The band came about in Quebec in 2019, with the two members made immediately distinctive by way of strange stage names, and their donning of unusual black and white costumes and Papier-mâché headpieces. The pair consist of singer and guitarist Khn de Poitrine and drummer and vocalist Klek de Poitrine. Their fuzzy, chaotic experimental rock is defined by Khn’s use of a double-necked microtonal electric guitar and bass, which expands the range of musical notes beyond a typical instrument. This lends the riffs a sound unheard of in most western music, which can appear almost accidental on the first listen. When coupled with Klek’s erratic jazz drum beats, and the duo’s indecipherable alien vocals, the music is utterly out of this world.

After releasing debut album ‘Vol. 1’ in 2024, the band became a viral sensation earlier this year. Their live performance for radio station KEXP in February captured attention in all the desired ways, with viewers enraptured by the four meandering tracks and the unique attires. The set has been viewed nearly 6.5 million times on Youtube, with Angine de Poitrine fast-becoming one of the year’s biggest pop-culture phenomenons and their image already considered iconic.

Second album ‘Vol. II’ was announced on the 18th of March, promising to expand the sound of their first release to wilder, weirder heights. Three of the tracks, ‘Sarniezz’, ‘Mata Zyklek’ and most-recent single ‘Fabienk’ can be heard in the KEXP performance, but the album includes three more items – ‘Utzp’, ‘Yor Zarad’ and ‘Angor’. Due to the extended run-time of their progressive-styled jams, the full six tracks clock in at over 35 minutes of music.

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A post shared by Angine De Poitrine (@anginedepoitrine)

With plans already in place for a sold-out visit to the UK this May, before touring France, Belgium, and Canada, they announced their first headline tour of the US earlier in March. Yesterday they revealed a further leg of European dates, including a second run of the UK, only this time at much larger venues and festivals. It begins at End of the Road Festival in Dorset this September, before ending with a huge finale at the beautiful venue Troxy in London in October. The full list of UK dates for 2026 is here:

MAY
• 10 – Brudenell Social Club, Leeds (SOLD OUT)
• 11 – Electric Ballroom, London (SOLD OUT)
• 12 – Strange Brew, Bristol (SOLD OUT)
• 14 – The Great Escape, Brighton

SEPTEMBER
• 4 – End of the Road, Larmer Tree Gardens, Dorset
• 5 – Manchester Psych Fest, Manchester
• 6 – Edinburgh Psych Fest, Edinburgh

OCTOBER
• 13 – Prospect Building, Bristol
• 14 – SWG3 Galvanizers, Glasgow
• 16 – Opium, Dublin
• 18 – Project House, Leeds
• 19 – Troxy, London

Angine de Poitrine release ‘Vol. II’ this Friday, the 3rd of April, through label Les Cassettes Magiques. Physical versions will be available on their web store, and you can click here for digital pre-orders and pre-saving options.

“Labour” has quickly taken off on social media, with thousands of women being inspired by and relating to the feminist anthem. The track tackles the misogyny that women face in every day life, inspiring a wealth of TikToks of women sharing their fury with “Labour” as the soundtrack.

Being compared to the work of Hozier, Paloma’s new single is a folk anthem, with its Pagan vibes conjuring images of all the women that have gone before us in societies plagued with sexism and inequality.

Paloma discussed the meaning behind the track with The Big Issue, saying, “Women are just doing more and more, and men are not doing any more than they’ve ever done. There’s still expectation for women to have this very traditional archaic role as a caregiver and a servant and a wife and a mother and a homemaker, but women have had enough of existing to serve other people.”

The ‘female rage’ label has been attributed to Paloma’s song, but she states “it doesn’t need to be romanticised,” as social media can be wont to do.

“Labour” has incited passionate responses from its listeners, and Paloma herself says she’s “not at the centre of this song anymore.”

not now honey mummy’s listen to labour by paris paloma and crying over the horrific levels of misogyny women have faced for hundreds of years

— ًhades (@milfnyras) March 24, 2023

ok BUT LABOUR BY PARIS PALOMA IS THE SONG OF FEMALE RAGE AND EVERYONE SHOULD KNOW IT GOODBYE — specs (@aroamingspectre) March 23, 2023

Discussing female rage further, Paloma told The Big Issue, “It can be amazingly empowering, and I think so many women are relating to it as just this concept of just having had enough, and the refusal to be convenient anymore.”

She goes on to say, “It starts with holding men and boys accountable for this behaviour, and making it less normalised and making them sort of aware that their actions or lack thereof have consequences. You don’t get to be in a relationship and treat another person like less than a human being and then be blindsided when that person wants to end that relationship.”

Paloma says that she hasn’t experienced being “the put-upon wife but I’ve watched it happen. But I’ve seen what it does, and it’s what I think about and have thought about since I was becoming more conscious of my surroundings as a young teenage girl.”

Since its release, “Labour” has inspired over 27,000 video responses on TikTok, allowing a cathartic outlet for listeners and gracing Paris Paloma with an ever-growing platform.

Stream “Labour” here.

Gone are the days where one could simply get by on the quality of a good song, in the current climate it’s arguable that a starting out Nirvana couldn’t get on the radio with “Smells Like Teen Spirit” without the thousands of followers necessary to prove their worth. Today it seems the music industry is operating in an almost exclusively algorithmic market that relies more on numbers and statistics to provide proof of an artists potential than it does the traditional ‘gut feeling’ of a cigar toting A&R. Junior scouts now struggle to convince their bosses on a hunch, they need the backing of thousands of thirsty comments on the artists latest well lit bedroom post to gain approval. In many ways it makes complete sense, why risk your job signing someone with no following when you could sign an Instagram model who already has millions of fans in place? It’s a no brainer right? Increasingly the answer seems to be yes, and it’s getting a lot of artists both undiscovered and established in quite the tizz.

Take Halsey for example, you may consider the 27 year old New Jersey singer a house hold name, and you wouldn’t be wrong, she’s sold over 165 million records and streamed over 6 billion times in the US alone, but that doesn’t make her immune to Tik Tok’s sting. In a recent post captioned “I’m tired” she explained how her record label were barring the release of a new song she loved unless they could “fake a viral moment on Tik Tok”. The result? Ironically, 8.8 million views, on Tik Tok.

@halseyI’m tired♬ original sound – Halsey

She’s not the only one, other notably hacked off heavyweights include FKA Twigs, Charlie XCX, Florence Welch, and Rebecca Lucy Taylor AKA Self Esteem, all of whom went to their respective social media outlets to vent their frustration. It’s an interesting conundrum, as Taylor keenly points out “Why are labels so desperate to apply the same techniques to every artist, treating them as social media commodities to sell or personalities to market, rather than talented musicians with their own unique creations, fanbases and brands?”. It seems the ability to remain somewhat mysterious and aloof is largely lost in the ‘share all’ culture that’s emerging, with artists that leaned on their mystique heavily like Florence + the Machine feeling the pinch.

Where this is all going to end up and how damaging or transformative it’s going to be for the industry I don’t know, I’m only allowed 500 words, but one thing’s for sure, it’s certainly stirring up a lot of drama on both sides of the fence.