Posts Tagged ‘Public Service Broadcasting’

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We’ve been saying there would be some news soon on the Titanic tracks we performed in Belfast in May for quite some time now, and we’ve finally got all the pieces in place to make ‘soon’ into ‘now’ after releasing a trailer online last week..

Recorded at The Pool and mixed chez Willgoose over the spring and early summer, White Star Liner EP features the four new tracks commissioned by the BBC for their Biggest Weekend as studio recordings.

It’s our first EP of new material since The War Room back in 2012, and we hope you’ll all like it. It will be released on CD and via the usual digital and streaming outlets on Friday 26 October 2018, with the vinyl following on Friday 7th December. You can pre-order it now from a selection of retailers, or head to the website of your favourite independent record shop and they should have it available to order.

For those who didn’t catch the Biggest Weekend set, the tracks span the building of the Titanic, its launch, the distress call and sinking of the ship and, finally, the discovery of the wreck in 1985.

The eponymous lead single premiered last night on Steve Lamacq’s BBC 6Music show in the UK

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This Is The Kit – the musical project which holds exceptional Paris-via-Bristol songwriter Kate Stables close to its heart – have earned the adoration of peers including Guy Garvey, The National and Sharon van Etten. Their new album and Rough Trade debut, ‘Moonshine Freeze’, is undoubtedly their most compelling and accomplished to date. Produced by John Parish (PJ Harvey, M Ward, Perfume Genius), it began in the immediate wake of its predecessor, ‘Bashed Out’, when days after coming off tour last November, Stables and her band (Rozi Plain, Jamie Whitby-Coles, Neil Smith and Jesse D Vernon) headed into the studio in Bristol. Aaron Dessner of The National also features on six of the album tracks.

Though the album’s songs were already written before heading into the studio, Stables says she had no fierce vision for how they should sound, preferring to let them take shape with the input of her band and Parish. “I’m not yet someone who says ‘I want this album to sound like an 80’s French nightclub’,” she says. “All I can do is write the songs and then step back from them and see what themes or patterns there are, then bring those patterns out so it’s a coherent piece of work, sonically and in terms of feeling.” Sonically, Moonshine Freeze is a beguiling mixture of great musical sophistication and something more guileless — children’s games, songs, incantations and snatches of nursery rhymes. Stables’ voice too is a remarkable thing: in its angles there lies an exquisite strangeness reminiscent of Will Oldham, Magnolia Electric Co, Robert Wyatt, Karen Dalton.

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With Hug of Thunder Broken Social Scene created one of 2017’s most sparkling, multi-faceted albums. The 15 members of Broken Social Scene – including returnees Leslie Feist and Emily Haines – refract their varying emotions, methods and techniques into something that doesn’t just equal their other albums, but surpasses them. It is righteous but warm, angry but loving, melodic but uncompromising. The title track on its own might just be the best thing you will hear all year – a song that will become as beloved as “Anthems For a Seventeen-Year-Old Girl” from their breakthrough album, You Forgot It In People.

Its title captured what the band wanted people to feel about the group’s comeback, and how they sound playing together again: “It’s just such a wonderful sentiment about us, coming in like a hug of thunder.”

“Hug Of Thunder” is a panoramic, expansive album, that manages to be both epic and intimate. In troubled times it offers a serotonin rush of positivity: “Stay Happy” lives up to its title, with huge surges of brass that sound like sunshine bursting through clouds. “Gonna Get Better” makes a promise that the album is determined to deliver. That’s not to say it’s an escapist record: Broken Social Scene are completely engaged, wholly focussed, and not ignoring the darkness that lurks outside. But there is no hectoring, no lecturing, but a recognition of the confusion and ambiguity of the world. As the title track closes with Leslie Feist murmuring “There was a military base across the street,” the listener is caught in the division between the notional security provided by national defence, and the menace of the same thing. Its The band’s first studio album in 7 years.

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“Something’s Changing” in Lucy Rose. After two albums of feeling her way through the densely-populated landscape of contemporary singer-songwriter music she has picked a point in her career when most people are recycling their hits to bin the satnav, head off the map and commit to a graphically authentic version of her musical self. Now signed to Communion Records, this album is informed by her recent self funded forays into Latin America to headline shows booked by her own fans.

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Third album from Public Service Broadcasting, the brainchild of London-based J. Willgoose, Esq. who, along with his drumming companion, Wrigglesworth, and their bass player, keys and horns man extraordinaire, JF Abraham, is on a quest to inform, educate and entertain audiences around the globe.
Released 7th July, on Every Valley Willgoose takes us on a journey down the mineshafts of South Wales valleys. Yet the record is a metaphor for a much larger, global and social malaise, using the history of coal mining to shine a light on the disenfranchised.
The album features guest vocals from James Dean Bradfield (Manic Street Preachers), Derbyshire trio Haiku Salut, the award winning Welsh singer Lisa Jên Brown, and Camera Obscura’s Tracyanne Campbell on lead single ‘Progress’.

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“As Light Return” – The Telescopes are back with their ninth album. Evolving oscillations of guitar feedback screech and howl through thick layers of distortion. Overtones shift and drift and combine on a carpet of white noise. In the eye of the storm, the voice of Stephen Lawrie remains calm, almost detached. He intones a low, trance-like chant. The vocal is buried deep in the mix, the lyrics just barely discernible.



Atlanta’s valiant punks Black Lips release their first album in three years, Satan’s graffiti or God’s art?, on Vice Records. Produced by Sean Lennon at his studio compound in upstate New York throughout 2016, the album is the group’s most musically evolved to date, while still staying true to their original blistering take on fuzzy, dirty rock n roll.

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We’re finally approaching the release of new album “Every Valley” nears its release date of 7th July, but until then we have a few bits of news to impart…Earlier this month a few brave souls – comprising us, of course, plus our collaborators and featured artists Haiku Salut and some of our brassy gents – ventured deep into a somewhat chilly cave in south-east London to film the video for “They Gave Me A Lamp”.

The single is the second to be taken from the new album and follows Progress in trailing the main event. Speaking of which, we’ve also prepared two teaser videos of some of our special guests for the album.

To coincide with the arrival of Every Valley, we’re repeating our run of in-store shows from The Race For Space release and throwing in a pre-album bonus in the form of an album launch shows at a few UK venues.

Tickets are running low for a few of these so don’t hang about – to get a wristband for show entry you’ll need to pre-order from the shop directly, or, if you already have done, then you should be able to get in touch with the shop directly to register your interest.

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Rough Trade also inform us that at 9am on the day of the respective shows, they’ll be releasing around 70 wristbands in person at the shop itself, so if you miss out online then you can always try and head down there early.

We’ll be doing a shorter 45-50min set to whet your appetite, We’ve also confirmed a few more festival dates this summer, notably Latitude Festival, playing on the Main Stage on Sunday afternoon, as well as another trip up north-east to Newcastle Times Square supporting The Manic street Preachers.

Public Service Broadcasting announce their return with ‘Progress’

Two years on from their second album ‘The Race For Space’ – an album that sold them out Brixton Academy and was a whisker away from making the top ten Public Service Broadcasting are back with new single ‘Progress’,

Progress’ features vocals from Camera Obscura’s Tracyanne Campbell, the first PSB single to bring in a guest vocalist, and her light, breezy voice sits perfectly alongside the band’s signature use of all manner of samples. Despite its bright, melody-fuelled exterior, ‘Progress’ has a meaning as strong as steel, and its outgoing refrain of “I believe in progress” could reverberate for days.

Talking about the new track, the band’s J. Wilgoose says: “I think some people have thought – wrongly, in my eyes – that what we do is about nostalgia, when to me it’s about celebrating human achievements,innovation and resilience, even in the face of overwhelming odds. This song is an attempt to state that more explicitly, especially at a time when certain regressive elements seem determined to take us back to some non-existent, halcyon 1950s era. Progress will win in the end .


Public Service Broadcasting’s upcoming third album is set to be announced soon.

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From the same misty mountaintop tape spool as August’s A Weird Exits, Thee Oh Sees bring the companion album An Odd Entrances.

Delving more towards the contemplative than the faceskinning aspects of its predecessor, this sister album is a cosmic exercise en plein aire with John Dwyer and company double-drum shuffling, lounging with cellos, following a flute around the groove, and spooling a few Grimm-dark lullabies along the way. Lurking in the grass are a snake or two, like the celestial facing instrumental buzz of “Unwrap The Fiend Pt. 1.”…But for the most part this is a relatively hushed affair, a morning rather than evening listen.

The band plans on donating half their profits from the first pressing to Elizabeth House, a local charity in Pasadena that specifically helps homeless women with children get back on their feet.

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Public Service Broadcasting are pleased to reveal the release of a double LP/CD live album of their sold-out performance at Brixton Academy from ‘The Race For Space’ Tour, recorded on 29th November 2015. A taster of this release can be viewed here as the band perform their celebration of the moon landings with crowd favourite, ‘Go’

“We first talked about the possibility of a live album and DVD a long while before Brixton and I have to confess that I ruled it out almost immediately” says frontman J. Willgoose, Esq. “I was persuaded over a few months, though, by both the reaction on the night – which was overwhelming – and of those who watched the stream as it went out live, that something special had occurred and it truly was worth documenting. Brixton had been a dream of mine ever since seeing the Manics there on their Everything Must Go tour many moons ago. Playing there as Public Service Broadcasting, and selling it out, was something I never even thought of as a possibility. It’s my favourite venue in the world and we wanted to make it a show to remember.”

The show features arena-level production crammed onto the Brixton stage with a 13- piece choir, 5-piece string section, expanded brass section, a longer set list, Smoke Fairies guesting on Valentina, a surprise special guest, dancers, pyrotechnics and more as the London-based band wow a hometown crowd with a very special performance. The release will be accompanied by a DVD filmed on the night along with an audio commentary from the band and bonus features.


In the two and a half years since the release of their last album Rookie, Brisbane’s The Trouble With Templeton have, says frontman Thomas Calder, been busy “breaking down and re-assembling what it means to make music for us.” On the evidence of the richly confident and clear-sighted Someday, Buddy, released through Bella Union, that time was well spent. The full-bodied songs here can take the emphasis, no trouble. The Trouble With Templeton weren’t slouching on Rookie, where Calder and company wedded vibrant melodies and multifarious alt-rock flavours – epic, jangly, glam – to a core of emotive cogency. On Someday, Buddy, however, their personality emerges sharper and clearer. “Our goal was to make a record that is raw, bare and honest,” says Calder, a claim borne out by the incisive lyrics of the swelling Sailor and lilting Heavy Trouble, where Calder’s falsetto dances over a tender indie folk backdrop. Sometimes fragile, sometimes forceful, Calder’s voice remains a marvel on Bad Mistake, a combination of intricate verses and a huge chorus pitched somewhere between Pavement and Elliott Smith. Someday, Buddy’s recipe is one of slow burn songs harbouring great reserves of potency: the discreet neo glam swagger of Complex Lips, the sunburst chorus of Vernon, the gorgeous ripples of album highlight 1832.

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The EP was recorded live in one day at Future-Past Studios, Hudson NY and features new versions of album favourites ‘Aviation’ and ‘The Dream Synopsis’ alongside a selection of cover versions, first heard live during The Last Shadow Puppets’ summer touring. Expanding their trademark rawkous rock sound with a swagger and confidence rarely heard though their short but illustrious career, this is a bold and enthralling expansion of their already venerable sonic palette.

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Their first studio album in over a decade. Recorded in just three days in London, England, this is an album full of their passion for the music that has always been at the heart and soul of the band – Blues.

Recorded in three days in December last year at British Grove Studios in West London, just a stone’s throw from Richmond and Eel Pie Island where the Stones started out as a young blues band playing pubs and clubs. The credits say it all, in the way this project was approached to play live in the studio without overdubs. Mick Jagger (vocals & harp), Keith Richards (guitar), Charlie Watts (drums), and Ronnie Wood (guitar), plus their long time touring sidemen Darryl Jones (bass), Chuck Leavell (keyboards) and Matt Clifford (keyboards). For two of the twelve tracks the Stones were also joined by old friend Eric Clapton.

‘Blue & Lonesome’ sees the Rolling Stones tipping their hats to the blues roots with tracks of intense spontaneity. It’s hard to believe that this is a record made by musicians in their sixth decade of recording. In their very early days the Stones played the music of Jimmy Reed, Willie Dixon, Eddie Taylor, Little Walter and Howlin’ Wolf – artists whose songs are featured on this album.

Image of Various Artists - The Reverb Conspiracy Volume 4

Reverb Conspiracy Vol. 4 is a collection of 12 tracks from some of the best in Europe’s unfathomably fruitful psych scene – offering a plethora of gems of the rock and roll, kraut, shoegaze, folk and garage-rock variety, and just about everything in-between. The highlights of the record include the dark, discordant ‘krautgaze’ of My Invisible Friend, the mammoth 15 minute spaced-out jam from Giobia, the ominous and mind-altering Ulrika Spacek and the kaleidoscopic splendor of Josefin Ohrn + The Liberation. Volume 4 also boasts immersive cuts from the likes of The Madcaps, Soft Walls, Pretty Lightning, The Oscillation and Fuzz Club’s own otherworldly psych juggernauts TAU, 10000 Russos, The Orange Revival and Throw Down Bones – each and every track is a piece of experimental sonic mastery in its own unique and distinct right.

Live At Brixton DVD

Public Service Broadcasting perform Go! at BBC 6 Music Festival 2015. Public Service Broadcasting is a London-based pseudonymous musical duo consisting of J. Willgoose, Esq. on guitar, banjo, other stringed instruments, samplings and electronic instruments; and Wrigglesworth on drums, piano and electronic instruments.[3]

They take samples from old public information films, archive footage and propaganda material, attempting to ‘teach the lessons of the past through the music of the future’. The band have released two albums, “Inform-Educate-Entertain” (2013); a second one, “The Race For Space”, released on 23rd February 2015.

Go! is the second single to be taken from Public Service Broadcasting’s new album “The Race For Space”.  turned their attention to the people who might not get as much love when it comes to things like the moon landing, those in the control room, for their new video ‘Go!’. They tied that together with evidence that the moon landing did indeed actually happen – contrary to the beliefs of a surprisingly large amount of people – and J. Willgoose finds their doubting a total mystery.

“I find it a particularly sad indictment of our species that arguably our greatest technological and spiritual achievement – leaving our own planet and walking on another celestial body – is viewed by the more cynical as a colossal waste of money or, worse, as the greatest hoax ever perpetuated.”

Their new album The Race for Space is out now,

On this rare occasion, at the site of the first BBC transmission (Alexandra Palace), J.Willgoose gives a rare talk about their unique approach and creative process, he introduces PSB’s upcoming album ‘The Race For Space’ followed by a mesmerising set of their past material. We eagerly await the release in Feb 2015.

In 2015, it’s easy to take for granted how important and far-reaching the space race was. But imagine yourself in 1957: News breaks that there’s something in the sky — in space — and if you tune your shortwave radio to an especially high frequency, you can hear its signal chirping back to you as it circles the Earth. It’s called Sputnik, the first man-made satellite launched into orbit. The Soviet Union’s groundbreaking success ushered in a new era, and nothing has been the same since.

Five years later, John F. Kennedy’s “We choose to go to the moon” speech persuaded the American public that space was a frontier beckoning to be pioneered. Ascending to the stars would be the next step in mankind’s evolution. To many, that idea of space and the awe of discovery permeated practically every aspect of American culture with a sense of possibility and excitement — but also deeply felt dread as we pondered life’s meaning in the cosmos.

These themes lie at the core of Public Service Broadcasting’s new album, The Race For Space, a song cycle that retells the American and Soviet tentpole events between 1957 and 1972 — roughly from Sputnik to Apollo 17 — and lets us hear that historical arc the way many experienced it at the time.


Part musical group, part performance-art outfit, Public Service Broadcasting is the innovative and geeky work of Londoners J. Willgoose, Esq. and Wrigglesworth. The two earned their reputation for marrying looped dance beats and electronics with spoken-word passages culled from old public-service messages, synced to meticulously edited film footage projected while they perform. With The Race For Space, Willgoose and Wrigglesworth incorporate original news broadcasts and communications between the astronauts and NASA’s master control. From song to song, this tapestry of source material narrates each chapter chronologically, placing the listener inside the drama of the moment — propelled by futuristic Kraftwerk-meets-Aphex Twin-meets-Daft Punk sounds suitable for a laser show at the local planetarium.

“The Race For Space” opens with a mood-altering choral overture and JFK’s inspirational speech as a haunting invocation. “Space is there, and we’re going to climb it. And the moon and the planets are there, and new hopes for knowledge and peace are there,” Kennedy says, as a soaring choir gives every line extra resonance.

The duo crafts tiny instrumental flourishes that illuminate the story. “Sputnik” includes the distant yet unmistakable bleeping of a satellite. In “Valentina,” chiming wordless voices from folk duo Smoke Fairies honor cosmonaut Valentina Vladimirovna Tereshkova, the first woman to fly in space. And the somber celestial silence in “Fire In The Cockpit” recounts the deaths of Apollo 1’s three crew members.

Yet The Race For Space’s biggest showstoppers use sound to build cinematic excitement — as in the exuberant “Gagarin,” which bursts with slinky disco riffs and funked-up horn blasts while playing reports about cosmonaut Yuri Gagarin, the first human in space. Meanwhile, “Go!” channels fiery, motorik beats, intricate guitar licks and TRON-era synths as the Apollo 11 team counts down before landing on the moon — a moment punctuated by Neil Armstrong’s famous line, “The Eagle has landed.”

The most stirring moment of all comes in “The Other Side,” about Apollo 8 slingshotting itself around the dark side of the moon. Public Service Broadcasting demonstrates its masterful touch for storytelling when the dusty drum machines momentarily drop out — just as the astronauts lose contact with NASA ground control. The song builds anxiety and tension as we sit nervously for what feels like an eternity — and then swells to a joyful release when the voices from space finally reconnect.

Public Service Broadcasting fittingly closes with “Tomorrow,” a melancholic and meditative final statement that admires how far we’ve come. Decades later, all this can seem like far-off history. But Willgoose and Wrigglesworth’s ambitious concept music allows listeners to rekindle that same wonder again. Space still has the capacity to captivate.

lunar fest

Tinariwen // Wilko Johnson // PUBLIC SERVICE BROADCASTING // Bootleg Beatles // The Sun Ra Arkestra/ The Fall – Re-mit // The Amazing Snakeheads // Julian Cope // Radiophonic Workshop // Allah-Las // Sylvan Esso // Goblin – Claudio Simonetti’s // The Pretty Things // Orlando Julius // The Heliocentrics // Syd Arthur // Jane Weaver // Mark Radcliffe // My Brightest Diamond // Robyn Hitchcock // Mike Heron // Trembling Bells // Zun Zun Egui // Midnight Bonfires // The Ouse Valley Singles Club // Rhino & The Ranters // Benjamin Folke Thomas // The Drink // Whyte Horses // Whispering Knights // PLANK // DAISY VAUGHAN // MATTHEW EDWARDS & THE IMPERSONATORS // BYRON HARE // SAMS BROTHER

The Lunar Festival is a newcomer to the scene,  and one of the earlier festivals at the start of the season, brought to us by the organisers of other Midlands events like Moseley Folk festival.  It may not have the scale of the more established boutique gatherings, but its eccentric theatrical line-up marks it out as a special event in the festival year.  Set near the birthplace of Nick Drake, this intimate family festival joins the dots across everything from funk and soul to jazz and African sounds, electronic space explorations, psych and indie.  Alongside new talent, last year saw the eccentric brilliance of Arthur Brown and  The Polyphonic Spree; this year we’re treated to performances from idiosyncratic rebels Julian Cope and Wilko Johnson. There may not be as much in a way of additional entertainment, but the music line-up and its beautiful farm setting (complete with bemused horses, donkeys, pigs and cows) make for a very special experience that can endure the calamities of June weather.

Music highlights: Allah-Las, The Fall, Jane Weaver, Julian Cope, Pretty Things, Public Service Broadcasting, Sun Ra Arkestra, Tinariwen, Wilko Johnson

Tickets and full line-up information:

The full line up is nearly complete which will be announced in late January along with the days that the artists will be performing! We are hugely excited about this announcement as its looking very special indeed!