Managing Director / Agent
+44 20 3637 3361
Managing Director / Agent
Returning from a self-imposed musical exile following a triumphant run of early releases, haunted Swedish songwriter Alice Boman brings forth new single ‘Dreams’. A bleary-eyed, emotion-packed reflection on the dissolution of hope, it’s a track that’s strengthened by the silence it emerges from. “You need to take a break from it,” says Alice, looking back on her whirlwind early rise. “It really does help. It’s all about listening to your gut.”
Alice Boman’s voice hits with the emotional force and haunting fragility of Nina Simone.
What started as an impromptu jam session in Wiesbaden in 2008 has emerged as an entire musical universe within a few years. Brandt Brauer Frick embodies perhaps the most exciting fusion of classical instruments and club music to date. The blurring of boundaries has become their trademark – even if these are self-imposed ones – allowing them to reach a broad range of scenes and audiences worldwide.
Described as Icelands best kept secret they create captivating electro pop that infilrates to the tips of your fingers to your toes. What started out as a studio project in 2005 has blossomed into a screaming monster of a live show that's been dancing through the continent. FM Belfast will leave you sweaty with a smile on your face, as long as you accept to tag a long. Everyone is invited to participate in the party workout.
I Break Horses is the musical project led by Maria Lindén. From her Stockholm base, in 2011 the Swedish artist delivered an extraordinary debut album in the shape of 'Hearts.'
In 2014, the eagerly awaited follow-up album, entitled Chiaroscuro, was released.
Junip brings you dynamic, melodic and shadowy rock. Like walking through a foggy city finding the sun light little by little.
Swedish band Junip was formed in Gothenburg, Sweden, in the late '90s by Elias Araya (drums), José Gonzalés (guitar, vocals) and Tobias Winterkorn (organ, moog). Junip's sound can be familiar to those who have listened to José Gonzalez’s critically acclaimed records, but added to the mix on top of his nylon stringed guitar and distinctive voice are organs, analog–cut synths and drums.
Emil Svanängen born 1979 is a Swedish musician and composer working under the pseudonym Loney Dear.
Originating from the dark winters and light summer nights of Scandinavia, his music captures heavy emotions and intense energies of something painfully beautiful. In his thought through albums he explores the concept of music itself – through making, releasing and performing.
Emil’s music consists of perfectly composed layers, recorded (one by one) by himself and often performed like that, just by him, his expressive voice and a bunch of instruments. Casually he engineers an entire concert alone, playing sounds with his feet while juggling a bass drum and still being very much present in that moment. Perfection mixed with vibrating flaws makes his music easy to take in and hard to let go.
Man Duo is the second coming of Jaakko Eino Kalevi and Long-Sam: cherished producers and good friends from Helsinki whose 2012 debut Amateurs de Vérité refracted outsider electronics through the prism of psychedelic folk. Now the pair are back with a new name and a new album, Orbit, that takes the exotic pop we’ve come to associate with both artists far beyond the dancefloor and out into the cosmos.
Maneuvering between grandiose retro motifs and a surprising sincerity, Michelle Gurevich’s songs are tragicomic, melody-driven, sentimental and suspended in shadowy glamour.
Having released 3 albums under the moniker of Chinawoman, she now continues as Michelle Gurevich with her 4th and latest release – New Decadence. Produced in the same manner as her previous releases, she combines dark realism with humour in smoky and intimate ballads delivered with cutting and fatalistic lyrics.
Power Chords, Mike Krol’s new Merge release, wields the same influences as 2015s Turkey—Misfits, The Strokes, early Weezer, Ramones—but turned up on the gravity and the gain. Indeed, Krol has gone somewhere new; yes, he bludgeoned himself with over-analysis and self-loathing, but along the way he stumbled upon a trove of intricate guitar lines and artfully mutating melodies.
Music ruined Krol’s life. And then saved it. In chronicling that process, Krol has made his best record—painful, voyeuristic, and angry, but ultimately transcendent and timeless. It is the sound of Krol giving in to a force greater than himself, as though the chords are playing him rather than the other way around.
They came from the trees.
Now settled in fertile east London, Snapped Ankles maintain the feral energy of the forest. Fight or flight. Primal motorik rhythms, the rush of white noise and post-punk angles; an aural onslaught played out on homemade log synths, electrified guitars and sticks beating hell on taut animal skin.
Snapped Ankles have flourished in the sub-tropical climes of warehouse and squat parties, moving onto performance art collaborations with filmmakers and shows in unlikely locations such as barber shops, games arcades and the forests they once called home. They plough a singular furrow at improbable angles. The woodwose have discovered electricity and they’re not afraid to use it.
The lives we lead can feel like a simulation as the line between our reality and augmented futures continues to blur. Following the ever-emotive Boo Boo, Toro y Moi’s new album Outer Peace is a time capsule that captures our relationship to contemporary culture into one comprehensive, sonic package.
Shortly after the release of his 2015 record What For?, Toro y Moi (also known as Chaz Bear) packed up his belongings, leaving the comfort of his Oakland base for the relative solitude of Portland to write Boo Boo. Apart from the familiarity of his surroundings, Bear focused on what would become his next sonic statement. In doing so, he was struck by the reign that technology holds over our day to day lives and its ability to obscure the consumption of creativity. His change of environment resulted in freedom from disturbances and, in those quiet and tranquil spaces, the creation of music acted as a protest in favor of peace.
Sebastian Murphy, a San Francisco juvenile delinquent with Swedish roots, cuts a deal avoiding three strikes and you're out and gets deported from the US. With no possibility of returning home he suddenly find himself living in the freezing cold streets of Stockholm. Making small change doing street live caricatures of tourists.
Meanwhile, in the southern part of town two friends with a penchant for staying up late and speaking both rapidly and loud, Benjamin and Henrik are hammering out their next vision; Can a punk band rely solely on repetetive drum patterns and driving bass lines without falling down the rabbit hole that is pretentious post-punk drool? Well, yeah.
When Saints Go Machine are a hard band to pin down, four young men doing things with electro pop that no one has done before. The Danish four-piece formed in 2007 and have a complicated mix of influences. There’s dance music in there, for sure, but also post punk, some experimental electronica in the Aphex Twin mould, and, crucially, a healthy dose of pop. You could describe the end result as a heady mix of Caribou, The Knife/Fever Ray and Arthur Russell. But, really, it doesn’t sound like anything else out there.
Wovenhand is a band led by dedicated life-musician and lyricist David Eugene Edwards. Over the last two decades, his prolific work in both Wovenhand and the legendary 16 Horsepower has influenced and inspired a generation of musicians throughout the expansive alternative music world.
Wovenhand cannot be described in traditional terms. Their sound is an organic weavework of neo-folk, post rock, punk, old-time, and alternative sounds, all coming together as a vehicle for David's soulful expression and constant spiritual self exploration. Sometimes sad and sorrowful and at other times uplifting, Wovenhand are always unforgettable in spirit and sound.
What are the dreams of a youth that never makes time to rest? For Yung frontman Mikkel Holm Silkjær, a Danish DIY figurehead who has left a catalogue of cassettes and self-produced songs in his wake, the goal seemed to be recording, and living, as fast as possible. Since he began to record music as a teenager (his father put him behind a drum set when he was 4), slow hasn’t been his preferred speed. Writing and performing songs filled with gritty guitar and driving rhythms that snap like a live wire, he’s been busy channelling the electric drive of youth, creating brief, flashing sonic portraits of his life in Aarhus, the country’s gritty, industrial second city.
Pitch & Smith is an international booking agency representing artists from across the globe throughout Europe and the UK, founded in 2007.
Combining years of experience from all backgrounds of live music, we possess an expert understanding of live touring and its many unique dynamics. By striving to keep communication fluid across all levels we aim to ensure that the artist, promoter and audience are always supported and satisfied.
As avid music fans ourselves, we passionately believe in each artist on our roster and are dedicated to keeping live music alive.
Pitch & Smith Ltd
Hackney Downs Studios
London E8 2BT
+44 (0)20 3637 3361