V I S I O N S Tour
Support
Thieves of Liberty
OHNOVA
more tbc
”From Birdrock doon the brae – SORROWHEARTS on tour”
When Sorrowhearts were starting up ten years back, the idea was to play Scottish-inspired folk-rock – music that the band soon named as ”Powerfolk”. Well, the market for this kind of music may be a bit small near the arctic circle, but very soon the band was to be known as the hardest working (and probably the only one of it’s kind!) Powerfolk band in Finland.
Being a lifelong fan of Scottish music Sami, the leader of the band, was once again at a Big Country gig in London when he met a Scotsman called Brian. They became friends immediately and it wasn’t long until Brian found himself at a Sorrowhearts gig in their hometown Tampere – An industrial town in southern Finland divided both by the river and it’s history. Since then the band members have visited Scotland several times and there’s always been talk about the possibility of playing gigs in Scotland.
After five albums and well over a hundred gigs in Finland they are now ready for Scotland. The gigs take place in Burnmouth’s Village Hall, at The Tavern Bar in Eyemouth and in Edinburgh at Sneaky Pete’s.
The band feel a strong sense of about the power of music and also a willingness to “give something back” and if is for this reason that the Borders gigs will be in support of good causes. The Village Hall gig in support of the RNLI and The Tavern in support of Eyemouth United U16’s.
”The miles from Gorbals to Drunkard’s Bay / And from Birdrock doon the brae” – the lines from ”All Our Hearts Together” from their latest album ”Where The Good Men Go” tell everything about the love Sorrowhearts have for Scotland and also about the specal bond between them and their Scottish friends. So, Scotland – are you ready for Sorrowhearts’ Powerfolk? Ready or not – here we come!
SORROWHEARTS are:
Sami Ala-Lahti: Vocals, Guitar
Mika Eino: Electric Guitar
Antti Häikiö: Fiddle
Juha Kokkonen: Drums
Vesa Mäkinen: Accordion
Jukka Tuomiranta: Bass
Doors 7pm / curfew 10pm
Headline : Jake Roberts
Support : Sintide & Indoor Foxes
Tickets £5;
– Available on EVENTBRITE: https://www.eventbrite.co.uk/e/jake-roberts-sintide-indoor-foxes-sneaky-petes-tickets-94146379355
– Message any band for a ticket
Ages 14+
Venue Policy – “14-17 year olds must be accompanied by an adult. No refunds will be given for incorrectly booked tickets. We reserve the right to breathalyse anyone under the age of 18. Refusal or failure of the test will result in entry being denied”.
Ticket refunds are available from point of purchase.
In our opinion, Alex Rex’s Otterburn is the best Scottish album of 2019. Its songs of love, loss and loathing meld genres unfathomably across swoonsome country balladry, primitive psychedelic funk and swampy cajun boogie.
Alex uses his uncommon and extraordinary voice to lyrically delve in the murky depths of bereavement, kink and cruelty. Alex ‘Rex’ Neilson is Trembling Bells’ drummer and songwriter and has toured and made albums with Bonny ‘Prince’ Billy. Alex’s songwriting and delivery is every bit that great man’s equal.
Cameo Habitat Headline Sneaky Pete’s on the 23rd of April 2020.
Get your tickets from www.cameohabitat.bigcartel.com
Mouldy Soul Presents
Beta Waves
+ Support
————
30.04.20
Tickets £7 (+50p booking fee)
Following their highly successful winter tour which included a sold-out hometown show in Dundee, Mouldy Soul is happy to announce we are bringing one of the most exciting Scottish acts BETA WAVES to Edinburgh.
We have 2 excellent support acts for this show to be announced soon.
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ALL TICKETS BOUGHT WILL BE HELD UNDER THE BUYERS NAME ON THE DOOR.
14-17 year-olds must be accompanied by an adult. No refunds will be given for incorrectly booked tickets. We reserve the right to breathalyse anyone under the age of 18. Refusal or failure of the test will result in entry being denied.
STAG & DAGGER EDINBURGH 2020
Saturday 2nd May
Various venues in Edinburgh
Sneaky Pete’s is proud to present Edinburgh’s newest multi-venue festival and new music showcase debuting on Saturday 2nd May 2020. First wave announcements coming soon!
Limited early bird tickets ON SALE NOW!
Tickets > https://www.seetickets.com/event/stag-and-dagger-edinburgh-2020-early-bird/various-venues/1470306
Stag & Dagger Glasgow previous guests include Lizzo, Ed Sheeran & Mac DeMarco to Frightened Rabbit, The Twilight Sad, Catfish & The Bottlemen, Courtney Barnett, DMA’s, Jungle, Glass Animals and many more.
Sara n Junbug are heading to sneaky petes as part of their 2020 “Vision Tour” 14+ early bird tickets on sale Wednesday 19th February.
Support to be announced
S’N’J are an independent, 4-piece pop band from Scotland with ear-worm choruses, a Glaswegian charm and vibrant, energetic performances.
Sure to get you in that summer mood, they are the perfect soundtrack for those afternoons spent partying, drinking and getting sunburnt. The band was established in 2015 originally by Sara and Junbug (hence the name of the band) but with new members being introduced over time and drawing influence from pop, country, folk and rock music, the sound of the band has developed into an original and exciting take on modern pop music.
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The band pride themselves on creating music that comes from the heart – writing meaningful and emotional songs inspired by real-life experiences that connect with listeners of all ages – as well as being entirely responsible for their own successes with no input from management or labels.
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In October 2019, Sara and Junbug from the band featured on ‘Emeli Sandé’s Street Symphony’ on BBC Scotland and BBC One, performing Emeli’s recent single, ‘Shine’, alongside her and the BBC SSO as well as performing their own recently released single, ‘Piece by Piece’. This feature led to them supporting Emeli during the Scottish dates of her ‘Real Life’ UK tour – near sold out shows taking place in Usher Hall (Edinburgh) and the SEC Armadillo (Glasgow).
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Line-up: Sara Rae (Vocals/Guitar/Songwriter), Junbug Nicoll (Guitar/Songwriter), Daniel Scott (Bass/Violin/Keyboard/Viola) & James Gilmour (Drums)
Due to demand, we’ve added a second date for Bambara, over from NYC.
One thing you won’t be able to avoid on Bambara’s Stray is death. It’s everywhere and inescapable, abstract and personified – perhaps the key to the whole record. Death, however, won’t be the first thing that strikes you about the group’s fourth – and greatest – album to date. That instead will be its pulverising soundscape; by turns, vast, atmospheric, cool, broiling and at times – on stand out tracks like “Sing Me To The Street” and “Serafina” – simply overwhelming
Bambara – twin brothers Reid and Blaze Bateh, singer/guitarist and drummer respectively, and bassist William Brookshire – have been evolving their midnight-black noise into something more subtle and expansive ever since the release of their 2013 debut Dreamviolence. That process greatly accelerated on 2018’s Shadow On Everything, their first on New York’s Wharf Cat Records and a huge stride forward for the band both lyrically and sonically.
The album was rapturously received by the press, listeners and their peers. NPR called it a “mesmerising…western, gothic opus,” Bandcamp called the “horror-house rampage” “one of the year’s most gripping listens,” and Alexis Marshall of Daughters named it his “favorite record of 2018.” Shadow also garnered much acclaim on the other side of the Atlantic. Influential British 6Music DJ Steve Lamacq, dubbed them the best band of 2019’s SXSW, and Joe Talbot of the UK band IDLES said, “The best thing I heard last year was easily Bambara and their album Shadow On Everything.” The question was, though, how to follow it?
To start, the band did what they always do: they locked themselves in their windowless Brooklyn basement to write. Decisions were made early on to try and experiment with new instrumentation and song structures, even if the resulting compositions would force the band to adapt their storied live set, known for its tenacity and technical prowess. Throughout the songwriting process, the band pulled from their deep well of creative references, drawing on the likes of Leonard Cohen, Ennio Morricone, Sade, classic French noir L’Ascenseur Pour L’Echafraud, as well as Southern Gothic stalwarts Flannery O’Connor and Harry Crews.
Once the building blocks were set in place, they met with producer Drew Vandenberg, who mixed Shadow On Everything, in Athens, GA to record the foundation of Stray. After recruiting friends Adam Markiewicz (The Dreebs) on violin, Sean Smith (Klavenauts) on trumpet and a crucial blend of backing vocals by Drew Citron (Public Practice) and Anina Ivry-Block (Palberta), Bambara convened in a remote cabin in rural Georgia, where Reid laid down his vocals.
The finished product represents both the band’s most experimental and accessible work to date. The addition of Citron and Ivory-Block’s vocals create a hauntingly beautiful contrast to Bateh’s commanding baritone on tracks like “Sing Me to the Street”, “Death Croons” and “Stay Cruel,” while the Dick Dale inspired guitar riffs on “Serafina” and “Heat Lightning” and the call-and-response choruses throughout the album showcase Bambara’s ability to write songs that immediately demand repeat listens.
While the music itself is evocative and propulsive, a fever dream all of its own, the lyrical content pushes the record even further into its own darkly thrilling realm. If the songs on Shadow On Everything were like chapters in a novel, then this time they’re short stories. Short stories connected by death and its effect on the characters in contact with it. “Death is what you make it” runs a lyric in “Sweat,” a line which may very well be the thread that ties these stories together.
But it would be wrong to characterize Stray as simply the sound of the graveyard. Light frequently streams through and, whether refracted through the love and longing found on songs like “Made for Me” or the fantastical nihilism on display in tracks like the anthemic “Serafina,” reveals this album to be the monumental step forward that it is. Here Bambara sound like they’ve locked into what they were always destined to achieve, and the effect is nothing short of electrifying.
One thing you won’t be able to avoid on Bambara’s Stray is death. It’s everywhere and inescapable, abstract and personified – perhaps the key to the whole record. Death, however, won’t be the first thing that strikes you about the group’s fourth – and greatest – album to date. That instead will be its pulverising soundscape; by turns, vast, atmospheric, cool, broiling and at times – on stand out tracks like “Sing Me To The Street” and “Serafina” – simply overwhelming
Bambara – twin brothers Reid and Blaze Bateh, singer/guitarist and drummer respectively, and bassist William Brookshire – have been evolving their midnight-black noise into something more subtle and expansive ever since the release of their 2013 debut Dreamviolence. That process greatly accelerated on 2018’s Shadow On Everything, their first on New York’s Wharf Cat Records and a huge stride forward for the band both lyrically and sonically.
The album was rapturously received by the press, listeners and their peers. NPR called it a “mesmerising…western, gothic opus,” Bandcamp called the “horror-house rampage” “one of the year’s most gripping listens,” and Alexis Marshall of Daughters named it his “favorite record of 2018.” Shadow also garnered much acclaim on the other side of the Atlantic. Influential British 6Music DJ Steve Lamacq, dubbed them the best band of 2019’s SXSW, and Joe Talbot of the UK band IDLES said, “The best thing I heard last year was easily Bambara and their album Shadow On Everything.” The question was, though, how to follow it?
To start, the band did what they always do: they locked themselves in their windowless Brooklyn basement to write. Decisions were made early on to try and experiment with new instrumentation and song structures, even if the resulting compositions would force the band to adapt their storied live set, known for its tenacity and technical prowess. Throughout the songwriting process, the band pulled from their deep well of creative references, drawing on the likes of Leonard Cohen, Ennio Morricone, Sade, classic French noir L’Ascenseur Pour L’Echafraud, as well as Southern Gothic stalwarts Flannery O’Connor and Harry Crews.
Once the building blocks were set in place, they met with producer Drew Vandenberg, who mixed Shadow On Everything, in Athens, GA to record the foundation of Stray. After recruiting friends Adam Markiewicz (The Dreebs) on violin, Sean Smith (Klavenauts) on trumpet and a crucial blend of backing vocals by Drew Citron (Public Practice) and Anina Ivry-Block (Palberta), Bambara convened in a remote cabin in rural Georgia, where Reid laid down his vocals.
The finished product represents both the band’s most experimental and accessible work to date. The addition of Citron and Ivory-Block’s vocals create a hauntingly beautiful contrast to Bateh’s commanding baritone on tracks like “Sing Me to the Street”, “Death Croons” and “Stay Cruel,” while the Dick Dale inspired guitar riffs on “Serafina” and “Heat Lightning” and the call-and-response choruses throughout the album showcase Bambara’s ability to write songs that immediately demand repeat listens.
While the music itself is evocative and propulsive, a fever dream all of its own, the lyrical content pushes the record even further into its own darkly thrilling realm. If the songs on Shadow On Everything were like chapters in a novel, then this time they’re short stories. Short stories connected by death and its effect on the characters in contact with it. “Death is what you make it” runs a lyric in “Sweat,” a line which may very well be the thread that ties these stories together.
But it would be wrong to characterize Stray as simply the sound of the graveyard. Light frequently streams through and, whether refracted through the love and longing found on songs like “Made for Me” or the fantastical nihilism on display in tracks like the anthemic “Serafina,” reveals this album to be the monumental step forward that it is. Here Bambara sound like they’ve locked into what they were always destined to achieve, and the effect is nothing short of electrifying.
Ever since we hosted this New York four-piece in Independent Venue Week with Heavy Rapids, we knew we had to have them back!
Public Practice harness the coolest funkiest bits of CBGB proto-punk with an astonishing textural awareness and sass. We are THRILLED to have them back in the club.
Stanley Odd are back. Brought to you by arrangement with Antidote Booking, catch them on their Spring/Summer-Tour 2020 at Sneaky Pete’s Edinburgh.
The band incorporate the kind of eclectic energy found with the Britpop heroes of the 90’s – Discovery Music
Scruff of the Neck presents
The Links
Instagram: _thelinksband
Friday 15 May 2020 | Sneaky Pete’s, Edinburgh
With support
In Association With:
Fatsoma
Ticket Alien
Light & Noise Productions
The third studio LP from kosmische folk-rock four-piece Modern Studies opens with a photograph, and closes with a shape of light. In between what slowly develops is a heady, heartening album that charts love, loss and life, as the Glasgow-via-Lancashire group reflect on landscape, the elements, intimacy, distance, sunsets, moonlight, and the blues.
The Weight of the Sun sees principal songwriters Emily Scott and Rob St John further their warm, esoteric field studies with Pete Harvey and Joe Smillie, as previously reconnoitred on Swell To Great (2016) and Welcome Strangers (2018). Largely recorded at Harvey’s home-run studio Pumpkinfield in rural Perthshire, this third outing makes for a glorious compendium of haunted disco hallelujahs (‘Spaces’); mercurial krautrock chorales (‘Heavy Water’); cosmic pop adagios (‘Corridors’; ‘Back to the City’) and euphoric, resilient, anthems (‘The Blue of Distance’).
“I found that phrase, ‘The Blue of Distance’, through Rebecca Solnit,” says St John, who lives in Lancashire’s Forest of Bowland. “She writes, ‘The world is blue at its edges and in its depths. This blue is the light that got lost’.” Those ever-shifting shades and shadows permeate on The Weight of the Sun: itshues of the sky and the ocean; of heartache and arteries; of absence and of everything. Blue is light-years away, and it’s painfully close, not least on the aching, ‘Northern Sky’-invoking gospel of ‘Shape of Light’ (“blue-blood tributaries just below the skin”). There are traces, bruises, wakes.
Welcome Strangers gently revelled under a ‘Young Sun’, but there’s a sense that the heavens are heavier this time around. Is The Weight of the Sun a meditation on time, on life, passing? Glasgow-based Scott acquiesces. “A lot of life was lived in the last two years,” she says. “Perhaps we’re showing a rawer, truer connection to things. I feel, and hope, when listening, that the overriding sense is joyful, though.” That sentiment strikes a chord with St John. “This is an attempt to weave something hopeful from it all.”
And so they do. The Weight of the Sun is uplifting, enlightening, and — on various occasions — eminently danceable. Smillie’s galloping percussion conjures a primal rodeo hoe-down on ‘Spaces’; there’s an insatiable bass groove on ‘Brother’ (“the ear finds what the eye avoids”); and even a hip-swaying high-noon undertow amid the dizzying psych-folk of ‘Photograph.’ It might well be heavy, it might well go down, there might well be darkness, but the sun also rises.
They are at once star-struck and down to earth — quite literally, on the latter front, as Harvey notes. The band, he says, delighted in seeking and appropriating “everything we could that would clang: garden implements, including rakes, shovels and hoes; fire extinguishers; and a pristine fire pit which made haunting bowed shimmers before being relegated to the garden.”
There is a strange familiarity, and a welcome strangeness, in the quiet alchemy of Modern Studies.
‘The Weight Of The Sun’ will be released on 8th May via Fire Records on LP and CD.
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“Setting the standards for intelligent pop” Record Collector
“Melancholic magic… recalls Johnny Marr’s hazier reveries and the febrile, electrified folk of Polly Harvey’s Let England Shake.” UNCUT
“The exact point where Fairport Convention meet Jim O’Rourke at a remote Scottish railway station.” – Tim Burgess
Rosalie Cunningham (mastermind behind psychedelic prog band Purson) released her debut solo album in July 2019 to overwhelming admiration from fans and critical acclaim. She is now embarking on a Spring Tour with select dates in the UK, before heading over to Europe and the US later in the year.
Looked at cynically, the Proper Ornaments is a great name for a band infatuated with their record collections—a group that decorates their spare little songs with only the most finely curated influences, like so many baubles on a tree.
AGP presents
OpenPlan
plus support
Friday 29 May 2020
Sneaky Pete’s, Edinburgh
7pm
14+ (u16 to be accompanied by an adult)
Tickets skiddle.com
“The best club in the UK for future rock & roll stars” Noel Gallagher
LIVE
Wharves + more TBA
432 Presents
Born Ruffians
Sneaky Pete’s, Edinburgh
06.06.20
Midland-born, Toronto-based indie rock band Born Ruffians—guitarist/vocalist Luke Lalonde, bassist Mitch DeRosier, and drummer Steve Hamelin—are proof that a group of friends with a tireless work ethic and fierce, grassroots commitment to their labour’s integrity and vision can still go a long, long way. 15 years into their career, the trio isn’t slowing; instead, they’re doubling down on those designations with JUICE, their 6th full-length record. It’s a hyper, earnest, and affecting collection of rock and roll songs, written and polished over a three-year span then sewn together into a cohesive and uniquely enjoyable experience. It’s Born Ruffians as they’ve always been: on their own terms, heads against the wind until their work is done.
“Here’s the thing: you get further as a band when all members embrace the strength of their creative relationship, keeping the external demands and pressures at bay” says Lalonde. “JUICE kind of reflects that as a title. We’re squeezing more out of this bond that we’ve forged over so many years.”
JUICE, due on April 3, 2020 via Yep Roc Records, embodies the band’s longstanding history, exhuming Born Ruffians’ early days in Toronto, while dissecting their relationships with that time and the memories they hold. “Was it all the way it seemed? How I wonder what you see/In that wavy haze,” Lalonde belts on the chorus.“ It was the best of times, it was the worst of times,” Lalonde explains with a grin. Those days were marked by equal doses of anxiety and excitement, living hand to mouth in a basement in downtown Toronto. “That anxiety will exist forever, I think,” says Hamelin. “But the more you take your life into your own hands, it alleviates some of that anxiety.”
JUICE evokes this simplicity: the desperate appreciation for, and necessity of, major key melodies and camaraderie that’s prompted when your back is against the wall. Heard on their own, each single is a neon bolt of energy and storytelling, but placed alongside and tumbling into one another from start to finish, they’re recontextualized as interlocking pieces in a puzzle.
Our collective 21st century spiritual malaise requires a salve, and JUICE is just that: a sweet, delectable nectar from a band that’s lived longer than most. It’s bright and punchy, from the brass section blasts opening the breathless rock and roll sprint of “I Fall In Love Every Night” to the playful throb of Hamelin’s drums on “Breathe.” The plucky gait of “Dedication” completes this opening trio with whistles and percussion blocks framing Lalonde’s sardonic reading of dogged devotion to capitalism, rhyming off would-be Extremely Online listicles: “12 ways to die in a fire, 10 ways to be consumed by desire, 8 things you didn’t know about the all-consuming shadow of this empire.”
This beginning three-track suite is mirrored on the back end by the final three songs, an adventure capped off with “Wavy Haze.” It’s a four-minute wander through Lalonde’s foggy recollections of the band’s beginning hemmed in by cotton-candy guitars and rumbling drums. “Miss the stuff you did not need: attention headaches, nicotine, alcohol, and some amphetamines,” Lalonde declares on the verse. It’s almost like taking stock, counting chips before the next bet. “There’s a bit of pride in what we’ve done, and looking back and looking forward all at the same time,” says DeRosier.
In the end, JUICE is a testament to where Born Ruffians have come from, and a bold, pulpy mission statement for the future. However weird and overwhelming things get, Born Ruffians close out the record by reminding us that they’re in this for the long haul, as Lalonde sings, “You see a light come shining from behind, reminding you that kid is always on your back.”
Hailing from Edinburgh, Donnie Willow are all about big riffs, huge vocals and an intense live energy. Following a short break to work on new material, the band are back with a refined sound and a brand new live set. April 2020 sees Donnie Willow head out on a short UK run in support of their new single release with Bristol-based alternative rockers Blank Atlas, citing influences the likes of Arcane Roots and Reuben. Expect loud guitars and massive hooks. Opening the show are Edinburgh’s latest pop-punk outfit making waves in Scotland, Radials.
Eight years and four albums into it, the artistic arc of Nap Eyes finds itself tracing a line alongside frontman Nigel Chapman’s daily tai chi practice. Those first years and albums are the cold mornings in the park: the measured movements, the joint aches, the self-doubt. With each new release, an incremental and invigorating step forward. And with the end of each album and tour, a return to the beginner’s practice. And now, Snapshot of a Beginner, Nap Eyes’s boldest, most concentrated and most hi-fi album to date, a study of that repeated return and all that it can teach you.
TIMELESS MUSIC PROMOTIONS PRESENTS
Friday 11th September
Sneaky Pete’s
Ranzas head to Sneaky Pete’s in Edinburgh! After their successful debut tour the band have massively grown their fanbase. With their energetic sets the band are one to watch out for.
Mouldy Soul Promotions bring Glasgow’s hottest property VLURE to Edinburgh for their debut show in the capital.
Having played at Stag and Dagger, The Great Escape and The Great Western festivals, Vlure have built themselves a highly impressive reputation with their memorable and energetic live shows. We promise you this is not one to miss, and it will sell out.
You won’t be disappointed with the supports either.
Tickets from £7 online.
ALL TICKETS BOUGHT WILL BE HELD UNDER THE BUYERS NAME ON THE DOOR.
14-17 year-olds must be accompanied by an adult. No refunds will be given for incorrectly booked tickets. We reserve the right to breathalyse anyone under the age of 18. Refusal or failure of the test will result in entry being denied
“Feral Guitar, Torn-from-the-chest lyrics… sensational” – Sunday Times Culture
“Bryde’s voice, equally stunning and chilling, climbs to a plainspoken conclusion that cuts with its honesty.” – NPR
“A voice that deserves attention” – Consequence of Sound
“Bryde invokes the ambience of Warpaint and emotion of Laura Marling” – Dork (4 Stars)
Sarah Howells released four extraordinary albums with her band Paper Aeroplanes, before branching out solo to become Bryde: “I had ideas that I wasn’t previously able to fully realise, and it was the beginning of a bit of a love story between me and my Burns guitar.”
On her new record ‘The Volume of Things’, written and recorded between London and Berlin, Sarah explores the grip of the midnight worries that keep us awake long after dark. “Looking for some way to get it right,” she sings, “the things you think to yourself at night”. Produced by Thomas Mitchener (Frank Carter & The Rattlesnakes, The Futureheads), Howells describes the record’s expansive feel as being like “the calm before the storm – before the true calm that I’m working towards.”
Walt Disco
Over 14s (under 16s with an adult)
_______
Walt Disco are a band whose influences derive not from just music itself, but much more so from love, glamour and androgyny. Crooning vocals, angular guitars, dark shimmering synths – their music is a gateway to a space of lust, loss and everything in-between.
After their breakthrough year in 2019, the band look forward to increasing their already relentless touring schedule, bringing their unpredictable and drama filled live shows to new grounds, including the USA where the band will perform at iconic new music showcase SXSW in Austin, Texas. The band’s glamorous post-punk
has received praise from the likes of DIY, NME and Gigwise and has also earned strong support from the likes of BBC Radio 1’s Jack Saunders and Annie Mac with the band set to perform at the latter’s AMP 2020 festival this March.
The band’s strong androgynous look has led them to working with renowned photographer and former creative director of Dior and SAINT LAURENT, Hedi Slimane, with frontman James Potter starring in his “Polaroids of a British Youth” menswear campaign for fashion house CELINE as well as walking in the brand’s FW19 fashion show. The band also brought their energetic live performance to the SS20 afterparty in Paris.
“ Currently four singles deep, Walt Disco’s music is deliciously melodramatic .” – i-D
“ Theatrical and aesthetically-minded, Walt Disco aren’t just thinking about making brilliantly weird pop music –
they’re concentrating on the whole expressive package .” – DIY
“ Whether in fashion, music or film, the quintet have carefully carved their own unique space in Scotland’s
creative scene that is entirely of their own devising .” – TENEMENT TV
“ Miss this lot at your peril, before you’ll have to form an orderly queue…” – Gigwise
Rescheduled show. Original tickets remain valid.
Hailing from the northern tip of mainland Scotland, Neon Waltz are a six-piece indie band with a psychedelic flair and rich, melodic sound calling to mind ’60s-influenced forebears like the Stone Roses and the Coral.
Fabric Bear are a 4-piece indie band from Scotland consisting of Ryan Hunter, Callum Jones &
Matt Graham who all knew each other as friends in the Scottish music scene and decided to come together to deliver infectious indie pop songs with catchy choruses and memorable melodies.
“I don’t know what’s in the haggis or Irn Bro up there, but it’s making some superstars. This is an ANTHEM!”- Abbie Mac (BBC Radio 1)
“That’s an absolute monster of a track! Really accomplished musicians as well. That stood out immediately when I first heard it. I cannot wait to hear more from those guys.”- Vic Galloway (BBC Radio Scotland, BBC Music Introducing)
“ARMED with a highly-strung and robust sound that mirrors the youthful exuberance and undeterred ambition that they clearly have at their disposal, Edinburgh-based upstarts Fabric Bear are here to capture your imagination and deftly expands its horizons.”- TENEMENT TV
Juniore are a French indie pop quartet from Paris led by singer/songwriter Anna Jean.
Before forming Juniore in 2013, Anna Jean collaborated with Samy Osta in an indie folk duo called Domingo, who released one LP in 2008. In the following years, her mysterious, sultry vocals would lead her to collaborations within the Parisian electro scene, appearing as a guest vocalist for artists like Jackson & His Computerband and Bot’Ox.
Working again with Osta, she formed Juniore originally as a duo, later expanding into a quartet. Mixing modern indie pop sensibilities with elements of retro French pop, dark, twangy surf guitar, and a vocal style that falls somewhere between Cat Power and Françoise Hardy, Juniore released their debut 7″ single, “Christine” b/w “Dans le Noir,” in late 2013 on the Parisian Enterprise label.
Timeless Music Promotions Presents
Sneaky Pete’s
Friday 16th October
The Recreation + support
We had so much fun at Dry Cleaning’s sell out show in February that we’ve asked them back – but this time in The Caves!
Firm friends for years, the band (Lewis Maynard, Tom Dowse, Florence Shaw & Nick Buxton) only started making music after a party in 2017 inspired a collaboration. They wrote instrumentally to begin with and six months later Shaw, a university lecturer and picture researcher by day, joined on vocals with no prior musical experience. They recorded their debut “Sweet Princess” EP before playing their first show only last year.
Dry Cleaning’s music is simple – direct and uncomplicated. The Feelies, the Necessaries, the B52s and Pylon all served as inspirations when the band first came together. The small and intimate garage / rehearsal space had a huge influence on the sound; anything unnecessary was to be left behind.
A discussion among the four band members about how to make the prospect of performing as comfortable as possible for Florence (a first timer) ahead of the band’s first rehearsal as a four piece, led to her using her speaking voice. There were several references for this; Will Powers, The Anaemic Boyfriends and Grace Jones, among others.
Complete belter DIY punk from Hull – we are so so so excited to have LIFE play for us on Easter Monday!
The Leg launch new album Chromatic Perversion (Tenement Records)
Support from Andy Brown
Formed late 2014 in Chester university digs, the three-piece band Peaness write catchy, fuzzy, harmony driven indie-pop songs about love, friendship, frustrations, Brexit and food waste.
The trio have been playing together since summer 2015, and their fun, friendships fuelled live performances have been winning the hearts and minds of people up and down the country. They have secured nationwide and international shows with bands such as The Beths, Kero Kero Bonito, The Cribs, We Are Scientists, The Big Moon & Dream Wife. They have performed at many festivals including Green Man, Benicassim, Truck, Great Escape, 2000 Trees, Kendal Calling & Indietracks. Peaness have received backing from across the BBC, including a live 6music session with Marc Riley, multiple plays on Radio 1, 2, 6music and have become firm favourites on their local BBC Introducing stations BBC Radio Wales and Merseyside. The band have also received support from Radio X with a live session with John Kennedy, as well as a multitude of press coverage from Kerrang! Magazine, Rolling Stone, Dork, Clash, Drowned in Sound and The Metro. The band have strong roots in the DIY scene, self-releasing their first EP ‘No Fun’, and releasing their critically acclaimed EP ‘Are You Sure?’ with UK independent label royalty Alcopop! They often make their own music videos, have close creative friends doing press shots and art work, and even have their mum’s making handmade squeaky peas for merchandise.
With their debut album due early 2020, the band are cited as ones to watch for the year ahead.
TENEMENT TV DISCOVER TOUR
EDINBURGH, Sneaky Pete’s
w/ Medicine Cabinet + WEB + The Roly Mo + AVAERA
………….
Doors: 7pm
Age: 14+
Tickets on sale now >> http://bit.ly/3840LA9
Glasgow alt-rock band, Nieves, released their debut album ‘Exist & Expire’ in 2018 to much critical acclaim. That album saw the band play to sold out crowds across Scotland. With hints of new material in the pipeline, this tour is set to be a rare chance to catch one of Scotland’s finest bands in action.
Frankly, The Smiths are a Scottish Smiths tribute act. The band have been together a short time, but have established themselves as Scotland’s premier tribute to The Smiths, playing regular shows across the country. The four piece delve deep into the indie legends’ back catalogue, performing lengthy shows that are sure to please both the casual and devoted fan. The band have gained a dedicated following, all of whom agree that this is the only tribute act to see for the ultimate Smiths experience. This will be their fourth appearance at Sneaky Pete’s, the last two of which were near sell outs, so be sure to book your tickets in advance to avoid disappointment!
Rescheduled show. Original tickets remain valid.
“A remarkable fusion of the soothing and the shocking” – CLASH
“Unmistakable, bold and confident” – KILLING MOON
Last year the band were personally invited by Robert Smith to play the prestigious Meltdown festival alongside My Bloody Valentine, Nine Inch Nails and The Libertines.
Having already played their first show of 2020 at Rockaway Beach Festival earlier this month, London 3-piece Indian Queens return with their brand new single ‘Bubblewrap’ on January 24th.
The single is taken from their forthcoming debut album ‘God Is A Woman’, due to be released on Cool Thing Records later this year. ‘Bubblewrap’ is a pounding, hypnotic track, dreamlike harmonies harking back to early Portishead and Massive Attack, while lyrically it centres on the ongoing climate crisis – singer Jennifer O’Neill lamenting – “a million years from now, fighting for air to breathe”.
Consisting of sisters Jennifer (guitar/vocals) and Katherine (bass) O’Neill, along with lifelong friend Matthew Dudan-Bick on Drums, Indian Queens were born and raised in Hackney Wick and have been making music together since their school days.
