Snail Mail | RFB The Britanys | RFB Amber Arcades | RFB Cosmo Sheldrake | RFB Mulatu Astatke | RFB Jess Williamson | RFB Kiran Leonard | RFB Courtney Marie Andrews | RFB WITCH | RFB Teleman | RFB Hilang Child | RFB Fil Bo Riva | RFB RVG | RFB Baloji | RFB KLLO | RFB Angel Ho / Faka | RFB Fucked Up | RFB Horse Feathers | RFB Trudy and the Romance | RFB The Orielles | RFB Fatoumata Diawara | RFB Haley | RFB Du Blonde | RFB JOYFULTALK | RFB Sunflower Bean | RFB Snail Mail | RFB Elder Island | RFB The Amusement Arcade: Paul Foot / Angelos Epithemiou / Rachel Fairburn / Stuart Laws | RFB The Mystery Lights / Sons of Raphael / Meat Candy | RFB Titus Andronicus | RFB Teleman | RFB Haley | RFB Titus Andronicus | RFB Mammut / Circe | RFB Westerman | RFB Dead Sea / Para Alta | RFB Los Campesinos! | RFB Peakes | RFB Oscar Jerome | RFB Oneohtrix Point Never: MYRIAD | RFB Lido Pimienta / IsaGT | RFB Alaskalaska / Jockstrap / Grand Pax /  Sorry (DJs) | RFB Oui Love: M.I.L.K / Superparka / MNNQNS | RFB Anna Burch | RFB Alice Phoebe Lou / Hush Moss | RFB Natalie Prass | RFB Kevin Morby / Shannon Lay | RFB Unknown Mortal Orchestra | RFB Julien Baker / Becca Mancari | RFB Dream Wife | RFB Francobollo / Benin City / Wyldest | RFB Ariel Pink / Tim Burgess / Jorge Elbrecht | RFB Oshun / Tiana Major9 | RFB Alela Diane | RFB Starcrawler / Brand New Friend / Heavy Rapids | RFB Popular Culture: Totally Mild / Castorp / Life Models | RFB Amber Arcades / Lazy Day | RFB Let’s Eat Grandma | RFB Snail Mail | RFB Florist / Porridge Radio (Solo) | RFB YAMANTAKA // SONIC TITAN / Gentle Stranger / Property | RFB Soccer Mommy | RFB Visions Festival | RFB Lost Horizons | RFB Bill Ryder-Jones / Our Girl | RFB Mutual Benefit (Solo) / Bad News Club | RFB Aisha Devi / Organ Tapes / Englesia / Covco | RFB S. Carey / Will Samson | RFB Totally Mild / Champyons | RFB The Amusement Arcade: James Acaster / Jordan Brookes / Evelyn Mok / MC Tom Lucy | RFB Westerman / Grace Lightman | RFB Oui Love: La Feline / Juniore / Keep Dancing Inc | RFB Natalie Prass / Jalen N’Gonda | RFB Puma Blue | RFB Waxahatchee / Ex-Vöid | RFB Drahla / Crack Cloud / Mush | RFB Born Ruffians / The Kenneths | RFB Bad News Club / spiritcake | RFB Anna Burch / Dan Stock | RFB Let’s Eat Grandma | RFB Sophie | RFB Florist / Porridge Radio (Solo) | RFB Jenny Wilson / Strange Boy | RFB Unknown Mortal Orchestra / Makeness | RFB Alaskalaska / Club Kuru | RFB Oscar Jerome / Lex Amor / Pie Eye Collective | RFB Adam Gnade / Youthmovies / Mat Riviere | RFB Barbarossa / Byfyn | RFB Five Miles High: Steve Davis and Kavus Torabi | RFB Josh T. Pearson / Erika Wennerstrom | RFB The Shivers / Drug Store Romeos / Forced Random | RFB U.S. Girls / Miaux / RVG | RFB Dream Wife | RFB Shigeto / Kwake Bass / Yuki Ame | RFB Henry Green / Rosie Carney | RFB Henry Green / Rosie Carney | RFB Caro / Lunacre | RFB Soccer Mommy / Drug Store Romeos | RFB Xylouris White | RFB
 

SPEEDY ORTIZ

"Necessary brattiness" is the motto for Speedy Ortiz’s dauntless new collection of songs, Twerp Verse. The follow-up to 2015's Foil Deer, the band's latest indie rock missive is prompted by a tidal wave of voices, no longer silent on the hurt they’ve endured from society's margins. But like many of these truth-tellers, songwriter, guitarist and singer Sadie Dupuis scales the careful line between what she calls being "outrageous and practical" in order to be heard at all.

"You need to employ a self-preservational sense of humor to speak truth in an increasingly baffling world," says Dupuis. "I call it a ‘twerp verse' when a musician guests on a track and says something totally outlandish – like a Lil Wayne verse – but it becomes the most crucial part. This record is our own twerp verse, for those instances when you desperately need to stand up and show your teeth.”

Twerp Verse was tracked in Brooklyn DIY space Silent Barn, mixed by Omaha legend Mike Mogis (Bright Eyes, Rilo Kiley) and mastered by Grammy-nominated engineer Emily Lazar (Sia, Haim, Beck). The record pulls from the most elastic pop moments in Squeeze's Argybargy and the seesawing synth-rock of Deerhoof and the Rentals. With Dupuis on guitars, vocals, and synths, supporting guitarist Andy Molholt (of psych pop outfit Laser Background) now joins Speedy veterans Darl Ferm on bass and Mike Falcone on drums – and together they accelerate the band's idiosyncrasy through the wilderness of Dupuis' heady reflections on sex, lies and audiotape.

Dupuis, who both earned an MFA in poetry and taught at UMass Amherst, propels the band's brain-teasing melodies with her serpentine wit. Inspired by the cutting observations of Eve Babitz, Aline Crumb's biting memoirs, and the acute humor of AstroPoet Dorothea Lasky, Dupuis craftily navigates the danger zone that is building intimacy and political allyship in 2018. Now as public pushback against the old guards reaches a fever pitch – in the White House, Hollywood and beyond – the band fires shots in disillusioned Gen Y theme "Lucky 88," and casts a side-eye towards suitors-turned-monsters in the cold-blooded single "Villain." Closing track "You Hate The Title" is a slinky traipse through the banality of this current moment in patriarchy – in which survivors are given the mic, but nitpicked over the timbre of their testimonies. "You hate the title, but you’re digging the song," Dupuis sings wryly, "You like it in theory, but it’s rubbing you wrong." Tuned smartly to the political opacity of the present, Twerp Verse rings clear as a bell.

Speedy Ortiz

17 Oct 2018

+ special guests

The Garage

20-22 Highbury Corner
London
N5 1RD

7.30pm

£14

SNAIL MAIL

Snail Mail, the moniker of 18-year-old Lindsey Jordan, will release its full-length debut in 2018, following the 2016 release of its introductory EP, Habit. The Baltimore singer, songwriter, and guitar prodigy is the latest addition to the renowned Matador Records roster, having bowled them over with her powerhouse vocals, preternaturally wise lyrics, and mind-bogglingly technical compositions.

Snail Mail’s Habit EP was quickly noticed by both national press outlets and touring bands alike, landing Jordan the kind of attention that most of Mary Timony’s guitar students (yes, for real, she’s been classically trained for over thirteen years AND studied under fellow Matador guitar wiz Timony, while also juggling hockey practice) can only dream of -- a New York Times Sunday Arts cover, a Pitchfork Rising feature, a FADER Gen F feature, a spotlight in V Magazine, and tours with Girlpool, Priests, and Waxahatchee.

Snail Mail

13 Nov 2018

+ special guests

The Dome

2A Dartmouth Park Hill
London
NW5 1HL

7.30pm

£11.50

THE BRITANYS

The thrilling New York based band The Britanys have already cemented their place as one of the city’s must-know bands. From the apartment the four-piece share in Bushwick, to the stages of New York and further afield, they've forged a distinctive, immediate sound and a formidable live show. Their efforts have been rewarded with plaudits from the likes of NME, DIY, Interview Magazine, and Rolling Stone MX; support slots with Public Access TV, Hinds, and Rey Pila, and more; and reputation-building sets at SXSW two years in a row, and at rapturously received gigs overseas in London.

Their 2017 EP 'Five A Side' won them praise for its no-frills indie, and effortlessly cool attitude, but their arsenal of new songs, like the polished, glimmering swoon of recent single 'When I'm With You', show a band unwilling to rest on its laurels. It's only the beginning for The Britanys, but that makes their future look all the more exciting.

The Britanys are:

Lucas Long - vocals, guitar
Lucas Carpenter - bass
Jake Williams - guitar
Steele Kratt - drums

The Britanys

11 Oct 2018

+ special guests

Shacklewell Arms

71 Shacklewell Ln
London
E8 2EB

7.30pm

£7

 

AMBER ARCADES

Amber Arcades is the moniker of Dutch-born musician Annelotte de Graaf.

“If it were called American Heartbreak, you wouldn’t bat an eye,” says Annelotte De Graaf of her second album as Amber Arcades, the stunning European Heartbreak. “American” as a prefix has entered pop culture’s lingua franca, a way to add gravitas by prefacing a noun with that national adjective. But “European”? People don’t often try that. “Somehow calling it European Heartbreak feels far less comfortable, almost like it’s a statement in itself,” De Graaf says.

It’s a perfect title for the record, though – for a selection of songs that flit around Europe, from Berlin to Spain to the south of France. One song, “Goodnight Europe”, even addresses the pan-European disenchantment that has given rise to right-wing populism, and sees De Graaf wondering whether people like her must shoulder some of the blame: “Europe, it’s not you / I’m starting to think it could be me,” De Graaf sings, “My left ideals / And university degree.” It’s European not just in lyrical theme but in the sly sophistication of its music: songs that carry with them the air of open-topped cars on clifftop roads, of cocktails on the terrace at sunset. And then the lyrics undercut that sunny mood, artfully and skilfully.

European Heartbreak is a leap on from Amber Arcades’ debut, Fading Lines. First there’s the depth of its lyrical themes – “alienation, the fluid nature or memories and human concepts like nationality and the human condition” – but there’s also the fully realised musical aesthetic of the record, which is more melodic than Fading Lines, more compelling, but with a delicious lightness of touch, alongside quirky garage rock on “I’ve Done the Best” and “Where Did You Go”.

Amber Arcades

10 Oct 2018

+ special guests

The Dome

2A Dartmouth Park Hill
London
NW5 1HL

7.30pm

£12

COSMO SHELDRAKE

Cosmo Sheldrake is a 26 year-old multi-instrumentalist musician, composer and producer.

He regularly performs on banjo, loop station, keyboards, double bass, drums, penny whistle, sousaphone, accordion and many more. He is an inspirational singer and improviser, and much of his work is concerned with play, nonsense and the sonorous environment.

Cosmo composes music for film and theatre and tours internationally, performing solo and with several bands including Johnny Flynn and the Sussex Wit and the Gentle Mystics. He ran a community choir until 2013, teaches in schools and privately and has facilitated music workshops and youth empowerment and nature awareness camps across Europe and North America.

Cosmo Sheldrake

29 Nov 2018

+ special guests

Hackney Arts Centre

11-17 Stoke Newington Road
London
N16 8BH

7.00pm

£12.50

MULATU ASTATKE

Mulatu Astatke (born 1943) is an Ethiopian musician and arranger best known as the father of Ethio-jazz. Born in the western Ethiopian city of Jimma, Mulatu trained in London, New York City, and Boston where he combined his jazz and Latin music interests with traditional Ethiopian music and became the first African student to enroll at Boston’s prestigious Berklee College of Music from where he received an honourary degree in 2012. Astatke led his band while playing vibraphone and conga drums—instruments that he introduced into Ethiopian popular music— other percussion instruments, keyboards and organ. His albums focus primarily on instrumental music, and Astatke appears on all three known albums of instrumentals that were released during Ethiopia’s Golden ’70s. He collaborated with many notable artists in both
countries, arranging and playing on recordings by Mahmoud Ahmed, and appearing as a special guest with Duke Ellington during a tour of Ethiopia in 1973. His Western audience expanded even further when the 2005 Jim Jarmusch film Broken Flowers featured seven of Astatke’s songs. Hip hop artists have also sampled Astatke’s songs extensively, for example in the works of Nas, Damian Marley, Kanye West, Cut Chemist, and Knaan. He toured with US band Either/ Orchestra in 2006 and in 2008 recorded an album with the Heliocentrics and completed a Radcliffe Institute Fellowship at Harvard University, where he worked on modernizations of traditional Ethiopian instruments and premiered a portion of a new opera, The Yared Opera.

Mulatu Astatke

16 Sep 2018

+ special guests

Hackney Arts Centre

17B Stoke Newington Rd
London
N16 8BH

7.30pm

£25

JESS WILLIAMSON

When love burst into being for Jess Williamson, it was a force so powerful that it seemed to redirect the sun, re-casting all of her life in new light. That's how she tells her story across Cosmic Wink — her third album, and first for Mexican Summer — all of which came together in the midst of a series of transitions in her personal life

In 2016, after living in Austin on and off for a decade, she left her home state of Texas for California. Deeply inspired by the move to Los Angeles and the bliss of new love, she rented a back house from an actor friend who was away on a movie and started writing the songs that eventually became Cosmic Wink. As she wrote, her beloved dog Frankie began going gray with old age.

All three of these seemingly dissimilar streams intersected to give Cosmic Wink a unified sound and feel. The openness of LA — and confronting the downbeat nature of her older songs while performing to hushed European crowds — challenged her supposition that "heartache, depression, and sadness" were "the only way to make interesting music," as she puts it.

Jess Williamson

03 Oct 2018

+ special guests

The Lexington

96-98 Pentonville Rd
London
N1 9JB

7.30pm

£9

KIRAN LEONARD

Kiran Leonard is a mercurially talented 21 year old musician from Saddleworth, Greater Manchester. He takes inspiration from artists such as Mothers of Invention, Sufjan Stevens, Deerhoof, Albert Ayler, the Residents, Krzysztof Penderecki, the Beach Boys, Don Caballero, Godspeed You! Black Emperor and Adrian Belew.

After releasing countless digital-only releases via Bandcamp, Kiran garnered much acclaim for his debut album Bowler Hat Soup, and later signed to Moshi Moshi to release second album proper Grapefruit. Both of these records featured x3 BBC Radio 6 Music-playlisted singles, and were crowned Album Of The Day upon their release.

Latest record Derevaun Seraun is in five movements, each inspired by a different piece of literature, arranged for piano, strings and voice.

Kiran Leonard

29 Aug 2018

+ special guests

The Victoria

451 Queensbridge Rd
London
E8 3AS

7.30pm

£10

COURTNEY MARIE ANDREWS

Courtney Marie Andrews will return to London in December to play a unique stripped back set in the stunning surroundings of Islington's Union Chapel.

Courtney Marie Andrews

03 Dec 2018

+ special guests

Union Chapel

Compton Terrace
London
N1 2UN

7.00pm

£17.50

WITCH

Emmanuel Chanda grew up in Kitwe, a town in the Copperbelt mining province of Zambia. As a young child he’d stay up after midnight glued to his radio, listening to a mixture of local and international artists – “anything that sounded nice!” As his tastes developed with age, his attention focused on the guitar-led chart-toppers reverberating from the UK. “The Beatles, the Rolling Stones, the Hollies, Cliff Richard, Grand Funk Railroad the Who, Led Zeppelin,” Chanda explains. “Zamrock came from this combination of pop music and heavy metal. Everyone was listening to the same things.”

Chanda sooner began making movements and connected with musicians from groups Kingston Market, the Boyfriends and Black Souls. The first line up of WITCH was Emmanuel Chanda on vocals, Chris Mbewe and John Muma on guitar, Gedeon Mulenga on bass, and drummer Boidi Sinkala. “Initially we were just called Witch, like the witch on the broomstick at night, but then the graphic artist who was decorating our tour truck, came up with the acronym: We Intend To Cause Havoc. We thought, ‘yeah, that’s good’.”

While they started life playing covers of British and American rock songs, they soon moved into experimentations with original material. In 1972 they released ‘Introduction’. “Recording was not popular in our country at that time,” Chanda remembers. “Bands before us recorded for radio stations mainly. Even the first recording we had, was not a label per se – it was a mining company that was making a documentary and needed some music.” Recorded in single takes across less than two days, the result was the first commercial ever LP ever released in Zambia.

While no footage exists, by all accounts their performances were electrifying, extended sessions, often lasting as long as six-hours. Thanks to his onstage antics, stage-dives, flamboyant costumes – and penchant for covering Rolling Stones songs – Chanda soon earned the nickname “Jagger”. “I was a bit uncomfortable with that,” he chuckles. “I can’t go around telling people that’s my name! So what I did was put a “y” on jagger, and I went to the dictionary which told me jaggery is a type of brown sugar. Brown sugar, that works I’m brown!” Soon after, upon reading the name of a Nigerian politician, he settled on the Africanisation: Jagari.

All recordings of W.I.T.C.H. have been officially rereleased by Now Again Records.

WITCH

08 Aug 2018

+ special guests

Oslo

1A Amhurst Rd
London
E8 1LL

7.30pm

£12.50

SOLD OUT

TELEMAN

A special one off intimate show from Teleman at the unique Lightbox venue in Vauxhall. 

“I don’t know if other bands do this,” says Tommy Sanders, Teleman’s singer and guitarist, “but in our rehearsal room we had a white board, and for each song we’d write the chords up on the white board, write the structure out. We’ve got different colour pens and stuff. It’s very professional.”

The art of songwriting has been the driving force behind Teleman’s second album Brilliant Sanity: the process of crafting of the immaculate pop song, the dogged pursuit of the perfect hook. The result is an album that appears fastidiously and impeccably made, but also charged with joy.

The band’s first record, 2014’s Breakfast, was a quite different affair. Put together largely in the studio, with drummer Hiro Amamiya only joining the band a couple of songs into the session, Sanders recalls how “We recorded the songs before we knew how to play them, in a very bitty way, building them track by track, rather than just getting in a room and playing them.”

Since then, both the band and their songs have solidified. Now a four-piece made up of Sanders, his brother Jonny on synths, Amamiya on drums, and Pete Cattermoul on bass, the process of touring has honed them into a spectacular a live act, fleshing out those studio-forged tracks, so that by the end of the touring cycle, Sanders says, “We’d made up our minds that we wanted to record our next record in a very different way. Just us, in a room, playing together, to each other, in a very live and spontaneous way.”

Teleman

04 Jul 2018

+ special guests

Lightbox

6 S Lambeth Pl
London
SW8 1SP

7.30pm

£16.50

HILANG CHILD

Hilang Child is the moniker of Ed Riman, a half-Welsh, half-Indonesian musician & songwriter from London. With a few exquisite tracks appearing quietly over the last year or so and praised highly by the likes of The Line of Best Fit and Clash Magazine, Hilang Child has also recently collaborated with Lost Horizons (the new project from ex-Cocteau Twin Simon Raymonde and ex-Dif Juz drummer Richie Thomas), co-writing two songs and joining their live ensemble for upcoming tour dates. Crafting expansive atmospheres in his multi-layered songs and with a debut album entitled Years set for release in August 2018 on Bella Union, get down early to witness for yourself the magic of Hilang Child.

Hilang Child

16 Aug 2018

+ Special guests

The Shackewell Arms

71 Shacklewell Ln, London E8 2EB
London
E8 2EB

7.30

£6.00

FIL BO RIVA

After the release of the debut EP „If You’re Right, It’s Alright“ in late 2016, the first two tours in Germany, Austria and Switzerland went sold out. According to this unexpected success, the solo project on stage developed to a duo with Felix A. Remm and later from a three piece to a four piece. The rest of the summer was spent through Europe playing several festivals and other gigs. All this while constantly going back into the studio with producer Robert Stephenson to work on the debut album. It has been a year full of contrasts and different priorities: On the one hand, enjoying the fast-paced life on the road, visiting new places and meeting new faces. Signing autographs on scraps of papers for the first time and realizing people actually singing along at festival gigs. On the other hand, fully disconnecting with the world and being alone in the studio to focus on the album recording. Diving in deeply, forgetting everything else and solely being with the music. Nothing else matters. Metaphorically speaking: 'If the EP was a photograph of an idea, what we are trying to create with the album is an actual movie. I’m not trying to sound romantic but it’s like accumulating different pictures and feelings… and we all worship the album format, that’s why we want to take the time to shape it properly.“

Fil Bo Riva

03 Oct 2018

+ special guests

Hoxton Square Bar and Kitchen

2-4 Hoxton Square
London
N1 6NU

7.30pm

£8.50

RVG

"RVG evoke 80s Australian bands that crammed garage rock cred with sun-dappled hooks, such as Sunnyboys or the Go-Betweens. What makes these songs so moving is not Vager’s voice itself but her delivery. Her fierceness, her flow and how clear it is she’s singing about what she knows.” - Kate Hennessy, The Guardian

RVG

09 Jul 2018

+ special guests

Shacklewell Arms

71 Shacklewell Ln
London
E8 2EB

7.30pm

£7.50

BALOJI

Baloji is an artist in motion, a musician, poet, film director, a man of images and ideas.

He’s in motion like the inhabitants of Avenue Kaniama in Lubumbashi. In motion like the synthetic afro beats he produces, the fruit of an unlikely alliance between rock- rumba and futurist funk. In perpetual motion, like his limbs on stage as he fronts the Kaniama Show band, leading them in a sensual voodoo trance.

In motion like the era captured by his pen, an era where the intimate and the political come together and clash.

137 Avenue Kaniama is Baloji’s third album and the first to appear on the Bella Union label (John Grant, Fleet Foxes, Beach House...).

Baloji means “man of science” in Swahili, but during the colonial period, that meaning shifted as a result of Christian evangelisation, to signify “man of the occult sciences” and then “sorcerer”.

Baloji was born in Lubumbashi (DRC Congo) and grew up in Belgium. As a teenager, he started his first rap collective, Starflam. In 2008, as Baloji, he released “Hotel Impala” an album conceived as a reply to a letter he received from his mother after a 25-year absence.

Baloji

16 Oct 2018

+ special guests

Jazz Cafe

5 Parkway, Camden Town
London
NW1 7PG

7.30pm

£13.50

KLLO

The great metaphorical River has been lending itself to wise sayings for ages, usually as a manifestation of time, or in relation to how we see instances pass. It exists only as current, neither in the past nor the future, the present. Rarely though do we look for guidance from the bodies of water that rest beyond a current’s reach: backwaters seen as stagnant and turbid. That they are, yet by nature they also collect, capable of shaping labyrinthine networks of canals and inlets with ecosystems all their own. Backwaters let the present settle into the past, they’re a place apart from the flow where moments compile and mature.

Kllo, an electronic pop collaboration between Melbourne cousins Chloe Kaul and Simon Lam, waded in figurative backwater for much of 2016, amidst an extensive world tour. These were exciting times; the duo’s Well Worn EP furthered the promise of 2014 EP Cusp , receiving millions of streams and landing Kllo on festival stages as well as Artists-to-Watch lists. Nonetheless, the stretch kept them far from home, isolated and vulnerable, treading through perpetual uncharted territory while yearning for the comforts of the familiar.

As a result, Kllo’s full-length debut depicts inner adjustment to outer change. Songs were written partially on the road and developed back at Lam’s bungalow, a haven that harbors creative spontaneity and catharsis.
“It’s the first time we hadn’t felt like kids anymore,“ says Kaul. “We were really able to dive in deeper and bring out a lot more of us into the music.”

KLLO

04 Oct 2018

+ special guests

Archspace

339-340 Acton Mews
London
E8 4EA

7.30pm

£11

ANGEL HO

Angel-Ho is an artist assured of their own destiny. Over the past four years, the sonic and stylistic savant (born Angelo Valerio) has managed to build a global following out of their explorations of concepts revolving around classism, identity and gender through an amalgamation of their unrelentingly experimental electronic music and glamorous sense of style and couture. However, with plans to release their debut album later this year, Angel-Ho is looking to enter the next phase of their career: that of becoming a pop icon. " - Dan Charles

Angel-Ho is a neo-pop recording artist transforming elements genres into new musical territories. She will be performing her debut album that features dance, live vocal story telling and expression of the "feminine trans queenie" that proves to be the workings of a future pop force in global music.

FAKA

FAKA, a cultural movement established by Fela Gucci and Desire Marea, has come to represent more than the “performance art duo” descriptor that has defined the collective since their inception in 2015.

The artists explore a combination of mediums ranging from sound, live performance, literature, video and photography, to create an eclectic aesthetic with which they express their ideas about themes central to their experience as black queer bodies navigating the cis-hetero-topia of post-colonial Africa.

The collective debuted at the BubblegumClubbb Nights held at the Hazard Gallery in 2015, where they presented #Wait Lorraine: A Wemmer Pan-African Introduction to Siyakaka Feminism. In the same year, they released their popular ode to Brenda Fassie, a video piece titled From A Distance. The following year (2016) was defined by the duo’s release of the Bottoms Revenge EP, a collection of Ancestral Gqom-Gospel sounds,  as well as a much-talked-about live installation of The Factory at Stevenson Gallery’s SEX show.

Angel Ho / Faka

21 Jun 2018

Birthdays

33-35 Stoke Newington Rd
London
N16 8BJ

7.30pm

£10

FUCKED UP

Fucked Up kick off Visions Festival 2018 with a party at Hangar. Get show tickets on Friday at 10am or buy bundle tickets now. 

Find out more about Visions 2018 here.

Fucked Up

03 Aug 2018

+ special guests

Hangar

2-18 Warburton Road
London
E8 3FN

7.30pm

£15 / £45

HORSE FEATHERS

Horse Feathers feels like a secret you don’t really want to share. Over twelve years and five albums, a passionate fan base has experienced this band as a precious commodity that they want to keep close to their hearts. One reason for this can be found in lead singer Justin Ringle’s distinctive voice, at once vulnerable and piercing, and in the quality of the music: gorgeous, lush string arrangements surrounding stark, visceral lyrics whose bite makes a piquant juxtaposition to the surrounding beauty.

Now, however, Horse Feathers has created an album that differs enough from its predecessors to suggest that the cat might get out of the bag. On Appreciation, their sixth full-length and the fifth on venerable independent label Kill Rock Stars, the signifiers of the band are there: Ringle’s warm tenor and lyrics that speak of work, love, and other struggles. But on this album less of the song dynamics are achieved with strings and more with an exciting new rhythm section steeped in Northern Soul. Longtime violinist Nathan Crockett and keyboardist Dustin Dybvig provide continuity, but much of Appreciation feels like the best of Ringle’s previous musical ideas just took a giant step into a larger arena.

Recorded primarily in Kentucky (at La-La Land Studios in Louisville and Shangri-La Studios in Lexington), the new album features instrumentalists J. Tom Hnatow, Robby Cosenza and R&B vocalist Joslyn Hampton, who helped make Appreciation a mixture of strutting ‘70s-style country-pop (“Without Applause,” “Don’t Mean To Pry”) and supple soul (“Best To Leave,” “Evictions”). But Horse Feathers hasn’t gained accessibility at the expense of quality, nor at the expense of their signature instrumentation (“The Hex” might be the only R&B/soul song where the rhythmic lead is played on banjo). For those who crave what NPR called “the densely pretty seethe of Horse Feathers’ earlier ballads”, the album delivers “Born in Love” and “On the Rise”, accentuating the string surge with Hammond organ, piano, tambourine, and finger snaps.

Horse Feathers

26 Sep 2018

+ special guests

Sebright Arms

34 Coate St
London
E2 9AG

7.30pm

£11

TRUDY AND THE ROMANCE

Somewhere among the daydreamers and heartbreakers, beauty queens and jock teens, Trudy and the Romance are looking to lure you into their suitably skewed, cinematic world. On new single ‘Is There A Place I Can Go’, the trio’s dubbed ‘Mutant 50s Pop’ takes a more contemplative turn. The single is part of their Junkyard Jazz EP, which will be released through B3SCI on November the 17th.

From character creation to alter-ego exploration, Trudy’s overtly-romanticised, technicolour realm runs deep. Like David Lynch dicing and splicing Walt Disney film reels, Junkyard Jazz EP is a larger-than-life introduction to their saccharine sound, right through to the Grease-style illustrations by LA-based artist Hello Thunderpuss.

Trudy and the Romance

14 Nov 2018

+ spcial guests

Moth Club

Old Trades Hall, Valette Street,
London
E9 6NU

7.30pm

£8

THE ORIELLES

One of the most exciting young bands in the country right now, Halifax’s fast-rising The Orielles are set to play a massive headline show at the tail end of 2018. They will headline Heaven in Charing Cross on 29 November. 

“We met Henry at a house party a few years ago,” says Sid about the beginnings of the band. “I mean, it’s a bit lamer than that sounds. It was a friend of our parents, she was having a 40th birthday party, and we went along, and Henry was there too, with his parents.” They’ve been writing songs together ever since, Esme singing and on bass, Sidonie on drums, Henry on guitar."

Their debut album came out earlier this year via the ever brilliant Heavenly. Across 45-minutes, the album itself takes all kinds of turns, into ESG-ish yips and funk, dreamy-arch harmonies, disco synth-pows and stoner bongos, unsettling submerged voices - with all that and more it still flows like a fountain of indie pop, fresh and catchy and altogether. The songs themselves are inspired by cinema, literature and physiological details of domestic animals. “So many pop songs are about relationships or growing up or whatever,” they say. “We wanted to write a few songs that make people think, What the hell is that about?”

As for the album title - “It’s anything that’s unexpectedly brilliant,” explains Henry. “We played in Toronto, at this bar called the Silver Dollar Room. We’d been in Canada for 36 hours, no sleep, we’d already played at 10, then we played a show at the Silver Dollar at 2am and it was one of the best shows we’ve played. So a silver dollar moment became anything that’s good, but unexpectedly.”

The Orielles

29 Nov 2018

+ special guests

Heaven

17 Villiers St
London
WC2N 6NG

7.30pm

£10

FATOUMATA DIAWARA

Hailed as one of the most vital standard-bearers of modern African music, Fatoumata Diawara takes her artistry to fresh and thrilling heights on her new album FENFO. Boldly experimental yet respectful of her roots, it’s a record that defines her as the voice of young African womanhood – proud of her heritage but with a vision that looks confidently to the future and a message that is universal.

Her spectacular 2011 debut album Fatou made the Malian singer and guitarist the most talked about new African artist on the planet.  FENFO (which translates as “something to Say”’) dramatically fulfils that promise on a set of vivid and original new compositions that draw on the rich experiences she has enjoyed since.

“I’ve had so many different musical adventures since the last album, touring and working with so many other musicians and I think you can hear how all of that feeds into this record,” she says. “This is my time and I’m sharing my soul.”

Those she has worked with include some of the biggest names in contemporary music. She recorded with Bobby Womack and Herbie Hancock; played Glastonbury and other major festivals; and toured with the Cuban pianist Roberto Fonseca. She assembled a West African super-group featuring Amadou and Mariam, Oumou Sangaré and Toumani Diabaté to record a song calling for peace in her troubled homeland; and climbed aboard Damon Albarn’s star-studded Africa Express, which culminated in her sharing a stage with Sir Paul McCartney.

Fatoumata Diawara

20 Nov 2018

+ special guests

Hackney Arts Centre

13 Stoke Newington Rd
London
N16 8BH

7.00pm

£22.50

HALEY

Having followed up her hugely acclaimed album Impossible Dream with an exclusive Record Store Day 7” release Bratt, HALEY (FKA Haley Bonar) returns to the UK for a series of intimate shows this November. Haley will also play a late show at St Pancras on 8 November.

HALEY was first discovered by Low’s Alan Sparhawk who spotted her at a local open mic club in Duluth, Minnesota and was so impressed he immediately invited her to join them on tour. Which is how, a week later, nineteen-year-old Haley was transformed from college student to ambitious dropout, crammed into a Honda Civic with a guitar and a drummer for company, touring the US opening for Low.  In the decade since Haley has released a succession of recordings, each of which have garnered more praise than the last, and has seen her collaborate with the likes of Andrew Bird (with whom Haley occasionally plays live) and Justin Vernon  (who contributed guest vocals to the Last War  album). Her most recent album, Impossible Dream picked up wild acclaim from the UK music press, followed by two sold out UK tours, and her debut appearance on Later… with Jools Holland.

She chose International Women’s Day 2017 to announce that she would officially adopt her mother’s maiden name (McCallum, a Scottish name meaning “a person of peace”) and now performs and releases under the moniker HALEY, the first fruits of which were the single Bratt, released for Record Store Day 2018. She says of the single:

“These two songs are kind of the last ones I wrote with lyrics in them, at least, for the time being. "Bratt" was intended to be sung from a teenage perspective, appropriating that unsentimental attitude while simultaneously looking back at yourself at that age, all of the insecurities that went along with it, letting go of your self-judgement on the past."

Currently holed up in the studio, expect more music very soon

Haley

08 Nov 2018

+ special guests

St Pancras Old Church

Pancras Rd
London
NW1 1UL

7.00pm

£12.50

DU BLONDE

Du Blonde iss et to play an intimate show at Sebright Arms to warm up for her UK tour with Ezra Furman. Get tickets now!

Du Blonde

21 May 2018

+ special guests

Sebright Arms

34 Coate St
London
E2 9AG

7.30pm

£8.00

JOYFUL TALK

From a secluded outpost on Nova Scotia’s mystical South Shore, junked-analog duo JOYFULTALK conjure micro-climate trance music. The brainchild of instrument builder and jazz-fried alchemist Jay Crocker, JOYFULTALK offer up new concepts on regionalism.

Admittedly influenced by the craggy treelines and flowing rivers of Lunenburg county, Crocker and multi-instrumentalist Shawn Dicey’s gnarled jamscapes render natural spaces in a hazy parallel universe.

JOYFULTALK

12 Jul 2018

+ special guests

Birthdays

33-35 Stoke Newington Rd
London
N16 8BJ

7.30pm

£8

SUNFLOWER BEAN

Blue, as Julia Cumming of Brooklyn’s Sunflower Bean points out, is something of a “loaded color.” The word is of course often synonymous with sadness—certainly blues music isn’t known for its laughs. But it's also the "emotional color" of the band's upcoming, sparkling second album, Twentytwo in Blue. “We definitely don’t want it to come across as a sad record,” explains Cumming. “Blue is kind of hopeful, and we wanted to explore that color with this record.” The new record by vocalist and bassist Cumming, drummer Jacob Faber and guitarist and vocalist Nick Kivlen is many things: rousing, romantic, topical, empathetic and insightful. But defeatist it’s not.

All three band members will in fact be 22 when Twentytwo in Blue is released in March of 2018, almost two years and two months after Sunflower Bean’s hazy, charming debut LP, Human Ceremony. They were two momentous years in which the trio toured the world several times over and grew in accomplishment, discovering a newly confident voice they bring to the second album, one that doesn’t shy away from the political changes and cultural shifts that have left America and the world stupefied. “This has been such an unbelievable time,” says Kivlen. “I can’t imagine any artist of our ilk making a record and not have it be seen through the lens of the political climate of 2016 and 2017."

Sunflower Bean

22 Nov 2018

+ special guests

Hackney Arts Centre

17 Stoke Newington Rd
London
N16 8BH

7.00pm

£14.50

SOLD OUT

SNAIL MAIL

Snail Mail, the moniker of 18-year-old Lindsey Jordan, will release its full-length debut in 2018, following the 2016 release of its introductory EP, Habit. The Baltimore singer, songwriter, and guitar prodigy is the latest addition to the renowned Matador Records roster, having bowled them over with her powerhouse vocals, preternaturally wise lyrics, and mind-bogglingly technical compositions.

Snail Mail’s Habit EP was quickly noticed by both national press outlets and touring bands alike, landing Jordan the kind of attention that most of Mary Timony’s guitar students (yes, for real, she’s been classically trained for over thirteen years AND studied under fellow Matador guitar wiz Timony, while also juggling hockey practice) can only dream of -- a New York Times Sunday Arts cover, a Pitchfork Rising feature, a FADER Gen F feature, a spotlight in V Magazine, and tours with Girlpool, Priests, and Waxahatchee.

Snail Mail

25 Oct 2018

+ special guests

The Dome

2A Dartmouth Park Hill
London
NW5 1HL

7.30pm

£11.50

ELDER ISLAND

Bristol based Elder Island deliver a beautifully unique sound. Katy’s sweet and soulful tones flow over Dave and Luke’s multi-layered synths, beats and melodic broodings to stir up emotions and get any crowd dancing. Sonically placed somewhere between the likes of The xx, Sylvan Esso, Mount Kimbie & Maribou State, there is no denying Elder Island are carving out a home for themselves in our musical landscape.

Fresh from supporting Glass Animals on their European tour in 2017 they wowed The Great Escape Festival before descending on Boomtown Fair, Love Saves the Day (Main Stage), Lovebox, Lost Village, Farm Fest, Ventnor Fringe Festival and more. Each performance saw not only the return of their dedicated fanbase but hoards of buzzing new fans. They quickly became the band not to be missed of the 2017 festival season, with national and online press singing their praises after witnessing their electric live sets.

The band have garnered huge support from BBC Introducing and were hand-picked to perform at their Maida Vale sessions as well as that of BBC6 Music on their debut self-titled EP. Elder Island continue to be championed by the likes of Huw Stephens, who featured single ‘Bamboo’ and Phil Taggart who premiered 2017 single ‘Welcome State’ on their respective BBC Radio 1 shows. With Gilles Peterson, BBC6 Music’s Tom Robinson and Beats 1’s Zane Lowe also showing appreciation, they are turning heads everywhere they go.

Elder Island

06 Nov 2018

+ special guests

Village Underground

54 Holywell Ln
London
EC2A 3PQ

7.30pm

£12

PAUL FOOT

Comedy by the sea in Dreamland Margate’s beautiful Grade II-listed Ballroom.

Paul Foot – star of ‘Would I Lie To You’, ‘8 Out of 10 Cats Does Countdown’ and ‘Never Mind The Buzzcocks’ headlines this comedy line-up here at Dreamland on June 2.

Plus ‘Shooting Stars’ scorekeeper Angelos Epithemiou, co-host of the ‘All Killa No Filla’ podcast Rachel Fairburn and critically acclaimed absurdist Stuart Laws as MC.

Presented by Plosive Productions & Rockfeedback

The Amusement Arcade: Paul Foot / Angelos Epithemiou / Rachel Fairburn / Stuart Laws

02 Jun 2018

Dreamland

49-51 Marine Terrace
Margate
CT9 1XJ

7.00pm

£15

THE MYSTERY LIGHTS

Even though they may sound more like some lost outfit from the depths of mid-sixties Texas than a bunch of scruffy kids from the streets of 21st Century Brooklyn, The Mystery Lights combine relentless enthusiasm, and a knack for a hook into an all-action rock n roll combo for the here and now. Their first single pairs a ridiculously catchy neo-teenbeat number "Too Many Girls" (our protagonist surrounded by a feminine throng he can't control) with the snaking psych-blues of "Too Tough To Bear", featuring the band dragging their squalling guitars deep into swampland. Though it was recorded to 8-track tape at Daptone's legendary House of Soul by Daptone studio superstar Wayne Gordon and mixed by Bosco Mann, it was the cutting engineer JJ Golden who called it "the hottest record I ever cut."

SONS OF RAPHAEL

Sons of Raphael are brothers Loral and Ronnel Raphael from London.
Their throats are opened graves, they use their tongues to deceive.

MEAT CANDY

Meat Candy formed in the summer of 2016 in London, England. With a common thrill for 70’s prog and modern psychedelic music, they got together at 123 studios in Peckham with Brett Shaw to record their first EP titled “Pursuit of Sounds”. Days after recording, Meat Candy quickly grabbed the attention of Dirty Melody Records which led to a vinyl release in March 2017 with a successful sold out EP release show at the London Fields Brewery. After sharing the stage with international bands such as Wand, Wooden Indian Burial Ground, Thee MVPs and Mr. Airplane Man, the highly engaging and loud shows of the band retained minds of music peers, promoters and industry. Meat Candy is set to release their first full length album in 2018.

The Mystery Lights / Sons of Raphael / Meat Candy

25 Jul 2018

The 100 Club

100 Oxford St
London
W1D 1LL

7.30pm

£10

TITUS ANDRONICUS

A special stripped-back show in celebration of Titus Andronicus' new album, plus songs from their illustrious back catalogue at London's St Pancras Old Church

Titus Andronicus

07 Sep 2018

+ special guests

St. Pancras Old Church

Pancras Rd, Camden Town
London
NW1 1UL

7.30pm

£14.50

TELEMAN

“I don’t know if other bands do this,” says Tommy Sanders, Teleman’s singer and guitarist, “but in our rehearsal room we had a white board, and for each song we’d write the chords up on the white board, write the structure out. We’ve got different colour pens and stuff. It’s very professional.”

The art of songwriting has been the driving force behind Teleman’s second album Brilliant Sanity: the process of crafting of the immaculate pop song, the dogged pursuit of the perfect hook. The result is an album that appears fastidiously and impeccably made, but also charged with joy.

The band’s first record, 2014’s Breakfast, was a quite different affair. Put together largely in the studio, with drummer Hiro Amamiya only joining the band a couple of songs into the session, Sanders recalls how “We recorded the songs before we knew how to play them, in a very bitty way, building them track by track, rather than just getting in a room and playing them.”

Since then, both the band and their songs have solidified. Now a four-piece made up of Sanders, his brother Jonny on synths, Amamiya on drums, and Pete Cattermoul on bass, the process of touring has honed them into a spectacular a live act, fleshing out those studio-forged tracks, so that by the end of the touring cycle, Sanders says, “We’d made up our minds that we wanted to record our next record in a very different way. Just us, in a room, playing together, to each other, in a very live and spontaneous way.”

Teleman

10 Oct 2018

+ special guests

Oval Space

29–32 The Oval
London
E2 9DT

7.30pm

£16.50

HALEY

Having followed up her hugely acclaimed album Impossible Dream with an exclusive Record Store Day 7” release Bratt, HALEY (FKA Haley Bonar) returns to the UK for a series of intimate shows this November.

HALEY was first discovered by Low’s Alan Sparhawk who spotted her at a local open mic club in Duluth, Minnesota and was so impressed he immediately invited her to join them on tour. Which is how, a week later, nineteen-year-old Haley was transformed from college student to ambitious dropout, crammed into a Honda Civic with a guitar and a drummer for company, touring the US opening for Low.  In the decade since Haley has released a succession of recordings, each of which have garnered more praise than the last, and has seen her collaborate with the likes of Andrew Bird (with whom Haley occasionally plays live) and Justin Vernon  (who contributed guest vocals to the Last War  album). Her most recent album, Impossible Dream picked up wild acclaim from the UK music press, followed by two sold out UK tours, and her debut appearance on Later… with Jools Holland.

She chose International Women’s Day 2017 to announce that she would officially adopt her mother’s maiden name (McCallum, a Scottish name meaning “a person of peace”) and now performs and releases under the moniker HALEY, the first fruits of which were the single Bratt, released for Record Store Day 2018. She says of the single:

“These two songs are kind of the last ones I wrote with lyrics in them, at least, for the time being. "Bratt" was intended to be sung from a teenage perspective, appropriating that unsentimental attitude while simultaneously looking back at yourself at that age, all of the insecurities that went along with it, letting go of your self-judgement on the past."

Currently holed up in the studio, expect more music very soon

Haley

08 Nov 2018

+ special guests

St. Pancras Old Church

Pancras Rd, Camden Town
London
NW1 1UL

9pm

£12.50

SOLD OUT

TITUS ANDRONICUS

A special stripped-back show in celebration of Titus Andronicus' new album, plus songs from their illustrious back catalogue at London's St Pancras Old Church

Titus Andronicus

06 Sep 2018

+ special guests

St. Pancras Old Church

Pancras Rd, Camden Town
London
NW1 1UL

7.30pm

£14.50

MAMMUT

Icelandic bands often resemble a force of nature, and Mammút are no exception. What’s more, the quintet’s spectacular new album Kinder Versions is exactly the kind of volcanic presence that is sorely lacking in 21st century rock, likewise their unpredictable and uncategorisable shape-shifting sound, like a very modern twist on psychedelia.

Mammút is Icelandic for ‘mammoth’ – the name that singer Kata Mogensen, “plucked out of the air,” when she joined guitarists Alexandra Baldursdóttir and Arnar Pétursson, bassist Ása Dýradóttir and drummer Andri Bjartur Jakobsson for their stage debut,aged just 14. Kata is the daughter of bassist Birgir Mogensen, a former bandmate of Björk back when they were young post-punk adventurers, a questing spirit that Mammút have also unconsciously adopted, though without ever discussing what kind of music they’d play. “We’re so close as a band, we have no limits for each other, no boundaries, we just follow our gut instincts,” says Kata.

CIRCE

Circe is an alt-pop artist, led by icy, ethereal voice and a penchant for the mystical. Circe combines dark dramatic lyrics, brooding soundscapes and visceral synth bass to create an otherworldly dimension as if Kate Bush was exploring the upside down.

Mammut / Circe

18 Jul 2018

Camden Assembly

49 Chalk Farm Rd
London
NW1 8AN

7.30pm

£9

WESTERMAN

After the wistful ambience of his Call And Response EP, a record steeped in leftfield antecedents like Nick Drake, David Byrne and Arthur Russell, Westerman’s latest single ‘Confirmation’ emerges after a momentary spell of deliberation for the West London artist.

As Westerman says: “‘Confirmation’ is about the difficulties of infinite choice - and the allure of impulsiveness.” Ostensibly a message that applies to his own creative process, Westerman observes its omnipresence in all of our lives. The feeling of “trying too hard when actually the best ideas come when you’re just going with it. It's a self critique as well as an exploration of a wider point regarding the debilitating risks of having too many things going on internally and externally.”

As a result it marks a sharp progression in Westerman’s sound. From the striking early work which revealed a respectfully awed reverence for his influences, ‘Confirmation’ sees Westerman channelling the spirit of origination in those influences rather than directly referencing them sonically. It continues a string of collaborations with electronic producer Bullion which have sculpted Westerman’s sound from the beatific minimalism of before, into a more ambient and textured project, unafraid to take risks.

Westerman

18 Oct 2018

+ special guests

Oslo

1A Amhurst Rd
London
E8 1LL

7.30pm

£9

DEAD SEA

When searching for Dead Sea on the Internet, you will most likely end up on YouTube watching half-naked tourists floating on the super-salty waters of the lowest place on Earth. However, when narrowing down the search a bit further, chances are you will come upon a four-piece French band, crafting dreamy and magnetic post-pop songs. A lot has been said about them being shoegaze successors - a genre that suits them well - but Dead Sea members are not the kind to stand still and gaze at their shoes. Instead, they all look right ahead to the future.

PARA ALTA

Four lads from Hartlepool, Para Alta released debut single I Get Mine in 2016, an ode to trying to break free from the shackles of your hometown history. Fast forward a few years and the band have three more releases under their belts via Kissability, fans in DIY, The Line Of Best Fit, and Spotify, and they've make the schlep down the A1 to call London their new home. With anthemic indie choruses and lashings of searing guitars, they've already built themselves a banging live show. Move over Mariah, Para Alta are your new favourite heartbreakers.

Tickets on sale now!

Dead Sea / Para Alta

11 May 2018

The Waiting Room

175 Stoke Newington High St
London
N16 0LH

7pm

£7.50

LOS CAMPESINOS!

To celebrate 10 years of their albums ‘Hold On Now, Youngster…’ and ‘We Are Beautiful, We Are Doomed’, your ex-girlfriend’s favourite band, Los Campesinos!, are to play their biggest ever UK headline show on Saturday 13th October at the O2 Forum, London.

It’ll be unlike any gig the band has played before, as they’ll be supporting themselves. The band’s first set will take in songs from the above mentioned albums and other songs from the time, before they towel down, spray on some deodorant and return to the stage to play a second set of songs from their ten year career as the UK’s premiere DIY/punk/emo (delete as applicable) band.

Tickets available here!

Los Campesinos!

13 Oct 2018

O2 Forum Kentish Town

9-17 Highgate Rd
London
NW5 1JY

7.00pm

£17.50

PEAKES

"a perfect demonstration of their already commanding sound that mixes dynamic instrumentation with reserved but poignant vocalisation, creating what can only be described as well-honed pop music." The Line of Best Fit

"PEAKES are a band primed for soaring heights yet packed with an emotional punch that’ll have you spinning." Dork

Peakes

25 Oct 2018

+ special guests

The Waiting Room

175 Stoke Newington High St
London
N16 0LH

7.30pm

£6

 

OSCAR JEROME

Oscar Jerome has been honing his craft as a musician and writer since a young age. He has worked as vocalist, guitarist and composer with countless acts and grown through the thriving South London music scene.

In his solo project Jerome brings all of his influences together, citing artists such as Gil Scott-Heron, George Benson, John Martyn, The Clash, Ali Farka Toure and Jay Dilla. Oscar’s song writing is motivated by politics, spirituality within music and life experiences. His creative vision is to always make music with sincerity and pay homage to his countless inspirations.

Oscar’s music has received radio attention from Gilles Peterson, Huw Stephens (BBC radio 1) and Jamz Supernova (1Xtra). He has appeared in a Boiler Room session along with Nick Hakim, recorded his own Mahogany session and earlier in 2017 played a BBC 6Music live session on Gilles Peterson’s show. His  acclaimed live show has seen him perform at Glastonbury, Jazz Cafe, Worldwide Awards Afterparty and Union Chapel supporting Macy Gray to name a few.

Oscar Jerome

25 Sep 2018

+ special guests

Village Underground

54 Holywell Ln
London
EC2A 3PQ

7.30pm

£11

SOLD OUT

ONEOHTRIX POINT NEVER

Musician, composer and Mercury Prize nominee Oneohtrix Point Never combines his experience of music, visual art and film to present a ‘concertscape’ dubbed MYRIAD. This ambitious project takes the perspective of an alien intelligence, with the work informed by Oneohtrix Point Never’s site-specific commissions of recent years including the Museum of Modern Art (2011), Tate Britain and MoMA PS1 (2013), and Edinburgh International Festival (2015). MYRIAD explores film and television tropes, abstract sculpture, game ephemera, poetry, apocryphic histories, internet esoterica, and philosophies of being; it looks both towards the possibilities of the future whilst considering the conflict between today’s civilisation and the environment. The work receives is world premiere in May 2018 at Park Avenue Armoury, New York City.

Oneohtrix Point Never (OPN), otherwise known as Daniel Lopatin, is also the label founder of Software Recording Company, as a producer his credits include Anohni, FKA Twigs, David Byrne and Nine Inch Nails. OPN’s most recent album Garden of Delete (Warp, 2017) received widespread acclaim and last year he was presented the Best Soundtrack Award at Cannes Film Festival for his score to Good Time (dir. Josh and Benny Safdie). OPN has appeared as part of the Barbican contemporary music programme on several occasions including concerts at LSO St Luke’s with Nate Boyce, and Union Chapel with Nico Muhly. In 2016 he released Sticky Drama, a live audio-visual broadcast via Boiler Room which begins in the Barbican’s concert hall before descending into the bowels of the centre.

Oneohtrix Point Never: MYRIAD

07 Jul 2018

Barbican

Silk St
London
EC2Y 8DS

7.30pm

£20 - £25

LIDO PIMIENTA

Lido Pimienta is a Toronto-based, Colombian-born interdisciplinary musician and artist-curator. She has performed, exhibited, and curated around the world since 2002, exploring the politics of gender, race, motherhood, identity and the construct of the Canadian landscape in the Latin American diaspora and vernacular.

Her most recent album La Papessa was self-released, and the winner of the 2017 Polaris Music Prize, building momentum on a busy year that has included collaborating and performing with A Tribe Called Red, touring with Austra, publishing a graphic novel, creating visual artworks and contributing to art talks and exhibitions.

We are beyond excited to be working with this incredibly talented, innovative, and daring multi-disciplinary artist. Dig into La Papessa and check out the video for "La Capacidad".

ISAGT

ISA GT Colombian artist based in Berlin & London, has been making waves for being a visionary producer, a very skillful Dj and for her prolific collaborations with other artists. She was once dubbed by The Fader as "The Colombian equivalent to Nueva York's ESG", quickly after arriving in London, Isa established herlsef as the go-to in the city for her new approach to partying and for the undeniable and fearless way of mixing and melting genres from House, Disco, Groove to the new Latin rhythms. ISA GT is one of the main figures of the Global Bass genre and was featured recently on the series #DIGIT broadcasted on ARTE channel.

Lido Pimienta / IsaGT

06 Jun 2018

DIY Space for London

96-108 Ormside St
London
SE15 1TF

7.30pm

£8

ALASKALASKA

ALASKALASKA are an art-pop 6-piece from London. They make beautiful, groove-laden music that seamlessly blends jazz, disco, funk and R&B into a bold and playful sound uniquely their own; synthetic beats play alongside live drums, delayed guitars and shimmering saxophones to create something musically rich and delightfully intricate.

Band leader and principle vocalist Lucinda twists brooding and introspective lyrics - akin to the words of Arthur Russell - into infectious melodies reminiscent of Warpaint, Dirty Projectors or Talk Talk, which demand repeat listens and could as easily soundtrack a wistful evening alone as they could a party. They've built a cult following and reputation as extraordinary performers through a handful of low-key London shows.

JOCKSTRAP

London-based alternative electronic pop duo channelling PC Music-esque production whilst remaining true to their complex classical routes.

Alaskalaska / Jockstrap / Grand Pax /  Sorry (DJs)

07 Jun 2018

Corsica Studios

4/5 Elephant Rd
London
SE17 1LB

7.30pm

£8

M.I.L.K.

The French signed, Copenhagen-based purveyor of ultra-refreshing, soulful pop has an easy charm and sun-bleached tunes galore.

SUPERPARKA

A crew of two - Paco & Simon - who sing about UFOS invasions, love Flying Lotus and create head-nodding, psychedelically inclined R’n’B and Hip-Hop.

MNNQNS

Exploding out of Rouen’s burgeoning underground scene, the four-piece are a visceral blend of tightly-woven guitar parts, feedback and drawled vocals.

Oui Love: M.I.L.K / Superparka / MNNQNS

16 May 2018

Birthdays

33-35 Stoke Newington Rd
London
N16 8BJ

7.30pm

£7

ANNA BURCH

Through the deceptively complex pop of Quit The Curse marks the debut of Anna Burch, it’s anything but the green first steps of a fledgling new artist. The Detroit singer/songwriter has been visible for the better part of her years-long career singing in Frontier Ruckus, or more recently co-fronting Failed Flowers, but somewhere a vibrant collection of solo material slowly began taking form.

Growing up in Michigan, her fixation with music transitioned from a childhood of Disney and Carole King sing-alongs to more typically angsty teenage years spent covering Bright Eyes and Fiona Apple at open mic nights. By 18 she was deep into the lifestyle of the touring musician, juggling all the regular trials and changes of young life while on a schedule that would have her gone for months on end. 

After a few whirlwind years of this, exhausted and feeling a little lost, she stepped away from music completely to attend grad school in Chicago. This respite lasted until 2014 when she moved to Detroit and found herself starting work in earnest on solo songs she’d been making casual demos of for a year or so. Friends had been encouraging her to dive into solo music, and one particularly enthusiastic friend, Chicago musician Paul Cherry, went so far as to assemble a band around scrappy phone demos to push for a fully realized album. 

“Writing songs that I actually liked for the first time gave me a feeling of accomplishment,” Burch said,  “Like, I can do this too! But working with other musicians and hearing the songs go from sad singer/songwriter tunes to arranged pop songs gave me this giddy confidence that I’d never felt before.”

The process was drawn out and various drafts and recordings came and went as the months passed. By now Anna was playing low key shows and d.i.y. tours solo and had released some early versions of a few songs on a split with fellow Detroit musician Stef Chura. Even at a slow, meticulous pace, with every step the album took closer to completion, it felt more serious and more real. After a more than a year of piecemeal recording sessions, Anna was introduced to engineer Collin Dupuis (Lana Del Rey, Angel Olsen) who helped push things energetically home, mixing the already bright songs into a state of brilliant clarity.

The nine songs that comprise Quit The Curse come on sugary and upbeat, but their darker lyrical themes and serpentine song structures are tucked neatly into what seem at first just like uncommonly catchy tunes. Burch’s crystal clear vocal harmonies and gracefully crafted songs feel so warm and friendly that it’s easy to miss the lyrics about destructive relationships, daddy issues and substance abuse that cling like spiderwebs to the hooky melodies. The maddeningly absent lover being sung to in “2 Cool 2 Care”, the crowded exhaustion of “With You Every Day” or even the grim, paranoid tale of scoring drugs in “Asking 4 A Friend” sometimes feel overshadowed by the shimmering sonics that envelop them. 

“To me this album marks the end of an era of uncertainty. Writing songs about my emotional struggles helped me to work through some negative patterns in my personal life, while giving me the sense of creative agency I’d been searching for.”

Emerging from years spent as a supporting player, Quit The Curse stands as a liberation from feeling like Burch’s own songwriting voice was just out of reach — an opportunity, finally, for the world at large to hear what’s been on her mind for quite a while.

Anna Burch

04 Sep 2018

+ special guests

Moth Club

Old Trades Hall, Valette Street
London
E9 6NU

7.30pm

£9

ALICE PHOEBE LOU

Alice Phoebe Lou's fiercely independent approach to her music has given the singer songwriter a creative confidence that shines through in her captivating vocals and stripped back music. Having developed her bluesy, folk sound busking on the streets of Berlin, Alice has caught the ears of a community of music lovers the world over with her honest storytelling and raw, beautiful voice.

Alice grew up on a mountainside in South Africa listening to her parent's records and indulging her love of theatre, arts and music at a local Waldorf school; a formative time that nurtured her independence and desire to experience music of all styles. This multi-faceted creative upbringing mixed with Alice's natural wanderlust and in 2010, 16-year-old Alice made her first journey to Europe during her summer break from school. Inspired by watching fire dancers in Paris, she began to perform likewise to get enough money to fund her travelling.

That summer Alice roamed between Paris and Amsterdam; experiencing the highs and lows of street performances' underbelly. This vagabond lifestyle was a creative inspiration and gave Alice an enduring taste for the immediacy of street crowds. After returning to South Africa to complete her studies, Alice's path led her back to Europe and she made her way to the German capital - Berlin. The freedom of the city was intoxicating and she immersed herself in the creative world there.

HUSH MOSS

From Berlin via Israel comes the funk-lite sound of mid-70s synth-phonic soul.

If the Weeknd’s dad had made an album of louche soul in 1975, during that period between the heyday of Philly and the advent of disco, just before Giorgio Moroder/Donna Summer’s electronification of dance music, it might have sounded like Hush Moss.

Alice Phoebe Lou / Hush Moss

20 May 2018

Scala

275 Pentonville Rd
London
N1 9NL

7.00pm

£12.50

NATALIE PRASS

The songs were written, the band was ready, and the studio was booked. Fans and critics alike were eagerly awaiting the follow-up to Natalie Prass’s 2015 self-titled breakout album, a collection hailed by NPR as “a majestic debut,” but perhaps no one was more eager for record number two than Prass herself. She’d waited what felt like a lifetime to release that first album and then toured the world relentlessly behind it, sharing bills with the likes of Fleet Foxes and The War on Drugs on her way to becoming one of the year’s most talked-about artists. By the time recording sessions were scheduled to begin, she was absolutely dying to launch the next chapter, which made what happened next all the more shocking: she scrapped the whole thing.

“The record was ready to go, and then the election happened,” explains Prass. “I was devastated. It made me question what it means to be a woman in America, whether any of the things I thought were getting better were actually improving, who I am and what I believe in. I knew I would be so upset with myself if I didn’t take the opportunity to say some of the things that meant so much to me, so I decided to rewrite the record. I needed to make an album that was going to get me out of my funk, one that would hopefully lift other people out of theirs, too, because that’s what music is all about.”

The result is ‘The Future And The Past,’ a stunning work of art and a powerful feminist statement from an artist who’s only just begun to tap into the full range of her considerable powers. Reuniting Prass with producer and long-time friend Matthew E. White, the album is at once celebratory and defiant, capturing all the joy, frustration, fear and hope inherent in modern womanhood as it synthesizes the influence of everything from vintage gospel and 80’s pop to 90’s R&B and Brazilian Tropicália. Prass displays a rare gift for transcending time and place in her songwriting, tapping into age-old struggles for autonomy and equality that resonate profoundly in the present.

Though she’d been honing her craft and paying her dues for years, Prass first emerged to international acclaim in 2015, when her debut record earned its rightfully rapturous reception. Rolling Stone swooned for the Virginia native’s “beguiling voice and refined taste,” while Pitchfork praised her album as a “smoldering perspective on passionate romance,” and The New Yorker simply called it “timeless.” She appeared on the Martin Scorsese-helmed HBO series Vinyl, performed on the BBC’s Later… With Jools Holland, and CBS This Morning, and racked up more than ten million streams on Spotify. Before long, she was headlining dates around the world and playing festival stages from Bonnaroo and Rock En Seine to End Of The Road and Forecastle.

Natalie Prass

08 Nov 2018

+ special guests

Electric Brixton

Town Hall Parade, Brixton
London
SW2 1RJ

7.00pm

£16

KEVIN MORBY

His fourth album, City Music works as a counterpart to Morby’s acclaimed 2016 release Singing Saw, an autobiographical set that reflected the solitude and landscape in which it was recorded. Saw was imagined as “an old bookshelf with a young Bob and Joni staring back at me, blank and timeless. They live here, in this left side of my brain, smoking cigarettes and playing acoustic guitars while lying on an unmade bed.”

And now follows City Music, the yang to its yin, the heads to its tails. It is a collection crafted using the other side of its creator’s brain, the jumping off point perhaps best once again encapsulated by an image. “Here, Lou Reed and Patti Smith stare out at the listener,” explains Morby. “Stretched out on a living room floor they are somewhere in mid-70s Manhattan, also smoking cigarettes.” It finds Morby exploring similar themes of solitude, but this time framed by a window of an uptown apartment that looks down upon an international urban landscape “exposed like a giant bleeding wound.”

SHANNON LAY

“The first time I saw Shannon my heart was broken into a million pieces. I had known her from her wonderful punk band Feels as the lead guitarist who shouted back up, but I wasn’t sure what to expect from her performing solo. But there she was – at a small bar in Los Angeles to maybe 15 people watching while she sat in a chair with an electric guitar on her knee, orange hair covering her face and a picture of Bart Simpson projected behind her. She began her set and my heart stopped the moment her voice leaped into the air – and I did what I do in those rare situations – I recorded it. I pulled out my phone, opened up the voice memos and recorded her whole set (the last time I had done this was three years earlier while watching Kris Kristofferson and Harry Dean Stanton do duets set at Cinefamily). After her performance I was in complete awe and wasn’t sure how to approach her to convey how much I loved it. Suddenly Shannon, an acquaintance from around town, had exposed her super power and I felt instantly star struck in her presence. “I recorded your set so I could listen to it again” I told her, and then to my surprise I found myself saying “let me put out your record” and after convincing Jeremy at Woodsist to do a collaborative release with me, here it is.

Living Water is an instant classic. Recorded by Emmet Kelly (Cairo Gang, Bonnie Prince Billy, Ty Segall) in his Los Angeles home studio, this is an album where you can hear the room reacting to the music taking shape around it. Shannon has a voice that transcends time and space. You can’t tell if she’s old or new, if she’s sitting next to you, on a mountain top, or down in some canyon. Already her second LP to be released in 2017, Shannon is a prolific songwriter, one who lives and breaths melody and with guitar skills to boot. Despite it’s 14 tracks, Living Water comes in well under 40 minutes, but like Pink Moon or Just Another Diamond Day before it, this is music so potent it exists outside the realms of time – but in a world specific only to itself and the new feelings it creates.

Shannon has been dominating the local scene in Los Angeles over the past two years, leaving everyone who witnesses completely breathless. Having just finished a tour with Ty Segall, Shannon is set to support Kevin Morby on a national tour this fall.”

-Kevin Morby, Birmingham, Alabama, June 8th 2017

Kevin Morby / Shannon Lay

22 Aug 2018

+ special guests

Hackney Arts Centre

17 Stoke Newington Rd
London
N16 8BH

7.00pm

£16

UNKNOWN MORTAL ORCHESTRA

Unknown Mortal Orchestra, the mastermind of the New Zealand-born, Portland, Oregon-based musician Ruban Nielson, today also announces a live show at London’s Royal Albert Hall on 21st November 2018. The London show at The Roundhouse on 24th May 2018 is now sold out, two months upfront of the date.

The follow-up to Unknown Mortal Orchestra’s critically acclaimed record Multi-Love, Sex & Food sees Nielson tap into both familiar and unexpected territory. The delightfully shape-shifting album filters real-deal serious themes such as "What are we consuming? How is it affecting us, and why does everything feel so bad and weird sometimes?” through a vibrant sonic lens that spans battered drum-machine funk, doomy and thrashing rock and pink-hued psychedelic disco. It’s not a dark record, per se. Even the album’s title, Sex & Food, focuses on two of the most undeniably pleasurable experiences in life; positivity despite the strangeness of our times.

Unknown Mortal Orchestra

21 Nov 2018

+ special guests

Royal Albert Hall

Kensington Gore
London
SW7 2AP

7.30pm

Various

JULIEN BAKER

Julien Baker’s solo debut, Sprained Ankle, was one of the most widely acclaimed works of 2015. The album, recorded by an 18-year-old and her friend in only a few days, was a bleak yet hopeful, intimate document of staggering experiences and grace, centered entirely around Baker’s voice, guitar, and unblinking honesty. Sprained Ankle appeared on year-end lists everywhere from NPR Music to The AV Club to New York Magazine’s Vulture.

With Turn Out The Lights, the now 21-year-old Baker returns to a much bigger stage, but with the same core of breathtaking vulnerability and resilience. From its opening moments —when herchiming, evocative melody is accompanied by swells of strings —Turn Out The Lights throws open the doors to the world without sacrificing the intimacy that has become a hallmark of her songs. The album explores how people live and come to terms with their internal conflict, and the alternately shattering and redemptive ways these struggles playout in relationships. Baker casts an unflinching and accepting eye on the duality of –and contradictions in –the human experience, at times evenfinding humor and joy in the midst of suffering. She ultimately calls on herlisteners to move beyond “good” and “bad,” or “happy” and “sad,” to embrace more complex truths.

The album was recorded at the legendary Ardent Studios in her hometown of Memphis, TN, and mixed by Craig Silvey (The National, Florence & the Machine, Arcade Fire). This evolution fromSprained Ankle’sintentionally spareproduction allowed greater scope and freedom for Baker,who is still the album’s sole writer and producer. Strings and woodwinds now shade the corners of her compositions, and Baker takes topiano rather than guitar on several tracks. In songs like the epic “Claws In Your Back,” these new textures push Baker’s work to cinematic heights of intensity.

Julien Baker returns to London with a headline show at O2 Shepherds Bush Empire, 29 September.

BECCA MANCARI

Born in Staten Island, New York, to an Italian-Irish preacher and a Puerto Rican mother, Mancari has lived a life of transition - from working as a janitor in South Florida, to writing songs with train hoppers in the Blue Ridge Mountains and seeking spirituality in India. But it was her time in Virginia and Nashville where she found the roots music that would continue to inspire her musical evolution to today.

Her anticipated debut album, "Good Woman," is hauntingly lonesome, with dust-cloud swells of electric guitar and don't-look- back lyrics revealing scenes from Mancari’s well-travelled story. She recalls, “I remember being 19, and I would go to this old warehouse where a bunch of old timers would be siting around picking and drinking moonshine…and we are talking straight up moonshine. "During this time, Mancari's curiosity to see the world with eager, fresh eyes grew, drawing her to travel and experience all types of people and places. Her travels would inevitably impact her music; since her music is the landscape of all she's seen, “Good Woman” evokes the sound of city grit and the mountain music of her youth, swirling into a fresh, nostalgic sound.