Broadcast

PCL PRESENTS
HUNDREDTH
+ Big Spring
+ Bronston
Monday 10th February 2020
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DOORS 7PM
AGE 18+ ONLY
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Tickets available from 11th October via SEE and Tickets Scotland:
https://www.seetickets.com/event/hundredth/broadcast/1446543

PCL PRESENTS
YACHT
+ Meteor/Rodeo
Sunday, 9th February 2020
Broadcast, Glasgow
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DOORS 8pm
AGE 18 +
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Tickets available now via SEE and Tickets Scotland:
https://www.seetickets.com/event/yacht/cca/1453527

From the basements of East London, Teeth Of The Sea have forged forward intrepidly over twelve years, four albums and two EPs to become heralded as the UK’s most adventurous and unclassifiable outfit in the realm of the psychedelic. As inspired by virulent garage-driven noise as austere avant-garde experimentation and driven by soundtrack atmospherics, jazz exploration and electronic dissonance alike, they’ve outgrown their original influences (Butthole Surfers, Eno, Goblin, Aphex Twin, Throbbing Gristle) to forge a sound both richly celestial and acidically synapse-scorching.

It’s a journey that’s taken them to European festivals like Roadburn, Milhoes De Festa, Eindhoven Psych Lab and Incubate, seen them perform specially curated live soundtrack work in Romania, Cork and CERN, and led them to devastate UK events like Supersonic, Supernormal, Latitude, Bestival and Green Man – all the while forging forward heedlessly into chaos and fresh discovery anew. With their fifth album “Wraith” released by Rocket Recordings in early 2019, Teeth Of The Sea continued to blaze forth with enlightenment and irreverence to the fore. Who knows where they’ll arrive, but be prepared to brace yourself and bear witness.

PCL PRESENTS
Italia 90
+ The Vignettes
+ Goth GF

7th February 2020
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DOORS 7PM
AGE 18+
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FREE ENTRY

PCL PRESENTS
Aiming For Enrike
+ RAZA
+ Scalp
Thursday 6th February 2020
Broadcast, Glasgow
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DOORS 7PM
AGE 18+
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Tickets available via SEE and Tickets Scotland:
https://www.seetickets.com/event/aiming-for-enrike/broadcast/1461653

PCL PRESENTS
PKEW PKEW PKEW
+ Codist
+ Finding Argyle
Wednesday 5th February 2020
Broadcast, Glasgow
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AGE 18+
DOORS 7PM
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Tickets available via SEE and Tickets Scotland:
https://www.seetickets.com/event/pkew-pkew-pkew/broadcast/1464124

PCL PRESENTS
Black Marble
+ Panther Modern
+ Gravelle
Tuesday 4th February 2020
Broadcast, Glasgow
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DOORS 7PM
AGE 18+
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Tickets available now via SEE and Tickets Scotland:
https://www.seetickets.com/event/black-marble/broadcast/1454108

When Chris Stewart set out to write and record his third album as Black Marble, he was newly living in Los Angeles, fresh off a move from New York. The environment brought much excitement and possibility, but the distance had proved too much for the car he brought along. With it out of commission indefinitely, he purchased a bus pass and planned his daily commute from his Echo Park apartment to his downtown studio, where he began to shape Bigger Than Life. The route wound all through the city, from the small local shops of Echo Park to the rising glass of the business district, to the desperation of Skid Row. The hurried energy of the environment provided a backdrop for the daily trip. When Stewart finally arrived at his studio, he’d look through his window at the mountains and the sky, seeing the beauty that makes L.A. unique — the same beauty his fellow commuters, some pushed to the edge of human endurance, had seen. That was the headspace he was in when he began to map out the syncopated drums and staccato arpeggiation of Bigger Than Life, an ode to his new condition and a shimmering synth-pop response to its cacophony.

“The album comes out of seeing and experiencing a lot of turmoil but wanting to create something positive out of it,” Stewart explains. “I wanted to take a less selfish approach on this record. Maybe I’m just getting older, but that approach starts to feel a little self-indulgent. Like, ‘Oh, look at me I’m so complicated, I get that life isn’t fair,’ It’s like, yeah, so does everyone. So with this record, it’s less about how I see things and more about the way things just are. Seeing myself as a part of a lineage of people trying to do a little something instead of trying to create a platform for myself individually.”

As with every Black Marble album, Stewart recorded, produced, and played everything you hear on Bigger Than Life using entirely analog gear, though the process was new. This time around, he wrote everything on his MPC and sequenced it live to his synths — only using the computer to record, not to create. “I try new approaches every time, which helps me stay engaged but also its kind of a trick I play on the creative side of my brain,” Stewart says. “Keeping one side of my mind busy on organizational creativity I think frees up the other side where the inspirational creativity comes from.”

He also approached his vocals in a new way this time, bringing them forward in the mix and retreating from the reverb-drenched affect he has utilized in the past. The result is the finest vocal performance of his career, still processed and distant-sounding, but more immediate than ever before. The beguiling vocal hooks, always present in Black Marble’s music but formerly obscured by the production, are now the focal point of songs like “One Eye Open” and “Feels.”

“Everything about this record from the album art to the title, to the themes to all the sounds on the record is my response to this particular time,” Stewart says. “Music is what I choose to do in response to this time. I think it’s a time where it’s easy to feel powerless, but I’m trying to express humility, because I think gratitude comes from humility and that’s a powerful thing. The people that practice the least humility also seem to be the least grateful. I’m learning the two are connected.”

This event has been rescheduled to Monday 3rd february
All original tickets remain valid.

Animal House are touring their debut album ‘Premium Mediocre’ – a celebration of mediocrity. The wonder of cheesy chips, curry houses and instant coffee. The beautiful simplicity in white shirts and black jeans. Call your friends, come have a boogie.

This will not be a life-changing event. But it will be very fun.

“…they utilise bright intersections of upbeat melodies to gloriously uplifting effect” – The Line of Best Fit

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WATCH: https://www.youtube.com/watch?v=rR5bWkjaCqA
LISTEN: https://spoti.fi/2DjRl5D
INSTAGRAM: https://www.instagram.com/animalhousing

Support comes from local indie rock band
MoonRunners https://spoti.fi/2R8Vcue
Las Mitras

PCL PRESENTS
David Wax Museum
+ Steve Grozier
Saturday 1st February 2020
Broadcast, Glasgow
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DOORS 7PM
AGE 18+
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Tickets available via SEE and Tickets Scotland:
https://www.seetickets.com/event/david-wax-museum/broadcast/1459130

It’s been nearly a dozen years since David Wax and Suz Slezak played their first show together, kicking off a partnership that’s led to seven records, multiple Top 20 chart
placements, performances alongside contemporaries like The Avett Brothers and heroes like Los Lobos, and — most importantly — a family of four. As that family has
grown, so has the band’s sound. Filled with husband-and-wife vocal harmonies, Mexican stringed instruments, melodic hooks, and blasts of brass, David Wax Museum’s albums fly the worldly flag for a brand of Americana that reaches far beyond American borders.

Early in 2018, after honing a new batch of songs on the road, they found themselves making music in the Nashville-based home studio of Carl Broemel (My Morning Jacket’s, Ray LaMontagne) who produced David Wax Museum’s most compelling work to date, Line of Light. Released in 2019 by the Austin-based indie label Nine Mile Records, the album refocuses on the band’s two co-founders. Weaving the personal with the political, the global with the spiritual, Line of Light chronicles the landscapes and longings that connect us all.

Inspired by current events and personal challenges, Line of Light offers its own mix of message and melody. This is honest, heartfelt music about sweeping ideas, anchored
in sharp songwriting and uncluttered by heavy-handed studio production. For those who caught one of David Wax Museum’s earliest shows — long before the group stole
the show at the Newport Folk Festival, toured alongside Buena Vista Social Club, and earned an audience that’s as international as the band’s own sound — the album feels
like a homecoming of sorts, sweetened with contributions from David Wax Museum’s full lineup but still grounded in the raw power of the band’s two-member core. It’s a bright album for murky times, a reminder of music’s ability to drive out the darkness, one song at a time.

PCL & Celtic Connections Presents – The Harmaleighs

Plus support from Eleanor Kane & NANI

The Harmaleighs have crafted a sophomore record that exists beyond the boundaries of any one genre. At times, the album is loud and tenacious while other moments require a more vulnerable cadence. It’s a new path for the Nashville pair, but it remains rooted in their respective roles. Haley Grant who takes on lead vocals and guitar, often pushes melodies to a more raw and tender edge while Kaylee Jasperson, on bass and backup vocals, guides the heartbeat and overall structure of the music.

Past versions of the band have been sparser, but the group’s newest album calls for a bigger backing. The record, titled She Won’t Make Sense explores new territory in sound and subject matter. The latter deals directly with Haley’s mental health, documenting the many forms depression can take. Opening tune, “Anthem for the Weak” introduces Haley’s anxiety, which she named Susan. It’s a preview of what’s to come, as the record continues like a conversation between the two. “The whole album is me talking to Susan or Susan acting on my behalf,” says Haley. “It’s that dialogue with your inner self and how at times it feels like that inner voice has more control over you than you do.” Musically, the track opens with a Wurlitzer-esque melody that feels bright yet disconcerting. That kind of juxtaposition is found throughout the entire arc of the record, and is something the two intentionally played with: “We definitely wanted the musical aspect of it to make you feel anxious.”