Genre pick of the week Cover of Commune by Goat.
Goat return with Commune, the eagerly awaited follow up to their astonishing debut album World Music. Commune continues on with World Music's acidic grooves, hypnotic incantations, and serpentine guitar lines but also introduces a darker, more angry edge to the band, not seen before on previous releases. Starting with the layered percussive groove, Eastern guitar flourishes, and convoking vocals of "Talk To God", it re-establishes the trance-inducing rhythms and exotic blaze of guitar that characterized their debut so well.

That spellbound pulse delves into darker and more propulsive territories on "Words" and "Goatslaves", while "Goatchild" veers towards the transcendental pop of '60s Bay Area rock. The vintage psychedelic vibe permeates through songs like "The Light Within" and "To Travel The Path Unknown" - tracks that suggest that these rural Swedes operate on the same wavelength as the Turkish psych-folkies recently rediscovered by reissue labels like Finders Keepers. Commune reaches its apex when Goat's hymnal invocations meet a heavy doze of proto-metal fuzz on "Hide From The Sun" and "Gathering of Ancient Tribes".


Ltd LP Info: Independent retailers exclusive coloured vinyl (red and blue splatter) edition, also includes a bonus 7"!!!

‘This Is All Yours’ is the follow up to alt-J’s Platinum-selling, Mercury Prize winning debut record ‘An Awesome Wave’.

Contains the singles ‘Hunger Of The Pine’ and ‘Every Other Freckle’.


2xLP Info: Double LP in a gatefold sleeve will feature assorted
coloured vinyl: a random selection of colours for
each record, with six combinations in total.


Outside The Circle

    In an era where the word ‘psych’ itself is fast being overused to the point of meaninglessness, there are certain seers who can always be relied upon to brandish an artistic insight into third-eye salvation that departs from its obsessive origins to offer trashed transcendence above and beyond the physical form. One such is Paul ‘Prof’ Allen, guitar guru and the mastermind of Anthroprophh, whose second album 'Outside The Circle’ is a dizzying psychic voyage that exists in, around and at all points of the eternal amplified axe-worship continuum.

    Anthroprophh began in earnest after ‘Prof’s departure from Bristolian cult The Heads, in whose auspices he had made a number of head-spinning records that surfed a haphazard psychic spiral from an overflowing ashtray to the stars. Yet ‘Outside The Circle’, the second album from the trio he formed with the Big Naturals duo of Gareth Turner and Jesse Webb, sees him steadfastly affirming his own wayward path through a vivid aural terrain of garage-birthed gnarl, FX pedal euphoria and inhospitable drone-vortexes. From the sci-fi doom-out of the appropriately-titled ‘Space Box Zonk Machine’ via the unnerving primitive electronica of ‘Gottmelt’ to the early-Monster Magnet-damaged finale ‘See’, no sacred stone is left unturned here. Yet at all times ‘Prof’’s guitar rages through the ether, all banshee howls and fiery tumult; a kaleidoscopic union between Helios Creed and the Velvet Underground of ‘I Heard Her Call My Name’.

    ‘Outside The Circle’ resides at a moment whereby fifty years of psychedelic culture and esoteric art messily collide and morph into an ornery and intimidating new elixir. From Terry-Nutkins-alikes to fresh-faced ingenues, few freaks can remain impervious to this peerless display of frontier-destroying, mind-melting malevolence.Ladies and gentlemen, witness a new monolith.

    Alexis Georgopoulos aka Arp has always approached recordings with a conceptual bent. Imbued with an expansive sense of music history, having written for i-D, V, ANP Quarterly, BOMB, Fader, and Vice - he has a penchant for doing the unexpected and refusing to take part in the fleeting pop trends of the given day in favor of pursuing a more adventurous trajectory.

    As the title infers, there is a 'cosmic' quality to Pulsars e Quasars - in a sense, it draws a link to his earlier Cosmic Synth work, albeit reclaiming and redefining it in a Pop songwriting context. Opener "Suns" sets the tone. And it glows. A bracing current of electricity, it's a slate-cleaner, an improvised transmission capturing the group sound of this temporary ensemble in motion.

    "Pulsars e Quasars", the title track and mini album's first single, is a lysergic rush, a kaleidoscopic bite of psychedelic Anglophile pop. Settling into his singing voice, his voice finds a comfortable spot between the narcotic resplendence of George Harrison and the delicacy of Broadcast's Trish Keenan. The music, meanwhile, opens swathed in phased guitars before building into a prismatic, melodic fuzzed out mass. A tune that might just become a make-out classic. "Chromatiques II (Extended Mix), mixed in collaboration with Jefre Cantu-Ledesma bleaches "Pulsars" into a haze that you might want to go on forever.

    Black Moth rose from the Leeds underground scene at the end of the last decade, indulging their love for both Sabbath sulphur and Stooges squalor. Their debut 'The Killing Jar', which was released in 2012, effortlessly transcended its influences to arrive at a nefarious and turbulent brew, equal parts horror movie atmosphere, thunderous drive and maverick spark, with Harriet Bevan's biting and beguiling voice leading the charge. The Killing Jar was hailed by many as 'one of the best debut album's you'll hear all year' - it even made it onto Kerrang's top 50 albums of the year.

    Now with an expanded (guitar) lineup to expand the riffage comes the follow up, 'Condemned To Hope.' Their long awaited second album, produced like their first by Jim Sclavunos (Grinderman, Nick Cave & the Bad Seeds, The Cramps) takes their kaleidoscopic heaviosity and sepulchral style to a whole new plateau of riff-driven dementia.A turbulent brew with just as much 60s garage rock bite, head-spinning psychedelia and '1991-The-Year-That-Punk-Broke' grit to offer as Vinum Sabbathi riffage. 'Condemned To Hope' is where Black Moth truly render themselves a glimmering presence in the firmament of 21st century rock. A band just as comfortable sharing the Temples festival bill with the likes of Electric Wizard and Neurosis as they are alongside Nick Cave, Iggy Pop and Deborah Harry on the forthcoming Jeffrey Lee Pierce Sessions album 'Axels And Sockets'.


    Ltd LP Info: The album will be a deluxe package in a gatefold American-style hardback tip on sleeve in heavy duty card. Heavyweight 180g black and cream vinyl, lyric insert and free download of the album. The vinyl is limited to 500 copies.

    The musical mind of Christian Bland seems to overflow with colors. The lyrics and even titles of his output with, The Black Angels drip with kaleidoscopic imagery. “Indigo Meadow”, “Black Grease”, “You In Color,” “Yellow Elevator #2”. Christian Bland & The Revelators has followed a similar path, and has released a red album, 2010's The Lost Album, and 2012's Pig Boat Blues.

    Beyond that the thread which runs through all of Bland’s work - whether it’s his visual artwork, music with The Black Angels, and the myriad projects of The Reverberation Appreciation Society - Austin Psych Fest and it’s offshoots, and now an East Austin record store - is a timeless spirit of rock and roll, and in particular the psychedelic kind, circa 1968. He champions it. Lives and breathes it.

    And what will attentive listeners discover they see when they hear “The Unseen Green Obscene”? The past? The future? The answer will be colored by your own.


    LP Info: LP on transparent green vinyl, includes download card.

    Bonnie Prince Billy

    Singer's Grave A Sea Of Tongues

      Bonnie ‘Prince’ Billy’s new album ‘Singer’s Grave A Sea Of Tongues’ is released on Domino.

      At the locus of five corners, mythos is in the wind; a sea of tongues boils forth, mountains spurting forth from the magma. Bonnie sings for who he was and will be and for all of us, in time.

      Bonnie Billy has been quoted as saying that one of the songs on the album is a conceptual track that’s about “one day in 1973 when only two people died in the whole world.”


      Cassette Info: Special cassette format exclusively available to
      independent retailers.

      Boris With Merzbow

      Sun Baked Snow Cave

        After these two forces first came together in 2002 for the landmark Megatone album, they spent years perfecting a worthy follow-up. And in 2005, Sun Baked Snow Cave was the overwhelming culmination. Considering that these two forces are capable of eradicating most any listener, the album at first seems like a striking illustration of restraint and reflection. But the lonesome, mournful void of a strummed acoustic guitar is soon enough smothered by drones and swarms of feedback that intertwine with pulsating, yowling electronics - two worlds that both harmonize and struggle against each other.The sound of visionaries trying to draw blood.

        First time on vinyl - 1200 copies worldwide.

        David Bowie

        Knock On Wood (Live) - 40th Anniversary 7"

          The latest in the 40th Anniversary picture disc 7” series features two tracks taken from “David Live” – ‘Knock On Wood’ and ‘Rock ‘N’ Roll With Me’ – both making their vinyl debut in their 2005 Tony Visconti mixed form. The image on the A-side is from the picture sleeve of the original French single whilst the AA-side features a rarely seen shot of Bowie from '74.

          Broken Arm

          Life Is Short

            Over 6 years since their inception Broken Arm finally unveil their debut album “Life is Short” on an unsuspecting public. Their debut full length is an exercise in grooving noise rock, filth and disillusionment. Broken Arm have the perfect knack for writing a catchy post punk tune and smearing a healthy amount of dirt all over it. Broken Arm formed in Leeds in the late 2000’s from the ashes of noise punk outfits Sailors, Woman, Like a Kind of Matador and more recently Mob Rules.

            Their debut release “Shields Mystical” was a short and punchy CDep released in 2008. After a lengthy absence the band eventually followed up with their first outing on vinyl, the 7” EP “Negative” released in 2011 by Gringo Records. Once described by the band themselves as agro-party punk, Broken Arm’s sound is frequently compared to that of various US hardcore punk bands, primarily from the rosters of AMRep, Touch and Go and SST Records. Their debut album “Life is Short” sees them flit effortlessly between their two distinct musical personalities, the catchy and scrappy noise rock band and their more reflective and at times dirge ridden side, sometimes within the confines of a single song. The album is split release between Gringo Records (Nottingham) and Art For Blind (Cork, nee Leeds) and will be released on Vinyl and digital download only. The album was recorded in Leeds by Matt J (Hookworms, Joanna Gruesome & Mazes) at Suburban Home.

            Catfish And The Bottlemen


            ‘Cocoon’ follows previous single ‘Fallout’, a wry take on frontman Van McCann’s IVF conception which went on to make the playlists at Radio 1 (B list & Track of The Day), XFM Daytime, 6Music and Absolute. This new release, similarly shot through with McCann’s signature frank lyricism, took shape during a writing trip to New York last year.

            The four English lads from Llandudno are currently amidst a marathon run of over 30 summer festival dates including the likes of Latitude, Reading & Leeds, Bestival and Kendal Calling, plus opening for Jake Bugg at Ibiza & Mallorca Rocks together with a London Koko headline gig for November 7.



              “A mystery shrouded AV project, CUTS entire existence revolves around the soni and aesthetic stimuli. Their disconcerting video works are soundtracked by jet black, gradually unfurling drone sagas, nestled somewhere between glacial shifts of emeralds and tribal apocalypse. Segueing from diving-bell-deep growls to sky scraping, synthetic pearls. CUTS live and recorded output thus far promises equally astounding things to come.” - Crack Magazine.

              UK-based audio/visual artist CUTS came into the world at the tail end of 2012, claiming the influences of abandoned spaces, white noise and sleep paralysis.

              Due to release a 5 track EP on Invada Records this summer, CUTS will also reveal a series of films inspired by interpretations of dream spaces and blurred realities, primarily influenced by the experience of sleep paralysis. Each video correlates to a track on the EP; 'CUTS 01' - 'CUTS 05'. Live, CUTS provides a stark and unflinching A/V show, playing in darkness so the films projected upon the stage can be the focal point.

              Despite being a largely studio-based project, performance is where CUTS truly comes to life; visually arresting, loud and sonically uncompromising. “Like being crushed by something vaguely ominous” according to Louder Than War.


              Ltd LP Info: Flesh coloured vinyl. Limited to 300 copies.

              Dan’l Boone is Charles Ballas (Formant), Neil Hagerty (ex-Royal Trux, Howling Hex), Nate Young (Wolf Eyes, Regression) and Alex Moskos (Drainolith). The crew convened in Denver, CO to work on the forthcoming Drainolith record and decided to make another record at the same time. Everyone involved seemed pretty dedicated to experimentation and pushing the music forward.

              “It’s like Lucas with ‘Episodes I’, ‘II’, ‘III’, make ’em all at once. We were making two records at once: The Drainolith and the Boone. It became apparent right away that the Boone was going to be waaaaay more avant than the Draino.” admits Moskos. “So I was like I want to do some scratching on there. But we are all really paranoid about sample clearance, so I did all my cuts with Wolf Eyes and Howling Hex wax.”

              “Nate played a variation of his Regression rig and did a lot of postprod with Charles, setting up midi networks and complex trigger chains. Neil mostly played his double neck and sang. The golden voice. But he played clarinet as well. Charles played electronics and did on the fly sequencing, if I remember correctly. Which I don’t often do.” recalls Moskos.

              “Moskos played Krumar string synth and bongos too. I call him Krungo Canuck.” adds Charles. · “To create music by reverting to zit-popping thrash you must believe that the prognosis is so dismal that it takes time to hear them retain enough for your face before summary dismissal.” says Hagerty cryptically over the phone into Charles’ voicemail box.

              Neil and Nate really ran things at the sessions at Uneven Studios. There were lots of electronics that Young would set up and Hagerty would give some direction. Hagerty had various lyric sheets and scores that the group worked with but once the record started to take shape Young became very involved in plotting out the flow of the record. “I’d come downstairs into Charles’ basement and Nate and Neil would be making competing diagrams that represented the record. I was so lost,” says Moskos.

              Deaf Wish

              Deaf Wish

                “There would be no cause to put up with this nonsense if Deaf Wish weren’t a band of such rare awesomeness — and if Deaf Wish sightings in a live setting weren’t such notoriously memorable chaos. You see, they are the finest blast of well-structured noise to emerge from Australia since Eddy Current Suppression Ring. Deaf Wish’s trajectory is as unpredictable as their music. They exist outside of time and space, but also some of them are in Melbourne. Don’t worry about it too much. Just tune into their magnificently decaying frequency and hope it’s not the last that you hear of them.” – Beverly Brian (MTV)

                Deaf Wish began in a soggy West Melbourne rehearsal room in May 2007, standing around screaming and bashing through songs with one solid philosophy: 'go to feedback' when things fall apart. After a handful of rehearsals, they recorded 10 songs, released these on CD-R three days later and played two shows. Guitarist Sarah Hardiman then left for the UK and it looked like Deaf Wish would be one of those short-lived bands, playing a couple of legendary shows and disappearing. Thankfully for us, that wasn't the case.

                Homeless was at those shows and VERY impressed, picking up a copy of the CD-R - unfortunately missing out on the Vomit Bag edition. A few years down the track, we expressed interest in issuing this self-titled album, even before Homeless existed as a label. Three years later and to coincide with Deaf Wish returning to the USA and the release of a brand new Sub Pop 7"EP (available Oct.7th), Homeless has crapped themselves in anticipation of reissuing that 10 track debut LP. The 22-date tour of the US throughout September/October sees Deaf Wish return for another appearance at Gonerfest 8 (2011), their previous onslaught regarded by many as a true highlight of the festival.

                “Being in the same room as this band, live or on record, means being at the receiving end of all the convoluted rage, frustrations and insecurities they spew forth. Like any good punk band, there's no restraint in the savagery.” - Lee Parker (The Thousands)

                Deaf Wish are Sarah Hardiman (guitar, vocals), Nick Pratt (bass, vocals), Jensen Tjhung (guitar, vocals) and Daniel Twomey (drums).

                FORMAT INFORMATION

                Ltd LP Info: Limited edition green vinyl.

                Dolomite Minor

                Talk Like An Aztec / Let Me Go

                Dolomite Minor’s debut double A-side 7” is released through Ignition 45’s. ‘Talk Like An Aztec’ is coupled with live favourite ‘Let Me Go’. NME have tipped them as one of the new bands to watch.


                Crushed Pleats

                Vancouver, BC quartet Dralms, led by songwriter Christopher Smith, have announced their debut single, ‘Crushed Pleats’ / ‘Divisions Of Labour’, on Full Time Hobby.

                Dralms is the soundtrack to the quiet hours of a hot Summer night, Smith’s soft, sultry vocals intertwining thick and heavy bass and synth lines. Half sweaty underground club, half dream-like euphoria, Dralms’ debut single is the afterglow of an epic night on the town.

                Dralms is the latest project by Christopher Smith, featuring long time collaborators Shaunn Thomas Watt (Siskiyou), Will Kendrick (Failing) and Peter Carruthers (Siskiyou).

                With Dralms, Smith departs from his minimal and subdued musical constructions of his solo albums to a much more complex, heavier sound. Still led by the cloudsoft vocals of Smith the group veer off into cyclical dub rhythms on ‘Divisions’, while the spacey ‘Crushed Pleats’ mixes ‘OK Computer’-era Radiohead, rising post-rock arrangements and glitched-out electronic tones.

                Also contributing to the sonic heft of Dralms is producer and electronic artist Andy Dixon (Secret Mommy, Caving), who Smith had previously trusted with a remix of Earning Keep’s ‘Pillars & Pyre’. The extra clicks, echo and ambiance layered onto the songs by the producer came late in the game, after being recorded by John Raham of Vancouver's Afterlife Studios.

                7” limited to 300 copies.

                The single 'Magic Mountain' is the first song The Drums have released in nearly 3 years, marking a return to the two founding core members of Jonny Pierce and Jacob Graham. Spin says “the new single is still guided by that infectious head-bobbery, but the Brooklyn indie-popper's blithe bounce takes on a fervent frenzy.” Baeble noted the prevailing “sheen of gloom and apprehension,” a departure that Paste says “stirs in sounds in all the right ways.”

                ‘Encyclopedia’ is The Drums’ third full-length album. Emerging from Brooklyn via Florida in 2009, they smashed on the scene with their ‘Summertime!’ EP that led to a spot on the BBC Sound of 2010 shortlist, The ShockWaves NME Tour, and the publication’s Phillip Hall Radar Award. The Drums‘ music often explores the themes of loss, nostalgia, redemption, vulnerability, and love – with critic’s raves embracing both the lyrics and their sonic signature. This time around, they’ve embraced a darker sound while making it as grand and majestic as they please.

                ‘Encyclopedia’ is full of "magic and surprise while maintaining a serious, more weighty tone throughout," says Jonny. The LP marks the first time since the ‘Summertime!’ EP that Jacob and Jonny were left to their own devices, without having to ask a soul for approval. The result is an exciting display of personal emotion and unashamed, majestic songwriting style.

                FORMAT INFORMATION

                2xLtd LP Info: Limited edition red vinyl.

                In 2014, nearly three years after her acclaimed debut The Entire City (July 2011, Anti-Ghost Moon Ray), Gazelle Twin re-emerged in full force to stage and screen, gnashing her teeth and armed with pickings from her sophomore full length - UNFLESH - set for worldwide release on 22 September 2014, followed by the artist's first ever Tour in October.

                In UNFLESH the British artist/composer/producer - known on her ID cards as 'Elizabeth Bernholz' - explores a newfound, adrenalised-Pop style in greater depth - from the bone-chilling, Iggy Pop-inspired 'I Feel Blood', the stark choral lullaby of 'Premonition', to the Prince-meets-Sonic Youth influenced 'GUTS' and 'Still Life'. Far removed from the artist's former dreamscapes, UNFLESH presents a stripped down hyper-colour, hyperreality. Conceived in part, as a means of acting out vengeance on her antagonists (the list of which includes teenhood, recurring dreams, and her own body), Gazelle Twin's startling, electric-blue guise at once embodies the strife of her blighted younger self, and a kind of post-Pagan manifestation with superhuman potential - a concept that bears all the markings of an unwritten, cult Graphic Novel.

                But UNFLESH is not just an auto-biographical purging. Songs delve as candidly into themes as diverse as the history of European colonisation (I Feel Blood), Euthanasia (Good Death), children raised by animals (Human Touch), to gentle musings on miscarriage (Premonition). Despite this odd crop of topics, a 2 year exploration into science and medicine - the mutations, mysteries and liberations of the human mind and body - forms the spine of a courageous concept LP. A solo artist through and through, Bernholz rarely works out of her cloistered, digital home studio, but with the additional production and mixing artistry of Benge (one third of Wrangler, one half of John Foxx and The Maths, and internationally renowned analogue synthesiser hero), her new sound - crafted consciously from the analogue sounds of John Carpenter and Prince - is notably strengthened by the addition of museum-piece synthesisers such as the Moog Modular, the Linn-1, Formant Synth and the legendary CS80 - used by Vangelis' to create the soundtrack for Blade Runner.

                The LP's artwork (by the artist herself) features a Francis Bacon-inspired digital collage of the grimacing girl in blue, highlighting a clear obsession with the surreal and the visceral and confirming that Bernholz's all-encompassing creative output is every bit as startling as her recent critical acclaim suggests.

                Holy Sons is Emil Amos, a musician whose chameleonic tendencies and technical versatility has lead to him becoming an in demand multiinstrumentalist as a founding member of Grails and Lilacs & Champagne, as well as a member of Om and a hired gun for Jandek, to name a few.

                Holy Sons is at the centre of his many musical personalities and is his longest standing project, acting as an outlet for some of his most personal and direct songs. In Holy Sons, Amos puts his restless imagination to work using a variety of inventive home recording methods to turn melodic slowburners into multi-layered, atmospheric missives. While his methods and prolificacy provide a kinship with Sebadoh, Ariel Pink and other musicians who have offered countless transmissions from their bedroom floor, Holy Sons comes from the mind of someone who has internalized the minutia of 70s rock music and eschews the stereotypical lo-fi sound for a much deeper and more varied palate.

                ‘The Fact Facer’, his Thrill Jockey debut, bathes Amos’ thoughtful and even at times philosophical, songs in Technicolor darkness and reinforces Holy Sons as his musical centrepiece. The album is a collection of home recorded atmospheric slow-burners steeped in 70s rock with an experimentalist edge.

                The songs on ‘The Fact Facer’ creep up on the listener, their fiercely addictive melodies unravelling slowly and purposefully. Jumping smoothly between many facets of Amos’ songwriting, the album does much to establish him as a talented multi-instrumentalist. From the lysergic leads of ‘Selfish Thoughts’ to the Danny Kirwan referencing solos of ‘Transparent Powers’ and the skilful acoustic flourishes of ‘The Fact Facer’, Amos proves himself as adept and creative a guitarist as he is a drummer. It is telling that Amos has built up two Holy Sons bands simultaneously: one based in Portland and one based in New York. Wherever the wind takes him, there are musicians willing to pick up their instruments and follow his lead.

                FORMAT INFORMATION

                CD Info: CD version in a 4 panel mini-LP style gatefold package.

                “Mythical animals were a big inspiration,” says composer and songwriter Jenny Hval about Meshes Of Voice, a new collaboration between her and Susanna. “We looked at Medusa, Athena and Harpy (a combination of woman and bird) – as examples of depictions of woman – the ugly, the goddess-like, the gruesome,” agrees Susanna. This collaboration – featuring the two strongest Nordic voices around today – started back in 2009 as an exchange of letters, then developed into two live performances, one at Oslo Jazz Festival, the other at the Henie Onstad Art Centre, where this album was recorded. Mixed and mastered by Helge Sten (Deathprod, Supersilent), Meshes Of Voice presents a stunning vocal universe of confessions, whispers and seductions. Tracks like “I Have Walked This Body” seem to rise monstrously and threateningly out of some mythological fog of distorted improvised noise.

                A key inspiration was film maker Maya Deren’s surrealist, cyclical Meshes of the Afternoon, a milestone of visionary film from 1943.
                Deren’s famous image of a cloaked figure with a reflective face recurs on “A Mirror In My Mouth”, creating a complex world of musical
                fictions akin to those of Julia Holter and Joanna Newsom. Susanna launched Susanna And The Magical Orchestra in 2000 together with keyboardist Morten Qvenild (Jaga Jazzist, In The Country). The duo’s Rune Grammofon albums List Of Lights And Buoys (2004), Melody Mountain (2006) and 3 (2009) contained a mix of original compositions as well as highly personal interpretations of songs by Leonard Cohen, Scott Walker, Dolly Parton, Prince, Sandy Denny and KISS. In 2007 Susanna’s songwriting took a major leap with Sonata Mix Dwarf Cosmos (Rune Grammofon), released under her own name. It included twelve of her self-penned songs, and caught the attention of Will Oldham (Bonnie ‘Prince’ Billy, Palace Brothers), who posted Susanna a handwritten letter professing his admiration for her voice and music, which later led to the pair working together. Susanna has continued to release both her highly personal interpretations of other people’s songs Flower of Evil (2008) and If Grief Could Wait (2011, together with Swiss Giovanna Pessi), and written music to poetry by Norwegian poet Gunvor Hofmo Jeg Vil Hjem Til Menneskene (2011) in addition to her all originals album Wild Dog (2012). Jenny Hval‘s Rune Grammofon releases Viscera (2011) and Innocence is Kinky (2013) have both earned international acclaim (Pitchfork compared her to Laurie Anderson, Yoko Ono and “pre-Sledgehammer” Peter Gabriel) as well as extensive touring in the US and UK (most recently supporting Swans). Currently based in New York, her first two albums was released under the moniker Rockettothesky and more recently in the duo Nude On Sand. In her native Norway she is also a published novelist and writer. Meshes Of Voice is released on SusannaSonata, the label launched by Susanna in 2011, a self-operated outlet for her to curate her own back catalogue and develop new music. Last year she released her acclaimed album The Forester (2013), a collaboration with the Norwegian Ensemble neoN combining the antique notes of the Baroque theorbo, woodwinds and strings, and for which Susanna received a Norwegian Grammy (Spellemannsprisen). This is a meshing of two of the strongest contemporary voices and most independent musical minds active today.

                Naomi and Lisa-Kainde Diaz are daughters of the late Cuban percussionist Anga Diaz. Naomi plays percussive instruments, the Cajon and the Batas, while Lisa plays piano. Together the twins have learned the songs of their father’s culture, Yoruba.

                Yoruba travelled from West Africa to Cuba with slavery in the 1700s. The Yoruba people have the highest twinning rate in the World and twins occupy an important position within Yoruba culture. Ibeyi is pronounced “ee-bey-ee” and translates as ‘Twins’ in Yoruba.

                Ibeyi sing in English and Yoruba and they have created a minimalist sound that merges elements of their heritage with their natural love of modern music as teenagers brought up in Paris, citing artists such as James Blake and King Krule amongst their wide range of influences. I'm hearing touches of Bjork and FKA Twigs in there as well. The EP includes two mixes each of 'Oya' and 'River'.

                The Intelligence

                Boredom And Terror / Lets Toil

                  In The Red is proud to announce the new double-vinyl reissue of The Intelligence’s debut album, Boredom and Terror. Originally released on Narnack / Omnibus Records in 2004, Boredom and Terror is the first time Lars Finberg stepped out from behind The A-Frames’ drum kit to showcase his own music. Later releases by The Intelligence were fleshed out with additional musicians, but on this debut album Lars was an army of one toting an eight-track recorder and a notebook full of songs. The results are as original as they are incredible. This is lo-fi post-punk electro garage-core, equal parts Devo, The Fall and something altogether its own. This new edition of Boredom and Terror has been newly remastered.

                  The original vinyl release contained an eleven-track bonus CD which is included here as a second LP. Both are housed in a beautiful gatefold sleeve.

                  Istanbul, Turkey; Year 2006: Ekin Sanaç and Berna Göl form Kim Ki O. Sanaç plays synth while Göl hits the bass. They both come up with beats and sing. Their music is lo-fi minimal synth with a postpunk / cold wave feel. The cool / warm dual female vocals are eerie and dreamy, referencing classic post-punk as well as traditional Turkish melodies but remaining understated.

                  Over the next couple years, the pair releases two very limited CDRs and tours Scandinavia. In 2009 they appear on Radio Resistencia, released by the great Dutch synth label Enfant Terrible. One year later, Enfant Terrible releases their first album Dans. KFJC writes “The name of the band means ‘Who is that anyway’ in Turkish, and it reflects the ethereal nature of the sounds … a lovely early ’80s slow and somber electronic vibe (think Joy Division) combined with floaty, minimal lady vocals (sort of 4AD-ish like Cocteau Twins and Lush) … sweet, but not saccharine.” The vinyl issue of Dans quickly sells out.

                  Over the next couple of years, Kim Ki O appears on various compilations and tours Turkey and Europe several times. They collaborate with Turkish filmmakers Merve Kayan and Zeynep Dadak on the short film Elope and write music for the Turkish performance group biriken for their play Re: Fwd: die in good company. In 2013, Lentonia Records out of France releases Grounds. It inspires a followup album of remixes called Grounds Album Remixes, also on Lentonia. In 2014, S-S Records dips into the Kim Ki O vaults and finds songs from their early CDRs. While the originals were muddy sounding, the tracks used for Bir, İki... (Turkish for “One, Two...”) are crystal clear. The vinyl—mastered by John Golden—gives Kim Ki O’s sound new warmth. These ten early tracks are a great addition to their catalog. Not content with music, film and drama, Sanaç and Göl are also involved in Turkey’s pro-democracy and women’s / gay rights movement. They strongly identify with other women in rock ’n’ roll and underground culture.

                  We were only speculating the other day whatever happened to Mcr's next-big-thing WU LYF, well now we know: drummer Joe Manning, bassist Tom McClung, and guitarist Evans Kati decided to form their own band, Los Porcos. After WU LYF's rather lively indie outings, Los Porcos offer something mellow, dropping a tripped-out dreamy piece of indie Balearic soft rock for us on 'Jesus Luvs U Baby via Uber records. Reverbed guitars and chugging bassline and a blissed out vocal. On the remix Claremont 56 boss Paul 'Mudd' Murphy delivers a stripped back atmospheric dubbed-out groove with extra acoustic guitars, whilst the second remix from Is It Balearic..? boys Coyote step on the delay pedal and and hit the pattering bongo and woodblock percussion. Their 'Lazy Hammock Dub' is exactly that. All mixes getting the thumbs up from Piccadilly's own Andrew 'Indie Jangle' McQueen and Aficionado's Jason Boardman, whose eyes lit up when we passed him a copy the other day.

                  Love Inks is a minimalist pop group making music that harkens back to early 80s UK (Marine Girls, Young Marble Giants) and David Lynch's Roadhouse. The group's sleek, needle-precise sound comes distinctly from Austin, Texas.

                  It is a combination of guitar, played quietly but as if from a 12-foot deep well, and bass, creating both tension and melodic release when necessary, in conjunction with an electronic drum machine. The triangle is only completed by Sherry LeBlanc's voice, which leads the listener through every song -- whether it be mellow or dark. These three elements together make up LOVE INKS. Their use of silence and their approach to instrumentation, while sometimes coming across as confrontational, makes their music direct and sincere. Love Inks is looking forward to an EU tour this fall, following the release of EXI.

                  Acting as a respite from the celebrated strains of modern Australian underground music, Lower Plenty manage a deconstruction of folk music like none other: unsettled, unforgiving, unconcerned with what came before or what’s to follow. Acoustic guitars shuffle in and out of phase with one another, double-tracked vocals hover above in careful meter, brushed snare rattles the very frame of their sound, and then everything shifts again, and again. Comfort’s not long here, though beauty is maintained; melodies start sweet but turn inward, wane nostalgic and wax without resolve.

                  Life/Thrills is the Melbourne group’s third full-length, and their collective experience will leave you thoroughly unprepared for the beautiful confusion suggested by these ten songs, which seem to have the power of slowing and even stopping time. Suitable comparisons to this music are as disparate as early Cat Power, Arab Strap, the Shrimper roster ca. 1992, the Sun City Girls, and the late ‘60s/early ‘70s output of the Red Crayola, but as with much truly original music, Lower Plenty resists direct comparison and defies expectation. Their shambling, discordant presence will relieve you of any preconceptions – this is one best experienced alone, as the sun fades into the horizon for the night.

                  FORMAT INFORMATION

                  LP Info: LP comes in textured sleeve.

                  Lowlakes are: Tom Snowdon - vocals/guitar, Jack Talbot - drums/percussion Bill Guerin - bass & Brent Monaghan: - guitar/piano/vocals.

                  Lowlakes wrote and recorded their debut album Iceberg Nerves around its title track. The song embodies elements special to the band and is indicative of their sound as a whole with its sense of other-worldliness and space. Around it they created a conceptual album that “listeners could escape to” - Tom Snowdon, one with textures, words and sounds that flow throughout, making it a record that needs to be heard in its full enveloping entirety rather than in parts.

                  Originally from Alice Springs in the central Australian desert, Lowlakes moved away from the city to record Iceberg Nerves at the boutique Kunsthaus studio in Mount Eliza, on the Mornington Peninsula, Victoria, with producer, Manfred Kaindel. “Isolation and space is something Lowlakes constantly feeds off. We seem to find more room to think and create when we're away from the city." - Tom Snowdon. Now the band have relocated once more, to quiet isolation of the Alps in Vorarlberg, Austria to write new material and to play a series of European festivals (and some UK shows).

                  Lucky Elephant

                  The Rainy Kingdom

                  ‘The Rainy Kingdom’ is the sophomore album from Lucky Elephant, released on Sunday Best.

                  Following the success of their self-titled debut in 2009, with syncs in TV adverts for, Dannon and many more, Lucky Elephant are back with their follow up.

                  The album was inspired by and conceived around Ken Ashton’s 1971 film ‘We Was All One’, which focuses on a part of London affected by community upheaval during the development of Old Kent Road in Elephant & Castle in the 1970s and 1980s.

                  ‘The Rainy Kingdom’ is to be used as the soundtrack to a two hour BBC documentary celebrating 50 years of comedy on the channel, with special guests including Ricky Gervais, Monty Python, The League Of Gentlemen, Stewart Lee and Miranda Hart, among many others.

                  J Mascis’ Tied to a Star, the follow up to his acclaimed Sub Pop debut 'Several Shades of Why'. The album, led by the songs “Every Morning” and “Wide Awake,” was recorded and produced by Mascis and mixed by John Agnello at Bisquiteen in Amherst, MA.

                  'Tied to a Star' also features guest appearances from musicians Ken Maiuri (Young@Heart Chorus), Pall Jenkins (Black Heart Procession), Mark Mulcahy (Miracle Legion) and Chan Marshall (Cat Power).

                  STAFF COMMENTS

                  Andy says: J seems to write prettier songs the older he gets. This is another gorgeous, mellow, mainly acoustic record, but with his trademark, sweetly melodic electric lead runs, occasionally making an appearance.

                  FORMAT INFORMATION

                  Ltd LP Info: Exclusive pink vinyl available to independent

                  The revered British folk punk group The Men They Couldn’t Hang celebrate their 30th anniversary in 2014 with the release of a brand new album, ‘The Defiant’. Previewed with a sold out London show at Shepherds Bush Empire in April that won rave reviews in The Guardian and on The Arts Desk and an accompanying EP that saw significant specialist airplay on BBC Radio 2, 6 Music BBC Scotland and BBC Wales, the release of ‘The Defiant’ will be followed by a UK tour and a return visit to SBE.

                  The Men They Couldn't Hang formed in 1984. Championed by John Peel, their debut single 'Green Fields of France' was a huge hit on the UK Indie chart and was no. 3 in Peel’s Festive Fifty for 1984 (behind The Smiiths and Cocteau Twins). The song subsequently appeared on their first album, ‘Night of a Thousand Candles’ [1985]. The following year, they recorded ‘How Green Is The Valley’ with producer Mick Glossop, while by 1988 and their third album ‘Waiting for Bonaparte’, TMTCH had also achieved recognition in mainland Europe for their political comment and raucous live shows.

                  Touring in support of 1989’s ‘Silvertown’, the band played to a crowd of more than 250,000 in Estonia as communism started to crumble, prior to an unforgettable appearance at Reading Festival. At the height of their career, they recorded the acclaimed ‘Domino Club’ [1990] with producer Pat Collier, but then went on hiatus in 1991 following a ‘farewell tour’. Performing sporadically for the next few years, TMTCH reunited permanently in 1996 and released a new album, ‘Never Born To Follow’ and the ‘Six Pack EP’ [1997] that delighted their fans by displaying a fresh power and vitality to their music. Two ‘Best Of’ collections, ‘Majestic Grill’ and ‘The Mud, The Blood And The Beer’ [both 1998] were eventually followed by the well received albums ‘The Cherry Red Jukebox’ [2003] and the Pat Collier produced ‘Devil On The Wind’ in 2009. TMTCH have spent the last few years touring regularly throughout Europe and playing at numerous festivals alongside the likes of The Levellers, Billy Bragg and Nick Lowe. They also headlined the 10th anniversary commemoration of Joe Strummer’s Acton Town Hall show in November 2012.

                  Music Go Music


                    The Los Angeles trio Music Go Music began humbly, recording songs in their spare time and playing them for friends. A few songs posted online caught the ears of a surprising number of strangers, who implored the band to make a go of it. They eventually, and reluctantly, agreed to this, and before long the show had been officially taken on the road; MGM was being "buzzed" about, flying back and forth across the the Atlantic, touring around with Glasgow rockers Franz Ferdinand, and performing for the most discerning of music lovers in Moscow, London, LA, and points in between.

                    Their debut album "Expressions" was a warmly received dance-pop-prog excursion that drew apt comparisons to Abba, Kate Bush, Bonnie Tyler, and Giorgio Moroder. After things settled down and they got back to their workaday lives, they began chipping away at a new record. In the course of several years, one or two songs at a time, 'Impressions' took shape. By now, the world has swayed in ways that seemed unlikely back at the band's dawning. When their first EPs began coming out in 2007, MGM was an anomaly; a real band capable of crafting a steady stream of hook-dense A-sides, who played honest-to-goodness live dance music.

                    This time around, of course, they're sending a record out into a world that has turned just enough to embrace the kind of analog disco that MGM has been making for years. While remaining unambiguously pop, "Impressions" sees the group's aural sheen and careworn elegance joined to deeper grooves and oblique sonic turns. Never before, though, has an unhinged recounting of love won and lost been so blatantly entertaining. It's an assured, kinetic journey through light and dark, calm and chaos, with nothing less than pop transcendence waiting on the other side.


                    Live In Buenos Aires 1992

                      Nirvana in 1992, at the height of its amazing success, playing for rabidly excited fans at an arena in Buenos Aires. The setlist is an ideal distillation of pre-In Utero Nirvana. It mixes album tracks from Bleach and Nevermind with songs known from live shows and as studio outtakes. Numbers now considered classics - "Breed," "Drain You," "Come As You Are," "Lithium," "In Bloom," "On A Plain," and others - get the full-fledged, hard-edged treatment. Kurt Cobain is in powerful voice, characteristically ranging from flat, brooding moodiness to all-out screaming. And the musical interplay among the trio is tight. Oddball moments include mysterious, frag-mentary chatter from the band, some vocal self-parody from Kurt, and a sarcastic ‘drum solo’ from Dave Grohl. An intensely hard-driving show from one of the most fascinating rock bands of all time!

                      Social Rust, PC Worship's fourth LP to date and Northern Spy Records debut, may very well be the closest this innovative quartet, led by singer and multi-instrumentalist mastermind Justin Frye, has gotten to the conventional rock formula. But don't be alarmed - PC Worship has, by no means, abandoned its inherent avant-gardist roots. In fact, Social Rust portends a familial group hell bent on blending its own vision of fully realized songcraft and contagious melodicism into its trademark chaotic din.Frye first hatched PC Worship as a home-recorded solo project but has since steadily morphed his vision into a collective of studied musicians and improvisers and, ultimately, into a full-on, proper band as heard on Social Rust. If you've been present at DIY underground shows in Brooklyn and beyond, chances are you've been exposed to PC Worship's shambolic brilliance.PC Worship stand at the threshold of many worlds, yet they operate at the center of their own pantheon and without abandon. They are crucial eclectics, distinct in sound and consistently adventurous. Like Sun Ra, PC Worship transmit alien, helter-skelter sounds seemingly from another universe - a truly rare trait these days.

                      Peoples Temple

                      Weekends Time

                        The Peoples Temple, who debuted in 2011 with the acclaimed “Sons of Stone” LP on HoZac Records, releases its fourth full-length LP “Weekends Time” in October via State Capital Records. This is the Lansing, Michigan based band’s second full-length album of 2014.

                        The blistering new disc includes rock 'n' roll meltdowns like “Human Cancer,” but also shows notable progression in the band’s pop sensibilities and song arrangements with tracks like “Ones Forgotten,” “How Long” and “William’s Song.” Aside from the seven originals, two cuts are Ariel Pink covers.

                        “Weekends Time” was recorded live in the studio in just three days, a first for the band. The LP cover may have Beach Boys inspired album art, but the tracks lean closer to Big Star, Rolling Stones and Velvet Underground.

                        “I traveled to Michigan to record them for a few days,” said Dan Hewitt, owner of State Capital Records, a New York-based label. “What ended up happening was the full-fledged nine-track LP you have before you. As for recording, we tracked the whole thing to my 8-track. A lot of vintage mics were utilized. It was mixed at my home studio on an old console and even more vintage compressors and EQs were employed,” Hewitt added.

                        Over the course of two astonishing albums, Perfume Genius, aka Seattle native Mike Hadreas, cemented his place as a singer-songwriter of rare frankness, creating songs that, while achingly emotional, offered empathy and hope, rather than any judgment or handwringing. Sparse, gorgeous and with Hadreas’ quavering vocals often only accompanied by piano, they are uncommonly beautiful tales of a life lived on the dark side – scarred, brutalised, yet ultimately, slowly but surely reclaimed.

                        Tom Petty & The Heartbreakers

                        Hypnotic Eye

                          Tom Petty and The Heartbreakers released their debut album in 1976 and have since sold over 60 million records. They were inducted into the Rock and Roll Hall of Fame in 2002, their first year of eligibility, and in recent years have continued to build on their already legendary success. Their concerts are celebrated by fans and critics alike and their music has influenced numerous young bands and writers around the world. Between the Heartbreakers’ recordings, his solo work and his membership in The Traveling Wilburys along with George Harrison, Bob Dylan, Roy Orbison and Jeff Lynne, Tom Petty has received 18 Grammy nominations and been honored with lifetime achievement awards including Billboard’s Century Award, ASCAP’s Founders Award, MTV’s Video Vanguard Award.

                          This limited edition double vinyl edition of Hypnotic Eye includes an additional track nota available on any other format.

                          Piccadilly Records

                          Mono Colour Print - Black Tote Bag

                            One colour 'mono' print (white) of the Piccadilly Records logo on a black tote bag.

                            The Posies’ 1988 debut is back and bigger than ever! Little did Jon Auer and Ken Stringfellow know when they dropped off their cassette to Scott McCaughey (R.E.M., The Minus 5), the clerk at their favourite record store (who happened to do A&R for the indie label PopLlama), that a power-pop dynasty would begin. Originally released by the band on cassette, then issued on LP (with one track removed), and later on CD, Failure set the independent music world on fire.

                            Omnivore Recordings is proud to reissue this landmark album, complete with eight bonus tracks, including one available for the first time. Housed in a digipak, Failure contains the original 12 songs + bonus material from the highly sought after and out of print 2000 box set At Least At Last, as well as tracks from the Spanish only 15th anniversary edition + one track recently located in The Posies’ extensive archives. The booklet contains press clippings and essays from 1988, as well as updated messages from McCaughey and the band.

                            The original 12-track playlist is restored and available on vinyl for the first time since its original issue (and cut by Kevin Gray). The LP (initial pressing on coloured vinyl) also includes a download card for the entire CD program. While Auer and Stringfellow have continued on—whether as members of the reunited Big Star, as The Posies and as solo artists—the journey began at Failure. Step back in time and hear the future.

                            Full-tilt with tunes, aggro riffs, feedback peals, stoned soul-searching, pop turnarounds and magisterial portraits of the go-nowhere lifestyle in abstract, ‘Weirdon’ is also a new-phase Purling Hiss album, using the songwriting and guitar style of Mike Polizze to come up with a quicksilver sound touched on only briefly on previous records.

                            Replete with handclaps, pounding pianos, tambourines and vocal effects, but steeped in guitar roar, Purling Hiss streamlines up nicely, serving the new songs and directions of ‘Weirdon’ while still slamming down hard on your ears like they like to do.

                            Simultaneously ramshackle and overblown, tactile and free, the early Purling of ‘Hissteria’ and ‘Public Service Announcement’ used DIY limitations to soar through speakers with a new rock sound.

                            As listeners came gathering and gathering, the call for shows and more shows and then tours became an issue, so Mike expanded Purling Hiss from just his guitar and tape recorder and him into a full-blown trio, capable of lifting heavier than even the records’ thick layers of distorto implied. Now the guitar worked together with the rhythm section rather than fighting it, ‘Sister Ray’-style. In addition to its amazing songs, their previous album ‘Water On Mars’ exploited the bombast of the live, power-trio incarnation but in order to put the next set of songs across, Mike needed to go to another dimension in his mind.

                            After trading the distant drum of early days for a thick, upfront kit sound on ‘Water On Mars’ - additionally revealing real words attached to Mike’s vocal melodies - Purling Hiss have spread it out again, pushing Mike’s guitar tides over the top, splashing across the drums and vocals. The mix retains a certain clarity nonetheless, even when it matches the crush-and-whine of cheap rhythm sounds with mountainous body, singing leads and infinite distortion layers.

                            If ‘Water On Mars’ was the Purling Hiss heavy rock album, ‘Weirdon’ travels into the pop dimension of Purling Hiss, making of their fastest and catchiest songs in the abiding images of punk and psychedelia. Written alone to achieve a contrast with the previous album and return in a sense to the original approach, ‘Weirdon’ was made with no concept of limitations on what could be performed live. Mike’s new songs open up, going all over the place, while still based in their home-cooked blend of catharsis and shredding, both in the guitar playing and the inner life of the album.

                            Full of colour and rock and roll, ‘Weirdon’ is a rainbow of a record; beaming down to the stereos and streets and highways and boom boxes of today, through the unique and still-growing prism of Purling Hiss.


                            Other Side Of The Fence

                              With marketing stunts and egocentric moves playing a bigger part in music than ever before, it’s a rare thing for a new band to keep the self-promotion to a minimum, and instead let their work do the real talking. Then again, to describe Rubberbear as a truly fledgling outfit is a little misleading. Formed in 2013, and comprising New Order’s Tom Chapman and Steve Trafford of The Fall, clearly the pair have more experience behind them than your average debutants. After all, in addition to those recordmaking institutions, the members also lay claim to time spent in outfits alongside Cerys Matthews and Paul Heaton.

                              Achieving recognition via their inaugural EP, revealed with little information other than a simple bear graphic, and helped along thanks to a video featuring acting stalwart Maxine Peake, the result was the kind critical response that heralds something very special. Don’t expect a celebration of all that’s both right and wrong about Manchester’s inherent civic and cultural pride, though. Less focused on the city’s legacy, and more concerned with forging fresh paths towards innovative sounds, the duo now unveil their latest work, the Other Side of The Fence EP, a release concerned with heartfelt, notably dark themes; from the isolated world of modern urban anonymity to voyeurism, with four tracks offering up unique tones that contradict assumptions of what two parts of two legendary North West troupes would create together.

                              My Addiction’s ferocious onslaught of guitars and whirling synths, for example, is a lo-fi powerhouse of emotive riffs and frantic percussive rhythms. A contrast to the plucked electric chords and gliding strings of Elements, which struts through its laidback but epic sounding path towards a reflective conclusion. Meanwhile, World of Moderninity is a song that can’t help but resonate with its poignant lyricism on the culture and social trends that define today, coupled with soaring orchestral sections and gentile six string melodies it creates a truly emotive anthem. Add to those Let’s Move Somewhere Else, with its progressive, glittering keys, brass notes and hypnotic, strolling tempo, and the abundant difference in styles from one piece to the next is clear to hear. Products of a desire to do things differently as much as wisdom and knowledge gained from years spent honing the songwriting craft, the only question left is what surprises will come next.

                              Laetitia Sadier’s new album, ‘Something Shines’, was recorded and matured more slowly than either ‘Silencio’ or ‘The Trip’.

                              ‘Something Shines’ was initially recorded in Switzerland, where Laetitia’s collaborator David collects amazing old keyboards and organs from people who have inherited them but find no space or usage for them.

                              Scattered through Europe are the component players of the ‘Something Shines’ band; drummer Emmanuel Mario in Paris and bassist Xavi Munoz in Castellon near Valencia, so additional parts were laid down in those cities. The strings were done in St. Etienne by Jean-Christophe Chante, whom Laetitia had met on a tour with French band and friends Angil - she found his playing mesmerizing and felt compelled to ask him if he would like to participate on her album, which he did, bringing a great emotional charge to the record. Laetitia recorded a lot of the content in London, including all the vocals, guitars, additional electronics and soundtrack effects as well as final mixing, which wrapped up this Spring.

                              The desire was for the songs of ‘Something Shines’ to alternate between a riveting caress and an invigorating shake. To start from the Earth and to tilt up, towards the sky, before coming back down to the planet again. Additionally, Something Shines is an exploration through Debord’s ‘La Société du Spectacle’ and how it is still up to us to guide and shape our fate, individually and collectively.

                              All these thoughts and many others are communicated throughout a delicately textured production, twinkling and shifting with the subtlety of nature and often sounding like the world outside, whooshing and chirping and clicking in time, placing these concerns in the place where we live. The production is relaxed and expert; Laetitia’s choices fit the breathing quality of the songs and wear their arrangements easily. The many tiny details within the sound scope of ‘Something Shines’ reflect the lives that hang in the balance between the issues, lives that are often too small to see yet contribute to the world as a whole.

                              She Keeps Bees is a duo from Brooklyn, NY, consisting of singer guitarist Jessica Larrabee and drummer/producer Andy LaPlant. They have self-recorded and released music made at home since 2006. Their debut album, Minisink Hotel, was described by NYC’s Other Music as “the best album you’ve never heard." Nests, their second full-length, was admired by the Guardian as “sparse, soulful and defiantly retro.” Their third LP, Dig On, was praised by the BBC as "an album of fire, spirit, and sweat."

                              Their new album "Eight Houses" (Sept.2014) finds She Keeps Bees working with an outside producer, Nicolas Vernhes (Wye Oak, Deerhunter, The War On Drugs, Dirty Projectors, Lia Ices a.o.) for the first time and enlisting guest musicians including Sharon Van Etten and Adam Schatz.

                              She Keeps Bees have created a beautifully timeless and haunting album. Eight Houses revels in the raw power of subtlety, silence and space, coloring Jessica Larrabee's compositions with lean piano lines, hazy horns and warm organ rolls.

                              After years of recording as one man in several sheds, The Long Con is the first full-on, full-band recording from Ireland’s So Cow. Brian Kelly is this time joined by long-time foil Jonny White on bass and the pride of Dublin, Peter O’Shea, on drums. It’s also their first album to be recorded in a studio and, if that isn’t enough, has an honest-to-goodness producer involved, namely Deerhoof’s Greg Saunier. Recorded live over the course of four or so days, the album is an attempt to capture So Cow’s live sound, as opposed to the overdub-happy chaos that marked the debut LP, 2009’s best-of-up-to-then compilation So Cow, and 2010’s Meaningless Friendly.

                              The album was recorded in Ballyheigue in County Kerry, hitherto and probably-now-still most famous as the birthplace of the guy who coined the term “entrepreneur.” Saunier and the band ran through the process at a fairly spectacular pace, most likely inspired by the wi-fi being out of order. The Deerhoof man himself makes an appearance on “Say Hello,” a pretty-muchimprovised final day runabout. The Long Con follows on from the sufficiently varied Meaningless Friendly and their half of Out of Season, a split LP with Dublin’s Squarehead, in that it zips around styles in a way that, to this day, makes their friends find them “hard to describe.”

                              The band themselves are of the mind that they sound like The Chills or McLusky, but they’ve lost all perspective at this stage so don’t go taking their word for it. Similarly, lyrics telling of joyriding local politicians, John Deacon’s post-Queen level of contentment, and the terror of turning 30 can probably now be interpreted any number of ways.


                              Live In Germany 1990

                                The amazing Soundgarden - metal, punk, grunge, psychedelic - and all-around rock innovators captured live in their early years, in this 1990 concert given in Dusseldorf, Germany. The early Soundgarden ethos is fully on display in this powerful set of noisy, gritty, aggressively hard-rocking, darkly slow-moving, yet somehow often upbeat music. Chris Cornell chants the eerily beautiful words in his trademark searing howl. Kim Thayil’s guitar is at once raw and virtuosic. Matt Cameron and then tour bassist Jason Everman (formerly of Nirvana) mesh with great intensity, despite the latter's famously brief tenure with the band. Early favorites like "Flower," "Beyond The Wheel," "Hands All Over," "Gun" and "Loud Love" get riveting treatment from Soundgarden in this loud blast from the great rock past!


                                Fucked Up Inside - 180 Gram Vinyl

                                  "Fucked Up Inside" is the first live album ever issued by Spiritualized, it was originally released as a limited edition (1,000) mail order only LP in 1993. Recorded on tour in 1992 while supporting Spritualized’s debut release “Lazer Guided Melodies” this is the first album to document the power of the band live and has long been an out of print collector’s item since it’s initial release. Includes three songs from “Lazer Guided Melodies”, two from the future Spiritualized album “Pure Phase”, plus the Spacemen 3 favorite “Walking With Jesus".

                                  FORMAT INFORMATION

                                  Ltd LP Info: Limited edition of 3,000 in a recreation of the original cover on 180 gram vinyl.


                                  Let It Come Down - 180 Gram Vinyl

                                    “Let It Come Down” is the fourth album by Spiritualized, originally released in 2001. Jason Pierce spent four years writing, performing, recording and finally releasing the follow up to his 1997 breakthrough album “Ladies And Gentlemen, We Are Floating In Space”. “Let It Come Down” features a full orchestra, gospel choir, and many back up musicians to fulfill Pierce’s ambitions. This record is a step forward from Spiritualized’s denser space rock of the first three records to a sweeping orchestral sound with large swaths of strings, brass and choir helping to fulfill the widescreen splendor of Pierce’s vision.

                                    FORMAT INFORMATION

                                    2xLtd LP Info: A limited edition of 3,000 on 180 gram vinyl from Plain Recordings.

                                    St Christopher

                                    Forevermore Starts Here - The Anthology 1984-2010

                                    In Indie circles, ST. CHRISTOPHER are an enigma, a mysterious act who made a plethora of beautiful records and yet are relatively unknown. Forevermore Starts Here seeks to rectify that!

                                    St. Christopher revolved around the singing and songwriting talents of Glenn Melia, who formed the band in the early 80s before creating a string of now prized pop 45s on their own Bluegrass label.

                                    At the end of 1988, St. Christopher signed with the iconic Sarah Records for a string of memorable singles and EPs. Subsequently, the band recorded two albums for Vinyl Japan and later enjoyed releases on such cult labels as Slumberland, Bus Stop and Elefant.

                                    The 2-CD set also boasts their entire output for Sarah Records (some 18 tracks). The Bristol label is the subject very soon of both a film and a book.

                                    The package has been assembled by the same design team behind Scared To Get Happy and C86.

                                    Terry Malts

                                    Insides EP

                                    Since 2010 and over 2 albums and a slew of singles and tapes, Terry Malts records to date have a been a refreshing blast of catchy punk, pop-influenced but also chaotic, noisy, shredding. Imagine Bubba from Void sitting in with Descendents and you're part of the way there. Fall 2013's Nobody Realizes This Is Nowhere was their most concise release yet - a concentrated blast of melodic bile that cast a long look at life and didn't always like what it saw.

                                    "Grumpiest Old Men" is an ode to telling those damn kids to get off your lawn, showcasing guitarist Corey Cunningham on vocals. "Don't" is a stop/start thriller, dark and driving but as always sporting a melody that most pop bands would slay for. Wrapping up the EP is a fine version of New Zealand legends The Chills' "Hidden Bay," giving some insight into the varied influences that feed into Terry Malts and help explain why "pop" and "punk" don't adequately describe what they do.

                                    Jeff Tweedy, best known as the founder of the pioneering Chicago rock band Wilco, releases a new album. “Sukierae” (sue-key-ray) is not quite a solo effort - it is the debut release by the aptly-monikered duo, Tweedy, which features 20 new Jeff Tweedy-written songs, performed by Jeff in a musical collaboration with his 18-year-old son and drummer Spencer Tweedy. “When I set out to make this record, I imagined it being a solo thing, but not in the sense of one guy strumming an acoustic guitar and singing,” Jeff said. “Solo to me meant that I would do everything – write the songs, play all the instruments and sing. But Spencer’s been with me from the very beginning demo sessions, playing drums and helping the songs take shape. In that sense, the record is kind of like a solo album performed by a duo.” With Spencer on drums, Jeff handles his usual guitars and vocals, as well as bass and keyboards. Backing vocals come courtesy of Jess Wolfe and Holly Laessig of the Brooklyn-band Lucius. Musician Scott McCaughey (R.E.M., The Minus Five, The Baseball Project) lends additional keyboard support.

                                    The Vaselines

                                    High Tide Low Tide

                                    The opening track from their forthcoming new album, V For Vaselines, the single will be released on 7” and digitally and features a non-album track, Cardinal Sin.

                                    "This song was inspired by cycling along the River Clyde. Your love is on the other side. Can you get there? Do want to get there? What do you do when you cross the river? Can you come back home? All these questions and a catchy chorus, “ commented Eugene Kelly of the band.

                                    "This song is all about commitment issues. Stay safe. Stay single,” added co-conspirator Frances McKee.

                                    Factory Benelux presents Testament, a comprehensive ‘best of’ collection by influential Scottish group The Wake, including tracks recorded for cult labels Factory and Sarah Records.

                                    The Wake formed in Glasgow in early 1981 after singer/guitarist Caesar left future pop stars Altered Images. Joined by Carolyn Allen (keyboards), Steven Allen (drums) and Bobby Gillespie (bass), the band joined Factory the following year, recording debut mini album Harmony at Strawberry Studios in Stockport and subsequently hailed as the missing indiepop link between Factory and Postcard Records. After Gillespie departed for Primal Scream and the Jesus and Mary Chain, The Wake issued second album Here Comes Everybody in 1985, with standout track O Pamela later covered by artful French ensemble Nouvelle Vague.

                                    After leaving Factory the group joined cult Bristol imprint Sarah Records, releasing a brace of indiepop singles and albums in the Nineties before going on hiatus. Caesar and Carolyn reconvened as The Wake in 2009, releasing fifth album A Light Far Out three years later, with more new material due in 2015.

                                    Testament combines key album tracks with popular singles including On Our Honeymoon, Something Outside, Talk About the Past, Of the Matter and Crush the Flowers. Also included are a previously unreleased 7” edit of Pale Spectre, and (on the CD only) 2012 outtake Clouds Disco.

                                    The artwork for Testament is based on the artwork for an unreleased cassette edition of Here Comes Everybody, designed by Peter Saville.

                                    FORMAT INFORMATION

                                    LP Info: The vinyl edition includes a 54 minute bonus CD featuring 21 early live and demo recordings from 1981/82, preserved in the tape archive of Joy Division/New Order manager Rob Gretton. Among these priceless lost recordings are 7 songs never before heard even on bootlegs.

                                    The restless “Heavy” churns somewhere between Godflesh and Gish, its lumbering beat and foreboding guitar buoyed by a melody that feels like a secret hymn for which you’ve long searched. Gorgeous and sprawling, “Sway” floats through luxuriating guitars and pillowed vocals, offering an impressionistic but intoxicating inversion of Whirr’s typical propulsion. Even here, during the record’s prettiest moment, Whirr maintains a righteous minimalism, emblematic of members who met one another as skateboarding high-school kids.

                                    “The aesthetic of the band is more aimed at mature punk rather than alternative rock,” Bassett confirms. “There are these more aggressive punk elements—noisy feedback, a snare roll that just goes into super-punchy, driving songs.”

                                    As the end approaches, the band builds together, the riffs and the rhythm colliding into one triumphant, redemptive crest, a fully unified Whirr.

                                    ‘[this] sludge-swirl epic finds comfort in gloominess, and strength in whispers’ - Spin

                                    “Whirr wrap their songs in shoegaze fuzz, but it’s music with excellent interplay, focused melodies, and vulnerable vocals. Whirr soar somberly, but they still soar” – Stereogum

                                    "After long-range negotiations, meetings perceived dimly through a haze of quality Kush and late night trips past the mainland into Compound Manila, the day has arrived. WHITE MANNA has welcomed us into the circle. This band had me entranced from the opening wails of their debut LP, which arrived on the always-amazing Holy Mountain label several years back. At the sound of the opening notes I started wanting to go west to experience the band in their element, under the foggy old-growth redwood canopies of Northern California’s Emerald Triangle. Today, through an imponderable series of serendipitous events the heads at Captcha find ourselves relocated to that very locale—behind the redwood curtain, with our backs to the ground and eyes to the sky.

                                    Come Down Safari is the latest White Manna album. While the first two albums cut right to the chase, maintaining driving tempos from beginning to end, Come Down Safari makes it possible for listeners to join the band in the more intimate experience of psychedelic comedown. The opening track “Deathless Guru” sets the mood, finding the band re-entering the stratosphere and gently floating back to earth. Not just a heady mix of blown-out psych, Come Down Safari showcases these musicians moving in a more experimental direction. Sonic textures are diffuse; atmospheres are saturated. Sounds are wreathed in mists and vapors. Drones and quiet syncopations suggest fall’s rains coming on. Don’t get me wrong: this record still gets loud and heavy. But Come Down Safari makes room for us to hear DIETER’s keyboard patterns as they unfold, weaving us a post-apocalyptic web in which to dwell." - Captcha Records.

                                    The wait is finally over. The Wicked Whispers debut album ‘Maps of the Mystic’ arrives Monday 22nd September on Electone Records. With over 3 years in the making following 3 early limited edition vinyl releases on Electone Records, The Wicked Whispers have become one of the UKs most exciting new British bands in the current flourishing psychedelic climate and are finally set to deliver their debut long player.

                                    The album brings together 11 new tracks from The Wicked Whispers exploring every side of Mike Murphy’s lucid songwriting and the bands synchronization wrapped up inside 45 minutes of angelic protectionism. Produced by Mike Murphy, the album walks us through some of the most beautiful and forward thinking songs to be heard in some time which deliver an essential timeless quality and sets an important psychedelic milestone.

                                    Dustin Wong and Takako Minekawa are artistic omnivores, soaking up a myriad of cultural artefacts and styles, savouring bits and pieces and re-contextualising them into entirely delightful and playfully intricate songs. Their songs are imbued with a relentless cheerfulness that belies their technicality, steeped in the history of Japanese pop music and exuding the joy of discovery and exploration. Dustin and Takako are serious musicians not afraid to play it silly.

                                    ‘Savage Imagination’ is their second album as a duo and shows their collaboration in full bloom. It is a collection of vibrant pop music, laced with the sounds of video games, radiophonic experiments, and indigenous music from around the world.

                                    Dustin Wong was introduced to the world as a member of Baltimore based art-rock band Ponytail and has spent the past several years making incredibly deep and complex albums of looped solo electric guitar for Thrill Jockey. Dustin has toured with Avey Tare’s Slasher Flicks, Beach House, The Dodos and Mountain Goats.

                                    Takako Minekawa first rose to international prominence as a Shibuya-kei singer in the mid-90s with the brilliant pop song ‘Fantastic Cat’ and her albums ‘Roomic Cube’ and ‘Cloudy Cloud Calculator’. She has collaborated with Ryuichi Sakamoto, Cornelius, Buffalo Daughter and Dymaxion.

                                    FORMAT INFORMATION

                                    CD Info: CD version in high gloss mini-LP style gatefold package.

                                    'Annabel Dream Reader' is the debut album from The Wytches, released on Heavenly Recordings on August 25th 2014. Recorded at Toe Rag Studios and co-produced by the band's Kristian Bell and former The Coral guitarist Bill Ryder-Jones.

                                    FORMAT INFORMATION

                                    Ltd LP Info: Limited edition gold vinyl.

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