New Music News

Peggy Sue share new single + announce live show

London-via-Brighton indie duo Peggy Sue, made up of Rosa Slade and Katy Young, have shared their new single “Slow Fade” and are playing a headline London show at the Shacklewell Arms on Dec 2nd.
“Slow Fade” is the first single from Peggy Sue’s upcoming fifth album, due 2018. After a three year break, during which Rosa Slade and Katy Young have been performing with all-female singing group Deep Throat Choir, ‘”Slow Fade” is an apt comeback; a melancholy celebration of patience.
The track is a dreamy, melodic breakup song; one that lets you hang around lazily in the days when you aren’t ok yet. “Heartbreak takes ages” says Katy Young. “That’s kind of the best and the worst thing about it. I was pretty heartbroken and trying all these tactics to make it finish faster; going out, staying in, talking about it, not talking about. But at some point I realised that when I was ok again, it would be because the love was done. And so Slow Fade is about letting it take its time – partly because you don’t really have a choice and partly because a bit of me wanted to make that pretty sadness last as long as I could.”
Founded in 2007, Peggy Sue have released four records, culminating in 2014’s critically acclaimed Choir Of Echoes, and toured with the likes of Jack White, Local Natives, First Aid Kit and Wild Flag. The pair will be playing a headline London show next month and will be releasing their new album in Spring next year.
The new single – and forthcoming album – borrow in equal parts from the perfectly constructed pop songs of the 1960s and the understated, noisy guitar experiments of 90s indie bands such as The Breeders and Blur. The group’s new material sees front-women Slade and Young joined by Dan Blackett (Landshapes) on drums and Benjamin Gregory (GRIP TIGHT) on bass, who bring a fresh energy and clarity to the band’s enduringly captivating duel vocals.

New Music News

Tokyo’s DYGL release ‘Let it Sway/ Let It Out’

Tokyo-based indie rockers DYGL (pronounced day-glow) have been turning heads with their new single and B-side, ‘Let it Sway/ Let It Out.’ Produced by The Strokes’ guitarist Albert Hammond Jr and The Strokes’ producer Gus Oberg, the tracks have gained  serious momentum.

Nobuki Akiyama (vocal & guitar), Kohei Kamoto (drums), Yotaro Kachi (bass), and Yosuke Shimonaka (guitar), have had a colourful touring schedule, and have shared stages with some big names:  Bjork, Aphex Twin, The Gorillaz, The XX, and Lorde to name a few.  What started out as a bassless 3-piece, went on to rack up over 1.2 million Youtube views and 70 thousand Soundcloud plays, two EP’s and a 7” record.

DYGL’s atmospheric indie rock sound borrows from the likes The Strokes, The Cribs, The Libertines, Arctic Monkeys, and The Smiths, and they have honed their skills to combine the factors that influence their love for indie-rock, including sound, style, and scale.

Speaking of the track they say: “Some things feel like a waste of time in the beginning, but it’s important to keep at it. You can’t rest when you want to make music. Never rest your hands!”

Upcoming shows/ Tour dates:
28th November – Birthdays, London UK
29th November – The Hope & Ruin, Brighton, UK
8th December –  Umeda Club Quattro DYGL LIVE (Tokyo)
9th December – Liquidroom DYGL LIVE

               Website //   Facebook //  Twitter //  Soundcloud //  Youtube //  Instagram  // Spotify

New Music News

Listen to A Grave With No Name’s ‘When I Pass Through Here’

London-based multi-instrumentalist and songwriter Alexander Shields, aka, A Grave With No Name, is sharing another track of his haunting art-rock sounds with new single “When I Pass Through Here.” The track is taken from his upcoming album ‘Passover’, which is due out Jan 19th via Forged Artifacts.

Speaking about the track, Alexander said, “Amidst the studio sessions for ‘Passover’’ it became apparent that this song’s message of confronting and shedding our regrets, in order to become a better person and make a positive mark on the world – however small that may be – fitted in perfectly within the album’s narrative.”

For some years now A Grave With No Name has been mining a distinctive vein of haunted art-rock, to spellbinding effect. His sixth album ‘Passover’ is his most most vital and poetic release to date, presenting the artist’s wide-ranging musical approaches so far, and forging skillful, at times surprising, new sounds from those unique textures.

Shields wrote the songs, which he describes as a set of “interlocking short-stories”, during a stay in his family home in the wake of his grandmother’s death – a home he shared with her throughout his young life. As such, a spectral presence makes itself known throughout ‘Passover’, with themes such as the mortality of loved ones, and returning to the bosom of the family being explored, alongside a burning questioning of the comforts of religion and ceremony, and our attempts to reconcile the elemental with the domestic.

Whereas previous records such as 2014’s ‘Feathers Wet, Under the Moon’ saw him working with a large ensemble of players including members of Lambchop, Silver Jews, and guitarist William Tyler, ‘Passover’ reflects its intimate themes by pairing Shields with childhood friend, drummer Daniel Paton, and brings aboard bassist Ben Reed who worked on Frank Ocean’s ‘blond(e)’ and ‘Endless’ albums. Recording once again at London’s Holy Mountain studios with producer Misha Hering, Shields creates meticulously crafted tapestries by weaving field recordings, and ambient sounds through the looms of melodic tape-warped country-rock (“By the Water’s Edge”, “Wreath”), haunted skeletal folk (“Hot Blood”, “Hunter”) and lonesome string ballads (“Wren”).

A culmination of all that came before it, yet a singular achievement in its ambition and scope, ‘Passover’ makes a remarkable addition to an already fascinating catalogue.

See A Grave With No Name live:
23rd Jan – Olympic Cafe, Paris FR
25th Jan – The Waiting Room, London UK

Follow AGWNN  // Facebook // Twitter
New Music News

Soulitaire releases LP ‘I Believe In Rainbows’

Following the release of ambitious singles, ‘New Breed’, and ‘One Of Many Parts,’ Austrian singer-songwriter Soulitaire has released his anticipated LP I Believe In Rainbows via Violet Noise Records.
I Believe In Rainbows is a wondrous 12-track excursion into the mind of singer-songwriter Martin Rotheneder, exploring the depths of his innermost desires and experiences, and reflecting them back with even more sentiment and emotion than initially calculated. Soulitaire’s silken vocal performance is projected onto heartfelt guitar playing and hand techniques, set awash against minimalist tones and atmospheres in a sea of sincerity. 
The album is an exercise in minimalism. After playing in several bands, Rotheneder came up with the idea of producing an album with just guitar and vocals. The result is I Believe In Rainbows,  reminiscent of Newton Faulkner or Ben Howard breathing off a well balanced weight between the classic and the contemporary, evoking a charm in the relationship between the vocals and harmony. 
Speaking of I Believe In Rainbows, Soulitaire comments: “I scaled everything down to acoustic guitar, a distortion pedal, a guitar amp and vocals as my main instruments. Minimalism with the vision of sounding like a band. And some self-imposed rules: No electronics, no loops, all has to be played live on guitar, all in one take.” 

I Believe In Rainbows Tracklist:

1. Everytime
2. New Breed
3. One Of Many Parts
4. When Elements Collide
5. Start A Movement
6. No
7. You Speak To Me
8. In Between This Noise
9. I Follow You To Everywhere
10. Embrace
11. All Of My
12. Let Loose

New Music News

Lisbon indie-pop trio Vaarwell release single + live session from debut ‘Homebound 456’.

Following the release of their debut LP ‘Homebound 456’ in March this year, Lisbon indie-pop trio Vaarwell have highlighted another single from the record, ‘I Never Leave, I Never Go’, in the form of an official live session also accompanied by a haunting rendition of Radiohead’s ‘Exit Music (For A Film)’.

Citing L.A. female rockers Haim’s music video for comeback single ‘Right Now’ as inspiration for the artistic vision, the black and white recording showcases the delicacy and intimacy of the track’s lullaby qualities. Their Radiohead cover additionally demonstrates lead singer, Margarida Falcão’s, vocal prowess as she takes on Thom Yorke’s famous, pining vocals in a beautiful re-imagined version – aptly marking the 20th anniversary of the British band’s legendary third album release ‘OK Computer.’

Vaarwell studied together in the same music production class at art school and since their formation in 2014 have gone from strength to strength. A debut EP ‘Love and Forgiveness’ caught the attention of notable blogs such as Crack in The Road and Stereogum, before the debut LP received repeat spins from Huw Stephens on BBC Radio 1. Louder Than War described… “a glossy, clinical, angelic album that is an absolute delight from first listen to the latest”. A list of live dates has also just been announced across their home country, notably at Festival Aciprestes on 5th October and Cineteatro Alba on 19th October.

Vaarwell’s name originates from the word ‘vaarwel’, meaning ‘farewell’ in Dutch. However, with this gem of a new single and tour dates on the horizon, it will be a long time before we bid farewell to this invigorating Portuguese trio.

New Music News

KIOL shares new single ‘Hard Things’ + live dates

Italian soul-rock singer/songwriter Alessandro Bossi, better known as  KIOL has shared his  single ‘Hard Things.’ Slated for release on November 13th via Join Records the track was produced at the Grouse Lodge Studio in Ireland by Paolo Nutini’s producer Dani Castelar and musicians Gavin Fitzjohn (brass and piano) and Dave Nelson (co-writing and guitar) who are also known as Long Run. KIOL can already boast having shared the stage with a number of prominent acts: The Prodigy and Editors at Home Festival in Italy; Suarez in Belgium and Luxembourg; and opened for Manu Chao, Agnes Obel, and Archive at Europavox Festival, where he was the highlighted artist for 2017. In addition, his previous single ‘Wrinkless’ is the featured track for FIAT 500 DEEZER’s huge advertising campaign. During his first tour, he played more than forty shows, with appearances at main European clubs, such as O2 Academy Islington, The Garage, Tramshed, Botanique, Melkweg, Refelktor, sPazio 211, Kulturefabrik as well as Eurosonic-Noorderslag, Waves Vienna and Apolide Festival.

KIOL started out as a punk-rock drummer, and after his sister asked him to start playing the guitar and sing some songs for her he discovered his unique voice. The prolific artist has written a string of tracks and released his first single ‘Broken Up Again’ in 2016 and his first EP I Come As I Am with Warner Music Benelux earlier this year.

KIOL’s sound is packed with pop melodies, alternative folk, and bluesy rhythms. Influenced by songwriters like Paolo Nutini, Jake Bugg, and James Bay, he also cites influences such as Kings of Leon, Amy Winehouse, The Beatles and James Brown. Despite its title, latest single ‘Hard Things’ is a tender, passionate voyage across windswept landscapes; familiar, lionhearted voice work, lively strummed guitar patterns and an aura of cinematic proportions. ‘Hard Things’ is circumstantial evidence that KIOL has expanded upon an already polished, enlightened sound.

KIOL Upcoming Live Dates:
13th November – The Old Blue Last, London (With August Child) – “Hard Things” Release Party
17th November  – The Louisiana, Bristol (With Tom Speight)
19th November  – Sunflower Lounge, Birmingham  (With Tom Speight)
23rd November  – St Pancras Church, London  (With Tom Speight)
25th November  – Castle Hotel, Manchester (With Tom Speight)

Follow KIOL:
New Music News

Endless Daze 2017 // We catch up with… The Thirty Eights

Throw hypnotic guitar tones and surf-inspired instrumentals into a blender – and you’ll get The Thirty Eights. Formed in 2016, the band self-released their debut EP, Hang Loose With The Thirty Eights earlier this year, followed shortly afterwards by their most recent offering, Secret Flavour.

Hailing from Cape Town, South Africa, they are scheduled to play this year’s Endless Daze Festival. We caught up with them beforehand.

To those not familiar with you, how would you describe your sound?

Trashy Surf Rock. Dangerous.

Which three albums have influenced you the most creatively?

Not so many full albums within the surf thing – was very hit n miss. More like individual tracks that influence us. Check out our covers we’ve done.

The Thirty Eights released their debut offering Hang Loose with The Thirty Eights in May 2017, and only a few months later in October, sophomore EP titled Secret Flavour  was released. Could you explain how the two recording sessions may have differed?

They actually weren’t very different at all – we used a different bass amp, that’s about it. Both recorded live in the same room with the same instruments. We maybe have used a couple different microphones. Very similar though.

<a href=””>Secret Flavour by The Thirty Eights</a>

As a strong supporter of all things Fender, or rather, Telecaster, do you feel these guitars portray the precise tone The Thirty Eights are producing, and if so, why?

Absolutely. Well we could have obviously pulled it off with Jags or Strats, and may have been more authentic, but we were adamant on using Telecasters since you don’t really see or hear of many bands using them for surf instrumentals. Just proves Telecasters to be the most versatile guitars ever made. Name any genre and a Tele has been there.

Studio work and music creation or performing and interacting with a live audience, which do you prefer?

Both. They’re equally important.

What has been your most memorable performance so far?

We always enjoy performing – it would be hard to pick one. Maybe the burger revolution show.

And which performance would you prefer to forget?

Walking The Daisies (only because it was freezing cold and we couldn’t feel our strings) other than that it was super cool, and well organized. Would totally do it again. The kids were really cool and stoked and energetic. Good vaabz.

Any new artists on your radar?

The Murms – check em out.

If you could collaborate with, or perform alongside any artist, who would it be? And why?

Link Wray – probably don’t really need to explain why.

Famous last words.…

Fuck it dawg, life’s a risk.

Follow The Thirty Eights // Facebook // Bandcamp
Endless Daze Festival
Tickets can be bought here:
Facebook event:
Contact: [email protected]


Daniel Alexander releases single ‘Separatehood’ + announces live dates

South-London multifaceted artist Daniel Alexander has released his new single ‘Separatehood’, via rising French label Maison Ainsi. 

Anticipation has been steadily building for the poignant singer-songwriter, his recently released singles ‘DOUBLEGLAZEDGAZEDOWN’ and ‘The Gulf’, saw praises from key publications such as Clash, The Independent, Indie London, culminating with Metro making him their ‘Artist of The Day’.  His yearnful vocals, strong socio-political message and powerful visual identity have marked him out as one of next year’s potential breakout artists, and with support growing across radio from Amazing Radio playlisting ‘DOUBLEGLAZEDGAZEDOWN’ to plays on Huw Stephens’ BBC Radio 1, Zane Lowe’s Beats and John Kennedy’s Radio X, is safe to say that ‘Separatehood’, will cement his as a bonafide songwriting talent.
Produced and mixed by My Bloody Valentine, The Pains of Being Pure At Heart and Dream Wife collaborator Andy Savours and recorded in one live take, ‘Separatehood’ “is the older sister to the DIY sketches previously produced from my Lewisham flat,” explains Daniel about the recording process, “Andy was able to lift the sonics away from claustrophobia, to something clearer headed and brighter, despite the track being perhaps more internalised than the others. Working with Savours was revelatory, he was able to transmute his knowledge and experience into the process.”
The political and social commentary which characterised his previous releases, are here elevated by a state of disconnection from the self, from one’s core identity –  ‘Separatehood’ as Daniel explains – “is about the aloneness that affects us; the fractured sense of human community we share in the modern West. Our separatehood keeps us tied to ourselves, unable to realise a peaceful collective future in the face of a present ‘lead’ by the predatory, the sociopathic and the rapacious.” 
The former member of a band, which, after two album releases on one the UK’s most celebrated independent labels, were on the verge of mainstream success, Daniel Alexander’s recent output has developed from a type dissenting isolation to toward something broader and more embracing. His early solo efforts include ‘Trains’ – released on Yuksek’s label Partyfine compilation ‘Partyfine – Vol.2’ – and ‘the moments u had but were never at’, which was premiered on Zane Lowe’s Beats 1, and also included on the Killing Moon compilation ‘New Moons Vol. VI.
With upcoming live shows including Mirrors Festival in London on 28th October, as well as support slots including mighty post-rockers Klangstof in Paris on 22nd November and opening for Local Natives’ Kelcey Ayer solo project as Jaws of Love. EU and UK tour in 2018, Daniel Alexander is set to become a real force to be reckoned with.

Live Dates
Nov 22nd – Le Pop Up-Du Label – Paris, France – w/ Klangstof
Jan 27th – Pratchtwerk – Berlin, Germany – w/ Jaws of Love,
Jan 30th – Nest – Gent, Belgium – w/Jaws of Love,
Jan 31st – Le Pop Up-Du Label – Paris, France – w/ Jaws of Love,
Feb 2nd – Moth Club – London, UK – w/ Jaws of Love


New Music News

Typhoon releases lyrical excursion into surreal imagery ‘Offerings’

If a Fellini film, a Bosch painting, and a Rorschach drawing had a collective sound, it would be Typhoon’s new release. The 14-track record Offerings is a musical and lyrical excursion into surreal imagery, eerie soundscapes, and an emotionally jarring narrative.
The 70-minute album for Roll Call Records, which is the Portland, Oregon indie rock band’s fourth studio album, centres on a fictional man who is losing his memory, and in turn, his sense of self. “I’ve always been preoccupied with memory, losing memory, and trying to recapture memory. I wanted to explore the questions: What does a person become if they don’t know where they came from? What is the essential quality of the person if you strip away all memory?” explains singer/songwriter Kyle Morton.
Motivated in part by his own preoccupation with “losing it,” Morton also found a treasure trove of inspiration through various books, art, and film he was immersed in during the writing of this record. “I was watching a lot of David Lynch, and thought a lot about the Christopher Nolan movie, Memento, and Fellini’s 8 ½. And there were a lot of books on my nightstand that played into this. It made it a much darker album for sure,” he says.
“Offerings” is divided into four movements (Floodplains, Flood, Reckoning, and Afterparty) to represent the mental phases the main character goes through where he first realises that something is wrong, then struggles through the chaos of his situation, and finally moves into acceptance before succumbing to his dreadful fate.
“I wanted this record to be a journey, like Dante’s Inferno. It kicks off with ‘Wake,’ where the character wakes up and he’s shitting the bed and doesn’t know what’s going on. I was going for a specific feel that Samuel Beckett does so well,” says Morton, who was reading Beckett’s Three Novels, specifically Malloy, while writing the song’s lyrics. “Beckett would call it a literature of impoverishment where he’d strip away as much as he could so he could get a feeling of essence and scarcity; that’s what I tried to do musically and lyrically here.”Mission accomplished. Morton also masterfully makes a parallel with the character’s journey to the state of the world today starting with the second track, “Rorschach,” which looks at the age of information and collapse of meaning.
“But, by the third song, ‘Empiricist,’ there’s a regression to the womb where the character is back in his bed at home, talking about his range of motion shrinking. This first movement ends with ‘Algernon’ [taken from one of Morton’s favorite short stories, Flowers for Algernon, by Daniel Keyes], where he’s constantly awakening and in an interrogation with a woman-who the listener should know is his wife, but he doesn’t.”
Musically, there is a sense of impending doom and chaos throughout the record that mirrors the character’s fear and anxiety. “The claustrophobic feeling of only having the present moment and this sense of repetition is musically mirrored with this looping that runs though the record with a through line of choral parts that give it a darker, creepier feel,” says Morton.

To set the right tone for the story, Morton went for a less horns, more guitar approach. “We have a little bit of trumpet on this record and a lot of string arrangements. But we really strayed away from the horn arrangements. I wanted it to be a darker, more intense rock record, so it’s very guitar-based. It’s going back to my rock roots before Typhoon,” says Morton.
The concept of what the main character in the album is going through is also meant as a way of explaining cultural memory loss. “I was also reading historian Timothy Snyder and was inspired by his take on how America is at risk of losing their sense of history. If we haven’t learned the lessons of our past, historically, we can’t recognise when elements come back to haunt us, which is what’s happening right now,” he adds.
One choral part (“Down in the floodplains waiting on a cure/ Blessed be the water/ May the water make us pure”) was especially inspired by current politics. “I had Steve Bannon in mind quite a bit when I was writing these choral parts because I’m taking on this world view that I don’t agree with, which is that the world needs a bloody struggle to reset – bring on the demolishing of order,” he says.
The character’s downward spiral continues through the album’s second movement, Flood, while in the third, Reckoning, comes the absolute-zero moment where the character is ready and willing to let go of life. Reckoning kicks off with “Coverings,” which is the first song Morton ever co-wrote with a band member – Shannon Steele, who also sings on it.  (Steele lends her vocals to the end of “Bergeron,” as well.)
“‘Coverings’ takes the story into the devil’s mansion where all the rooms are the same representing this repeated infinite present with no reference. For me, this is Hell. And, at this point, our character has lost his marbles,” he explains.
“At the same time, on the worldly scale,” continues Morton, “this is the point where we don’t have any public trust and there’s no cultural memory, there’s just chaos. People are becoming identical in this collapse of meaning and you have no reference. If there is any point to this record it’s that – Without reference, you have an interesting concept of infinity, which can be really bad.”
As the album comes to a close with the acoustic “Sleep,” the character decides that instead of taking part of the chaos, he’d rather sacrifice himself.  But there is light at the end of this dark, emotional journey. “The secret track, ‘Afterparty,’ is where he finds peace and freedom. It’s his homecoming. He’s on the other side of it now and has found his version of Heaven,” says Morton.
It’s this level of intricacy in Typhoon’s storytelling and musicianship that has helped Typhoon become one of indie rock’s most revered bands. Their previous album, White Lighter, hit No. 2 on Billboard’s Heatseekers Album Chart and got Best of The Year nods from NPR and Paste. Typhoon has brought their, at times, 11-piece live show on the road alongside indie rock peers The Decemberists, Portugal the Man and Grouplove, and sold out major clubs and venues across America.
Adds Morton of Offerings, “I kind of wanted to make a dystopian record. If it’s nothing else, it’s that. If I could write my own one-line review, I’d think I’d want people to say, ‘It’s disturbing and unfortunately correct.”

Follow Typhoon // Facebook // Twitter // Pre-order ‘Offerings