Dark Psychedelic Garage Punk Band from Vancouver, Canada. 

Selected Quotes:
“If the Jesus and Mary Chain tripped back in time to Haight-Ashbury circa 1967 and started a Suicide tribute band, it might sound a little bit like this.”                                                                   - The Georgia Straight

"Imagine The Velvet Underground jamming with The Black Angels after listening for hours, on high doses of epo, to Suicide records."
- Turn Up The Volume

Days of Purple & Orange:
"If you dig the insanity of garage legends Thee Oh Sees and the fuzziness of The Black Angels combined with the post punk weirdness of Devo you will love this ...I certainly did!"

"The music of The Intelligence Service is like an auditory time machine with the dial broken off and the volume cranked; careening you forward with fuzzed out guitars and catchy organ riffs overtop plush basslines and drums that echo around your chest. At the same time though reaching back through the wormhole; retracing roots with a jittery blend of raucous punk drive, and a foot firmly planted in the psychedelic San Francisco sound."
- BeatRoute (BC)

Alex P. - Guitar/Vocals
Reece Terris - Backing Vocals/Organ/Analog Synths
Nigel Young - Bass/Backing Vocals
Jack - Drums

BIO:
The Intelligence Service is a Dark Psychedelic Garage Punk band from Vancouver, Canada. Disturbed vocals and chainsaw guitars coupled with riffy organs and analog synth drones sit atop melodic bass lines and driving drums. 

The Intelligence Service have completed two full-length albums with punk guru Chris Woodhouse (famed producer/collaborator of Thee Oh Sees, Ty Segall, FUZZ, Wand, etc.). Their debut album Transgressors received praise from audiences and reviewers, drawing comparisons to The Velvet Underground, The Black Angels, Moon Duo, and Suicide. Transgressors reached #5 on the 30 Top Albums at WRSU (NYC & NJ) and was played on KEXP, KEXP Music That Matters Podcast, KALX, WZBC, WFMU, WVFS, CITR (Nardwuar the Human Serviette Show), and other radio stations across the USA, Canada, and EU. It charted across Canada on College radio stations, has been on rotation at CBC Radio 3, and made many "Best of 2017" lists in the USA and Canada. In 2018 they released the two singles Take A Long View and Flying Leap which made “Top of 2018” lists on WRSU and WZBC in the USA. 

On stage they have supported renowned acts such as Ty Segall & The Freedom Band, The Mystic Braves, Quintron & Miss Pussycat, Cosmonauts, Mr. Elevator & The Brain Hotel, VHS, and Duotang.

Their sophomore concept album Beatrice’s Guitar was released on November 21, 2019.

3 part harmony squad  ft. REEDS ft. the spirit of ~the bugle baby~ 

Sophie Noel - clarinet
Allie "Ginger Fresh" O'Neill - trumpet
Hannah Hall - soprano saxophone
Isaiah "Izzy-Preme" Dobbs - bass
Colin Ruloff - guitar

This is a bit of me music dump. Overall i think i want to be a composer, but equal to that i'd love to be a country singer and experimental artist. Hope you are doing okay today.

Cate Le Bon is an artist hailing from Carmarthenshire, rural West Wales. Be it on her more minimalist, acoustic-leaning 2009 debut album Me Oh My or critically acclaimed, liquid-riffed 2013 LP Mug Museum as well as 2016s Crab Day and the Mercury Award nominated Reward, Cate Le Bon’s solo work — and indeed also her production work, such as that carried out on the recent John Grant album, Boy From Michigan, or  Deerhunter's Why Hasn’t Everything Already Disappeared?  (4AD, January 2019) — has always resisted pigeonholing, walking the tightrope between krautrock aloofness and heartbreaking tenderness; deadpan served with a twinkle in the eye, a flick of the fringe and a lick of the Telecaster.

New album Pompeii bears a storied title summoning apocalypse, but the metaphor eclipses any “dissection of immediacy,” says Le Bon. Sonically minimal in parts, its lyrics jog between self-reflection and direct address. Written primarily on bass and composed entirely alone in an “uninterrupted vacuum,” Le Bon plays every instrument (except drums and saxophones) and recorded the album largely by herself with long-term collaborator and co-producer Samur Khouja in Cardiff, Wales.

The songs of Pompeii feel suspended in time, both of the moment and instant but reactionary and Dada-esque in their insistence to be playful, satirical, and surreal. From the spirited, strutting bass fretwork of “Moderation”, to the sax-swagger of “Running Away”; a tale exquisite in nature but ultimately doomed (The fountain that empties the world / Too beautiful to hold), escapism lives as a foil to the outside world. Pompeii’s audacious tribute to memory, compassion, and mortal salience is here to stay.

Apathy Spells is following