Meic Stevens
Known alternately as the ‘Welsh Dylan’ or the ‘Welsh Syd Barrett’, Meic was first discovered playing in a Manchester folk club by Jimmy Saville, under whose guidance he went on to record for Decca Records with later-of Led Zepplin John Paul Jones then onto to Warner Records via a collection of now-ultra rare Welsh-language picture EPs (Mike Stevens, Rhif 2 (Number 2), Mwg (Smoke), Y Brawd Houdini (The Great Houdini), Meic Stevens, Diolch Yn Fawr (Many Thanks), Byw Yn Y Wlad (Living In The Country))
A national hero in Wales, today Stevens’ psych-folk influence can be heard in contemporary Welsh groups such as Super Furrys and Gorky’s – it is a huge honour to welcome Meic to Anglesey for The Trip Festival.
Beth Jeans Houghton
The Newcastle singer who, to paraphrase The Guardian, joins the dots between Gwen Stefani and Vashti Bunyan. Beth Jeans Houghton has been playing guitar since the age of 16. She’s only 19 now. In the meantime, she’s supported Tunng and Tinariwen, hobnobbed with Vetiver, the late John Martyn, Bon Iver and Joanna Newsome and recorded a single, Golden/Nightswimmer with Adem and more recent an EP ‘Hot Toast Volume 1’ with Mike Lindsay from Tunng. She was the popular hit at 2009’s Green Man festival and has been hitting the road with her band, The Hooves Of Destiny. An album is on currently being produced by Ben Hillier, the production mastermind behind Elbow’s Cast Of Thousands, Doves’s Some Cities and Blur’s Think Tank. “I plan to dip my toes into many genres before I quit this mortal coil,” says Beth. “I don’t define my music and I try not to let music define me. We are two separate entities, but we get together for a shindig once in a while – and I intend to keep it that way.”
Cate Le Bon
A new force in song craft, Cate Le Bon currently resides in Cardiff’s infamous French quarter and befitting a songwriter who only writes in the dark, her music is a heady and highly personal Gallic stew of equal parts Nico, Malkmus and the chronicler’s own emotional observations on the impossibility of existence.
Disheartened by the constant stream of dead animals she found herself burying in her parents farm in Penboyr, West Wales, and inspired by her father’s impeccable record collection (The Velvets, Neil Young, Pavement et al) Cate packed her things and begrudgingly set sail for the neon lights and ample rehearsal space available in her country’s capital.
Following a string of club night shows in the city, Cate caught the attention of SFA front man Gruff Rhys who over a cigarette and a glass of brandy offered her some support slots with his band. Cate continued to gig extensively in the UK releasing singles and a Welsh language EP (‘Edrych Yn Llygaid Ceffyl Benthyg’) on the Indie Record label Peski.
When the time came to put an album together with record producer Krissie Jenkins things got a little out of hand. With no dead lines and a lackadaisical work ethic the album (titled Pet Deaths) turned into a cacophony of all the instruments they had to hand. Weeks turned into months of disjointed, directionless recording sessions and amidst all the mayhem Cate finally had an epiphany as Krissie reached for the jaw harp. Pet Death was buried.
Soon after abandoning her attempted debut, Cate was offered a lifeline in the shape of Neon Neon. What began as a guest vocal appearance on their debut single I Lust You, resulted in a year of touring the world as part of their band.
During a months break from the road, with her confidence and enthusiasm redoubled, Cate retired to Y Gerlan in the mountains of North Wales to rehearse a collection of new songs. With the songs finely whittled and sculpted she returned to the studio for a prophetic 10 day recording session which resulted in ‘Me Oh My’. Artfully composed with a classic five a side formation, the carefully constructed album boasts a concise palette of instrumentation played live by Cate and a fluid band of close friends. Perfectly illuminating her writing skills with understated menace and beauty.
Once the Neon Neon touring came to an end Cate was able to take back the reins on her own music, and she released her debut album on fellow band mate Gruff Rhys’ Irony Bored Records [& Tapes] label to rapturous critical acclaim.
The Maladies of Bellafontaine
Hailing from the spiritual home of Northern Soul, rugby and pies, The Maladies of Bellafontaine have provided Wiganers with a reason to believe that their quaint little town may soon possess a forth claim to international fame. With a single due for release later this year and an army of fervent followers swelling by the second, this is a band most certainly in the ascendancy.
Armed to the teeth with a canon of wonky-pop-psych-folk tunes and a raging fetish for second-hand synths, The Maladies of Bellafontaine shall descend upon the shores of Anglesey with the ears of the Sunday afternoon crowd set firmly in their sights. Resistance is futile!
Behold:
http://www-myspace.com/themaladiesofbellafontaine
Django Django
A band journeying from song to song and from strength to splendent
strength, Django Django display a verdant and very welcome continuity
regarding their colorific approach to musical composition, a form of
songwriting which is wholly Djangorous, highly distinctive and easily
vocalizes their kaleidoscopic sensibilities and multi-genred ingenuity.
