too rare, all while playing their biggest gigs to date. With All Hell on the way, Los Camp! approach their third decade as a band more brilliant, more potent and more vital than ever.

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POND, one of the most versatile, inquisitive, and accomplished bands in the psychedelic rock vanguard, have announced touring dates spanning several continents in 2024, plus teased a year of new music on the way.

Made up of Nicholas Allbrook, Jay Watson, Joseph Ryan, James Ireland, and Jamie Terry, Pond hails from Fremantle, Western Australia where the group formed in 2010. However, it wasn’t until the release of their 2013 record ‘Beard, Wives, Denim’ that POND went from a group of musicians and friends to an internationally touring band. Today, POND boasts an impressive catalog of recorded music, spanning 9 critically-acclaimed albums with no plans of stopping now.

Since its beginnings, POND’s prowess in the live arena has also been well documented. Pond has shared the stage with artists such as Flaming Lips, Queens of the Stone Age, Tame Impala and more. They have also been on major festival lineups worldwide like Glastonbury, Coachella, Splendour in the Grass, and the Great Escape.

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Rachael Lavelle is a Dublin born singer and composer who captivates audiences with her arresting voice and humorous observations on existence. 

Since the release of her track ‘Perpetual Party’, she was invited to perform at SXSWOnline, Other Voices, opened for Villagers and toured with Saint Sister and Anna B Savage.  She has collaborated with a wide range of ensembles and artists such as Crash Ensemble, Peter Broderick, Glasshouse, SlapBang, Saint Sister and appeared as a vocalist on Villagers 'Fever Dreams' album, on the track 'Full Faith In Providence'.  

In June 2023 she released 'Let Me Unlock Your Full Potential'; with a video directed by Bob Gallagher (Gilla Band, Villagers). The track was featured by Uncut magazine on their Lankum curated CD. Rachael announced her debut album with the title track 'Big Dreams', again with a Bob Gallagher directed video. In October 2023 ‘Travel Size', the last single ahead of the album came out, this time the video was directed by Anna Heisterkamp. 

Her debut album, 'Big Dreams', was released in November 2023 to widespread acclaim. ‘Big Dreams' is an existential coming-of-age album that chronicles the journey of a young woman searching for direction & meaning in a very strange world. A wry sense of humour peppered throughout is glued together by the iconic voice of Doireann Ní Bhriain, the announcer on the Luas transport system in Dublin. 

Rachael delivers electrifying live performances. She opened for CMAT on a number of UK dates & is touring her own album through late 2023 and into 2024.

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‘Good Grief’ is the first new solo album in 25 years from songwriter and producer Bernard Butler. Between then and now, Butler had ventured into the world of pop songwriting and producing, including two seminal albums with folk musician Sam Lee, a Mercury nominated project with actor Jessie Buckley as well as working with Bert Jansch and Ben Watt from Everything But The Girl, The Libertines, Tricky and an eight-million selling, Grammy-winning record with Duffy.

Of returning to solo work after two and a half decades, Butler says ‘For a good while I was scarred and I was scared. I was happily distracted and joyously involved with so much music. I realised just being there was more than I had ever hoped for. I gave a lot to other people, but realised that my story was defined but what I was, rather than what I am. I set myself a modest commercial goal, an expectant creative one: perform to 10 people without being bottled, then find 11 the next night. Thus began the undoing of my own embarrassment. I would write as I thought and sing as I wrote until the bottles fly. And so, the songs arrived.’

Bernard booked himself into a rehearsal space in Holloway every Wednesday afternoon for months, just him, a guitar and a microphone.  The first fruit of these sessions is the new single ‘Camber Sands’, “For years and years I have drawn straight lines from North London to every coastline I could see. To life-worn Londoners escape is the dream and return most likely. The story I found was not the sea but the journey. Camber Sands, Mersea Island, Dunwich, or a dozen more horizons of possibility, the sea and the seawalls, and the endless return to face the city. Camber Sands is a love song - we flee the past, the present, ourselves, to survive, to defy. The loneliest music of the resolute, the half-light and the saddest tunes.’

Round circle shows with friends Norman Blake and James Grant across Scotland gave Butler the taste for venturing back out on stage, and while writing with Jessie Buckley for the Mercury Prize nominated For All Our Days That Tear the Heart album, Bernard tucked away his own discoveries and continued the journey once Buckley returned to the silver screen. Confronting his own songwriting process, he wrote words down, away from the security of his guitar, before carving music around the lines.

‘Good Grief’ finds Bernard Butler owning three decades of work, free to perform, bookended by wildly contrasting experiences of loss, joy, and bewilderment. The album is a journey from city to coast and back, and between it, an entire spectrum of human emotion.

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Formed in Bristol, LICE have become one of UK experimental rock’s most inventive, ambitious outliers. Newly signed to AD93, they will release new music in 2024.

LICE’s 2021 debut album WASTELAND: What Ails Our People Is Clear arrived to international acclaim from BBC 6Music, BBC Radio 1, KEXP, The Quietus, Financial Times and CRACK, who called it “a welcome lease of life for British avant-rock.” This led to shows at Reading & Leeds, Green Man and End Of The Road, an extensive EU tour supporting Sleaford Mods, and headline tours in the UK and EU. Prior to this, their double EP It All Worked Out Great was released on their champions IDLES’ label Balley Records, leading Loud & Quiet to declare them “the most exciting, inspiring and genuinely deranged new guitar band in the country.”

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Employing the use of paintings, set design, soundscapes, costumes and short films in their live shows, ‘Tapir!’ invite the viewer into their exciting and mysterious world.

Set in a fictional universe of green hills, choppy seas and red creatures, Tapir! tell the story of the Pilgrim, a creature embarking to unearth the lands history, meeting all sorts of strange characters along the way.

Inspired by the storytelling theatrics of Harry Nilsson, Randy Newman and Spelling, Tapir!s tender songcraft glistens with folkish charm and ambrosial melodia - whilst twiddling guitars, drum-machines and vocal flights flutter your heartstrings all the merry while.

Recorded by the likes of Honeyglaze’s Yuri Shibuichi, their recently-released debut EP “Act 1 The Pilgrim” is set to complete in their upcoming album ‘The Pilgrim, Their God And The King Of My Decrepit Mountain’ with two further acts next year.

With a host of London headlines & Green Man fest under their belt & support garnered from the likes of Loud & Quiet and So Young Magazine, a successful year for the band is finalising with a tour alongside Prima Queen this Nov & the End of the Road Fest Xmas.

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Here to remind us of our insatiable, adolescent appetite for music, Art Brut are back together.

 What started as a break-up album and turned into an ‘in-love record’, ‘Wham! Bang! Pow! Let’s Rock Out!’ is a collection of post-punk, poppy bangers that recall the distinctive sound that burst out of the Berlin-based band back in 2005. It’s been seven years since the group’s last LP and sees Argos’ self-referential, sincere narrative shape into poignant reflections of encompassing a youthful heart in a world that perpetually forces us to grow up.

Argos was careful to “live a life” before attempting a new album. “I moved to Berlin, I nearly died with Peritonitis. I was in hospital for a bit. I had a son; I had a relationship that broke up. I wrote a comic, a memoir, a musical and had a one man show,” he says. “I don’t want to be that band who writes the sort of songs like I don’t like touring; touring is really boring. I think we needed a rest so some stuff could happen to me, to fill me up.”

 Produced by award-winning folk musician Jim Moray, ‘Wham! Bang! Pow! Let’s Rock Out!’ Is Art Brut at their pop band best. Argos recorded his vocals in one or two takes, channelling the sporadic nature of his live performances while hand claps and ad-libbed jokes and howls produce a raw and authentic work. Morphing almost any mundane experience into a
hilariously candid anecdote – whether it’s watching hipsters eat falafel on ‘Good Morning Berlin’, planning a better diet after a health scare on ‘Hospital!’ or dodging a train ticket inspector on ‘Schwarzfahrer’– Wham! Bang! Pow! Let’s Rock Out!’ is testament to the frontman’s unconventional approach to finding inspiration in just about anything.

“It’s not a game over, I got an extra life, I was born again, in a pure white light,” Argos trills on album opener, ‘Hooray!’, sparking an exuberant return to an industry where, if we’re honest, Art Brut never really fit in. On ‘Wham! Bang! Pow! Let’s Rock Out!’, Art Brut are creating anthems for outcasts.

With the departure of Jasper Future and Mikey Breyer, Art Brut are now made up of founding members Argos, Ian Catskilkin and Freddy Feedback while Toby Macfarlaine joins on guitar and Charlie Layton joins on drums. “I’ve known Charlie forever,” Argos explains. “He’s also the drummer for The Wedding Present but we always wanted to be in a band together since
we were kids. Now it’s been about 25 years of knowing each other, he’s finally in our group. Toby plays bass for Graham Coxon normally, he’s in the band cos he’s an amazing guitar player and I love him. Ian found him and I looked at his twitter feed to see what he was about and he had posted ‘A Day in the Life of Vivian Stanshall’ from the Bonzo Dog Doo Dah band. I was like yeah perfect! he’s in!’’

Argos describes Art Brut as “a democracy”, with the new line-up adding new ideas to the pot. “Toby and Charlie both rock the fuck out which is what I like,” he adds. “‘Wham! Bang! Pow! Let’s Rock Out!’ is a bit more back to basics Art Brut. It’s sort of the record I was trying to make after the first record and we didn’t quite succeed. I think I’m more confident now and I know what I want. Not being mean about our other records but it’s a poppy punk record which is what I wanted to do. I think speaking is a more honest way of getting what I want”

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Often, to imagine Ireland is to fantasise about rolling hills, giants, saints and snakes. As John Francis Flynn says, it involves “a fair bit of paddywhackery and I hate paddywhackery.” The psyche-celtic album artwork for John’s second album Look Over The Wall, See The Sky, hints at this too though: a crystal goblet of luminous green Crème de Menthe resting upon a mossy ledge, perfectly encapsulating this imagined idea of Ireland in a way that is both funny and poignant. But, if you have to imagine Ireland in the first place, then you’re probably not too familiar with its reality: the towering glass giants of Google and Facebook, the unaffordable luxury hotels lining the Liffey amidst a homelessness epidemic and the highest rents in Europe.

On his new single ‘Mole In The Ground’, a cover of an American anti-establishment folk song recorded by Bascom Lamar Lunsford in 1928, John evokes the rebellious energy he felt in his home of Dublin during a time when it was being “torn to shreds by property developers and vulture funds.” In his rendition, John allows the surrealism of the song to take centre stage, opting to speak rather than sing the words. By taking away its nursery rhyme-like melody, we focus instead on our narrator’s stranger fantasies and desires. His voice, too, sits under the ground of the melody, tapping into the song’s dark, hallucinatory spirit: “I don’t like the railroad man/The railroad man will kill you when he can/ and he’ll drink up your blood like red wine.”

To listen to this album is to witness history through a modern lens in a trance-like state. As expected, Flynn’s contemporary influences are sufficiently esoteric, from ‘The Heart Pumps Kool Aid’ by —__–___ to ‘The invention of the Human’ by Dylan Henner (a concept album about an AI learning to sing). However, he was also inspired by his contemporaries in the traditional music scene in Ireland, many of whom contributed to the album, as well as those outside of it, such as noise-rockers Gilla Band and Rising Damp.

Traditional music of course is not one-size-fits-all. Each song has its own story, history and characters which the singer must serve. “You can’t sing all the songs. Well some people do. But you can tell if someone doesn’t connect with that song…” On the record’s closer, ‘Dirty Old Town’ by Ewan McColl, John takes a song that’s been “done to death”, strips it back, slows it down and unexpectedly adds brass, harking back to the working-class colliers bands of the early 20th Century. In his reimagining of the song, rather than intensifying it he does the opposite, offering a calm and grounding resolution to an otherwise otherworldly album.

On his last record, I Would Not Live Always, John was much more conscious of bringing acoustic instruments and weird synthesized sounds together as a concept. But now with his unique musical language fully formed, “I feel freer within that language to experiment and take it further without it being too conscious or premeditated”.

Instead, the songs seem to live somewhere in John’s subconscious, as he is often able to visualize exactly how they will sound before putting them down. With ‘Kitty’, (famously recorded by Shane MacGowan on The Pogues’ debut, ‘Red Roses For Me,’) John had already heard a version of this song structured loosely in his head involving a drone, a warped clarinet, and a simple Robert Wyatt-esque beat. The result is a two minute lament after which sudden distortion punctures through a wall of sadness before pulling back completely to just a singular drone. Similarly, with ‘Willy Crotty’ (a track recorded in a bedroom with members of The Mechanical Bull McCabe featuring the unlikely combination of a clarinet, a handheld radio, a Casio SK1, a harmonica and an effects pedal) we witness how this subversive way of recording can get to the root of a song’s emotion by removing the boundaries and expectations that traditional instruments can sometimes enforce. It is less about the use of drones or synthesizers or clarinets, “but it’s the treatment of them.”

These effects become John Francis Flynn’s guttural language; sometimes they are tiny droplets glitching in the background, other times they are great droning waves gushing through the songs. For John, they often come to represent a descent into intense sadness. Where we might hear horror or feel terror, John explains that these effects are always aiding the emotional leverage of the song, as for many of our protagonists, “these are the sounds of their lives are being torn apart.”

The sonic landscape created through the unconventional use of instruments jagged arrangements often teeters on the edge of disharmony, but it gives the work a magnetism by drawing you into its curious orbit of experimental folk. John masterfully unpicks traditional songs and rearranges them with an emotional force that sometimes leaves them unanchored. They float in a surreal space between the past and the present, the analog and the digital, between love and tragedy. Look Over The Wall, See The Sky is an album concerned with imagination, but not only with what John calls, “an imagined Ireland,” but also the re-imagining of traditional Irish music and the hopeful fantasy of an Ireland that could exist ‘over the wall’: powerful, hopeful and free.

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Don’t let the name fool you: the members of psych rock group Barbican Estate didn’t actually grow up there – the Tokyo act are just big fans of Brutalist architecture. References to titans of art and culture are common for them, and they’ve cited the Beat Generation, William Blake, Greek mythology, and Russian director Andrei Tarkovsky as influences. “We seek to embody an art that is not limited by the concept of music,” said guitarist Kazuki Toneri.

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Good News is a multi-lingual post-punk trio comprising vocalist, clarinetist, guitarist and percussionist Beth Aylward, drummer Erin Hoggard and bassist Dan Philpott. Catch them shouting obscenities in Russian at a venue near you as they tour in support of their debut LP Small Forms via Bingo Records.  For ears that like Delta 5, Beat Happening, Au Pairs and The Raincoats.

First singles out the gates are double a-sides ‘Orange Juice In The Shower’ b/w ‘Tits’, a pair of tracks which set the tone for an album as bristling with lean pop hooks as it is with caustic socio-political barbs. ‘Orange Juice…’ looks at domestic relationships while ‘Tits’ looks outwards, dishing out withering criticism much further reaching than its 1:39 run time would seemingly allow. Treated bass and eczema-dry percussion carry the music, rhythm first, delivering taut missives accented by discordant clarinet and guitar. Good News epitomise the concept of making a point and not sticking around too long.

Recorded in a studio built in the band’s attic with in-house Bingo Records producer Zac Barfoot, Small Forms follows their 2023 debut EP Same As That, which earned the band a live session with Marc Riley & Gideon Coe (BBC 6 Music). Since then, their feisty clarinet, bass, and cowbell-propelled rhythms have bounced around the North & London supporting The Bug Club, Kid Congo & The Pink Monkeybirds, Wesley Gonzalez & Wild Garlic and Acid Klaus. 
Small Forms will be released on vinyl and digitally, with singles, radio and press campaigns to support the album and accompanying tour dates.

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Military Genius is the pseudonym of Canadian musician Bryce Cloghesy. His work offers a fresh perspective, employing various styles such as jazz, electronic, and rock to develop a dense, conceptual atmosphere.

Active since 2012, Military Genius has recorded & performed with a number of critically-acclaimed acts includingCrack Cloud,N0V3LandEve Adams. These projects exhibit his talent for subtle yet subversive arrangements.

Following the success of Military Genius' critically acclaimed debut "Deep Web", his second album "Scarred for Life" is set to arrive November 1st, 2024 via experimental label Unheard of Hope.

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Known for his Baroque sound, Ed Harcourt is a distinctively enigmatic presence in the industry, having achieved prolific success as both a solo artist and collaborator. Arriving in 2000 with his Mercury Prize-nominated debut album, Here Be Monsters, Ed quickly gained praise for his dark-toned sound. He has since released nine further albums, including two instrumental records, and has performed on major festival stages across the world including Glastonbury, Latitude, End Of The Road, Primavera Sound and Lowlands. Ed has worked consistently with a wide variety of artists: as musical director on Beck’s Song Book Reader at the Barbican and The Beatles Sgt Pepper tribute at the Philharmonie de Paris, and co-writer and producer for Paloma Faith, Marianne Faithfull, Sophie Ellis-Bextor, Jamie Cullum and more.

Following a Summer 2023 UK tour spanning seven cities, Ed put the finishing touches to his brilliant solo record, El Magnifico, which was released in March 2024.

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As the end of the first quarter of the 21st century inches ever closer, our planet precariously teeters from one crisis to the next. Rather than passively sit back and watch, the high-energy Irish guitar quintet Gurriers are firing on all cylinders and confronting the ills of the modern world on their debut album, Come and See, a truly thrilling collection of razor-sharp progressive punk songs.

Recorded in Leeds at the Nave with Alex Greaves, Come and See blasts off to an explosive start with “Nausea”, giving the concept of Jean Paul Sartre's classic novel of the same name a furious sonic makeover. Guitars screech like sirens, creating a curiously catchy clarion call for an album of raucous reflection.

Come and See explores many themes, be they the end of the world, the disenfranchised youth of Dublin, emigrant friends, the rise of the far right, desensitisation to violence, a pope struggling with belief and love amongst other things. “Nausea” examine how existential mundanity in the 21st century is now essentially lived in the digital realm, and society has blindly sleepwalked into this actuality without realising the full extent of its corrosive damage. Underpaid and overworked content moderators are forced to watch unspeakable horrors, as social media platforms drip feed its users dopamine, further distracting an already overstimulated and distorted cartoonish world from the harsh glare of too much reality.

“Des Goblin” channels the hypnotic energy of dance music and notes how modern narcissism is fuelled by an addiction to online personas. “Close Call” turns up the ferocious guitar intensity to eleven, a fierce hybrid of guitar pop with industrial techno sensibilities. “Dipping Out” is like a post-post-punk version of an Adam Curtis documentary, as the band cite his classic HyperNormalisation as a major source of inspiration. One line perfectly nails the disillusionment of contemporary youth, "Failed by a system that never really lets you exist.” Indeed, if Gurriers weren’t in a band they’d probably be part of a generation leaving Ireland in their droves, driven out by the soaring cost of living and the unattainability of home ownership, left to “live in debt and die in freedom”.

“No More Photos” opens with the memorable line, "Gentlemen, no fighting in the bathroom please. You've been caught doing too many Es” and proceeds to reference Caravaggio. Following a brief instrumental respite, simply titled “Interlude”, the album closes with a breathtaking final flourish of songs and a soaring title track, which tantalisingly hints towards an even more expansive, wide-screen sound for a future chapter. “Approachable” is a tongue-in-cheek anthem mourning the rise of the far right (“Damn, I was born in the wrong era”) that kicks off with a monstrous killer riff. “Top Of The Bill” combines an intricate guitar melody with blasts of noise and aknockout chorus, a live favourite and perfect example of how well Gurriers craft inimitable and intense pop music.

Taking their name from an antiquated and somewhat charming Irish term for lout, ruffian, or street urchin, Gurriers formed in January 2020, initially comprising Dan Hoff on lead vocals, Ben O'Neill on guitar and backing vocals, Mark MacCormack on guitar, Pierce O'Callaghan on drums and Emmet White on bass, who has since amicably left the band and been replaced by Charlie McCarthy.

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Australian post-apocalyptic acid punk disco scuzzheads Tropical Fuck Storm are bringing their wild, destructive and unstoppable live show to a stage near you this Summer! Thrill to the interwoven shredding of guitarists Gareth Liddiard and Erica Dunn, feel the bone-rattling basslines of Fiona Kitschin, and marvel at the mind-boggling drumming of Lauren Hammel. Move over Barnum and Bailey, because there’s a new Greatest Show on Earth and it’s coming to YOUR TOWN!

"A Tropical Fuck Storm gig is like putting your brain in a blender for an hour straight" Beat Magazine

"In Tropical Fuck Storm’s determination to engage as fully as possible with the reality of human existence, in all its ugliness and contradictions, they are tapping into its truths." The Quietus

“Tropical Fuck Storm are masters of tension and release.” - The Guardian

“Tropical Fuck Storm Stir Up A Psychedelic, Dadaist Spectacle” - Bandcamp Daily

“A messy, hyperverbal, supremely danceable monolith.” - Aquarium Drunkard

Age restriction: 14+ / U16s accompanied by an adult

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Maruja is an evocative force that transports listeners to a world of diversity and gritty realism. Improvisation provides the backbone of Maruja’s compositions, compelling instrumentation and culturally relevant lyrics speak in tongues; creating a myriad of whispered secrets.

For the better part of a decade, they have relentlessly honed their craft, pouring over every note with a precision that borders on the obsessive. It is not just a passion that drives them but rather an all-consuming need, a force that compels them to create and perform with a visceral intensity that is both electrifying and terrifying.

Knocknarea is the debut project from the 4 piece and is the highest rated EP of 2023 on Rate Your Music and Album of The Year. Anthony Fantano reviewed the project, stating “the performances are tight, the spoken word passages are edge of your seat, the guitars and saxophones are really dynamic and fantastic...” He goes on to say, “...this EP, there’s so much potential, there’s so much good material... I have no doubt with something of this quality right out the gate, we’re gonna have an even better album down the pipe. Definitely check this EP out because this thing is fire!"

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deary comprises of London based musicians Ben & Dottie, creating wistful dream pop. In the midst of the global pandemic, the duo struck up a partnership, swapping ideas over social media. Described as “a sonic tidal wave of feeling”, their eponymous debut EP was released via Sonic Cathedral in November 2023, and praised upon its release by the likes of Clash, Brooklyn Vegan, BBC 6 Music, KEXP and Under The Radar. Having worked with Saint Etienne and supported Slowdive last year, as well as reaching UK #1 (Vinyl Singles) with their debut single ‘Fairground’, the duo supported Cranes in Leeds and London in May this year whilst recording their debut album.

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Romance amid approaching armageddon. Life in a snowglobe, a pastoral scene made ever-precarious,teetering on chaos created by the flick of the wrist. Love as an antique, that generations after us will only understand from history books. Fontaines D.C.’s fourth album ROMANCE interrogates amorphous conceptsof love and relationships, alienation and identity, fantasy and reality – all building to a central statement thatChatten sings of hauntingly, invitingly, on the opening track: “Maybe romance is a place”.

11 tracks constellate ideas that have been percolating among Grian Chatten (vocals), Carlos O’Connell(guitar), Conor Curley (guitar), Conor Deegan (bass), and Tom Coll (drums) since 2022’s No.1 record SkintyFia and US tour with Arctic Monkeys. The record builds upon sonic sensibilities the band started to experimentwith on Skinty Fia, now reaching into grungier textures, hip-hop breaks and beats, shoegazey tones andcontemporary electronic sounds. It is as indebted to their times listening to Shygirl and Sega Bodega as it isto old Hollywood soundtracks, Outkast, The Prodigy and A$AP Ferg. The band introduces more assured production skills. ROMANCE’s bones were set in time spent apart, experimenting as individuals across Mexico,the Spanish countryside, and LA, and an intense production period together with producer James Ford (ArcticMonkeys, Blur) in a French chateau.

The album represents a provocative sonic and aesthetic era for the Dublin-made, now London-based band.A summer of international live shows and festivals will introduce fans to their rapidly unspooling universe andask them too: will you all-out surrender to the fantasy?

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Bonny Light Horseman’s new album, Keep Me on Your Mind/See You Free, is an ode to the blessed mess of our humanity. Confident and generous, it is an unvarnished offering that puts every feeling and supposed flaw out in the open. The themes are stacked high and staked even higher: love and loss, hope and sorrow, community and family, change and time all permeate Bonny Light Horseman’s most vulnerable and bounteous offering to date. Yet for all of its humanistic touchpoints, Keep Me on Your Mind/See You Free was forged from a kind of unexplainable magic.  

Written over five months in 2023, this third album began when the band’s core trio–Anaïs Mitchell, Eric D. Johnson, and Josh Kaufman–convened in an Irish pub alongside beloved collaborators JT Bates (drums), Cameron Ralston (bass), and recording engineer Bella Blasko. Mitchell suggested the pub as their first recording location, based on her one conversation with owner Joe O’Leary. She had a feeling about the place, and was surprised by her bandmates’ enthusiasm for the idea. Stepping inside the pub’s aged confines, the trio felt an immediate connection to its palpable sense of community, and of family, forged over many decades. 

The pub was Levis (pronounced: “leh-viss”) Corner House, a century-old watering hole in Ballydehob, a tiny coastal village in County Cork, and its energy became a singular source of Bonny Light Horseman’s creative engine. The pub’s upright piano, which they lubricated with olive oil to quiet its creaking, became a sort of spiritual fulcrum, a single entity that embodied all of the album’s motifs: imperfection as a badge of honor; aging, endurance and the passage of time; how the simplest of acts can heal us. The analogs–between this century-old meeting place of local folk and this trio of American folkies–were undeniable. "It has this sense of history; it’s also small, and crammed with a bunch of stuff that’s spilling all over the place,” says Kaufman. “It was like the pub version of our band." A painting that hung on a wall of the pub, which watched over the band during their time working, became the album cover. “I was making eye contact with that person for most of the recording,” Johnson said of the artwork. And there was a deeper connection. Before the band had even planned to record in the pub, the owner’s wife had named the woman in the painting Bonnie.

There’s magic in a place like Levis Corner House, yes, but it takes the right wizards to wield it. At the center of Bonny Light Horseman is, always, the singular combination of three powerful and tender artists–artists who expertly dodge superlatives but are quick to acknowledge the ways they strengthen and enrich one another, and the bond that makes each one better, braver and more vulnerable than they’d be on their own. Nowhere is this more apparent than in the force of their voices together, which work with complete trust in one another through the gentlest moments and the most ruthless wails. The result can comfort and cradle listeners, but also leaves them rattled, wrecked, and reborn. 

On a practical level, the “blessed mess” of Keep Me on Your Mind/See You Free shows up in its fidelity to this home, as crowd noise, laughter, coughing, and field recordings (“Think of the royalties, lads!”) convey everything from this special place in time. But philosophically, the “mess” is evidence of something deeper. It’s the imperfect, soul-nourishing fruit born of a singular communal experience, one that transforms its participants through the spirit of good company. Mitchell posits the idea of a “feast” and how dinners with friends effortlessly span courses, conversations, and hours — a meal that’s nutritious on physical and spiritual levels. “I have a friend who says you should never remove the dishes from the table, that you should sit among the wreckage,” she offers.   

 “There was this new level of letting it all hang out,” Mitchell said of the album’s making. In its evolution from recording to release, this meant compiling a double LP—eighteen songs across two discs. It also meant two titles, if not precisely two distinct records. Keep Me on Your Mind/See You Free is sprawling and welcoming, and encompasses the group’s captivating artistic layers: its roots in the sounds and lyrical spirit of traditional folk music, its branches in a more experimental and emotionally raw version of the band. 

The group tracked about half of the songs in the main room of Levis’s. They spent two days working alone. On the evening of the third, O’Leary invited some enthusiastic residents to join in. That’s not to say it’s a live album; instead, the third day of the Ireland sessions represented a serendipitous blend of energies because the audience implicitly understood the assignment. Patrons gave the band enough space to talk about arrangements and record multiple versions of songs, but they also provided an evident sense of environmental joy as they chatted over pints with friends and family. “We were doing this in the middle of their spot and they intuitively understood what was required of them,” Johnson said. “It was pretty magic.”    

The band then returned to their spiritual home, upstate New York’s Dreamland Recording Studios (where they completed their first two albums), to finish the work they had started. Frequent collaborator Mike Lewis joined on bass and tenor saxophone. Annie Nero stopped by to play upright bass and sing some harmonies for an afternoon. The days were rhapsodic and restorative, filled with crying, and songs that poured out like tears.

The poignant quandary at the center of “I Know You Know” revealed itself in mere minutes. The trio attributes the speed to the fact that they’d already finished much of Keep Me on Your Mind/See You Free and were able to “stand on the shoulders” of that creativity. It’s also demonstrative of the band’s ability to lace emotional devastation with a pop sensibility, which they’ve achieved throughout the album. Its feel-good, mandolin-laced arrangement and anthemic chorus belie how its refrain will wreck you. “I’m a fool if I love you and a fool if I let you go,” Johnson sings as Mitchell’s voice soars alongside him. 

“Tumblin Down” is similar in its melodic tribulation. A folk-rock portrayal of an unraveling relationship, it’s like the spirit of Ingmar Bergman’s “Scenes From a Marriage” set to song—light on its surface but woven from existential crisis.  “When I Was Younger,” meanwhile, is a primal scream, revolutionary for its open reckoning with motherhood, maturation and all of the things polite society doesn’t say out loud. In the song, Mitchell and Johnson’s honeyed voices meet and transform into a two-headed beast formed from pent-up emotion; its roar is necessary, beautiful, and scary. 

“Old Dutch” originated as a voice memo recorded in a historical church of the same name in Kaufman’s home city. “It was timestamped ‘Old Dutch’ and that was too perfect; it sounded like a Bonny Light Horseman song,” he said. Its choral refrain echoes those origins; it also punctuates the band’s tale of shifting love with that alluring thing the heart is inevitably steered by—a lingering, often illogical, feeling. 

With Keep Me on Your Mind/See You Free, Bonny Light Horseman offers a distinct sense of grace, and a reminder that life is most lived when things aren’t so perfect. Over the years, the band has accumulated many miles on the collective odometer of life. That’s all reflected here, in these modern folk songs, laced with glory and chaos. As Mitchell puts it: “It’s not concise. It’s not simple. It’s messy, and that’s OK.” 

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She’s In Parties are a hazy and ethereal quartet whose own idiosyncratic amalgamation of indie rock and dream-pop belies their relatively young years. The band is led by 22 year old Irish born singer, Katie Dillon, alongside her friends Herbie Wiseman (Lead Guitar), Charlie Johnson (Bass) and Matt Carman (Drums). Taking their cues from the likes of Tears For Fears, Cocteau Twins and The Cure, the band harbor a sense of nostalgia whilst avoiding being derivative. Instead they succeed in marrying the classic and contemporary, resulting in anaesthetic and sound that’s both haunting and effortlessly cool. Following on from their BBC 6Music playlisted singles ‘Cherish’ and ‘I Follow You’, the hyped new Essex based four-piece have cemented themselves as a band to keep in mind.

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Starting off as a studio only three-piece shrouded in mystery, Manchester's W. H. Lung have evolved across two acclaimed full lengths into one of the UK's most exciting live acts & a forward-thinking synth-pop powerhouse. Currently in the studio with Ross Orton (Arctic Monkeys, Working Mens Club, Yard Act) with their third album slated for Autumn 2024, the band set out for their biggest UK headline tour to date, and their first since 2022. In the years since their last full length 'Vanities' the band have been off touring mainland Europe & the United States, with a smattering of UK festivals in the midst. A lucky few have caught them road-testing new songs at occasional sell-out secret shows, but now the chance comes to catch them in all their glory.

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Two of the England & Wales’ finest songwriters BILL RYDER-JONES and GRUFF RHYS announce a CO-HEADLINE TOUR across the UK and Eire this coming Winter, celebrating their respective latest records Iechyd Da (Domino Recordings) and Sadness Sets You Free (Rough Trade Records).

Having spent half a lifetime within each other’s orbits, and the odd show here or there, their timelines serendipitously aligned in 2024. Both Gruff and Bill released critically acclaimed albums just weeks
apart; Bill’s Iechyd Da and Gruff’s Sadness Sets You Free arrived in January 2024 and found themselves frequently mentioned in the same breath.

Therefore it wasn’t a giant leap of logic to take to the road together with full bands in tow to round off a special year. Headliners will switch each night, with both artists playing a full headline length set

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Muireann Bradley is a 17 year old folk and blues guitarist and singer from Ballybofey in County Donegal. She specializes in performing acoustic fingerpicking country, piedmont, and ragtime blues styles from the 1920s, 30s and 40s as well as later folk, country and Americana.

Her influences include Blind Blake, Rev Gary Davis, Memphis Minnie, Elizabeth Cotten, Mississippi John Hurt, Stefan Grossman, Ari Eisinger, John Fahey and Roy Bookbinder. 

Her father started teaching her guitar when she was nine and then in 2020, she received an offer from Josh Rosenthal of Tompkins Square Records to record an album after he saw her on youtube. In December 2023 this album “I kept these old Blues” was released to rave reviews.

Before the end of 2023 Muireann had played a live session on Highland Radio which went viral and recieved a standing ovation when she performed on Jools Holland’s annual New Year’s Eve Hootenanny.

In 2024 she did live sessions for Cerys Matthews’ BBC Radio 2 Blues Show,  the Stephen McCauley show on BBC Radio Ulster and Ray Cuddihy’s Mise Sessions on RTE Radio 1. She also performed live on The Late Late Show and filmed sessions for Other Voices Anam in Ormond Castle and Acoustic Guitar Magazine.

“I Kept These Old Blues” reached number 1 on the Amazon download chart U.K. and got into the top 10 on the ITunes chart UK  and broke into the Amazon New Folk Music Chart in the U.S. Not bad for a debut album in a genre now considered pretty uncommercial.

Hard copies of her album have been selling out everywhere leading to a second pressing with a third now on the way.

Muireann’s performances online have been viewed over 2 million times and her Irish and U.K. gigs have sold out. 

“a natural” Arlen Roth 

“that kid is really good and I don’t mean really good for a kid, I MEAN REALLY GOOD “ Jorma Kaukonen 

“A wonderful player, I can now retire the torch has been passed” Stefan Grossman

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Thirty years in, Immersion, the electronic duo comprising the “life & art” couple Colin Newman from Wire and Malka Spigel from Minimal Compact, have finally announced their long awaited debut UK tour.

The shapeshifting duo will bring their hypnotic quicksilver minimalism, which combines a fresh, experimental approach with an innate ear for great pop melodies, to select UK venues after getting great reviews for one-off shows in their hometown of Brighton and a successful tour across North America.

Future plans may well include touring their collaborative Nanocluster project where special guests add their own creative DNA to the core duo’s open minded chassis.

“Immersion manages to achieve a strong sense of human connection between these inseparable post-punk legends and other creative beings” The Quietus 

"A chrome-plated dive into synth pop futurism" - Clash Magazine

"One of our records of the year. Total swooner" Monorail 2024

“They’ve created an extreme, something to be spoken of alongside the great albums of the century, and something that utterly holds its own with the sui generis work of Post Punk’s purest and most quality-minded act, Wire” Rock N Roll Globe

"Thanks to panoramic production and Newman's deluge of melodic hooks, Sleepless is, as per the band name, like a lovely warm bath for the soul" - 4/5 Q Magazine

Immersion
https://bit.ly/2MpvQnH

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For her third album, ‘Bobbie’, Dutch singer-songwriter Pip Blom decided to rip it up and start again. After making her name as one of the brightest indie rock singers around through two albums – 2019 debut ‘Boat’ and 2021 follow-up ‘Welcome Break’ – and a lauded live show honed over gruelling years of touring, the new album sees her take a delightful left turn into thumping, carefree synth pop.

While admitting to the cliché of a guitar-orientated band “grabbing the synths” for album three, this new direction had a real and genuine draw for Blom. Foremost in her mind was cult 2010s English pop band Micachu and the Shapes, led by the effervescent Mica Levi. Across four studio albums and a number of artist monikers, Levi’s band made colourful and vivacious pop music that burst outwards from a grounding in indie music. On ‘Bobbie’, Blom makes similar jumps and blows her own musical landscape wide open.

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Getdown Services are a two piece from Bristol that provide a sweat soaked, tub thumping, groove infused experience. Squint your eyes and it’s a stag do on a karaoke machine but open your mind and you’ll find it’s at least 500% more enjoyable than that.

Having been described as Sleaford Mods meets LCD Soundsystem, word has spread rapidly of their anarchic and high energy rapport with the audience, leading to sell out headline performances and a loyal following in their home city of Bristol. Their fast-rising popularity is the natural result of two close friends collaborating and creating something to be enjoyed, not just by themselves, but by as many people as possible in one shared experience.

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Over the last decade, DIIV have established themselves as one of rock music’s most fascinating bands, exploring new textures while pushing their songcraft forward in a way that continues to draw in larger audiences worldwide. They combine beauty and noise to the point of approaching a lush oblivion—a searing sound building on elements from dream-pop luminaries like My Bloody Valentine, Slowdive, and Smashing Pumpkins. It’s becoming increasingly hard to establish a distinctive approach within popular music in general, and yet throughout their discography, DIIV’s sound and emotional tenor are unmistakably theirs.

Emerging from the fertile early-2010s Brooklyn DIY music scene, DIIV quickly proved themselves as one of the city’s most prominent live acts and have since widened their aesthetic with every successive release. Over the course of three albums, they have incorporated the driving gait of British guitar pop, the minimalist structures and Motorik rhythms of German psychedelia, metal’s lush fury, and the sonic immersion of shoegaze into their inviting world of sound.

Possessing a bracing and immersive live presence, DIIV are firmly situated within a deep legacy of boundary-pushing rock bands as they continue charting their own path. Their influence can be felt across a new generation of artists pursuing their own punishing bliss, and has left its mark on shoegaze and guitar-driven music as DIIV themselves continue to cement their legacy as one of North America’s most formidable rock acts.

The new DIIV album, Frog In Boiling Water, is out May 24th on Fantasy.

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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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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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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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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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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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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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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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