Archive for March, 2009

Eat Your Own Ears presents
Wednesday 6 May 2009

Doors 8pm

Bardens Boudoir, 38-44 Stoke Newington Road, London N16 7XJ (020) 7249 9557

Tickets £7.50 advance (subject to booking fee) from:
08700 600 100
0870 264 3333

The BLK JKS, South African afro avant noise rock band. Childhood friends Linda and Mpumi grew up on the same block in Johannesburg’s East Rand, where they taught themselves guitar after Linda’s sister received one as a prize in church choir. Forming a band in 2003, early BLK JKS shows and recordings we remarkable for their stacks of guitar drone and head nodding beats, but it was with the addition of bassist Molefi and drummer Tsepang—both of Soweto—that BLK JKS began work with a fresh approach and plunged into its current universe of sound.

Following a week of sold out shows in Berlin and on the continent , though only 18 years old, ingenue SOAP&SKIN is already drawing comparisons with Nico, Joanna Newsom and Bjork, unlikely as that seems for a pig farmer’s daughter from the remote Austrian village of Gnas.

Her debut album is startling in it’s precociousness; bleak yet beautiful, emotive and turbulent, with her ethereal vocals in counterpoint to the dramatic music.

Her dark sounds are hard to describe, using electronics, beats and piano. Nobody less than T.Raumschmiere and his Shitkatapult label initially discovered the singer-songwriter but her haunting songwriting also betrays a classical sensibility, making her (according to the Guardian) the amorphous “lovechild of a Sapphic union between Sinead and Björk, Enya on depressants or a Dead Can Dance for the digital age”

ULTRE has an intensely tactile and crafted approach to sound. With a penchant for esoteric sound sources (such as percussion made from hitting objects around his home, clapping, finger clicking, or beating his chest), the music is more structured and immediate than evident on early releases by 24 year old Finn McNicholas.
The music develops organically with an intrinsic sense of sheer wonderment and amazement driving many of the tracks.. The energy of the performance combined with his string, piano and electronic work conjures up a picture of busy modernism with contrasting nostalgic undertones. There is an absence of digital signal processing and effects within the music, with most of the sounds created live in the recording.

Thursday 2 April
Doors 7.30pm

Bush Hall, 310 Uxbridge Road, London, W12 7LJ 0208 222 6955

Tickets £7.50 from
0870 264 3333
08700 600 100

Eat Your Own Ears presents
Plus special guests

ICA, The Mall, London SW1Y 5AH 020 7930 3647

Tuesday 2 June 2009

Tickets £8.50
08700 600 100  
0870 264 3333

Following hearty SXSW success FANFARLO play an early summer set, filling the ICA with lovely, lilting tones and shivering, hypnotic melody.

Fanfarlo were conceived by Simon (vocals, guitar, keys, mandolin, sax, glock) while he was taking shelter in a forest from a particularly heavy snowstorm in Sweden. Inspired to move to London to form the band, he quickly found allies in Justin (bass) and Leon (trumpet/keyboards) when playing small gigs around the city. Mark (electric guitar, keys, vocals, accordian, fanfarlophone) then joined, and Fanfarlo’s electronic backing track was ceremoniously destroyed when Amos (drums & percussion, vocals) was enlisted to complete the rhythm section.

THE HORRORS play Camden’s Electric Ballroom on Friday 5th of June.

This is in support of their highly anticipated return with a new single, their first release on XL Recordings, on Tuesday the 17th of March 2009.

‘Sea Within A Sea’, their first release since 2007’s ‘She Is The New Thing’, was recorded last Summer with Portishead’s Geoff Barrow and will be exclusively available to download at and I Tunes.

Coming in at nearly seven minutes long and accompanied by a video, directed by filmmaker and The Jesus And The Mary Chain founder, Douglas Hart, the new single is the first taste of what to expect from the bands second album ‘Primary Colours’ which is set for release on XL in May.

Eat Your Own Ears presents
plus special guests

Friday 5 June
Doors 6.30pm – EARLY SHOW

14+ Under 16s to be accompanied by an adult

Electric Ballroom, 184 Camden High Street, London, NW1 8QP 020 7485 9006

Tickets £12.50 from
0870 264 3333

100 Club, 100 Oxford St, London, W1D 1LL 020 7636 0933

Monday 1st June
Tuesday 2nd June
Doors 7.30pm

In 1995 Kenny Anderson, then lead singer/songwriter for the Scottish bands Skuobhie Dubh Orchestra and Khartoum Heroes, launched his own label fence with his own solo project King Creosote. Demoralised and with a healthy cynicism of all things music related, KC set out to make home recorded music in as stress-free an environment as possible. in short, the heels were dug in, and N.E. Fife would become home to Fence.

King Creosote’s unique voice has graced 4 albums so far, returning to Domino for his 5th.

A popular misconception is that this is the name of the band featuring him and not just his stage name. However, at live shows, he will usually introduce his band members by their similar pseudonyms – some fellow Fence Collective artistes such as “The Pictish Trail” (aka Johnny Lynch), On The Fly and Uncle Beesly, to name but the usual line-up.

Plus guests

Tickets £13.50 (advance) from: 
08700 600 100 
0870 264 3333

Jon Hopkins is a musical shapeshifter: a composer, pianist and a self-taught studio wizard. He makes big, bold electronic music using walls of synths, twinkling melodies and amorphous bass rumbles. As such his two albums have seen him labelled by the likes of ambient patriarch Brian Eno as an electronic innovator while an impressive sweep of artists from Herbie Hancock to David Holmes, not to mention contemporary choreographer Wayne McGregor, lo-fi folkster King Creosote and musical bluebloods Coldplay, have all called upon the 28-year-old Londoner's handiwork as a producer and composer.

Hopkins's aesthetic is perpetually intriguing. He transcends genres, melding digital coldness with subtle, bucolic textures; veering from skewed elegance to strange, unsettling depths. Insides artfully constructed, unparalleled palette of rhythmic loops and treated piano can be partly explained by Hopkins' unusual adolescence; he was a child piano prodigy before discovering the bleeps and beeps of dance music. In his west London bedroom he balanced a teen obsession with acid house, early hardcore and grunge alongside weekend piano tutorials at the Royal College of Music. At 16 he flitted between the twilight stoner world of drum‘n’bass pirate radio and German label Recycle or Die's hypnotic electronica, and the classical discipline of playing a Ravel piano concerto.

Hopkins honed his skills with years of experimentation on four-track tape recorders and old-school computer programs. After leaving school he toured Europe playing keyboards and samplers with Imogen Heap, before signing to Just Music aged 19. His first album, 2001's Opalescent, was written in a Wembley bedsit while he jobbed as a session keyboard-player and engineer. A collection of instrumental songs with an escapist, pastoral feel, it earned him a cult following amongst the electronica cognoscenti. Although he was still naive about rave culture and its comedowns, Opalescent unwittingly tapped into a cultural shift as rave morphed into downtempo.

Plus guests

Tickets £10.50 (advance) from:
08700 600 100
0870 264 3333