“‘Why Don’t You Believe in Me’ is all slow-motion strut, with a solid rhythm section anchoring the piano flourishes and flashes of brass.” - Best New Track Pitchfork

Following the news that she’ll be releasing her debut self-titled album on 26 January 2015 via SpacebombNatalie Prass has announced details of her first UK show at The Lexington on 27 January. ‘Why Don’t You Believe In Me’ – the latest track to emerge from Natalie Prass - has been richly received; a gutsy soul-pop tune that grabbed everyone’s attention with its distinctly Matthew E. White guitars and funky horns.

Listen to ’Why Don’t You Believe In Me’ here: https://soundcloud.com/spacebomb/natalie-prass-why-dont-you-believe-in-me/


For those on Natalie’s mailing list, a pre-sale will be taking place on Friday 21 November at 4pm. Sign up for that here: http://natalieprassmusic.com/

Tickets go on general sale Monday 24 November at 4pm and can be purchased here: http://www.seetickets.com/Event/natalie-prass/the-lexington/831067



The deluxe edition of Angel Olsen’s excellent Burn Your Fire for No Witnessis out now via Jagjaguwar. After recently sharing two of the deluxe edition’s bonus songs, ‘All Right Now’ and ‘May As Well’, Angel now reminds us of one of the many ways in which Burn Your Fire for No Witness is so special via a video directed by Rick Alverson for the album’s powerful closer, ’Windows’. In describing her and Rick’s work together, Angel says, “I gave him total freedom to set the tone and I wanted only to be present within it. I wanted to make something cinematic and forward, and I believe he did that here.”



Angel Olsen online:

Praise for Angel Olsen:
“Her second album is one of those records that hypnotises as it unfurls” The Observer ‘Album of the Week’ 
“An understated sincerity that burns directly to the heart” The Telegraph 5/5
“The sublime Burn …is testament that Olsen’s philosophy of self-belief pays off” 9/10 NME 
“As compelling a case for the singer-songwriter’s art as we have heard in ages” Sunday Times 
“The hypnotic sounds of Angel Olsen’s voice is the runaway star of this, her second album. Listening to this record feels like gorging yourself; I just want to consume it” ‘Album of the Week’ 4.5/5 Artrocker 
“This superb second album does indeed make a dramatic leap forward – vaulting straight from promise to its stringent, unarguable realisation” 4/5 Mojo
Burn Your Fire for No Witness confirms the St Louis singer-songwriter’s arrival as a major new voice” Uncut 
“I wonder if you’ll hear a more urgent and wonderful record than Burn Your Fire for No Witness this year?” Monocle
“More flawless than ever” 8/10 Loud & Quiet
“Treating heavy weather with an impressive lightness of touch” 4/5 Q
“Exceptional voice” 4/5 The Times 
“A voice that’s all kinds of beautiful: sometimes bruised and sweet, sometimes fierce and blazing” 4/5 Time Out
“A rather fine voice that hovers between the ethereal and the belting” 4/5 Evening Standard
“She could be singing The Birdy Song and it would be sad. It would probably sound lovely too” 4/5 The Guardian 
“White Fire breathes the same thickened air as Leonard Cohen’s ‘Famous Blue Raincoat’ but never suffers by comparison. High praise that” 4/5 Independent on Sunday 
“Like its riddling title, this album leaves us wanting to find out more” 4/5 The FT 
“4/5” The Sun 
“4/5” The Mirror 
“An album of true beauty” 4/5 The Skinny 
“Always vivid and often affecting” 4/5 DIY Magazine 
“It’s the perfect soundtrack to the blooming of this year’s first snowdrops” Dazed & Confused 
“Glorious, pensive intensity” London in Stereo
“Progression is a great thing to hear in any artist’s work, and there’s plenty of that to the largely excellent Burn Your Fire for No Witness” The Quietus
“Angel’s lyrics cut through bullshit with laconic wit and rough directness, giving an inroad into existential discussion that doesn’t feel forced, pretentious or entirely hyperbolic” 9/10 The 405 
“In an age marred by insincerity and guardedness, she brings a frankness to her songwriting that immediately sets her apart from her contemporaries” 8.5/10 ‘Album of The Week’ The Line of Best Fit 
“Powerful” 8/10 Drowned in Sound
“Devastation has never sounded so beautiful” Gold Flake Paint 
Burn Your Fire for No Witness conjures the past without ever imitating it, swirling its influences into something intimate, impressionistic and new” 8.3 Pitchfork

The inimitable Nadine Shah has announced her return with the majestic rush-of-a-track ‘Stealing Cars’. Following the critically acclaimed debut album Love Your Dum and Mad in 2013, opening for Bat for Lashes and Depeche Mode and playing live for Vivienne Westwood’s Red label London Fashion Week show, her new single is a statement of intent – 2015 could be hers for the taking.

‘Stealing Cars’ is a yearning, tender yet billowing thing of smoky wonder. A heady mix of clattering percussion, serrated guitar lines, minimal yet addictive piano refrains, and those all-important enigmatic vocals; it will be ringing in your ears for days.

Check ‘Stealing Cars’ here: https://soundcloud.com/nadineshah/stealing-cars-radio-edit/s-TdQLR

The track was once again recorded at The Pool in London with Peter Jobson(I am Kloot), Nick Webb and Ben Hillier – who oversaw production duties.

‘Stealing Cars’ is out now via Apollo and is available to purchase via iTunes here: https://itunes.apple.com/gb/album/stealing-cars-single/id941099075

A full album will follow in early 2015.


Praise for Nadine Shah:
Love Your Dum and Mad is astonishingly coherent’ Sunday Times ‘Album of the Week’
‘It’s utterly magnetic. There are few albums that will make you experience so many emotions concurrently, and even fewer that will still give you chills hours later’ 8/10 ‘Album of the Week’ The Line of Best Fit
‘An assured launch of a career that will provoke and explore in the style of Bjork or PJ Harvey’ ‘Stand Out Album’ 4/5 Daily Mirror
‘Cosy and cataclysmic all at the same time, this is one of the most compelling expressions of Great British gothic since Morrissey made a date at the cemetery gates’ 4/5 Time Out 
‘Subtle electronics and the creation of desolate, 3-D spaces is the icing on a seductively ruined cake’ 8/10 Uncut
‘A piercingly direct seduction of the senses’ 4/5 Mojo
‘The voice of a goddess’ 4/5 Evening Standard
‘Nadine Shah’s voice is a revelation’ 4/5 The Skinny
‘A dark, delicious masterpiece’ Diva
‘An album that beguiles and bruises at every turn’ DIY
‘An extraordinarily delectable noise to behold’ London in Stereo
‘Shah is clearly going to be around for some time’ 7.4/10 ‘Record of the Day’ Bowlegs
‘Expect her to be next year’s critics’ darling’ The Independent

‘Her dark tales of lust, loss and vengeance bring to mind Broken English-era Marianne Faithfull and are due belated critical acclaim’ The Guardian
(Love Your Dum and Mad) retains a dynamism through Shah’s magnetic voice’ 7.9 Pitchfork

 José González will release his first solo album in seven years, Vestiges & Claws on 16 Feb 2015 via Peacefrog Records.

Watch the album trailer here: https://www.youtube.com/watch?v=e_jQ-C7F_2w&list=UUOxQXnxLdxQjvu9FHk1jsdQ

“Every age has its turn / Every branch of the tree has to learn/ Learn to grow, find its way / Make the best of this short-lived stay” José González

It’s the quiet ones we should watch, they always say. Which is particularly astute advice right now, when loud, constant self-declaration and saturated “brand” visibility have become the norm. But above the babble and brightness, some voices will always speak quiet volumes – with calm eloquence and the kind of certitude that comes from valuing the playing out, not just the prize.

Sweden’s José González is just such a voice. He first charmed his way into the UK’s earshot via the murmurous and elegant, classically finger-picked folk pop of his 2005 album, Veneer, which has since sold over a staggering 430, 000 copies in UK alone. Two years later came In Our Nature, a further exploration of José’s influences (Argentinian Folklore, the ’60s US folk tradition and the British pastoral folk-pop style of the same era), on which he resisted the temptation to beef up his alluringly introvert aesthetic. The albums made the UK Top 10 and Top 20 respectively.

It may be seven years since he released a solo record, but José has been anything but idle in that time. He’s delivered two albums with the bandJunip, his more fulsome, electronic-edged, pop project and has toured with both the Berlin/Göteborg String Theory orchestra (in 2011), co-performing 11 reworking’s of his songs, Sidi Touré and played with Malian desert blues troupe Tinariwen (both in 2012). In 2013, Hollywood came calling when Ben Stiller commissioned José to work with Theodore Shapiro on the soundtrack to his remake of ‘The Secret Life of Walter Mitty’ and most recently, he’s contributed his version of ‘This is How We Walk On the Moon’ to the Red Hot charity compilation honouring Arthur Russell. Community and collaboration are obviously satisfying in their own ways, but now José is again stepping centre stage solo, with Vestiges & Claws.

Conceived as the natural third part in an acoustic trilogy, Vestiges & Claws is a(nother) hushed and delicate solo set that forefronts the artist and guitarist’s compellingly intimate vocal style and intricate playing technique, but it’s often strikingly rhythmic in nature and cohere’s perfectly, with hand claps and taps on the body of his instrument underlining the songs’ mantric rise-and-fall pattern, while elsewhere, over-dubbed guitar parts and multi-tracked vocal harmonies entwine to sweetly immersive effect.

The title refers to both cultural practices and biological features that survive despite having lost their original function, and to currently useful tools, ie the “claws” of modern life.

Vestiges & Claws was recorded almost entirely by José and self-produced, mostly in his Gothenburg home, using computer plug-ins to achieve a warm, analogue sound. He prefers working alone, mainly for artistic reasons. “There were a couple of things that enabled me to complete this record: one was curiosity, to be able to play percussion and do a lot of harmonies and also to produce and mix the album; the other was aesthetics. I love to listen to Arthur Russell and Shuggie Otis, to music that has been done mostly by one person in their solitary state.”

As José sees it, the record is his personal, “zoomed-out eye on humanity on a small, pale blue dot in a cold, sparse and unfriendly space. The amazing fact that we are all here, an attempt at encouraging us to understand ourselves and to make the best of the one life we know we have – after birth and before death.”

Vestiges & Claws Tracklist: With The Ink Of A Ghost / Let It Carry You / Stories We Build. Stories We/ Tell / The Forest / Leaf Off/The Cave / Every Age / What Will / Vissel / Afterglow / Open Book

Vestiges & Claws Pre-order:

Watch New Video For Stunning Album Opener ’5AM’ Here: https://www.youtube.com/watch?v=dv4WMjh6E4I

Praise for Black Hours
‘Excellent solo LP’ Q
‘Leithauser’s voice is that of a passionate, but reasonable man; his songs projecting an intelligent, emotional veracity’ 8/10 Uncut
‘You can bet your hat he won’t be overlooked this time’ 4/5 Mojo
‘An album as big in heart as it is in ideas’ 4/5 DIY
‘Effortless and timeless’ 4/5 The Sun
‘8/10’ Loud & Quiet

Hamilton Leithauser has unveiled the video for new single ‘5AM’, which is out on 8 December through Ribbon Music/Domino. The track is lifted from his debut solo album Black Hours and is the arguable highlight. It finds Leithauser at his most moving and unabashed. It’s directed by Tristan Patterson whose debut feature Dragon Slayer won the title of Best Documentary at the 2011 SXSW Film Festival.

The brooding and cinematic video, reminiscent of Bruce Weber’s Let’s Get Lost and the works of David Lynch, can be viewed here: https://www.youtube.com/watch?v=dv4WMjh6E4I

In the darkest part of February 2013, Leithauser took a warbly, meandering piano recording sent from New Orleans by fellow-Walkmen member Paul Maroon and began composing the song that would become Black Hours’ opener, ‘5AM’. As he himself states “I wanted to write something that never repeats, that keeps changing. The strings, the lyrics, and the melody all came at the exact same time, line-by-line. Each one drove the other forward, and I had no idea where it was going. I didn’t know if it was rock ‘n’ roll or what…I only knew that it definitely wasn’t rock ‘n’ roll as I’d come to play it.”

Following turns at Green Man and End of the Road (w/ The Gene Clark No Other Band), Leithauser returns to London to support Spoon at Shepherds Bush Empire and will also hit the road as a duo around the UK.

Hamilton Leithauser will be playing the following dates:

Fri 7 Nov London, Shepherds Bush Empire (Support to Spoon)
Sat 8 Nov Manchester, Night and Day
Tues 11 Nov Leeds, Wardrobe
Wed 12 Nov Edinburgh, Electric Circus


Wildbirds & Peacedrums stream new album Rhythm in full ahead of its release via Leaf Label on 3 November.

“Crackling with energy, intent and fire, this is a wilful, wild and wonderful record; easily their best” Monocle

The formidable new Wildbirds & Peacedrums album Rhythm is now available to stream on Spotify UK ahead of its release next week. Fear not if you are from distant shores, you can also stream the album worldwide via Bandcamp.


Wildbirds will be all over your radio on 6 November, as Rhythm has been selected as BBC 6 Music’s ‘Album Of The Day’. The have also just added an instore performance at Rough Trade East in London on 13 November. This precedes their first full live in the UK for four years at Village Underground on 14 November [Tickets].

Rhythm is released 3 November and is available to pre-order from Bandcamp and the Leaf store on CD, digital and limited edition vinyl LP + CD.

Watch recent video ‘Keep Some Hope’ here:https://www.youtube.com/watch?v=Epm_tGrsQXs

Press quotes:
“Live, they gain an animalistic intensity… Fantastic” 5/5 The Guardian
“Beautifully imaginative… magnificent” 8.3 Pitchfork
“Seriously stripped-down and unexpectedly intoxicating” The Observer
“Their most emotionally satisfying work yet… Rivers is a record that will haunt you long after you’ve heard it” 4/5 Mojo
“They just about trump White Stripes for stripped-down raw power” Music Week
“Great natural pop” NME
“Hauntingly intense” Q
“At times it’s hard to believe the majesty and racket is the work of but two musicians, such is the impact they have… incredible” Drowned in Sound
“Astonishing, disturbing, beautiful stuff” Time Out
“Shimmers like rivers at dusk” 4/5 Uncut

“The new name to drop in alt-rock circles” The Guardian

Ahead of his first ever visit outside of the US this November, which includes an already sold-out headline show at London’s Sebright Arms, the anticipation for Philadelphia native Alex G’s gritty and lo-fi-tinged music has been building. So much so that he’s booked his next run of UK dates for this coming March – set to take in Brighton, Bristol, London and more.

UK Tour Dates 2014
Mon 17 Nov London, Rough Trade East
Tues 18 Nov Manchester, Sound Control (w/ Ought)
Wed 19 Nov London, Sebright Arms SOLD OUT

2015 –NEW!
Sun 1 March Brighton, Green Door Store Tickets
Mon 2 March Bristol, The Cube Tickets
Tues 3 March London, Chat’s Palace Tickets
Thurs 5 March Manchester, Soup Kitchen Tickets
Fri 6 March Glasgow, Broadcast Tickets
Sat 7 March Leeds, Brudenell Social Club Tickets

Though only 21 years of age, DSU is Alex G‘s fifth album. “I have been making music for as long as I can remember. My older brother is a talented musician and, as a kid, I would take after him by playing the keyboard. I always preferred writing my own music to learning other people’s work,” says Alex, which may go some way to explaining the volume of original material that exists. All recorded at home, almost exclusively solo, and, until recently, all self-released and available only via Bandcamp; the volume of his work online – combined with its vitality – has helped build a fervent cult fan base.

DSU is due, on all formats, on 10 November. Pre-order here:
Physical -http://smarturl.it/dsu-p
Digital – http://smarturl.it/dsu-d

WATCH THE ‘HOLLOW’ VIDEO: https://www.youtube.com/watch?v=Zuu44Ka9TEY

Praise for DSU
“Music so immensely personal, it’s hard to believe you’re even capable of comprehending the majority of what you’re hearing.” CMJ
DSU is a homespun gem from virtually out of nowhere” Consequence of Sound
“Idiosyncratic sketches each capable of wending its way to a distinct place into the hearts of anyone” Pitchfork
“The Internet’s Secret Best Songwriter” FADER
“It has the potential to be one of the defining American indie records” The Quietus
“Everyone who comes into contact with him seems to fall in love” The 405


Having quietly charmed audiences stateside whilst touring in her own right and as part of Jenny Lewis‘ band, Natalie Prass has announced the release date for her self-titled debut album. Natalie Prass is due out on 26 January 2015 via Spacebomb Records.

Filled with funky horns and gutsy – distinctly Matthew E. White – guitars lines, lead track ‘Why Don’t You Believe Me’ can be streamed here: https://soundcloud.com/spacebomb/natalie-prass-why-dont-you-believe-in-me

Artist: Natalie Prass
Title: Natalie Prass album
Release Date: 26 January 2015
Label: Spacebomb / Caroline International
Format: LP/Digital/CD
Cat Number: SB006
Website: natalieprassmusic.com

Spacebomb is proud to share the vibrant, effortless vision of 28-year-old Nashville singer Natalie Prass. Forged in collaboration between artist and community, Natalie’s self-titled debut (due out 26 January 2015) arrives fully-formed with an incredibly assured, rich and deeply soulful sound – one built upon her tender yet golden voice and the lightning-in-a-bottle chemistry she shares with the Spacebomb collective.

Born in Cleveland, Natalie entered the teenage slipstream back on the east coast, past the haunted houses, surf shops, and burger joints of Virginia Beach; a mid-tier, rough-around-the-edges resort town. After a brief stint in the cold throws of Boston’s prestigious music school Berklee, she moved out to Nashville where she has spent the last few years honing her craft, charming audiences; both in her own right supporting the likes of Angel Olsen and on tour as part of Jenny Lewis‘s band.

When the time came to realise her first full length, Natalie returned to those Virginia sands to work with Spacebomb and one time high-school rock band mate Matthew E. White (whose own album Big Inner was praised to the rafters back in 2013). And so – soaked with the same sweet perspiration and studio spirit that ran through Memphis, New Orleans and Muscle Shoals – Spacebomb’s incredibly talented arrangers and in-house musicians began spinning the history of pop into a glowing new tapestry.

The sheer quality of her voice – capable of soaring highs and sweeping lows; vulnerable one minute, fiery and muscular the next – and songwriting gave those collaborators a freedom to push themselves and their craft to the limit. Trey Pollard’s gorgeous, technicolor strings rise from the coastal plain; White’s muscular horn signatures driving and complicating the dance; the peripatetic, delicious piano of Daniel Clarke (k.d. lang, Ryan Adams); everything locked down to the rhythm section of Cameron Ralston whilst Pinson Chanselle rides a Curtom indebted groove.

Nourished by reverence for past eras of big band and jazz, the flutter of Cole Porter, the poise of Philly soul orchestras and infused with the crisp detail of late 70’s/early 80’s R&B; Natalie Prass is a unassuming, soul-pop triumph from the off.

Album opener ‘My Baby Don’t Understand Me’ tells you almost everything you need to know about what is to follow: Unapologetically romantic lyrics swell as the horns sashay into fanfare, the emotional heft and arrangements get impossibly larger but never lose their groove. ‘Bird of Prey’ continues this thread; its silky propulsive beat balancing an infectious hook with calmly observed feelings, as flutes dive and weave between muted horns and rolling piano keys.

By the album’s third track ‘Your Fool’ you can almost trace the stages of Natalie’s rejection; her voice shot through by strength, sinew and just a hint of transient grit – each inflection planned to cut into the deep soulful bass lines and resilient drums. ‘Your Fool’ is revisited later with added handclaps and horn stabs for album closer ‘Reprise’, which doffs its cap towards ‘By The Time I Get To Phoenix’ – Natalie even played in front of a poster of Isaac Hayes at Nashville’s storied Ryman Theatre.

Funky horns, a gutsy – distinctly Matthew E. White – guitar line and murmuring flutes in ‘Why Don’t You Believe In Me’ connect with the song’s wry internal monologue as needles of feedback penetrate the mix in counterpoint to the controlled elegance. The ghost of Harry Nilsson shows up in a sentimental mood to close the album with the graceful ‘It Is You’; Natalie channelling his memory through colourful fields of sound and Pollard distilling the strings to their highest intoxicating proof before it all ends – as it began – with a moment of quiet dissonance.

Natalie Prass is an exercise in perfectly balanced compositions – slowly building tension and release whilst laying out the bittersweet perversities and pleasures of love in studied contrast. It’s modern and classic, gorgeous and resonant, infectious and utterly engaging. Natalie is a beguiling performer and cunning pop composer whose old-soul energy marks her out as one for the moment and one for the ages.

Caribou scores #8 in the UK Album Charts with Our Love, out now via City Slang.

Following an electrifying sold out show at London’s Koko last week (“Compelling and unstoppable” 4/5 The Independent4/5 The Guardian5/5 The Times) Caribou scored their first UK Top 10 with brand new album Our Love. Reaching No.8 in the Official Charts on Sunday, the record not only represents the highest chart entry for Caribou but for City Slang as well.

Our Love is out now via City Slang. You can grab a copy here!

Watch the video for recent single and title track Our Love here:https://www.youtube.com/watch?v=IMwgcRByA8Y

Caribou is out on tour now, a full list of dates can be found below.

Praise for Our Love

“This is rich, strange, endlessly fascinating music: a subtle, beautiful triumph”5/5 The Guardian
“One more reason to admire this underrated maestro – he’s made one of the most glorious and addictive albums of the year” 5/5 Time Out
“Another modern-day classic to add to Caribou’s formidable catalogue” 17/20 Crack
“Wholly life-affirming” 9/10 ‘Album of the Week’ The Line of Best Fit
“Dan Snaith’s most profound and accomplished piece of work to date” 9/10 ‘Album of The Month’ Mixmag
“Earnest, evocative but most of all emotive, Our Love will be yours too” 9/10 DJ
“The Canadian producer’s thrilling album ties together over a decade’s worth of sonic kicks” 9/10 ‘Album of The Week’ NME
“A subtle, supple navigation of love’s extreme’s; the deeper you dive, the more it reveals” 4/5 ‘Album of the Week’ Independent on Sunday
“The whole thing is perfectly poised between the intimacy of that melancholy vocal and the sharp focus of the synths” ‘Album of The Week’ Dummy
‘9/10’ Uncut 
‘4/5’ The Telegraph
’4/5′ The Times
‘4/5’ Evening Standard
‘4/5’ FT 
’4/5′ Record Collector
’4/5′ DIY
“This beautiful, open-hearted album explores every one of its title’s implications, wrapping both the blessed and the lost in its generous embrace”4/5 Q
“Irresistibly immersive” 4/5 Mojo
Our Love is the Caribou album that best defines the tension between his electronic explorations and pop sensibilities” 4/5 FACT
“The fine line between euphoria and melancholy is negotiated brilliantly” 4/5 The Observer
Our Love is a hot contender for 2014’s Most Irresistible Dance Record” 4/5 Metro
“Another immersive electronic triumph” Shortlist
Our Love is another striking step forward” 8/10 Loud & Quiet
“Holds in abundance all the hallmarks of a master” 8/10 Drowned in Sound
“This is something to be played over and over, around those you love, and those you may come to” 8/10 Clash
“It’s a smart, attentive, demanding progression that deftly captures various stages of love’s cycle” 4.5/5 Music OHM
“Deliberate, thoughtful and sophisticated” 8/10 The 405
“The magic of Snaith’s songs is not just that they’re clever, not just that they have such a direct effect on the nervous system, but that they reveal intellectual achievement, bodily pleasure and social interaction as utterly inseparable” 4/5 The Arts Desk
“Only Hot Chip blend tender electronic pop and head-spinning house music with as much imagination and generosity of spirit as Dan Snaith” GQ
“As every bit as eclectic, danceable, odd, populist and clever as its predecessor … it’s the work of a musician who has grown into his sound only to absorb a whole new palette of sonic possibilities along the way” London in Stereo
9/10 ‘Album of The Month’ Future Music

Caribou Worldwide Dates:
Oct 14 Berghain, Berlin, DE * SOLD OUT
Oct 15 Conne Island, Leipzig, DE *
Oct 16 Meet Factory, Prague, CZ *
Oct 17 A38, Budapest, HU *
Oct 18 Electronic Beats @ TMuseumsquartier, Vienna, AT * SOLD OUT
Oct 19 Muffathalle, Munich, DE *
Oct 20 Komplex 457, Zurich, CH *
Oct 21 Transbordeur, Lyon, FR *
Oct 22 Aeronef, Lille, FR *
Oct 23 Liverpool Music Week @ Camp & Furnace, Liverpool, UK *
Oct 24 Simple Things Festival @ Motion, Bristol, UK * SOLD OUT
Oct 31 The Warehouse Project, Manchester, UK * SOLD OUT
Nov 1 Pitchfork Festival Paris, Paris, FR * SOLD OUT
Nov 5 Vicar Street, Dublin, IE * SOLD OUT
Nov 6 Razzmatazz, Barcelona, ES *
Nov 7 Alfa MiTo Club To Club, Turin, IT *
Nov 8 Iceland Airwaves, Reykjavik, IS *
Nov 10 Metropolis, Montreal, QC * UPGRADED TO BIGGER VENUE
Nov 11 Paradise, Boston, MA *
Nov 12 Webster Hall, New York City, NY * SOLD OUT
Nov 13 Union Transfer, Philadelphia, PA *
Nov 14 Webster Hall, New York City, NY * EXTRA DATE ADDED
Nov 15 Black Cat, Washington, DC *
Nov 16 Cat’s Cradle, Carrboro, NC *
Nov 17 Terminal West, Atlanta, GA *
Nov 18 The Social, Orlando, FL *
Nov 19 Grand Central, Miami, FL *
Nov 20 Club Downunder, Tallahassee, FL *
Nov 21 One Eyed Jacks, New Orleans, LA *
Nov 22 Fitzgeralds, Houston, TX *
Nov 23 The Mohawk, Austin, TX *
Nov 24 Danforth Music Hall, Toronto, ON * SOLD OUT
Jan 31 Laneway Festival, Brisbane, Australia
Feb 1 Laneway Festival, Sydney, Australia
Feb 6 Laneway Festival, Adelaide, Australia
Feb 7 Laneway Festival, Melbourne, Australia
Feb 8 Laneway Festival, Fremantle, Australia
Feb 27 The Fonda Theatre, Los Angeles, CA EXTRA DATE ADDED
Feb 28 The Fonda Theatre, Los Angeles, CA SOLD OUT
Mar 1 The Fillmore, SF, CA
Mar 3 Wonder Ballroom, Portland, OR
Mar 4 The Showbox, Seattle, WA
Mar 5 Commodore Ballroom, Vancouver, BC
Mar 10 AB, Brussels, BE
Mar 11 Olympia, Paris, FR
Mar 12 Columbiahalle, Berlin, DE
Mar 14 Brixton Academy, London, UK
* support from Jessy Lanza

Watch ‘Keep Some Hope’ right now.

Having revealed the second single from their forthcoming album Rhythm last week, Wildbirds & Peacedrums now offer up the accompanying visuals.

‘Keep Some Hope’ is a direct and impassioned plea for stability in uncertain times; an urgent personal mantra built on powerful, martial rhythms that sees Swedish husband and wife duo Mariam Wallentin and Andreas Werliin return to their drums and vocal blueprint with devastating emotional effect.

An unsettling, otherworldly video by Anders Malmberg was shot in the Edenic forests of eastern Denmark, it sees Mariam and Andreas reconnecting with nature, hinting at passion and conflict, beauty and temptation.

“‘Keep Some Hope’ is our take on a classic soul song,” Mariam explains, “A body in a sea of despair. We cling onto each other, holding hard to what is still steady. It is sprung from the turbulent times we live in. The chaos in the world and the speed of everything. Fighting to stay above the surface.”

Rhythm is released on November 3 via The Leaf Label.

Pre-order the album and get instant downloads of ‘Keep Some Hope’ and previous track ‘The Offbeat’ now: wildbirdsandpeacedrums.bandcamp.com/album/rhythm

Artist: Wildbirds & Peacedrums
Title: Rhythm Album
Label: The Leaf Label
Release Date: 3 November 2014
Formats: Limited Edition LP / CD / Digital
Cat No: BAY 94V / BAY 94CD / BAY 94E
Web: Website | Label | Facebook | Twitter

Full Tour Dates
Tue 4 Nov – Kägelbanan, Stockholm, SWEDEN
Wed 5 Nov – Blå, Oslo, NORWAY
Thu 6 Nov – Pustervik, Göteborg, SWEDEN
Fri 7 Nov – Jazzhouse, Copenhagen, DENMARK
Sat 8 Nov – Kampnagel, Hamburg, GERMANY
Sun 9 Nov – Grüner Salon, Berlin, GERMANY
Tue 11 Nov – Paradiso, Amsterdam, NETHERLANDS
Wed 12 Nov – Witloofbar, Brussels, BELGIUM
Fri 14 Nov – Village Underground, London, UK [Tickets]
Sat 15 Nov – EXIT07, Luxembourg, LUXEMBOURG
Mon 17 Nov – Espace B, Paris, FRANCE
Tue 18 Nov – Le Ciel, Grenoble, FRANCE
Wed 19 Nov – Biko, Milano, ITALY
Thu 20 Nov – Südpol, Luzern, SWITZERLAND
Fri 21 Nov – Saint Ghetto Festival, Bern, SWITZERLAND
Sat 22 Nov – Hafen 2, Offenbach, GERMANY
Sun 23 Nov – Le Guess Who?, Utrecht, NETHERLANDS

Press quotes:
“Live, they gain an animalistic intensity… Fantastic” 5/5 The Guardian
“Beautifully imaginative… magnificent” 8.3 Pitchfork
“Seriously stripped-down and unexpectedly intoxicating” The Observer
“Their most emotionally satisfying work yet… Rivers is a record that will haunt you long after you’ve heard it” 4/5 Mojo
“They just about trump White Stripes for stripped-down raw power” Music Week
“Great natural pop” NME
“Hauntingly intense” Q
“At times it’s hard to believe the majesty and racket is the work of but two musicians, such is the impact they have… incredible” Drowned in Sound
“Astonishing, disturbing, beautiful stuff” Time Out
“Shimmers like rivers at dusk” 4/5 Uncut