Psychedelia,  space rock, stoner,  krautrock,  shoegaze, ambient, dream pop,  psyfolk, trippy dub & loops of spacey synths.                               (play in shuffle)

space rock & psychedelia_part2

Pompeii

Harbour

Remembering Me

Pain Without a Touch

Trans-national brothers Hot & Cold make clouds of psychedelic post-punk infused with electronic undertones. The tandem packs a serious punch, swirling bass guitar hooks around the sounds of what could be servile automatons gaining sentience for the first time, creating a complex musical backdrop to echoic vocalizations. There’s a tinge of Suicide and Spacemen 3, but the electronic freakout is entirely their own.

Hot & Cold - Flynt

Boat Songs

Peel Dream Magazine have staked out a very specific spot in the indie music landscape with the fuzzy space age pop of recent albums "Rose Main Reading Room" and "Pad," but the story starts with the motorik lo-fi psychedelia of 2018's "Modern Meta Physic." Redolent of early Stereolab, Broadcast, and Grouper, songs like "Qi Velocity" and "Deetjen's" percolate and hum, buzzing with mood and melody. Now we're happy to revisit the album with this expanded deluxe edition that adds 8 new songs -- 2 from the "Modern Meta Physic" sessions and 6 demos from the very active period of recording and conceptualizing that led up to the album.

Peel Dream Magazine - Callers (Demo)

I saw you fade, I saw you go,
the room grew quiet, soft and slow.
I held your hand, it turned to cold,
a story ended, left untold.

I prayed for gates, I prayed for skies,
for angels there to hear your cries.
I hoped a light would lead you home,
a place where you won’t be alone.

But I stayed here, the room was still,
the air grew heavy, hard to fill.
Your voice remains inside my head,
I speak to shadows, not to flesh.

If heaven’s real, I hope you’re near,
I hope there’s peace, I hope it’s clear.

i prayed for skies

Dream Sequence

Rubycon Part One

Magnolia Electric Co.

Farewell Transmission

Mug Museum

I Think I Knew (feat. Perfume Genius)

Yet Again

Her Dress

Lady Remédios

Microcosmo

Clap Your Hands Say Yeah

The Skin of My Yellow Country Teeth

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.

I Think I Knew (feat. Perfume Genius)

Cate Le Bon

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