Posts Tagged ‘Nine INch Nails’

Flesh Field – Voice of the Echo Chamber

Posted: 6 November 2023 in Albums
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Metropolis Records – 3rd November 2023 (Digital) / 17th November 2023 (CD)

Christopher Nosnibor

Ian Ross’ electro-industrial project Flesh Field emerges, quite unexpectedly, from almost two decades of dormancy, twenty years in mute, to deliver ‘A concept work with each of its ten tracks representing stages of political radicalisation and violence, Ross states in the CD booklet that “believing falsehoods because those falsehoods reinforce our preferred narratives is not harmless. Promoting falsehoods to benefit your faction is not harmless, particularly in a well-armed society. If we remain locked in our own echo chambers, inevitably there will a voice of the echo chamber that speaks in the language of mass murder, believing it justified. This album describes that tragic inevitability.”

It’s not hard to ascertain ‘why now?’ While I’ve long become weary of the endless and continuing stream of ‘lockdown projects’ emerging, it’s a fair assessment that the pandemic did change everything. Confined, pressurised, and subjected to a relentless bombardment of news media, government ‘information’ and directives, and often with only social media for company beyond the four walls of home imprisonment, people struggled to separate fact from misinformation and conspiracy, reality from fiction and imagination.

I first really noticed the echo chamber some time before, in 2016, with the Brexit referendum in June, swiftly followed by the election of Donald Trump as US president in November. Both results seemed not only implausible, but nigh on impossible. No-one I knew or spoke to supported either as far as I knew – why would anyone vote for either of these outcomes? But against a backdrop of simmering tensions and social divisions and a general melee of things being pretty fucked, these seemingly unimaginable things came to pass. I would subsequently learn that relatives had voted in favour of Brexit ‘to see what would happen’. Fucking Boomers who won’t be around to live through the worst of the fallout. And this is how it goes when you have ageing populations and a swing towards the right in uncertain times. People seek to protect their own interests rather than the greater good. It doesn’t necessarily mean that echo chambers perpetuate falsehoods, but they do most certainly create confirmation bias, foster complacency, and distort reality by creating a bubble. And now… there is no way Ross could have predicted the dark turn that would assail the Middle East just a few short weeks ago. The divisions surrounding this conflict reverberate around the globe. And we watch. And we watch. It’s simply more TV, more unreality to many.

During Flesh Field’s protracted period of inactivity, their work continues to spread, like a fungus, or to perhaps use an analogy more akin to their own spheres of reference, like a virus, numerous tracks from their catalogue were placed in the soundtracks of films including the just released The Mill, TV shows such as True Blood and video games like Project Gotham Racing. Sometimes, being away is the best promotion.

But there couldn’t be a more appropriate time for Flesh Field to return, and Voice of the Echo Chamber is a powerful document reflecting these difficult times. The opening track, ‘

Crescendo’ stars strong, with a cacophony of babbling voices, before thunderous percussion and bold orchestral strikes build big drama. Not since Red Raw and Sore by PIG have I been struck by such a grand intro to an album, and this melds driving metallic guitars, industrial-strength techno beats and seething bombast. It’s a strong cocktail and one that hits the listener right between the eyes, paving the way for a set of ten insistent tracks all driven by loping sequenced synths and thudding hefty beats pushed to the fore and pumping, pulsating hypnotically. The are choral bursts woven into the dense fabric of the compositions, as well as strings and piano and incidental noise: ‘Catalyst’ crunches in with a harsh mechanised grind which gives way to a filly cinematic string segment before the pounding beat slams in and things get dark, like an industrial reimagining of Holst’s ‘Planets’ suite. The vocals are low in the mix and low in the throat. The delivery means the lyrics aren’t always especially audible, but the sentiment and energy is relentlessly loud and clear amidst the grunt, grind, and crackle.

‘Arsenal’ goes big, a gritty anthemic chorus paired with a crunchy industrial verse that draws together elements of NIN, KMFDM, and PIG, to big, big effect, being both attacking and cinematic at the same time. There’s plenty of attack here, but equally, Voice of the Echo Chamber is big on bold, widescreen, cinematic segments. ‘Manifesto’ is a monster, with all the guitars, all the orchestral work, and a relentless beat that hits hard and heavy and it all comes together to create a big, big sound. The pounding ‘Soldier’ is really big on impact, and contrasts well with the brooding, slow-crawling ambience and piano atmospherics of the unexpectedly gentle introduction to ‘Rampage’.

There’s a certain sense of uplifting empowerment to be found in the chorus of the last track, ‘Reset’. Ewe need this glummer of optimism in the face of so much relentless bleakness and gut-crushing darkness, which ends with more crowds, more shouting. You flinch and stall, because it’s too close, too real.

In places harsh and stark despite its enormity, Voice of the Echo Chamber is a strong, relentless, unyielding blast. I feel that this is a time to sit back, let things repercuss in their own time, and step back while Ian Ross blasts distortion, vitriol, and amplifies self-loathing with brutal force. Feel it.

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Binary Order – Slow Blade

Posted: 1 September 2023 in Singles and EPs
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28th August 2023

Christopher Nosnibor

Techno/industrial is rather like craft beer. It was invented in Europe (KMFDM are obvious progenitors back in 1984), before being embraced in the States and with Wax Trax! almost singlehandedly spawning a factory for the genre, which in turn found significant popularity in mainland Europe, particularly in Germany.

English exponents are rather harder to come by, although Benjamin Blank, who has been working under the Binary Order moniker since 2008, is a worthy representative. His words on this latest single, lifted from forthcoming album The Future Belongs to the Mad (out at the end of November), illustrate perfectly why this mode of music is ideally-suited to life in Shit Britain: “’Slow Blade” is a reflection of the decline I’ve witnessed in my lifetime. It’s a decline that has gotten us to a point where we are more concerned with passing the blame than attempting fix the decay that has rotted away at us all, leaving many despondent and lost, myself included.”

I’m writing this in the week that, as schools are due to reopen after the summer break, hundreds are being forced to close or otherwise relocate students because the buildings are unsafe, built using cheap concrete which is structurally unsound and liable to collapse without notice. Our government has known about this for years, but has failed to act. And, indeed, over the last thirteen years, our infrastructure has been slowly crumbling – our roads, our sewerage systems, our rail network – as profit has been put before people, and we’ve become embroiled in petty patriotism, culture wars, and outright horrible racism and prejudice of every kind. It’s no wonder Blank feels as if our small island is sinking while the only things rising are rates of poverty, depression, and other mental health issues.

‘Slow Blade’ feels like a significant progression from the material which comprised previous album, Messages from the Deep. While it incorporated guitar elements, it was very much in the vein of early Nine Inch Nails, the sounds crisp, tight, overtly synth-dominated. In contrast, ‘Slow Blade’ is far more gnarly, far dirtier, more raw, rough-hewn, and simply more metal. And not the kind of metal you’d likely associate with industrial – the likes of Ministry or perhaps Godflesh – but gritty, murky black shit smashed together with the guitar slabs of nu-metal. At least, to begin with – because ‘Slow Blade’ is a song of psychotic multiple personalities, and a song in three parts.

Unexpectedly, the songs slows and goes first expansive and melodic, then explodes in a frenzy of stuttering techno beats that’s more Fixed than Pretty Hate Machine, and then it brings the two elements together in the third and final stage. While to suggest it has a particular arc, narrative or otherwise, feels like something of a stretch, ‘Slow Blade’ transitions through a series of emotions, from blind raging fury to the acceptance of defeat as everything collapses. The end is final. And we all know it’s coming.

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Slighter – The Futile Engine

Posted: 6 August 2023 in Albums
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Brutal Resonance / Confusion Inc. –21st July 2023

Christopher Nosnibor

One thing I find – often – is that I keep encountering acts who have been going for quite literally decades without my having the slightest knowledge of their existence. This is a source of frustration: after all, I like to think I not only have my ear to the ground – so to speak – when it comes to emerging artists, but that I am pretty well connected with labels and PR. But then, so much of the music industry, it seems, is about luck and change encounters, and being at the right place at the right time. That, and the fact that existing in underground circles for a decade or more doesn’t mean that the chance of rising up toward the light is anywhere near remotely assured.

And so it is that I have been blissfully unaware of Slighter – the solo moniker of Colin C., who it appears, according to the bio, ‘has been fine-tuning the future of electronic music since kickstarting his music in Mid City Los Angeles in the early 2000s… Creating from a unique vantage point, he was involved in collaborations for various Metropolis Records releases and Cleopatra Records compilations, in addition to Slighter releases via his own Confusion Inc. imprint.’

‘How?’ I ask myself, and again, ‘how?’ I’m not only a fan and follower of these labels, but frequently get sent releases for review. I’ve mentioned perhaps a few times now – or more – how Cleopatra tapes were an integral part of my introduction to goth, and subsequently, Metropolis have been the outlet for some of my favourite more industrial-leaning acta like PIG, who I’ve been a fan of since they supported Nine Inch Nails on The Downward Spiral tour back in 1994. It might have wiped me bang in the middle of my A-Level exams, but fuck, the trip to Wolverhampton was worth it.

This is apposite. It seems almost impossible to discuss anything in the bracket of contemporary industrial without recourse to either Niner Inch Nails or Ministry, depending on whether the music is of an electronic or metal persuasion. It wasn’t always this way: from the 70s and through the 80s, industrial was a different beast, but circa 88 or thereabouts, something happened. It’s hard to really pinpoint what that something was, but it definitely happened.

And so it is that Slighter’s latest, The Futile Engine, is some strong work, which sits in the post-NIN industrial bracket, while owning a certain debt to 80s Wax Trax!. ‘Introspection Illusion’ announces its arrival with a squall of noise, a scream of electronica, and some muffled, subterranean vocal whisperings which are dark and unsettling… and then the machinery grinds into action and things really get heavy, and in no time we’re submerged in a throbbing barrage of noise, driven by a thudding industrial disco beat.

‘Pulling Me Under’ is more obvious brooding industrial dance with whirling synths and mangled, menacing vocals pitched against pounding beats. This sets the tone for the album as a whole: ‘Have No Fear’ is dark and sparse, a mechanised beat pulsating in the background against menacing close-mic vocals and we’re deep in PHM terrain here. In contrast, ‘Nostalgia Hysteria’ launches headlong into trance territory, tweaking the 505 in a full-on Josh Wink style.

They plunge deep into dark waters with the more experimental ‘Memory Corruptor’, but so much of The Futile Engine is simply dance music with some darker edges that it’s hard to really engage with. And the trouble I have with so much dance music is that it feels cold, clinical, impersonal. Perhaps it was the lack of drugs that mean I never got 90s rave or techno. But this doesn’t gain more appeal with time, and that’s a fact.

The Futile Engine has its moments, for sure, its execution is pure perfection, and the album displays a knack for insistent beats… but it’s exhausting. Unless you’re seeking relentless beat torture, you probably won’t dig this.

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Eville – Messy

Posted: 2 June 2023 in Singles and EPs
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1st June 2023

Christopher Nosnibor

Sometimes, things don’t work out. It’s sad, but it’s life. But it’s how you deal with these setbacks that counts. Just over a year ago, I was getting enthusiastic about Warning Signal, a band who looked set to be ones to watch with their full-throttle gritty-industrial pop that was a head-on collision between Nine Inch Nails and Garbage. But, it was not to be.

But Eva Sheldrake is back and kicking it hard fronting new power trio Eville, and while there’s a clearly a shift from her previous project, the key ingredients remain in place, namely hard-edged metallic guitars and a crackling dark energy. ‘Messy’ melds goth and industrial and stitches them together with a pop sensibility, making for a high-impact tune – and again, clocking in at just over two and a half minutes, it’s succinct, and all the better for it, with there being no room for any tracer of flab or indulgent wankery.

‘Messy’, in songwriting terms, is anything but: they’re straight in, a back and forth slap round the chops, and out again before you know what’s hit you. It’s heavy but melodic and catchy, and if there are hints of nu-metal in the mix, there’s a lot more besides.

Jamie Sellers’ production nails it, balancing fizzy distortion with crisp, digital cropping and sharp edges, making it radio-friendly without dulling the serrated edges. Here’s hoping the second bite of the cherry is the one that delivers the pie – or some other failed extended metaphor relating to attaining well-deserved success, because they absolutely deserve it on the strength of this release.

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GLYTSH – V.H.S

Posted: 11 May 2023 in Singles and EPs
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4th May 2023

Christopher Nosnibor

It’s been a few months since we last heard from London based industrial/alternative rock duo GLYTSH, who made some waves with their first single releases – and rightly so, because they were absolute bangers: their cover on Nine Inch Nails’ ‘Closer’ on hinted at the original material that was to follow, with both ‘(Hard)core memory’ and ‘SAV@Ge’ kicking serious arse. They’ve been busy in the meantime, landing a live slot supporting Tom Saint in June as part of the publicity for their upcoming debut EP, which ‘V.H.S.’ gives us a flavour of.

‘V.H.S.’ – that’s ‘Vulgar Holy Spirit’ – is pitched as ‘loud, proud and kind of a sombre love song’, which Jennifer Diehl – who now goes by the pseudonym of Luna Blake when she’s in Glytsch mode – expands on as being “about a lost relationship trying to be resurrected… It’s a dark romantic tale 2.0 with a Frankenstein flavour and could be seen as the sequel to our second single – ‘Hard(core) Memory’”.

It’s another slice of savvy songwriting that does so much all at once, starting out like some clean, crisp ‘alternative’ pop – the kind of electro-goth that pretends to be menacing but really isn’t – before going absolutely raging wild, demonic screaming with a barrage of noise exploding white hot and devastating. There’s a really thick swampy low-end and the production is dense and dirty – and it’s a real asset in realising the song’s full impact potential, because it very much accentuates the sense of volume, with the drums being pushed down beneath the speaker shredding guitar… and the guitar is a wall of sheet metal and it’s a riffy as fuck and properly heavy…and yet, somehow, there are glimpses of melody, a keen chorus that breaks out from the demonic rage of the verses, which returns us to the point where we’re forced to consider that there is a keen pop element to their songs. How can it be? And how can it all happen in two and a half minutes?

There’s no time to think or dissect it: it’s hard to take in what’s going on. It’s a blur, a blitzkrieg, an in-out smash-and-grab, fast, furious, violent and so well executed.

In the wake of Nu Metal and Marilyn Manson – who rose in on the tattered mesh coattails of Trent Reznor who brought the kind of niche noisy shit that was the domain of Wax Trax! and strictly underground to a huge global audience and then took it up several notches, aggro stuff has become quite normalised, not to mention predictable – but Glytsch bring something new and unique, and it’s not just that they’re female. They present a new hybrid, and a new level of ferocity that’s absolutely terrifying.

They’re racking up radio plays already, and they’ve got world class quality howling from every pore.

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Photo Credit: Ulrich von Trier

for all the emptiness – used and violated EP

Posted: 22 March 2023 in Singles and EPs
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Infacted

Christopher Nosnibor

Released at the end of 2022, the latest set from for all the emptiness is only now getting a major push. As the title suggests, this five-tracker is thematically centred around themes of use, abuse, pain and pleasure.

for all the emptiness describe themselves as exponents of ‘futurepop’, which is filtered with a range of other genres like 90s industrial rock to glitchcore, ebm, and more.

Musically, the title tracks is very much in the vein of early Nine Inch Nails – which in turn took cues from Depeche Mode when they started to explore fetishism circa 86 – but the songwriting style is more akin to PIG, and mines the catchy slogan-style hook favoured by Raymond Watts. But for all of the sweat and sleaze, there’s something curiously proper about this – specifically the enunciation of the lyrics. It’s particularly curious because Jonathan Kaplan – who records as for all the emptiness – hails from Ontario, but sings with preppy received pronunciation English. And so – my brain being prone to presenting images in response to sounds – envisages a Victorian gentleman with a handlebar moustache in a wrestling leotard as he sings of being ‘restrained and dominated’. Well, it’s well-known that for all of their straight-laced appearances, the Victorians were kinky buggers, and equally, it’s the public school types who are more likely to be into ‘alternative’ sexual proclivities in modern society.

It’s by far the most immediate track of the set, as the EP veers sharply in a more industrial dance / cybergoth direction.

‘dead inside’ is overtly dance-orientated, exploiting all of the classic breakdowns and drops, and goes all-out for the euphoric anthem, which contrasts with the hook ‘please forgive me as I die, I’ve always been dead inside’. ‘sell the sins’ is a proper bass-led technoindustrial stomper, while the last track, ‘at the brink’ is more 80s electropop and reveals a more sensitive aspect: it’s the most nuanced and probably the strongest of the collection.

While it does exist very much within the domain of the genres from which it draws inspiration, there’s some interesting stuff happening here, and not just Victorian wrestling.

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GLDN – Hemophilia

Posted: 7 October 2022 in Albums
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7th October 2022

Christopher Nosnibor

Having been introduced to GLDN this summer via the gritty industrial gore-flecked First Blood EP, the vehicle of Nicholas Golden continues at juggernaut pace, having prefaced the full-length Haemophilia with lead single ‘Suicide Machine’.

While some are particularly sensitive about anything pertaining to suicide, its disturbing prevalence means it’s a topic that needs to be out there and under discussion. While rates among the young are conspicuously high, here in the UK, rates are now highest for men in the 45-49 bracket (my own demographic), while globally, it’s rocketed among those beyond retirement age. And, traumatic as it may be for some directly affected, it shouldn’t be considered taboo or require a trigger warning – otherwise, pretty much all industrial and metal would need to carry warnings before every song.

Point is, that suicide, death, and, indeed, the fixational theme of plasma and platelets that dominates the work of GLDN are as much tropes, themes as much metaphorical as literal – and that’s ok. To confront one’s darker thoughts is healthy, and is a world apart from acting upon those thoughts. More often than not, those who produce the most dark and grotesque art, in any medium, prove to be the most balanced and the least dangerous, as they’ve found a healthy outlet for whatever it is that’s chewing at them.

On the evidence of Hemophilia, there’s a lot chewing at Nicholas G, and he channels every last ounce of that angst into his art. The result is an album that’s tense, taunt, relentless. And yes, of course it’s harsh. Not to a power electronics level of extremity, but this is an album that’s edges are serrated with industrial abrasion every inch of the way. Oh, and there’s blood and guts all over – just look at the cover. It sounds how it looks: by turns incendiary with rage and ominous and sinister with disconsolate darkness, Hemophilia has sonic and emotional range, but at the sae time, it’s bleak, bleak, bleak, as song tiles like ‘Self-Mutilation as a Form of Compliance’ indicate.

It opens with the lo-fi punky metal thrashabout of ‘Animal’, which is as up-front as it is unexpected, with GLDN roaring raggedly against a gritty, grimy guitar blast. But ‘New Face, Same Lies’ is bleakly electronic, dingy, subterranean, whispered and tense and is everything you would expect. The contrast of these two tracks alone tells you pretty much everything you need about GLDN and Hemophilia – namely it’s every inch the gritty, dark industrial album you’d expect, but it’s got twists – lots of twists. ‘#1 Crush is just one of them – a chugging metal reworking of the flipside to Garbage’s second single ‘Vow’, it clearly recognises the song’s lyrical darkness, then plunges is into an abyss and culminates in screaming angst. Despite being familiar with the song – it’s something of a personal favourite from the Garbage catalogue – it didn’t land as immediately recognisable, and that’s a positive, and a measure of just how much GLDN have twisted and mangled the tune – or put their own twist on it, if you’re talking more commercially. It’s a bold move, and one that proves successful. In contrast again, ‘Half-Life’ is sparse, stark electronics and as gritty, grimy and gnarly as hell.

At times it’s pure NIN: often it’s much more, not least of all in that it does its own thing within the industrial framework and at times pushes beyond, making for an exciting and dynamic album, and one that is, naturally, brimming with anguish and existential angst. And relentless, pounding beats, too. ‘Suicide Machine’ stands as a highlight, with parallels to ‘Happiness in Slavery’ from Nine Inch Nails’ Wish, which is clearly one of Nicholas Golden’s touchstones – and it’s a solid choice, as a release that really took harsh noise to a massive audience.

Hemophilia is dark, dense, and intense, the sonic equivalent of bloodletting. And the production is tight. It’s clearly a studied work, and the execution is magnificent – not just the performance, but the production, too, which presents the songs in their best light, tugging out the details and the dynamics to yield maximum impact.

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Glytsh – SAV@Ge

Posted: 3 October 2022 in Singles and EPs
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30th September 2022

Christopher Nosnibor

This is a proper slap round the chops. It follows many conventional industrial tropes, and you could readily lump it min with the endless catalogue of Nine Inch Nails rip-offs, primarily because NIN set the benchmark and the tone from way back in 1988. Prior to that, it was either mainstream sleaze with soul drawing influence from Depeche Mode, or pulsating electro industrial that was either on or wanted to be on, Wax Trax!

Pretty Hate Machine was actually more Depeche Mode than Ministry, but its use of extraneous noise and the general production was, to use a cliché, a gamechanger. It created a new conduit for simultaneous anger and emotional fragility in ways that had previously been untapped.

Anything post PHM is therefore destined to stand against comparisons to NIN if it’s angry electro and industrial, and ‘SAV@Ge’ is all of that – plus tax.

Luna Blake spits lyrics about blood and bones and shame, pain, and death, against a thumping beat-heavy surge of sleaze-grind that’s strong on the stomach-churning low-end and that classic NIN-style production that’s dense and distortion-thick yet crisply digital. The dynamic range and optimal use of dropouts just before everything powers in at twice the volume achieves maximum impact. ‘SAV@Ge’ is aflame with fury and condenses all the rage into just a fraction over two and a half minutes that absolutely blow your face off.

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Watch: ‘White Noise’ by Graphic Nature

Posted: 19 September 2022 in Recommended Streams and Videos
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"White Noise is about sensory overload and the overwhelming feeling of claustrophobia that neurodivergent humans experience on a near daily basis,” explains lead vocalist Harvey Freeman. “It’s a horrible feeling of helplessness and anxiety that nothing can really help other than a quiet space and something to take your mind off of the situation.

We wanted to create something visually that could portray how that experience feels. The room used with the exposed hole in the wall was the perfect fit paired with the mirrors in particular scenes. We wanted it to almost look like you were inside the mind of someone going through that feeling."

Mixing moments of snarling nu-metal aggro and the scalding fury of Slipknot’s debut album with instrumental passages that at times recall the genius of Nine Inch Nails’ Trent Reznor, is where they have nailed the Graphic Nature sound.

Check the video here:

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Listen: ‘Right Where It Belongs’ by Sylvette (Nine Inch Nails cover) + Live dates

Posted: 17 September 2022 in Recommended Streams and Videos
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Manchester-based art-rock five-piece Sylvette have shared a spine-tingling cover of Nine Inch Nails classic, ‘Right Where It Belongs’, which appeared on 2005’s With Teeth.

The new track arrives as the band confirm a release date for their third album: ‘Single Thread’ – which will arrive on 25th November 2022.

A sprawling rendition that sees Sylvette pay homage to the Nine Inch Nails original just as easily as they do douse the track with their own allure, the band initially released an early version of “Right Where It Belongs” on YouTube back in 2020. Having amassed almost 20,000 views since, the cover gained traction with Nine Inch Nails fans who flooded the video’s comment section “proclaiming they connected to it just as much if not more than the original.”

Quietly contemplative cover that’s laced with a heart-rending sense of feeling, vocalist Charlie Sinclair explains how it finds its place on their upcoming album:

“”Right Where It Belongs” is the first cover we’ve ever played together that really felt like we made it our own. The song is about questioning your reality and how going through change and trauma can distort the way you perceive yourself. It really felt appropriate for the theme of our upcoming album ‘Single Thread’, so we made it the closing track on the record.”

Staking their place as one of the most prolific and intriguing bands on the Manchester underground scene, ‘Single Thread’ will emerge on 18 November and promises to show a completely new side to the group.

Born out of Charlie’s personal struggles whilst caring for his disabled and terminally ill father, and the subsequent loss he experienced during lockdown, the album sees Sylvette shed their fantastical and dramatic sound to make way for a deeply personal, more honest and intimate kind of songwriting.

Capturing the sound of a band becoming more emotionally in-sync than ever before, the album was recorded in guitarist Jack March’s rented shipping container-turned-studio. Working on the project only between the hours of midnight and 3am, to avoid noise spill disturbing neighbours in the unit, ‘Single Thread’ is the band’s first completely self-made record, with Jack on mixing and producing duties.

With shades of John Martyn or Nick Drake appearing in some of the album’s instrumental moments, Charlie’s haunting falsetto will evoke the spectre of Jeff Buckley. Tracks like “Borrowed Time” and “Marble Stone” have a bitter-sweetness comparable to the likes of Cocteau Twins, whereas tracks like ‘Safety in Solitude’ are gently reminiscent of the darker, stripped-down side of Nine Inch Nails.

Listen to their version of ‘Right Where It Belongs’ here:

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SYLVETTE LIVE DATES 2022

27 September – Manchester, Carlton Club

24 November – Manchester – Album Listening Event, Details TBC

15 December – London, Off The Cuff

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