Don’t forget to stop off for an award winning burger from our current kitchen pop-up, Cut & Grind! And we’re now stocking a range of alcohol free beer for those of you who fancy something lighter.
Sugar Candy Mountain
+ Doobie Fontaine
Monday 1st April
“Sugar Candy Mountain’s Mystic Hits is a space-age blast of psychedelic pop and Tropicalia that sounds like it could have reverberated right out of Phil Spector’s echo chamber.
If Brian Wilson had dropped acid on the beach in Brazil and decided to record an album with Os Mutantes and The Flaming Lips, it would sound like this.”
Tuesday 2nd April
Black Futures are a gift from the future. Sent back in time to steer humankind away from a path of total destruction. Sent back to avoid AI’s inevitable uprising. Sent back to spread feelings of elation, awe and wonder. Sent back to protect the worlds diversity, quirks and oddities via the medium of sonic hypnosis and song. Sent back to be a whirlwind of inclusivity a non-stop positive, nihilistic, pre apocalypse prevention party. You may know them as SPACE and VIBES. They fuse violent rhythms with elated melodies with symphonies of distortion and counterpoint. Mantras for a new beginning. A FUTURE PUNK! Join the Black Futures Expedition Club and help build a Newtopia for the soulful and strange. Turn Down Your ME TV and turn up for your COMMUNITY NEVER.NOT.NOTHING
+ Geo + Albert Gold + Disco D
Wednesday 3rd April
VC Pines is Jack Mercer, the former frontman of The Carnabys, who has moved away from the realm of indie-rock and immersed himself in a well of alternative soul, poetry and punk performance. Alongside a seven-piece band, VC Pines delivers deep organ drones and trills to provide the dark underbelly for this alt-soul avenue, while a seventies-esque sound sugarcoats the grit with trumpet and trombone.
James Vickery + Iyamah + Mathilda Homer
Thursday 4th April
A showcase of grassroots British music courtesy of the BBC Introducing platform.
Friday 5th April
Full band tour featuring Michael Chapman, plus Bridget St. John, BJ Cole and Sarah Smout [all playing as Micheal’s band]
+ The Renderers + Fun Fun Funeral
Saturday 6th April
COOLIES have been blurting out random batches of high order avant garage spew since 1997. Sjionel Timu and Tina Pihema are the core of the band. Formed in the sprawl of South Auckland, New Zealand while they were still teens, Coolies were ostensibly a “punk” unit, but their sound was never doctrinaire. Through sheer weirdness and strength of vision, they created music that paralleled aspects of underground noise from the forests of Olympia Washington, the squats of West London, and the basements of Dunedin. Without resorting to formal revisionism, they’ve managed to take the basics of the early Rough Trade sound and smudge it with fingers dipped in the art-readymades of NZ’s underground pop groups and their own fevered experimentalism.
+ Sit Down + ARXX
Sunday 7th April
Roadkill Records once again team up with ECubed to raise vital funds for Solace Women’s Aid. Rock Against Violence is Solace’s flagship live music event and Aprils show features prominent and powerful women from the countries vibrant DIY punk scene. Special guest DJs We Can Do It will spin garage, psych and riot grrrl between bands.
Monday 8th April
Electro-Disco Noise Punks attempt to remove the roof from The Lexington.
+ Liz Lawrence
Wednesday 10th April
Pure Norwegian Punky Sweetness™. The sound of a party with your neighbour Totoro, a wild discussion between Kodamas and Susuwataris, and a serious amount of imaginary confetti.
Black Country New Road
Thursday 11th April
Black Country, New Road sound like a proper filthy juggernaut of a band, a real experience to behold. At times, colossal metal riffs mangle with frenetic jazz freakouts; occasionally film noir string motifs are motored into the urgent present with a razor tight rhythm section.
Tickets: SOLD OUT
Friday 12th April
Alexandra and Zachary James are the high priests of Twin Temple, the Satanic Doo-Wop band hailing from the City of Angels.
The band was started on Halloween (a Witch’s Sabbath) in 2016 when a destruction ritual was performed, and Alexandra and Zachary stepped into their power as Twin Temple, energetically killing all their previous incarnations up until that point.
Although you may expect heavy guitar riffs and a thumping bass to accompany cries of “Hail Satan,” instead you’ll hear old-school, classic riffs and Alexandra’s crooning voice that sounds straight out of the ‘60s. While many confine Satan to the likes of black metal, the duo is breaking the notion that Satan has a type. After all, who says Satan wouldn’t get down to some classic Americana? Inspired by the golden era of Rock ‘n’ Roll, Twin Temple rejects conformity of any kind, whether it’s through their magick, performance, or sound.
Sunday 14th April
Brash burning and crashing garage-rock songs burn a hole in your heart and cauterize it with an exuberant battered keyboard and glee-ridden guitars. Crashing like a 2018 bunch of uber-enthusiasts brought a ‘60s band of greats back to life, got them screwed up on meths or speed or something equally harsh and fast and let them loose on the world.
Oh!Gunquit – A smashed up mayhem mix of wild garage, surf-beat and rumble-freakabilly brew of exotic rock’n’roll.
Tuesday 16th April
Molly Tuttle speaks softly. Her voice is both lilting and lucid, and when she says that she wants to create music that is truly original and unmistakably hers, her quietness shifts into a steely audacity that’s charming and almost funny––she’s only 25, after all. But then, you remember her songs. And it hits you: brash, beautiful originality is exactly what Molly is doing.
Tickets: SOLD OUT
Anna St. Louise & Elena Setien
Thursday 18th April
If Only There Was A River is the first full-length studio album from Anna St. Louis. The songwriter, who originally hails from Kansas City, began writing songs after moving to Los Angeles five years ago and has previously released a cassette of recordings on Woodsist / Mare Records, appropriately titled First Songs. The tape received notice from NPR: All Songs Considered, Pitchfork, and Stereogum.
Saturday 20th April
Eight years, seven releases, two European tours, a lot of tours across Brazil and more than 300 shows later, DEAFKIDS remains steadfast onto a path that leads to sonic mind decontrol. Each of the band’s releases have explored a different take on the hypnotic rhythms that comprise D-beat: the full-throttle noise assault of 2012’s Six Heretic Anthems for the Deaf EP; the cavernous, off-the-rails hardcore and apocalyptic monoliths that comprised 2014’s The Upper Hand LP.
Monday 22nd April
Perhaps now more than usual, we could sorely use a garage rock record whose emphasis on lurid fun doesn’t sacrifice depth. Step forward Ron Gallo, formerly of Philadelphians Toy Soldiers (nope, us neither), now residing in Nashville. He and two band members on bass and drums combine the sound of an excellent night out with songs about scary girlfriends, monsters who drop cigarette ash on babies’ heads (Why Do You Have Kids?), buying eyeballs and, on Kill the Medicine Man, chemical distractions. It gets better with every play, mixing punk with glam with fuzz guitar, recalling everything from the Rolling Stones to Jack White. It is just heavy enough, and it is also meta, as when Gallo deconstructs musicianly self-absorption on Poor Traits of the Artist or the emasculation of the underground in All the Punks Are Domesticated. Tick. – Guardian
+ The Shivers + Honey Gentry
Wednesday 24th April
With an ethereal voice, a timeless sound quite unlike any other and an enthralling stage presence, she seems not of this world.
Maps & Atlases
Saturday 27th April
Last year, Chicago’s Maps & Atlases relased ‘Lightlessness Is Nothing New’, their first since 2012’s Beware and Be Grateful. The album found frontman Dave Davison reckoning with the loss of his father and the emotional distances between light and dark. The band have announced a return to the UK this Spring, with a show at The Lexington penned for 27th April.
Monday 29th April
Daniel Romano hails from Welland, Ontario, site of old-world canals, post-industrial exodus, and downtown deterioration. A visionary writer, producer, musician and artist, he calls his sound “Mosey” music, and his sixth album “Modern Pressure” (May 19, 2017) refines and defines what that sound is: a deft manipulation of genre and form; intricate layers and wild arrangements; the kinetic energy of inspiration and creativity. The history of popular music is malleable in Romano’s hands, and he crafts songs that are both familiar and challenging: poetry and social commentary encrypted within the architecture of three minute rock n’ roll songs that look to the great beyond. Propelled and resourceful as he is prolific, it would be hard to argue that Daniel Romano shouldn’t be labeled as a genius, even if he’s a mad one. “Modern Pressure” is clearly not just the work of an absurdly gifted musician, it’s the product of an exceptionally vibrant mind.