Theo Adler is proud to announce the release of his highly anticipated EP, Revealer. Born and raised in London, Theo Adler's music is a mesmerising blend of neo-soul, bossa nova, and alternative rock, and Revealer stands as a testament to his unique fusion of genres. Inspired by life experiences, this EP is a compelling exploration of resilience, self-discovery, and artistic evolution. Stream ‘Revealer’ here.

Theo Adler began his musical journey at the age of five when he first picked up the piano and guitar. His early inspirations were rooted in the sounds of Ben Folds Five's Whatever And Ever Amen but as he honed his craft, he delved into the works of iconic artists such as Ian Dury, the Rolling Stones, Gorillaz, Jungle, and Radiohead. His distinctive style draws from these influences and is infused with a British twist that makes his music truly stand out.

The lead song of the EP, 'Revealer' is a haunting narrative of disappointment and the inner strength required to move on when someone you relied on lets you down. The title track showcases Theo's songwriting talent and is underscored by a fusion of rhythms and vocal layers that give it a depth and richness like no other. "I wrote this out originally just with the drum machine, while I was in a big US neo-soul phase (D'Angelo, Lauren Hill, Musiq Soulchild, etc.), and hoped to put a spin with the British styles that I grew up closer to," Theo explains.

The EP also features the collaboration of talented musician Tom the Lion on live drums and the expert touch of producer Luke Potashnick, who rearranged the backing vocals to create a standout moment in the recording process. The result is an immersive musical experience that captures the essence of Theo's journey as a Londoner with a passion for producing music.

Theo's musical evolution has been a lifelong endeavour, starting with the couple hundred demos he created using Logic Pro 9 during his school days. His dedication and enthusiasm for music led him to collaborate with Luke Potashnick, and together, they embarked on the creation of Revealer. The EP was a labour of love that spanned five years and two continents, with Theo travelling through Europe and Asia, gathering inspiration along the way.

Revealer boasts a breathtaking artistic dimension, thanks to the work of artist Sol Golden-Sato, whose remarkable artwork graces each track on the EP. This fusion of auditory and visual artistry ensures that Revealer provides an all-encompassing experience for listeners.

Theo Adler's unique blend of genres, storytelling, and Brit-Rock fusion make Revealer a remarkable offering that reflects his journey and inspires others to find their own unique path. As an artist, Theo Adler represents the heart and soul of London's diverse music scene and promises an EP that resonates deeply with music enthusiasts.

Theo Adler’s new EP Revealer is out now - Stream the EP here.

Known for their mesmerising blend of classic songwriting with sensual guitars and introspective lyrics, Club Kuru release the highly anticipated new album Before the World. The London-based psych rock project led by Laurie Erskine will be released 21st June 2024 via Absolute and you can pre-save the full album here.

Supported by the likes of Clash Magazine, BBC 6music and Radio X, the actual recording of the album took just two weeks with Club Kuru assembling at Laurie’s home studio, a bungalow in South East London. Working with alacrity, sessions found the ensemble working direct to tape, with Ben Landon on mixing duties. “Most of my favourite albums were recorded to tape, so it gets you closer to the sound you first fell in love with,” he says. “I wanted one band, doing one record, in one period of time. When I listen back to the album, I can remember everything.”

Speaking on the forthcoming album, he says, “I feel like ‘Before the World’ is a very introspective record. Much of it came out of me sitting alone in the studio and just feeling quite sad. I would ask myself difficult questions and worry that there weren't any resolutions coming to me. Lyrically, I started to move towards themes of life and death after a terrible loss in my family…and then around the same time, the lovely arrival of new life. Amidst these sombre and worried reflections, there's a vague yet prevailing sense of hope weaving its way through the record. I definitely felt the weight lift when I finally completed it. Hopefully this sense of renewal shines through to the listener.”

Following the success of their two albums in 2018 and 2019, which garnered spots on the 6Music playlist and a sync on HBO's High Maintenance, as well as touring alongside Jungle, the band encountered a creative block. "Basically, we couldn't get anything finished," explains Erskine. "I wrote a lot, but I couldn't get anything over the line. I'm not sure why... I got a bit stuck with it all." Eventually, the band parted ways to pursue diverse musical ventures, collaborating with esteemed artists such as Soweto Kinch, Moses Boyd, Yak, Michael Kiwanuka, Jungle, Little Simz and George Ezra. 

During his break from the band, Laurie Erskine sought solace and inspiration within the confines of his analogue studio in South East London. It was here he honed his skills as an engineer and rekindled his connection to his jazz heritage. Fuelled by this reinvigorated love of improvised music, Erskine assembled a new band, a fresh iteration of Club Kuru that explores brand new avenues.  

Breaking free of his perfectionist tendencies, Laurie decided to limit himself to only two complete takes ahead of deciding the final version. It's a potent note to open this new chapter. Club Kuru feel emboldened, the work rich and refulgent. Confronting the challenges of growing up and navigating personal transitions, the music took on a deeper meaning as Laurie grappled with complex emotions. 

Track ‘Sunshine Kiss The Water’ – how’s that for a perfectly enchanting title? – yearns for the eternal, a song that surrenders itself to a quiet form of bliss. The song on the album itself is reminiscent of Pink Floyd at their most other-worldly. The composition is based on classical harmony with a soulful vocal drifting on top. Laurie says, “Over the years I've begun to practice singing in a more direct way and it’s started to open up and strengthen.” He continues, “It's kind of a romantic song I guess. But I wasn’t feeling romantic when I wrote it. Instead I focused on the feeling the natural world can give me. A feeling that there is something strange and wonderful but also scary out there. 

“I was thinking about that sublime feeling of when you see sunshine shining on the water and you think ‘wow, the sun has been hitting the water for a long, long time and it looks really magical’. Feelings like that give you a sense of awe and also that feeling that really you've got no idea what's going on.”

Speaking of the recording process, Laurie continues, “I wrote this a long time ago. It stayed on my hard drive for many years. I changed bits here and there. I always liked the chorus but I kept re-writing the verses. It started out as a really gentle ballad but became more heavy. The chord sequence is taken from classical music harmony. It's quite a slow tune which we found difficult to pull off at times.”

There’s a melodic directness, too. Second single ‘Who Am I’ is a six-minute jam that shows the near-telepathic interplay between these musicians, reinforcing and then untethering itself from the classic pop song structure. “It’s a song about not knowing yourself. Looking for something solid to hold onto and finding nothing there.” he says.

Inking a deal with Absolute as distributors meant no concessions, and a sense of freedom. This time round, what Club Kuru want to deliver is exactly what fans will get – from music itself, to the cover art, a neo-pagan visual feast constructed by Frederica Dalwood. Continually evolving, a freshly overhauled Club Kuru line-up have also recorded three new performance videos, shot live in Laurie’s home studio.

“It all feels a lot easier now,” he reflects. “Maybe I’m a bit better at this… or maybe being more relaxed is the same as being better. That’s the skill.”

Native Harrow release their new single ‘Follow Me Round’. This “feel bad hit of the summer” evokes 70s soft rock and comes ahead of their recently announced new album Divided Kind (13th September). Listen to ‘Follow Me Round’ here.

The Philly-based duo have remained largely independent throughout their career - musically, professionally, and aesthetically, since their beginning, meticulously crafting and perfecting a sound that is melded together from pieces of folk, soul, and rock n’ roll. They continue this ethos with ‘Follow Me Round’ and continue to build the excitement in anticipation for their forthcoming album. Pre-save Divided Kind here.

The vocals on new track ‘Follow Me Round’ are some of the most powerful to date, with a new shade of soulful richness that simultaneously imbues the track with a sharp edge and a dark warmth. The song is driven by a colossal sized bass hook, dry in-the-pocket drums, and an effervescent Rhodes line that skims along the surface of this groove, catching reflections of light over a dark open sea. Speaking of the track, frontwoman Devin Tuel says "’Follow Me Round’ speaks of being left behind and never letting go. Holding onto pain like a talisman of pride and surviving off a love that is no longer being served.” She continues, “At its core, this song is about the push and pull of a love/hate relationship. The initial inspiration was a rumination on how it feels to be left behind to clean up someone else’s mess”

Over a catalogue of six albums, Native Harrow have produced a discography of “rich, engrossing records” and “instant classics” while single-mindedly following their own artistic code, acquiescing only to the exigence of the song: each song its own world with its own rules. Their original perspective and extraordinary songwriting, combined with a completely individual approach to crafting albums, has garnered them coverage at Uncut, Mojo, The Guardian, Rolling Stone, The Line of Best Fit, Paste, American Songwriter, The Bluegrass Situation, Holler, Rough Trade, Telegraph, The Evening Standard, The Times, Shindig, The Sun, and many more.

Sharing stages with legends including the Eagles, Robert Plant & Alison Kraus, and Beth Hart, as well as acts including Sierra Ferrell, The Heavy Heavy, Courtney Marie Andrews, The Cactus Blossoms, Great Lake Swimmers, Esme Patterson and more, Native Harrow spent their first five or six years crisscrossing the United States and Canada on tours on the back of two self-released albums, Ghost (2015) and Sorores (2017). In 2019, they released Happier Now, partnering with London alt-country stalwarts Loose Records. The record garnered glowing reviews, with Rough Trade selecting it for its album of the month, writing “Beautifully soaring... rolling grooves ground languid and dreamy clearwater shimmers of sound.”

Where Native Harrow’s previous releases grew increasingly more expansive, both stylistically and in terms of the musical forces applied, forthcoming album Divided Kind counters this categorical unfurling with a lateral move towards the ground, with both feet firmly planted in a folk-soul-rock sound. Tastefully exploring their love for RnB, jazz, country, and farther-flung inspirations, they simultaneously dig into the musical world they have constructed. Their refusal to be put in a box, and their relentless insistence on catering to the demands of each individual song continues the band’s legacy of standing out from the crowd.

Philly-based Native Harrow have remained largely independent - musically, professionally, and aesthetically, since their beginning, meticulously crafting and perfecting a sound that is melded together from pieces of folk, soul, and rock n’ roll. On 13th September, they release new album Divided Kind. This album is the lifetime’s work of two scholars of music whose individual backgrounds in the arts have forged a strict artistic discipline that exists in sharp contrast to the more traditionally laissez-faire world of rock and popular music. Pre-save Divided Kind here.

Over a catalogue of six albums, Native Harrow have produced a discography of “rich, engrossing records” and “instant classics” while single-mindedly following their own artistic code, acquiescing only to the exigence of the song: each song its own world with its own rules. Their original perspective and extraordinary songwriting, combined with a completely individual approach to crafting albums and steering their career, has garnered them coverage at Uncut, Mojo, The Guardian, Rolling Stone, The Line of Best Fit, Paste, American Songwriter, The Bluegrass Situation, Holler, Rough Trade, Telegraph, The Evening Standard, The Times, Shindig, The Sun, and many more. They’ve shared stages with legends including the Eagles, Robert Plant & Alison Kraus, and Beth Hart, as well as acts including Sierra Ferrell, The Heavy Heavy, Courtney Marie Andrews, The Cactus Blossoms, Great Lake Swimmers, Esme Patterson, and more

Formed a decade ago, Native Harrow spent their first five or six years crisscrossing the United States and Canada on numerous tours, averaging more than 150 concerts per year in 47 states and 4 provinces, on the back of two self-released albums, Ghost (2015) and Sorores (2017). In 2019, they released Happier Now, partnering with London alt-country stalwarts Loose Records. The record garnered glowing reviews, with Rough Trade selecting it for its album of the month, writing “Beautifully soaring... rolling grooves ground languid and dreamy clearwater shimmers of sound.”

The critical acclaim and Americana chart success of the album prompted three back-to-back UK tours in 2019 and early 2020, ultimately leading to a three-year stint living and touring in the UK and Europe. In this time, Native Harrow released two more critically acclaimed records with Loose: Closeness (2020) and Old Kind of Magic (2022), playing for audiences ranging from rock clubs in Norway and Sweden to opera halls in Portugal, and every stop in-between, as well as performing at festivals such as BST Hyde Park (supporting the Eagles and Robert Plant & Alison Kraus), Greenman Festival, Black Deer Festival, The Great Escape, Celtic Connections, Moseley Folk Festival, SXSW, and many more.

Whereas Native Harrow’s previous records have grown increasingly more expansive, both stylistically and in terms of the musical forces applied, Divided Kind counters this categorical unfurling with a lateral move towards the ground, with both feet firmly planted, in a folk-soul-rock sound that still explores their love of RnB, jazz, country, and farther-flung inspirations while simultaneously digging in, with more authority, to the musical world they have constructed. Or maybe they’re still searching, and Divided Kind is what’s next. Their refusal to be put in a box, and their relentless insistence on catering to the demands of each individual song suggests the latter is likely the truth at hand.

Divided Kind opens with the title track; frontwoman Devin Tuel’s honey-toned vocal accompanied by gospel-tinged piano, deftly broadening to an exuberant celebration of liberation, abetted by a chorus of soaring voices, electric, acoustic, and 12-string guitars, stentorian Hammond B3 organ, communal handclaps and tambourines, and galvanizing bass and drums. That these first four minutes, a veritable wall-of-sound, were performed and recorded completely by the two members of Native Harrow (the aforementioned Devin Tuel and multi-instrumentalist Stephen Harms), augmented solely by a drum kit performance from longtime collaborator Alex Hall (Pokey LaFarge, JD McPherson, The Cactus Blossoms), is perhaps as perfect an introduction as any to their world.

Following the eruption of its title track, Side A of Divided Kind transitions nimbly through hazy tremolo-laden dusty canyons, past an intimate soulful love letter, and towards a moody anthem of devotion buoyed by propulsive grooves, before ultimately settling on a gentle bird’s-eye-view of love and transcendence. Side B opens with the debut single, “Goin’ Nowhere” a soul transmission over incendiary bass and undulating layers of guiro, congas, tambourines, shakers, and handclaps that sidesteps into moments of infinite dial-toned burnished, Rhodes-propelled soul-jazz and self-assured blues rock à gogo before ending in a spectral folk reading on celestial meditation.

The upcoming album was produced and recorded by the pair, in their home studio surrounded by the vintage acoustic and electric guitars, dusty semi-functional amplifiers, and out-of-date Rhodes, B3, piano, and assorted percussion they’ve grown accustomed to. Chicago-based Alex Hall was again drafted to add drums and to mix, and Philadelphia drummer and engineer Joshua Friedman mastered the record. London-based musician Joe Harvey-Whyte added the pedal steel to “Borrowing Time”, with all other voices and instruments being performed by Tuel and Harms. Divided Kind is available everywhere September 13 on Different Time Records.

Live Shows

03 Sep - Folklore, Brighton

04 Sep- Truck, Oxford

05 Sep - David's Music , Letchworth

06 Sep - The Blue Basement: Third Man, London

08 Sep - Eel Pie Record, Twickenham