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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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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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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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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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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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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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‘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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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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