MAGIC MIX

indie

WEEK STARTING 6 May

Genre pick of the week Cover of Pop Or Not by Whyte Horses.
What happens when you put an obscure Mancunian music chronologist on a three month sojourn in the heart of the Italian countryside with some battered analogue recording gear, some cheap guitars and a female vocalist and friend to explore themes of the human condition and daydreams of fantasy with one piece of decoration: a poster of their favourite band Os Mutantes looming large on the wall, offering some company and direction during this time of solitude? The answer is a new group of seismic psychedelic proportions. May we present Whyte Horses.

Inspired by the nomadic travels of cult folk artist Mark Fry and outsider Krautrock groups, strange sounds began to emanate from deep within a dilapidated cottage, deep in the Frosinone mountains range with no access to the outside world. Panoramic views baring an uncanny resemblance to Alejandro Jodorowsky’s epic pseudo-western ‘El Topo’ began to filter the songwriting, as hazy instrumentals evolved into mutant pop sketches, blurring seventies MOR sensibilities, obscure imagery and everyday thoughts. At various stages of recording friends would come and visit to jam out songs and record through the night. ‘Pop or Not’ features some wanton contributions from Jez Williams (Doves / Black Rivers, Chris Geddes (Belle & Sebastian), Ian Parton (The Go! Team) and the enigma that is Jim Noir.

The result is other-worldly, classically of another time and space. Triumphant yet melancholy, a colour-sound of psychedelic dream pop, fearless and tender in equal measure. A modern day cosmic-cowboy concept album tackling the story of a fugitive character fighting a personal battle of rehabilitation.

‘Pop or Not’ is music to get better to

STAFF COMMENTS

Andy says: Sublime, classic indie-pop (and more besides) that's surely gonna ride high in our end of year chart. Absolutely brilliant record.

Forging their friendships in the crucible of their Houston, TX, high school, Sabrina Ellis (vocals), Andrew Cashen (vocals, guitar), and Orville Neeley (drums) first got their start covering AC/DC, The Ramones, Joan Jett, and the finer points of the Back to the Future soundtrack at school dances under the band name Youth In Asia. Reuniting in Austin in 2008, they enlisted their pals Andy Bauer (guitar) and Graham Low (bass) and christened the act A Giant Dog. AGD is raucous ear candy culled from the hook-driven melodies of Slade, the glammy swagger of Marc Bolan, the morbid fantasy of Killer-era Alice Cooper, and the unpredictable wit of Sparks. Sabrina and Andrew's lyrics, equal parts brutally honest, clever, and debased, have a knack for taking their idiosyncratic depravities and making them feel universal. These songs are by, for, and about the losers, freaks, and outcasts. The lonely. The terminally horny. Boozehounds and party animals. No band better speaks to the hearts of slackers, burnouts, rockers, sluts, and creeps everywhere than A Giant Dog. Pile, AGD's third LP and first for Merge Records, shows a band whose years of road-dogging have honed them into unstoppable rock machines. Their second time working with producer Mike McCarthy (Spoon, White Denim, Trail of Dead) reveals Sabrina's impressive pipes, Andrew's sweet licks, and a pummeling rhythm section - everything is tighter, more focused, crisper. The album deals with divorce, getting older, dying, frustration, and futility, ultimately transcending those earthly headaches through the power of rock 'n' roll. 

‘Heartbreaker’ the debut solo studio album by Ryan Adams, which was hailed as a modern classic on its release in September 2000, is re-released as a deluxe edition. The album, which has been remastered by original producer Ethan Johns, comes in a deluxe box set that features the 15 song album in all its glory plus demos and unreleased outtakes from this landmark record by one of rock music’s most prolific and charismatic stars. The package also includes a DVD featuring a film of the legendary New York show at the Mercury Lounge in October 2000 and a glossy booklet of rare and unseen photos and Ryan Adams ephemera with an essay written by producer, friend and collaborator Ethan Johns.

STAFF COMMENTS

Andy says: Incredible , heroic debut. Possibly his finest hour.

FORMAT INFORMATION

4xLtd LP Info: Includes DVD.

“Anohni has arrived at the high table of electronic nowness. She has moved from the lush pastoral piano modern compositional landscape framing her voice into a more immediate world of dance-mutated electronica... Was pop ever so revelatory or so profound?” - Geoff Travis, London 2016

Anohni, the singer of Antony And The Johnsons, releases her new album, ‘Hopelessness’, on Rough Trade. A collaboration with Oneohtrix Point Never and Hudson Mohawke, ‘Hopelessness’ is a dance record with soulful vocals and lyrics addressing subjects including surveillance, drone warfare and ecocide. The album seeks to disrupt assumptions about popular music through the collision of electronic sound and highly politicized lyrics.

To coincide with the Climate Conference in Paris last December, Anohni released her debut single, ‘4 Degrees’ and The Guardian called it “Hugely affecting… instantly earns its place in the pantheon of great musical protests.”

‘Drone Bomb Me’ is the beautiful yet brutal second single from ‘Hopelessness’. As described by Anohni, “‘Drone Bomb Me’ is a love song written from the perspective of a young girl in Afghanistan whose family has been executed by unmanned US drones. She dreams of being annihilated.” The powerful video for ‘Drone Bomb Me’ was directed by Nabil and features an astonishing performance by Naomi Campbell.

“‘Hopelessness is the genius of Anohni and her masterful songwriting. The long low sexy beats, the skittering colorful and playful rhythms surround her voice, which is the silky center… ‘Hopelessness’ is an entirely new mix of love and power, sex and despair delivered with her heavenly voice and incantatory melodies.” - Laurie Anderson, NYC 2016

“Once, some time ago, Anohni, who sings so exquisitely on this new record which is really about defiance and naming names-the name you want to be called, your birthright-was known as Antony but it didn’t measure up to what was felt inside, and it is my belief that Anohni’s voice would have closed up if Anohni had stayed Antony and the words would have stopped, too, because the naming was not as accurate as Anohni’s soul required to sing what needed to be sung... The record is fierce-fierce in its desire to breathe and be heard.” - Hilton Als, NYC 2016

FORMAT INFORMATION

Vinyl comes with CD version of the album enclosed.

Julianna Barwick’s revelatory third album, ‘Will’, is the Brooklyn experimental artist’s most surprising left turn to date. Conceived and self-produced over the past year in a variety of locations, the compelling ‘Will’ departs from the weighty lightness of 2013’s ‘Nepenthe’.

If ‘Nepenthe’ conjured images of gentle fog rolling over desolate mountains, then ‘Will’ is a late afternoon thunderstorm, a cathartic collision of sharp and soft textures that sounds ominous and restorative all at once.

‘Will’ comes after Barwick’s busiest period to date in her career following ‘Nepenthe’ - a spate of activity that included playing piano for Yoko Ono, performing at the 25th annual Tibet House Benefit Concert alongside such kindred spirits as The Flaming Lips and Philip Glass, releasing the ‘Rosabi’ EP and delivering a reimagining of Bach’s ‘Adagio’ from Concerto In D Minor.

Her life over the past several years has largely been lived in transit and as such the genesis of ‘Will’ was not beholden to location; Barwick reflects on this cycle of constant motion. “You’re constantly adjusting, assimilating, and finding yourself in life-changing situations.” That sense of forward propulsion is largely owed to ‘Will’s synth-heavy textures, an ingredient she was inspired to add to her vocal loop-heavy formula after demoing a new prototype analogue sequencer for Moog.

Another new wrinkle ‘Will’ introduces in Barwick’s sound: Mas Ysa’s Thomas Arsenault, who lends his richly complex vocals to ‘Same’ and ‘Someway’.

The beguiling, beautifully complicated ‘Will’ is the latest proof yet of Barwick’s irresistibly engaging talent as a composer and vocalist.

Julianna has recently collaborated with Moog and MoMa, lending her prestige as both a musician and artist as a whole.

FORMAT INFORMATION

Coloured LP Info: Available exclusively to independent retailers on rose gold coloured vinyl.

Includes MP3 Download Code.

The Blood Tub Orchestra

The End Of My Old Cigar

    Phono Erotic is proud to announce its second release by the deliciously Outsiderist Music Hall ensemble that is The Blood Tub Orchestra.

    Now let’s clear something up straight away; this is no retro pastiche but a real working group tampering with the remnants of the almost lost and forgotten songbook of the lower classes, The Music Hall. Once considered one of the seven curses of London that detracted those working class types from their duty to make money for Queen, Empire and the intolerant ruling elite, Music Hall was a den of vice, sharps and wanton behavior, a lurid spectacle of unblushing immodesty…well not too much has changed for the binge drinking masses, festival frenzied fornicators and the crack den denizens of the inner cities, other that nowadays, the leopards’ spots are equally placed on the disposable equity burdened middle classes, who are quietly having their purses pinched by the pasty faced sharks of the new unfettered borders in this current great empire of finance.

    The rousing rancorous heyday of these ‘palatial shams’, where ‘the modern comic vocalist doled out feeble jingling idiocies of his own composition’ lasted only a few short years in reality before it was sanitized by those with an eye for a fast buck and the state backed rise of the Temperance movements. It then slowly dissolved over 100 years into the tepid light entertainment of 60’s and 70’s Variety Shows and televised ‘spectaculars’ such as The Black & White Minstrel Show and on to the further degenerate televised horrors of shows today like ‘Strictly’ and ‘Britains Got No Talent’ (sic).

    So it is with great relief, honour and privilege that we announce The Blood Tub Orchestra’s declaration of intent to strive for the restoration of these glorious days of bitter humour, coarse innuendo, political satire and a damn us all to hell and the trenches of a jolly old knee’s up, come one, come all, to restore the lost voice of the Great British cattle classes.

    The great Harry Champion would no doubt raise a laugh at such wry commentry. Our Harry, the voice of the people throughout the 2 World Wars and an endless amount of skirmishes in both battlefield, bar brawl and brothel no doubt, provides us with the ammunition of the lewd entendre laced standard, ‘The End Of My Old Cigar’, given more than a healthy dose of boiled bully and gin tonicised blather, in this rousing interpretation.

    The Immobile One and generally uncheeky chappie, Sam Mayo’s performance of ‘I Played My Concertina’ gives us the starting point for our next insight into the Pre-WW1 mentality of ‘ornery people’ and their laughter in the face of misery, with yet another piece of lyrical smut. Please note, no smiles were cracked during the recording of this performance.

    While the first side of the EP represents a small sampler of the sort of thing to expect from the forthcoming Blood Tub Orchestra album, the second side was recorded live at the Bethnal Green Working Men’s Club, one of London’s rare thus far unscathed multi-purpose cultural venues, a true anomaly that lives and breathes many of the attributes and attitudes of the heady days of the East End music halls and the stainged glitter hangover that goes with it.

    Blood Tub’s belt and braces revamp of Lesley Sarony’s ‘Bloomin’ Well Dead’, an ascerbic prod at the hypocrisy of behavioral misdemeanor at funerals, still rings as true today as it ever did. And finally there’s, ‘Oh Father, Do Come Home’, one of a number of satirical jibes aimed at popular hit of the day, ‘Father, Dear Father, The Brokers Are In’, a
    In the Temperance song of warning style that increasingly infiltrated the Music Hall scene, in order to combat the profligacy of the immoral games of ‘fox-and-goose’ distracting our fine young fellows from their devotion to good deed and good stead. Again, nothing changes, with the recent Government Guidelines recommend that alcohol consumption to be limited to 6 pints or 6 glasses of wine per week, ring a bell? Ah well, bah humbug to the lot of ‘em! Who’s for a quick tiddly wink or three?


    The Blood Tub Orchestra are a most interesting and innovative outfit. A delightful and enthralling experience with their wholly unique idea of unearthing Victorian and Edwardian music gems from often long-forgotten artists and rattling their bones to breathe new life into them by evolving the pieces into fully-formed 21st century creations whilst retaining the characteristics and soul of the original, historic works. The ghost has firmly spooked the machinery. The rose-tinted veneer is peeled back and injected with the spirit of the age, both ancient and modern.

    With the cosy mothball whiff of fancy dress nostalgia removed, a straight bare knuckle fight between the song and the performers ensues, finding its place in creating the most mouthwatering proposition since The Rolling Stones re-introduced Blues to America. Great Britain, this means you!

    The Blood Tub Orchestra is comprised of a rag tag assortment of musical waistrels. Tim Whelan (Transglobal Underground, Furniture etc), Ashley Davies (Project Dark, London Dirthole Co etc), Kirsten Reynolds (Project Dark, LDC etc), Rob Lewis (Pulkas, LDC etc), Debbie Smith (Echobelly, Ye Nuns etc) plus various guests.

    Bonnie Billy

    More Revery

      In the year 2000 - shortly after releasing what would become his most iconic album, I See A Darkness - Will Oldham aka Bonnie 'Prince' Billy retreated to his family's farmhouse with the majority that I See A Darkness lineup in tow to record a half dozen covers of some of Oldham's favorite songs. The track listing is, as expected, inspired and eclectic: John Phillips, PJ Harvey, Bill Withers, The Renderers, John Holt, and Tim McGraw. Bonny Billy's renditions are equally inspired and eclectic, ranging from slow-burning uneasiness to uncharacteristic jubilance.

      Originally released exclusively on limited edition CD in the pre-MP3 era, More Revery was gone before iTunes existed, and has not been available in any format since. On the occasion of the 20th anniversary of Temporary Residence Ltd., we are honored to reissue this essential piece of the Bonny Billy canon - now expanded to include rare live versions of the entire album!

      "The beauty of the Oldham machine is that, no matter what goes in, the song that comes out winds up sounding not just like one of Will's own songs, but like one of Will's better songs." – Pitchfork (8.0).

      "A quiet tribute to some great songwriters, with a style that tips its hat to the original and then makes the song all its own." – AllMusic.

      FORMAT INFORMATION

      Includes MP3 Download Code.

      The Cave Singers’ writing is unfettered; their songs possess a quality of deliverance. Each track of their four album catalogue compels movement, physical and emotional. It can manifest as the tapping of one’s foot, nod of the head or even a silent lifting of the heart. The Cave Singers’ melodic harmonies pull the body to the present, demanding our attention beyond all of the other noises of the world.

      ‘Banshee’ brings The Cave Singers back to their original three piece line up and also their approach to songwriting: an exchange of Derek sending Pete a riff and Pete responding with vocal ideas. From there the songs come together. The album was recorded live in July of 2015 over 6 days with producer Randall Dunn. The record is warmly anchored in the members’ creative familiarity with one another. Yet there is a new thirst to ‘Banshee’, one that can be attributed to the combination of the band taking a year off to work on other projects Pete Quirk’s solo album and the Kodiak Deathbeds’ debut record and their return to songwriting from distanced correspondence.

      Lead vocalist Peter Quirk possesses a spiritual healing quality that rides within the tonal waves of his lyrics. Driving guitars, foottapping percussion and Quirk’s powerful vocals make an intricate quilt that blankets the audience in comfort, aggressively communicating a gentle reminder: we are soft bodies trying to survive with one another. ‘Fade Away’ highlights this: “With the sun on our back we will never get cold, with the light in our eyes it’s alright to get old, whatever your story might say, however, it's told, let it go, let it let go, let it fade away.”

      The Cave Singers remain approachable while retaining the complexity of writing skills possessed by folks who have dedicated their lives to music. Their appreciation of varied sounds, the writing process and performing in every type of venue, house and festival possible allows them to connect with those they speak to. Their passion for their craft translates from their recordings and resonates through their performances. The Cave Singers are the people’s band.

      Inspired by the likes of Slowdive and Ride, Chapterhouse were part of the short-lived 'shoe-gazing' scene of the early 90's, but unlike other acts who aquired a set of guitar pedals and headed off to the nearest recording studio, they mixed beats with their wall-of-sonic-guitar-fuzz to create records to stimulate both mind and feet!

      This newly expanded reissue of their classic debut“Whirpool”, now includes all the B-sides from the singles 'Pearl', 'Falling Down' and the 'Sunburst EP', along with 'Die Die Die' which was originally only available on a free record that came with the vinyl version of the album and is on CD for the first time. Produced by the band alongside Robin Guthrie (Cocteau Twins), John Fryer (This Mortal Coil), Stephen Hague (New Order) and Ralph Jezzard, and featuring guest vocals from Rachel Goswell (Slowdive). The liner notes are from music journalist and long-time associate Andrew Perry, along with the lyrics in full (documented here for the first time), plus many photos, memorabilia and other clippings from the bands personal archive, and images of all of the releases featured on the album.

      Cibo Matto

      Viva! La Woman

        Cibo Matto, Italian for “crazy food” is a New York City based band formed by two Japanese women, Yuka Honda and Miho Hatori, in 1994. Their debut album, Viva! La woman was released in 1996 and has been described as “urban trip-hop”. The album spent six weeks at the top of CMJ's College charts and was named as one of the ten best albums of 1996 by Spin magazine, later being listed in their "Top 90" albums of the 1990s.

        FORMAT INFORMATION

        Includes MP3 Download Code.

        The Clientele

        Strange Geometry (Reissue)

          Originally released in 2005, The Clientele recorded their 2nd full-length album Strange Geometry with producer Brian O'Shaughnessy at Bark Studios, Walthamstow (UK). The album features twelve dreamy folk-pop songs with shimmering psych guitars and string arrangements by Louis Phillippe. Strange Geometry was the first Clientele album to be recorded in a fully equipped, professional studio with an established engineer/producer. The results are stunning. Strange Geometry is a robust yet subtle recording. Songs are allowed room to breathe, yet never stray into indulgence. When not concerned with the chore of production - the twisting of knobs and the repair of faulty equipment - the band was free to focus completely on the music, achieving and expanding upon the sonic blueprint they had envisioned from the start. Mr. O'Shaughnessy's experience and expertise helped the band deliver their most accomplished record to date, full of rich textures and enchanting melodies. As well, the contributions of the enigmatic and incredibly talented Mr. Philippe cannot be understated. His string arrangements are delicate but nonetheless powerful additions. 

          The new album from Chris Cohen, former contributing member of Deerhoof, The Curtains and Cryptacize and tormer touring player of Cass McCombs, Haunted Graffiti and Danielson.

          ‘As If Apart’, the long-awaited sequel to Chris Cohen’s 2012 soft psych garden of unearthly alter-pop earworms and studio-sonic delights, ‘Overgrown Path’, follows its predecessor with another bittersweet ensemble of dreamy, complex songs.

          Pushing the idiosyncrasies of Cohen’s melodic and rhythmic approach into even more fractured, shifting spaces, ‘As If Apart’ unsettles lazy pop conventions, upending jaded heads and hearts with an expansive, moody psychedelia. Where ‘Overgrown Path’ plunged within, ‘As If Apart’ voyages out.

          To say that this is how pop music should have turned out would be nostalgic - a misapprehension of time, pop, history and our place within those structures - what we could say is that this is how pop music has turned out alongside itself - how it has become beside itself - as if apart.

          Press for ‘Overgrown Path’: “Cohen might have made the album for himself as a keepsake, an antidote to the rest of life’s pressing noise. It works that way for us, as well.” - Pitchfork; “Cohen brings to mind the far out, oddball eccentricity of Robert Wyatt, patted down and smoothed over by Colin Blunstone's suavity, adding to the canon of otherworldly, offbeat artists who resist definition.” - The Quietus

          FORMAT INFORMATION

          Includes MP3 Download Code.

          Thomas Cohen shares his debut album ‘Bloom Forever’, released by Stolen Recordings.

          Inspired by the works of singer-songwriters such as Townes Van Zandt, Judee Sill, Van Morrison and Jim Sullivan, ‘Bloom Forever’ is a chronologically ordered document of the songs Cohen wrote between 2012 and 2015.

          Of course, tragedy is also present on the record. In April 2014 the unthinkable happened. Cohen’s wife Peaches died at their Surrey home aged 25, leaving him to raise their two small boys. Rather than turn his back on the record in grief, Cohen eventually decided to continue work on the album, relocating to Iceland to write and record the rest of ‘Bloom Forever’ and finding some kind of peace through the process.

          Death From Above 1979

          Live At Third Man Records

            Third Man Records announces the release of Death From Above 1979’s epic live EP. For over 10 years, these international men of mystery, Jesse Keeler and Sebastien Grainger, have dipped their toes into whatever waters they pleased (MSTRKRFT, Deserts/Bad Tits, Femme Fatale, The Mountains, Black Cat No.13), and created songs that'll get you off your ass and make you feel things.

            A decade after a sudden break up, following the release of their rich and gritty first record You're A Woman, I'm a Machine, tours with Nine Inch Nails and Queens Of The Stone Age, and one foot in the door of the mainstream, Death From Above 1979 reunited and released their second LP The Physical World last fall. The duo picked right up where they left off and hit the road last summer. Amidst their resurgence, DFA 1979 decided to dip their toes in the water of Third Man Record’s Blue Room. The room which is home to the 1953 Scully Lathe that previously cut James Brown singles at King Records, and where they decided to record the epic live performance to master and be reproduced for generations to enjoy. United Record Pressing has completed the pressing of these records and they are officially ready for release. The Live EP is set for release on April 22.

            “We’ve always been wary of live recording experiences because they can end up so sterile and flat sounding and they hardly ever translate the feeling of the actual show. The feeling of the moment,” DFA 1979 said of the experience. “When we were asked to record Live At Third Man Records we agreed without hesitation. If there is one person who knows about feeling the moment, it’s Jack White. He’s the patron saint of vibes. We cut two twenty minute long sets straight to acetate. No second chances. Terrifying but alive. Third Man were such phenomenal hosts and the audience went bananas with us. It was such an honour to be a part of. The whole thing was such a rush, it almost feels like a dream.”

            “Oh yeah, Mick Jagger was there. Did we mention that we went out to dinner with Jack and Mick after and then went bowling until 3am? It’s also worth noting that Jack got the highest score followed by Sebastien. Mick and Jesse tied.”

            Denial

            California Dreaming / The Weatherman

            A Colourful Storm inaugurates its vinyl label with a reissue of a long lost Oz classic. Formed by Brian Hall in 1982, Denial originally appeared on the legendary M Squared label, home to industrial and wave outfits Systematics, SPK, Scattered Order and The Makers Of The Dead Travel Fast. Until now, Hall's own work has only surfaced once - in 2012, under his Aural Indifference moniker on the Minimal Wave Tapes Volume Two compilation. Here, Denial's version of the Mamas and Papas' classic, and melancholy "The Weatherman" are presented in their original format and deservedly remastered. Buzzing synth tones, melancholy textures and tranquilized electronic rhythms create a dystopian atmosphere on the gloomy "California Dreaming", while "The Weatherman" combines post punk bass, deadpan vocals and greyscale organ to nail the wan charm of C86 pop.

            Destroyer

            My Mystery

              We recorded a song called “My Mystery” a year and a half ago. Kind of a light number, vaguely danceable.Wistful, looking back not unfondly on time spent and dull misadventures had within the dead-as-a-doornail music industry. And the feeling of where it leaves you, like a rat in the middle of the ocean, though not as harsh as that; as if rats could swim an ocean’s length. Anyway, the song was not in keeping with the shadow spirit of Poison Season, and so it got shelved.

              Then one day DJjohnedwardcollins@gmail.com called me up and said, “You got any shit for me?”…

              FORMAT INFORMATION

              Includes MP3 Download Code.

              RIYL: Go-Betweens, Courtney Barnett, Twerps, The Clean, Feelies, Yo La Tengo. One year after releasing Dick Diver's third album,"Melbourne, Florida" Trouble In Mind is pleased as punch to make the revered Melbourne, Florida band's first two albums 2011's "New Start Again" & 2013's critically acclaimed (and The Age-nominated Best Album) "Calendar Days" FINALLY available domestically for eager & discerning listeners. Building on the promise of their debut, "Calendar Days" a truly communal album with each band member contributing hit after hit, from the punchy first single "Alice" (penned by bassist Al Montfort) to Al McKay & Rupert Edwards' elegant ditties & pop bangers like "Water Damage" "Calendar Days" & "Lime Green Shirt". The real highlight is drummer/guitarist Steph Hughes whose vocal duties on the Edwards-penned title track & duet on "Two Year Lease" add a melodic richness. Not to mention her absolute classic tune "Gap Life" a beguiling & charmingly casual take on "Australian-ness", cementing "Calendar Days" as an unquestionable modern classic. People started to take notice too, as the band was nominated for The Age's Music Victoria Awards for Best Album & Best Band. 

              FORMAT INFORMATION

              Coloured LP Info: Limited coloured vinyl is exclusive to the Cargo Collective stores.

              Includes MP3 Download Code.

              RIYL: Go-Betweens, Courtney Barnett, Twerps, The Clean, Feelies, Yo La Tengo. One year after releasing Dick Diver's third album,"Melbourne, Florida" Trouble In Mind is pleased as punch to make the revered Melbourne, Florida band's first two albums 2011's "New Start Again" & 2013's critically acclaimed (and The Age-nominated Best Album) "Calendar Days" FINALLY available domestically for eager & discerning listeners. "New Start Again" was the band's first full-length offering after their debut single, surprising many & no one with it's sprawling range of melodic twists & turns. From opener "Through The D" - which starts with a patient drum pulse before launching into the infectious jangle of guitarists Rupert Edwards and Alistair McKay's chiming chords - to casual anthem & album closer "Head Back" (penned by bassist Al Montfort), the band holds the listener's attention steady and true with inventive and memorable songs.

              FORMAT INFORMATION

              Coloured LP Info: Limited coloured vinyl is exclusive to the Cargo Collective stores.

              Includes MP3 Download Code.

              Improvisational collaboration between Deerhoof and A Hawk and A Hacksaw members John Dieterich and Jeremy Barnes began The Coral Casino as an attempt to understand one another. They met one day and the next they were in a blank room with unfamiliar instruments in their hands and zero expectations, each agreeing to do his utmost to ignore the other—to improvise in a rhythmic manner while not listening to what the other was doing. This idiosyncratic process proved to be the unlikely genesis of songs like “Special Questions,” “Sandwild” and “The Frost Pocket.” Their shared love of melody and pop provided the anchor for wild performances and deep, rich textures, laying the groundwork for many more moods: the euphoric “Out and About,” the stirring tribute to the satellite Philae (“Philae Lands on Comet 67p_ChuryumovGerasimenko”), the first satellite to land on a comet, and so on. Expansive, unafraid of complexity yet wide-eyed with elation, their sound embodies risk that genuinely rewards. While flirtations with danger and darkness occasionally appear, in the end everything becomes a laughing pile on the floor. An optimistic homage to a possible future, The Coral Casino is both childish and sophisticated, seemingly tossed off yet at the same time exhibiting a depth that reveals itself on each subsequent listen; an exploration of friendship and the pure joy of ecstatic communication. Take a trip to The Coral Casino: the perfect destination, where everything is topsy-turvy, no one is in control and yet all are mysteriously spirited to their beds before dawn.

              Dinner is Danish producer and singer Anders Rhedin. Dinner leads a nomadic existence, dividing his time between Los Angeles, Copenhagen and Berlin. So far Dinner has released three EPs and a guided hypnosis tape. Now he presents his debut album ‘Psychic Lovers’.

              Whether the finished album lives up to Dinner’s vision only Dinner knows. Musically, the album exists in its own space between the 1980s, 1990s and the present. The songs are pop songs held together by somewhat idiosyncratic arrangements.

              Opener ‘Cool As Ice’ sounds like the soundtrack to David Lynch directing ‘Miami Vice’ with overdriven synthetic strings and an equally eerie and funky slap bass that slowly grow into a pop structure.

              ‘Turn Me On’ invokes the feeling of Sade recorded on VHS fronted by Klaus Nomi’s baryton-possessed ghost, or a warped jingle from The Home Shopping Network.

              The song ‘Lie’ has distinct Nico-esque undertones and John Cale-ish overtones wrapped in 1980s melancholy, while ‘Wake Up’ and ‘The World’ explore inverted 90s Euro-pop.

              In the words of mix-engineer Filip Nicolic (Poolside), “The whole album sounds like Chimo Bayo produced by Marquis de Sade.” An even more concise definition of Dinner comes from labelmate Mac Demarco: “Great face, great body, great tunes.”

              FORMAT INFORMATION

              Includes MP3 Download Code.

              Doprah

              Wasting

                New Zealand ethereal trip-pop six piece Doprah return with their highly anticipated debut album 'Wasting'. From the eerie, reed-filled depths of its' conception and recorded over a period of three years following 2011's Christchurch earthquake, the album's atmosphere is dark, undulating and electric. Sounds throb, crack, glisten and weave across a genre-melting sonic landscape. Wasting is a visionary debut - a powerful statement of intent crafted by an unusually talented young band on a tiny island at the bottom of the world. Wasting sees the now six-piece band’s ethereal, trip-pop sound reach a new level of fidelity and cohesion, with credit due to the band’s principal producer Steven Marr. Liquid synthesizers and cavernous programmed beats are fused with traditional live instruments to create a trendless sound, uniquely Doprah. Floating among the instrumentation is Indira Force – a musician able to transmit emotion like few vocalists can, sometimes forgoing lyrics altogether in the Björk/Elizabeth Fraser vein of vocal envelopepushing. 

                The London 4-piece return with an album brimming with new sounds amid a vibrant energy, flecked with sublimely delicate, intimate spaces and recorded by Simon Raymonde (Bella Union / Cocteau Twins).

                At the core is a deep respect for the frailty of life and the nobility that can be observed in death. Sonar, a highly emotional Liela Moss vocal, delivers a poignant goodbye to a loved one, framed by a magnificent circular guitar hook around which organs, bass and drums carry prayer and eulogy. There are some maverick guest appearances throughout the record, Mark Lanegan, Raymonde himself, longterm TDS collaborator Terry Edwards (PJ Harvey/Gallon Drunk) and old friend Sam Windett from Archie Bronson Outfit is here also to duet with Liela on the wiry post-punk vibes of Side By Side.

                One of the many standouts on the album is Pacific, a hyper vigilant and introspective tale of travel and self-discovery, of the realisation that often silence is a better way to communicate than with words. Adding to the tension, a force that pulls you in deep throughout the album, is a beautiful melody at the start of the song played on the saw by Mara Carlyle who also lends her effortlessly fluid voice to this and Sonar.

                Despite these cameos, this is about The Duke Spirit, who in ten glorious songs, have resurfaced effortlessly and quietly, with one of the most exhilarating albums of this year.

                FORMAT INFORMATION

                Coloured LP Info: 180 gram translucent green gatefold LP with download code.

                Durutti Column

                LC - Deluxe Double Vinyl & 7"

                  Factory Benelux presents a deluxe double vinyl gatefold edition of LC, the second studio album by cult Manchester group The Durutti Column, originally issued in 1981 and ranked among Vini Reilly’s finest albums.

                  After recording debut album The Return of the Durutti Column with producer Martin Hannett in 1979, virtuoso guitarist Vini Reilly purchased a TEAC four-track recorder from Bill Nelson and began producing his own material. These evocative demos were perfected by Reilly at Graveyard Studio with co-producer Stuart Pickering, with additional drums and percussion from Bruce Mitchell. Originally released by Factory Records in November 1981, LC is a key album in a body of work described by David Stubbs of Uncut magazine as ‘unique in rock, with Reilly’s scampering, watercolour guitar style building a tentative bridge between post-punk and the chamber sketches of Debussy and Ravel.’

                  On this expanded Factory Benelux the original ten tracks are supplemented by no less than 9 bonus cuts, including rare Sordide Sentimental single Danny/Enigma, and the three tracks Reilly contributed to A Factory Quartet in 1980 - his last recordings with Hannett, which feature Donald Johnson of A Certain Ratio on drums.

                  The remastered double disc set is housed in a gatefold sleeve printed on matt reverse board, with liner notes and archive images. The package also includes an exclusive 7-inch single featuring live versions of Sketch for Summer and Requiem for a Father, recorded at Leeds Polytechnic in October 1980. These are the earliest surviving professional live recordings of Durutti Column in concert.

                  The Durutti Column

                  Amigos Em Portugal

                    Digitally re-mastered from vinyl, this is a limited re-release of the hard to find Import ‘AMIGOS EM PORTUGAL’. ‘Amigos’ released first time originally in 1983 is a pre-cursor to one of the great Durutti Column albums ‘ Without Mercy’.

                    Recorded in only a couple of days – such is always the case with Vini Reilly - the album allegedly was supposed to be a single or extended play but the newly formed Portuguese label had the tapes and different ideas! Vini was just enjoying the tape time, playing many of his current ‘work in progress’ pieces. These sketches later became part of the Tony Wilson classical experiment made with Northern College Music degree students, ’Without Mercy’.

                    Most of the tracks here have a beautiful fragility whether just solo guitar instrumentals ‘Estoril a Noire’ or piano pieces such as ‘Wheels Turning’ or the piano loop from ‘Without Mercy ‘ ‘Favourite descending intervals’. Yes…… the times when Vini played piano….. the years before he believed he was ‘an awful and discombobulated pianist’ in his own words …. It is the second in a series of vinyl and compact disc re-issues from the band on the imprint ‘DURUTTI’. Three other albums of rare or previously unreleased material are planned over the next eighteen months. Trevor Johnson will have full artistic control of new art and design on all the albums. 

                    "an beautiful insight from Reilly’s travels" Sounds. 

                    FORMAT INFORMATION

                    Vinyl comes with CD version of the album enclosed.

                    The Durutti Column

                    Live At The Venue

                      A limited edition vinyl re-issue of the album ‘Live at the Venue’ originally released in 1982. Digitally re-mastered from vinyl all copies have a free compact disc rather than download codes packaged in new artwork and design from the mancunian direction of Trevor Johnson. The show musically covers work from the then contemporary albums ‘return of...’ and ‘LC’ along with tracks later to appear on ‘Another Setting’ and ‘Without Mercy’.

                      At the time, the band were approached after the show by a well-known live recordings dealer, who was interested in putting out an album based on the desk mix he had ‘acquired’ without any knowledge of the band. Intrigued, the group agreed to meet him at the venue of his choice, a Mayfair Hotel, where he arrived in his crème Rolls Royce. A deal was struck on a napkin to release only 4000 copies, with Vini having full control over the choice of the Mark Warner artwork. It is the first in a series of vinyl and compact disc re-issues from the band on the imprint ‘DURUTTI’. Three other albums of rare or previously unreleased material are planned over the next eighteen months. Trevor Johnson will have full artistic control of new art and design on all the albums. 

                      "an intoxicating snapshot" NME. 

                      FORMAT INFORMATION

                      Vinyl comes with CD version of the album enclosed.

                      After bursting to the American heavy rock forefront with their 2014 debut album, Sateen, Cincinnati four-piece Electric Citizen are ready for a Higher Time. Their second album for RidingEasy, it is a breakout moment for the band as a whole and for vocalist Laura Dolan, who stands tall in the spotlight throughout “Evil,” “Misery Keeper” and the rest of Higher Time, rising to the occasion of a fuller, bigger sound and meeting the memorable riffing of husband/guitarist Ross Dolan head on with already-stuck-in-your-head hooks and a fiery, passionate delivery.

                      Like its predecessor, Higher Time was recorded at The Diamonds studio in Cincinnati by Brian Olive (The Greenhornes, Dan Auerbach, Dr. John, etc.), and in search of an even more expansive feel, Laura, Ross and Brian traveled to mix the album alongside Black Keys engineer Collin Dupuis at Easy Eye in Nashville, TN. The results speak for themselves. In Laura’s performance and in the multi-faceted approach of Ross alongside bassist Randy Proctor and drummer Nate Wagner, Electric Citizen branch out with stage-born assurance across a collection of definitive rock ‘n’ roll. It is a bold, complete sound that sacrifices nothing of the band’s on-stage energy and clearly demonstrates that while their progression has been quick, it’s been hard won the traditional way: They worked their collective ass off.

                      “We chose producer Brian Olive because he's an excellent musician with a great ear for rock ‘n’ roll, and a good friend that we trust,” notes Laura. The dividends of that trust can be heard in “Ghost of Me,” the rolling “Natural Law” or “Devils in the Passing Time,” as Electric Citizen brazenly refuse to be pigeonholed and craft a style that, like every stage they step onto, is completely their own.

                      Electric Citizen spread their name far and wide on tours with Fu Manchu, Wolfmother, Budos Band and Pentagram for Sateen. Look for them to support Higher Time on the road in North America and Europe throughout 2016 and beyond.

                      ‘My Garden State’ is Glenn Jones’ fifth album and is a collection of original compositions for solo acoustic 6 and 12-string guitar and 5-string banjo.

                      Glenn Jones is a unique voice working in the decades-long tradition of American Primitivism. What sets him apart from the many devotees to this style is the combination of expressive playing and technical skill, most significantly his inventive use of alternate tunings and partial capos. As anyone knows who has seen him perform, Glenn is a remarkable storyteller, and his songs reflect that talent.

                      ‘My Garden State’ was recorded by Laura Baird (The Baird Sisters) and features guest appearances from both Laura Baird and Meg Baird (solo, Espers).

                      The songs on ‘My Garden State’ are evocative and redolent, and serve as a testament to Glenn’s talent for conveying a wide array of emotions, many times in one song, without saying a word.

                      The two tracks that form the centrepiece of the album, ‘The Vernal Pool’ and ‘Alcoeur Gardens’, were composed spontaneously in the studio, a technique Glenn developed on tour with Damo Suzuki with his former band Cul de Sac. Where ‘The Vernal Pool’ is exuberant, ‘Alcouer Gardens’ is sparse and quiet, with field recordings of rain and thunder providing a bed for Glenn’s guitar, emphasizing the space between the notes as much as the notes themselves.

                      FORMAT INFORMATION

                      LP Info: LP version includes a fully artworked inner sleeve and free download coupon.

                      New West Records present ‘Strange Country’, the new full-length album from the young and gifted cousin-duo Kacy & Clayton.

                      The ten-song collection was recorded over seven freezing Canadian winter days at Ghetto Box Studios, a historic community hall turned studio. The product of a lifetime of deep kinship, the record showcases the purity and astounding beauty of Kacy Anderson’s voice, one that has been notably compared to Fairport Convention’s Sandy Denny. Only Clayton Linthicum's intricate guitar work, expert time changes and vocal harmonies could forge the foundation for Kacy’s voice to soar even higher - the result being an enormously satisfying and organic album.

                      Drawing a wide swath of inspirations ranging from the Greenwich Village folk scene to the ancestral music of Southern Appalachia and the British Isles, the cousins fashion songs steeped in those traditions, simultaneously paying homage and building on those sounds.

                      FORMAT INFORMATION

                      Includes MP3 Download Code.

                      Kid Congo & The Pink Monkey Birds

                      La Arana Es La Vida

                      Kid Congo and The Pink Monkey Birds’ fourth full-length for In The Red Records, La Araña Es La Vida feels the Mexican muse of The Great Spider Goddess of Teoticuhan, who sprouts hallucinogenic morning glories and protects the underworld—or in Kid’s eyes, the world of underground music. Recorded at The Harveyville High School gym in Kansas, this self-produced album finds guitar slinger and singer Kid Congo Powers (The Gun Club, The Cramps, Nick Cave and The Bad Seeds), bassist Kiki Solis (Knife in The Water, Rhythm of Black Lines) and drummer Ron Miller (Switch Hitter, Up The Academy) joined by Chicano-Mosrite-playing guitarist Mark Cisneros (Medications, Deathfix). La Araña Es La Vida rocks ’n’ rolls its way through a planet of Glamazons (“Psychic Future”), blisters with the tricks of a “Magic Machine,” then gets to work out a low-rider groove on “Chicano Studies.”

                      Tales of gender-bending disembodied heads, gente from La Puente and even a TCB-era Elvis-inspired rave up on “Karate Monkey” are merely a smattering of the mythic magic on this platter! The world is a wild and wooly place and with the help of La Araña Kid Congo and The Pink Monkey Birds will continue to reflect it. (LP has DL code / Diff tracklistings on both formats…and diff sleeves!!)

                      FORMAT INFORMATION

                      Includes MP3 Download Code.

                      RIYL: Moon Duo, Temples, Neu!, Marcos Valle, Todd Terje, Klaus Dinger. Klaus Johann Grobe continue to avoid easy classification with "Spagat der Liebe", the follow-up to their mind-scrambling 2013 debut album "Im Sinne der Zeit". The sinister, late-night grooves present of their debut have been tempered a bit, in favor of somewhat sunnier dispositions, calling to mind an ecstatic party somewhere in sunny Ibiza. Tunes like album opener "Ein Guter Tag" & first single "Wo Sind" feel like a warm up, preparing the listener for the four-on-the-floor propulsion of "Rosen des Abschieds" - a song tailor-made to sweat to. Elsewhere the fragile "Heut Abend nur" ("Tonight Only") & the synth-tickled "Ohne Mich" - which is closest the band has come to an honest to goodness pop tune - guides the listener by the hand towards floor fillers like "Geschichten aus erster Hand" and the absolutely DEVASTATING groove of "Liebe am Strand", which is anchored by a rubbery bass groove & a killer flute solo that takes it over the event horizon.

                      FORMAT INFORMATION

                      Coloured LP Info: Limited pink vinyl is exclusive to the Cargo Collective stores.

                      Working in the sweetly swinging tradition of Serge Gainsbourg and the yé-yé sound of the '60s, the Limiñanas have a sound that blends sunny psychedelia with vintage pop. Based out of Perpignan, France, the group is composed of drummer and sometime vocalist Marie Limiñana and bassist, organist, and jack-of-all-trades Lionel Limiñana, as well as a host of guest vocalists including MU. With its combination of fuzzy organ, half-spoken/half-sung vocals, and vintage production, the band captures the sexy, ultra-hip sound of classic French pop. After releasing a series of singles, the duo released its self-titled debut in 2010 through the Chicago label Trouble in Mind. The band continued to crank out singles, and a second album, Crystal Anis, followed in the summer of 2012. After taking some time to revamp the Limiñanas' sound to introduce more elements of French and Italian soundtrack music, the duo returned quickly with its third album for Trouble in Mind. Costa Blanca was issued in late 2013. The band are now back with new relase “Malamore”.

                      STAFF COMMENTS

                      Barry says: Malamore is French psych-pop-rock at its finest. Progressive hooks, walking bass and spoken word passages. Never scared to rock a groove or stamp on that wah-wah. This is a varied and exciting collection that reads like a what's-what of psych/folk/rock tropes, but at no point feels stifled or clichéd. Starry-eyed and swaying passages segue into droning distortion and chanted vocals. A Fulfilling and absorbing ride.

                      FORMAT INFORMATION

                      Vinyl comes with CD version of the album enclosed.

                      Little Scream aka Laurel Sprengelmeyer says she began conceiving of Cult Following while visiting a friend in a small intentional community in northern Brazil. “People were running around reading auras, interpreting each other’s dreams, and ‘living on light’ instead of eating—which was as compelling as it was absurd. I became very aware of the entropy of belief. You could feel the magnetism of ideas take shape and pull people into their center like a black hole… a thing so filled with light that its own gravity means that none of it can escape.” That experience laid the groundwork for Cult Following, a lush, expansive. retro-leaning gem that straddles intimate fragility with bombastic dancefloor-ready songs. Right from the start, you know you’ve entered a universe with its own rules—dazzling, dark, and whimsical, not unlike Willy Wonka’s gated factory. From the candy-filled ballroom of “Love as a Weapon,” you are invited onto the comforting ship of the warm ballad “Evan,” only to find that “the waves are falling/ they’re falling in faster, and the ship has no master… here comes disaster!” When the shipwreck subsides, you find yourself in the dark depths of the song Wishing Well, where Mary Margaret O’Hara makes a stunning, subtle vocal appearance.

                      Mary Margaret is one of several guests to appear on this record, along with Sufjan Stevens, Sharon Van Etten, and Kyp Malone. Encountering them is not unlike having cameo stars within a film, but the world they inhabit is entirely Little Scream’s, and her voice acts as a tour guide through lush and sometimes terrifying sonic landscapes carefully constructed with her creative partner, Arcade Fire’s Richard Reed Parry. Cult Following is a record that deserves to be listened to from start to finish, with each song having been constructed to meld seamlessly into the next. There may be those who listen only to the record’s obvious catchy hit, but they would be missing out on the depth of stunners like “Wishing Well” and “Someone Will Notice.” Like a classic novella, you must pass through all of the record’s stages to fully experience a triumphant hero’s journey. 

                      LUH

                      Spiritual Songs For Lovers To Sing

                      LUH began 2016 by releasing ‘I&I’, a song about daybreak, new beginnings and fresh starts and with a sound so bold and unflinching, it served as perfect way to describe the shape of things to come.

                      Today they announce details of the their debut album ‘Spiritual Songs For Lovers To Sing’ available for pre-order now and out on 6 May 2016 on Mute. The album was produced by The Haxan Cloak (known for his own genre-bending experimental compositions and work on Björk’s Vulnicura album) on the remote island of Osea.

                      LUH (which stands for Lost Under Heaven) is Ellery Roberts and Ebony Hoorn. Over the past two years, they have been releasing music, art, photography, film and manifestos into the world, including 2014’s ‘Unites’ video and the expansive ‘Lost Under Heaven’ music and artwork package at the end of last year.

                      Ellery’s name might be familiar as the frontman of WU LYF, whose raw and primal voice helped create a sound that shaped a new model for the untamed fury of youth. Ebony is an audio-visual artist based in Amsterdam, where the pair now live, and co-directed the new video for ‘I&I’ with Florian Joahn.

                      FORMAT INFORMATION

                      2xIndies Exclusive LP Info: Indies exclusive special edition coloured vinyl pressing with bonus art prints - the LPs are black and white.

                      From the whip-like crack of Yako’s signature staccato vocals and impossible- to-memorize lyrics to the relentless overdrive tempo of their oneof- a-kind prog-core, Melt-Banana have long resided in a cybertopia of their own devising where the limits of technology and human capability are old-world concerns as quaint and cumbersome as bartering with a blacksmith. The demos for Fetch, their first studio album since the severely fried pop-punk of 1997’s Bambi’s Dilemma, were completed in March 2011, but the Fukushima earthquake changed everything, including their ability to concentrate on recording. Which stopped completely. Once they felt ready to return to their music, they decided to approach the songs on a sound-by-sound basis, choosing each tone with meticulous attention to detail, affirming their personal connections, being themselves naturally and openly.

                      Fetch scrapes glam shimmers off punk’s outermost fringes and forges them into a rather intensely technical Deanscape packed with fantastical hybrids. Agata’s guitar riffs, seemingly composed in tandem with skipping CD players, are more bad-ass than ever, bright and fractured like the soundtrack for a CC-Hennix-scored biker flick. The album is juiced with electronics and post-rock production, tempering what could easily be a tiresome and predictable frenzy, yielding unexpected associations: Kate Bush climaxing on Walter White’s blue meth; demos of late-period Wire playing metal run through Wasp synthesizers and Autotune; unripe wild lychees keeping time on an Ankgor Wat tin roof during a monsoon. They’ve been performing live as a duo since summer 2012, and will do the same for their “2 do what 2 fetch” tour in support of the album. After nearly 20 years of playing with a live rhythm section, their use of a PC, while opening possibilities for a variety of drum and synth voicings, does not signal a move away from the traditional live band sound, as heard, for example, via the future transmissions from downtown Noiseapolis on 2009’s Lite Live: Ver. 0.0. Yako and Agata say they need to feel real band sounds onstage as much as someone in the audience. This is a group that routinely excels at several kinds of impossible simultaneously, so of course any new challenge they come up with for themselves is sure to blow the doors off your Mini Cooper.

                      FORMAT INFORMATION

                      LP Info: LP includes digital download card; repress on clear vinyl.

                      Kate Pierson

                      Venus / Radio In Bed

                        After being a member of the much beloved Athens, Georgia-based B-52's for nearly 40 years, Kate Pierson has stepped out as a solo artist. While she was on tour to promote her solo debut, Guitars and Microphones, Kate stopped by Third Man Studios in Nashville, Tennessee to work with Jack White and the result was even more fun than we expected. The A-side features Kate covering the Shocking Blue track ''Venus'' with Third Man regulars Patrick Keeler on drums and Olivia Jean on electric guitar. Jack even pulls double duty playing bass and producing. On the B-side, Kate sings brand new track, ''Radio in Bed'', with members of Jack White's own band backing Kate including Fats Kaplin, Dominic Davis and Daru Jones.


                        Recorded live with only Ry and his guitar, every song on ‘Dawn’ has a threadbare power - the arrangements are stripped back so there’s nothing separating the listener from the songs’ content.

                        Comparable to artists such as Bon Iver, Radiohead, Bjork, Nick Drake.

                        FORMAT INFORMATION

                        Includes MP3 Download Code.

                        Seratones

                        Get Gone

                          ‘Get Gone’, the potent debut album by Shreveport, Louisiana natives Seratones, makes a strong case that this little-known corner of the state is fertile ground, musically speaking. AJ Haynes (vocals), Connor Davis (guitar), Adam Davis (bass) and Jesse Gabriel (drums) serve up a combination of Southern musicality, garage rock ferocity and general badassery.

                          Seratones’ music, created with collaborative songwriting and spontaneous creativity, is certainly their own, due perhaps in part to Shreveport’s unique sonic geography. The city sits at a nexus roughly equidistant from Memphis soul, Mississippi Delta Blues and New Orleans jazz, with Texas swing located just over the nearby state border. The band’s sound draws from those touch points and more, ranging from Black Sabbath’s ‘Paranoid’ to ‘Kind Of Blue’.

                          FORMAT INFORMATION

                          Coloured LP Info: Indies exclusive yellow vinyl.

                          Includes MP3 Download Code.

                          Sturgill Simpson

                          Metamodern Sounds In Country Music

                            Dave Cobb (Jason Isbell, Lindi Ortega, Jamey Johnson) produced both Sturgill Simpson albums. Metamodern Sounds In Country Music was recorded live-to-tape at Cobb’s LCS studio in Nashville over four days in late 2013. Rather than being joined by legendary Nashville session players such as Hargus ‘Pig’ Robbins and Robby Turner, as he was on his debut, this time around Simpson recorded the album with his own band (bassist Kevin Black, guitarist Laur Joamets and drummer Miles Miller) who were fresh back from a two month US tour - as Simpson puts it ‘4 guys, 4 days and 4 reels of tape’. The title of the album bows to Ray Charles, while the lyrics to lead track ‘Turtles All the Way Down’ nods to psychedelic drug chronicler Rick Strassman and ‘The Promise’ finds Simpson covering UK synth-pop also-rans When in Rome. Simpson’s portrait on the album cover was designed by friend and painter Jason Seiler, who is perhaps best known for illustrating Pope Francis XVI for TIME Magazine’s 2013 ‘Person of the Year’ issue in addition to contributing art to publications such as The New York Times, Rolling Stone and The Wall Street Journal. Of the album, Simpson comments ‘Myriad worldly offerings—religion, drugs, and more—all claim to be the omnipotent universal truth but in my experience, love is the only certainty. That’s what this record is about.’

                            The debut album by Ex-Fenster member Rémi Letournelle. Following a 7" split single on Berlin DIY label Späti Palace and Steps, a six-track EP released on Morr Music last year, Adventures is the first LP of the French man. His bubbling vintage synths (together with an impressive variety of instruments) will take you on a strange trip through imagined galaxies and secret deep-sea worlds. Call it weird, but this is amateur pop in all its glory, and the most natural outlet for Slow Steve. Think of Ariel Pink, John Maus, early Future Islands, old Krautrock luminaries or Arthur Russell - a whole school of alternative pop music that Rémi is very likely to join. Adventures is more than just an application. When Rémi moved to Berlin, he met psychedelic pop outfit and fellow Morr signees Fenster. Rémi has been part of their live shows as well as contributing to their first two albums. There are certain familiarities between the washed-out sound of Fenster and Slow Steve, but Adventures sees Rémi doing his own thing.

                            Spookyland

                            Beauty Already Beautiful

                            Spookyland is the extraordinary creation of star-crossed Sydney dweller Marcus Gordon. Recorded at ARC Studios in Omaha, Nebraska; home of producer Mike Mogis (who also guests on steel guitar) and location of recent recordings of First Aid Kit, Jenny Lewis and Bright Eyes.

                            Spookyland’s debut album, ‘Beauty Already Beautiful’, explores the frontman’s intense, disarmingly imperfect vocals and paranormal ability for story telling that have earned him comparisons to Bob Dylan and Nick Cave.

                            “An utterly magnetizing vulnerability” - Pitchfork

                            “The Australian combo’s frontman, Marcus Gordon, has one of those voices that turns even the most straightforward music into something inherently weird, a quivering nasal warble that both sets him apart as a human alien and pegs him as part of a long lineage of iconoclasts.” - Stereogum

                            “Is there anything more exciting in music than how fluid a band can make their sound? Sure, if a band commits to something strict it can be very impressive, but seeing something turn from one movement into the next. A band that does it in spades is Spookyland” - Noisey

                            FORMAT INFORMATION

                            Includes MP3 Download Code.

                            “Hermetically sealed punk broadcast from a bunker. This guitar is untying a knot of wires; vocals like watching a fight where two men exchange tit-for-tat face blows. Surgical drums; bass grown under glass. The occasional synthesizer like you didn’t know you were thirsty till water crossed your lips. Wound tight, lock-jawed; no rust on these gears. Chilly production crystallizes these post-apocalyptic poems from San Francisco.” - John Dwyer.

                            10,000 Maniacs

                            In My Tribe

                              10,000 Maniacs were an alternative rock band formed in Jamestown, New York, in 1981 by singer Natalie Merchant and guitarist John Lombardo. Their second album, In My Tribe, was released in 1987. The bell-like voice and song writing talents of Natalie Merchant convey a multitude of social concerns across the album, including child abuse, war and the environment; displaying them as a poetic, heartfelt message. The album was certified double platinum in the US.

                              10,000 Maniacs

                              Our Time In Eden

                                Our Time In Eden is the bands fifth studio album and the last with the original lead singer, Natalie Merchant. It offers a baker’s dozen of wonderful pop-folk songs with hard hitting messages throughout. The album was awarded four stars by both Rolling Stone and Q magazine and AllMusic declared that a ‘finer swan song has seldom been heard.’

                                TVAM

                                Gas & Air / Cannibals

                                Health for life. Every life. Every moment. Every day. Our pursuit: life's potential. Healthy bodies. Healthy lives. Always caring. Always here. Gas and air for everyone. Hope is here, in the vapour. Healthy bodies. Healthy lives.
                                TVAM sharpens his knife and removes another organ or two...
                                First out is "Gas & Air", a distorted twitcher only a mother could love. A conjoined synth punk/hip hop hybrid with a delicate bedside manner, closely followed by "Cannibals", originally by Units but reanimated by TVAM as a VHS nasty just waiting for a victim. TVAM is one man, Joe Oxley. Taking influence from a lifetime of repeats, reruns and reboots, he crafted his own low-budget, high-risk concept. A world in which broadcast becomes performance.
                                Sonic references straddle the spectrum of influence - think Boards of Canada's irresistible nostalgia, think Suicide's deconstructed rock 'n' roll, think My Bloody Valentine's infinite noise. Using home cinema formats we'd all ditched by the turn of the century and a stand we haven't seen since the classroom, Oxley shines a harsh light on our misplaced nostalgia. Weaving found footage with stark sloganeering and a taste for garish hues, TVAM comes off like Adam Curtis taping his favourite Nicktoons.
                                A 5” single in an edition of 77 copies (hand cut by 3.45RPM) and all digital formats.

                                FORMAT INFORMATION

                                7" Info: A 5” single in an edition of 77 copies (hand cut by 3.45RPM) and all digital formats.

                                For the making of ‘Paradise’, vocalist Mish Barber- Way, guitarist Kenneth William and drummer Anne- Marie Vassiliou reconnected in Los Angeles to work with producer Lars Stalfors (HEALTH, Cold War Kids, Alice Glass) and also sat down with Annie Clark aka St. Vincent to discuss the making of the album.

                                Bringing all the energy, unique guitar work and lyrical prowess the band are known for to the studio, White Lung curated their songs with a new pop sensibility, focusing on making a record for the present.

                                FORMAT INFORMATION

                                Coloured LP Info: Indies exclusive blue vinyl.

                                Yeasayer

                                Odd Blood

                                  "Odd Blood" is an album divided into two halves; the first being top heavy with pop songs, while the latter full of the playful and strange. After the introductory track the music leaps into Yeasayer’s version of the pop anthem with "Ambling Alp", "Madder Red", "I Remember" and "O.N.E". Side two is slightly more experimental in nature, yet never deprives the listener of hooks and ear candy.

                                  First brewed in the frosty hills of Woodstock, NY at the Marotta lair, then transferred to the steely sweeps of NYC, "Odd Blood" took many layers to finalise, but as with all things Yeasayer, the outcome is spectacular - filled with their interpretation of pop pleasures and experimentation, the band has once again carved its own path through that ice cold glacier that is modern pop/rock.

                                  Yeasayer are: Anand Wilder, Chris Keating & Ira Wolf Tuton

                                  FORMAT INFORMATION

                                  Includes MP3 Download Code.

                                  When we last left David Cohn (Serengeti) and Yoni Wolf, it was 2011. Somewhere amidst Charlie Sheen’s meltdown and Oprah’s last episode, the duo dropped one of the most simultaneously bleak and hilarious song cycles ever conceived, replete with tales of bigamy, reinventions of self, addiction, and disgraced UFC fighters. Woe leavened by whimsy. A half-decade later, Serengeti and Wolf (principal songsmith of the band WHY?), have returned with Testarossa. It soundtracks a script the pair penned while on tour together. Every song conceptualizes the saga of star-crossed lovers, Maddy and Davy. After Davy got Maddy pregnant, he proposed. The ceremony was a lovely, traditional affair. Shortly thereafter, Davy’s band took off and he rode the wave of garage rock revival. But alas, soon their music went out of vogue, and the tastemakers left them for dead. No blog would touch them with a ten-word post, but Davy never gave up. Music was the only life he knew, the only way he could pay the bills and process the pain.

                                  On opening song, “Umar Rashid,” Serengeti (as Davy) tells the listeners that he’s as troubled as can be. “Allegheny” finds him fretting over melancholic pianos, nostalgically assuaging his own guilt, mentioning the model Testarossa he brought home for his children. Yoni croons, “I told you once, I told you twice, sweetie pie, I’m cold as ice… I have to catch this flight.” The sentiment distills the slow decay of the album. It’s a high-concept examination of lives crumbling. The despair of a lovable underdog who chased his dreams so relentlessly that he lost those he loved the most. He misses his kids, but still lives a debauched life away. As always, there’s the undercurrent of sadness and regrets, sin and repentance, the juxtaposition of bleak reality, the surreal, and dark humor. It’s a dirty, weird and brilliant album that becomes more stark and visceral with every listen. This is love and willful destruction sharing a beer and a shot—the soundtrack to wrong decisions and crooked twists of fate. The versatility of both Yoni & Geti creates an unconventional album that is rooted in both hip hop, and indie rock. 

                                  FORMAT INFORMATION

                                  Coloured LP Info: Limited coloured vinyl is exclusive to the Cargo Collective stores.

                                  Includes MP3 Download Code.


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