UPCOMING SHOWS





 Ólafur Arnalds
Lisa Morgenstern
Leeds Town Hall
Wednesday 20th March, 6.30pm


A special Hey! Leeds, Brudenell & PPY presentation.

We're very pleased to be working with Icelandic composer, multi-instrumentalist and producer Ólafur Arnalds as he comes to play a rare show in the grand surroundings of Leeds Town Hall.

Website / Watch / Watch / Watch

re:member does curious things. The fourth ‘official’ solo album by Ólafur Arnalds takes the listener through varied moods and feelings, through different musical landscapes. You can hear every facet of his work – the composition, the soundtracks, the pop – bursting through, flowering. When the track unfold opens with what sounds like a stream skittering across rocks, it seems apt, because re:member keeps on moving, never tiring or letting the listener get tired. re:member is an album you can’t forget, because every time you hear it something new and wholly unexpected emerges.

“This is my breaking out-of-a-shell album,” Arnalds says. “This is me taking the raw influences that I have from all these different musical genres and not filtering them. I always have my hands in many different projects at once, and I feel that this album represents that.”

The album is new departure because when Arnalds last finished touring, he decided he was not going to play live as a solo artist until he had something completely new to perform. He was inspired in part by his experiences playing shows with Kiasmos, his experimental techno duo, with Janus Rasmussen. “To experience the sheer unfiltered joy of being on stage, seeing crowd smiling and dancing and jumping – that’s the feeling I wanted to bring to my music.”

Yet part of the reason for the eventual sound of re:member stemmed not from Arnalds’ mental drive, but physical exigency. At the heart of the album are Arnalds’ self-devised Stratus Pianos – two self-playing, semi-generative player pianos, triggered by a central piano which he plays – an invention born of necessity rather than experimentation. “I got into a little accident and I had nerve damage in my hand,” he says. “I couldn’t play the piano for a year, and I wasn’t sure if I would ever be able to play again. It was completely petrifying.” Years before, he had supported Ryuichi Sakamoto on tour and seen the great Japanese musician use self-playing pianos, and he mentioned to a friend that Sakamoto’s set-up was what he needed. “It started as a joke, but I went home and started thinking: maybe there’s something here – not a crutch, but a creative tool. The spark of the idea came from me not being able to play, but it developed into something completely different.”

With his friend Halldór Eldjárn, Arnalds set about developing the Stratus system: software that sends instructions to two pianos, “and the two become one and play together”. Arnalds sets the values that the software feeds to the pianos – the rhythm, the tempo – and those are triggered by chords or notes he plays.

What happened when Arnalds started making music using Stratus was a little unexpected. It summoned its own mood and quickly became the focal point of his new compositions.

Arnalds’ album evolved under the influence of a number of collaborators – friends from different areas of music that came by his studio in Reykjavík and left a lasting mark on the album. One of them was hip-hop producer BNGERBOY, who’s innovative sound caught Arnalds’ ear and influenced the direction of the album – “The track brot, which is orchestral, began with his beat. I started writing chords on top of it. But I ended up removing the beat left only the orchestra. That track would never have existed without him, even though he’s not on it. But some of his sounds can be heard in other parts of the album.”

That’s fitting, because the title of the album – and its lead single–refers in a way to the act of creation. “re:member is about becoming a member of yourself again which I feel my journey for this album was, very much so. I was discovering all these different sides of myself, my creativity, my taste and interests.” Nothing he does is discrete or partitioned off – be it soundtracks like his BAFTA-winning score for Broadchurch, reinterpretations of classical music such as The Chopin Project with

Alice Sara Ott, collaborations such as Island Songs, in which he travelled around to seven different Icelandic locations, collaborating with different artists, including Nanna Bryndís from Of Monsters and Men, to make a song and video from each place. Instead, everything is part of a greater whole. Arnalds says of his career: “I believe it is all the same piece of music. I never really start from scratch; I am always building on what I did before.”

The title track re:member embodies both that idea of Arnalds’ music being a continuum, and his desire to strike out for new terrain. It was hard work for him: though he built it around the Stratus, it still took three weeks of solid work before he had even the basic structure. “It became very personal to me,” he says. “It starts with just one piano, which sounds a little bit like the music I had been making before, then it introduces one by one new elements and leaves the old behind. It takes us through the journey I was going through creatively, wanting to leave the past behind and see where else I can go.”


Tickets for this show are £30 in advance.
 
You can get tickets in person from Jumbo Records and Crash Records in Leeds or online from here.

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Kristin Hersh
(Electric Trio)
w/ Rob Ahlers (50 Foot Wave)
+ Fred Abong (Throwing Muses)

Left Bank, Leeds
Thursday 21st March, 7.30pm

St. Philips Church, Salford
Friday 22nd March, 7.30pm

Kristin Hersh will be touring the UK in Spring 2019 with Rob Ahlers (50 Foot Wave) on drums and Fred Abong (Throwing Muses, Belly) on bass.

“Sometimes the most subversive thing I can do musically is adhere to standard song structure, sometimes the creepiest chords are the ones we’ve heard before, twisted into different shapes, and sometimes a story is lived a thousand times before we can ride it like a roller coaster. Nothing wholly unfamiliar is gonna make you look twice. When you can describe a record as being “deceptively” anything, you’re hinting at the sociopathic nature of music. Something I love. Imagine truly buying your own sunshine and charm, but also your darkness and violence; the two sides of your psychology showing each other off in relief. Songs can do that...we can’t, really. Darkness we’ve seen. Dark sunshine? Still cool.

I usually play all the instruments on my solo records - essentially the sound of having no friends - but sociopaths can’t realize their potential without people to work out their grievances on and this record is a freakin’ sociopath. So I invited my friends to the party I wanted to hear. Not a live record but an alive record.

Because a lot of live records don’t sound live, just poorly recorded. And self-conscious musicians can’t let fly. I wanted to recreate the impact of a show. Unpretentious, with a muscular song body running through the room. This entailed seriously messing with both extremes of the sonic spectrum: the fundamentals (basics, rhythm section, roots) but also with the detail (percussion, high end, effects). These two strata asked to sound eccentric: atonal and arhythmic. So when the song body runs through the room, it’s not wholly unfamiliar, just dressed oddly enough to make you look twice. Dark sunshine, still cool. Hopefully, anyway.

My friends helped me make a nice party noise, a goofy sociopath. Everyone who stopped by the studio was asked to make some noise and they pretty much did. A party that lasted for a few years, it’s only now dying down. A friend called this morning asking when the bus was leaving. A rickety, squealy, squeaky bus...none of us want to miss it.”

Kristin Hersh, July 2018

Watch / Listen / Listen


Throwing Muses’ lynchpin, Kristin Hersh’s prolific career has seen her heralded queen of the alternative release. Her tenth studio album, ‘Possible Dust Clouds’ is a highly personalised sociopathic gem delivered as a futuristic rewriting of how music works, a melodious breeze with a tail wind of venomous din.

Enveloping the juxtaposition of the concept of ‘dark sunshine’, a brooding solo record created with friends to expand her off-kilter sonic vision; a squally, squeaky mix of discordant beauty.

Feedback and phasing gyrate from simply strummed normality, imagine Dinosaur Jr and My Bloody Valentine cranking up a Dylan couplet.

‘Possible Dust Clouds’ is a glorious return to form for one of alternative rock’s true innovators.

‘She's still as powerful a presence as she ever was.’
Pitchfork

‘The prodigious output and commitment to quality is pretty staggering, but then Kristin Hersh is a very, very special musician.’
The Quietus

‘Throwing Muses became a byword for college-rock feminism in the late 80s, largely because of Hersh’s uncompromising impressionist poetry of emotional anguish, subjugated womanhood and mental illness.’
The Guardian


Tickets for these shows are £20 in advance.
 
You can get tickets for Manchester here and for Leeds here.

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The Wave Pictures
Cowgirl
The Crescent, York
Saturday 23rd February

The Wave Pictures return with the promised second album of the year, Look Inside Your Heart - a warm, joyous record celebrating friendship, happiness and drunken party times.

They shared the video for first single from the album, “Roosevelt Sykes”, via Dork. The video was directed by Fraser Watson and features the band walking in the park where they encounter some people dancing. Dave Tattersall describes the song as; “Lyrically, a tribute to Roosevelt Sykes, a giant of piano blues, to all firemen, to my friend Giles, to John Fahey and to my dreams and to all dreams. Musically, an African pop party in the vein of Zimbabwe’s The Four Brothers and The Bhundu Boys but done with absolutely no puritanical slavery at any kind of authenticity or even accuracy.”

Like the first album they released this year, the more contemplative Brushes With Happiness, Look Inside Your Heart was recorded late at night whilst inebriated back at the tiny Booze Cube Studio in Stoke Newington, live to reel-to-reel tape with no computers of any kind. The album is peppered with giggles and chatter, which adds a sense of spontaneity and place.

As singer and guitarist Dave Tattersall explains: ”Look Inside Your Heart is intended as a rallying cry in the war against the machines; while a computer may have beaten world-champion human being Lee Sedol at Go, a machine could never have made music as joyful, spontaneous, happy, poetic, broken and rambunctious as this. Look Inside Your Heart is a bullet in the face of all pop-poseurs and robot wannabes, a die-hard continuation of the vulnerable rebel tradition of rock and roll music, a vibrant work of outsider art and a masterpiece of electric folk.”

Twenty years after forming in Wymeswold, Leicestershire as teenagers, The Wave Pictures have gone on to be one of the UK’s most prolific and beloved bands. Fond of classic rock, jazz and blues, they are also one of the most accomplished, with Tattersall’s guitar solos becoming the stuff of legend. They have collaborated with varying bright stars of the musical firmament, such as last year’s rock’n’roll surf-garage-rock project with Charles Watson from Slow Club, as new band The Surfing Magazines, or their ongoing partnership with ex-Herman Dune member Stanley Brinks, or the very close partnership with Billy Childish for 2015’s Great Big Flamingo Burning Moon.

They first experimented with recording an album all in one go, straight to tape with 2016’s acoustic A Season In Hull. They took the concept further with Brushes With Happiness, making sure that it was a magical album that was completely improvised, with no songs written in advance echoing the jazz and blues recordings that they admire.

The beloved trio of Jonny Helm (drums), Dave Tattersall (guitar & vocals) and Franic Rozycki (bass), further demonstrate their tight bond, weaving effortless melodies with mind bending sonic and emotional force. Look Inside Your Heart is poignant, witty, wise and wonderful.

Praise for Brushes With Happiness:

‘Dreamlike, bluesy and unique.’
The Guardian

‘A hushed, spectral delight.’
Uncut Magazine

‘As his Tom Verlaine guitar tones drip forth like liquid gold, you can't help falling ever deeper beneath this record's spell.’
Mojo Magazine


Tickets for this show are £12.50 in advance.
 
You can get tickets in person from the venue and Earworm Records in York, Jumbo Records in Leeds or online from here.

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 Michael Chapman & Band
Feat. BJ Cole, Bridget St. John + Sarah Smout
The Crescent, York
Saturday 30th March, 7.30pm

The way Michael Chapman sees it "the songs are the songs," and those on his new album True North, fit a kind of mold that's comfortable -- and even a bit surprising -- for the venerable British singer, songwriter and guitarist. "I got lucky this time," the 78-year-old Chapman says. "Sometimes I write songs that can only be done with a band. Sometimes I write songs so loose they could only be done solo. I got lucky because most of the songs on this album I could do either way."

And Chapman is so happy with the results -- produced by Steve Gunn, who worked with him on last year's acclaimed 50, and recorded in rural Wales with a band that includes a cellist and pedal steel player -- that for the first time ever he'll be playing an album in its entirety on tour next spring.


Tickets for this show are £13 in advance.
 
You can get tickets in person from the venue and Earworm Records in York, Jumbo Records in Leeds or online from here.

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King Creosote
Stained Glass Centre, York
Thursday 4th April, 7.30pm


We're delighted to be hosting a very intimate solo show with King Creosote in the beautiful Stained Glass Centre in York.

Tickets are £20, extremely limited and only available from here


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The Howl & The Hum

HYYTS
The Crescent, York
Friday 5th April, 7.30pm


The Howl & The Hum are a miserable disco who write Bond themes for films where Jimmy is still hung up on that girl. They combine dark hypnotic pop with post-punk influences, pierced with lyrics that make you call your mum the next morning.

Following acclaimed sets at Neighbourhood Festival and Loopallu and a debut tour of the Scottish Highlands in 2017, the York-based 4-piece embarked on their first headline tour in England in early 2018 to coincide with the release of single ‘Portrait I’. Following this the band have released a series of new songs leading up to their first festival season featuring appearances at Latitude, Citadel, The Great Escape, Live at Leeds, Standon Calling and the BBC Biggest Weekend.


Website / Watch / Watch / Watch
 

'expansive indie songwriting that nods towards Massive Attack or Portishead.'
Clash Magazine

'Their debut EP, Godmanchester Chinese Bridge is just the right amounts of accessible yet still unerringly cool and ’emotional’.'
Crack In The Road

'The Howl And The Hum are a seriously great band, from whom you will be hearing a great deal more in the coming months.'
Tom Robinson, BBC 6 Music


 Tickets for this show are £8 in advance.
 
You can get tickets in person from the venue and Earworm Records in York, Jumbo Records in Leeds or online from here.

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Sam Kelly & Ruth Notman
Sarah Loughran & Paul Young + Tilly Moses
The Crescent, York
Sunday 7th April 7.30pm


Two of the finest singers to come out of the UK folk scene in the last 15 years have joined forces to record a brand new duo album. Recorded at Kate Rusby’s legendary Pure Records studio and produced by musical maestro Damien O’Kane, the album contains a dynamic mixture of revamped traditional material and brand new original songs, and promises to be one of the most exciting records of 2019.
 

Ruth Notman is a singer and multi-instrumentalist from South Yorkshire. Her first album, Threads, was released in 2007  and sent shockwaves through the UK folk scene and beyond, selling over 10,000 copies and garnering the kind of media attention seldom reaped by folk artists. The album was listed as The Independent’s album of the week, and received  lofty praise in The Guardian, MoJo and many more. Her incredible voice inspired a generation of young folk singers and  won her many high profile fans, including Kate Rusby and Nic Jones. This album breaks a hiatus from music for the  multi-talented Notman while she studied to be a doctor, and will end an agonising wait for new music for her dedicated fanbase.

Sam Kelly, with his band The Lost Boys, has emerged as one of most sought-after names in the folk world. Headlining many UK festivals with his high-octane, rock-tinged reworking of traditional folk music, in only a few short years Kelly has cultivated a reputation as one of the best singers and arrangers of folk music of his generation. His debut album, The Lost Boys, came out to a storm of rave reviews in 2015 and won Kelly the prestigious Horizon Award at the 2016 BBC Radio 2 Folk Awards. The 2017 follow up, Pretty Peggy, cemented his reputation as one of the most rapidly rising stars in the folk scene and earned Sam Kelly & The Lost Boys a nomination for Best Group at the Folk Awards in 2018. This album brings the focus back to what first caught people’s attention about Kelly – his stunning voice.

The album Changeable Heart will be released in February 2019 and contains some of the most accomplished and unique vocal performances you are ever likely to hear, as Notman and Kelly’s voices weave in and out of each other, standing out and complimenting each other in equal parts. This album is sure to beguile music fans everywhere, as it vividly showcases two people who aren’t afraid to break taboo with arranging and reprising traditional music, and both artists display true technical mastery of their chosen instrument – the voice. 


Tickets for this show are £10 in advance.
 
You can get tickets in person from the venue and Earworm Records in York, Jumbo Records in Leeds or online from here.

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Steve Gunn
(band)

Papercuts
Brudenell Social Club, Leeds 
Sunday 7th April, 7.30pm

Deaf Institute, Manchester
Monday 8th April, 7.30pm

Returning with with a brand new album for Matador, one of our faves, trippy-folk-rock and experimental guitarist Steve Gunn returns to two amazing venues with his band.


Website / Watch / Listen

For over a decade, guitarist/vocalist Steve Gunn has been one the American music’s most pivotal figures - conjuring immersive and psychedelic sonic landscapes both live and on record, releasing revered solo albums ranking high on in-the-know end of year lists, alongside exploratory collaborations with artists as diverse as Mike Cooper, Kurt Vile, and Michael Chapman (whose most recent studio album he produced).  Gunn is known for telling other people's stories, but on his breakthrough fourth album, The Unseen In Between, he explores his own emotional landscapes with his most complex, fully realized songs to date. The lyrics evoke voyages, tempests (actual and emotional), and a rich cast of characters met along the way -- the work of an artist finding a place of calm in the midst of a storm. Produced by frequent collaborator James Elkington and engineered by Daniel Schlett, the immaculately recorded Unseen forces a reassessment of Gunn’s standing in the pantheon of the era’s great songwriters.

Getting to The Unseen In Between itself was not easy for Gunn. In the summer of 2016, Gunn released Eyes On The Lines, his winning and elliptical debut for Matador. It should have been a triumphant moment, but exactly two weeks later, Gunn’s father and namesake died following a two-year struggle with cancer. During his sickness, he and his son had connected as never before, listening to one another’s experiences and understanding one another’s perspectives; they became not father and son but real friends.

This experience yielded the emotional centerpiece of the album. “Stonehurst Cowboy” is a duet for Gunn’s raw acoustic guitar and spare basslines by Bob Dylan's musical director Tony Garnier, whose featured throughout the album.  The song distills the lessons Gunn learned from his father and it is a solemn but tender remembrance, a tribute to his father’s reputation as a tough, wise, and witty guy from far west Philadelphia.

A sense of musical renewal and emotional complexity fits the new songs perfectly; “Luciano” seems to be about the chemistry between a bodega owner and his cat, an unspoken romance of gentle obedience and quiet gestures. But Gunn peers below the relationship’s surface and wonders about the owner's lonely future once the cat is gone, a devastating meditation wrapped in soft strings. And then there’s “Vagabond,” Gunn’s graceful attempt to humanize a rich cast of characters whose lives have gone astray, wanderers who live outside of society’s modern safety net, who pursue “a crooked dream” in spite of what the world expects. Supported by the perfect harmonies of Meg Baird, Gunn finds something lovely in the unloved.

Inspired by contemporary artist Walter De Maria’s Dia Art Foundation-affiliated installation of 400 stainless steel poles atop the high desert of New Mexico, “Lightning Field” considers what we get out of art when it doesn’t work, when lightning does not light up the night for visitors. Opener “New Moon" may begin in the mode of a deep track from Astral Weeks or Fred Neil, with its upright bass and sparse tremolo guitar. But during the song’s final minutes, strings double the melody, and then the guitar rushes headlong, pulling ahead in a wave of ecstatic deliverance. It is a brief but liberating solo, an instant release of tension from the fraught scene Gunn has built, complemented by one of his most arresting vocal performances.

In a final contrast, “Morning is Mended” is an acoustic beauty so resplendent it ranks alongside Sandy Denny or Jackson C. Frank. Buoyed by a melody that sparkles like sunlight on still water, Gunn acknowledges the hardships around him, the feeling of being a “nothing sky,” and then moves forward into the world, walking tall into the fresh morning.  The song is an apt encapsulation of The Unseen In Between, a gorgeously empathetic record that attempts to recognize the worries of the world and offer some timely assurance.  It is a revelatory and redemptive set, offering the balm of understanding at a time when that seems in very short supply.


Tickets for these shows are £12 in advance.
 
You can get tickets for Manchester here and for Leeds here.

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TVAM
The Crescent, York
Thursday 11th April, 7.30pm

Joe Oxley is the one-man electro / psych machine behind TVAM - producing arguably the biggest dance-floor action Wigan has seen since the legendary Casino closed its doors in the 1970’s . As 6Music’s Lauren Laverne observed “It’s like someone took Spiritualized to the club!!”

Heralding the arrival of a singular talent the self-produced and home-recorded debut album ‘Psychic Data’ contains ‘These Are Not Your Memories’ and ‘Narcissus’ (both of which enjoyed playlist support at BBC 6Music) alongside ‘Porsche Majeure’ , ‘Gas & Air’ and the title track.

Hypnotic tracks which straddle an impressive spectrum of influence; with Boards of Canada’s irresistible nostalgia, Suicide’s deconstructed rock ’n’ roll and My Bloody Valentine’s infinite noise all becoming touching points in Oxley’s musical output.

Mix duties were handed to Dean Honer (Moonlandingz, I Monster, Add (N) To X) - Oxley offers “It was great working with Dean. I’m a massive Add N To (X) fan and, after hearing what he was doing with Moonlandingz, I knew he’d know where I was coming from. Though having seen his collection of synths I now need to raise my game!”

Crafting a world which touches on our memories but toys with our fears, a world in which information seeps under your door and pools by your feet, a world in which he seeks to define everything from abandoned meanings to subconscious desires, Psychic Data invites us to experience the psychodrama first hand.

TVAM gigs blur the boundary between art and performance; via a large television sits on an 80’s secondary school-style podium, a VHS video recorder projects long-forgotten Mondo movies alongside vintage footage often sourced from hours spent poring through charity shop shelves – “What started as a passing interest became an obsession. I found so many seemingly random videos, each with its own individual meaning, now estranged from their owners. Did these people ever take up calisthenics? Did they install a model railway in their spare bedroom? Did they learn to communicate more effectively with their teenage children? Did they find something in those high-speed rally crash videos unseen by us today..? I love the process of chopping things up and splicing back together; creating new meaning out of thin air. Combining this with the music I was making, I knew the performance had to fit. Somewhere between Adam Curtis and BBC Schools… somewhere between ‘Threads' and ‘Words & Pictures’.”

TVAM has remixed Amber Arcades, The KVB, TOY, FEWS and Tunng (who are returning the favour, watch this space…)


Watch / Watch / Watch
 

Praise for ‘Psychic Data’:

‘It’s like someone took Spiritualized to the club!!’
Lauren Laverne , BBC 6Music

‘An industrialised pop record that throbs and pulses with an infectious, entrancing haze that’s instantly addictive … roaring great fun’
8/10  Loud & Quiet

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

‘Hazy psychodramatic atmosphere that brings to mind proto-electro punks Suicide, the swaying noise of MBV, and the brooding nostalgia of Boards Of Canada. Quite simply this is a superb debut album’
Piccadilly Records (#5 Album Of The Year)


 Tickets for this show are £8 in advance.

You can get tickets in person from the venue and Earworm Records in York, Jumbo Records in Leeds or online from here. 

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Terry Riley
& Gyan Riley
Riley Smith Hall, Leeds University Union
Friday 12th April, 7.30pm

 It’s possibly hard to do justice in words to the influence of Terry Riley on so much adventurous music that has emerged over the past half century. Take his legendary In C, a simple piece of musical genius that still resonates as loudly in impact today and perhaps achieving more widespread influence than ever currently since its first recorded appearance in 1968. Add in his sublime minimalist keyboard recordings such as Shri Camel and A Rainbow In Curved Air, his early tape work, his collaborations with Pandit Pran Nath, John Cale, La Monte Young.

Terry will perform in a duo with his son Gyan, who has a growing discography of his own that includes releases on labels such as John Zorn’s Tzadik and has worked with Zakir Hussian, Dawn Upshaw and many others.

Tickets for this show are £25 in advance.
 
You can get tickets in person from Jumbo Records in Leeds or online from here.

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Holy Moly & The Crackers
Band On The Wall, Manchester
Saturday 13th April, 7pm

We're dead chuffed to be helping our Geordie buddies on their biggest ever Manchester show in 2019. Tickets on sale now!

Watch / Watch / Watch

Newcastle’s Holy Moly & The Crackers are one of the country’s hardest working bands.

You might call that a cliche, but how many others can you name that have covered the thousands of miles and played the amount of shows that HM&TC have, in just two years? Oh, and they’ve managed to write, record and release a critically-acclaimed album and start their own record label in that time too.

Lead singers Conrad Bird and Ruth Patterson met when they were teenagers in 2008 and Ruth was in the midst of adapting to a diagnosis of chronic arthritis. Ruth, at one stage cited for an orchestral career on the violin, had not played for two years. But, encouraged by their mutual passion for music, she battled through the new limitations to relearn her instrument and discovered a love and skill for singing.

Not long after the couple met costume designer and accordion player Rosie Bristow they started to perform Irish, American and Balkan folk songs together at open mics and dive bars. They were cutting their teeth, learning the ropes.

By 2015 the trio had moved to Newcastle and met jazz/funk bass player, Jamie Shields, and Tommy Evans - who would give Keith Moon a run for his money - on drums. The gang began to blend their love of the folk tradition with a contemporary rock sound, influenced by a wide range of artists - from Cold War Kids to Gogol Bordello and Jack White.

Since then the bombastic folk rockers have been on what seems like a never-ending tour,; playing over 300 shows, 60 festivals (including Glastonbury, Secret Garden Party, Wilderness, Boomtown and Bestival) and tearing through trips around Italy, the Netherlands, France, Portugal and Germany. Wowing their raucous and ever-expanding fan-base with instrument-swapping, squeezebox-growling, fiddle-shredding, brass-howling hoe-downs, the group have been able to hone a sound that is organic and invigorating - forged in the sweat and heat of the live show.

In 2017 Holy Moly & The Crackers stepped up a gear. They signed a deal with Wipe Out Music Publishing and, working with producer Matt Terry at the legendary rock studio VADA, recorded and released Salem - a record that’s been described as “a new kind of sonic madness” by music magazine and long time supporters, Narc.

The album has taken them to new heights, and has seen the band’s idiosyncratic blend of folk and contemporary rock playlisted across Spotify, clocking up close to a million streams in the process*, as well as receiving rotation on BBC Radio and RadioX. The album’s hooky rabble-rousing lead single ‘Cold Comfort Lane’ has been featured internationally on adverts and TV shows, including E4’s ‘Tattoo Artist Of The Year’.

Now it is 2018. 22-year-old Nick Tyler has joined on guitar. Classically trained but influenced by psychedelic and DIY punk in equal measure, he is the final piece of the multifarious puzzle that is Holy Moly & The Crackers - the final Cracker, as it were.

This year HM&TC will release two stand-alone singles, recorded by Matt Terry and mixed by Dan Austin (Pixies), and back the songs up with with major international festival appearances, including a main-stage appearance at Beautiful Days and Colours Of Ostravia in the Czech Republic, before embarking on their biggest UK headline tour to date in November.

They will also head back into the studio to record their next album and continue their relationship with Matt and Dan, both of whom use dynamic formulas combining tight, pop sensibility with the naturalism of garage rock and folk/roots.

The last two years have been a whirlwind and you might think that it’s time to take a breather. But HM&TC are not that kind of band. The road is their home and they’ve got their foot to the floor.

Press

“One of Newcastle’s finest bands have upped the game on their new album”
The Crack

“This is one of the most original sounding albums doing the rounds at the moment”
God Is In The TV Zine

“A cauldron of swirling dark rock potions”
R2 Magazine

“Turn it on and turn it up. This one’s a rager”
No Depression (USA)


Tickets for this show are £10 in advance.
 
You can get tickets online from here. The price includes a 50p venue restoration levy.

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Otoboke Beaver - おとぼけビ~バ~
Golden Week 2019
Say Sue Me 세이수미 + Drinking Boys And Girls Choir 드링킹소년소녀합창단

Deaf Institute, Manchester
Monday 29th April 7pm, £15adv

Brudenell Social Club, Leeds
Friday 3rd May, 7pm, £15adv


GOLDEN WEEK 2019

Otoboke Beaver (Kyoto, Japan)

Otoboke Beaver おとぼけビ~バ~ are a punk-rock-garage quartet from Kyoto, Japan. The band’s name is taken from a local ‘Love Hotel’ and they describe themselves as: “Japanese girls ‘knock out or pound cake’ band”. Formed in 2009’s summer at Kyoto University’s music club, the band consists of Accorinrin (Lead Vocal & Guitar), Yoyoyoshie (Guitar & Vocals), Hiro-chan (Bass & Vocals) and Pop (Drums & Vocals).

2017 was a breakthrough year for the band with features in Pitchfork, NPR, i-D and The Fader, acclaimed SXSW & Fuji Rock Festival debuts, a sold-out 100 Club show, and their ‘Love Is Short’ 7” sat in the UK charts for 4 weeks. 2018 saw them travel over 24,000 miles in a week on their ‘ATTYUUMA’ tour which included 3 UK dates bookmarked by Coachella slots where they and X Japan were the only Japanese acts on the bill.  The Cribs describe them as “Punk-as-Fuck” and many view the band as one of the great live acts.

Press

‘… sheer calamity and deliriously fun ― supercharged, sugar-rush hardcore with breathless vocals, pogo-ing rhythms, and torrential DayGlo riffs… the fire of “Love Is Short” recalls a lineage of patriarchy-scorching girl-gang shrieks, from the Slits’ “Shoplifting” to Bikini Kill’s “Liar” and beyond.’
Pitchfork

‘Their Riot Grrrl attitudes and passion for noise-rock make them stand out as true renegades in the underground scene.’
i-D

‘The Kyoto-based Otoboke Beaver takes in the history of Japanese punk and runs with scissors in hand towards the bonkers-noise of early Boredoms, Afrirampo’s uninhibited avant-punk, and the revved-up garage-rock of Shonen Knife...Punk is rarely this charmingly vicious.’
NPR Music

Website / Watch / Watch / Watch

Say Sue Me (Busan, Korea)

Jaeyoung Ha (Bass) and Byungkyu Kim (guitar) have been friends since 5th grade. They met drummer Semin Kang and played in bands together since winter of 2012. On meeting Sumi Choi, they immediately offered her a spot as the vocalist in a new band that would become Say Sue Me. Sumi turned out to be a natural at song writing. Semin sadly suffered trauma from a fall during the making of their second album. New drummer Changwon Kim stands in while they await Semin’s recovery.

Following well-anticipated showcases at SXSW in 2018, they released sophomore album ‘Where We Were Together’ and a Record Store Day special covers EP ‘It’s Just A Short Walk!’ and the "Just Joking Around" single and Christmas EP with 2 European tours. Their blend of indie rock, dream pop and surf has been widely met with critical acclaim from the likes of Pitchfork, The Fader, Stereogum, NPR, Lauren Laverne, Gideon Coe and Tom Ravenscroft on BBC6Music, KEXP, i-D, Dazed, ELLE and many more.

Press:

‘…jangly indie-pop, handclap-rich girl-group classics and the lightly rumbling sounds of early surf-rock. At once stylish and timeless…’
NPR

‘…jangle-pop hooks, stunning vocal melodies, and intricate guitarwork that stands up proudly against some of their influences like Yo La Tengo and Pavement…’
KEXP

Website / Watch / Watch

Drinking Boys and Girls Choir (Daegu, Korea)

DBGC are a skate-punk trio from Daegu City, Korea. Formed in 2013 when two drummers MJ and Meena shared a rehearsal space, and decided to form a band. Meena switched to Bass and guitarist Bondu (who had just finished his military service) answered their ad. They bonded over a shared love of drinking, skating and punk.

Inspired by Sum41, NOFX and Daegu's 90s-00s hardcore punk/indie-rock scene before it moved to Seoul, the band are very passionate about not moving to the capital and nurturing a sustainable local scene. Each member writes and sings so there is a lot going on, stylistically it jumps from Pop-Punk, to melodic Hardcore, to more drawn out indie-rock. DBGC release their 18 track debut album “Keep Drinking!!” in January on Damnably and Electric Muse and have been announced for SXSW2019.

Website / Watch
 

 Tickets for these shows are £15 in advance.
 
You can get tickets for Manchester here and for Leeds here.

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 Honeyblood
The Crescent, York
 Friday 3rd May, 7.30pm

 Honeyblood’s third album sees Stina Tweeddale finding her most ambitious form and steely focus yet. Three albums in she has stepped forward to finally claim the mantle of the project she birthed seven years ago as a her sole vision. Stina takes the reigns in collaboration with none-other than super-producer John Congleton (Angel Olsen, St Vincent) for the most definitive Honeyblood LP to date, consolidating the Glasgow-born band as one of the most important UK names.

On lead single, ‘The Third Degree’ (out today) Stina’s arguably perfected the fine art of the punk-rock ode-to-the-shit-head-ex. But ‘In Plain Sight’ is as sonically gung-ho as peak era Garbage, or the modern day likes of St Vincent; big, bold, songwriting no longer content to be tied to one limited genre. Woven with mysterious themes of illusion and deception, Tweeddale describes the album as “one big trick”. Being hoodwinked never felt so exciting.

Following work with fellow Scots Young Fathers, Edinburgh-based director Rianne White collaborated with Stina to bring the vision of ‘The Third Degree’ to life - the brilliant video charts an encounter with the shit-head-ex in Stina’s native Glasgow and is peppered with vignettes inspired by the album’s theme of optical illusions. It’s out now and you can watch or listen here.

‘In Plain Sight; is out on 24th May 2019 via Marathon Artists and is available to pre-order now as download, CD and LP via www.honeyblood.co.uk


Website / Watch / Listen

Tickets for this show are £12.50 in advance.
 
You can get tickets in person from the venue and Earworm Records in York, Jumbo Records in Leeds or online from here.

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Pip Blom
The Crescent, York
Sunday 6th May, 7.30pm


"22-year-old Amsterdam-based Pip Blom started writing, recording and releasing her own indie-pop tunes with a twist in 2016. Early songs, which were simply uploaded to the internet, quickly amassed thousands and thousands of plays - prompting Pip to recruit a band and start playing them live. In stepped brother Tender Blom on backing vocals and guitar, Darek Mercks on bass and Gini Cameron on drums, with Pip herself fronting on guitar on vocals. Since, the band have played more than a hundred gigs, rising from small pubs to the european festival circuit with performances at Eurosonic Noorderslag and The Great Escape - as well as being asked by the likes of Surfer Blood, Franz Ferdinand and The Breeders to join them on their various European tours.

The band’s energetic live show quickly pricked the ears of press and radio - with Vice’s music channel hailing Pip as ‘ready to join the ranks of 2018’s rising guitar acts', and BBC 6 Music A-listing recent singles ‘I Think I’m In Love’ and ‘Pussycat’. The station’s DJs Marc Riley hailed the former as ‘perfect pop’ with Gideon Coe branding it ‘excellent’ and, elsewhere, on the UK’s most popular music station BBC Radio One, Pip Blom performed a live session at Maida Vale for Huw Stephens. Not bad going for someone whose early ambitions were to write a few songs and upload them to the internet in case people wanted to hear them."

Something special happened to Pip Blom at the tail end of last year. It was a busy twelve months that saw the release of her frenetic EP ‘Paycheck’, two A-Listed singles at 6 Music and support slots to the likes of The Breeders, Franz Ferdinand and Garbage. Capping that off, though, moments before stepping onstage at a sold out Lexington – the London stop-off on her debut UK headline tour – the band put pen to paper and signed to Heavenly Recordings.


Website / Watch / Listen

Tickets for this show are £9 in advance.
 
You can get tickets in person from the venue and Earworm Records in York, Jumbo Records in Leeds or online from here.

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Robyn Hitchcock
Jessica Morgan
The Crescent, York
Wednesday 8th May, 7.30pm

Robyn Hitchcock is one of England’s most enduring contemporary singer/songwriters and live performers. A surrealist poet, talented guitarist, cult artist and musician’s musician, Hitchcock is among alternative rock’s father figures and is the closest thing the genre has to a Bob Dylan (not coincidentally his biggest musical inspiration).

Website / Watch / Watch

Since founding the art-rock band The Soft Boys in 1976, Robyn has recorded more than 20 albums as well as starred in ‘Storefront Hitchcock’ an in concert film recorded in New York and directed by Jonathan Demme.

Blending folk and psychedelia with a wry British nihilism, Robyn describes his songs as ‘paintings you can listen to’. His most recent album is self-titled and marks his 21st release as a solo artist. Out on April 21 2017, the album is produced by Brendan Benson (The Raconteurs). Hitchcock describes it as a “ecstatic work of negativity with nary a dreary groove.”

It has received rave reviews from UNCUT, Rolling Stone, Paste, Tidal and more.

‘A gifted melodist, Hitchcock nests engaging lyrics in some of the most bracing, rainbow-hued pop this side of Revolver. He wrests inspiration not from ordinary life but from extraordinary imaginings…’
Rolling Stone

‘These 10 gems slither, rock, roll, glide and shapeshift, coalescing around Hitchcock’s typically anxious, strained but striking and immediately identifiable vocals.’
American Songwriter
‘Beloved of everyone from Led Zeppelin to REM, Hitchcock has only enhanced his status with this wonderful outing.’
Hot Press
‘Witty, moving and seriously catchy, Robyn Hitchcock is a glorious return for a man who wasn’t really gone in the first place.’
Paste Magazine


Tickets for this show are £15 in advance.
 
You can get tickets in person from the venue and Earworm Records in York, Jumbo Records in Leeds or online from here.

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Kaia Kater
Crispin Halcrow
The Crescent, York
Sunday 12th May, 7.30pm


A Montreal-born Grenadian-Canadian, Kaia Kater grew up between two worlds: one her family’s deep ties to folk music; the other the years she spent soaking up Appalachian music in West Virginia. Her old-time banjo-picking skills, deft arrangements, and songwriting abilities have landed her in the spotlight in North America and the UK, garnering critical acclaim from outlets such as NPR, CBC Radio, Rolling Stone, BBC Music, and No Depression.
 

Website / Watch / Watch

Kaia started her career early, crafting her first EP Old Soul (2013) when she was just out of high school. Since then, she’s gone on to release two more albums, Sorrow Bound (2015) and Nine Pin (2016). Her most recent album weaves between hard-hitting songs that touch on social issues like the Black Lives Matter movement (“Rising Down,” “Paradise Fell”) and more personal narratives speaking to life and love in the digital age (“Saint Elizabeth”). Nine Pin won a Canadian Folk Music Award, a Stingray Rising Star Award and sent Kaia on an 18-month touring journey from Ireland to Iowa, including stops at The Kennedy Center, Hillside Festival and London's O2 Shepherd's Bush. Kaia is currently working on her next album, due for release in October 2018.

Press:


‘…plaintive, mesmerizing...writes and performs with the skill of a folk-circuit veteran…’
Rolling Stone

‘Where bluegrass meets Nina Simone’
The Guardian

‘You want some authenticity in your folk music or bluegrass – I give you Kaia Kater.’
No Depression

‘…a minor classic forged from both modern and traditional folk-roots, upgrading the sounds and narratives of rural Appalachia into something vital and fresh.’
9/10 - Uncut Magazine
 

Tickets for this show are £12 in advance.

You can get tickets in person from the venue and Earworm Records in York, Jumbo Records in Leeds or online from here.

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Hayes Carll
Deaf Institute, Manchester
Wednesday 15th May, 7.30pm


We're working with Hey! Manchester again to bring one of our very favourite American roots-y singers back to Manchester in May. Hayes is a real star and is back with a host of new songs from his sixth record due in Feb, 'What It Is'.


Website / Watch / Listen / Watch

What It Is

The chorus to the title track on the new Hayes Carll album, What It Is, is a manifesto.

What it was is gone forever / What it could be God only knows.
What it is is right here in front of me / and I’m not letting go.

He’s embracing the moment. Leaving the past where it belongs, accepting there’s no way to know what’s ahead, and challenging himself to be present in both love and life. It’s heady stuff. It also rocks.

With a career full of critical acclaim and popular success, Carll could’ve played it safe on this, his sixth record, but he didn’t. The result is a musically ambitious and lyrically deep statement of an artist in his creative prime.

Hayes Carll’s list of accomplishments is long. His third album, 2008’s Trouble In Mind, earned him an Americana Music Association Award for Song of the Year (for “She Left Me for Jesus”). The follow-up, KMAG YOYO was the most played album on the Americana Chart in 2011 and spawned covers by artists as varied as Hard Working Americans and Lee Ann Womack, whose version of “Chances Are” garnered Carll a Grammy nomination for Best Country Song. 2016’s Lovers and Leavers swept the Austin Music Awards, and was his fourth record in a row to reach #1 on the Americana Airplay chart. Kelly Willis and Kenny Chesney have chosen to record his songs and his television appearances include The Tonight Show, Austin City Limits, and Later w/Jools Holland. Carll is the rare artist who can rock a packed dancehall one night and hold a listening room at rapt attention the next.

“Repeating myself creatively would ultimately leave me empty. Covering new ground, exploring, and taking chances gives me juice and keeps me interested.”

He knew he wanted to find the next level. On What It Is, he clearly has.

It wasn’t necessarily easy to get there. Carll’s last release, 2016’s Lovers and Leavers was an artistic and commercial risk — a bold move which eschewed the tempo and humor of much of his previous work. The record revealed a more serious singer-songwriter dealing with more serious subjects — divorce, new love in the middle of life, parenting, the worth of work. What It Is finds him now on the other side, revived and happy, but resolute — no longer under the impression that any of it comes for free.

“I want to dig in so this life doesn’t just pass me by. The more engaged I am the more meaning it all has. I want that to be reflected in the work.”

And meaning there is. Carll sings “but I try because I want to,” on the album’s opening track, “None’Ya.” He’s not looking back lamenting love lost, rather, finding joy and purpose in the one he’s got and hanging on to the woman who sometimes leaves him delightedly scratching his head. “If I May Be So Bold,” finds him standing on similar ground — lyrically taking on the challenge of participating fully in life rather than discontentedly letting life happen.

Bold enough to not surrender bold enough to give a damn
Bold enough to keep on going or to stay right where I am
There’s a whole world out there waiting full of stories to be told
I’ll heed the call and tell’em all if I may be so bold

There’s no wishy washy here and he’s not on the sidelines. In fact, he’s neck-deep in life. On the rambunctious, fiddle-punctuated, “Times Like These,” he laments political division in America while delivering a rapid-fire plea to “do my labor, love my girl, and help my neighbor, while keeping all my joie de vivre.” Carll’s signature cleverness and aptitude for so-personal-you-might-miss-it political commentary is as strong as ever. The stark, “Fragile Men,” co-written with singer-songwriter Lolo, uses humor and dripping sarcasm to examine his gender’s resistance to change in less than three minutes of string-laden, almost Jacques Brel invoking drama. It’s new musical territory for Carll, and the result is powerful. His voice is strong and resonant on these songs, and it’s thrilling to hear him use it with a new authority. He is alternately commanding and tender, yet always soulful.

Carll returned to trusted producer Brad Jones (producer of 2008’s Trouble in Mind and 2011’s KMAG YOYO) and Alex the Great Studio in Nashville, Tennessee, to record What It Is, and recruited singer-songwriter, author, and fiancee Allison Moorer as co-producer. The production is adventurous while keeping the focus on the singer and his songs and providing a path for him to go where he wants to go. Where that is, is forward.

That’s evident in the songwriting. Carll continues to hone his singular voice, but is also a flexible co-writer. Matraca Berg, Charlie Mars, Adam Landry, and Moorer have co-writing credits here, but it was Moorer’s inspiration that provided the largest impact.

“On the songwriting front she’s just a pro. She helps me cut through the noise and she does it with wit and style.”

Carll’s own wit and style has never been more evident. Whether it’s with the put-you-in-picture detail of, “Beautiful Thing,” the not quite sheepish enough, dude-esque defense of dishonesty in, “Things You Don’t Wanna Know,” or the strong as a tree trunk declaration of love on, “I Will Stay,” he displays an increasing command of his poetic lexicon.

Writers most often wrestle with experience and expectations, either romanticizing the past or telling us how good it’s going to be when they get where they’re going. What It Is is a record that is rooted solidly in the present, revealing an artist in the emotional and intellectual here and now. 


Tickets for this show are £15 in advance.

You can get tickets online from here.

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Jason Lytle
(Grandaddy)
+ Malojian

St. Michaels Church, Ancoats, Manchester
Saturday 18th May, 7.30pm


Brudenell Social Club, Leeds
Sunday 19th May, 7.30pm

 

Jason Lytle

Jason Lytle first wandered into the public consciousness as the principal singer and songwriter for the band Grandaddy.  Formed in Modesto, CA in 1992, and eventually consisting of Lytle along with Aaron Burtch, Tim Dryden, Jim Fairchild and Kevin Garcia, the band initially broke through with 1997′s Under the Western Freeway and the NME-praised single “Summer Here Kids.” The band’s sound,” atmospheric electronics meet warped Americana”, crystallized on 2000′s Sophtware Slump, which was met with breathless hype and earned the band “Next Big Thing” status. Tireless rounds of international touring and mountains of fawning press led to 2003′s Sumday, increasing album sales, more touring, more press,TV show appearances, and a slot on the main stage at the Glastonbury festival. The band produced another EP and an album entitled Just Like the Fambly Cat, before disbanding in 2006.

Since then, Jason has created music for a number of national and international commercials and released his debut solo album Yours Truly, The Commuter in 2009. A number of collaborations followed including two tracks with Danger Mouse and Sparklehorse for the Dark Night of the Soul album and with former Grandaddy drummer Aaron Burtch and Earlimart’s Aaron Espinoza and Ariana Murray in the Admiral Radley project which yielded 2010’s I Heart California.

Jason currently lives in Montana, and enjoys hiking in woods, skateboarding in skateparks, bicycling on anything, skiing on mountains, playing the piano in his living room, and recording music, and occasionally playing shows.

http://www.jasonlytle.com/
https://www.youtube.com/watch?list=PL75F30FA96E4F28D1&v=M0yMQCcU6NY

Malojian

Over the last few years, Malojian has released 4 stunning solo albums, along the way collaborating with some musical legends, including Steve Albini, who earned his chops producing Nirvana, The Pixies etc. His latest album features Joey Waronker (Beck, R.E.M., Atoms For Peace, Roger Waters), Gerry Love (Teenage Fanclub), Jon Thorne (Yorkston/Thorne/Khan, Lamb) and more…But it’s Malojian’s own voice and songs that sets him apart from the crowd.

“evokes such rich emotions”  8/10 MOJO Magazine

“Absolutely love that…a masterpiece with a strong element of Beatles ’67…that kind of slightly woozy psychedelia…beautiful…” Ralph McLean, BBC Radio Ulster

“I love your music” Bob Harris, BBC Radio 2

“I really and truly believe we’ve unearthed a star here and I can’t urge you strongly enough to seek out this wonderful album.” Maverick Magazine


 Tickets for these shows are £15 in advance in Leeds and £17.50 in advance in Manchester as it's a really small capacity venue!
 
You can get tickets for Manchester here and for Leeds here.

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Amy May Ellis

(full band)
David Ward MacLean + Kitty VR

The Crescent, York
Sunday 19th May, 7.30pm


The original thinking behind Please Please You was to provide a platform for national and international touring acts to come and play in a small city so often overlooked on the national touring circuit. We have tried to encourage an open-minded, passionate and ego-free programme that would be broadly enjoyed by our friends, our soon-to-be friend and the artists alike. Over the years it's evolved and that original idea has come to fruition, we've provided many a stage for acts that would never been to play there.

Nowadays however we get our biggest kicks watching our creative friends in York develop. Whether performing on her own in sparse, singer-songwriter mode or which her highly intricate and talented band, Amy May Ellis has been a shining light in the city for some time. With a very recent BBC6 Music live session and an invite to The Great Escape Festival it would appear the rest of country is starting to notice. Her beautiful voice and melodic, folk based songs will silence rooms wherever she performs.

We're delighted to be able to host another full band show in York at The Crescent in May. It's events like this that make our world a better place.

Website / Watch / Listen

Bio:

Amy May Ellis grew up in the middle of the North Yorkshire Moors. At the age of 16 she moved to York where she earned a reputation for her captivating and moving performances.

Now based in London Amy has received support from BBC introducing, BBC 6 Music and Rough Trade for her debut EP, ‘Weathered By Waves' recorded in York at Crooked Room Studio, together with a local group of talented friends and musicians.

Amy has played headline show's around the UK, Ireland and Europe as well as guesting for artists such as Micheal Chapman, Rozi Plain, Alessi's Ark, Jackie Oates, Hiss Golden Messenger, Tiny Ruins, Ryley Walker and Willy Mason.

‘We Got Fire' will be Amy's second release. The songs, recorded with her band mainly in a Farmhouse in North Yorkshire, seem to have come from a place of restlessness and frustration. The dynamic between the full band and solo sound create a space to be engaged with and Amy’s lyrics are a poignant call for movement and kindness.


Tickets for this show are £5 in advance.

You can get tickets in person from the venue and Earworm Records in York, Jumbo Records in Leeds or online from here.

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Lau
The Crescent, York
Wednesday 5th June, 7.30pm

Already acknowledged as thrilling live performers and folk music pioneers, Lau arrive at a new creative peak with Midnight and Closedown. The band’s 12-year recording career is resplendent with unexpected collaborations, accolades and innovative ideas. The sound of Lau in 2019 is perhaps closer to late period Beatles than to the traditional tunes and ballads of their 2007 debut Lightweights and Gentlemen. And yet the new album’s closing track ‘Riad’ marks a fullcircle, stripping the lineup back to bare acoustic instruments.

Website / Watch


Midnight and Closedown is Lau’s first new music since 2015’s The Bell That Never Rang (***** The Guardian; The Herald’s Album of The Year). Producer John Parish, widely celebrated for his recordings and collaborations with P.J Harvey, Eels, Sparklehorse, This Is The Kit, Aldous Harding, Rokia Traore, M. Ward, Giant Sand and many more, has captured the essence of Lau’s songwriting: tender, bewitching and mournful, uplifting, experimental and political. These are new sounds still rooted in the traditional music that brought together the UK’s three finest folk artists.

‘Lau. Cool band. Don't sound like anybody else. I could describe the instrumentation : treated fiddle, guitar and rich baritone voice, an electronic ship in a bottle. A beautiful set of songs and instrumentals. In touch with their roots but not bound by them’.

(John Parish, October 2018)

Lau have pushed at the boundaries of modern folk music with each successive release, curation and concert tour. And now comes this bold, progressive new statement. Reading between the lines here – the enigmatic album title – could suggest that the new album is Lau’s swansong. But Midnight and Closedown, Lau’s finest artistic statement to date, could equally prove to be the opening of a brave new chapter.


Press:

'Lau are a remarkable band - the most musically adventurous trio in British folk - exquisite and hypnotic, musicianship at its best - The UK's best live band"
★★★★★ 5/5 - The Guardian

'Leagues ahead of the crowd - worthy of a David Lynch movie expansive sonic landscapes  - it's time to ring some changes - may frighten a few horses'
fRoots

Instrumental virtuosity blends easily with tasteful electronics
★★★★ Albums of The Year - Mojo

‘For alternative music lovers as much as folk fans, brimming over with intoxicating, mesmerisingmusic’

BBC Music

Four time winners ʻBest Groupʼ at the BBC Radio 2 Folk Awards


Tickets for this show are £20 in advance.

You can get tickets in person from the venue and Earworm Records in York, Jumbo Records in Leeds or online from here.

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 Mark Wynn
The Crescent, York
Saturday 15th June, 7.30pm

After our highly entertaining Mark Wynn & Mark Wynn show in February, we're very pleased to be able to tell you were all at it again in June. Whilst likely to have some similarities to the grand display back then, there will definitely be no Timmy The Tiger.

Bio:

Mark Wynn is undoubtably a one-off. Thank fuck. Whether he be ragging his guitar, delivering a dead-pan rant, dancing along to classic rock on his mobile cassette player, dancing around to himself playing on his mobile cassette recorder, draping himself over a wheelie bin, dancing around a mop bucket or humping a monitor speaker - a Mark Wynn show is generally an unforgettable experience.

Regardless of the chosen delivery, Wynn’s social commentary monologues and self-deprecating life-stories are perceptive and memorable. Satirical in part, his songs are witty in a dry, nonchalant, Yorkshire kind of way. A heart-warming, lo-fi poet pushing the boundaries of taking the piss.


Watch / Watch / Watch / Watch

Tickets for this show are £5 in advance.

You can get tickets in person from the venue and Earworm Records in York, Jumbo Records in Leeds or online from here.

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LOVE Band Featuring Johnny Echols
‘The Farewell UK Tour’
Sam Forrest
Brudenell Social Club, Leeds
Monday 1st July, 7.30pm


Celebrating the music of Arthur Lee and LOVE.

The LOVE band featuring Johnny Echols sees Arthur Lee’s longest serving band return to the UK to perform classic songs from Love’s first three albums Love, De Capo and Forever Changes as well as some special deep cuts for the last time.

From 1993 until Arthur’s death in 2006, the band Baby Lemonade performed with him, being an essential part of the renaissance of Love’s music. This iteration of Love saw many sold out tours, as well as back to back Glastonbury performances and an appearance on Later with Jools Holland.

Joining Baby Lemonade is Love’s original lead guitar player and founding member Johnny Echols, who was part of the classic line up that recorded the seminal Forever Changes.

Johnny Echols and Arthur Lee were childhood friends whose families both moved from Memphis to Los Angeles. Teenage Johnny & Arthur teamed up to form the groups Arthur Lee & The LAG’s and the American Four before they formed Love in 1965. The classic Love line up featuring Johnny disbanded in 1968. Johnny reunited with Arthur Lee in 2005 to perform together once more.

Baby Lemonade formed in 1992 by Rusty Squeezebox, Mike Randle, David “Daddy-O” Green, later adding Dave Chapple to the mix. In 1993 the band landed the gig of a lifetime opening up for Love. That show was the last for that incarnation of Love as Arthur replaced them with the four Baby Lemonade members. Baby Lemonade released records on Sympathy for the Record Industry, Munster and Big Deal between 1993 and 2001.

Upon their return from a Love tour of Europe, in 1996, Baby Lemonade was shocked to find that Arthur had been sentenced to 12 years in prison on a weapons charge.

After nearly 6 years in prison, Arthur’s case was overturned and shortly after, at his request, Baby Lemonade began rehearsing for what would be non-stop Love touring throughout North America, UK, Europe and Australia between 2002 and 2005 where they enjoyed unprecedented success with sold out tours, back to back Glastonbury performances, Roskilde and Benicassim festival, two sold out shows at the Royal Festival Hall that spawned a live album, and an appearance on the Later with Jools Holland TV Show.

In 2005 the Love line up once again featured Arthur’s childhood friend and founding member Johnny Echols on lead guitar who returned after a 37 year absence.
In July of 2005, Arthur was diagnosed with Leukaemia and after a brave battle he passed away one year later. Arthur’s last show was with Baby Lemonade and Johnny Echols on June 23rd at San Francisco’s Cafe Du Nord. The world had lost a true music legend.

In 2019 The LOVE band featuring Johnny Echols will return for one last UK tour to celebrate the music of Arthur Lee & Love.


 Tickets for this show are £16 in advance.
 
You can get tickets in person from Jumbo Records and Crash Records in Leeds or online from here.

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The Stroppies

The Crescent, York
Friday 12th July, 7.30pm. £7.50adv

Hyde Park Book Club, Leeds
Saturday 13th July, 7.30pm. £7.50adv


“Whoosh is a silly word,” says Gus Lord of the Stroppies. “There is something completely nonsense about it, especially when removed from any kind of context. For me it conjures up images of something absurd and transient - two things fundamental in the experience of listening to or making good pop music.”

Whoosh may indeed be a silly word but it almost onomatopoeically captures the sound and essence of The Stroppies first proper debut album, one that breezes along with boundless energy, a refrained pop strut, infectious grooves and the sort of jangling guitar melodies that sound like a prime-era Flying Nun band.


Website / Watch / Watch / Listen
 

Between them, the Melbourne-based band - currently comprising of Gus Lord, Rory Heane, Claudia Serfaty and Adam Hewitt - have been in countless bands such as Boomgates, Twerps, Tyrannamen, Primetime, Blank Statements, The Blinds, White Walls, See Saw and Possible Humans. The band formed together around a kitchen table in 2016 with a heavy focus around the essence of collaboration and a DIY ethos. This led to an acclaimed cassette release of lounge room recordings, which was then pressed onto vinyl to more acclaim. The Stroppies next step was then taking their DIY approach to home recordings into the studio to make a transitional leap to what would become their proper studio debut. “Whoosh is our first concerted effort to make something with a bit more sonic depth,”says Claudia Serfaty (the bands other primary songwriter).  “It was an attempt to take working processes that had been established in a home recording setting and build on them with a broader musical palette in the studio in order to push the band into new territory without compromising what made initial releases so endearing.”

Endearment is something that the Stroppies have no problem retaining on Whoosh. It’s a record that possesses all the spunk and gusto of a young band hurtling forward yet also knowing when to take their foot off the accelerator. It’s an album that simultaneously feels young and fresh but wise beyond its years. “Whoosh is the most robust sounding release we have ever recorded,” Serfaty says. Combining taut post-punk rhythms, indie jangle, seamless melody and sugary pop, it’s a record that Lord says is influenced by: “All sorts of things - life, work, relationships, old cartoons and the last 60+ years of guitar-based pop music in some form or another. This includes everything from Bill Fay to the Clean to Stephen Malkmus.”

Whoosh is a record that combines a natural sense of urgency with a thoughtful approach. Something that the recording process itself was emblematic of. “Budgetary restrictions meant that we had two days to lay the foundations,” Serfaty recalls. “So it was axe to the grind: burning through live takes interspersed with tea and Turkish food from the local kebab shop, which culminated in twelve half finished cuts, rough and ready.” That was the urgent part, what then followed was a focused and labour intensive approach to get the most out of the bare bones of the record as possible. “We spent hours building up, stripping down and mixing the work that had been recorded the month prior, throwing everything we could think of at the songs to see what would stick. We utilised whatever was on hand to pull sounds, including but not limited to vintage synths, rain sticks and an old door frame that we used for percussion.” This was done with Zachary Schneider, a friend of the band, budding producer and established musician who is most notable for his guitar work in bands such as Totally Mild, Free Time and Full Ugly.

By the end of that period the band got so absorbed in the record that they almost lost sight of it. “I'm still a little too close to this record for it to evoke anything in particular,” Lord says. “Except for perhaps dull anxiety. Towards the end of recording I felt like I was drowning in the process and lost all clarity on what it meant or it's value. Kind of like saying a word over and over again - it starts to lose all meaning.” Although with time comes clarity and even amidst the fog of making a record that has taken over his life, Lord knows the band has made something special. “Reflecting on the process I feel really proud of the album.”


 Tickets for these shows are £7.50 in advance.
 
You can get tickets for York here and for Leeds here.

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 Coldharbourstores
The Crescent, York
Friday 2nd August, 7.30pm


From out of the Wilderness comes Vesta, the 3rd full length album from Coldharbourstores, conceived entirely by the established line up of Lucy Castro, David Read, Michael McCabe, and Liam Greany.


Website / Watch / Listen
 

The band were determined to shorten the gap between albums after their critically acclaimed second album Wilderness had taken 14 years to release, following the band’s debut More Than The Other in 2002. What transpired is, essentially a love album - universal, personal, eternal - keeping the flame alive no matter what.

Vesta was recorded and produced, once again, by Bark Psychosis legend Graham Sutton (Jarvis Cocker, Silver Apples, These New Puritans and British Sea Power).

With long time design collaborator Martin Andersen (AndersenM, Lush, The Breeders, 4AD/V23, JK Rowling's Pottermore,) again translating the music into a stunning new sleeve design.

Two singles have been taken from the album: Disenchantment and Castle, which have accompanying remixes from The Silver Apples, Fuxa and L-Shape.

Jonathan Pound (Throwing Muses, Micah P. Hinson), together with a performance by Tania and Kentaro of the Tarinainanika Theatre Unit of Japan, has directed the video for lead single Disenchantment.

Press for Wilderness

‘…This is all “eyes wide open”, musically and lyrically, full of romantic expectancy and the possibility of imminent sunbursts...’
The Quietus

‘4/5…dream-pop airiness propelled by an electronic undertow, Lucy Castro’s voice adding off-kilter sweetness…'
Q
‘7/10...post-4AD pop with glistening electronic touches…there’s plenty of uncommon beauty here’
Uncut

'...Captivating depth and complexity that really pulls you in....a worthy successor to their debut'
Electronic Sound

 ‘4/5…shimmering, floating beauty…
Shindig!


Tickets for this show are £6 in advance.

You can get tickets in person from the venue and Earworm Records in York, Jumbo Records in Leeds or online from here.

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