Gabe Is A Unit

Gabe Is a Unit are a destructive Welsh Jank/Doom trio based in Pembrokeshire, West Wales. Gabe consists of Ben Wilson: Drums and screaming, Ben Mason: Guitars and new recruit Tom Chaloner on Bass. Gabe have tapped into the surrealism of The Mighty Boosh or the Fast Show and fused it with the power of metal and grunge; like someone has fitted nitrous-oxide to a beaten-up 1970s Bedford Van and then driven it at 100 mph; it doesn’t feel safe but it feels bloody exciting. While disparate Gabe have punk burning at their core.

Big Thing

Scuzzy, melodic songs about love, loss and awkward nights out, from Cardiff, South Wales.

Feather Beds (Ireland)

Feather Beds is the solo work of Dublin-born, London-based artist/producer, Michael Orange.

Work is almost complete on his third full-length album, scheduled for release in autumn 2022. It follows on from the release of the critically acclaimed EP from 2020, Fragile / Temper. The EP was released on 12” vinyl and featured 2 new tracks alongside remixes from Jilk and Dutch Uncles.

Having been based in Montreal for a few years and then back to Dublin, the new album sees Orange in London full-time and adopting a more austere approach to songwriting, incorporating elements of noise and drone, alongside a backdrop of jangly guitars, homemade samples and washed out harmonies.

Taking on production duties himself and working again with long-time collaborator, Stephen Shannon (Mount Alaska, Strands) on mixing duties, the new album is one that will be highly anticipated.

Hollows

Hollows are a 4-piece Alternative/Indie band based in Manchester, with members from North Wales. Singer and guitarist Sean Davies formed the band in early 2017 with the release of their debut single and E.P following shortly after.

“I love the dramatic drums and guitar looping to create a rushing effect merging into the singer’s voice. Loved the production of high/low energy which brought the song longevity. I confess I listened to the whole of it totally enraptured 5/5Steve Willcox, Little Indie Blogs

Growl of Clown (Mongolia)

Growl of Clown (often abbreviated as G.O.C) is a Mongolian band formed in 2014 that releases deathcore, a sub-genre of extreme metal music.

Trandoshan Hunters

The band consists of North Wales based Scottish Poet Chris Ingram, Dublin based mix artist Richard Geraghty and Edinburgh multi-instrumentalist Andy Duncan.

They play a set of multi-genre beats set to song and spoken word covering topics as diverse as geo-politics to growing carrots to the contents of tinned All Day Breakfasts. Spanning hip-hop, punk, dance, electro and Gregorian Chanting.

“BETAMAX is a great new tune by new outfit Trandoshan Hunters” Tom Robinson 6 Music.

“Trandoshan Hunters made my vulva throb…then expand” Juniper Blue @Magic Dragon

Los Blancos

Los Blancos are the embodiment of the quiet confidence that underpins the Alt/Pop scene growing rapidly in Carmarthenshire, South West Wales. There is no compromise to Los Blancos’s sound, they are unashamedly creatively open, with songs bursting with the drunken passion and abandonment of The Replacements and Mac Demaco’s playful joy – the joy of creating within the four walls of the rehearsal space! Los Blancos are a band bonded in friendship, Gwyn, Dewi, Emyr and Osian have known each other since school days. The band is an extension of that friendship where musical and lyrical honesty are paramount, as perfectly showcased on Los Blancos dark,yet immediate debut single ‘Mae’n Anodd Deffro Un’. Kris Jenkins aka Sir Doufus Styles (SFA, Gruff Rhys, Cate La Bon, H Hawkline, Gulp) has been working with Los Blancos at his Cardiff, Signal Box, recording studio over the last few months. This is a perfect pairing of artist and producer whose joint sonic boundaries are still a mystery to be explored.

“Los Blancos are the band of which we would all like to be members, a classic line up of two guitars, vocals, bass and drums and a gift for turning the melancholic and insular into the universal. They are beat up converse, rusty strings, cheap beer and heartfelt lyrics written on the back of half empty cigarette packets. With a record collection in love with the left field American alternative scene of the early 90s Pavement, Brian Johnstown Massacre and the emotional punch that is Gwyn Rosser’s voice this is a band re-defining Welsh pop music as one raw, immediate and relevant, a balm to a breaking world” – Libertino

The Accident Group

The Accident Group are a band from Manchester and North Wales playing no-win-no-fee rock & roll. The band have spent the last 6 months trawling through the landscape of abandoned indie landfill, sorting the wheat from the chaff, and transporting only the finest elements to a post-punk recycling plant. They also offer sound legal advice for small fees.

The band have started with a bang, already selling out venues and supporting bands such as LIFE, The Blinders and The Lovely Eggs.

MINAS

Minas is the project from Cardiff musician and producer James Minas.

His songs tell stories of a chequered past over a mix of deep melodic soundscapes and loud, aggressive stanzas. Covering subjects from personal struggles with mental health to finding a place in the society we have. Minas alongside his live band are garnering a reputation for their ferocious and lively shows and 2022 is set to be the most exciting year yet for them.

As a producer James is building a new sound around the South Wales scene and beyond with a number of artists spanning different genres, but as an artist he presents brutal honesty, going against his natural defences to present the most open and vulnerable version of himself.

Minas was born in Athens, grew up in the circus with parents who were heavily involved in the 1980’s Punk scene and then moved Wales as a teenager. Minas aims to create music that discusses these things and ends with an empowering feeling of hope, something we all need in right now.

Baby Brave

Baby Brave are a New Wave Noise Pop outfit from North Wales. Their sound has evolved drastically since their debut in 2014 – expect proto-disco, synth, nouveau-ambient guitar, catchy melodies with smooth vocal harmonies and a whole lot of sass!

For fans of: Brian Eno, PJ Harvey, Chic, Blondie and Talking Heads.

Their third EP, “Sunny Days in Dark Rooms”, is due for release in 2022

Brutes

Combining jagged guitars, melodic hooks and evasive storytelling, Brutes are your soundtrack to 2022’s post-pandemic brave new world. Picking up a buzz with a run of UK shows alongside the likes of Bob Vylan, JOHN and Phoxjaw, the band are now set to release first single ‘Drop-Top’ in early spring.

Balancing Pixies-sized chords with an anthemic chorus, the song kicks open their door into the North West music scene with an optimistic view into the future. “I heard his point of view, and I feel, and I feel, and I feel, a lot better” belts singer Jay Ratcliffe, just as the song bursts into life with a Stooges swagger. It’s a rear-view nod, on a drive firmly into the unknown. With further releases planned throughout the year, Brutes are inviting you along for the ride.

Factory Set

Originating from North Wales, Factory Set have crafted a sound that brings images of industrial decay and overdriven production lines. Having spent the last few years refining their sound amongst the backdrop of Merseyside backstreets and the underground arts scene, the band aren’t scared to show the influence Liverpool has had on them, from the dilapidated docks to the rich music history that engulfs the city. With dreamy, chorusing guitars they provide a haunting soundtrack and social commentary on the current state of the country. Factory Set bring a ferocious energy to their live shows, with ramblings about the darker side of the human condition between blasts of guitar feedback and infectious rhythms. Batteries not included.

Art d’Ecco (BC, Canada)

An all-new Art d‘Ecco movement is imminent; defiantly maximalist and nostalgic in style, After The Head Rush is the latest dynamic release from the British Columbia-based audiophile expressionist. Combining the addictive dazzle and rebellious party of his last album In Standard Definition, with the dizzying effect of what happens in the late-hours once everyone’s gone home, After the Head Rush arrives like a confessional, chock-full of swagger and disarming candor. Infused with belated coming-of-age wisdom it sparks the dawn of a new era – inspired by a move to his hometown and the thrill of rediscovering the music of his youth.

“Returning home as an adult, after being away almost 20 years – before all the travel, touring, and living – put a spell on me. It had me constantly framing and reframing the memories, moving emotional goalposts to better suit my current needs. Asking myself “are you happy? Is life everything you hoped and dreamed it would be?”

An unapologetic ode to the audacity and playful cynicism of growing up, After The Head Rush emerges like the shadow of a sundial cast between two time zones – one in the past, and one in the present. D’Ecco’s goal was to face down this new reflection by translating its gaze; what emerged is a paradoxical elixir providing comfort as the varnish begins to wear off. “The highs and the come down is a line I’m constantly tip-toeing,” d’Ecco tells, “I feel better having gone through it. That said, I’m prone to reframing memories to the positive, even if in the moment, I felt quite differently. I crave that romanticism.”

The experience bled into d’Ecco’s obsessive production methods and unlocked a newfound sense of freedom in his writing as the ideas revealed themselves with one simple mission: “Maximalism!” he declares. “I wanted to produce a big, bright, sparkly album. Along the lines of something you hear in a Tears For Fears or Peter Gabriel record, or something Bob Clearmountain would have mixed in the ‘80s.”

With the album’s bed tracks recorded at the legendary Hipposonic Studios (formerly Little Mountain Studios) in Vancouver, d’Ecco was able to harvest its iconic rock sound where history seeps from the walls. The arrangements were filled out on proven home turf at Hive Studios in Victoria alongside key local talent, before d’Ecco carried his newest creation to Montreal, ready for mixing with Mark Lawson (Arcade Fire); “an expert at creating space within the mix.”

Surgically precise, yet cheeky and playful, it’s shrewdly intentional; cautionary nods to coping mechanisms so easy to cling to are set to the throbbing backbone of polyrhythms and infectious melodies, whilst swaggering basslines with fever dream synths juxtapose anxiety and resolution to create an atmosphere for catharsis in one moment – and unease the next. Take the snake oil seeping from “Palm Slave”, or the self-aware cautionary tale, whispered from the front seat of time machine “I Was a Teenager”. “Until the Sun Comes Up” sends a toxic love letter to the bratty version of you with a heavy dose of “screw it” once shit becomes too damn catchy. “Midlife Crisis” meanwhile, nods to both the mid-30s gumption and world-worn sarcasm of Ric Ocasek, and a weighted blanket of dehydrated anxiety that’s impossible to shake no matter how much coconut water you drink.

With life in this album around every turn, each track is a new morning after; warm and comforting odes to hope in the form of the Bonnie and Clyde top-down freedom of “Run Away”, the familiarity of tandem self-medication in “SAD Light Disco”, and the stentorian, devoted howl of “Only Ones”. Apt then, now is the moment d’Ecco has chosen to shed his recognizable visage for an unflinching, authentic reality check.

When d’Ecco humbly purrs “Day Fevers was an album of mine so long ago”, as if offered in passing to a stranger while at the bar waiting for drinks, you hear the mic drop on the d’Ecco we once knew. You double-take to see this raw soul, whose once raven bob cut has become a naked shock of white-blond with unwavering eye contact, refusing you to ignore the present moment. You sit and begin to relish wisdom in the come down, and the unvarnished freedom in the reflection you earned after losing time in the smoke machine.

Sister Wives

From the highest valleys and smoothest seas they rise! Sheffield four-piece Sister Wives unified as one in 2018 to conceive wild tales that flit between Welsh and English language, sung over cavernous melodies and hypnotic beats. Their post-punk, prog-flecked psychedelia rumbles deep inside your soul and shames all those who deserve it.

Sister Wives have just signed to Welsh label, Libertino Records and release a split single with labelmates Tacsidermi, with an album coming later this year. This follows their debut EP, Gweler Ein Gofid (Do It Thissen Records) in 2019 which sold out within 5 minutes, and 2020’s AA-side single, Crags (Delicious Clam Records) released on 10″ vinyl, championed by Huw Stephens (BBC Radio 1/BBC 6Music), Marc Riley (BBC 6Music), Adam Walton (BBC Wales), Pete Paphides (Soho Radio), James Endeacott (Soho Radio), Shindig!, Gigwise, God Is In The TV, Brooklyn Vegan, and more.

“Crags” is a nod to local prehistoric gorge, Creswell Crags, where witches marks were discovered in 2019. The marks, also known as protective marks, were found around dark holes and crevices in the caves and are thought to have been used as part of rituals to warn off evil forces.

The notions of protection and ancient ritual are of great interest to Sister Wives. They explain, “Both “I Fyny Af / Rise” and “Crags” are about summoning the consciousness of the land in times of despair; calling upon the ancient gods that live in the rocks, woods, lakes, seas and trees, and exploring spiritual suspicions and witchcraft. We wanted to explore both sides: the fear of witches, and also defend these long vilified women.”

Sister Wives have previously been invited to support The International Teachers of Pop, Crack Cloud, The Eccentronic Research Council, Current Affairs, Kaputt, Flasher, and Porridge Radio, as well as featuring on Warp Records’ new music picks and getting regular play on BBC 6Music, BBC Wales and BBC Cymru. They’ve just played Green Man Festival, SWN Festival plus three performances at Sensoria Festival, playing live in response to the backdrop of artist Rafaël Rozendaal’s projections.

Henge

ATTENTION EARTH!

This is Henge.

We come in the name of RAVE.

We bring you the gift of COSMIC DROSS – A kind of music new to your world.

We have news. Planet Earth is an experiment.

Your species was sent codes from SPACE, to help you LOVE and DANCE.

But your leaders grew scared. They hid the codes from you.

Now your CONSCIOUSNESS SHRINKS and they DESTROY your world with weapons of WAR.

RAVELINGS OF EARTH, REBEL!

Absorb the mutated frequencies of Cosmic Dross.

There are no earth words to describe these sounds, but you will learn how to LOVE and DANCE again!

THIS IS YOUR FUTURE. PUT DOWN THE WEAPONS. UNITE. AND COLONISE SPACE.

The Besnard Lakes

The Besnard Lakes have passed through death and they’re here to tell the tale. Nearly five years after their last lightning-tinted volley, the magisterial Montreal psych-rock band have sworn off compromise, split with their long-standing label, and completed a searing, 72-minute suite about the darkness of dying and the light on the other side. The Besnard Lakes Are The Last of the Great Thunderstorm Warnings is the group’s sixth album and the first in more than 15 years to be released away from a certain midwestern American indie record company. After 2016’s A Coliseum Complex Museum – which saw Jace Lasek and Olga Goreas attempting shorter, less sprawling songs – the Besnards and their label decided it was time to go their separate ways; with that decision came a question of whether to even continue the project at all. What use is a band with an instinct for long, tectonic tunes – rock songs with chthonic heft and ethereal grace, five or 10 or 18 minutes long? How do you sell that in an age of bite-sized streaming? How do you make it relevant? “Who gives a shit!” the Besnard Lakes realized.

Ignited by their love for each other, for playing music together, the sextet found themselves unspooling the most uncompromising recording of their career. Despite all its grandeur, …The Last of the Great Thunderstorm Warnings honours the very essence of punk rock: the notion that a band need only be relevant to itself. At last the Besnard Lakes have crafted a continuous long-form suite: nine tracks that could be listened together as one, like Spiritualized’s Lazer Guided Melodies or even Dark Side of the Moon, overflowing with melody and harmony, drone and dazzle, the group’s own unique weather.

Here now, the Besnard Lakes finally dispensed with the two/three-year album cycle, taking all the time they needed to conceive, compose, record and mix their opus. Some of its songs were old, resurrected from demos cast aside years ago. Others were literally woodshedded in the cabanon behind Lasek and Goreas’s “Rigaud Ranch” – invented and reinvented, relishing this rougher sound. Some of that distortion makes its way into the final mix: an incandescent crackle that had receded from the Besnards’ more recent output. Rightly – nay, definitively! – The Besnard Lakes Are The Last of the Great Thunderstorm Warnings is a double LP. “Near Death” is the title of the first side. “Death,” “After Death,” and “Life” follow next. It’s literally a journey into (and back from) the brink: the story of the Besnard Lakes’ own odyssey but also a remembrance of others’, especially the death of Lasek’s father in 2019. Being on your deathbed is perhaps the most psychedelic trip you can go on: in Lasek’s father’s case, he surfaced from a morphine dream to talk about “a window” on his blanket, with “a carpenter inside, making intricate objects.” That experience pervades the album, catching fire on the song “Christmas Can Wait”; elsewhere the band pays tribute to the late Mark Hollis and, on “The Father of Time Wakes Up,” they mourn the death of Prince.

In these scorched and pitted times, as the world smoulders, there might be nothing less trendy than an hour-long psych-rock epic by a band of Canadian grandmasters. Then again, there might be nothing we need more. …The Last of the Great Thunderstorm Warnings is a bright-blazing requiem: nine tunes that are one tune and six musicians who make one band – unleashed and unconstrained, piercing and technicolour. At the end of the golden day, the Besnard Lakes are right where they should be.

Goat Girl

Goat Girl originated in 2015, when the four Londoners (Lottie Cream, L.E.D, Naima Jelly and Rosy Bones) came together through their love of music and like-minded attitudes, continually crossing paths at a number of gigs and open mic nights across South London. The quartet’s combined talents and enthusiasm resulted in a uniquely defiant sound with conscious lyricism, all of which wasted no time in pricking the ears of legendary British record label Rough Trade. Using the Brixton Windmill as a sounding board, the warped, country-tinged sound of their debut album Goat Girl engulfed the sonic and social landscape that the band were surrounded by. The Brixton Windmill is a venue that was and continues to be a breeding ground for Goat Girl’s creativity, and is an important element of their growth – so much so that it’s where the band met their new bassist (Holly Hole), who felt like a natural fit from day one and would take the place of Naima Jelly on bass after the first album. Goat Girl’s sophomore album, On All Fours (released 29th of January 2021) veers away from the confrontational lyricism of their angst-fuelled self-titled debut, to a previously unseen depth and vulnerability. This nuanced shift in lyricism indicates Goat Girl’s maturing perspectives in discussing the world’s injustices and social prejudices, using the music to explore global, humanitarian, environmental and mindful wellbeing.

Crawlers

CRAWLERS have at long last released the entirety of their debut EP, and the final track to tie it all together is an incomparable triumph. ‘Come Over (Again)’ single handedly stands as a testament to the immense musical capabilities of one of the hottest bands in Liverpool at the moment. Taking a turn from their usual abrasive sound, ‘Come Over (Again)’ takes the band down a brighter path, yet still remains true to their attitude of angst and vexation. Commenting on the track, the band states that “Come Over (Again) is a song we’re all incredibly proud of. The whole writing process in the studio lifted the song from a small and gentle acoustic number, to an enormously abrasive and emotional coup. We’ve never done anything like it before and shown us what we’re really capable of as musicians.”

Produced by Pete Robertson and mixed by Tom Roach at Coastal Studios, ‘Come Over (Again)’ puts CRAWLERS into a whole new perspective of musicianship. The entirety of their debut EP truly demonstrates what this quartet are capable of; they’re brash but mellow, they’re harsh but sweet.

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