Formed in the summer of 2012, Odd Hugo combine a distinctly Nordic energy with a mellow sound that’s warm and accessible. Twin vocals, strings and background brass embellishments combine to craft a unique experience. Theirs is a contemporary mix that manages to feel both familiar and fresh.
Odd Hugo performed in this years showcase festival "Tallinn Music Week 2013" and got a lot of motivating comments/feedback from international delegates. 

The Line of Best Fit, a UK-based online music magazine:
"A band that seem set to follow in the footsteps of their countrymen Ewert and the Two Dragons, Estonia five piece Odd Hugo offer an askew slant on indie folk, with tracks like ‘These Grey Fields’ carrying a sound that’s both familiar and new. Fans of Beirut will find something to enjoy from their brassed-up arrangements."

Nils Bernstein, Matador Records:
"I thought Odd Hugo were fantastic at Tallinn Music Week; of all the bands I saw, I think they probably have the most potential for success outside Estonia. The guys are incredibly talented, great players and songwriters."

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.

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