Reward

SongBook

Fuzz Jam

over and over (prod rfm beats)

I taste like honey
When you're feeling cold
My heart is behind the station
Across the tracks

I like you
When you're feeling cold
The sweetness of our eyes
When the sun is high

That's the reason why
We chase each other
Across the school yard
Seeing the future
Life's a dream

Silent screams
When you're feeling cold
Life ain't what it seems
When you are immortal

The calls come from inside the house 
When you're feeling cold
Come on and let it out
Not every day is so beautiful 

We chase each other
Across the school yard
Seeing the future
Life's a dream
Life's a dream

Statuette of a lion
Secret in a garden
Reflections look brighter
Deep in the night - blue
Statuette of a lion
Secret in a garden
Reflections look brighter
Deep in the night - blue

We chase each other
Across the school yard
Seeing the future
Life's a dream
Life's a dream 

When You're Feeling Cold

Hot Shots II

Squares

The Best Of The Beta Band

Dry the Rain

Rio Ranger EP

Where You Stop for a Minute

Tinseltown Swimming in Blood

New Moon

Miami

Mother's Mother's Magazines

Daylight Matters

Here It Comes Again

Home to You

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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