PLAYLIST: October 2026

The Get In Her Ears team have put together another eclectic mix of new music for your listening pleasure! Our October Playlist features plenty of alt-pop tunes, alternative offerings, indie musings, DIY punk anthems, and some experimental electronic sounds. Make sure you scroll through and read all about our recommendations below.

As you already know, to best support the artists we love here at GIHE, we now use TIDAL as our main playlisting platform. Please follow us on there! We’ve also included YouTube or bandcamp links for all of the tracks below, so there’s plenty of ways for you to get your new music fix. You can still access our GIHE profile on Spotify (which we do not have a paid subscription for) but we urge you to use TIDAL, bandcamp or YouTube instead. 

CLICK HERE TO LISTEN TO THE PLAYLIST ON TIDAL

 

Tusks – ‘How Can I Be The Same’
An evocative, synth-soaked response to an experience of sexism that she encountered whilst creating her new album, Tusks’ latest single ‘How Can I Be The Same’ is a resonant, aural assertion of her determination as an artist. The London-based musician produced her upcoming fourth album, Do I See You There? – due via One Little Independent Records on 12th February 2027 – entirely by herself, after spending two months at The Townshend Studio experimenting with Townshend’s vast collection of priceless analogue synthesisers. ‘How Can I Be The Same’ is one of ten tracks that form her new record, which was heavily shaped by grief and coming to terms with the loss of a close friend. ‘How Can I Be The Same’ offers a fascinating glimpse into what we can expect from Tusks’ emotive new effort.
(Kate Crudgington – Features Editor)

Green Tea Bitches – ‘Ghosts’
And the prize for best aritst name goes to… Green Tea Bitches! A Chinese-Danish duo, they’ve just released a special Halloween single oozing all the glorious scuzz-fuelled electro-punk energy you could ever ask for. In the vein of noughties faves like CSS or Le Tigre, it offers a playful reflection on an all too relatable fear of big egos and ghosts, complete with spooky theramin sounds throughout. (Mari Lane – Managing Editor)

Striped Light ft. Elizabeth Bernholz (Gazelle Twin) – ‘Foolish’
An ode to the electronic alt-pop that raised him, under the moniker of Striped Light, electronic musician and producer Benge (Creep Show/Wrangler/John Foxx and the Maths) has been working on his upcoming album, For All This Beauty, for almost 20 years. On this track ‘Foolish’, he has collaborated with experimental artist & composer Elizabeth Bernholz aka Gazelle Twin – who I am a long-time fan of – and the result is an intoxicating blend of jagged-yet-buoyant synths and lush, captivating melodies. It’s hugely exciting to me to hear Elizabeth’s vocals float over this carefree love song, as the context of her solo work is much darker than this. For All This Beauty will be released via MemeTune on 6th November, and features contributions from Tara Busch (I Speak Machine), Hannah Peel, Serafina Steer and Juliana Venter. (KC)

Eilis Frawley – ‘Taken, Never Erased’
Another idiosyncratic offering from GIHE fave Australian-born, Berlin-based drummer & songwriter Eilis Frawley. ‘Taken, Never Erased’ is a moving reflection on the systemic suppression of Indigenous Australian languages through colonization, simultaneously acting as an aural ode to the resilience of the communities affected by this too. The track is lifted from her upcoming second album, Twist My Words, set for release on 6th November via cult Berlin label Sinnbus Records. Eilis explains the track’s context further: “‘Taken, But Never Erased’ acknowledges the violence of cultural theft and the attempts to silence indigenous communities, while recognising the resilience of the people, memories, and traditions that continue to be carried forward.” (KC)

Other Mother – ‘Not Sorry’
The latest single from Cork’s Other Mother, ‘Not Sorry’ combines evocative spoken word lyrics with relentless hooks. With an “unapologetic feminine rage’, it flows with a swiring, eerie allure, as it builds with a tenacious energy and immense sense of urgency to a firercely empowering anthem. ‘Not Sorry’ is taken from Other Mother’s debut EP, Can’t Help But Feel Dramatic. (ML)

Gone Future ft. ShitKid – ‘PIG!!’
Featuring one of the most cathartic choruses I’ve heard all year, this single from Swedish indie-rock supergroup Gone Future is a real angst-ridden anthem. Formed of members of Dolores Haze, Dead Vibrations and Mando Diao, as well as the instigative vocals of their labelmate ShitKid, ‘PIG!!’ is a biting blend of crashing percussion and gritty riffs. The track is taken from Gone Future’s upcoming debut EP, Signs, set for release on 4th December via PNKSLM Recordings. (KC)

Minor Dents – ‘I’d Like To Meet Her’
Opening our recent Brighton gig at A L P H A B E T this month, local band Minor Dents completely blew me away with their spellbdining allure. Now, with new single, ‘I’d Like To Meet Her’, they’re showcasing their ability to create immaculate, immersive psych-tinged soundscapes. Taken from their debut EP, Sitting With The Fish, synth-driven hooks propel the glistening celestial vocals of Holly Finch into a swirling splendour. (ML)

LIINES – ‘Always The Same’
I’m extremely excited by the return of Manchester long-time favourites LIINES, who’ve just released their first music in over two years. Taken from their new EP, As Shadows Fall, ‘Always The Same’ fizzes with a gritty energy and drummer Leila’s fierce beats as Zoe’s vocals soar with a raw, impassioned power. Zoe reflects: “There’s something comforting about things staying the same, but something frustrating about never quite escaping them. ‘Always The Same’ sits between the two. Repetition can be reassuring or unsettling, depending on how you look at it. I’ve always found comfort in familiarity, even when it’s not a good thing. Sometimes the things that make you feel safe are the very things that keep you stuck.” (ML)

Fightmilk – ‘Escape! From Camp Run For Your Life’
Released as a Halloween treat from total faves Fightmilk, ‘Escape! From Camp Run For Your Life’ translates the real life horrors of the world today into a perfect slice of energising punk-pop, propelled by spookily sweeping hooks and front person Lily’s distinctive, fiercely honest lyrical storytelling. Of the track, Lily explains: “This was the product of years of obsessively reading R.L. Stine’s Goosebumps book series for children, where horrible things happen in broad daylight, your parents can’t protect you and happy endings come with a caveat… Every day feels terrifying at the moment and this is a love letter to the warm hug of horror, where you can close the book or stop the film at any time you like.” (ML)

PISS – ‘Rote Zora. “Resistance is Possible.” Emma, no. 6, June 1984, pp. 39-41.’
One of the most exciting bands to have dropped into my inbox in recent times, Canada’s PISS are fast building a reputation for their pivotal and unique fusion of punk, poetry, sound collage and performance art, consistently delivered with a fierce sense of urgency and politcally driven angst. Having already received acclaim for their brand new album, you made me / skin on linen, recent single ‘Resistance is Possible.” Emma, no. 6, June 1984, pp. 39-41.’ takes it lyrics from an interview transcript published in Emma in 1984, and races with a visceral, immense power, building to an absolutely thrilling and completely necessary outpouring of grief-driven rage. The single is accompanied by a massively impactful new video, directed by Eila Vallevand and combining found footage and animation. (ML)

BRIDGET. – ‘For The Hell Of It’
Bursting with her trademark riotous energy, ‘For The Hell Of It’ is the title track from grunge-punk artist BRIDGET.’s latest EP. It’s a visceral collection of songs that are threaded together by BRIDGET.’s “fuck what you think, I’m doing it anyway” energy. She celebrated the EP’s release with an ‘Autumn Ball’ party in a 400 year-old grade II listed church in Ipswich, complete with Drag performances and surprise songs – punk af in my opinion. (KC)

Lost Grrrl Found – ‘Lesbian Spinsters’
Having just released their debut EP, Pupal Phase, NYC-based Lost Grrrl Found deliver their fierce Riot Grrrl-inspired sound with a raucous frenzied energy. Inspired by queercore pioneers Team Dresch, ‘Lesbian Spinsters’ offers empowering ode to reunion and queer community. Bringing together collaborators from New York’s indie music and downtown theater communities, Lost Grrrl Found is a uniquely DIY production carving out its own space between music and theatre. (ML)

Teens In Trouble – ‘I Do’
The project of Asian-American singer, guitarist and songwriter Lizzie Killian, Raleigh’s Teens In Trouble have now shared a brand new single. Propelled by dreamily scuzzy hooks alongside an endearing sense of vulnerability that twinkles throughout, ‘I Do’ offers a cathartic reflection on a ‘friendship break-up’ – “I’d convinced myself I was over it until a mutual friend asked me about the situation over brunch…”, Killian explains, “As I started to explain what happened, I found myself getting heated and realizing that maybe I wasn’t actually over it after all.” (ML)

The Gentle Spring – ‘Down With Love’
With shades of the likes of Camera Obscura or Belle & Sebastian, The Gentle Spring have just announced the release of their second album. Taken from the album, new single ‘Down With Love’ flows with uptempo lilting melodies and honey-sweet vocals reminiscent of the delicate romanticism of The Field Mice (songwriter Michael Hiscock’s previous band), creating a truly infectious slice of perfect syrupy pop. (ML)

Kathleen Frances – ‘Kitchen Sink’
The latest single from Bristol-based songwriter and producer Kathleen Frances, ‘Kitchen Sink’ offers a beautiful tapestry of sounds. Interwoven with a sparkling emotion, the rich resonance of Frances’ vocals ripples throughout, creating something truly captivating. Of the track Frances reflects: “It’s an exploration of the rhythm of moving apart and coming together that happens in a romantic relationship. The chorus captures a playful moment where the other person makes you laugh and you almost forget why you were annoyed with them in the first place… I connect deeply with this song, it captures my own life; when love, familiarity and shared humour floods back in a wave of joy.” (ML)

Brimheim – ‘My Collection’
Danish-Faroese experimental pop artist Brimheim is responsible for two of my favourite albums – can’t hate myself into a different shape (2022) and RATKING (2024) – so I’m thrilled to see that she’s now gearing up to release more new music. Her latest single ‘My Collection’ beautifully displays her rich, distinctive vocals as they float over tender keys and a blend of acoustic, brass and woodwind instrumentation. Accompanied by a monochrome video which hints at what else is to come, ‘My Collection’ offers new insight into Brimheim’s eternally intriguing musical universe. (KC)

Klein – ‘princess of the souf’
Genre-bending, London-based artist & composer Klein has been one of my favourite new music discoveries over the past year, despite having an impressive backlog of releases reaching back much further than that. This cinematic instrumental ‘princess of the souf’ is lifted from her new album, my own fairytale, which is her dark interpretation of a “Disney-esque soundtrack”, incorporating her unique blend of ambient noise, grime and R&B. On this record, she dissects her intense thoughts on identity, belonging, secrecy, reality and fantasy. (KC)

Sijya – ‘Safe’ (Sneha Khanwalkar Edit)
Another eclectic piece of electronica from South Asian composer & producer and GIHE fave Sijya here. This remix of ‘Safe’ is lifted from her collaborative EP, Leather & Brass [Retrofitted], released via iconic label One Little Independent Records. Pioneering Indian music director Sneha Khanwalkar has re-worked Sijya’s original track, bringing together India’s independent and Bollywood music communities in one place – something Sijya feels especially passionate about. (KC)

Kee Avil – ‘meld’
A frisson of twitchy electronics and her unflinching vocals, ‘meld’ is the final track from Montréal-based experimental artist and producer Kee Avil’s fascinating new album, Vapor.
An intrepid artist unafraid of trying new approaches to creating art, Kee Avil wrote and recorded her new LP in real time, sharing the songs in chronological order over 12 months. “Creative inspiration is often like vapor, appearing and dissipating quickly” she extrapolates. “This album represents what inspires me in the moment.” (KC)

Sheherazaad – ‘Registaan’
Having been a big fan of Brooklyn-via-India based artist Sheherazaad since falling in love with 2024’s globally acclaimed Qasr, I’m excitetd to hear that she’ll be releasing her debut album next month. And now, ahead of the album, she’s shared a stirring new single. “Based in a crass desertland wherein really lonely women emerge…” ‘Registaan’ oozes a mystical, other-worldy allure creating a cinematic slice of dystopian folk, showcasing the poignant and spellbinding soundscapes that this innovative artist is able to create. (ML)

ĠENN ft. Aidan Moffat – ‘Jaguar Sun’
An eclectic exploration of what it means to exercise free will, Anglo-Maltese quartet ĠENN have teamed up with Arab Strap’s Aidan Moffat to create the intriguing ‘Jaguar Sun’. Inspired by a myriad of influences, including Under the Jaguar Sun by Italo Calvino – an unfinished novel written just before his death which attempted to tell a story for each of the senses – this collaborative effort evokes a potent, ominous atmosphere that seeks to understand the notion of freedom and our own perceptions of reality. (KC)

CLICK HERE TO LISTEN TO THE PLAYLIST ON TIDAL

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Five Favourites: Midori Jaeger

An artist I discovered by accident when seeing Tanita Tikaram at Royal Festival Hall last November, Midori Jaeger instantly caught my attention with their distinctive style of playing the cello and the soothing allure of her vocals while playing in Tikaram’s band. Originally from Japan, and having played alongside the likes of Daughter and Courtney Pine, as well as Tikaram, she released her latest EP (Re)Planted this summer, showcasing her immersive, genre-defying sounds and poignant, insightful songwriting. Following its predecessor, (Un)Planted – which drew on themes of displacement and identity – this latest release reflects on Jaeger’s experiences of migration and mixed cultural heritage in a softer, more expansive way, drawing a parallel between the cello (once a living tree), and her own journey as a child uprooted several times and forced to build roots in different soils. It’s a truly beautiful collection, drawing you into Jaeger’s unique, captivating sounds and stirring heartfelt emotion.

We think one of the best ways to get to know an artist is by asking what music inspires them. So, following the release of (Re)Planted, we caught up with Midori to find out about the five albums that have inspired her songwriting the most. Read about her five favourites below, listen to (Re)Planted, and come along to see her captivating performance at Stone Nest tomorrow!

Johann Sebastian Bach – 6 Suites for Solo Cello (played by Steven Isserlis)
I think my parents had this CD around and I added it to my iTunes library and listened to it on my iPod as a teenager. These pieces were way too hard for me to play myself at the time, and I remember thinking of them as a real marker of ‘grown-up’ cello playing, wondering if I would ever be able to get there, as I hated practising! Nowadays I play at least one of these pieces every day when I practise, and have done (on and off) for probably the last ten years, since I left music college. It’s the way the cello is so self-sufficient in them — covering harmony, rhythm, and melody, without compromising expressivity by sounding overly technical or cello-specific — that, over the years, has kept me going back. In turn, it’s probably instilled in me this idea that the cello can do everything. In my songs the cello is always the backbone, providing groove, rhythm, and harmony. I think without the example of solo cello music where the cello drives the fundamentals of the music (not only the Bach suites but also other pieces like Kodály Solo Cello sonata, Wellesz Solo Cello Sonata too), I might not have felt inclined to start creating my own cello music in this way.

James Taylor – Sweet Baby James
My dad gave me this CD when I was about fourteen, maybe along with a few others. Although I don’t think I necessarily consciously thought about it in a technical way at the time, I remember being struck by the simple arrangements that centred the acoustic guitar and voice. And the timbre of his voice is one I can just listen to endlessly (along with probably many other people!), though it’s exactly at that kind of spoken range that is impossible for me to sing along with! The identity of the songs seemed so contained within the guitar parts and vocals in a way that gave them such a uniqueness that didn’t get watered down by a produced ‘album version’. I imagine that really enjoying listening to these songs, where the raw and stripped-back recordings highlighted the writing, and doing so since a young age, probably had an influence on me choosing to write songs that originate from a prominent cello part and vocals only.

Saya Gray – 19 MASTERS
This was a more recent discovery that I’ve found conceptually inspiring. There’s a courage and assuredness that shines through this music, especially in the production. I get the sense that the artist really knows who she is and wants to be playful, which I absolutely love. She’s also of mixed Japanese heritage and there is clear influence from western classical music, which I also relate to. The songs are mostly in English but I really enjoy the little bits of spoken Japanese on this record which tap into a deep part of me and take me somewhere. I get a lot just from the solidarity of knowing that she’s also one of few female solo artists of our heritage to be doing this job. The music centres acoustic guitar and piano, whilst building a world of electronic and fun/extraneous sounds around that in a totally distinctive and imitable way, which I am realising is something I must really like!

Moses Sumney – grae
Moses Sumney is an artist I’ve respected since I first found out about him in 2020. It was partly knowing that he’d rejected several label offers that wanted to mould him into something he wasn’t, and partly the completely idiosyncratic nature of this album’s world that really drew me to it, mostly driven by the freedom of his singing. I don’t quite know how to describe it but his voice seems like much more than just ‘the vocals’ of the song, like a really far-reaching sonic representation of his musicality as a whole, or something. The album’s themes of multiplicity in various facets of identity also really spoke to me as a mixed-race, bilingual, queer artist who’s lived in different cultures, particularly the lyrics “I insist upon my right to be multiple”. I’d say this album provides conceptual inspiration to me as well as musical.

Madison Cunningham – Revealer
It’s the writing on this album that has pulled me in from the first time I heard it and keeps me going back! It’s rare for me to hear songs where it feels like the melodies, lyrics and chords are developing symbiotically with each other in such a natural way that my attention is totally gripped until the next section, and the next section. I get bored quickly when I listen to music. But Madison’s music always keeps me there as it seems she has so many tools to work with. I respect how the lyrics often jump from one quite specific image or object, to in the next line some kind of general statement or rhetorical question about life at large. I like that I never quite know exactly what she’s singing about, but there’s lots to connect with nonetheless and I enjoy the mystery of it. Madison’s music makes repeated listening really satisfying too, as I find new lyrical interpretations or melodic points to focus on even after years of listening to it. I suppose I connect with what I experience to be her lyrical style too, as I don’t often opt for super obvious lyrics. But then the beauty of it all is that of course somebody else might listen to her lyrics and find something very specific in there.

Huge thanks to Midori for sharing her Five Favourites!


Make sure you take a listen to (Re)Planted (and (Un)Planted), immersive yourself in its captivating beauty, and then nab tickets to come and see Midori Jaeger live tomorrow, 21st October, at Stone Nest in Shaftesbury Avenue. Tickets here.

Photo Credit: Inigo Blake

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LISTEN: GIHE on Soho Radio with F*Choir and Maria Uzor (14.10.26)

After a brief hiatus, we were back on Soho Radio this month with a 1 hour special celebrating the 10 year legacy of legendary LGBTQ+ ensemble F*Choir and the release of “mutant-electro” artist Maria Uzor‘s new album, Fantasyland.

Tash spoke with Sophie, Becky, Jenny, Adili, Majik and Judith about the ending of F*Choir, after 10 years of wonderful collaboration. Their chat started with a vocal warm-up, then moved into reminiscing about the beginnings of the inclusive choir, leading all the way up to the news that F*Choir will be releasing an album, We Want Our Bodies Back, on 21st October – plus – they’ll be playing their final ever show on Sunday 25th October at Woolwich Works. Tickets are still available here, but they’re nearly sold out!

Tash also spoke with the marvellous Maria Uzor about her brilliant new album, Fantasyland. The pair branched out into the concept of “time” and how it is a “capitalist construct” but also Maria’s idea of “soul time”, which she defines as “getting back in touch with yourself and moving in accordance to how your soul feels”. The pair also spoke about Maria’s experience of “taking up space” as a black woman in music, which has fuelled her vehement DIY attitude, her desire to push boundaries with her “mutant electronica” and to be her authentic self. Grab a copy of Maria Uzor’s fantastic album Fantasyland from her bandcamp page now.

Listen back to the show below:

 

We’ll be back on Soho Radio on Wednesday 11th November from 20:00
Listen via DAB, the Soho Radio app or www.sohoradio.com

Tracklist
**F*Choir Interview**
F*Choir – ‘We Rise’
F*Choir – ‘La Vita’
Maria Uzor – ‘Cyclops’
**Maria Uzor Interview**
Eighties Ladies – ‘Tell Him’

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Five Favourites: Perennial

I remember being told by some friends who got to see New England’s Perennial live when they were last in the UK that it was one of the best shows they’d ever seen. The band’s chaotic frenzied energy was unmatched and the way they interacted with the crowd whilst delivering their immense mod-rock anthems was unlike anything they’d seen before. So, I am extremely excited that we’re going to have them playing for us next week! Come and experience this one-of-a-kind live show for yourself at A L P H A B E T in Brighton on 9th October, along with Kansas-born Piney Gir and Brighton’s own shoegaze superstars Minor Dents. Tickets are on DICE now and they’re cheaper in advance. In the meantime, listen to their epic new album Modernism (and all their back catalogue from the last few years) and get your dancing shoes ready.

We think one of the best ways to get to know a band is by asking what music inspires them. So, following the release of Modernism, we caught up with Chesley, Chad and Ceej to find out about the five albums that inspired the writing of the new album the most. Read about their five favourites, listen to the Modernism on repeat, get tickets to one of their UK tour dates and watch the glorious video for recent single ‘Ready! Steady! Go!‘ below:

The Who – A Quick One
Our favourites are always changing, so we’ve decided to really focus on the key albums that influenced our new record, Modernism. And A Quick One by The Who is at the very top of that list. It’s a pop art masterpiece — catchy and tuneful and tight while also being brilliantly experimental and abstract and sonically adventurous. It’s all melody and weirdness. We really loved that idea of a compact, 10-song pop record that also finds all this room for more elliptical, left-field stuff. Even within individual songs the record will go from power pop to abstract noise at the drop of a hat. Hooks and killer melodies and feedback and weird sonic collages: What’s not to love? A really, really important album for us.

The Jam – Sound Affects
A lot of what is so brilliant about A Quick One also applies to Sound Affects, another short sharp record full of hooks with all this heady, arty stuff just beneath the surface. Of course the mod sound/aesthetic is a really important element for us, and what The Jam are doing here is the iteration of mod that is most at the heart of what we’re doing today. There’s this very stylish, almost playful post-modernism going on on Sound Affects that we really dig. Take something like ‘Start’, which is so clearly and brazenly borrowing the groove and riffs of The Beatles’ ‘Taxman’, but The Jam trust themselves to bring enough electricity and wit to the table that they can really reframe how that very classic groove works and what it has to say. Just a very cool record featuring one of our favourite bands at the height of their powers.

Various Artists – Hitsville USA: The Motown Singles Collection 1959-1971
I’m fully aware this is probably cheating since this record is a four-disc compilation, but I don’t think there’s a single album that has shaped us more as songwriters and producers. That sense of specificity, of pop songwriting as a widescreen, cinematic endeavor full of detail and personality. Then there’s the production on these records: all this experimentation with instrumentation and arrangement and mixing and effects, but all devoted to making these pop gems are memorable and striking as possible. Add to that the fact that this run of songs is, to my mind, the absolute acme of pop music. In particular the mid-60s Motown singles from The Supremes, The Temptations, The Four Tops, Marvin Gaye, Martha & The Vandellas, Stevie Wonder, etc… etc… etc… is just astonishing. ‘You Can’t Hurry Love’, ‘Ain’t Too Proud To Beg’, ‘It’s The Same Old Song’, ‘I Heard It Through The Grapevine’, ‘Heatwave’, ‘Up-tight’. I could go on and on. Perfection.

Elvis Costello & The Attractions – This Year’s Model (1978)
Pop music played as punk music. Costello’s lyrics on this one are unreal; the way he’s able to put together his phrases, his images, his rhyme schemes. It’s always so clever and sharp and fluid, and on this record in particular its all married to this really dynamic, punchy power pop sound. Poetry that stings while electric organs and Fender basses bash away as accompaniment. ‘Pump It Up’, for instance, is just a marvel. Lyrics that good atop a garage rock stomper that perfect. My goodness! As a working pattern of a record that is so flawlessly tailored and such an endless pleasure to listen to, This Year’s Model really can’t be beat.

The Go! Team – Thunder Lightning Strike (2005)
The hooks, the energy, the studio-as-instrument Technicolor joy. An endlessly re-listenable record. We caught The Go! Team live last year on the anniversary tour for this LP and it was such a beautiful, life-affirming night, and a reminder of just how incredible Thunder Lightning Strike is. There’s this collage effect to the way these songs are put together, where there is some really adventurous studio craft, some real experimental production stuff, but it’s all directed towards melody and energy and making the songs that much catchier and that much more electric. It’s a sonic sugar rush, and a really inspiring album to listen to while you’re working on a new project. This absolute burst of infectious creativity.

Huge thanks to Perennial for sharing their Five Favourites with us! Their new album Modernism is out now and we cannot wait to host them live at A L P H A B E T in Brighton next Friday, 9th October. Tickets available on Dice now. In the meantime, get in the mood by watching their glorious recent video for ‘Ready! Steady! Go!’:


And, if Brighton’s not handy for you, catch Perennial on any of their other UK dates over the next couple of weeks. All tickets here.

Perennial UK Tour Dates:

8th Oct – Oxford – The Library
9th Oct – Brighton – Alphabet
10th Oct – Liverpool – Outpost
11th Oct – Leeds – Grindhouse
13th Oct – Nottingham – JT Soar
14th Oct – Coventry – Just Dropped In
15th Oct – Manchester – The Modernist Gallery Shop
16th Oct – London – The Cavendish Arms

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