Welsh post-punks ADWAITH announce new album ‘Bato Mato’


Announce new album Bato Mato
Due 1st July via Libertino Records
Share new single ‘ETO
Welsh post-punk three-piece Adwaith have today announced their eagerly anticipated second album Bato Mato will be released on 1st July via Libertino Records, following hotly in the footsteps of their trailblazing Welsh Music Prize 2019 debut Melyn.

The band’s memories of speeding through Russia on a trip to perform at UU.Sound in Ulan-Ude, Siberia have seeped into the fabric of their second record and today they also share the first song the wrote after that life changing adventure, ‘ETO‘.
Influenced by the Siberian and Mongolian wilderness, as open and vast as the limitless sky around them, ‘ETO’ perfectly captures the trio’s growing confidence with its open-hearted soaring melody’s and lyrical vulnerability.

“We really wanted to write a heartfelt song about being infatuated with someone.” explain the band, “This isn’t something we normally write about and we wanted to approach this song differently to our other ones. We felt inspired to write a big pop song.”
Listen to ‘ETO’ here:
Digital stores

English Lyric Translation:

More about Bato Mato

Speeding into the frosty outer reaches of Russia on the Trans-Siberian Express – the longest railway line in the world – Welsh art-rock band Adwaith suddenly felt a long way from their home back in Carmarthen. Shown the way by their trusty guide Bato Mato as a frozen-over Lake Baikal whipped past the windows, the trio eventually wound up in the bracingly cold city of Ulan-Ude. The pavements were deserted as locals battened down against the chill, lending the grand, brutalist streets a kind of isolation. “I strangely saw similarities between there, and Carmarthen,” says drummer Heledd Owen. “You could kind of sense this loneliness. It felt like this empty city.” 

As Adwaith travelled further into Eastern Europe, the trip transformed into a voyage of creative discovery. While the band’s debut album Melyn – which won the prestigious Welsh Music Prize in 2019 – was a musical bildungsroman, dreaming of the possibilities of adulthood, Bato Mato looks in the mirror and sees stark reality biting. Matching Singer’s explorative lyrics, which yearn for a simple life and “a place to call my own”, Adwaith’s songs constantly shift and evolve, searching for a steady pulse that never sticks. Loose and jam-like in structure, the band were heavily influenced by the psychedelic sense of foreboding conjured by late-’60s Krautrock bands Can and NEU!

The band’s memories of speeding through Russia have seeped into the fabric of their second record Bato Mato – the industrial chug powering tracks like ‘Yn Y Swn’ or ‘Anialwch’ recall the relentless pistons of the high-speed train they boarded. “There’s no one on the street but me,” sings Hollie Singer on its opening track ‘Cuddio’, returning once more to the abandoned streets of Ulan-Ude.

“It was a life changing trip that really inspired us to write this album,” explains bassist Gwenllian Anthony. “The barren landscape and brutalist architecture really seeped into these songs and the use of world instruments was heavily inspired by this journey”. “Our journey through the Siberian and Mongolian wilderness influenced the writing and sound of the album to be as open and big as the limitless sky around us there,” says Singer.

Though they had already begun work on a follow-up to debut album Melyn the band immediately canned the whole lot upon their return to rural west Wales as the pandemic hit. Instead, the trip brought about a whole new vision, and separately locked down in different houses, Adwaith began work on a release that dived deep into the isolation and confusion of navigating the messy landscape of your early twenties. The result is the thorny and boundary-pushing Bato Mato. It’s their most direct work to date.

“Our first album was very much about growing up in west Wales and going from teenagers to adults,” says Anthony. “This is the next step in our journey: shit, this is life. We hit reality.”

Owen, Anthony and Singer all grew up in or around Carmarthen and attended Welsh-language schools. Growing up, beloved local music venue The Parrot lay at the core of the town’s rich and tight-knit music scene, and bands performing in Welsh was the norm, too. When it came to forming the band back in 2015, the trio instinctively knew that they wanted to join the long lineage of acts in the country challenging the dominance of English music. “It’s a small, experimental scene, and you don’t feel like you have to subscribe to a certain style” Anthony says of their shared hometown. “I remember seeing Gwenno play at [Welsh-language music festival] Eisteddfod, and I hadn’t seen many women performing in the Welsh language before. Watching those shows really solidified that we could do something with Adwaith. As we progress, we’ve realised how important it is to carry on singing and writing in Welsh.”

With an ethos that’s strongly aligned with international acts past and present – multilingual acts like Can and Khruangbin who often use languages like instruments – Adwaith’s music wields Welsh in a direct, muscular manner, despite its initially soft edges. “It takes and it takes,” they sing in Welsh on ‘ETO’, “that’s what love is.” That track’s title was chosen to represent a punchy, memorable hook that transcends traditional borders of understanding – “we want to take our language around the world,” Anthony says.

A melting pot of influences, Bato Mato draws on a broad palette, ranging from the avant-garde work of Welsh experimentalists Datblygu to the Gothic post-punk palettes of Siouxsie and the Banshees, and the gloomy fuzz of Belly and The Breeders. Above everything else, it’s infectiously fun; inspired by the comradery of bands like The Slits, everyone’s invited to join the party.

Accordingly, you don’t have to be a Welsh-speaker to recognise the hopeful parting of the clouds that arrives on penultimate track ‘Amser Codi’ nor the swooning infatuation of its closing love song ‘ETO’ with its sugary ‘Yé-yé-style call-and-response vocals. Dig into the bracken of the lyrics, meanwhile, and Adwaith continually play with convention. Named after a popular Welsh saying – “Not everything yellow is gold” – ’Nid Aur’ reels off a series of oft-repeated idioms, and finds weight in their familiar shapes. “Slow and steady wins the race,” Singer recites, pulling from Aesop’s Fables, and its well-known story The Tortoise and the Hare. “Numbness makes me feel better”.

Mostly recorded in Giant Wafer studios in Llandrindod Wells, a community in mid-Wales, Adwaith reunited with ‘Melyn’s producer Steffan Pringle (Estrons, Boy Azooga) for their second record, as well as teaming up with whenyoung collaborator Gethin Pearson for ‘ETO’.

Though Bato Mato was made in Wales alongside a tight-knit circle of collaborators, it’s ultimately inspired by the limitless possibilities of the world at large – and the agony of having to choose a path as adulthood rears its head. It stands as a guide for anybody taking their own epic trip into the unknown, just as Adwaith did in order to create it.

Live Dates: Wednesday 13th April – London, Sebright Arms
Friday 15th April – Cardiff, Wales Goes Pop!
18th August – Green Man Festival
Praise for Adwaith: “Brooding, enigmatic guitar pop” – Clash

“One of our favourite new bands of recent years” – For The Rabbits

“…one of the most constantly evolving and exciting emerging groups from Wales of the last few years.” – God Is In The TV

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Pelydron – Canghenion – Out Today

Canghenion is the debut single from Pelydron. It’ll reduce your heartrate with aural idyls of phaser, fuzz and reverb. Released on Cae Gwyn Records Friday 25/02/2022 (digital).
The music making entity that is Pelydron features Keith Jones on bass, guitar and assorted drum- machines.

Raised in north Wales between sea and mountain, Keith moved to Sheffield to become an art-school drop-out and bassist in high-speed surf weirdos Texas Pete. Later, he achieved minor success with punky indie-poppers Navvy.

Keith is now based in Birmingham, and Pelydron came into being after the purchase of a banana yellow bass guitar in the summer of 2020.

Pelydron is a bedroom-bound, broken-down dreampop factory: mixing melty melodies with punk attitude, jingle-jangle with fuzz.

Mastered by Geraint Jones. Artwork by Sleep Sparrow.

(9) Pelydron 🏴󠁧󠁢󠁷󠁬󠁳󠁿 (@pelydron) / Twitter

(2) Pelydron | Facebook

Libertino Records’ Bandicoot break hearts with ‘Early In The Morning’

Celestial song, five years in the writing, evoking waves of love and loss, arrives as BANDICOOT dim the lights with new single:

Early In The Morning

Debut Album, Black After Dark, released Fri 4 March 2022,
pre order here
Life’s a rush, so the chance to slow down and step lightly into every fold, nook and cranny of Bandicoot’s beautiful ode to waking by the side of the one you loved, Early In The Morning, is to be grabbed, gently, with both hands. Arriving as the wait for the Swansea four-piece’s debut album, Black After Dark, released on Libertino Records on Fri 4 March 2022, turns from months to days, the band’s signature pomp and bombast makes way for the delicate sound of emotion surfacing and returning to the depths across four minutes of sprawling, elegant song.
Taking half of the last decade to write, Early In The Morning finds Bandicoot staring long into matters of the head and heart as lead vocalist, Rhys Underdown delivers a performance of fluttering-stomach and goosebumps yearning over celestial, electric-piano-led instrumentation. A place where late Blur meets late Smiths on a rain-lashed promenade, loaded with the same weight of emotion and sense of diminishing time, the song stands as a totem of patient and earnest, thread-pulling songwriting.
Giving up five of the 13 tracks from Black After Dark, including the drama of Life Death And Other Things, the riffy Worried Blues, the glammed-up Supergrass-a-like riot of FUZZY, prior to release, Bandicoot’s multi-hued, playful run-in adds yet another vivid shade with the Early In The Morning’s shared A-side, the driving speed-rock of Mynedfeydd (translation: Hidden Entrances).
The band’s lead singing multi-instrumentalist, Underdown says of the lead track:
“’Early In The Morning’ is a love song in three parts which took five years to write. It begins in Swansea, with the serenity of watching a loved one sleeping. It moves to a hotel in Aberystwyth, as a storm rages on the sea front, and then ends with departure, loss, heartbreak, where dreams and reality are confused and time seems to thunder through. You look back at certain songs and wonder how they came about, and this is one of those that seemed to write itself in the very rain falling outside.”
Citing inspirations that include the Plastic Ono Band, Velvet Underground and CAN, Bandicoot’s genre-bending explorations into moving guitar music continues on stages around the world through 2022 in support of Black After Dark, with the band confirming the following live venue and festival dates for the coming months.
Tue 1 Mar: London, Roundhouse
Sat 5 Mar: Cardiff, Clwb Ifor Bach
Sun 13 – Sun 20 Mar: Austin, Texas, SXSW
Sat 26 Mar: Laugharne, Laugharne Weekend Festival,
Fri 8 April: London, The Fiddler
Sat 16- Sun 17 April: Newport, Big Sesh
Thu 5- Sat 7 May: Wrexham, Focus Wales
Bandicoot are Rhys Underdown (guitar, vocals, saxophone and keyboards), Billy Stillman (drums), Tom Emlyn (vocals, guitar and keyboards) and Keiran Doe (bass).
For up-to-date and advance information on forthcoming Bandicoot releases and live dates connect with the band online at:

Crass Records 12” vinyl reissue series #1 out March 4th Honey Bane – ‘You Can Be You’ & Jane Gregory – ‘Do Not Go’

‘2 By 2 And Back Again’

Crass Records 12” vinyl reissue series #1 out March 4th
Honey Bane – ‘You Can Be You’ (1979)
Jane Gregory – ‘Do Not Go’ (1985)

“The furiously political British anarchist collective Crass lived their dogma with admirable rigor” Rolling Stone
“Arguably one of the most significant punk bands to ever exist” Crack Magazine  
Punk pioneers Crass have announced a new vinyl reissue series repressing their limited releases of adjacent artists through Crass Records, in association with One Little Independent Records. The first of which are by Honey Bane and Jane Gregory, out on March 4th.
Noah did it two by two, which is as good a reason as any for Crass Records to do likewise. Taking the first and last recordings from an impressive list of bands they supported, and then going from the top downwards and the bottom upwards, the newly minted 12” records will be released in a series of pairs; “2 by 2 and back again”.
The series, including over twenty bands and solo artists, kicks off with two contrasting examples of the vast Crass musical spectrum; punk icon Honey Bane with ‘You Can Be You’, and classical soprano Jane Gregory with ‘Do Not Go’. The prescient nature of both artists makes them seem even more relevant today than they were on release.
First released on 7” vinyl, limiting the sound, the new series has been remastered for 12” by Alex Gordon at Abbey Road Studios, allowing them to be heard as never before. This, plus enlarged replicas of the original covers, brings new gusto to their already radical sound.
‘You Can Be You’ by Honey Bane (ex Fatal Microbes and Poison Girls affiliate) captures all the spirit of late 70’s anarcho-punk with furious lo-fi guitars and a DIY aesthetic. Jane Gregory’s infamous ‘Do Not Go’ is a beautiful operatic drama, one seeped in a level of expression and passion rarely found across other genres. Rare too are the original pressings, now one of the hardest on the Crass Records back catalogue to find.
Where Bane rages against social injustices, Gregory offers the solace of love, but the essential message is the same – “Make love, not war”. Crass co-founder Penny Rimbaud notes that “the original series was opened by Bane and closed by Gregory, female artists in what was seen at the time as a predominantly male genre. This in itself says a lot about Crass’ radical gender politics, and yes, the album, ‘Penis Envy’, was a ball-breaker”.
He continues; “Our (Crass’) interest was never in personalities, profits or power, and neither did they have time for reformist liberals. Their position was solidly revolutionary; they took no prisoners. Talking the talk was never enough for Crass, no, they demanded that you also walk the walk. Theirs wasn’t a show, it was a battle, not a living, but a lifestyle, a lifestyle with a difference – rather than looking only to themselves, they sought to share their gains. This willingness added great strength to the form of anarchism that they practiced on stage and out on the street.”
In giving a platform to an impressive array of other bands, Crass Records broadened the front of what popularly became known as anarcho-punk. Not, it must be said, a moniker that Crass themselves much favoured. In this respect, Crass’ classic line, “There is no authority but yourself”, makes its point. Crass sought to empower others, and the output of Crass Records does much to confirm this, while ‘2 By 2 And Back Again’ seems to nail it – “get out of your own way, we’re all in this together”.
About Honey Bane

Honey Bane began her musical career in 1978 at the age of 14 when she formed the punk rock band the Fatal Microbes. The band released a split 12″ record with anarcho-punk band Poison Girls the same year. The first single, ‘Violence Grows’ garnered some press attention and was given positive reviews by the British music paper Sounds.
After the 1979 breakup of the Fatal Microbes, and a stint in a juvenile detention facility that attracted more press attention, Bane formed a collaboration with Crass while on the run from the Social Services (having already served a sentence at the St. Charles Youth Treatment Centre in Essex). With Bane as lead vocalist backed by Crass (under the stage name of Donna and the Kebabs) Crass Records released ‘You Can Be You’ in 1979. The following year, Bane released her debut solo single, ‘Guilty’, sang vocals for Killing Joke on ‘What’s the Matter’ (written by her), and rehearsed with Killing Joke at London’s Venue club. The recording was later released on a bootleg album, ‘Killing Joke – Live At The Venue LP’.
In 1981, Honey Bane starred as Molly in the late Mai Zetterling’s feature film ‘Scrubbers’ along with Kathy Burk, Pam St Clements, Miriam Margolis and many more. She began collaborating with her then manager, Sham 69’s Jimmy Pursey. The collaboration resulted in new single, ‘Turn Me On Turn Me Off’ which peaked in the UK Singles Chart at No.37 and Bane subsequently performed on Top of the Pops. Also, in 1981 Honey Bane played a leading role in Granada TV’s ‘Crown Court: A Sword In The Hand Of David’. That same year Honey was interviewed by Sally James on the TV Show ‘Tiswas’. She was Wade Radford’s leading lady in ‘A Last Chance At Paradise’ in 2014 and ‘The Last Sex Lies and Depravity’ in 2019, with her music being used in multiple independent films by him too.
In 2016, Bane released her first full studio album ‘Acceptance of Existence’, which was over ten years in the making. She released it independently via her website, along with an Anthology CD titled, ‘It’s a Baneful Life… The Anthology 1978-2016’, which features her complete works. Both titles were released on Bane’s own label, You Can Be You Records.
About Jane Gregory

Gregory is a soprano who sang a wide range of music from pre-baroque to contemporary avant-garde and every musical era in between. She took the soprano role, alternating with Sarah Brightman, in Andrew Lloyd Webber’s ‘Requiem’ in the 1985 premiere performances in London, going on to perform in subsequent premieres of the piece around the world.
‘Requiem’ was a choral work set for three soloists (Brightman, Placido Domingo and Paul Miles-Kingston) and was premiered early in 1985. It was around this time that Gregory was contacted by Rimbaud to perform on a Crass related track that he was working on at Southern Studios. This led to his collaborating with Gregory on ‘Do Not Go’, which he co-arranged and subsequently produced. Penny says; “Jane wanted to do a crossover single, her idea being to make an accessible classical record through which a larger audience might be attracted to beauties of the genre. Regrettably, it wasn’t to be, but it remains an extraordinarily beautiful recording which most certainly deserves a wider audience.”
On this matter, Gregory comments, “As the recording progressed, in a ‘music’s what happens when you’re busy making other plans’ sort of way, the songs morphed into something quite different, something the music scene of the mid-eighties didn’t really have a place for; Classic FM was several years down the line. From my perspective, the fruits of the endeavour transpired to be the creative process itself, and a life-long friendship with Penny.”
Originally released in 1985 by D Sharp Records, ‘Do Not Go’ was then taken over by Crass Records. Due to distribution issues at the former and the last-minute nature of Crass Records’ involvement, as well as a certain amount of musical prejudice of the time, the release didn’t receive the attention all parties felt in deserved. However, the original 7” record is now one of the most sought-after and collectable in the Crass Records catalogue. In the Rare Record Price Guide, it runs at £150, while in competitive online auctions it has sold for up to £300.
About Crass
Crass were an English art collective and punk rock band formed in 1977 who promoted anarchism as a political ideology, a way of life and a resistance movement. Crass popularised the anarcho-punk movement of the punk subculture, advocating direct action, animal rights, feminism, anti-fascism, and environmentalism. The band used and advocated a DIY ethic approach to its albums, sound collages, leaflets, and films. Crass spray-painted stencilled graffiti messages in the London Underground system and on advertising billboards, coordinated squats and organised political action. The band expressed its ideals by dressing in black, military-surplus-style clothing and using a stage backdrop amalgamating icons of perceived authority such as the Christian cross, the swastika, the Union Jack and the ouroboros. The band was critical of the punk subculture and youth culture in general. Nevertheless, the anarchist ideas that they promoted have maintained a presence in punk. Due to their free experimentation and use of tape collages, graphics, spoken word releases, poetry and improvisation, they have been associated with avant-punk, art punk and prior to Crass were associated with the Fluxist Movement.
Honey Bane – You Can Be You

  1. Girl On The Run
  2. Porno Grows
  3. Boring Conversation

Jane Gregory – Do Not Go

  1. Do Not Go
  2. Après Un Rêve

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Photo credit: Hollie Fernando 

In the official video for TV Priest’s “One Easy Thing”, the group’s excellent new single, singer Charlie Drinkwater plays a beleaguered 15th century knight on his return home from battle – soon after, a solo danse macabre ensues.

The darkly comic “One Easy Thing” video was helmed by previous band collaborator Joe Wheatley (“Decoration”, “Press Gang”) and shot on 16mm black and white stock by director of photography Kristof Brandl. The song is available today worldwide on DSPs from Sub Pop.

Charlie says of the single:

“Writing ‘One Easy Thing’ was key to unlocking a more direct and personal approach to our songwriting. It’s about dealing with the small things of everyday life; the anxiety, pressures, and battles inside your own headspace – and not being afraid to show this in our songs.”

“One Easy Thing” further ushers in a new direction for the band and will appear on TV Priest’s forthcoming new album, due out on Sub Pop later this year. It follows the recent “Lifesize” b/w ”All Thing” single (their contribution to volume 6 of the Sub Pop Singles Club), and “Uppers”, the band’s acclaimed, full-length debut, both released in 2021.

The band will follow the winter’s UK headline tour with new dates set to be announced alongside further details of album two in the near future.

Catch TV Priest live at:


1st to 4th – End Of The Road Festival

What people have said about TV Priest’s “Uppers”:

“Uppers…should rubber stamp TV Priest as one of, if not your favorite new act” – The Line Of Best Fit

“The blistering debut is a collection of delightfully pungent tracks, delivered in all their unashamed, reckless glory.” – CLASH

“Ragged yet tight, sprawling yet focused, it’s a singular vision of a disparate time. It rounds up most of the usual suspects of our Un-UK, the pop culture, the insularity, the lies on the side of a bus, but manages to breathe new life into those old tropes by sheer force of personality.” (★★★★) – DORK

“[Drinkwater’s] snarling style jostles perfectly with TV Priest’s fuzzed-and-flinty bass-forward style which, at its most brash, recalls McLusky, and at its most swaggering is in line with Iceage and Merchandise…what Uppers really shows is he’s best when he sings. That booming voice of his can carry a tune and is capable of holding a little bravado, too, without sliding too far into melodrama, which comes in handy on dark, brooding tracks like ‘Saintless,’ ‘This Island,’ and ‘Slidewater.’” – Brooklyn Vegan

“The album is quite possibly the ideal soundtrack to our current climate. It’s harsh, overwhelming and, honestly, pretty fucking funny.” (8/10) – Northern Transmissions

“Uppers provides thrills aplenty from a band making their mark during strange times as our new normal sets in, intent on seizing their second chance.” – Beats Per Minute

“With their wry wit and infectious hooks, this band might just be the future of music.” (9/10) God Is In The TV 

TV Priest
One Easy Thing
Out now on Sub Pop



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The Rose of Avalanche at the BBC

The Rose of Avalanche  At The BBC

Three friends straight out of school, armed with just a handful of songs and the type of “fuck you” attitude that can only come from Leeds. They say attitude can only get you so far, but they landed a John Peel session, having never played a gig. As unheard of then, as it is today.

This is the story of The Rose of Avalanche At The BBC.

The turn of the 80s. Three school friends attend every gig they can, soak up the music collections of older brothers and sisters, and fantasize about following in their hero’s steps  – David Bowie, The Stooges, and MC5. They buy some cheap instruments and write their first couple of songs. We’ve heard this story a million times before, right?

However, this was different. Within those first couple of songs were future alternative classics L.A. Rain and Velveteen. Something was seriously different about this group of lads. Magic was in the air.

While rehearsing at local Parkside Studio’s, the band were invited to contribute a couple of tracks to an upcoming studio compilation album. L.A. Rain was one of the two songs The Rose contributed, the second, American Girls, was hastily written to order as they didn’t have anything else in a finished state.

Somehow the album found its way into the hands of legendary Radio DJ John Peel. Upon hearing L.A. Rain he instantly fell in love and invited them in to record a session, the modern equivalent of winning X Factor. Not only that, Peel would also place the track at number 26 in his 1985 ‘Festive 50’ list ahead of songs by the likes of The Cure, The Smiths, and The Sisters of Mercy.

Then things really took off. They secured a prestigious support slot with fellow Leeds based band The Mission who were the current darlings of the music press. They signed a record deal, going on to release a string of singles that dominated the UK Independent Charts over the next couple of years, and played hundreds of gigs across the UK and Europe.

The Rose of Avalanche At The BBC captures that early creative spark of a band who went from buying their first instruments to recording for John Peel in less than a year, and checks in some 10 months later with their 1986 Radio 1 session for Janice Long, finding a band full of confidence off the back of the success of their second and third singles, and on the cusp of hitting the big time.

After decades of demand, the original line up of the band reformed in 2019, and are looking forward to recreating history, going out on the road with The Mission again in April 2022.

For more information:






Canghenion, debut single from Pelydron: aural idylls of phaser, fuzz and reverb.

Pelydron – Canghenion

Released Friday 25th February 2022 on Cae Gwyn Records

Canghenion is the debut single from Pelydron. It’ll reduce your heart-rate with aural idylls of phaser, fuzz and reverb.

Released on Cae Gwyn Records Friday 25/02/2022 (digital).

The music making entity that is Pelydron features Keith Jones on bass, guitar and assorted drum-machines. Raised in north Wales between sea and mountain, Keith moved to Sheffield to become an art-school drop-out and bassist in high-speed surf weirdos Texas Pete. Later, he achieved minor success with punky indie-poppers Navvy. Keith is now based in Birmingham, and Pelydron came into being after the purchase of a banana yellow bass guitar in the summer of 2020.

Pelydron is a bedroom-bound, broken-down dreampop factory: mixing melty melodies with punk attitude, jingle-jangle with fuzz.

Mastered by Geraint Jones. Artwork by Sleep Sparrow.

Recordiau Cae Gwyn | Independent Record Label from North Wales