Father John Misty has announced news of additional UK and European live dates for February and March 2023. In late February Father John Misty has added shows in Oslo and Gothenburg while in March he’s added new UK shows in Brighton, Portsmouth and Leeds. Upcoming UK and European live info below…
Last week Father John Misty released Live At Electric Lady, a Spotify exclusive EP that features alternate versions of Chloë and The Next 20th Century highlights “Goodbye Mr. Blue,” “The Next 20th Century,” “Buddy’s Rendezvous,” “We Could Be Strangers,” “(Everything But) Her Love,” and a cover of Stevie Wonder’s “I Believe (When I Fall In Love It Will Be Forever).” The session was recorded in May 2022 at the famed Electric Lady studios in New York.
Marissa Nadler has announced news of an extensive European tour running throughout November. These are Nadler’s first European shows since the release of her acclaimed album, The Path Of The Clouds, which was released in October 2021 via Bella Union and Sacred Bones. The tour begins in London and closes in Helsinki.
Acclaim for The Path Of The Clouds:
“Virtuoso songs… Exquisitely wrought tales of mystery and imagination.” MOJO – 4 stars ****
“A lyrical treasure trove… Nadler’s usually sparse, gothic folk style is emboldened by well-chosen collaborators from Simon Raymonde to Emma Ruth Rundle.” Uncut – 8/10
“The sense of an artist rising to her sky-scraping potential rings out clearly.” Record Collector – 4 stars ****
“Evocative and atmospheric… This lush self-produced record uses the murder ballad form to tell real and imagined tales of lust, death and revenge.” WIRE
“A fascinating album… as strong a set of songs as Nadler has confected.” Metro – 4 stars ****
“Singular and haunting… An album to lose yourself in, and Nadler’s finest so far.” Rock’n’Reel – 4 stars ****
“Highly atmospheric and conceptually intelligent, The Path of the Clouds is a worthy addition to Nadler’s impressively consistent catalogue.” Loud & Quiet
“The best album of her career… An artist at the peak of her powers.” Louder Than War
Over the course of nearly 20 tireless years of writing, recording, and touring, Marissa Nadler has amassed one of the most singular catalogues in contemporary music. Her work glides between delicate folk, windswept Americana, doom metal-adjacent darkness, meditative ambient music, and fearlessly experimental sounds, all anchored in her unmistakable singing voice and finger-style guitar.
Shortly after finishing her Master’s degree at the Rhode Island School of Design in Providence, Nadler released her first proper full-length album, the ethereal Ballads of Living and Dying, in2004. Though she was initially associated with the indie-folk movement, Nadler soon distinguished herself with her willingness to go darker and more personal, writing songs that felt deeply intimate with solitude and heartbreak while still retaining an otherworldly sheen. If she was born a century earlier, it’s not a stretch to imagine that her vast talents would be mistaken for conjured magic.
After a decade of releasing records with various labels and on her own, Nadler joined forces with Sacred Bones Records and Bella Union for 2014’s seismic July. That record marked a kind of reset in Nadler’s career, and the sounds she explored there served as a jumping off point for subsequent modern classics like For My Crimes and her collaboration with Stephen Brodsky, Droneflower — both of which she created the cover art for.
The Path of the Clouds is Nadler’s ninth solo album, and it feels like yet another significant evolution. Two decades into a storied career, there’s still an untapped reservoir of thrilling musical ideas and stirring emotions lurking in her endlessly creative mind.
Psychic Markers are a band driven by a collective psyche, where the rule of friendship and instinctive democracy trumps any forced idea of aesthetic. Core members Leon Dufficy, Steven Dove and Luke Jarvis create music that weaves seamlessly between pulsing groove-locked electronica and psychedelic pop as frequently as it glides from sparkling melody to rich cinematic ambience.
Critical praise for Psychic Markers…
“melodies flow, drama is intensified, and darker atmospherics are embraced…” MOJO
“alluringly hazy and beguiling… the obvious promise of their earlier work has blossomed into something more expansive” Electronic Sound
“impressively immersive” Record Collector
“While the machine-made pulse and texture suggest the influence of Kraftwerk and Cluster, traces of Broadcast and Ghost Box are just as discernable amid the band’s shimmering brand of psych.” – Uncut
“Veers from 50s doo wop to Krautrock abstraction and a neat line in devoutly English psych-pop… ‘Fields Of Abstraction’ is an off kilter indie gem, with its hard-earned melodic nous coupled to a willingness to step outside the rules.” – Clash
“Psychic Markers marry motorik influences from key proponents of Krautrock with the indie-pop of acts like Stereolab.” – The Quietus
“Lilting rhythms and candied harmonies melt with bouts of raw, raggedy psychedlia – “Dreaming” grabs your by the lapels and drags you into a Wayne Coyne-designed Slumberland. Everything’s a bit strange, but it feels warm and welcoming nonetheless.” – The Line Of Best Fit
“The brilliant ‘Hardly Strangers’ weaves a captivating spell of a call and response distorted guitar hook before building to a cacophonous crescendo.” – Music OMH
“‘Hardly Strangers’ shows off how the band have developed as a songwriting unit in their years of writing together, being their biggest and most accomplished work to date… Their musical chemistry is on sharp display here, as washes of atmospheric electronics and production wizardry whirl their way around the central propulsive energy provided by the guitars and percussion.” – The 405
Currently in the studio working on their much-anticipated second album, Bella Union’s Penelope Isles have announced news of an extensive UK tour for November and December 2021 and shared a video to share the good news. Tickets are available at https://www.penelopeisles.com.
Penelope Isles are centred around siblings Jack and Lily Wolter, originally from the Isle of Man, and for several years now based in Brighton. Their debut album Until the Tide Creeps In was produced by the band at the Bella Union studios in London and Brighton. They create dynamic blissed-out moments soaked in fuzz-noise waves – their songs fragile yet ferocious. Indie-psych currents and lustrous melodies blend with the siblings’ voices. To support the release they played over 150 shows all over the world, including 100 shows in 2019 alone and three tours in the USA. They’ve hit the road with The Flaming Lips and The Magic Numbers. Loved by fans, DJs, tour-mates and writers, their debut marks them out as one of the most exciting UK bands of the last few years. The band have recently been working on new music – more news on that very soon.
“There’s a kind of surf’s up fuzz over this quartet’s debut, a hazy harmonised beachiness that nods to Pavement, Girls and Tame Impala while suggesting something pleasingly singular. It’s the sound of a band enjoying the discovery of their sound.” Q - 4 Stars ****
“An undeniably lovely melange of dreampop and gentle psychedelia.” Sunday Times
“Timeless and special. Unashamedly bight melodies that throw you into the sunlight and make the darker moments even more striking” DIY - 4 Stars ****
“This self-produced debut is sublime from top to toe, blissful boy girl harmonies wrapping their way around layered fuzz-rock guitars and trippy tales.” Shindig - 4 Stars ****
“A knockout album with instant charm. When Penelope Isles hit the spot they hit it with a dazzled burst of refracted light.” Metro
“Whatever the framing, each track on their debut is about the song; it’s melody. Recent single Chlorine steps into early Tame Impala terrain, but its the moody, woozy tune which hits home. The siblings take turns singing lead, each as assured as the other.” MOJO
“An impressive debut. The band’s primary line is in stately, swirling slow-burners while a handful of intense lo-fi pop nuggets keeps things moving.” Uncut
“A swimmingly fine debut, whose mixture of indie -kid smarts and hazy psyche-pop feels like a homegrown companion to Beach House.” PROG
“A lush and dreamy debut. Each visit uncovers something new.” DORK - 4 Stars ****
“Gloriously fuzzed up. An accomplished debut with moments of real beauty.” The Sun - 4 Stars ****
“Until The Tide Creeps In is a generous, lively dreampop offering. They soar like Spiritualized; they shimmer like Mazzy Star. On seven minute epic Gnarbone they go motorik, using found sound like Public Service Broadcasting.” London In Stereo
“A heady wonder of dream pop. Timeless, shimmering guitars and lush, sun-drenched harmonies. An accomplished and self-assured collection of songs.” Long Live Vinyl – 8/10
Following the overwhelming success of their recent Space Bubble concerts, The Flaming Lips have announced their return to the road for a huge worldwide tour schedule to begin in the US this summer with dates extending well into next year. The band’s rescheduled UK dates come right at the end of the tour in May and June 2022.
For those that missed The Flaming Lips’ incredible segment on CBS Sunday last weekend, click here to view and share. The Lips also recently appeared on Jimmy Kimmel Live. Watch their performance of “Will You Return/When You Come Down” from last year’s hugely acclaimed album, American Head.
The Flaming Lips UK live dates 2022:
Wednesday 25th May 2022 – Leeds – Stylus
Thursday 26th May 2022 – Liverpool – Invisible Wind Factory
Monday 30th May 2022 – Aylesbury – Waterside Theatre
Wednesday 1st June 2022 – Bexhill – De La Carr Pavilion
Thursday 2nd June 2022 – London – Kentish Town Forum
With their new album Cheater due for release 15th January via Bella Union, which includes the tracks ‘Andrew’, ‘My Candidacy’ and ‘Like A Lady’, Pom Poko have announced news of an extensive UK and European tour for September and October 2021. The tour includes their biggest London headline show to date with a performance at Village Underground.
“If you have a vacancy for Favourite New Band, Pom Poko would like to apply for the role,” tweeted Tim Burgess in April last year, as Norway’s finest punk-pop anti-conformists revisited their joyous debut album, Birthday, for one of Tim’s mood-lifting Twitter listening parties. Pom Poko pimp their CV on all fronts with their glorious second album, Cheater, out early 2021. Between the quartet’s sweet melodies, galvanic punky ructions and wild-at-art-rock eruptions, Cheater is the sound of a band celebrating the binding extremes that make them so uniquely qualified to thrill: and, like Tim’s listening party, to fulfil any need you might have for a pick-you-up.
As singer Ragnhild Fangel explains of the leap from Birthday to Cheater, “I think it’s very accurate to say that we wanted to embrace our extremes a bit more. In the production process I think we aimed more for some sort of contrast between the meticulously written and arranged songs and a more chaotic execution and recording, but also let ourselves explore the less frantic parts of the Pom Poko universe. I think both in the more extreme and painful way, and in the sweet and lovely way, this album is kind of amplified.”
Both sonically and thematically, that sense of amplification asserts itself right off the bat with the tearaway title-track. Bursting into life on the back of a blast of fractious guitar noise, a thrashing riff and a sweetly sardonic vocal, “Cheater” laces its serotonin rush with tangy lyrics about dreams and, says Ragnhild, the kind of “cheating kid who doesn’t understand why they didn’t get things exactly like they wanted on their first try”: thematic motifs that reverberate throughout the album.
From here, Pom Poko court their extremes with firecracker confidence. Its lilting melody laced with a critique of gender stereotypes and set to a Breeders-style lurch, “Like A Lady” is sharp and catchy. First single “Andrew” upholds a facility for simplicity in one of Pom Poko’s loveliest choruses, though a band such as this will never settle for the obvious: Martin Miguel Tonne’s jazzy guitars seem to do everything except what you expect them to.
Further evidence arrives in the contrast between the thrilling, think-on-its-feet thrash-pop of “My Candidacy” – made in less than three hours – and the mellifluous “Danger Baby”, a tale of irrational fears with Ragnhild’s vocal and Martin’s guitar merged in unexpected union. That love for surprise synchronicities, slanted sounds and unexpected subject matter propels “Andy Go to School”, where a tempo-tweaked guitar line accompanies a lyric extolling the pleasures of water parks and a free-flowing sonic palette. “Towards the end one of the guitar pedals made a huge BZZZ sound in a pause, but we thought it was cool and raw so we just rolled with it,” says Ragnhild. “We like to mix the feeling of a surgically produced piece of music with the random sounds that also happen when you are a band playing together.”
After its opening, almost Bolan-esque belches of guitar, “Look” extends that spirit of openness to an invitation to look outside of one’s self, before “Body Level” ends the album on a characteristically generous, unguarded – amplified – note of positivity. “Things get better,” sings Fangel, embracing directness with the same readiness as Pom Poko exult in giddy intricacy.
The sound of four distinct personalities driving in divergent directions towards one destination, the result is an evolved snapshot of the bracingly contrary chemistry forged when Fangel, Tonne, Jonas Krøvel (bass) and Ola Djupvik (drums) united to play punk during a jazz gig at a literature festival in Trondheim (the band-members studied jazz there.)Taking their name and spirit from Japanese animation visionaries Studio Ghibli’s marvellously out-there film about raccoon-dog rebels with unfeasibly large testicles, Pom Poko showcased that convulsive individuality to exuberant effect on 2019’s Birthday. Along the way, they drew praise from NME, DIY, PopMatters, The Line Of Best Fit, The Independent and BBC Radio 6 Music, while going on to be nominated for two Norwegian Grammy Awards (Spellemannprisen) and The Nordic Music Prize. Meanwhile, a huge touring schedule included countless sold-out headline shows and a rapturously received UK jaunt with Ezra Furman.
Written in the same run that produced interim releases “Leg Day” (with its playful dance-based video) and “Praise”, and recorded/produced in cooperation with Marcus Forsgren (Jaga Jazzist, Broen, Arc Iris), Cheater does its predecessor proud on every front. Bursting with colour and wonky life from its cover art (by close collaborator Erlend Peder Kvam) outwards, it differs from Birthday primarily in that its songs did not have a chance to be road-tested before going into the studio. But you wouldn’t know it. As Ragnhild explains, “That meant we had to practice the songs in a more serious way, but it also meant the songs had more potential to change when we recorded them since we didn’t have such a clear image of what each song should/could be as the last time.”
In other words, consider that vacancy for free-thinking punk-pop adventurism in your life filled. Right, Tim?