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Willy Mason is returning on tour to Europe in 2025. Since 2020 Willy has been touring with increasing regularity, steadily honing his live sound and playing. His band includes Charlotte Anne Dole on drums (Cymbals Eat Guitars, Hammydown, Cult Objects, Empty Country) and Farley Glavin on bass (The Lemonheads, Killer Motorcycle). The trio have a tight and dynamic sound that allow them to easily move between all phases of Willy’s catalogue faithfully, with high energy and care. Willy has been steadily adding new songs to his shows. He is currently in the studio working on new recordings for an album. 

Willy’s dark yet uplifting songs have endured and evolved for two decades. He is in yet another new phase, emboldened and galvanized by experience. This tour and accompanying album will be a culmination of his post pandemic work. 

“I want to provide people with places where they can emote and move freely, in safety. To feel connected with each other and experience the strength in that. Performance allows me to create and inhabit these places.” Willy Mason

“A lot of my new songs seem to be about love and perseverance. I’ve come to realize that songs can have the ability to conjure things, so I think this is a good thing.” Willy Mason

Age restriction: 14+ / 14 - 16s accompanied by an adult

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GHOSTWOMAN itself only exists because Uschenko and van Dessel were the ones “stupid enough to commit to it”. Conceived by Uschenko after cutting his teeth as a touring multi-instrumentalist, the project was brought to life in an abandoned farmhouse in Diamond City, Alberta. There, for two months, he would make the self-released, self-titled debut album which was produced and dubbed directly to custom-made cassette tapes. The music has always been beautifully inhospitable, earned only by those curious enough to seek it out.

GHOSTWOMAN became a head-on collision between the switchblade rust of his guitars and her caustic drum beats which march them on toward a shared oblivion.
Welcome to the Civilized World is an album to be a pure distillation of their shared vision. From its earliest sketch to its final form, the only people to touch it were GHOSTWOMAN themselves.

Musically, GHOSTWOMAN are a sharper beast than ever: hypnotic spells of psych-grunge, decaying Americana and instrumental locked-horns. Uschenko, who presides over the vocals, insists they are not important. Much of the lyrics are nonsense, not written as much as abstractly sketched to feel out the shape of the music itself – but even in Uschenko’s dream grammar, the force and feeling are no less potent. 

The band’s process is intuitive rather than calculated; sounds are made in a chain reaction to one another. “5 Gold Pieces”, with its filthy guitars and snarling, livewire vocals was recorded as a test after they bought a tape machine. The first shot is often the best, and that test is what you hear today. Everything they used to record is gone. “We buy old equipment or instruments which have a bunch of life and soul in it until we’ve used it all up, and then sell it again so we can buy something else,” explains Van Dessel.

Welcome to the Civilized World is not concerned with making music for an audience, not for the music industry and not for any particular point other than the thrill of it. Nothing matters, we are all doomed, the sun will swallow the earth and our efforts turn to dust anyway. The band will continue to play as the ship goes down.

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For the last 20 years, for The Lovely Eggs being in a band is a way of life. It’s about art. It’s about creativity and expression. It’s about following your own path and doing things your own way. 

To celebrate two decades of operating on their own terms- spewing out music, records, art and television shows the cult band will mark their 20th anniversary with a very special show in Birmingham.

“You’ve got to hand it to The Lovely Eggs over 20 years and still making, distributing and promoting their music completely independently. In today’ climate, that’s no mean feat. It’s something to be fucking applauded.”- Rough Trade

Operating in a world when true authenticity is hard to find, The Lovely Eggs are one of the most exciting, innovative and genuine bands around. Welcome to their world. Welcome to Eggland. 

Don’t miss the chance to celebrate 20 years with the Eggs plus very special guests at The Castle and Falcon in Birmingham on Wednesday 29th October. The last time they were at this venue it sold out, so get your tickets now!

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For Chartreuse, the rural Icelandic studio Flóki served as a refuge in a myriad of ways. Set in a secluded location on the northern tip of the island, a five-hour drive from Reykjavík, the Black Country band’s two-week stay here in the summer of 2024 was one of escape, connection and understanding. They returned home with a special, urgent and necessary new album, Bless You & Be Well.

The band’s debut album, 2023’s Morning Ritual, introduced a group that swerved the traditional tropes of indie-rock bands, instead using their instruments and innovative production techniques in unusual and thrilling ways. “We’ve always almost been anti-band,” the group’s guitarist and singer Mike Wagstaff says. “Whenever we hear something that sounds familiar, we try to fuck it up in some way. ‘It can’t sound like that, it sounds too real!’”

The four-piece are intimately interconnected – brothers Mike (guitar, vocals) and Rory Wagstaff (drums) are joined by Rory’s long-term partner Hattie Wilson (piano, vocals) and Hattie’s childhood friend Perry Lovering (bass) – and on album two, they lean into this unmistakable chemistry and towards sounds and rhythms they had previously shunned. Working with an external producer for the first time in Sam Petts-Davies (The Smile), Mike handed over the production reins and relished slotting back into the band as one part of the puzzle. As Petts-Davies, a calm and easy-going antidote to the band’s self-declared perfectionists, told them: “You are a band and this is how you sound, so let’s just run with it.”

Mike explains this new and revelatory creative relationship: “It’s not that we were loose with it; it was more about not letting ourselves talk our way out of decisions or second-guess choices we were making in the moment. If it sounded good, it stayed. If it didn’t feel right, we tried something else. That was the ethos we shared with Sam when making many of the creative choices for the tracks.”

The idea of being a proper, true band was particularly vital to the members at the time of recording. When heading to Iceland, Lovering was grieving the recent death of his father, while Wilson had just found out that she needed surgery aged 29 after years of pain in her hips. After the recording was finished, she had derotational femoral osteotomy surgery and has since been on crutches and re-learning to walk properly again.

“You could feel it in the air,” Hattie says of the context and heaviness the members brought with them to the recording, naturally leading the album to touch on these themes, singing both about themselves and each other. At the same time, it provided an opportunity to forget about it all and find a refuge through which to dive into creativity and playfulness.

Perry adds: “If there was even a sliver of reality or some normal life going on, it would have ended up being a bit more of a reminder of everything and harder to cut off. It was like being in a simulation – nothing else really mattered from the real world.”

Only a band as strongly connected for so many years could create such a space for each other in order to disappear into this album together. Hattie says: “To have those bonds within the band is really special and we can naturally pick up on each other's cues. I don't know if it would

work with any other people, or if we would be able to be totally ourselves or as accepting of each other or what anyone's going through.”

In Bless You & Be Well, Chartreuse have made an album inevitably affected by these happenings, but one that shines a light on the power of finding a sanctuary amongst the struggle, through community, friendship, creativity and being in a band. It’s fitting, then, that – after initial hesitation and with some nudges from Petts-Davies – the quartet lock into an irresistible musical groove across the album that embraces their make-up as a band and truly excels.

Whether it’s using criss-crossing guitars reminiscent of Radiohead or earthier acoustic tones, there’s a gorgeous musical alchemy that defines Bless You & Be Well. With ideas of perfection taking a back seat at Petts-Davies’ direction, album highlights ‘Kid Won’t Eat’ and ‘More’ are delightfully rough around the edges, adding bite and grit to songs that thrive on energy and intensity above all.

Lead single ‘Sequence of Voices’ is the best example of the band as an interconnected and united force, crashing forwards in what Mike describes as “an explosion of outward feeling”. A song about the freedom and rush when finally no longer holding in your anxieties, it feels like a true breakthrough. On ‘Fold’, Hattie takes the band to a slower tempo as she sings of trying to hold things together in a relationship when either party hits rocky times.

Elsewhere, ‘Fixin’’ sees Mike find solace in insignificance, while Hattie’s feelings around her imminent surgery and recovery are laid out on the gorgeous ‘I’m Losing It’. ‘Offerings’, meanwhile, sees Hattie reflecting on the pain of those around her but ultimately landing on “the overwhelming feeling that life is a gift”.

While informed by struggle and grief, Bless You & Be Well isn’t an album defined by it. Instead, it’s a window through which to understand both yourself and those around you better and more deeply. It also affirms the power of something as seemingly trivial as being in a band, and of music as a way to understand and move through life.

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Upchuck is a five piece band from Atlanta, formed from connections made in skateboarding, construction, and teenage delinquency. The band is made up of lead guitarist Mikey, Rhythm guitarist- Hoff, bassist- Armando, drummer- Chris, and vocalist- KT- who combined are inventively raucous and revolutionary. Shortly after the release of their debut album Sense Yourself, Upchuck embarked upon a break-neck string of live shows, touring alongside the likes of Fuzz, Amyl and the Sniffers, Negative Approach, OFF!, and Subhumans. For the next step, Upchuck absconded to Southern California to record Bite the Hand That Feeds, enlisting the production talents of Ty Segall and the airy reprieve of his secluded Topanga Canyon home studio. Upchuck credits Segall, who recorded the entire record live to tape over the span of five days, with helping to elevate the arrangements of their second record to bold new heights—fans of Segall’s extensive catalog will undoubtedly recognize the shadow of his creative touch in Bite the Hand That Feeds’ commanding, layered drum polyrhythms, tasteful use of oddball effects, and fuzzed out, every-guitar-pushed-into-the-red ethos.

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They’re the UK's most charismatic band, their live shows a spiritual experience uniting the crowd in free-flow jams of uncategorisable music. Think post-punk meets free jazz, with lyrics, rooted in rap, that are all about the message. Add the hair-raising sonics of ruthless breakbeats, gnarly guitar loops, transcendent sax and flourishes of psychedelic bass and you have Maruja: this is force-of-nature music, born from a place of spirituality and protest, with a deep four-way friendship at its core.

Their reach is international – beloved of BBC 6 Music, they've just stormed SXSW, Sold out their first ever North American tour. Having played 24 countries in 2024, this May they will be hitting Japan and China.

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With two stunning alt-country / indie rock EPs (2022’s Sleep Country and 2023’s I Don’t Like My Chances On The Outside), childhood friends Christie Gardner and Helen Dixon proved themselves a new duo with something special going on. As lilo, their songs reflected the life of twenty-somethings in and out of love and luck, with this human element perfectly weighted alongside their arresting harmonies and rich instrumentation.

While informed by a deep understanding and love of folk music, with references to Karen Dalton and Julie Collins a regular occurrence, their music is also modern, in line with the likes of Julia Jacklin, Laura Marling and Mitski. They say they like to give their songs “a poppier lean” because “We want to have fun and try not to think too much about genre. We just write what we feel makes sense for the sentiment of each song.”

Signed to Dalliance Recordings (Francis of Delirium, HighSchool, Gia Margaret, Rowena Wise), 2025 will finally see the release of their brilliant debut album, ‘Blood Ties’. A title that reflects the pair’s enduring bond after years spent together, the inspiration for its making came after a turbulent summer they both endured; “At the time, it felt like we just couldn’t catch a break, it was just one disaster after another,” Helen says.

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Fievel Is Glauque is an international band led by bandleader and pianist Zach Phillips (US), singer Ma Clément (Belgium), and a rotating cast of musicians spread across the globe. Their sophomore album and label debut on Fat Possum Rong Weicknes was released on October 25th 2024. It is a live album recorded as an octet consisting of three live takes (no click track) collaged together.

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Mac DeMarco is a Canadian self-produced multi-instrumentalist, songwriter, and recording artist. Raised in Edmonton, Alberta, and currently residing in Los Angeles, California.

AGE RESTRICTION: STALLS *STANDING* 14+ / BALC 8-14 W18+

Under 14s must be accompanied by an adult over 18 at all times.

Security – Bag Policy:
Large bags including rucksacks are not allowed. There are no facilities to leave large bags or luggage. If you really have to bring a bag – and it’s preferable you don’t, please make sure it’s small.
Only one small bag per person is permitted and it must not be bigger than A4 size.
Height: 28.7cm
Width: 21cm
Depth 15cm

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THIS IS TMRW PRESENTS
SUN NOV 9TH
CENTRALA

INTERNATIONAL DAY AGAINST FASCISM & ANTISEMITISM
WITH

TRUCK VIOLENCE (CANADA)
+ SUPPORTS

ALL PROFITS DONATED TO KINGS HEATH ACTION FOR REFUGEES

DOORS: 4PM - 8PM
TICKETS: £10 DONATION RECOMMENDED

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In 2023, Jessica Dobson found herself at a creative crossroads in a Los Angeles studio. The band's recording session had ground to a halt, Dobson felt disconnected, overwhelmed by doubt and retreated without an album. This moment would become the catalyst for their most transformative work yet. "Billboard Heart," the band's fourth album and first for Sub Pop, emerged from this period of uncertainty. The journey began with their previous album, "Impossible Weight," which earned them a spot on the Billboard charts. Dobson began second-guessing her creative instincts, becoming increasingly concerned with potential reception rather than the intrinsic strength of her musical ideas. A pivotal moment came when Dobson sat at the piano with her partner and drummer Peter Mansen nearby. In that single sitting, they wrote "See in the Dark"—a song about holding onto personal visions despite their potential fragility. After a brief respite, Dobson connected with longtime collaborator Andy Park, admitting she needed help. This vulnerability became a turning point. The band began experimenting with recording techniques, particularly at home, capturing guitars and vocals in their basement studio. "Billboard Heart" reflects this journey of rediscovery. The title track becomes a metaphorical centerpiece—an anthem of fearless forward momentum. "Billboard Heart" represents more than just an album—it's a personal statement of resilience.

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Nightbus are a brooding, cinematic two-piece blending post-punk, trip-hop, and late-night electronica into something dark, hypnotic and unmistakably their own. Formed in Manchester UK in 2023, their music captures the anxious beauty of city life after hours—dripping in atmosphere, bass-heavy and emotionally raw. With haunting vocals, reverb-soaked guitars, and minimalist beats, they echo the ghosts of The Knife, Portishead, early Cure, Chromatics and the XX, all while carving out a space all their own. 

The early demos caught the ears of tastemaker label and magazine So Young, who released two 7"s from the band (one in 2023 and another in 2024) both selling out. With champions at BBC R1 and 6 Music, The Guardian, NME, The Fader, Brooklyn Vegan, The Line Of Best Fit, Dummy, DIY + Dork supporting the singles. 

Underground shows followed leading to festival appearances at Left Of The Dial, Blue Dot, Manchester Psychfest and Float Along, headline shows at Supersonic in Paris, Manchester and London and support shows with Rock Action signings Bdrmm across the whole of UK.

Nightbus release their debut album 'Passenger' on Melodic records, October 2025.

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Will Anderson believes in true love—as both concept and catalyst, aspiration and inspiration. During his 34 years, the Hotline TNT founder and architect has found such love perhaps half-a-dozen times. Each instance has prompted some enormous swing of commitment, like a cross-country move or simply being honest about his budding attraction. It is a hopeful and vulnerable way to exist, a way to ensure maximum bruising during the fall of the breakup. And so far for Anderson, that is how it has always ended, whether the air has slowly seeped out of some once-full balloon or whether it has simply popped, those expanded feelings expelled in an instant.This tension is the brain, blood, and beating heart of Cartwheel, Hotline TNT’s second LP and an endlessly romantic testament to reaching for something that slips forever out of grasp. The byproduct of Anderson’s decades-long quest to pin down the surging sound long in his head, Hotline TNT has come to notice in the last four years through loose association with a feverish surge of shoegaze revivalism. And Hotline TNT indeed trucks in the touchstones you might expect: skywriting guitars that bathe in fluorescent hazes of distortion, blown-out drums that pound as though they’re trying to escape a concrete box, and honeyed vocals that try to rise above the chaotic mess in true-to-life mimesis.

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Like their name suggests, Model/Actriz seek to channel raw emotions into striking new forms. The band’s surface glamor is supported by nerves of steel, leveraging their focus into moments of wild abandon. Since their songs roar to life off the back of blistering guitar, relentless drums, and pummeling bass there’s an expectation that Model/Actriz aim first and foremost to be shit-starters. But their instrumental muscle couches a searching heart and the Brooklyn quartet have long made a mission to reconcile undefinable feelings by charting a ferocious new path through sound, one that brings jagged emotions back into full, sweaty alignment with the listeners’ bodies.

Their debut record Dogsbody was sexy, dark, and humid, full of eerie passages and veiled menace. Songs like “Amaranth” and “Mosquito” were hot house scenes cast in foreboding half-shadow, with frontman Cole Haden as the hero at the center of its shifting, sultry gloom. The figure he cut was reassuring and ominous, both an experienced guide who could light up the music’s dim corridors and a haunting presence who was inextricably bound to them. The lyrics found him fumbling around in its darkness to become the person he is today – scarred, but made stronger in pursuit of its seduction.

Model/Actriz’s sophomore album Pirouette, which was co-produced and mixed by Seth Manchester and mastered by Matt Colton, their collaborators on Dogsbody, swerves out of the maze and directly into the spotlight. It is Dogsbody’s equally accomplished, but much more self-possessed sister record – thumping and immediate rather than dark and obscure. The light it casts off originates from within, and reflects a band that’s not only grown into its strengths but conquered its demons. Haden no longer vamps from the shadows but at the very front of the stage – and often in the very thick of the crowd– commanding the music’s chaotic center with a poise that channels Grace Jones and Lady Gaga.

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Sunshine and Balance Beams, Pile’s ninth album, is a Sisyphean fable concerned with labor and living. To write it,singer Rick Maguire inhabited “a dark place,” wrestling with the concept that there is no enlightenment, no end to suffering. Maguire explores workaholism, the myth of meritocracy, and acceptance of mortality—all through a devilish allegory of trudging through a shadowy forest towards the uncertain dream of a bright clearing.

Pile wrestles with existential and social contradictions by evoking sonic in-betweens. The music exists somewhere in the temporary equilibrium of light and shadow, chaos and order. Heated rain-like guitars,shifting drums that pave sinuous roads in sound and pace, eerie synths, and aqueous strings add to a panoramic production of loud-quiet dynamism matching the emotionality of the band’s thunderous performances.

The group also favored freewheeling performances that would animate the storytelling, while enlisting a string section (violins, viola, cello) to perform incandescent, through-composed arrangements co-written by cellist Eden Rayz and Pile.They drew inspiration from cinema and opera scores by Chopin, Bernard Herrmann, and Ralph Vaughan Williams, lending Sunshine a larger-than-life sound that intensifies Pile’s blistering realizations of some of their most accessible songwriting to date. The recording is a noticeable leap in production value, and centers Maguire’s vocals in new and exciting ways. Pile traveled to Pawtucket, RI for two weeks of tracking at Machines with Magnets with longtime engineer Miranda Serra (Kal Marks, Kira McSpice).

The album was mixed by Seth Manchester(Lightning Bolt, Mdou Moctar), and Mastered by Matt Colton (Aphex Twin, Swans, Muse).Sunshine and Balance Beams is Pile’s first album for Chicago’s Sooper Records. 

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As The Horrors approach their 20th anniversary as a band, Night Life sees them shapeshift into a new form, with a new sonic outlook and a new line up centred around the core duo of vocalist Faris Badwan and bassist Rhys Webb, now joined by Amelia Kidd on keys and Telegram’s Jordan Cook on drums, making the new album the band’s first to not feature all 5 original members. 

Night Life is a record of weight and space, of melancholy and euphoria; a record that has the ability to make bedfellows of seemingly disparate ideas as only The Horrors can. The ‘Night Life’ here is not the vim and vigour of pubs and clubs. It’s the thoughts that happen under the cover of darkness; the places your mind takes you when the rest of the world is asleep. A record born out of a desire to revive the raw, instinctive spirit of the band’s early work.

The Horrors are set to play a series of instore dates across the UK this month, including a packed-out Banquet Records at Pryzm last night, and Rough Trade East today on album release day. These shows come ahead of a string of Spanish and Portuguese dates. Full live date details can be found below.

After nearly 20 years making music, there are few bands who’ve created a canon as determinedly innovative and consistently critically-acclaimed as The Horrors. Emerging as zeitgeist-shaking garage-goths on their 2007 debut ‘Strange House’, before taking a sharp left turn for their Mercury-nominated follow up ‘Primary Colours’, since the beginning they’ve roamed freely between genres. 2011’s ‘Skying’ won the NME Award for Best Album; ‘V’ was heralded as “a triumph” in a five-star Guardian review, while 2021’s pair of EPs - ‘Lout’ and ‘Against The Blade’ - marked a new chapter with their most industrial, uncompromising output yet.

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Lambrini Girls have released their long-awaited debut album Who Let The Dogs Out via City Slang. With their record in-stores starting today, most of which are sold-out, and a UK April headline tour, which are also almost sold-out, they have now announced their return to the US to follow after.

Already gracing the covers of DIY, NME, Kerrang! Magazine, NOTION, and features with the likes of Variety, The Line Of Best Fit, BBC Radio 1, and more to come, the Brighton-based duo of Phoebe Lunny (vocals/guitar) and Lilly Macieira (bass) have spent the last few years on a tear in more ways than one.

Who Let The Dogs Out bottles everything wrong with the modern world and shakes it up. If peppering political songs with humour is like sticking a sparkler in some bread, then their debut is like a fireworks display in the factory itself: strange, dangerous, exciting, and it rips through a laundry list of social ills.

“You know how Fleetwood Mac almost dedicated Rumours to their cocaine dealer? I think we should dedicate this album to all the booze we bought at Tesco.”

Praise for Lambrini Girls:

"…you see the sense of community they can foster in just 30 minutes.” Rolling Stone UK (Wide Awake Festival)

“Lambrini Girls were built for a place like Glastonbury.” DORK (Glastonbury Festival)

“They don’t yet have an album to their name, but believe us when we say Lambrini Girls are a festival must-watch.“ Kerrang! Magazine (Reading Festival)

“Lambrini Girls’ draw an enormous Far Out crowd with their razor-sharp punk and impassioned inter-song speeches.” CLASH Magazine (Green Man)

“an as-expected riotous late-night show” DIY (End Of The Road)

“Lambrini Girls aren’t afraid to piss people off” Variety Magazine

Age restriction: 14+ / 14 - 16s accompanied by an adult

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There’s nothing more resonant than the human voice. It contains timbres and textures no other instrument can replicate, but most importantly, it’s immensely powerful: One voice can spark an uprising, but many voices in unison create a movement. Nya Gazelle Brown, Sabrina Cunningham, and Piya Malik, the three women who front NYC punk-chic, discodelic band Say She She, understand how to wield such power. They soar above irresistible grooves, locking together in gorgeous three-part harmonies that cleverly disguise the feeling of righteous rebellion permeating their music. Theirs is a multi-pronged call to action: Move your body, expand your mind, and recognize your strength. 

Say She She, whose name pays homage to Nile Rodgers, made Cut & Rewind, their third record, almost immediately after wrapping the tours supporting 2023’s Silver. The band’s trajectory has skyrocketed over the past few years, earning praise from The Guardian, the LA Times, MOJO, and NPR, and touring with Thee Sacred Souls. They have performed at venues like the Hollywood Bowl in Los Angeles and the Roundhouse in London, as well as festivals including Glastonbury, Austin City Limits, and Pickathon. They’ve long mined the sounds of the '70s and '80s, citing Minnie Riperton, Rotary Connection, Liquid Liquid, and ESG as influences. Cut & Rewind expands their scope, incorporating elements of Lonnie Liston Smith and the Lijadu Sisters into their sonic palette while channeling the spirit of contemporaries like Lambrini Girls and Amyl and the Sniffers. It all combines into a psychedelic soundscape of pulsing disco beats, astral whistle tones, and earwormy melodies.

Over a couple of short, intense sessions, Brown, Cunningham, and Malik gathered with their rhythm section, Dan Hastie, Sam Halterman, Dale Jennings, and Sergio Rios—all members of cult funk band Orgone—at Rios’s North Hollywood studio, Killion Sound. Say She She’s writing practice is an exercise in presence, as each of the three channels their front-of-mind thoughts and feelings into cathartic transmissions. There’s an element of spontaneity at play, informed by the players’ affinity for The Meters-style jamming and the studio discipline of Booker T and The M.G.’s, as well as Malik’s time in a post-punk improv band with Liquid Liquid’s Sal Principato. “The writing room is very free,” says Brown. “We’re able to just be, and fully express ourselves.” They’d write a song and record it that day, cutting the instrumental to tape no more than three times, choosing their favorite take, and immediately laying vocals. To preserve that raw, spur-of-the-moment vibe, they stick to a hard and fast rule: “We never record anything that we can’t recreate live,” explains Malik. “It’s the same thing when the three of us are up on stage that happens in the studio.”

Each of the 12 tracks on Cut & Rewind crackles with palpable energy, practically daring you to keep your head and hips still. The cosmic boogie of “Chapters” ripples out into the ether, while the no-wave throb of “Shop Boy” glides like rollerskates through a warehouse loft. The silky “Under the Sun,” written in solidarity with the 2023 Writers Guild of America strikes, shines like a sun flare in a camera lens. The three vocalists deftly weave around each other, sometimes creating an interlocking rhythmic lattice (part of a technique they’ve dubbed the “Say She She sigh”), sometimes coalescing in a heavenly triad. But a politically charged undercurrent buzzes beneath the lush, strobing sonics, giving these jams an added heft. In a time of political turmoil where community is more necessary than ever, Say She She offers a particular salve: protest music dressed up as a sweat-dripping, body-moving, consciousness-raising good time.

“She Who Dares” is a simmering slice of psych-funk that imagines a near-future dystopia wherein women’s rights have been decimated globally. The group started writing the piece as a way to exorcize a notably insulting male interaction, but it morphed into a more universal, fist-raised anthem. It starts with Cunningham’s voice filtered through a megaphone, explaining how hundreds of thousands of women have suddenly been imprisoned across the world. “It feels scary, setting a Handmaid’s Tale tone,” explains Cunningham, “but ultimately, it’s meant to be empowering for other women.” The song doesn’t linger in fear; instead, it seizes and becomes that megaphone, issuing a chant of encouragement to keep up the good fight.

Early album highlight “Disco Life,” whose unbreakable beat and shimmying tambourine live up to the name, is one of Cut & Rewind’s most overtly political cuts. It examines the 1979 “Disco Demolition Night” at Comiskey Stadium in Chicago, a publicity event-turned-riot organized by shock jock Steve Dahl. Attendees were encouraged to bring a disco record in exchange for cheap admission, which Dahl would then burn in a dumpster—already an implicit attack on a genre fronted by Black people, queer people, and women—but the crowd brought and destroyed anything made by Black musicians. The lyrics decry the event’s racism and homophobia, understanding that the roots of the riot still linger. Say She She knows a better world is possible, and uses “Disco Life” to manifest “a playing field where all are free.”

Cut & Rewind is Say She She at their most vital, both outside of time and profoundly of the now. It urges us to stay present and attentive to the challenges we must endure, but offers a way to recharge our collective battery. It’s a shimmering, celebratory epic, equally suited for the dancefloor and the demonstration.

Security – Bag Policy

Large bags – including rucksacks are not allowed.

There are no facilities to leave large bags or luggage.

If you really have to bring a bag – and it’s preferable you don’t – please make sure it’s small.

Only one small bag per person is permitted and it must not be bigger than A4 size.

Height: 28.7cm

Width: 21cm

Depth 15cm

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Emerging from the concrete paradise of Birmingham UK in 2010, VICTORIES AT SEA blend driving electronic hooks, expansive reverberating guitars, and brooding lyricism into a dynamic soundscape. Having been championed by the likes of the NME, The Guardian, BBC Introducing and Radio X’s John Kennedy, 2015 saw the band release their debut album ‘Everything Forever ‘now a cool ten years old and still sounding fresh.

Their acclaimed second album ‘Everybody’s Lost and All I Want Is to Leave’ was released in 2020. The band have since been steadily working on new music whilst performing intermittently live at only a handful of select shows. 

With influences that range from Echo & The Bunnymen, New Order and Slowdive, the band has built a solid live reputation particularly in the UK and Europe having toured extensively themselves. This show in December 2025 sees the band readying for 2026 with glimmers of new material amidst a back catalogue now of 2 albums and 2 EPs strong.  

Press:

“A cinematic soundscape of intense proportions” – The Line of Best Fit

“A band equally at home fusing post-rock orchestrations or off kilter electronic elements with effects laden guitars, a masterful work” – Drowned In Sound

“Victories At Sea have steadily, patiently been evolving into something quite entrancing.” – Clash Magazine

"Birmingham has a band here to be proud of" - NME

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The Bug Club are back, again, for their annual appointment at the garage rock makers’ market, where they’re flogging yet another pedigree record. 

LP number four, Very Human Features, arrives June 13th, hot on the heels of the band’s first Sub Pop release, 2024’s On the Intricate Inner Workings of the System. That record saw the band continue their love affair with BBC Radio 6, start up a new one with KEXP thanks to a session with them, and crop up in the pages of the NME. Anything else from the bucket list? Oh yeah, festival slots including packing home ground Green Man’s Walled Garden to its non-existent rafters. Then shows across the US in those venues us Brits tend to hear about and that’s as far as we get. This record gives the band an excuse to continue their never-ending tour and feed their baying fans, engorged and expectant thanks to this band’s relentless record-releasing hot streak, a new batch of typically playful, riff-laden, smart Bug Club Tunes.

But first, a standalone single, because that’s how things are done here. “Have you ever been to Wales?”, asks the band in “Have U Ever Been 2 Wales.” If not, why not? It’s good. A new, discordant national anthem, if they didn’t already have a decent harmonious one. Oh, to be from a country where national pride is something other than the mark of a tosser. Starting as a classic, chugging chantalong, it’s interrupted by what sounds like an alien choir before they let rip. Think Dinosaur Jr. with a job at the tourist board. And Welsh. Definitely Welsh (read more at Sub Pop).

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Founded in Falmouth, Cornwall by songwriter and producer Benjamin Woods, The Golden Dregs released two albums in quick succession—Lafayette (2018) and Hope Is For The Hopeless (2019)—before signing to 4AD for 2023’s On Grace & Dignity.

With a love of storytelling delivered in a lulling baritone often compared to Leonard Cohen and Bill Callahan, Woods’ music blends sardonic wit with existential unease. As The Line of Best Fit put it, The Golden Dregs sound like “a soundtrack to happy hour in some smoke-ridden edge-of-town bar.”

Now based in South London, Woods launched his own label, Joy of Life International, in 2024—a fiercely independent home for ambitious, artist-led work. The label’s ethos reflects the spirit of Godspeed, The Golden Dregs’ fourth album, released in April 2025: a record that explores stasis and adventure, dread and defiance, through collaborative arrangements and vivid, storm-laced imagery.

The Joy of Life Revue brings this ethos to the stage. Featuring very special guest Dana Gavanski, the tour is a celebration of kindred spirits and DIY community—a traveling showcase of songwriting, solidarity, and strange beauty.

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In a world still shaken by online misogyny and narrow ideas of femininity, The Pill are the defiant, irreverent voice Gen Z punk has been waiting for. Formed by Lily Hutchings (vocals/guitar) and Lottie Massey (vocals/bass), the Isle of Wight duo have spent the past few years honing their riotous blend of satire, sarcasm, and spitfire punk into something entirely their own. Now, they’re ready to unleash it with the release of their self-titled debut EP, a sold-out UK headline tour, and a run of shows with Green Day, The Hives, Panic Shack, HotWax, plus appearances at over 30 UK and European festivals throughout 2025.

 What began as a joke, a fake band dreamed up after school, has evolved into one of the most exciting new acts in British punk. The Pill’s sharp commentary and sub-two-minute bangers are turning heads across the with influences from The Slits and Beastie Boys, to the fearless attitude of Amy Winehouse. Their music lands hard both sonically and thematically.

 “We’re really thankful to the female musicians who were angry and aggressive before us,” says Lottie. “They made it possible for us to take this approach, to say what we want, how we want.”

 From their debut single ‘Bale of Hay,’ a tongue-in-cheek takedown of the “dumb blonde” stereotype, to recent track ‘POSH,’ which gleefully skewers the internet’s obsession with class-based commentary, The Pill’s lyrics are as cutting as they are clever. Their debut EP also features fan favourites like ‘Money Mullet,’ which dissects the upper-class spin on punk fashion, and ‘Scaffolding Man,’ a brutally honest, and darkly funny, portrait of intrusive male behaviour and the everyday indignities of womanhood.

 As their profile grows, so does the backlash, mostly from angry men online. But for Lily and Lottie, the trolls only prove the point.

“If you’re getting that kind of reaction, it probably means you’re doing something right,” says Lottie. “They’ve missed the whole point, and that makes it even funnier,” adds Lily.

 Humour and friendship are The Pill’s lifeblood. Best friends for more than a decade, their on- and off-stage chemistry is infectious, finishing each other’s sentences, laughing through interviews, and turning shared frustrations into feminist anthems. Whether they’re reclaiming insults, satirising stereotypes, or dressing up “like little ladies” to play furious punk, they refuse to conform.

 “There’s no rule that says women can’t be feminine and punk,” says Lily. “Guys, I just want to dress up and play my angry songs.”

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Formed in 1995, The Dears released their first, ultra lo-fi album, End of a Hollywood Bedtime Story, in 2000. The orchestral, dark pop sound and dramatic live shows cemented The Dears at the foundation of the then-emerging Canadian indie-rock renaissance. Their live show was described as “the sonic equivalent of seeing the face of god.” In 2001 and 2002, they released two separate concept EPs Orchestral Pop Noir Romantique and Protest, respectively. In 2003 they released their second full-length album No Cities Left in Canada, and a string of highly anticipated shows at SXSW ‘04 prompted the international release of No Cities Left with Bella Union. Their 3rd album, Gang of Losers, came in 2006, was well received by the press, and was shortlisted for the Polaris Music Prize. In 2008, the band released Missiles, followed by Degeneration Street (2011), Times Infinity Volume One (2015), Times Infinity Volume Two (2017), and Lovers Rock (2020). In 2024 The Dears partnered with Outside Music/Next Door Records and in the spring of 2025 completed their 9th studio album, release details forthcoming!

The Dears have toured the world over, including performances on Letterman (twofold), Jimmy Kimmel, Jonathan Ross and at Glastonbury, T in the Park, Wireless, Montreal Jazz Fest, Siren Festival, Coachella, Austin City Limits, V Fest, Reading and Leeds, Les Inrocks (France), Montreux Jazz Fest, Istanbul Jazz Fest, Pop Montreal, CMW, NXNE and countless appearances at SXSW. They have shared stages with Spiritualized, Broken Social Scene, Daniel Lanois, Rufus Wainwright, Zemfira, Bloc Party, Keane, Morrissey, The Tragically Hip, Metric and Death From Above, to name a few.

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After the runaway success of their debut album Terrapath, which cemented their status as the stewards of the UK's prog-rock scene, Plantoid have returned with their sophomore release: the enigmatic, arresting, and at times downright catchy Flare. Staying true to the band's math-rock roots, the album is awash in heavy, reverberated guitar licks, tempo changes, and mind-altering chord progressions-all while expanding Plantoid's signature sound towards new horizons, like wall-of-sound shoegaze and vocal-forward rock-pop. It does what all second albums do best; retain the core DNA that set its predecessor apart from the fray, yet evolve enough to excite old fans and new listeners alike.

"While making Flare, we did knowingly acknowledge that our sound had been very erratic," explains drummer Louis Bradshaw, who along with vocalist/guitarist Chloe Spence and lead guitarist Tom Coyne, make up the nucleus of Plantoid. "We never stayed on anything for too long. Before going into writing this album we wanted to slightly redefine what we were doing-it's less directly proggy. It strays from that sound a bit, while retaining that character."

If you're here for the time changes, long track durations, and jazzy mid-song freakouts, don't you worry, you'll still find plenty across the album's nine sprawling tracks. It's just that Plantoid have been able to tap into something deeper, more lived-in. With the help of producer/sometimes live member Nathan Ridley, who has helped the band craft their sonic identity since Terrapath, they've sought to indulge their groovier side, dissecting their songs further and letting their ingredients properly ferment into something new. "We wanted to sit in the music for a while, make a mood out of it rather than like changing it up so quickly," says Chloe. "We wanted to see ideas to their fullest extent."

There was a circumstantial element to this artistic evolution, as well as a creative one. After spending a solid year gigging in support of Terrapath, the band needed time away from the hustle and bustle to properly focus on their next chapter. This refuge came in the form of a writing retreat in Anglesey, Wales, where their label were able to set them up with [XX] Laurie [XX] who gave them full use of this converted studio. Under the (actually, quite prog-rock-sounding) Snowdonia mountains, the band were able to fully let loose and reconnect.

"We were at this beautiful place called Penhesgyn Hall," says Tom."We didn't intend to actually record the album there, but we loved it so much. There wasn't really much gear there, but the room itself is amazing." It's in this environment where the majority of the songs on Flare were conceived, during insular jam sessions that went late into the night. "We'd never really done that as a band before," explains Chloe. "We ended up writing and tracking pretty much a song a day-we'd have so much material. That's how we ended up with "Splatter": we were like, 'Well, we've done everything, let's try something new.'"

"Splatter" is one of the most innovative tracks on Flare, no less because Plantoid challenged themselves to write a track that was less than three minutes-something they'd never done before. It sounds raucous and off-kilter, Chloe's soprano register streaming through crunchy, wet guitar riffs and an itchy drum beat shuffling along at light speed. In a way, it stands in opposition to one of Flare's focus tracks, "Ultivatum Cultivatum", which is more classic Plantoid: Chloe and Tom's guitars languidly swirl around each other while her vocals recall the dreampop landscapes of bands like Cocteau Twins and Beach House. Both tracks are flipsides of the same coin, showcasing both the heaviness and intricate musicality that has become the band's calling card.

While Plantoid being a slightly different flavor to each one of Flare's tracks, it's perhaps lead single "Dozer" that is able to encapsulate the group's ethos as a whole. Six blistering minutes of labyrinthine math-rock, "Dozer" shifts from frenetic, pulsing riffs to subdued, experimental breakdowns and back again, gleefully throwing out the rulebook while anchoring the album's listening experience.

"It just kind of came together really quickly, and we instantly knew it was going to be a single," says Louis of the experience of writing "Dozer". "We're massive fans of Can and Neu! and all of those German krautrock bands, and wanted to do something similar to that, but with a really heavy, rhythmic hook. We wanted to really elongate the groove and really nail down on that motoric feeling. But that's also how we tackled everything with the album, it's all birthed from jams that we chipped away, glued together, and restructured."

On tracks like "The Weaver" and album closer "Daisy Chains", Chloe's vocals take center stage like never before. Plantoid have always been a band that have been able to create vast worlds through their instrumentation and production choices-on these tracks, a renewed focus on lyricism adds yet another layer. "When I was writing "The Weaver", I kept thinking of an animation of a little frog or mouse going on a really big journey, one that's bigger than itself," describes Chloe. "With that came this idea that the character in it was really squeaky and tiny, which kind of is where my vocal tonality came from, because this thing is innocent and going on a little humble journey-but then things start going wrong." Making space for Chloe's vocal experimentations was crucial in bringing the universe of Flare to life. "When we're writing the music comes quite quick and natural for us, but then it can be like, 'Shit, are you meant to sing over that?" laughs Tom. "A lot of these new songs were shaped around the vocals, which I think is a key feature to the progression of our sound."

And progress, clearly, is the name of Plantoid's game. Not just in terms of progressive rock, but leaning into the urge of always pushing forward, always discovering something new, excavating the layers and layers of stratified sediment between them until only a gleaming, polished stone remains. It's this dedication to the expansion of their craft that makes them both endlessly fascinating, and one of those most intensely imaginative rock bands in the UK today.

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Mermaid Chunky are an audio visual duo made up of artists Freya Tate and Moina Moin. Bathing in milkmaid serenity and improvised chaos, the duo boast of pumping trance rhythms, sad Easter time chicks and seriously arousing sax solos. Catching their live performances may cause havoc on your retinas as they are often accompanied by euphoric sculptural visuals and an entourage of sweating puppy's in frills.

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Like a sweet spring breeze after a long, cruel winter, Cory Hanson’s blowing through town again. And like the wind, I Love People comes from parts unknown. Need a ride? Long as you’re ready to find yourself wherever it dies down, jump on! Despite all the complications of life here in Central Casting 2025, Cory and the boys are happier than ever to be playing music at its most beautiful for ALL the people: eminent hipsters bellied up to the bar alongside the ropers, riders and all the other jokers for whom freedom’s just another word for nothing left to lose or do. Followers of Cory’s twin arcs as solo singer and Wand member will be intrigued to learn that the lineup here is the same band that recorded last year’s Vertigo. Yep, Wand — their Masters of Unbounded Space robes traded in for Wrecking Crew trucker’s caps, as they reel out licks both tasty and smooth, like chopsmeisters of yore. That’s Robbie Cody co-producing behind the desk, Evan Backer playing bass and arranging strings and horns, Evan Burrows on drums and percussion and Cory on piano, guitars and voices and songs.

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Originally recorded in a friend’s kitchen, their debut album, Music to Practice Safe Sex To, earned a fan in Paramore's Hayley Williams. Pool Kids' 2022 self-titled record netted wide critical acclaim with its lush, high-contrast mixture of pop, emo, and math rock. Over the past few years they've shared stages with The Mountain Goats, PUP, Beach Bunny, and La Dispute.

Throughout their rapid artistic growth, they've held fast to the principles of their DIY origins and have earned over 24 Million global streams across their catalog. At their shows, they hammer home the message that anyone can do what Pool Kids do. Anyone can start a band. Anyone can make a record. Everyone deserves to chase their dream.

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Monster Florence have always operated on the edge of genre, blending hip-hop, punk, and anything that fits the moment into something uniquely their own. Their last album, Master System, earned critical acclaim for its barbed lyricism and dark, cinematic atmosphere, capturing the anxieties of the digital age. Since then, the six-piece from Colchester has taken their explosive live show across two UK tours and their first European tour. Now, with their new EP, Petty Cash, they push their sound even further. A currency for the careless, Petty Cash captures the thrill of fleeting pleasures. The EP moves through the highs and lows of excess and aftermath. It's the sound of nights that blur together, moments that slip through your fingers, and the echoes they leave behind. With Petty Cash marking another evolution, Monster Florence step into the year ahead, ready to defy expectations all over again.

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congratulations are a hall of mirrors party troop. they are devils and tarts in equal measure. they lock their horns and then spin round and round and round until dizzy cacophony erupts. sugarcane hooks vs. slaughterhouse screams. taut, fizzing guitars & caustic electronics nipping at the heels of huge fuzz bass & booming percussive grooves. leah is the green one. jamie is dressed in blue. greg's red, james is yellow. they're here to move you.

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A pollyanna is defined as an excessively cheerful or optimistic person. For it to be the title and inspiration of the opening track and lead single from Just Mustard's third album, WE WERE JUST HERE, signals a Damascene moment for the Dundalk five-piece. Across their first two albums - 2018's Wednesday and Partisan Records debut Heart Under from 2022 - the Irish band had become masters at creating haunting noise rock, Katie Ball's bewitching vocals swirling amongst the sounds like smoke.

Heart Under, defined by a maelstrom of dark industrial noise and dreamy textures, explored themes of grief and longing, with imagery of being submerged deep underwater and gasping for air. On the remarkable WE WERE JUST HERE, the band reemerges, leaning towards the light and the rush of euphoria.

Across these 10 tracks, the band's signature elements are still intact: guitars that are warped beyond recognition, twisted sound design that draws from the luminary world of Aphex Twin and cavernous low ends. Guitarists David Noonan and Mete Kalyoncuoğlu continue to take their instruments to wild and unrecognizable places, while the rhythm section of bassist Robert Hodgers Clarke and drummer Shane Maguire bring thudding sub bass and clattering percussion respectively. This time though, it's all been channeled into a warmer and more anthemic path, opening up a new dimension of sound for the band.

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On 9th January 2026, Dry Cleaning will return with Secret Love, the group's third studio album, produced by Cate Le Bon. Today, they share its first single, 'Hit My Head All Day'.

Secret Love is the finest expression yet of the profound friendships that created Dry Cleaning, between frontperson Florence Shaw, guitarist Tom Dowse, drummer Nick Buxton and bassist Lewis Maynard.Here, the south London four-piece take their place in rock's avant garde, catalysing the Reaganite paranoia of early 80s US punk and hardcore with the dry strut of Keith Richards, stoner rock, dystopian degradation, playful no wave and pastoral fingerpicking, while Florence's delivery, meticulously calibrated to her bandmates' soundscapes, asserts her in a lineage of spoken-word artists stretching from Laurie Anderson to Life Without Buildings' Sue Tompkins.

The follow-up to Stumpwork started life in Peckham rehearsal spaces, all four members writing, playing and responding to each other in the room: in Dry Cleaning, music and lyrics form an inseparable, generative whole. Secret Love evolved through affirming sessions at Jeff Tweedy's Chicago studio the Loft and explosive ones with Gilla Band's Alan Duggan and Daniel Fox at Sonic Studios in Dublin, taking advantage of the sonic particulars of each space, and finally with Cate Le Bon at Black Box in the Loire Valley. After interviewing various potential producers, they picked Cate - an esteemed solo artist who has also made albums for Deerhunter, Devendra Banhart, Wilco and Horsegirl - for her unabashed positivity and openness. "Being in a room with them and hearing that vitality and life force that exists between them all, it's such a unique expression," she says.

Trust is Secret Love's guiding theme, as signified by compulsively catchy 'Hit My Head All Day' which opens the album. Powered by pistons of breathy synths and cresting arcs of guitar, Florence's signature mix of absurdism and sensitivity, "The song is about manipulation of the body and mind. The lyrics were initially inspired by the use of misinformation on social media by the far right. There are powerful people that seek to influence our behaviour for their own gain; to buy certain things, to vote a certain way. I find it hard to read people's intentions and decide who to trust, even in everyday life. It's easy to fall under the influence of a sinister stranger who seems like a friend.

We took a playful approach to the song. At one point it had harmonica on it instead of a vocal. At the demo stage we were inspired by There's a Riot Goin' On by Sly and the Family Stone."

Secret Love is released on 9th January 2026 and will be available digitally, on CD, cassette, black vinyl, limited edition Apricot vinyl (4AD store & indie retail) and Pearl/Arctic vinyl (Rough Trade exclusive). An exclusive run of white labels of Secret Love will be available to order for 48 hours only from today via the 4AD store, and a small quantity of JCD's will be available exclusively on Bandcamp. A limited number of signed photo prints will also be available via the 4AD and indie stores.

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Lorelle Meets The Obsolete is the sonic partnership of Lorena Quintanilla and Alberto González, a duo originally from Guadalajara, Mexico, now based in Ensenada, Baja California. Since forming in 2011, they have forged a reputation as one of Latin America's most vital and visionary acts-drifting from heavy psych into post-punk, noise, avant-pop, and electronic minimalism.

Their early albums On Welfare and Corruptible Faces caught the attention of the international psych scene, leading to their signing with UK label Sonic Cathedral in 2013. From there, Lorelle Meets The Obsolete embarked on over a decade of relentless touring across Mexico, the US, UK, and Europe, performing at festivals including LEVITATION, SXSW, Liverpool Psych Fest, NRMAL, and Hipnosis.

Over the years, their sound has morphed dramatically. From the hazy, swirling textures of Chambers and Balance, to the raw experimentalism of De Facto-which landed at #5 on Piccadilly Records' Albums of the Year-the band has continuously pushed forward. Their sixth album Datura (2023) marked a radical shift: a concise, bass-driven post-punk statement that earned critical acclaim and placed #18 on Rolling Stone's Best Spanish-Language Albums of the Year.

Lorelle's collaborators over the years have included Emma Anderson (Lush), Pye Corner Audio, and Dälek, and their music has won admiration from icons like Iggy Pop and Henry Rollins. They've recorded live sessions for BBC Radio 6 (Marc Riley) and KEXP, further cementing their cult status.

With lyrics that navigate the turmoil of modern life-cultural colonialism, political tension, sleepless nights, and emotional unrest-Lorelle Meets The Obsolete balance venture with confrontation. Their live shows are intense, incendiary experiences, driven by catharsis, distortion, and defiance.