Shacklewell Arms
Saturday 30 November 2013

2011’s fractured and tripped out full length GLAQJO XACCSSO was highly praised across experimental avant circles from The Wire to DAZED, identifying patten as a unique voice emanating from an intersection between a number of London’s underground scenes.

Since then, converse to expectation, no further recorded work has been heard from patten, concentrating instead on playing live and producing a handful of highly distinctive, idiosyncratic remixes.  Known for developing new trajectories for recordings in the live environment, it seems that the past two years have been fruitful, seeing his ever-complex sound morph and splinter further with every performance.

Big Deal

Summer Camp

Wednesday 27 November 2013


We’re delighted to announce that Summer Camp will play a show at London’s Heaven

Summer Camp are Jeremy Warmsley and Elizabeth Sankey – the “head and heart” of the band respectively, as they describe
themselves – and ‘Summer Camp’ is the follow up to their debut ‘Welcome To Condale’, whose twelve tracks gave autumn 2011 a
welcome shot of sunshine with its gorgeous collection of lushly melodic pop songs woven around a central narrative of an imaginary
suburb deep in the heart of America, a cinematic microverse of teenage lovers and loners, high school freaks and geeks.
Never ones to rest on their laurels, Elizabeth and Jeremy followed their debut with the ‘Always’ EP in July 2012, five new songs that
saw the duo equally adept at melodious dancefloor fillers as guitar pop. Written on piano, the tracks, including singles ‘Life’ and
‘Always’, took on a life of their own in the studio, resulting in a set described as “LCD Soundsystem versus Donna Summer” by NME,
and “delirious disco-informed synthpop,” by Stereogum, who proclaimed it “the best thing they’ve ever done”.
Bar a run of festival shows, the rest of 2012 was spent writing the bulk of the songs that would become ‘Summer Camp’. In contrast
to the conceptual lyrics of their debut, this time around the pair began writing from a more personal place: “With this album, we
pushed ourselves to be more open, to portray our own emotions honestly rather than using fictional characters. The process was
difficult, tantrums were had, but ultimately we’re glad to have songs that more closely represent us, our friends, and being alive in
this decade.”
With their finest set of songs yet in the bag, they headed into the studio with legendary producer Stephen Street (The Smiths, Blur).
The result is an eleven-track marvel, cherry-picking the best bits of ‘Welcome To Condale’ and ‘Always’ , and weaving them into a
cohesive whole that is very much the sound of Summer Camp in 2013, a confident, fully-realised body of work that befits the cliche
‘all killer, no filler’. “This album is a statement of intent: this is us, take it or leave it…” says Jeremy. “… Please take it,” Elizabeth

Summer Camp

Jaakko Eino Kalevi

Servant Jazz Quarters
Tuesday 26 November 2013
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Lose yourself in Jaakko’s ‘Dreamzone’ as Finland’s best-kept secret arrives in London to celebrate the launch of his debut EP for Weird World with an intimate – and free – headline show at Servant Jazz Quarters. The first Nordic artist to join the Domino Records family, Jaakko is fluent in the international language of pop, and it’s easy to see why he’s already something of a cult figure back home. Expect deep-fried cosmic gems with a wild funk undercurrent from this hotly-tipped Helsinki voyager – and part-time tram driver – whose psychedelic party music provides answers to questions you’ve never even thought about.

Listen to ‘No End’ from the ‘Dreamzone’ EP HERE

Jaakko Eino Kalevi

Pick A Piper

Shacklewell Arms
Monday 25 November 2013


Though kept busy handling percussive duties in the live incarnation of CARIBOU, Toronto’s Brad Weber has found time in recent years to work on his side project, Pick a Piper, a collaboration with friends Clint Scrivener, Angus Fraser, Dan Roberts, and others, which Weber oversees by handling the production and much of the songwriting. Between 2009 and 2010, they released two digital-only EPs, both of which filled out dance-music structures with decidedly non dance-music instrumentation—glockenspiel, acoustic guitar, and flute, to name a few—to form what they aptly term “organic dance music.”

In the years since Pick a Piper’s initial output, Weber has taken to flexing his production muscles, swapping out the acoustic palette that characterized earlier output in favor of found-sound samples, synths, electronic percussion, and deftly sequenced helpings of reverb and delay. But even with this new focus on electronics, their aesthetic remains grounded in the natural world, with airy, polyrhythmic percussion, atmospheric sound design, and loopy melodies acting as the foundations of their self-titled debut album. Toss in a smattering of guest vocalists (members of the Ruby Suns, Enon/Brainiac, Born Ruffians, and Braids), and Pick a Piper becomes a project whose stylistic versatility and distinct palette create a pleasantly varied but cohesive whole.

Plus support from ERAAS

ERAAS is a tribal atmospheric quartet based in Brooklyn led by its two founding members Robert Toher and Austin Stawiarz which arose from the ashes of New England-based project Apse in 2011, forming with the desire to create more ritualistic and darker themes. Live, the band, generally as a 4-piece, elicit foreboding, cautionary themes, mixing driving percussion, krautrock basslines tangled with hypnotic guitars and ethereal vocals. Their self-titled debut album comes out October 2, 2012 on Felte.


Pick A Piper


Monday 25 November 2013
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Eat Your Own Ears presents Glasser at Hoxton Bar And Kitchen this November.


Interiors, Cameron Mesirow’s second full-length release as Glasser, is a more considered, confident, and much more sharply personal album than its predecessor. It’s central themes are love and anxiety and the structural constraints of both in the landscape of one’s life. In the three years since Cameron released her breakout debut “Ring”, she toured around the world (with Jónsi of Sigur Rós, The XX, Delorean, among others) and left her California home for New York. Along the way, she discovered a new partner in producer Van Rivers (Fever Ray, Blonde Redhead) whose background in techno production added expansive spacial elements to her music that reflect both the looming, condensed architecture of Glasser’s new adopted home as well as the intricate internal worlds she conjures in on her own.

The tension between interior and exterior space fills the album. In architect Rem Koolhaas’ book Delirious New York, which Mesirow credits as an inspiration, the author suggests that New York’s massive, stoic-faced buildings are monuments rife with secrets. Interiors is Cameron’s attempt to exorcise and address some of those metropolitan secrets. “I thought a lot about the physical impositions in my life, and about the fluid emotional boundaries in my relationships,” Mesirow says. “There’s no limit to what can be said about these structures. I can’t help but live and work in them, exploring their many folds.” On “Landscape” Cameron explores the limitations of symbiosis in a romantic relationship. “Exposure” characterizes the alienation of life in an ever-changing metropolis as a “modern trouble” that no one feels responsible for but all complacently contribute to. A trio of shorter songs called “Windows” punctuate the production and feature some of the most experimental sections of music- windows being where the inside and outside nearly meet, providing partial glimpses of scenes from other worlds, but preventing contact. There is urgency pervasive throughout the record, both simultaneously to gain access to feelings or people as well as wanting to be released from them.

The instrumentation of the album is a mixture of synthetic and organic sounds, real strings, reeds and drums combined with programmed ones, a purposeful coupling of natural enemies. “I like music where you’re not thinking about what a specific instrument is,” she says. “An instrument-less quality. It doesn’t come from a band, but from a whisper in the wind.” As on Ring there are sounds used for unlikely purposes; vocals used as percussive accents, or melodic themes assembled from environmental sounds. The song “Design” illustrates this with Cameron’s own pitched-down vocals serving as a writhing bass line in the frantic depiction of lust. The Glasser we find on Interiors is smoother and smokier, more confident and defined against an increasingly stoic electronic music backdrop. The effect is a paragon of sonic architecture–a soundspace that’s packed tight but never feels crowded.

Glasser has always valued a visual component to compliment the music. For Interiors Cameron worked with artist Jonathan Turner, a member of performance art group Yemenwed. Jonathan’s futuristic work establishes the visual palate for all the album’s visuals – all of the artwork, videos, and photos are the result of Cameron and Jonathan’s collaboration.


East India Youth

Sebright Arms
Wednesday 20 November 2013
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Stolen & Eat Your Own Ears are happy to welcome back East India Youth to play a special show at The Sebright Arms with support from Laces and The Quietus DJ’s.

The music that William Doyle then creates is absolutely astounding, an original mixture of dark Detroit techno, lo-fi psychedelic noise rock, deeply romantic Pet Shop Boys-esque synth pop and ramshackle avant-electronica. Naming himself East India Youth after the location of his flat in London’s Docklands, he set about pressing the demo CD into the hands of wandering journalists, including John Doran, founder of The Quietus: ” I’d always said that I’d cut my own head off using nail clippers before we started a record label. Therefore I’m probably more surprised than anyone to be asking you to lend your ears to the ‘Hostel’ EP on The Quietus Phonographic Corporation.”

East India Youth


Wednesday 20 November 2013


Vessels return with the Elliptic EP, their first studio recording since their cover of James Holden’s remix of Nathan Fake’s ‘The Sky Was Pink’ in 2012. The release comes as the latest stepping stone in the band’s new musical direction. “We always talked about making the music more electronic, with more of a party vibe whilst still remaining a live band” says Lee J. Malcolm, a techno producer in his own right. “The people who have watched us over the years will have seen a steady influx of synths and other electronic devices creep onto stage. I think it was time to just embrace the idea fully and try something new.”

You can stream part of their EP here.

Vessels will be joined by label mates Satelliti.



Wednesday 20 November 2013

GENTLEMEN play Birthdays to launch their debut EP ‘Night Reels I’ released on 11th November,

London’s Gentlemen have also released a brand new video for the EP’s opening track ‘Late Nacht’.

The release of the video follows the band being given the Next Hype seal of approval from Zane Lowe on BBC Radio One last night (Wednesday 30th October) as well as a slew of acclaim for their most recent release ‘Children Of The Setting Sun’.

With band member Edward Housden taking a directorial lead, the cameras follow a seemingly sordid and lonely path led by star Bruno Wizard. Complimented by ‘Late Nacht’s lulling psychedelic pop, the video’s climax comes from a beautifully unlikely release.

Originating separately from the UK, Italy and Australia, the five piece – consisting of vocalist brothers Paul and Edward Housden, guitarist Philip Brillo and rhythm section Simon Shields and Gino Carrapetta – connected through their shared love of the noir, the psychedelic. Their formation in 2012 was merely the beginning of a journey which has seen them blossom into a completely immersive and eccentric new whole.

‘Sailor of The Cosmic Ark’, the band’s introduction to an unsuspecting world, saw Gentlemen find kinship in wayward souls like Foxygen, The Virgins and The Sea & Cake as their live shows came together to a sweltering new mass. A sold out, lauded Eat Your Own Ears show at The Shacklewell Arms in London and packed out features at The Old Blue Last built up the folklore of Gentlemen; a group fully intending to lead disciples along their joyful, twisted path.

Split into a referential prologue and epilogue, Night Reels I is the first chapter in a tale of the quintet’s synethesia put to record in jaw-dropping style. Alluring, joyous and gleefully tripped-out, Gentlemen’s journey is one to be followed with daring abandon.

Luke Temple (Here We Go Magic)

Mount Kimbie

Thursday 14 November 2013
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£12.50 ADVANCE


“Bigger and bolder than their 2010 debut Crooks & Lovers” ****- Guardian

“Seeps with a distant brilliance” 9/10 – Clash

“Cerebral and arresting” – Mixmag 8/10

“The careful nuances, shuffling rhythms and strange emotions of their first outing,  fine-tuned into something unmissable” NME 8/10

Hot on the heels of the release of their second album ‘Cold Spring Fault Less Youth’ Mount Kimbie can now announce a European tour including their biggest UK headline show to date at Koko in London.

The duo played to a sold out crowd at Peckham’s Bussey Building, with The Guardian hailing the new live show “glorious” and “absorbing”, as well as a landmark performance at last weekend’s Field Day festival.

Listen to the album here:

Buy the album here:

Plus support from FOREST SWORDS AND oOoOO and DJ Thris Tian

“overall, this is the strongest collection we’ve seen from oOoOO” – Pitchfork

“something of a genre zenith – making slow-moving, essentially eventless music persistently compelling” – FACT

“An impressive first full-length from an artist equally adept at intricate productions and affecting songwriting, Without Your Love brings all of Greenspan’s talents together in a satisfying whole.” – AllMusic

“There’s no doubt that ‘Without Your Love’ is a difficult listen. You can be left feeling drained and exhausted after listening. What is clear, though, that if you give yourself over to it it is incredibly rewarding.” – This Is Fake DIY

“hook-filled pop songs that have had concrete blocks tied to their feet and and been thrown to swim with the fishes” – DUMMY

“At its core, a fascinating, contemplative and forward-thinking collection” – The Line of Best Fit

Mount Kimbie

Sweet Baboo

Islington Assembly Hall
Thursday 14 November 2013


We are pleased to announce after two smashing London shows that Sweet Baboo will be playing Islington Assembly Hall

“A sweet-zesty suspension of yearning and blame“ Guardian Guide Single of the Week

“It’s like a beefier Belle & Sebastian rubbing shoulders with mid-‘90s Blur” Q 4*

“A record whose charms are irresistible” Clash

“This is a quintessentially British record – think The Kinks and Gorkys. It’s a record to raise a smile and to shed a tear to” DIY

“Charming and wryly humorous album” Time Out

 “Enchanting” The Fly

Following on from the release of his acclaimed fourth album ‘Ships’ – and first record on Moshi Moshi – Sweet Baboo now announces his next single ‘C’Mon Let’s Mosh!’ will be released on 29th July.

‘C’Mon Let’s Mosh!’ was the last song Stephen Black (aka Sweet Baboo) wrote for ‘Ships’, the title a nod to post-punkers The Make Up. It’s an upbeat ode to love with a chorus refrain of “Let’s dance and then make love”.

Sweet Baboo has just finished a sold out UK tour which included a beautiful solo show at London’s St Pancras Old Church. Having previously sold out The Lexington earlier this year, his next London show will be his biggest headline to date at Islington Assembly Hall in November. Sweet Baboo also plays a string of festival dates including Latitude, Green Man, Festival Number 6 and Kendal Calling.

Black has recently performed live sessions for BBC 6 Music’s Lauren Laverne and Radio 4’s Loose Ends, and his last single ‘If I Died’ and ‘Le’ts Go Swimming Wild’ were both Playlisted at 6 Music as well.

A native of the North Wales countryside, Sweet Baboo is a single minded, idiosyncratic singer possessing an ear for sparkling melody and a gift for a deft lyrical turn – from darkly funny to piercingly tender, twinkling boastful to deliciously self-deprecating.

Sweet Baboo


Wednesday 13 November 2013
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Tuesday 12 November 2013
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SOLD – OUT. Second show added.

Informed by Vienna’s rich legacy of electronic music, SOHN creates a sound that blends his haunting vocals with a backdrop of analogue drum machines and synths, which makes nods to the past, but always forges forward into the new. Aside from emphasising the soulfulness of his voice, his lyrics expertly play with the phonetics of language, wrapping his sonorous vocals around the gaps between sentences and lending those words more prominence.