Broadcast

PCL Presents
THYLA
+ Medicine Cabinet
+ Spyres
Friday, 11th October
Broadcast, Glasgow
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DOORS 7pm
18+ Only
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Tickets available via See Tickets on In Store via Tickets Scotland
https://pclpresents.seetickets.com/event/thyla/broadcast/1374698

Hotly tipped as one of NME’s Essential Acts of 2018 and Dork’s Top Tips for 2019, “Brighton dream-pop outfit Thyla released their debut EP What’s On Your Mind to superb natural acclaim (Dork 5*,
Best Fit 8/10) Drawing comparisons To Wolf Alice and Cocteau Twins, the band are cementing their
position as one of the UK’s most promising acts.
After receiving an abundance of press worldwide (Stereogum, Pitchfork, Paste, DIY, The Line of Best Fit), Thyla have recently shared the stage with artists including Slaves, Sunflower Bean, Rolling Blackout CF and Dream Wife, as well as festival appearances at this years Live at Leeds, Hit The North and The Great Escape. The band made there SXSW debut this year in Texas and were included in Paste magazines Top 7 bands at The British Embassy at SXSW, alongside Fontaines DC and Black Midi and Sports Team. The band met whilst studying at university in Brighton, and the line up was fully formed in 2016 with
their first official release Ferris Wheels in early 2017. 2018 saw the band release consecutive

smashes, including a release on LA indie B3SCI for the track “Blame” produced by Alex Newport (Bloc Party, At The Drive-In, Estrons).

With strong support at Radio 1 from Jack Saunders and Huw Stephens, and being featured on 6 Music on the Steve Lamacq show and Lauren Laverne’s 6 Music recommends, 2019 is looking to be a exciting year for the indie post punk outfit.

The forthcoming EP is scheduled for release in November 2019 with releases throughout the summer and autumn and is sure to be full of even bigger and more astute guitar lead anthems.

Friends of the Fanzine presents

Broadcast Takeover

Music from
Endless Swarm
Gendo Ikari

Art from
Jim Dick
Colin Hunter
King of Bones
Laurence Elliott
Lagomorphosis
Bruce Mack
David Bell

We’re taking up some wall space in the upstairs bar @ Broadcast for a handful of weeks from Oct 10th. Come for a mosh on the launch night, eh?

When was the last time you got lost in the music? When was the last time your soul was touched by the ?uku?uku? When was the last time you felt compelled to make love?

The answer to all of these questions will be “YES” on Tuesday the 9th of October.

For over a year now, we have been slowly sizzling a secret blend of herbs and spices. We’re now delighted to serve you our debut EP; Fried Rice!

With support from the wickedly talented Amara, and The Mayans!

Tickets are £4 online, £5 OTD

Bess Hildick-Smith, known by her stage name as Bess Atwell, grew up in the English countryside, one of four children to an eclectic family of artists, songwriters and doctors. Growing up Atwell dabbled in acting, musical theatre, and fine art. She says “the love of singing is something I think most people realise at a very young age. I grew up in a creative household; many of my extended family are musicians, my dad a songwriter himself, and mother an artist”. She explains how her earliest years were spent assuming she’d follow in her mother’s footsteps, and still considers fine art her first love. She discovered song-writing a little later; “when I was ten my dad bought me a Spanish guitar and we both took lessons with the same teacher. I didn’t like being given homework and didn’t see much fun in the instrument on its own, so it was a few years later that I picked it up again and decided to sing, and eventually write my own songs”.
At the age of thirteen, just as she was finding her footing as a songwriter, Atwell was offered a drama scholarship to a competitive private school. While acknowledging the privilege she’s had, she cites her experience at school as the cause of a substantial loss of confidence; “It was a difficult few years for various reasons, and at school I was either invisible or in a lot of trouble which didn’t help. I didn’t fit their cookie cutter ideal, so I was constantly getting the message that there was something wrong with me”. After graduating from school, she enrolled on a music degree at Falmouth University but soon withdrew to pursue music nearer London.
In 2015, not long after dropping out of university, Atwell garnered the attention of major news outlets after a slew of showcases for The Great Escape Festival. The Independent and The Guardian were amongst those who were impressed by the artist’s performances, describing her as “a promising folk poet of suppression and inner anxiety” and “a gifted singer-songwriter with a voice like slow, cool water”.
The new music is the first since her 2016 debut album. The record included the single ‘Cobbled Streets’ and saw Atwell attract the attention of critics and public alike while picking up radio plays on BBC Radio One, Two and Six Music together with live sessions for Steve Lamacq and Jo Whiley’s shows. Atwell spent the following year gigging, including several sold out headline shows, and returning to festival favourites such as The Great Escape and Green Man.
Two years on, the former solo project has evolved into a full band sound soaked in four-part vocal harmony fulfilling Atwell’s desire to create a more dynamic live show, with traces of traditional folk music. The band took some time out to work on new material in their hometown of Brighton. Though the prospect of taking a step back was a daunting move for the songwriter, it provided the necessary space to re-evaluate and create. On speaking to Pure M Zine about the new material she expressed that there were a few years she felt the genre ‘folk’ had become almost a dirty word; something that had been taken from “timeless to something fashionable, and the problem with fashion is that it goes out of fashion eventually”. The time off allowed the songwriter to develop a more refined, assured sound by falling back in love with folk music and learning to incorporate it with newer indie-rock influences.
Atwell’s latest single ‘Grace’ is the more restrained, intimate successor of her August offering ‘Swimming Pool’, both of which have been playlisted by BBC Radio 6 Music. Taking inspiration from the likes of The National, Fleet Foxes, Lucy Dacus and Soccor Mommy, to name just a few, the new music attempts to depict the friction between fantastical, escapist imagery and the realities of relationships. Atwell says “I’ll tend to take a more romantic, digestible subject as a starting point, but I admire artists who’re able to get very personal and specific, lyrically – it’s a muscle I’m learning to flex. While Grace is fundamentally a love song about accepting someone at their worst, I think all love songs ultimately say much more about the writer than the subject”.
Having written ‘Grace’ almost two years ago, Atwell’s demo attracted record label attention. After being re-imagined by a couple of producers and labels, the band decided to record and release the single independently with producer Giles Barrett (John Grant, Johnny Flynn, Marika Hackman, Goat Girl) at Soup Studios in East London. On comparing the recording process to her debut, Atwell said “with these new tunes it was an entirely different experience – I have an amazing full-time band now who worked on these songs with me outside of the studio and so when it came time to record we just went into the studio and played the songs essentially”.
Bess Atwell plays a headline show at St Pancras Old Church in association with Parallel Lines on the 15th February 2019.

PCL PRESENTS
Phobophobes
+ Black Cat Revue
+ Middle Class Guilt
Monday, 7th October 2019
Broadcast, Glasgow
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DOORS 7PM
18 + ONLY
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Tickets on sale now via See Tickets and in-store at Tickets Scotland:
https://www.seetickets.com/event/phobophobes/broadcast/1423945

Few bands have the bravery, determination and self-belief to survive times as tough as Phobophobes have endured, pretty much intact. And even fewer have the talent to rebuild themselves with such creative voracity, making some of the most alluring, unsettling, inventive and cutting-edge music of the age – the sound of The Velvets, Wire, The Cramps, The Monks, Leonard Cohen and Country Teasers fed
through the foul filters of South London. No matter what fate throws at them, knocks that would destroy less hardy bands, Phobophobes are too strange and special to be beaten.
It’s been the rockiest of roads and the brightest of redemptions. In 2013 singer and guitarist Jamie Taylor started “a three-piece with a drum machine in a pub” with his drumming keyboardist schoolmate

Chris OC. They called themselves Phobophobes, and their simple yet confrontational garage punk tunes saw them instantly immersed in the South London’s gristle rock scene alongside Fat White Family, Goat Girl, Shame and their far-reaching diaspora. Phobophobes’ story started rosily: Jamie built a studio in Peckham and, between stints writing songs in Paris and building art installations for his old Slade School art tutor Phyllida Barlow in the USA, Phobophobes gathered a solid local following, playing venues like the Queen’s Head and the Brixton Windmill and supporting The Fall.
Via an ever-revolving cast list – the group evolved into the gloriously cranky outfit that released 2015 single ‘Make A Person’, and began recording what was to become debut album, Miniature World, at Utopia Village in Primrose Hill and at Abbey Road. At Abbey Road they even ‘stole’ swabs of saliva from the oldest microphone, hoping to get a tiny bit of Paul McCartney’s DNA onto the album artwork.

“It could have been anyone’s,” Jamie grins. “It was probably dead, the bacteria from McCartney.”
Then, things went seriously, and tragically, awry. Guitarist George Russell died in 2016 from a drug overdose. “He got a bit too into heroin and died,” Jamie says. “Elliot [Nash], our bass player lived with him, they were brothers, basically, best friends, they had a great musical companionship. He didn’t want to do it without George so we went back to square one.

After eight months without a show, the band reconvened on George’sbirthday to play a mental health charity gig at the Windmill in Brixton in his honour and set about completing the album using recordings of his playing intended for demos, hiring production legend Youth to mix the record. “We thought the album deserved more than just going on Soundcloud,” Jamie says. “We wanted to keep fighting for it.

There was loads of my work there that had fallen apart through
various circumstances. I wanted to do it as well as keeping George’s legacy going.” The good people of Ra-Ra Rok records – formed by long-standing Camden record store proprietor Rok Pete Donaghy and these days run by the managers of Black Midi and Shame – stepped in to finally release the album in 2018, with an accompanying book of George’s poetry. 6 Music supported the album and further singles ‘The Never
Never’ and ‘Child Star’. And Steve Lamacq played the ruined country pop of ‘Human Baby’ every day for a week.
Having since played a tour with Killing Joke and demo’d new
material beneath the group’s DIY built studio underneath the Brixton Windmill, and after years of upheavals, Phobophobes is now a solid, front-facing unit again.

PCL Presents
TRUMANS WATER
+ Emu War
Sunday, 6th October
Broadcast, Glasgow
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DOORS 7pm
18+ ONLY
——————————
Tickets available via See Tickets or In Store via Tickets Scotland
https://pclpresents.seetickets.com/event/trumans-water/broadcast/1375005

Brief back-story: the Water took shape in ‘91, when the Fender-bending brothers Branstetter hooked up with singer-guitarist-catalyst Glen Galloway; soon San Diego had a rollicking avant-rock angle to its music scene in TW, the kind of band that, say, could righteously open for/tour with the Boredoms or Stereolab (Trumans did). But after their self-made albums Of Thick Tum, Spasm Smash, the Godspeed tetralogy and numerous singles had sent their sounds worldwide, Glen exited to marry, concentrate on his Holy Spirit-stoked Soul-Junk group — and stay in SD as Trumans continued touring, eventually moving to Oregon. What amazed many was how quick a study then-bassist Kevin B. proved to be when Glen G. passed on lead vocal and co-guitar-ing duties. Empowered, the younger Branstetter picked up the torch, carrying it still. From time to time, Galloway would return as a guesting full member to augment Trumans’ albums.
Trumans Water never really went away. But the veteran American “spazz-rock”/”squiggle-core” group’s live shows have been rare in recent years (outside of the Pacific Northwest, that is.) TW has become increasingly more obscure as well, relatively unknown to untold pods of younger blog-rockin’ folk — sharp-eared discerners, who might well luv TW were they to know TW — still deemed “legendary” by those who, a) remember Trumans’ halcyon days in America’s early/mid-‘90s “guitar-rock” underground;
b) recall the life-altering praise from abroad, with the late great all-time tip-top good-taste-making radio

DJ John Peel championing them over international airwaves, and the Melody Maker making this pithy 1993 assessment: “Sonic freaks with a lust for life, Trumans Water make Pavement sound like U2.” TW has continued, doing it all even with key co-founding brothers living miles apart: lanky guitarist-vocalist Kirk Branstetter in Portland, Oregon, where the band relocated in 1995 (they formed in San Diego in 1991); and savvy vox/gtr/bass/etc. guy Kevin Branstetter, who married French and lives south of Paris w/ wife and offspring (and is known to offer pro road/liaison services for indie/outie music types touring l’Europe).

Trumans is rounded out by versatile bassist/veteran cohort Mike Coumatos (also known as 50% of fine ongoing Portland party-rock duo the Bugs) and drumming dynamo Geoff Soule (of Fuck and Sad Horse). The TW identity has remained: the ever-active, wildly clawing, rough-toned brace of guitars; the sour-sweet sing-shout screech-croon ‘n’ power-yowl; the explosive rhythms, herking here and jerking there, none too predictable anywhere. And some fun sound-play with thoughtfully goofin’ verbiage.

TW has been recording over the past years but not releasing anything. They are currently assembling some of those songs for release previous to tour. What’s more, Trumans is planning to catch up any interested parties in coming months by digitally re-releasing the 1st four elusive albums of the Trumans Water discography. Their coming tour will be a celebration of those first four albums along with new material.

PCL Presents
THE MYSTERY LIGHTS
+ Lucid Hound
Friday 4th October
Broadcast, Glasgow
——————————
DOORS 11pm
18+ Only
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Tickets available via Tickets Scotland & See Tickets
https://pclpresents.seetickets.com/event/the-mystery-lights/broadcast/1375011

The Mystery Lights story begins in 2004 in the small town of Salinas California when friends Michael Brandon and Luis Alfonso – whose shared fondness for groups like The Mc5, Velvet Underground, Dead Moon, and The Fall (just to name a few) – decided to join forces and craft their own brand of unhinged rock and roll. From there they spent the better part of 10 years touring relentlessly before migrating to Queens New York in 2014.

With a live show known for its raw, visceral energy and relentless assault – leaving little to no stoppage between songs – they barreled through countless NYC haunts and DIY venues, quickly amassing a fervent local following. The buzz soon caught the attention of Daptone Records execs who were in the beginning stages of launching a new rock-centric imprint, Wick Records.
Impressed by the groups’ musicianship, groove, endless supply of energy, and understanding of musical history the Mystery Lights were quickly signed to Wick. Though a rock band at heart, the parallels to what Daptone Records had traditionally looked for in their Soul artists was undeniable. Soon sessions were booked with Producer/Engineer Wayne Gordon, and the release of their debut single “Too Many Girls” b/w “Too Tough to Bear” launched to mass critical fanfare.

Upon the release of their self-titled full-length on June 24th 2016 The Mystery Lights were quickly crowned “one of New York’s finest garage rock bands” by NME. Extensive touring, including multiple stops in Europe, Asia and Australia followed which found the group graduating from support slots at hole-in-the-wall clubs to headlining stages at major festivals worldwide.

After two years of break-neck, non-stop touring, the group settled back into Queens to prepare for their second full- length record, “ Too Much Tension” (out May 2019). With Wayne Gordon in the producer’s chair and several intense writing sessions under their belt the group were back at Daptone’s House of Soul and ready to track. While keeping the hard-hitting approach of the first LP, “TMT” finds the group digging deeper into their well of eclectic influences, enriching their sound while echoing the past. Mixing the eerie, insistent synth sounds of groups like The Normal and Suicide, the energy and swagger of punk’s golden age, the pop sensibility of The Kinks, and the stark, deliberate execution of Television – The Mystery Lights are taking their idiosyncratic brand of rock and roll to dizzying new heights.

“ …a blistering rocker packed with knife-edge guitars” – Rolling Stone
“Brandon, like Charles Bradley and Sharon Jones before him, performs with a power and vigor that keeps him undeniable. This is
that Daptone does: vintage hit-writing techniques, powerhouse performances.” – Pitchfork

” …combine the aesthetic of that city’s downtown dwellers (like The Velvet Underground) with a present-day urgency.” – WXPN, World Cafe

“The Mystery Lights dish up the kind of ’60s garage-psych jangles that seem purpose-built for a sun-baked, dust-filled slot supporting Oh Sees“ – DIY

“The Mystery Lights are as good as it gets, one of New York’s finest garage rock bands at the moment.” – NME

PCL Presents
SEBADOH
+ Dearly Beloved
Friday October 4th
Broadcast, Glasgow
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DOORS 7pm
18+ Only
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Tickets go on Sale May 10th via See Tickets, & Tickets Scotland
https://pclpresents.seetickets.com/event/sebadoh/broadcast/1377622

It’s been six years since Sebadoh put out their last record, so it would seem that the release of this ninth full-length, Act Surprised, is long overdue. But actually, that’s relatively quick for the lo-? indie rock legends. After all, there was a 14 year gap/semi-hiatus between 2013’s Defend Yourself and its predecessor, The Sebadoh, so really, six years is nothing. Besides, the trio – Lou Barlow, Jason Loewenstein and Bob D’Amico – have a pretty good reason. “Lou is always being taken away and abducted by Dinosaur Jr. for these fun and exciting next-level rock’n’roll tours,” chuckles Loewenstein, “so when we get him back we have to relight the ?re.”
That’s exactly what the trio did, recording 15 new songs with Justin Pizzoferrato, the engineer behind many Dinosaur Jr. albums. Recorded at Sonelab in Easthampton, Massachusetts it marked a change in approach for the band, who had not only produced the previous record themselves, but who also gave themselves a bit more time than usual to get everything ?nished. “In the past,” says Barlow, “we would write in the studio and the songs would develop on the road.“ This time, we did some rehearsals a few weeks before recording,” adds Loewenstein, “which we almost never do. So we got a chance to not use the ?rst take and took time to ?nesse things, which we also don’t usually do, so that was a good step.” And while Loewenstein admits that the album became something it wouldn’t have done had Sebadoh self-produced it, as they did with Defend Yourself, he learned to just go with the ?ow while they were making it. “I’ve done a lot of recording for other bands as well as the last Sebadoh record,” he says, “so it was a little bit strange giving up the science and the tech sides of the recording process. I had to try to leave Justin alone and let him do his thing, trusting that it would be okay. I really enjoyed working with him and he’s a perfect ?t for this band.” “I’ve always wanted to work with Justin on a Sebadoh record,” adds Barlow. “We were able to ?nish a record as opposed to handing it off in the ?nal stages to the Dinosaur Jr. machine.” “Besides his technical skill as an engineer,” says D’Amico, “his temperament is perfect for the personalities in the band, and we all were comfortable working with him. He’s a musician and he works that way – thinking like a guy in the band and the engineer simultaneously.” It’s true. As such, this is a collection of songs that recalls the classic Sebadoh sound – that iconic fuzzy, jangle of guitars that’s both joyful and wistful at the same time – but which also takes their sound both forwards and sideways. It sees Barlow and Loewenstein singing and harmonizing together more than ever before to create what D’Amico terms a “real ‘sound’.” Barlow and Loewenstein each wrote seven songs, while D’Amico wrote penultimate track “Leap Year” – a hyperactive mush of angular rhythms that re?ects the odd, slightly dystopian world that we all seem to be living in right now. “To state the obvious,” says D’Amico, “we’re living in a surreal time in this country. There are folk tales about leap years and their disconnection from reality – and 2016 was a leap year that won’t end.”
Similar themes ?ow throughout both Barlow and Loewenstein’s compositions, too. The former are slightly more mellow, gentle affairs, all written and recorded exclusively on 4-string guitar – “electric and acoustic 12 string guitars I have modi?ed and use with alternate tunings.” Barlow explains. As such, lead single “Celebrate the Void” is oddly soothing in spite of the fact it rushes off in a ?urry of guitars by the end, while both “Medicate” and “Sunshine” shimmer with glorious poignancy and self-examination. “Those two songs are subjects I’ve been mulling over for a while,” says Barlow. ““Medicate” is about the
two shortcuts to mental-ease and spirituality we try to take: drugs and religion. These have become forpro?t enterprises that have little to do with changing the root causes of our problems.. “Sunshine” is about ?nding beauty at home as opposed to trying to buy it or hiking up a mountain to ?nd it.” Loewenstein’s focus is similar but his songs are more turbulent, a re?ection of the anxiety he says he feels most of the time and which you can hear in the frayed, bass-heavy “Stunned” and “Battery”. That’s something he says is compounded by these days of advanced technology, especially the increasing dominance of mobile phones and the internet in our everyday lives. “Lyrically, the theme is being overwhelmed by all the inclinations of modern living and trying to ?nd release from it. All this modern technology causes new problems – new social problems, new anxiety problems and new quasi-addiction problems for people. So it’s a whole new dynamic and as an anxious person before technology, it makes me even more anxious.” Tangential to that is his song “Raging River”. With its reference to 9/11 and tin foil hats, it shines a light on the prevalence of conspiracy theories, but more importantly addresses the double-whammy of constant misinformation and a lack of critical thinking.
While Sebadoh isn’t an overtly political band, that’s something Loewenstein says acts as a metaphor for the America that has a shady businessman and reality TV star as a president. “Somehow, sociohypnotically, we’ve had the rug of facts and truth pulled out from under us by the actions of this weirdo,” he says. “Which is remarkable. But as chaotic and horrible to question what is true, the fact is we should have been questioning it all along.” To that extent, Act Surprised is a vital album for the modern age. And while it retains the quintessential hallmarks that have de?ned Sebadoh throughout their remarkable 30 year career, it’s also a record that ?nds the band refreshed, rejuvenated, exploring new directions and right up there with the band’s very best. “I’m really proud of this record,” says D’Amico, “and I really enjoyed how we went about it. I think it sounds different from the rest of the Sebadoh catalogue in some ways, so I hope that we can make the old fans happy but gain some new ones as well.”

The most righteous, triumphant, Rock n Roll new music tour is back!

#Alive 2019 w/ Sugarthief, The Estevans, Hourglvss and The Kicklips

£6adv

PCL Presents
An Evening with Rick Buckler of The Jam
Wednesday, 2nd October
Broadcast, Glasgow
———————————-
DOORS 7pm
18+ ONLY
———————————–
Tickets on Sale Now Via See Tickets & Tickets Scotland:
https://www.seetickets.com/event/an-evening-with-rick-buckler-of-the-jam/broadcast/1404085

This is a unique evening with Rick Buckler the drummer with THE JAM… explaining up close and personal about his early days and struggles in one of Britain’s great exports.

The Jam’s adventures have never really been explained and so this unique opportunity is now yours. In an evening of spoken word Rick explains all and of course its your opportunity to ask him stuff too.