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This is not a love song

Broken But It's Working

Broken But It’s Working (feat. illuminati hotties)

ig tearstaineddoll

I starve for once just to feel small
but no one sees this war at all
in every mirror i feel disgrace
i smash my thought against my face
friends drift off like passing wind
they say i break more than i bend

im screaming but nobody stays
they say get help then they walk away
if i lose myself would they even care
or just act shocked like i wasnt there

i starve for once just to feel small
but no one sees this war at all

this war at all

minimize the illness (sped up)

The Sad Cafe

Motel Bamako

Boat People (feat. Oumou Sangaré)

Refried Ectoplasm [Switched On Volume 2]

Lo Boob Oscillator

Jassbusters

B'nD

Daylight Matters

Purple Moonlight Pages

LEAVING HELL

1966

Reason to Believe

SURF

LOVE, STARGIRL

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.

Daylight Matters

Cate Le Bon

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