With Mac DeMarco playing at the KG Bandstand next Wednesday we thought we would throw a wee free entry afterparty to keep the night going for anyone who fancies a dance…
Featuring Gelatine playing a special late night live set & a Fauves DJ Set to get you movin’
FREE ENTRY FOR ALL
Wednesday 26th June
11pm doors
Broadcast x
PCL Presents
FLAT WORMS
+ Gift Horse
Broadcast, Glasgow
Wednesday June 26th
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DOORS 7PM
18+ ONLY
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Tickets available via See Tickets or in Store via Tickets Scotland
https://pclpresents.seetickets.com/event/flat-worms/broadcast/1364546
One of the best albums of that year. Raging but with style, panache and tunes. Debut album of LA post-punk band featuring Will Ivy (Dream Boys, Wet Illustrated, Bridez), Justin Sullivan (Kevin Morby, The Babies) and Tim Hellman (Thee Oh Sees, Ty Segall, Sic Alps). Flat Worms belt-sanded everyone with their 7-inch on Volar, and Castle Face is proud as new papas to present their debut album. The band continues their ride on a buzz-saw wave of feedback-tipped riffs into the middle distance, the smog-choked sunset receding in the rearview, with a thousand-yard dead pan stare surgically pinned to a high octane set of boredom-energized punk pistons. This is an ear-ringing missive from the end of the cul-de-sac, a mirage wavering above a mid-sized American suburb at dusk, with the constellations bleached black by the sprawl. A little Wipers, a little Wire, and a lot of late-capitalist era anxious energy—Flat Worms scratch the itch quite nicely. Fans of classic SST / Homestead /Touch And Go Records will find much to love here.
PCL Presents
LAURA STEVENSON
+ El Morgan ft Katie Gatt
Tuesday 25th June
Broadcast, Glasgow
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DOORS 7PM
18+ ONLY
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Tickets on Sale Now! Via See Tickets and Tickets Scotland
https://pclpresents.seetickets.com/event/laura-stevenson/broadcast/1331611
Laura Stevenson shares “Value Inn,” new LP “The Big Freeze” out 3/29
Today, Laura Stevenson shares “Value Inn,” the second single from her forthcoming LP The Big Freeze, which will arrive March 29th via Don Giovanni Records. It finds the New York-based songwriter examining dark personal territory in unflinching detail.
“The song is about going somewhere deliberately to disappear and to harm yourself,” says Stevenson. “And in that isolated place, the loneliness is so extreme that the world feels completely empty, and you are the only one who can pull yourself back out.”
Recorded in her childhood home during the dead of winter, The Big Freezerepresents a pivotal step for Stevenson. For the first time on record, Stevenson’s voice and guitar are in clear focus. It is a natural aesthetic choice for the musician, who has often toured as a solo act and who pulls influence from the great American songbook, and a choice that plays to the core strength and organic beauty of her writing. And though it is easily the darkest and most emotionally-devastating album of Stevenson’s career, it is also without a doubt her most powerful.
The Big Freeze comes out at the end of March, and it heralds a return to Stevenson’s more finely detailed, wrenchingly intimate songwriting. The title refers to an eventual freezing of the universe— which makes sense, given that she recorded it in the dead of winter — as well as to the ways relationships strain against emotional and physical distance.
— NPR on “Living Room, NY”
While song is filled with the inherent melancholy of long-distance relationships, it boasts some of the most compelling harmonies of Stevenson’s career so far and is as cozy as curling up with a loved one during a polar vortex.
— Noisey on “Living Room, NY”
Twitter: @laurastevenson
Facebook: Facebook.com/LauraStevensonMusic
www.laurastevenson.net
PCL Presents
BOY HARSHER
+ SUPPORT
Monday 24th June
Broadcast, Glasgow
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DOORS 7pm
18+ only
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Tickets available Via See Tickets or in Store Via Tickets Scotland
https://pclpresents.seetickets.com/event/boy-harsher/broadcast/1375950
Boy Harsher return with their second LP Careful – a wild ride that celebrates abandon, while mourning attachment + love. Boy Harsher began as an urgent need to produce and consume. In the winter of 2014, Jae Matthews and Augustus Muller started to experiment with sound, video, and text. The advent of Boy Harsher! Born out of this tumultuous relationship in swampy Georgia, their first EP Lesser Man is sexy as it is sulking. Lesser Man determined their morose, pop sound. In their second album, the full length Yr Body is Nothing, Matthews and Muller took that dark and ran with it. Both releases reflect the fervor present in their adolescent lust and anger. Yet, before Matthews and Muller recorded any song, their
chaos made the project vulnerable and invariably lead to momentary destruction . In what was at the time believed to be their last performance, Matthews had “careful” tattooed across her back, while Muller fried the speakers. A lit candle was thrown. They
were not on speaking terms. At that time “Careful” was meant as a warning: the cautionary understanding of love. The duo felt as though they were disappearing within one another. But, if Boy Harsher’s first two releases narrated the pain and desperation that follows after something goes awry, then this LP, Careful, describes what loves gives you: fear and joy, tenderness and pain. For Boy Harsher, Careful attempts to detail the enveloping trauma of loss combined with the fantasy of escape (a reckless abandon).
Matthews and Muller certainly made amends since that fateful live tattooing, loud as hell performance, however both still have complex relationships to attachments. In 2017 Matthews’ mother was diagnosed with dementia and as the symptoms began to take hold the essence of “careful” became relevant in a new way. Matthews’ relationship with her parents has always been complicated: her father past away when she was a teenager and her mother is an alcoholic, consistently unpredictable with affection and stability. The loss of her father was extreme, yet acute, whereas the persistent sadness of losing her mother (the memories that defined their relationship) is a slow, chronic suffering. The trauma of losing someone is almost in tandem to Matthews’ understanding of love. It with these intensely personal struggles Matthews and Muller began developing their new album. With Careful, Boy Harsher use the medium of minimal electronics to create a compelling narrative of a deteriorating family and the reaction to run away from it.
Careful splits its time between songs that study the trauma imbedded within loss and the compulsion to flee. The track “The Look You Gave (Jerry)” is named after Matthews’ deceased step-father, who passed right before her mother was diagnosed with dementia. The song mourns Jerry, as described through her mother’s perspective: “I close my eyes and I can almost see: The look u gave / when u / you ran from me.” For Matthews the fiercest pain in relation to her mother’s disease is her mother’s loss of
comfort, a grasping at an image that slowly fades away. Death for Matthews and her
mother has become synonymous with abandonment. Not unlike the pain of losing her father, Matthews conceives the hollowness where intimacy once was – the melancholy of disappearance.
The message of “careful” also plays out as universal warning in these Boy Harsher’s tracks — do not be fooled, loss is inevitable. “Fate” describes the willing lover who knows that there is nothing their love can do to keep their partner. “Hi Hi / Oh No / In spite of me / you always go. Forget the crying / tempt the pain / hi hi / gone
again.” In Careful affection vanishes as quickly as it arrives. To understand love, you must accept that it dissolves, leaving sorrow and disappointment in its wake. Yet, Careful reconciles the deterioration of love with the gilded expectation of escapism.
In reaction to these morose conditions, Matthews and Muller created multiple tracks that celebrate flight. Their fantasies in these bleak scenarios play out in the perspective of the runaway. “LA” takes this to a wistful degree. Slow swelling synths cut sharply with fast chugging drum machines as Matthews begs someone to take her
away: to go down. The darkness exists in these reveries but in perverse extremes. Boy Harsher proves Careful’s variety with these uptempo club ready tracks that demonstrate escapism through vice and rave. With “Come Closer”, a nod to early EBM, Matthews beckons on top of a pulsing bass: “In the dark, you have nothing left, Let me take it”, the escape route is through another – gesturing to ‘come play’. Even the mascot of Careful, presented in the album’s cover art, is an imagined runaway. This character, stationed in
a motel, or combing the beach with an overstuffed backpack, represents the embodied fleeing of Matthews and Muller’s desperate years. Careful marks Boy Harsher’s most dynamic album to date. The band expands upon the fine-tuned production developed in their last EP Country Girl, but with plenty of
nods to the fast tempo and grittiness of Lesser Man. Matthews and Muller attribute the evolution of their sound to the extensive touring they completed in the last few years.“Traveling and connecting with people has been so fundamental;” Muller says “we’re
really able to experiment with our material and it feels like the live set as grown into an entity of its own”. Boy Harsher embarked on two US and two EU tours this past year, where audiences recognize their set as faster, harder version of their recorded material. Careful was primarily written at home in Massachusetts, with just a handful of synthesizers and a laptop. For Muller a minimal set up is paramount to his process. Boy Harsher mixed the album in Italy with Maurizio Baggio of La Distilleria Studio who had a big hand in finalizing the sound. Boy Harsher emphasizes emotive sounds and evocative narratives to generate palpable material in their latest release Careful. Careful is a timeless and original minimal synth record highlighted by a strong narrative and marks the definitive return of the enigmatic duo.
PCL Presents
THE BLUE CARPET BAND
+ Delinquents
Saturday, 22nd June
Broadcast, Glasgow
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DOORS 7PM
18+ ONLY
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Tickets on Sale NOW Via See Tickets or in Store via Tickets Scotland > https://pclpresents.seetickets.com/event/the-blue-carpet-band/broadcast/1361997
A powerhouse 5 piece garage/dirty rock’n’roll band based in and around London. Like classic blues-rock proponents such as The Yardbirds and early Rolling Stones mixing it up with New York punk and late 60’s protopunk. Think big riffs, 12-bar boogie and unstoppable energy.
“The Blue Carpet Band bring the spirit of the MC5 to Skegness with a full tilt set of garage fuelled punk rock. Their live reputation has preceded them, and it’s deserved. The Blue Carpet Band are everything that your parents warned you about, hyperactive punk ‘n roll straight outta a garage somewhere in Detroit, this won’t be the last time I see them live and today’s performance sees them win the vote on the Introducing Stage which means they will make a more than welcome return at next year’s event.“
http://thepunksite.com 05/10/18
“Blue Carpet Band: what can I say? BLOWN AWAY! Djamel Abina is the best frontman I have seen since Lydon as Johnny Rotten: mesmerising and a future star backed up by a phenomenal band.”
“Only saying what everyone else was saying. There are no limits to what your band can achieve. I have seen a lot of legendary bands in the past 48 years, some on their first or second gig but very few impressed me as much as the Blue Carpet Band did last night.”
Marco Gloder, Flicknife Records 21/10/17
PCL Presents
The Ronains +Mya Brown
Saturday 21st June
Broadcast, Glasgow
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18+
Doors 7pm
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Tickets available via See Tickets and in store via Tickets Scotland
https://pclpresents.seetickets.com/event/the-ronains-claire-docherty/broadcast/1332229
The Ronains formed in Nov 2015 under the guidance of Gordy Goudie, guitarist and producer for Simple Minds and Echo & The Bunnymen. Since then they have played sold out shows from the O2 ABC, Glasgow to The Cavern Club, Liverpool, and have graced the stage of the Glasgow Barrowlands as well as King Tuts Wah Wah Hut.
In 2016 Billy Sloan of BBC Radio Scotland chose their single ‘Anonymous’ as one of his singles of the year and since then they have played alongside bands such as Razorlight, Dodgy and Amy MacDonald at Party at The Palace and have been both The Scottish Sun and The Daily Record’s ones to watch out for.
Having recently returned from a successful tour of America’s East Coast, playing in Baltimore, New York City, Virginia and performing to a sell-out crowd at The Fire, Philadelphia, 2018 is already promising to be a big year for the band with a huge Barrowlands show and some incredible festival slots supporting the likes of Gerry Cinnamon, Jake Bugg and The Coral.
With epic support from: Claire Docherty.
PCL Presents
Tangled Hair
+ Codist + Weekend Debt
Thursday 20th June
Broadcast, Glasgow
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DOORS 7PM
18+ Only
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Tickets available via See Tickets or In Store at Tickets Scotland
https://www.seetickets.com/event/tangled-hair/broadcast/1382047
Tangled hair is a three-piece band from South London that uses guitars and drums to create intricate music, centred around their group dynamics. Their influences include indie rock, nineties emo and post hardcore.
Tangled Hair have been playing music for ten years and they have shared a stage with Braid, Owls, Tera Melos, American Football and Toe.
They released their full length album ‘We Do What We Can’ in 2018 and are heading out on tour in June 2019 to play dates around the UK.
PCL Presents
OSHUN
+ Nova Scotia The Truth
Wednesday, 19th June
Broadcast, Glasgow
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DOORS 7PM
18+ ONLY
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Tickets available via See Tickets or In Store via Tickets Scotland
https://pclpresents.seetickets.com/event/oshun/broadcast/1361858
OSHUN is an independent Hip-Hop / Soul duo and the sonic manifestation of Afrofuturism. Using digital and acoustic sounds, heavy drums and bass, and ambient harmonic textures, OSHUN connects with the spirit of their ancestors to manifest a sweeter tomorrow for us all. Since the release of their debut mixtape ASASE YAA in 2015, OSHUN has amassed a social following of over
150k people between Youtube ( youtube.com/oshun ), Instagram (@oshun), and Facebook ( facebook.com/oshuniverse ) alone. They’ve been recognized by media heavy hitters such as Rolling Stone, The FADER, Viceland, Huffington Post, NPR, Essence, and Vogue (just to name a few). They’ve also performed throughout the U.S. and Brazil all while remaining full-time college students at NYU. It’s been a wonderful journey and now that these young goddesses have graduated college, they are transitioning into the next phase
of manifesting their purpose. OSHUN is preparing for the release of their debut album series “bittersweet”, complete with captivating visuals, a 2 month long tour of the US & Canada, and a deeper look into their ever-evolving selves.
PCL Presents
MADONNATRON
+ WomenSaid & The Steven Thomas Band
Tuesday, 18th June
Broadcast, Glasgow
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DOORS 7PM
18+ ONLY
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Tickets On Sale Now via See Tickets or In-Store at Tickets-Scotland https://pclpresents.seetickets.com/event/madonnatron/broadcast/1319066
“Viciously audacious novices to electric noise we have crafted a merciless assemblage of leering disdain, Erotomania, Genocidal Lament, infanticide, calculated Matricide, funeral dodgers, dystopian angst and surreptitious worshipping at the altar of Bastet to flavour this record. We won’t be making you a sandwich motherfuckers” – Madonnatron
Much in the manner a devotional feline will proudly massacre vermin, leaving it’s sacrificial remains to fetter your hallway carpet, we bring you Madonnatron. From humble yet auspicious beginnings, arising unabashed from the mists of the Thames, they have thwarted reasonable doubt with limited knowledge of their instruments and two fingers at convention.
Escapades so far include: completing a spring 2018 UK headline tour; a full room capacity slot at Portsmouth Psych Fest; two Fluffer Pit Parties – one headlining the official after party; touring with The Moonlandingz, PINS & supporting The Black Lips; featuring on the line up at UK festivals – Raw Power & The Alternative Escape Republic of Music Courtyard session this year plus a packed out slot on the Rising Stage at Green Man last year; two live sessions for Marc Riley on BBC 6 Music; a live session for John Kennedy, and a John Kennedy ‘Artist In Residence’ slot on Radio X; touring with Trashmouth Records and label mates Meatraffle across the UK at the end of 2016, and releasing their eponymously-titled first record in July 2017. The band are currently enjoying rave reviews for both LP & live shows, featuring in Mojo, Q, The Quietus, Line Of Best Fit, Louder Than War amongst many others; appearing at #22 in The Quietus’ top 100 albums of the year and in their top 50 singles of 2017; Amazon’s Best New Bands of 2017 list; as well as gaining top album status in numerous independent music blogs across the world.
PCL Presents
PAUL CAUTHEN
+ Fenella & Julen Santamaria
Monday 17th June
Broadcast, Glasgow
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DOORS 7pm
18+ Only
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Tickets available via See Tickets or in Store at Tickets Scotland
https://pclpresents.seetickets.com/event/paul-cauthen/broadcast/1371973
“I’m a singer not a preacher, but these songs are my sermon,” says Paul Cauthen. “We’re ripping each other apart out there, and forgiveness and mercy are what’s going to get us through. I want to use my voice the best I can to spread that message while I’m here on this Earth.”
Somewhere between an EP and an album, Cauthen’s new seven-track collection, ‘Have Mercy,’ is a stunning showcase of the pure power of truth and love. Building off the success of ‘My Gospel,’ the Texas troubadour’s breakout debut, ‘Have Mercy’ pushes Cauthen’s songwriting to new heights as he searches for common ground and peace of mind in an increasingly polarized world. Fueled by nearly two straight years of personal and artistic growth on the road, the songs reflect a newfound maturity and creative self-assurance. Cauthen’s rich, velvety baritone is still very much the centerpiece here, but it’s the craftsmanship that dazzles more than anything. ‘Have Mercy’ is the work of an artist who’s turned his life over to the music, body and soul, and the rewards for his devotion are undeniably on display throughout the record.
“I wanted to make an honest leap from ‘My Gospel’ to ‘Have Mercy,’” Cauthen explains. “I wanted to elevate everything: the songwriting, the sound, the live show, the look and the feel of it all. I’ve given up everything for the music and I’ve grown stronger because of it.”
While he’d already earned a reputation as a fierce and fiery frontman from his days in the critically acclaimed band Sons of Fathers, it wasn’t until the 2016 release of ‘My Gospel’ that Cauthen truly tapped into the full depth of his prodigious talents. Rolling Stone called the album “a triple-barreled blast of Texas country, soul and holy-roller rockabilly delivered by a big-voiced crooner,” while Vice Noisey dubbed it “a somber reminder of how lucky we are to be alive,” and Texas Monthly raved that Cauthen “sound[s] like the Highwaymen all rolled into one: he’s got Willie’s phrasing, Johnny’s haggard quiver, Kristofferson’s knack for storytelling, and Waylon’s baritone.” The album landed on a slew of Best Of lists at the year’s end and earned Cauthen dates with Elle King, Margo Price, Billy Joe Shaver, and Cody Jinks along with festival appearances from Austin City Limits and Pickathon to Stagecoach and Tumbleweed.
It was during those relentless months of touring that Cauthen first began to explore the songs that make up ‘Have Mercy.’
“A lot of these songs are tunes we’ve been playing live and fans have been asking about for a while,” says Cauthen. “They’re showstoppers when we play them out on the road, and I believe the whole purpose of putting out a record is so that people can have a little bit of that concert experience back at home.”
To that end, Cauthen and producer Beau Bedford recorded the album as live as possible at Modern Electric in Dallas, capturing all the raucous passion of the stage without sacrificing any of the nuance and sophistication the songwriting demanded. Fortified by contributions from The Texas Gentlemen, a 21st century Wrecking Crew of all-star musicians that’s backed everyone from Leon Bridges to Kris Kristofferson, the album is a plea for kindness and grace, both internally and externally. As easy as it is to hear these songs as an appeal for compassion from his fellow man, there are moments when it’s clear that Cauthen is singing as much to himself as anyone else, a reminder that love and forgiveness aren’t just for our brothers and sisters, but also for the faces staring back at us in the mirror.
“I’ve done a lot of reflection lately,” Cauthen says. “I’ve brought meditation into my life, and I’ve slowed my roll a bit. I’ve started to pull back on the reigns when it comes to living hard out there on the road. I love my band and I’m thankful to be where I’m at as a writer, and I think these songs really reflect that.”
The collection opens with the ominous chain gang percussion of “Everybody Walking This Land,” a righteous tune that thunders with the authority of God handing down the Ten Commandments. In a booming, half-spoken/half-sung drawl, Cauthen rattles off a list of all the things that divide us, insisting that they mean nothing compared to the humanity that we share. “Lord we pray we make it through the day,” he sings, “all you mothers, you brothers, you sisters, you fathers, believers, pretenders, bonafide sinners, everybody walking this land.”
“That song just means everything to me,” Cauthen explains. “Beau and I wrote it like two maniacs drinking coffee and pulling out our hair around a Steinway piano, laughing about doing the Lord’s work.”
Despite the album’s sometimes-heavy themes, that underlying sense of levity and brotherhood is the lifeblood of the collection. Cauthen never loses sight of the sheer joy he derives from playing music, and through all the ups and downs, he recognizes that good times are hollow if you can’t share them with the ones you love. On the funky “Resignation,” he learns to appreciate the present by letting go of his struggles and joining his pals for a drink at the bar, while the playful Jerry Reed-meets-Elvis Presley shuffle of “My Cadillac” finds bliss in the simplicity of joyriding with friends, and the epic, horn-and-string laden “In Love With A Fool” pays tribute to the partners who keep the home fires burning while their lovers are out chasing dreams on the road.
Cauthen writes with a unique blend of Biblical and modern vernacular, a style he likely picked up from his preacher grandfather. “Have Mercy” lands like a secular hymn for a country still coming to terms with the deep wounds of its bloody past and divided present, while ‘Lil Son’ lifts straight from generations of family teachings.
“That song is a message from my granddad,” Cauthen explains. “The lyrics come from riding around with him in his jeep when I was a kid, just listening to his instructions and learning from his morality.”
As Cauthen says, he’s ultimately a singer not a preacher, and the songs on ‘Have Mercy’ cut across cultures and creeds, speaking to truths that are bigger than any particular faith. The music is timeless, the themes universal. Whether you believe in the next life or not, our days are numbered, and Paul Cauthen’s here to remind us that a little love goes a long way.
“When I’m gone,” he concludes, “I hope that someday somebody picks up one of my records and says, ‘This guy was a hard worker. He honored the songs, he honored the music, and most of all, he honored his listeners.’ That’s the legacy I want to leave behind.”
