kınđnıss.

NIKO

فرقة المصريين - أحزان

Michelangelo Dying

Is It Worth It (Happy Birthday)?

Under Rats

Under Rats (feat. Saul Williams)

Break Right

Bugland

Bits

A Season In Hell

Taken from 'Cold Heart', released April 28, 2025 on Ninja Tune: https://niluferyanya.lnk.to/cold

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Cold Heart

Taken from 'Dancing Shoes', released July 02, 2025 on Ninja Tune: https://NiluferYanya.lnk.to/dancing-shoesSo

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Where To Look

Love On the Big Screen

François Rabbath - Horda

Here It Comes Again

CASTLES MADE OF DUST (Roughmix)

François Rabbath - Mama Bahija [ Ma mere, baidja ]

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.

Here It Comes Again

Cate Le Bon

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