BOWERBIRDS

BOWERBIRDS’ debut album, ‘Hymns for a Dark Horse’, was nearly one hundred percent focused on the thesis that the earth is a sacred place with merit beyond us, and that humans are just visitors here. Its contrapuntal harmonies documented a moment in the life of the songwriter and the life of the band – Beth Tacular and Phil Moore living in an airstream in rural North Carolina, building a cabin of reclaimed boards by hand in the woods – but did so without, as far as we could tell, delving into their lives at all. While these weren’t protest songs, per se, they had the wry anger of a “Lonesome Death of Hattie Carroll.” The songs were interconnected, both musically and thematically, a musical whitepaper of the very best, most listenable kind.

So it was a big surprise when we heard the songs collected on ‘Upper Air’. BOWERBIRDS were revealing more, writing from a personal voice, exploring love and human emotions in ways that have never been fully fleshed-out in their songwriting before. They have not abandoned their worldview from ‘Hymns’, but the lyrics are no longer just observational. These are songs written from a personal place, examining the contradictions inherent to a conscious life, and this emotional depth makes for an undeniably powerful collection of songs.

‘Upper Air’ is the product of months spent away from nature and away from home, touring endlessly with the likes of BON IVER, PHOSPHORESCENT and JOHN VANDERSLICE and on their own, on both sides of the Atlantic. The fodder for songwriting has changed, and so have the songs. ‘Upper Air’ moves away from the singular sound and sentiment; each and every song on Upper Air is a journal entry that stands on its own, each a unique, beautiful piece. The arrangements are subtle: acoustic guitars, organ, piano, autoharp, violin, percussion, upright bass and more are used throughout the recording. Usually though, it is just a few of these instruments delicately supporting Moore’s voice, the anchor of every song. Everyone struggles when they try to describe this music, including us, but we’ll try: it has the spirit of RICHARD & LINDA THOMPSON, the currency of DEVENDRA BANHART, the addictively sweet melodicism of IRON & WINE, but it churns with an underlying energy closer to a BEIRUT or something farther out, more raw, more wild.

The most notable part is this: The songs don’t hide behind the instrumentation, the deontological conviction, or, frankly, anything; and that is what makes ‘Upper Air’ undeniable, simple, and breathtaking.

Ticket information: £8 adv / MOTD

Online:

http://www.clwb.net/eng/listings/event1064/3-syllables.html

On foot: doors on the night / Spillers Records / Cardiff SU box office.

IN ASSOCIATION WITH KRUGER MAGAZINE

As well as sharing production duties on her latest album, her father, Tom Menig has been part of her band from the off and this evening he’s her left hand man giving it his all on the old guitar and mandolin.  Keeping it in the family, bassist Tom Bevitori also doubles up as her boyfriend and this cozy set up is reflected in the natural and laid back way in which the performance unravels.  The on stage banter feels like you’re a fly on the wall at a Menig family lunch (not dinner, they’re way too relaxed!) as they share a joke about swine flu.  The set goes with out fault and the tracks are executed as close to their sound on record as they possibly could be thanks to this family vibe and of course to the warm and wholesome sound that the Gate provides (and a good soundman, no doubt).

Right hand lady, Alina Hardin balances up Alela’s powerful but controlled vocals and provides some delicate harmony work through out the set.  This well matched pairing comes in to its own towards the end of the set when the rest of the band vacate the stage to leave the femmes to belt out their take on an old traditional folk song which pretty much leaves the audience in awe.

Stand out track for the night: Every Path

While enjoying a pre-gig lazy Sunday in bed listening to Radio 6 (eating muffins and drinking tea, but that’s by the by) a couple of points that came up resonated with me later that evening as I was engrossed in Efterklang’s world. John Leckie was being interviewed by Huey about his approach to album producing and he likened it to creating a soundtrack to a film that didn’t yet exist. The way the album progressed would be guided by the unravelling images that would play out in his head. This mode of working amounts to an album having a narrative and structure, which are qualities that I value and hold with esteem. In contrast there was the news that Underworld were currently working with Brian Eno, “not to necessarily make an album but to create tunes, kinda like how we used to release a series of 12s (these days, read as mp3s)” See the difference?

Efterklang are your archetypal Leaf band marrying experimental with cohesion, tunefulness with incongruous and order with chaos. They also fit firmly with the John Leckie school of thought, creating their own magical world for the whole time that they are on stage and more importantly, embroiling the audience within that special place. It’s a testament to the enormous talent when you find yourself thinking “Peter Who?” as support man Peter Broderick takes his place as part of the Efterklang clan. While he is a mighty force to behold playing solo, now he somehow diffuses in to the synchronized and balanced instrumentation of the band.
For this whole time the band are on stage, front man (in the loosest sense of the word), Casper Clausen is in control and without feeling staged he gives direction to the rest of the band who all wait on a certain look or a rising of an eyebrow to signal each turn in the complex compositions. That’s not to say that the rest of the band are passively performing on the stage, it’s just that the music of Efterklang is so complex that someone needs to hold the reigns and prevent the sound from being on the unlistenable side of experimentation and this, Clausen does with absolute finesse.

(picture courtesy of Louise Evans)

I apologise to Spencer McGarry Season, I missed them due to Liverpool’s steadfast refusal to put more than one goal past a third rate Hungarian side.  They have a player who I think is called Quiche and he is (that one’s for the people of Reading).  I turn up at 9.45, it’s the best I can do.

It’s safe to say that Sunset Rubdown can be a bit overblown but when they stick to a tune they’re really, really good.  Spencer Krug takes to the stage looking like a happier with life, not shitting in his own shoes, Mike Patton.  He’s joined for the first song by two drummers, a very enthusiastic guitarist and a female keyboard player that has hair like Joey Tempest from Europe but still manages to look sexy due to her thin lips and cute nose.  Getting back to the point, she also contributes backing vocals.  Getting back off the point, she looks a bit like Laura Norville who I went to school with.

I’ll start with the obvious comparison in Arcade Fire, deep voice, shitloads going on, bit serious.  My housemate thinks they sound a bit like Metric.  Makes sense, they’re both from Montreal.  What is it with Canadians and loads of instrument parts?  For the second song the extra drummer morphs into a bassist.  The third song involves some quality squealing from the guitar player although Krug’s jizzshot facial expression hints that he was just a little bit too impressed with it.  A track later he comes over all David Bowie, it’s a newy and even my dour, pessimistic companion likes it.

I do drift off a few times during the more proggy bits but this time is filled contemplating an earlier conversation about whether Cash In The Attic would be better if it was about the Antipodean former Wimbledon champion hiding from Nazis.  There are pros and cons.

The band have a further swap around for the last couple of songs, guitarist now on drums, drummer that looks like Screech from Saved By The Bell is now on axe.  Rattle off two more songs that are to the point and therefore ace and scuttle off for the world’s shortest break between set and encore due to the curfew approaching.  Keyboard player Camilla Wynne Ingr decides to use this moment to reveal she’s part Welsh, the ensuing cheers and explanation ensures that the curfew is pissed all over.  She has family in Pontypool, I was born there.  So, I suspect was Laura Norville.  I wonder if they’re related.

The band seem genuinly pleased an appreciative that the crowd have made the effort to come and see them, whether they’ve been told about TNV’s presence not far away is open to debate.  There was still a fair crowd in The Globe though and all looked like they we having a damn good time.  Especially the guy that kept turning around front of stage to wave at his mate on the balcony.

My housemate walks home with purposeful strides as he’s received a text telling him he’s left his car lights on.  I walk home with a bag full of Senser tickets.  Come on make a switch, make a switch yeaaahhhh.

(1)  Obviously it’s only real poetry if it rhymes.

SUNSET RUBDOWN

Darlings of the press right now. Once the moniker under which WOLF PARADE’s Spencer Krug released low fidelity solo recordings – the SUNSET RUBDOWN project has long since evolved into a full band, and ‘Dragonslayer’ is the third full-length recorded by the whole group. With 10 out of 10 rated reviews left right and centre, ‘Dragonslayer’ is guaranteed to be in all those ‘top 50 albums of 2009′ features cramming all the music magazines just before Christmas – I promise you!

Besides Krug, SUNSET RUBDOWN feature the three musicians who originally signed on: Jordan Robson-Cramer on drums, guitar and keys, Michael Doerksen on guitar and bass, and Camilla Wynne Ingr on keys, percussion and vocals. And now, for the first time, newest member Mark Nicol can be heard on bass, drums, and percussion.

SUNSET RUBDOWN’s previous release on Jagjaguwar, ‘Random Spirit Lover’, was a studio-built album, in that much of it was written while recording (built up in separate layers, with almost all the vocals needing to be overdubbed). With the new album, the band wanted to try something completely different. It was a very conscious decision, and not a “natural progression.” The result is an album that feels honest, natural, and straightforward. The musicianship is left in the open, unassisted by studio magic, and the songs are left to justify for themselves their own screwy pop-rock existence.

‘Dragonslayer’ was recorded in the fall of 2008. SUNSET RUBDOWN hope that the true strength of this new album is a hidden complexity that emerges slowly from within the straight production and raw musicianship, and from what sounds at first to be an only slightly skewed approach to pop. They hope it’s like that one friend of yours who looks unassuming and normal, but once you get to know him it’s obvious he’s basically crazy.

SPENCER McGARRY SEASON

Formed in Nov 2005 with the intention of recording and performing six albums with six different themes; the band currently exists as a three piece, sounding like THE KINKS and TALKING HEADS.

After self releasing the single ‘Leader of the Chain Gang’, which received airplay on both Radio 1 and XFM, the band were picked as one of only two artists to represent Wales in the BBC’s Electric Proms, a week of new music and innovative performances at the relaunched Roundhouse and other venues in Camden (KOKO, Barfly etc). The band were also able to record two new songs with an eight piece ensemble provided by the BBC.

Towards the end of the year they featured on a compilation ‘This town ain’t big enough for the 22 of us’ (Twisted By Design records) featuring first releases by Welsh bands by LOS CAMPESINOS, THREATMANTICS, GINDRINKER amongst others.

In the new year they were filmed for a programme on unsigned bands by ITV, recorded a Maida Vale session for the BBC (where their new single was recorded), played a prestigious Club Fandango (Fierce Panda) show as well as the Great Escape Festival in Brighton. In July the band were part of DANIEL JOHNSTON’s backing band at his only Welsh show in the Point Cardiff.

In late 2008 they released their highly awaited debut album ‘Episode 1′ on Businessman Records to great acclaim, and airplay and praise on Mark Radcliffe’s BBC Radio 6 show.

One of the tightest live bands we have seen, This show will be their first Cardiff gig in 5 months and will feature the live debut of brand new material from the follow up album to ‘Episode 1′ which they are currently recording.

Ticket information: £9 adv / MOTD

Online:

http://www.wegottickets.com/event/51612
http://www.seetickets.com/s.asp?a=sunset+rubdown&p=6806
http://www.derricksmusic-shop.co.uk/eventdetails.php?eventid=1167

On foot: doors on the night / Spillers Records / Cardiff SU box office

IN ASSOCIATION WITH KRUGER MAGAZINE

EFTERKLANG

On their lauded 2004 debut, ‘Tripper’, EFTERKLANG took an “If you build it, they will come” approach to pop music. The Danish quintet manicured warm, abstracted orchestrations and nervy electronics and patiently waited for the hooks to arrive; that these hooks sometimes– but only sometimes– did was the album’s great charm. ‘Parades’, the group’s follow-up, incorporates the same elements but marks a sea change in approach and execution: downtempo indie pop ousted for ribald chants, martial percussion, and trumped-up circumstance.

To EFTERKLANG’s credit, ‘Parades’ comes off about as smoothly as a sea change can, inarguably the product of the same band playing with the same toys. The shift towards more boldly defined pop is real, though: ‘Under Giant Trees’, a mini-album released this spring, debuted at the top of the Danish singles chart. Even Trees, though, feels like a halfway post on the path to ‘Parades’. Where the band previously garnered comparisons to SIGUR ROS and RACHEL’s, they now skew closer to the skyward, communal missives of DANIELSON or ARCADE FIRE. EFTERKLANG are less visceral than those bands, though, as they privilege viscous, loopy passages over sustained momentum. EFTERKLANG’s carefully tended electronic touches are more subdued, replaced by increasingly ostentatious horns and strings. Refrains are severed and discarded, verses are obscured by a green film. EFTERKLANG’s five swell to ten and twenty, yell then scatter.

Rallies, then, might’ve been the better title, sharing a parade’s celebration but suggesting intermittent clamor rather than linear pageantry. “Mirador” slides from fevered strut into a monkish quiet before regaining its fortitude. “Caravan” is the recipient of the album’s art-rockiest touch: a boys choir, whose surgical harmonies fly in the face of ‘Parades’ most rhythmically sturdy arrangement. “Cutting Ice to Snow”‘s acoustic jangle and unmolested piano border on quaint, though damn if EFTERKLANG don’t use those album-closing moments as a prelude to one last huzzah. The creeping electric piano and summoning chants of “Frida Found a Friend” offer refreshing dissonance in the middle of the album’s pastel overload. Each song is augmented by indiscernible– and therefore effectively wordless– choruses on which the band repeatedly aims for rapture. ‘Parades’ is nothing if not eventful.

You would think, though, that a band that trades tempos, styles, and moods as often as EFTERKLANG would be a bit more…dynamic? Parades’ recipe– soft verse, big chant, heavenly “aaaaaaaaa”, elliptical, Nordic orchestrations, stir– is clever to avoid repetition but extremely taxing. Must every track aspire to a 12-act epic? The band would’ve done well to pace themselves– “Him Poe Poe”‘s Spartan repetitions and two-minute duration are an example of how EFTERKLANG might’ve eased the pedal more often. Perhaps that’s the point, though– EFTERKLANG spent most of ‘Tripper’ in patient meditation. Tired of waiting for it to come to them, EFTERKLANG unshackle themselves on ‘Parades’, a sober, decisive grasp at grandeur.

PETER BRODERICK

For PETER BRODERICK, Portland’s violin and piano-obsessed sound-scaper, 2008 was a landmark year.

A developing MySpace friendship with Danish post-pop quintet EFTERKLANG drew him from his Oregon home to the band’s Scandinavian base in Denmark. Dropping everything, and leaving for Copenhagen at the drop of a hat. Everything suddenly changed once he had joined their ranks.

Swapping his beloved piano and violin for tenderly plucked guitars and delicate percussion, Broderick entered the studio and drenched his sound in the layered vocals that lay at the heart of his beguiling new record ‘Home’ which was released on Bella Union (also home now to the mighty FLEET FOXES).

Fans of EFTERKLANG, SLOWBLOW, SEABEAR, BON IVER, SIGUR ROS or that other Portland songsmith M.WARD – a man who Broderick has worked with in the past – take note.

Featured in MOJO Magazine’s rising in last December and since he’s gone interstellar.

Ticket information: £11 adv / MOTD

Online:

http://www.wegottickets.com/event/51841
http://www.seetickets.com/s.asp?a=efterklang+%26amp%3B+peter+broderick&p=6806
http://www.derricksmusic-shop.co.uk/eventdetails.php?eventid=1166

On foot: doors on the night / Spillers Records / Cardiff SU box office

IN ASSOCIATION WITH KRUGER MAGAZINE

There’s little better sight than walking into a crowded room and finding at the back of it Kid Millions bashing holy crap out of a drumkit. Though they have a couple of peripheral players, hugging the sides like the nerds who got lucky, Kid’s steroid octopus act is one third of core Oneida, next to Bobby Matador (frantic, wayward organ) and Hanoi Jane (guitar scree, baldness). Together, in a venue that recognises the value of both hippy visuals and decent ventilation, they’re beautiful, a full on feast of chunky kraut jams fed through several layers of lysergic freakiness. Oneida are just better at everything: antique keyboard lines that repeat forever, repetition that wigs out over the whole room, bubbling, fizzing, killer moves all the time. You know. Jump up and get it. As a bonus, I squeal like a toddler when they play ‘Caeser’s Column’. It’s the one that goes: “DURRRRRR. DURRRRRR. DURRRRRR. Doo doo doo doo.” They are a special band I think you’ll agree.

Having seen a string only set before, the addition of keys didn’t sit so well with me.  Normally a loop station is used to counter the stripped down curse of touring budgets (or lack of) and without suggesting that Pallett doesn’t use it with full effect and artistic license I do wonder if someone with his virtuoso talent for the strings really needs another (forgive me) string to his bow? His earlier works really showed an understanding of how his voice and violin interact and the more he adds to these, the less the impact of his immense talent is felt. I’m in no doubt that this is only a natural progression that follows on from his ever increasing notoriety (he played the main stage at Field Day the afternoon prior to this gig.  I saw the gig, it was ‘ok’. This explains the lack of review for the two support acts. I arrived just at the end of Mariee Sioux which was not what I needed to hear after a crazy ‘don weekend..)  It would be foolish to expect his performance to remain the same forever but I’m hoping that as he wants to expand his sound, as he hinted at this evening, that he enlists some equally talented musicians to help him out so he can focus on his forte, that violin playing.

Nonetheless, there’s no doubt that the audience, (myself included) were left enriched for seeing this performer bare his music to us, especially those seeing him for the first time.  For those who saw him play the post-gig gig in the car park, it was more akin to his earlier live performances and to see that contrast really made the night.  I took the decision to go to the other C P – that would be Cash Point ‘cos I wanted to grab the 2 limited 10”s (sucker!) I did however get a chance to thank Owen as I got back for playing my request “do that one that goes “had a good time anyway” .. Hang on, don’t listen to me – I don’t even know the titles of these songs!

FINAL FANTASY

Canadian violin wunderkind and singer OWEN PALLETT brings both a legacy of classical music training and a lovely hybrid pop sensibility to his unique knife-fight chamber rock.

Noted for his string and orchestral arrangements for ARCADE FIRE (‘Funeral’ and ‘Neon Bible’), BEIRUT (‘The Flying Club Cup’) and Alex Turner’s (ARCTIC MONKEYS) side-project THE LAST SHADOW PUPPETS (‘The Age of the Understatement’), and for his win of the inaugural Polaris Music Prize, Owen fuses emotive indie rock with chamber-music experimentalism into stunningly powerful songs of barbed wit and offbeat beauty.

His lush solo violin channelled through a sampler, looped back on previously plucked rhythms and layered in real time with flowing melodic lines and vulnerable-choirboy vocals, Owen is a miraculous one-man orchestra, his fantastical tapestries of sound ranging from delicate, otherworldly ambience, through wryly romantic chamber pop songs, to ferocious, rafter-shaking, symphonic-rock: whilst watching him add each new layer gives a keenly thrilling pleasure, the high-wire energy of his live show compressing all the wonder and virtuosity of an illusionist’s sleight-of-hand performance into a three-and-a-half-minute pop song.

The real truth is, OWEN PALLETT’s FINAL FANTASY are the best thing out of Canada since (cue same old Canadian famous types list like NEIL YOUNG, RUFUS WAINWRIGHT yadda yadda yaa), well, to be honest, OWEN PALLETT is the best thing out of Canada. He won a Polaris Music Prize for god sakes.

Now anyone who’s seen him play live, or drooled at the live footage on You Tube will realise that this is going to be something truly exceptional. Using his violin, a bunch of effects pedals and samplers, he loops up complex rhythms and tunes that then get played over, and multi layered that quite frankly, blow your mind.

We’ve also secured possibly one of the best live spaces available in the whole of the UK after the Union Chapel in London – The Gate Arts Centre in Cardiff.

We all know about Owen’s various projects as mainman in THE ARCADE FIRE, LES MOUCHES, THE HIDDEN CAMERAS and PICASTRO and his killer LPs ‘Has A Good Home’ and more recently ‘He Poos Clouds’, but how do you all fancy a blast of totally brand new material too? Well that’s what you’re gonna get folks.

‘The one-man string section and Toronto music scene mainstay known as Final Fantasy plays wildly inventive songs – some with a chamber-pop sensibility, others closer to the nu-folk of Joanna Newsom – all featuring his violin bowed, plucked, and looped into a sound that is at once ambitious and intimate.’ PITCHFORK

Right. Listen. Miss this, and all your mates will take the mickey out of you for years. What? OWEN PALLETT came to town, all the way from Ontario, played on your doorstep, and you couldn’t be arsed going!? Think about it….

MARIEE SIOUX

Mariee is ALELA DIANE’s soul mate, the pair are very rarely seperated. Mariee has been an integral part of Alela’s astonishing career as much as Alela has contributed to Mariee’s. I assure you, in all honesty, you will be completd blown away by her. She is magical. A total one off.

The tale of MARIEE SIOUX begins as delicately and spiritually as her captivating song, as a small ember introduced to the universe that soon grew into a flame of hope and illumination. Her dazzling debut album ‘Faces in the Rocks’, weaves together the poetic interpretations of the universe’s deep truths and interconnectedness that have intrigued her since childhood. Each spin invites listeners to be the cast in Mariee’s entrancing tale with a journey ahead that is only beginning.

The stage was set in her hometown of Nevada City, CA, a historically creative community in which artists have flourished over the ages, where Mariee intertwined the vivid verse she had been writing as a child with the life lessons she has learned as an adult for this powerful record. Her roots had been planted deep in music through the love of her mandolin-playing father, but it was not until Mariee ventured a life-changing trip to Patagonia at the age of 17 that she began to play an instrument herself. She soon perfected the spry, delicate finger picking guitar technique featured on ‘Faces in the Rocks’, a faultless accompaniment to her strong yet sweetly cooing vocals, and toured internationally with her adoring compatriots BRIGHTBLACK MORNING LIGHT.

Featuring Grammy-nominee GENTLE THUNDER’s enchanting sound on a redwood-carved Native American flute as well as her own famed father Gary Sobonya on mandolin, Mariee recorded Faces in May 2007 with a troupe of Nevada City’s talented musicians. Recorded with the intent of aligning the magnificence of the human voice with the universe’s creative energy, each song is a stirring exploration of life. Her tales range from the profundity of friendship on the single ‘Friendboats’ to the yearning of self-understanding on ‘Bundles’, each laced with fabled images and poignant verse. ‘Two Tongues at One Time’, recently released on a rare 7” vinyl, is a sonnet-filled homage to the ancestors who traversed the wild lands of America hundreds of years ago, reminding listeners of our vital ties to our past.

Continuing the folk tradition of songwriting greats such as JONI MITCHELL, KATE WOLF and NICK DRAKE, ‘Faces in the Rocks’ glorifies an appreciation of the working spirit and the oneness of nature that remains timeless.

Nevada City-based songwriter MARIEE SIOUX spits piney rhymes over oaken-tuned acoustic plucking. Her twilight narratives detail encounters with ghosts, myriad woodland creatures, and her mom. But with a voice that bends around the branches with more flexibility than her fellow folk-nymphs, you couldn’t pick a better guide for your night-hike. – Jennifer Maerz, SF Weekly

MARIEE SIOUX was a delight, an amazingly poetic and telling lyricist, and she seemed to be the den mother of the pack, delicately plucking and strumming an acoustic with her eyes closed. – LA Record

SWEET BABOO

A.K.A Stephen Black formulated in the hills of North Wales some 10 or 11 years ago, initially as a way to impress girls and to waste Sundays. Locked inside his parents’ loft he would noodle and tinkle with his Casio keyboard, a £10 Tandy microphone, a little four track recorder and his father’s guitar. The culmination of this experimentation was the first two batches of SWEET BABOO songs. Firmly rooted in Welsh Psychedelic Pop (S.F.A, GORKY’S ZYGOTIC MYNCO) and a love of his Parents records (BOB DYLAN, JOHNNY CASH) the songs would be early inclinations of the music SB makes today – a love of the country strum, flashes of keyboard wizardry, sweet, if slightly off key, harmonies and songs about girls, putting heads in vases, drinking and sleeping.

Not letting disappointment influence him, the ever autonomous SB released two singles himself, ‘Mountain’ and ‘C’mon Beef’ over the following two years. Cardiff’s elite received them with healthy applause and SB was reaching further a field with airplay on both BBC Radio 1 and BBC Radio Wales. More prospects came. SB played at the Green Man Festival four years in a row, and supported the likes THE HIDDEN CAMERAS and JEFFREY LEWIS. People noted his musical talent and adaptability moonlighting in other Cardiff bands such as NEON NEON member CATE LE BON’s solo project and SPENCER McGARRY SEASON.

2007 was a good year for SB. By mid April he was asked to play bass in GORKY’S ZYGOTIC MYNCIi front man EUROS CHILDS’ solo project. High profile gigs at Glastonbury festival, a tour in both Europe and America, a recording session with Grammy nominated producer Mark Nevers in Nashville ensued.

In the summer SB was asked to assemble DANIEL JOHNSTON’s backing band for the Cardiff leg of his European tour, as well as offering his solo services to support. This was another big deal for Steve, his second hero of the year.

The record was officially released on SWEET BABOO’s own record label Businessman Records in September 2008 receiving positive reviews (word magazine) and was championed by the likes of Mark Riley (BBC Radio 6), Huw Stephens (BBC Radio 1) and Stuart Maconie (BBC Radio 6 and BBC Radio 2).

In January 2009, SWEET BABOO, along with a gang of musician friends entered the studio to record, what would eventually be become SWEET BABOO’s second album ‘Hello Wave’. It is to be released September 2009 on Businessman Records.

TICKET INFORMATION: £12adv / MOTD

Online:

http://www.seetickets.com/s.asp?a=final+fantasy&p=6806
http://www.wegottickets.com/event/51355
http://www.cardiffboxoffice.com
http://www.bristolticketshop.co.uk/cgi-bin/browse.cgi?session=573746487&view=item&item=090802carfi
http://www.derricksmusic-shop.co.uk/eventdetails.php?eventid=1164

On foot: doors on the night / Cardiff SU box office / Spillers Records / Bristol Ticket Shop / Derrick’s Music

IN ASSOCIATION WITH KRUGER MAGAZINE