Cate Le Bon

A highly successful 2010 was spent touring her debut LP Me Oh My described by Word magazine "As cymbals clash and keyboards whirl, imagine PJ Harvey's rawness tangling with Super Furry Animals' prog and a vocalist who forgoes folk soft asides for delicious black humor". Cate then ended the year contemplating and conjuring up her sophomore release.
Cate entered the studio with the nucleus of a record existing in her head, lyrical ideas swam in ether as did fully formed arrangements, but it wasn't until she began recording that these disparate ideas were drawn together and her circus tent of a record rose from the gravel ground.
Drawing on her experiences from that heady 12 months, Cate created a collection of pop nuggets that sounded like they'd fallen off the back of a broken carousel, imbued with the playfulness of Faust, Syd Barrett and the tropical melodies of Os Mutantes and stitched together with a foreboding silken lyrical thread.
Existential word play abounds and fuzz fused guitar lines tear through like an angry bee in a CAN as Cate muses on matters of the heart and the magnetic pull of the ocean.
How would you describe the album, CYRK?
Cut a remote island in two and place one half to your ear
What's a song on your new album, CYRK, you really want people to hear?
'The Man I Wanted' because I have finally put down a wooden recorder track that I have not been ridiculed for... as of yet. Also, if you're listening to it, you're well into side 2 of the album which means there's hope you'll make it to the end.
What's a lyric you're particularly proud of on the album?
"On the worst day of his life, he'd still love more things than I like" has been misconstrued as being a melancholic lyric about how miserable I am when actually it was written as a testament to how wonderful and positive the 'he' in the song is (its not God, for the record).

Hush Arbors

Keith Wood has a poet’s soul, a drifter’s mentality, and understands the similarities between Ted Berrigan and The Byrds. He’s played with Six Organs of Admittance, Wooden Wand, Current 93, and Thurston Moore/Chelsea Light Moving, and many others. He’s equally at home in the wilds of improvisation and in the vast possibilities of songform. Hush Arbors is all his, and it’s what he does best. He’s recorded over fifteen records, including most recently two on Ecstatic Peace! (Hush Arbors and Yankee Reality), a split 12” on Thrill Jockey (Hush Arbors/Arboretum), and a new self-release (Much Older I Arrive). Hush Arbors extraordinary songs mold haunt out of beauty and sweetness; they make sense around the fireplace or on the open road, and come from a voice that lives in no other throat. (Matt Krefting)

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