Their history you probably know by now. About how brothers Jez and Andy Williams met Jimi Goodwin at 15 and forged a lifelong friendship from their shared passion for music. How the trio’s incarnation as Sub Sub -inspired by ecstatic trips to The Hacienda – saw them hit number three with the sublime ‘Ain’t No Love (Ain’t No Use) in 1993 only to lose their way until their rebirth as Doves.

How the success of 2000’s debut album Lost Souls spawned the widescreen vision of The Last Broadcast just over two years later. And, more recently, how the civic concerns of 2005’s epic Some Cities paved the way for Kingdom Of Rust, most sane people’s album of the year in 2009. None of which, of course, tells you anything about the beauty and majesty of the music they’ve created over the years.

The Places Between, their latest, is a painstakingly compiled look back at Doves first twelve years. From the opening chorus of There Goes The Fear (“Think of me when you’re coming down / But don’t look back when leaving town”) through classic debut single ‘The Cedar Room’ (originally released on the bands own imprint Casino Records – funded by Rob Gretton) to the sonic maelstrom of ‘Jetstream’, CD 1 is a seamless reminder of Doves unique knack of blending nostalgia, euphoria and social comment with gleaming musical modernism.

Contact:

Management US - Mark Kates - Fenway Recordings info@fenwayrecordings.com UK - Dave Rofe central1179@gmail.com

Agent NA - Steve Ferguson- Paladin steveferguson@paladinartists.com ROW - Geoff Meall- Wasserman geoff.meall@teamwass.com

Publishing/Licensing Contact info@fenwayrecordings.com

Pluralone is the current solo project of singer/songwriter and multi-instrumentalist Josh Klinghoffer. At just 41 years old, Klinghoffer has amassed a resume which dwarfs even the most seasoned musical veterans. He became the youngest Rock & Roll Hall of Fame inductee at 32 as a member of the Red Hot Chili Peppers. While best known for his decade long role with that band, Josh’s credentials extend back to his teenage years. He's been a member of groups like Ataxia, Warpaint, and The Bicycle Thief, he’s toured and recorded as a session musician with notable artists including PJ Harvey, Beck, Butthole Surfers, and Gnarls Barkley.

He also fronts the group Dot Hacker, with frequent collaborators Jonathan Hischke, Clint Walsh, and Eric Gardner. Klinghoffer was recently recruited as a touring member of Pearl Jam and Eddie Vedder’s new group, The Earthlings, and made contributions to new albums for both projects. Klinghoffer performed his first live set as Pluralone at the Ohana Festival Encore Weekend on October 1, 2021. As the end of 2021 approaches, Josh is writing a new Pluralone album, preparing for more live dates, and working extensively with producer Andrew Watt (Producer of the Year, Grammy Awards 2021) on a variety of projects. 

Contact:

Management Mark Kates- Fenway Recordings info@fenwayrecordings.com

Agent Don Muller- WME DMuller@wmeagency.com

Publishing/Licensing SESAC - contact info@fenwayrecordings.com

“It is not my place to tell you how to feel about something as subjective as music. Art is up for individual interpretation. We all hear different things. So go ahead: like what you like and hate what you hate. The choices are all yours.

Except when it comes to MGMT. You have to love MGMT.

If you don’t love MGMT you’re objectively and provably wrong. Do you want to be known as an idiot? Then fine, go on not loving MGMT.

I am of course exaggerating for effect because I clearly have strong feelings about MGMT. Their music has brightened my world for nearly as long as they’ve been making it; for the last fifteen or so years Ben Goldwasser and Andrew VanWyngarden have repeatedly delivered on the promise of ORACULAR SPECTACULAR, their Technicolor explosion of a debut. They followed it up with 2010’s CONGRATULATIONS, the once under-appreciated classic that has now found a modicum of much-deserved respect over the years.

2013 brought their self-titled third album, a dense and paranoid journey of a record that now stands as their current under-appreciated work (by 2026 everyone will consider this one their undeniable masterwork, mark it down!). MGMT’s fourth album was 2018’s LITTLE DARK AGE, a mutated – and equally paranoid! – synth pop collection that many described as “a return to form”.

Which begs the question: when it comes to MGMT, what form are they returning to? What form did they become?

As their very website URL asks, WHO IS MGMT?

It’s a fair question. Each record sounds decidedly different. They are clearly searching for something, their artistic restlessness is apparent. Everything they do is an adventure and they’re not going to stop seeking as long as they are making music. But that doesn’t answer the question.

The truth is, I don’t know who they really are. And I actually know them! I mean, Andrew and Ben are nice guys in real life, both very funny and extremely thoughtful. They will hold open a door for you, and they don’t hesitate to reach for the check. Legitimately decent dudes by any yardstick.

But at first glance you’d never know these unassuming guys were the architects of some of the most audacious and uncompromising rock music of the twenty-first century, a band that maintains a perfect track record, never making a misstep after nearly twenty years in the game. You can count on one hand the artists who push the margins the way MGMT do and you’ll have a couple fingers left over.

MGMT have been able to funnel the catchiest songs imaginable through the filter of relentless experimentation, never settling for the same sound twice. At this point in the game it is time to recognize that MGMT are not just the star pupils of the graduating class of 2007; they are a Great Band whose music has stood the test of time.

Which leads us to MGMT’s fifth album, LOSS OF LIFE. Simply put, the guys did it again! They’re now five-for-five, which last time I checked gets you into virtually any Hall of Fame. This record projects an aura of undeniable warmth throughout, an album brimming with comfortable confidence. The sound bounces from blasts of strummy sunshine (“Mother Nature”) to a corrupted brand of adult contemporary (“People In the Streets”) that could best be described as “Peter Cetera jamming with China Crisis”. There are epic tracks and intimate portraits, a little bit of glam here, some psych-folk there. It’s a slice of magic that fits perfectly into the MGMT oeuvre while expanding the boundaries once again.

LOSS OF LIFE just might be their best to date, a thing of true beauty. Andrew and Ben themselves have described this record as being “SLEEPLESS IN SEATTLE directed by Paul Schrader”, which kinda fits the bill. But the game of “this meets that” might not work anymore when it comes to MGMT. They are so much more than a collection of influences and references; those days are long behind them. Now MGMT set the pace.

Let other bands have their music described as “MGMT meets BLANK” (Faust? Keane? The Knack?), all you need to say about an MGMT record is “This is an MGMT record”. All the promise and potential is guaranteed to pay out like a slot machine as long as their name is on the album. “ - Tom Scharpling

Contact:

Management Mark Kates- Fenway Recordings & Dave Gottlieb- Death&Glory mgmt@fenwayrecordings.com

Agent US - Larry Webman - Wasserman lwebman@teamwass.com ROW - Mike Greek- CAA - MGreek@caa.com

Publishing/Licensing US - Sony and BMG Sony: Olivia Barton - olivia.barton@sonymusic.com Taylor Ashcraft - taylor.ashcraft@sonymusic.com BMG: Jake Sampson - jake.sampson@bmg.com Carly Ziff - carly.ziff@bmg.com

ROW - Sony and UMG Sony: Olivia Barton - olivia.barton@sonymusic.com Taylor Ashcraft - taylor.ashcraft@sonymusic.com UMG: Marcella Tweedy - Marcella.Tweedy@umusic.com

www.mgmtrecords.com

‘Unsound’ is Mission of Burma’s fifth studio album, continuing their remarkable legacy. It seems redundant now to even call it a comeback because they’re a dynamic, current band. Originally together just four years, from 1979-83, Mission of Burma reformed in 2002 for a handful of shows...which let to more concerts, then more, and eventually the release of 2004's "ONoffON", their first new recording in over twenty years. But no one expected them to just keep putting out records, let  alone records that were every bit as vital and influential as their seminal early recordings. Their first album ‘Vs’ is down in the annals of time as being one of the most important post-punk records ever. Their subsequent recordings: "ONoffON", "The Obliterati", "The Sound, The Speed, The Light", and now, "Unsound", continue to grow in scope, depth and accomplishment with every step.

On "Unsound" we see Mission of Burma messing with their comfort zone by recording in their Boston rehearsal space which doubles as a recording studio: Analog Divide. As usual, Roger Miller (guitar, vocals), Clint Conley (bass, vocals) and Peter Prescott (drums, vocals) share the songwriting credits with their distinct styles. All of them tried their hand at other instruments and sounds, allowing them to take risks with their creativity and giving them a more fluid line-up. Of course, regular fourth member Bob Weston (of Shellac) was on hand to provide the tape loops and production duties.

Inquiries:
burma@fenwayrecordings.com
Booking (NA): Frank Riley at High Road Touring
Booking (Europe): Peter Meeuwsen at Puschen, Jose Luis Ceuvas at Born! Music

Licensing Inquiries: Kaitlyn Kojian at Bankrobber Music

www.missionofburma.com