Indie label based in North London…
The home of many fine bands indeed.  Currently home to
POLIÇA, The Go! Team, Field Music, Blue States, The Phoenix Foundation, Haley, Dutch Uncles, Stats, Warm Digits, Weaves, NZCA LINES, Malihini, Menace Beach, Rozi Plain, You Tell Me, Odetta Hartman

Field Music are from Sunderland in the north-east of England. They make experimental pop music. The band is led by brothers Peter and David Brewis. They have released five 'proper' albums under the name Field Music [Field Music (2005), Tones of Town (2007), Field Music (Measure) (2010), Plumb (2012) and Commontime (2016), all through Memphis Industries] as well as Peter's The Week That Was album, David's two records as School of Language, a compilation of early B-sides, a collection of cover versions and a soundtrack to John Grierson's 1929 documentary, Drifters. The Field Music live band currently features Kev Dosdale, Andrew Lowther and Liz Corney. In October 2016, the band played a short run of shows with an expanded line-up. This included the string quartet of Ed Cross, Jo Montgomery, Chrissie Slater and Ele Leckie, saxophonist Pete Fraser, trumpet player Simon Dennis and percussionist Damo Waters. Other musicians who have played in the group on record or onstage include founding member Andrew Moore, Tom English, Ian Black, Peter Gofton and Mark Simms. Plumb was nominated for the 2012 Mercury Prize.

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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