Pitchfork Selects - Part 1

Penelope Three

Awkward Matriarch

Running Away

Patience

CROSSOVER (EP) OUT NOW - https://duasaleh.lnk.to/CROSSOVER
via@againstgiants

Performed by Dua Saleh & Amaarae
Produced by Psymun & Dua Saleh
Additional Production by Ahya Simone
Backing Vocals by Velvet Negroni
Mixed & Mastered by Alec Ness

CROSSOVER

fitt (with Amaarae)

Stream/Buy

Homo Sapien

Year to Year / 29

Lucky

Starting and Staring

Dreamachine

In My Dreams

'North America Endless' (Release Date: April 12, 2024)
Listen Now: https://music.subpop.com/facs_northamericaendless

FACS: https://www.wearefacs.com
Bandcamp: https://wearefacs.bandcamp.com
Instagram: https://www.instagram.com/wearefacs
Facebook: https://www.facebook.com/wearefacs
Twitter: https://twitter.com/wearefacs
Spotify: https://open.spotify.com/artist/2h0hfblKFcjOdz52vre1OV?si=28pfAONERuSeI1w_IqUP_A
On Tour: http://www.subpop.com/tours/man_man

Sub Pop Records: http://www.subpop.com
MegaMart: https://megamart.subpop.com
Twitter: https://twitter.com/subpop
Facebook: https://www.facebook.com/subpoprecords
Instagram: https://www.instagram.com/subpop
YouTube: http://www.youtube.com/user/subpoprecords
SoundCloud: http://soundcloud.com/subpop
Podcast: http://subpop.fm

North America Endless

FACS - North America Endless

My Light, My Destroyer

Music??

Vertigo

High Time

Divine

Pornographic

An instrumental progressive Rock track with a classic sound

Forgive me

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.

Running Away

Cate Le Bon

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