MAGIC MIX

indie

WEEK STARTING 21 Jul

Genre pick of the week Cover of For The Recently Found Innocent by White Fence.
‘For The Recently Found Innocent’ is many things - the fifth White Fence album, the first White Fence album to be recorded outside the bedroom fence (with live drumming!), the first White Fence record to be produced for Drag City, the second time that Tim Presley and Ty Segall have met to record music (does anyone remember ‘Hair’?), this time pure and simply committed in the name of White Fence. Inevitably, the collision at the intersection of all these winding roads is a beautiful pileup of deep impacts, graceful lines and open space embodied in sound,

White Fence’s previous release, ‘Cyclops Reap’, demonstrated a process being executed at the top of its game. ‘For The Recently Found Innocent’ surges forth with fresh set of elaborately crafted songs, harmony vocalizations and trippin’ guitar tones that strike the face and viscera with an equal (easy) blow.

Aerial M

Aerial M

    Back in 1997, David Pajo was a little over a half decade removed from the future sensation known as Slint.

    Their second album had been released in 1991 when the band themselves were already defunct. During the next five years, David worked with Palace Brothers, King Kong, Tortoise, The For Carnation and Stereolab. During that period the idea of his own music was slowly simmering, building flavour like a good rage. He and former Slint-ite Britt Walford had discussed a band called M - the significance lying in the letter’s position in the middle of the alphabet. A single under that name was released on Palace Records in 1996 and upon hearing it there was no doubt that this was one of the Slint boys.

    Drag City were big fans of Tweez and offered Dave a deal he couldn’t refuse - if he made a record, they’d put it out. The rest is not only history but somewhat out of print. · David changed the name to Aerial M and made an LP and two singles, then changed the name to Papa M and made a couple of double albums, an EP and five or six singles. At the time of those singles, he joined another band and then another and another and… no more Papa M. There were two Pajo records in 2005 and 2006 and, since then, nothing else along these lines. And so, Aerial M and Papa M things have slowly gone out of print.

    Now seems like a perfect time to re-inject Aerial M into the world’s music veins and the ‘Aerial M’ album presents an initial step in what was a hot ten-year evolution of sounds and songmaking.

    Comprised of Molly Rankin (lead vocals / guitar), Kerri Maclellan (keys / vocals), Alec O’Hanley (guitar), Brian Murphy (bass) and Phil MacIsaac (drums), Alvvays take the template laid out by the likes of Scottish stalwarts Teenage Fanclub, The Vaselines and Belle & Sebastian and fuse it with a strong sense of self and a unique personality.

    Each shimmering track on their debut full-length frames Rankin’s melancholic melodies and unwavering voice with meticulous arrangements and needlepoint guitars.

    Bear's Den

    Elysium

      Bear’s Den are Andrew Davie (guitar, vocals), Joey Haynes (guitar), and Kev Jones (drums, bass). Since forming in 2012, the London based trio have built a fervent fanbase through their live shows and a dedicated DIY aesthetic that originally saw them self-fund tours and sell hand printed CDs direct to fans at gigs. In two short years they quietly went from pub shows to a jaw dropping headline gig at the Brixton Electric in front of 1500 people.

      The Black Angels

      Clear Lake Forest

        New EP of seven new tracks, from Austin Texas Psych Rock band.

        It follows their album Indigo Meadow (2013) where once again The Black Angels proved themselves the undisputed avatars of contemporary psychedelic rock, simultaneously exalting the genre’s kaleidoscopic past as they thrust it further into the future. the band brought new focus to their wide-ranging songcraft, the righteous riffs and dogmatic drones gaining increased power as they fuel a more expansive emotional terrain. A 21st century trip as transcendent as any in the canon.

        “Imagine tossing bands from the pantheon of American psychedelia like The Electric Prunes, Count Five, 13th Floor Elevators and The Seeds into your blender, adding a splash of Sabbath and a dollop of early Soundgarden or Mudhoney, and you’ve got Austin’s The Black Angels.” Associated Press.

        FORMAT INFORMATION

        Mini LP Info: Limited edition clear vinyl.

        Blest Mess Is A 3 Piece Female-Fronted Old School Punk/Hardcore Band From New York & New Jersey - U.S.A. Heavily Influenced By British Punk & American Hardcore.

        Kate Bush

        Sensual World

          "Sensual World" took Kate 4 years to make and the songs elevate sexuality, romance, politics and emotion to an all together higher, more mystical and more poetic level.

          The album includes the classics "The Sensual World", "Never Be Mine" and "Rockets Tail". The songs and the music are further enhanced by the stunning guitar work by David Gilmour of Pink Floyd. The album also features "This Woman's Work", which was a smash hit by Maxwell.

          FORMAT INFORMATION

          Ltd LP Info: 180gm Audiophile vinyl repress.

          Chain And The Gang

          Never Been Properly Loved

          The new single form CHAIN AND THE GANG is the dancefloor smash “Never Been Properly Loved”, taken from their critically acclaimed new album MINIMUM ROCK N ROLL and due out on Fortuna POP!

          Featuring the snotty-nosed vocals of Katie Alice Greer of Priests the song is a demand for love and affection set to an insistent disco beat and with a killer chorus that's going to be stuck inside your head all summer long. Led by the remarkable Ian Svenonius, prime mover behind two of the most essential bands of our time, Nation Of Ulysses and The Make-Up, Chain And the Gang deal in a new genre called CRIME ROCK. As Ian himself puts it: “If asked about it by a prospective fan, I would say "Watch out; it might hurt your feelings." Or "Be careful … there's no telling what might happen if you put it in your ear." Why? Because Chain & The Gang isn't for everyone. It's not designed for the victims of Ikea who rely on robots to choose their background muzak. But it can also prove to be addictive and has some disturbing side effects.“ A gang with a fluid and floating active core, Minimum Rock N Roll was recorded in Portland Oregon with Ian and Katie Alice on vocals, Brett playing the electric guitar, Chris on electric bass guitar, and Fiona driving the drum kit and then mixed down in DC by Brendan Canty. More minimal and more ferocious, more lean and more mean, Minimum Rock N Roll is Chain & the Gang looking for food, hungry and intent on devouring the known world, once they find its tender underbelly.

          "Crunches in with impeccable musical economy, a grimy R&B groove propelled along by cuffed dreams and Svenonius' sultry vocals laying out the terms of social dissemblance in a pouting drawl." Mojo

          "Svenonius' charisma is unflagging, and his commitment to the theme can thrill, too." Uncut "A true one-off, you're either a believer or your'e not." Q

          FORMAT INFORMATION

          Ltd 7" Info: Blue coloured Vinyl 7" with jukebox hole.

          Anthology serves as a celebration of The Clean, a band whose influence extends so far beyond their New Zealand home that even if you have never heard of The Clean before, you have surely heard of some of the bands (Pavement, Yo La Tengo, and Superchunk, to name a few) who have been influenced by their unique blend of homemade garage rock, hook-filled melodies, and psychedelic experimentalism.

          The album is a compilation from across The Clean’s legendary career, which began in 1981 and continues today. Merge originally released the 2-CD Anthology in 2003, but in celebration of our 25th anniversary, we felt the time was right to release this essential collection on quadruple LP.

          Anthology kicks off with The Clean’s call-to-arms debut “Tally Ho!”; the story of the infectious track’s $60 recording bill is now legendary. It continues with the early EPs Boodle Boodle Boodle and Great Sounds Great in their entirety. The hits—“Billy Two,” “Anything Could Happen,” “Beatnik,” and “Getting Older”—and live favorites like “Point That Thing Somewhere Else” and instrumentals “Fish” and “At the Bottom” all serve up memories of the joyous noise that characterized The Clean of that time. These recordings, mostly made by the band with Chris Knox and Doug Hood at the helm of the 4-track, capture the bright, raw sound of a classic garage band.

          After a brief breakup, the band recorded Vehicle in 1989. Vehicle was made in three days and engineered by Alan Moulder (Smashing Pumpkins, Nine Inch Nails, My Bloody Valentine). The sounds of Vehicle and the two albums that followed it, Modern Rock (1994) and Unknown Country (1996), make up the bulk of discs 3 and 4 of the vinyl Anthology. In addition to selections from these full-length recordings, Anthology includes two songs released only on an American 7-inch and two that appeared on a bonus flexi-disc with the Modern Rock LP.

          FORMAT INFORMATION

          4xLtd LP Info: 4xLP box set.

          Cretin Stompers

          Looking Forward To Being Attacked

            Recommended If You Like: Magic Kids, Barbaras, King Tuff, R. Stevie Moore, Ween, Jay Reatard, Hawkwind, Styrenes.

            "Cretin Stompers landed in our lap on an other-worldly afternoon one day, sent directly from the future and completely ready to bury your past and everything you've ever held dear. Not even a fully formed embryo upon their first recording, the interstellar project began as a long-distance collaboration between past members of the ethereal Barbaras, Magic Kids, Boston Chinks, (and later, Jay Reatard Band/Wavves) in Memphis, and their mysterious cohort, (who had never been met or even spoken to while making the record!) BIG MUFF RADIO, living up north in Brooklyn, and has reached it's fully-developed final mutation in the form of the Looking Forward To Being Attacked debut LP. And just like a Xenomorph wrapping its way around your head right before that inevitable lobotomy, the Cretin Stompers infectious oozing pop slime will find its way into any of your exposed orifices, so be sure to wear a tight belt as this is one debut album with the power to entrance and eviscerate like never before...

            With as many studio tricks and alien-like pop moves Cretin Stompers conjure, it will become obvious by the first few tracks that this is unlike any other album you've heard before, a true pioneering and sublime step into the iridescent pop dreams (and nightmares) of the not-so-bleak future. But don't be afraid of what's ahead, that's just part of who we are, and more importantly, who you are, as someone who doesn't let uncertainty cloud their ambition to make new discoveries or hold back your enthusiasm for the unknown. For this, you will be rewarded with a dynamic explosion of space punk filtered through a clogged toilet of remarkable pop hooks and impeccable melodic surges that hit such wavering heights, you just might need some orange slices to keep your eyes on the road. And as if Cretin Stompers couldn't give you any more ear candy to clean out your cavities with, they have culled two superb covers from The Styrenes and Dave Brock (of Hawkwind) to knock you back to summer school with another research assignment, always the true sign of real innovators of any era of music. So don't keep taking the same route to rock'n roll salvation when there are so many exciting ways to live, and get ready to have your mind thoroughly blown, because the future sounds fucking unreal. Also features exclusive artwork from the legendary Memphis fine art photographer WILLIAM EGGLESTON (known for his BIG STAR album cover photos)!"  – Victimoftime.com.

            Crosley

            Record Player CR8005A - Cruiser (Tweed)

              Love the rich, warm sound of vinyl, but wish it was a more moveable music format? Put down the iPod and mobilize your music with the Crosley Cruiser 3-speed portable turntable.

              Constructed of wood and bound in a leatherette material, the briefcase-styled record player is lightweight and easily transported from place to place. It features built-in stereo speakers so you can listen to your music without having to connect it to a speaker system.

              Cruise over to a friend's house and experience vinyl's superior sound together.

              - Belt-driven turntable mechanism 33 1/3, 45 & 78rpm.
              - Dynamic full-range stereo speakers
              - AC power adapter RCA audio out
              - Dimensions: 15.50in X 14.00in X 6.10in

              Darlia

              Dear Diary (Exclusive Signed Edition)

                EXCLUSIVE SIGNED EDITION!!

                “Dear Diary” is the third single from Darlia and follows the success of previous singles “Queen Of Hearts” and “Candyman”. Their last single “Candyman” was played over 35 times by Radio 1 despite not being added to the station playlist. It was heavily supported elsewhere including an addition to the daytime list at Xfm. The band were invited guests on the Radio 1 One Big Weekend in Glasgow and were also invited to play a Live Lounge session for Fearne Cotton.

                FORMAT INFORMATION

                Ltd 7" Info: 500 only.

                Originally released in 1994, the album turns 20 this year and can be considered to be one of the defining albums of the Britpop era, making the end of year lists in Melody Maker, NME, and Select that year. It is home to the hit singles ‘Insomniac’, ‘Close... But’, and the anthemic ‘I Can’t Imagine The World Without Me.’

                EGO is the album that saw Echobelly land a major label deal, tour the world, sell out gigs from Japan to the US, build up fervent fanbases and famous followers including Morrissey, REM (who asked them to be their support band) and Madonna (who wanted to sign them to her label).

                The bonus material includes the “Bellyache EP” from 1993, plus the b-sides from the singles and a previously unreleased Steve Lamacq BBC Radio 1 session from 1994.

                The set is packaged with brand new sleeve-notes by Sonya Madan and unseen and rare photographs.

                On is Echobelly’s second album and followed hot on the heels of their debut, Everyone’s Got One, to become their most successful album. It is now re-issued as a 2CD set with B-sides and unreleased tracks compiled by the band.

                The album, produced by Slade and Kolderie (Radiohead, Hole, Pixies), is home to the hit singles ‘Dark Therapy’, ‘King Of The Kerb’ and their defining track, ‘Great Things.’ On its release in 1995, the band hit the road with their sensationally energetic live shows and no shortage of critical acclaim saw it peak at No.4 in the UK Charts.

                Einsturzende Neubauten

                Alles Wieder Offen

                  Neubauten's new release "Alles Wieder Offen" ("All open again") is released on their own Potomak label. Working outside the usual confines of the record industry, Neubauten recorded this album in their own studio funded by pre-payment by a world-wide network of subscribing supporters via their website www.neubauten.org. It is possibly Einstürzende Neubauten's most fully and perfectly realized album yet. Alexander Hacke's bass has never sounded warmer, Jochen Arbeit's guitar more graceful, the metal of Rudolf Moser and the percussion of N.U. Unruh more unsettling and diverse. Blixa Bargeld's vocals are mercurial and powerful.

                  Reissue of Einstürzende Neubauten's seventh album from 1996 "Ende Neu" (Ending New), one of the most important turning points in the band's history, not only because of the important musical developments but also the resultant changes in band members. Although the four composers leafed through their archives of the industrialization of modern music for this album, Einstürzende Neubauten's compositions were never before as harmonious and lyrical as on "Ende Neu". "Stella Maris", a ballad performed in duet by Blixa Bargeld and Meret Becker accompanied by opulent string instruments, is probably the best known song that resulted from this re-orientation. Probably the most sensational evolution of Einstürzende Neubauten since their debut "Kollaps" in 1980, "Ende Neu" is now reissued on the band's Potomak label with reworked artwork and enhanced by bonus material.

                  Einsturzende Neubauten

                  Funf Auf Der Nach Oben Offenen Richterskala

                    Vinyl reissue of their 1987 album.

                    Einsturzende Neubauten

                    Halber Mensch

                      Vinyl reissue of their 1985 album.

                      Einsturzende Neubauten

                      Haus Der Luge

                        Vinyl reissue of their 1989 album.

                        Einsturzende Neubauten

                        Silence Is Sexy

                        Re-issue of the band's 2000 album, formerly available via Mute Records and now on the band's own label.

                        After 20 years together, Einsturzende Neubauten had changed. Gone was the purgatorial clamour of old. In its place are textures and dark humour. Gone, too, was the brittle anger. On Silence Is Sexy, Blixa Bargeld is laconically louche, with a love for subtleties. The title track of album is an unbending, confusing spiral of sound--voices chanting, music forbidden, sometimes as sweet as trickling honey. "Zampano" is more familiar to old school fans, but "Sonnenbarke" invokes the boisterous atmosphere of ghostly beer halls while "Musentango" is self-descriptive. Sometimes chilling, sometimes life-affirming, never dull, Silence Is Sexy is a turbulent document of the times--much like Neubauten's beloved Berlin.

                        FORMAT INFORMATION

                        2xLtd LP Info: Vinyl re-issue of the album originally released in 2000. This double album contains the track Pelikanol”, first available as a bonus track with the 2000 release of the album and now for the first time available on vinyl.

                        Einsturzende Neubauten

                        Zeichnungen Des Patienten OT

                          Vinyl reissue of their 1983 album.

                          Electric Eels

                          Jaguar Ride / Splittery Splat

                            "This is still hard to even fathom, let alone anywhere near realistic, but HoZac Archival Records is proud to present a little piece of history for you here, which, if you are still unexposed, will knock your "punk clock" back a few years, resetting your concept of what punk evolved from, where punk germinated from, and how unhinged the Midwest (Ohio in particular) was in comparison to the East & West Coasts in the days before the Ramones & Sex Pistols records littered the land. The Cleveland-based (and formerly Columbus) electric eels were unrivaled in terms of sonic mayhem for 1974/1975, especially for the Midwest, where extremities in music were very much unwelcome and were not given the opportunities that the art scenes of the coasts got to foster. Despite the fact that this band was the starting point for not only Nick Nox, later of THE CRAMPS, it must be understood that this was not composed, blues-based Stooges-style grunt, gorgeous VU-type noise, glammy Alice Cooper-style grime, or high-frequency bombast like the MC5. This was an entirely new species emerging from the primordial ooze of the fertile crescent of a cesspool that birthed the 70s version of punk as we know it, this was true madness captured on tape, catchy and infectious insanity flowing through the air that never, EVER had a chance during it's time, and this is one of the reasons the eels have such creedence. It's no surprise that it wasn't until worldwide punk was in full swing three years later that the debut electric eels single finally came out of the gates, oddly enough on the Rough Trade label, as it's certain stillborn death in 1975 wasn't even conceivable, even to the Metal Mike and Lester Bangs-types lighting up the underground. The electric eels were the nexus of outsider noise at a time when there might have been several isolated antecedents in random basements in the early to mid 1970s, but none as stripped, bleeding, and almost too-cleverly-convulsing, and none more intimidating or more enigmatic considering how long it took their material to surface. This is the real deal, and there isn't anything more we can say, but there isn't much more than the electric eels when it comes to punk evolution, and the creatures much lower on the evolutionary scale than the currently accepted "godfathers of punk" music, wo will someday inherit this rotten corpse. And did we mention the B-side is the brutally beautiful comp-only track "Splitterty Splat" also recorded in 1975? Surely the planets have aligned, and this is our ticket into heaven, or madness, and yours as well, and we could not be more excited, proud, and genuinly scared to host these sacred recordings on our imprint, AMEN". - VictimofTime.com

                            Recommended for fans of Captain Beefheart, Debris, Kim Fowley, Lou Reed's Metal Machine Music, Victoria Vein & The Thunderpunks, George Brigman, Bold Chicken, Stooges, Rocket from The Tombs, Alice Cooper Band, Roky Erickson, Mike Rep & the Quotas, and general insanity

                            Electric Moon

                            Innside Outside

                              Following the rapid fire sell out of the label’s last release in May (Eat Light Become Lights), The Great Pop Supplement follows up quickly with another real treat. The first outright UK release by German Acid / Psych legends ELECTRIC MOON.

                              Two epic sidelong jams recorded Sept 7th 2013 at PMK Innsbruck, Austria. Extraordinary slow building psych blowouts kicking off with bubbling understated moogs offering no hints to the freakouts that follow- huge swathes of feedback and fuzz punctuate both sides here; incredible stuff and possibly the finest pointer on wax to the intensity and extrasensory overload of their incendiary live shows. (The LP is released to coincide with a UK tour for June incl. headline shows at The Underworld London as well as the Berlin Psych Fest).

                              The band were formed in 2009 and comprise Sula Bassana on Guitar, Organ & Synth; Komet Lulu on Fuzz Bass & Effects (and also responsible for the bands’ artwork) and Marcus Schnitzler on Drums.

                              Sure to follow the paths set by both label and artist by selling out quickly, this one’s a beauty on multicoloured wax, reverse board sleeves and released in an edition of 500 only.

                              For Fans of: HTRK, Tim Hecker, Tamaryn.

                              “Melt Into Nothing” is Ensemble Economique’s most lucid seance to date. The prolific Humboldt County musician has stripped layers off of his trademark haze but retained the beautiful desolation that’s earned him a rabid fanbase. The solo project of former Starving Weirdos member Brian Pyle, Ensemble Economique has crossed a land bridge from apocryphal world music and dusty soundtracks to gauzy 4AD-style atmospherics. Trellises of guitar embolden Pyle’s whispered, threadbare lyrics.

                              On “Hey Baby”, the itinerant tone feels like an update on Neil Young’s stark and beautiful soundtrack for Jarmusch’s “Dead Man”. “Melt Into Nothing”, like that beautiful film music, evokes the great American expanse. Field recordings slip in and out of the mix. On “Fade for Miles”, Pyle’s adroit effects and backwards tape manipulation make the long trail on his vocals fade into waves on a rocky beach. Pyle combines minor-key organ and spacious string synths on “Never Gonna Die”, recalling the grey grace of the releases on Factory’s gothic cousin, Benelux. Thunder accentuates the dubbed-out machine drum programming as Pyle’s dulcet tenor floats in storm clouds.

                              The full-length also features contributions from Toronto artist DenMother and Parisian artist Sophia Hamadi, also of dark-wave Opale. This music is not excessively dark or severe. Rather, the record explores the internal dialogue of solitary walks. “Melt Into Nothing” is for making sense of humanity in nature’s unforgiving face. Ensemble Economique has made his most accessible record yet, but the complex emotion behind these tracks remains resonant and ultimately mysterious.

                              Famy

                              Ava

                                Famy unleash their latest single, Ava: a heart-breaking lament, complete with a bona fide colossus of a chorus, which acts as another dizzying taster of their forthcoming début album.

                                The sky-scraping atmospherics of the track can be drawn from the shared cultural experiences of the band; from growing up in Southern France, through their shared and varied musical influences, and the key choice to retreat to a church in Wales to record their first full-length album. FAMY approach their song-writing with a unique formula. Pairing haunting echo-drenched gang-vocals and a loose sense of natural reverb they carve out a sense of mystic and wonder that engulfs Ava. The band picked legendary, now retired, Radio 1 Maida Vale live engineer Miti Adhikari, to capture the vastness of their leftfield pop songs.

                                REPRESS!!

                                The Wirral's enigmatic Forest Swords make a textured, gauzy music as indebted to the Liverpool region's rich musical heritage as it is the windswept-yet-beautiful coastal environment from which it was born. The result is something completely organic, sounding like a mix of Mogwai's more luscious soundscapes, Burial's sample strewn claustrophobia, with touches of Ennio Morricone's legendary reverbed guitar soundtracks.

                                Debut release "Dagger Paths" is eight tracks of slow release Satori and soulful ambiance marred with chasmic guitars and dread soaked percussion. "Hoylake Misst" - named after the one of the peninsula's river-facing towns - is a thick, chanting clifftop epic and a ghostly cover of Aaliyah’s "If Your Girl Only Knew" threatens to get funky. Closer "The Light" is the record’s most radiant moment - hazy, offbeat and littered with errant strings. It's clear Forest Swords' influences are as wide and varied as the landscape his music is created in. The record's clattering dub, thunderous grooves and cavernous guitar licks rub shoulders with R'n'B shuffles, primitive drumming and heady drones to create music that sounds as weighty and chilling as it is triumphant and thrilling.

                                "Dagger Paths" includes remastered versions of the acclaimed out-of-print cassette singles "Miarches" and "Glory Gongs", tracks from March’s US LP release on Olde English Spelling Bee and both sides of No Pain In Pop’s "Rattling Cage" 7” single in August.

                                STAFF COMMENTS

                                Darryl says: Take the pop minimalism of the XX and add massive shards of treated guitar noises, metallic percussion, occasional vocals plus a huge throbbing dubby-swamp groove, and you get one superb album. Immense!!

                                John Foxx

                                The Virgin Years (1980 - 1985)

                                  This 5CD box set covers the 4 albums John Foxx released between 1980 - 1985 - Metamatic, The Garden, The Golden Section & In Mysterious Ways - plus B-sides and out-takes from the sessions which have been added as bonus tracks after each original album, and on a fifth CD, Fusion/Fission.

                                  The Virgin Years includes a new analogue master of Metamatic , along with re-masters of the B-sides - 'This City', 'Film One' etc. The black box also houses five postcards with the artwork for the singles 'Underpass', 'No-One Driving', 'Europe After The Rain', 'Endlessly' and 'Stars On Fire'.

                                  Get Hot

                                  Party / Drugs

                                  Get Hot is the brand new collaborative project between established electronic producers, FTSE and Jakwob.

                                  After meeting each other 6 weeks ago to try concocting beats, they birthed something much more ballistic than they could have expected. Connecting instantly, like perfect circuitry, the two discovered they shared a punk love, as well as masses of mutual friends, from when they were both playing in hardcore bands. Within an hour of meeting they were in Jakwob's live room, feeding keyboards through amps like guitars, Jakwob letting loose behind the kit, and FTSE screaming his heart out. The results a fully-charged love letter to their lineage.

                                  Neil Hamburger

                                  First Of Dismay

                                    Drag City invite you to celebrate Dismay Day with America’s hardest working funnyman in show business, Neil Hamburger.

                                    A sombre work from a seasoned entertainer clearly carrying the weight of the world on his shoulders, ‘First Of Dismay’ is being issued in answer to many who have applauded for “More! More!”

                                    Specially-chosen stand-up comedy recordings from Neil’s recent appearances at coveted nightclubs in London, Savannah and Los Angeles are interspersed with musical cries for help as Neil emotes with the purely professional panache of the Too Good For Neil Hamburger Band in support.

                                    Song highlights include ‘Endless Roll’, a disco complaint letter aimed at Kirkland Signature trash bags (featuring guest spots from members of The Germs and Jefferson Starship) and ‘Nickel Candy’ - societal decline set to music. Although Neil was strongly advised against the risk of merging side-splitting comedy segments with melancholy musical numbers, the exciting potpourri that resulted has enhanced his sparkle into a veritable milky way of entertainment.

                                    ‘First Of Dismay’ effectively captures the excitement of the popular comedian’s nightclub presentation, featuring ruminations on history and the bible that, besides provoking laughter, will also be educational for the whole family.

                                    Neil’s 10th full-length album is his first since 2012’s muchloved ‘Live At Third Man Records’.

                                    Horsebeach

                                    Deluxe Tote Bag (Ecru)

                                      Heavyweight deluxe ecru tote bag with folded gusset that expands to hold approx 25 LPs / 12"s. Printed with Horsebeach logo.


                                      Horsebeach

                                      Horsebeach T-shirt (White)

                                        The Horsebeach logo printed on a Gildan Softstyle ring spun t-shirt. As modelled by Horsebeach frontman Ryan...


                                        Composed of eleven stunning and emotive tracks, ‘From Scotland With Love’ was written by King Creosote and produced by music supervisor and guitarist David McAulay, with additional production by Paul Savage, in Chem19 Studios in Glasgow.

                                        The record features King Creosote accompanied by his band - Derek O’Neill (keyboards), Andy Robinson (drums), Pete Mcleod (bass) and Kevin Brolly (clarinet) - as well as an additional string section (arranged by cellist Pete Harvey) and a choir of backing vocalists.

                                        ‘From Scotland With Love’ was created in collaboration with director Virginia Heath and producer Grant Keir as an audio-accompaniment to a poetic documentary film of the same name, to be released for the Commonwealth Games this summer. Featuring archive footage but no narration or interview, the film works around themes of love and loss, war, resistance, emigration, work and play and is driven as much by the music as it is the images. For the first time King Creosote found himself being able to write from other people’s perspectives, such as the female characters found in the archive (the ‘fisher lassies’ inspired the moving track ‘Cargill’, for example). The result is ‘From Scotland With Love’, one of King Creosote’s most widescreen cinematic and finest pieces of work to date.

                                        King Creosote

                                        From Scotland With Love - Independent Stores Exclusive Vinyl

                                        Composed of eleven stunning and emotive tracks, ‘From Scotland With Love’ was written by King Creosote and produced by music supervisor and guitarist David McAulay, with additional production by Paul Savage, in Chem19 Studios in Glasgow.

                                        The record features King Creosote accompanied by his band - Derek O’Neill (keyboards), Andy Robinson (drums), Pete Mcleod (bass) and Kevin Brolly (clarinet) - as well as an additional string section (arranged by cellist Pete Harvey) and a choir of backing vocalists.

                                        ‘From Scotland With Love’ was created in collaboration with director Virginia Heath and producer Grant Keir as an audio-accompaniment to a poetic documentary film of the same name, to be released for the Commonwealth Games this summer. Featuring archive footage but no narration or interview, the film works around themes of love and loss, war, resistance, emigration, work and play and is driven as much by the music as it is the images. For the first time King Creosote found himself being able to write from other people’s perspectives, such as the female characters found in the archive (the ‘fisher lassies’ inspired the moving track ‘Cargill’, for example). The result is ‘From Scotland With Love’, one of King Creosote’s most widescreen cinematic and finest pieces of work to date.

                                        FORMAT INFORMATION

                                        2xLtd LP Info: Available exclusively to independent retailers on heavyweight double vinyl in a gatefold sleeve featuring eight bonus tracks, making up the entire film score.

                                        Days of Being Wild was recorded over the course of six weeks in the summer of 2013 with Paul Oldham in a small detached shed in Los Angeles. The album art features original drawings by Max Markowitz.

                                        “I had worked with Paul on the last record I did, 2013’s Double Exposure, and I was lucky because he decided to move to LA right after that record was finished. My friend Brian Cosgrove has this house in the Echo Park hills, kind of a punk house where everyone who lives in it plays in bands. It’s got a front porch with a refrigerator on it and it’s got a one room shed in the back where bands rehearse. A lot of bands have rehearsed there over the years. Paul and I started meeting there over the summer and I would buy Paul beer. We drank whiskey on the first day, but I think we both got too drunk to do anything productive - well, at least I did, Paul’s from Kentucky, so he has an even higher threshold-so we switched to beer and things went smoothly from then on. I played most of the instruments, Paul played bass, and my friend David Kitz joined in on drums for two of the harder songs. Paul told me some great stories about all of the musicians he’s worked with over the years. He even told me the secret to I See a Darkness - Bunny Wailer’s ‘Blackheart Man.’ Supposedly he and Will were listening to that a lot when they made that record - one of my favorites. So, I started listening to it myself. It’s fantastic. “When I wrote these songs I was trying to do something that felt more social, something that reached out a little bit more to other people and that’s why there are more drums on it. People like to rock! I also wanted to use more electric guitar. I was listening to the radio a lot at this time. I was really sick of my record collection and I started listening to the classic rock stations and for the first time I really started enjoying that music - Led Zeppelin, Tom Petty, The Cars, Fleetwood Mac - I was really feeling that stuff. My friend Eric Deines told me that some of the songs feel like ‘super-minimal, outsider transmissions of “Jesse’s Girl”’ and I kind of like that. Todd Ledford from Olde English Spelling Bee was also very helpful after the recording was done. He was the first person I sent these songs to and he gave me a lot of good advice about mixing and recording and life. He thinks there are a few potential hits on this album … but which ones? I guess we’ll have to watch the Billboard charts to find out.” - Matt Kivel.

                                        Thru Me Again is the 2nd release from Chilean trio La Hell Gang and their first with Mexican Summer. Hailing from Santiago, which plays host to an ever growing psychedelic scene (Holydrug Couple, Follakzoid, La Banda, etc), the band create a remote and wild brand of rock ‘n' roll. The eight tracks across Thru Me Again weave seamlessly, channeling heat, light and endless desert dunes.

                                        Despite the heavy context, there's a real clarity in the production, making the blistering guitar solos and mirage-like vocals all the more potent. Tracks like "Inside My Fall" and "Last Hit" recall bands like The Black Angels and BRMC, but some of the more lucid moments ("Sweet Dear", "So High") feel like a grittier Brightblack Morning Light. The soundtrack for your heat swept summer.

                                        In a world where instant gratification is the norm, patience has become a rare commodity. For Zoë Randell and Steve Hassett, who make up indie-folk duo Luluc (pronounced Loo-LUKE), letting things unfold in due time not only defines their career trajectory, it also works as a pretty good description of their approach to making music. Music that Sub Pop co-founder Jonathan Poneman describes as “bracing, subtle, tender and magnificent.”

                                        So while it may seem like Randell and Hassett’s history is littered with all kinds of good luck - from their initial meeting to their relationship with The National’s Aaron Dessner to opening slots with artists like Lucinda Williams, Fleet Foxes and José Gonzàlez; to their deal with Sub Pop; to grabbing the attention of Nick Drake’s producer - being in the right place at the right time isn’t just about fate. It’s about knowing when something feels right and having the confidence that people will respond when they’re ready.

                                        There’s no question that everything these Australians (who split their time between Melbourne and their adopted hometown of Brooklyn) have done in their lives has been leading up to this summer’s ‘Passerby’, their second album overall and first available worldwide. Passerby is a gorgeously crafted 10-track album full of beautiful, slow-burning melodies and delicate harmonies, which drip out of their mouths like honey. The attention to detail is unmistakable and highlights like ‘Reverie On Norfolk Street’ and ‘Early Night’ are as haunting as they are hummable.

                                        Unadorned guitars and voices make up the bulk of the dreamy sound, though the power of the added instrumentation can’t be overstated, with well-placed piano, percussion, double bass, sax, trumpet, trombone and more adding colour to the cosmopolitan atmosphere. Band favourites like Simon and Garfunkel and Gillian Welch (and of course Nick Drake) can be felt throughout ‘Passerby’, while the poignant restraint aligns them well with labelmates Low.

                                        Co-produced by the band and Dessner, ‘Passerby’ shows off all of Luluc’s best qualities, retaining the gentle beauty of the duo’s debut while adding textures built with a cadre of impressive players. It’s the trophy celebrating Luluc’s airtight case that good things really do come to those who wait. The wait is over. The world is ready to hear Luluc quiet and clear.

                                        The Man

                                        Carousel Of Sound

                                        "ARE YOU WIRED TO GET HIRED? Let’s get this straight, nobody likes to be pushed around by THE MAN. With all of the corporate involvement in the music industry these days, it’s finally time to grab those smug CEOs and thrust them onstage and see what comes out when you really stick ‘em. And nothing is more satisfying, both financially and fiscally responsible, than to let THE MAN do their thing, because they will walk all over you and you will love every minute of it. With a panicky/riveting/down-sizing guitar crunch, merging with the heavy dose of anxiety-riddled bass throb, over-worked, stress-wrenched drumming, and all slathered in “workplace harassment”-style vocals, your long-term relationship with THE MAN is one “meeting” you just can’t opt out of and still come away with your promotion intact. Resistance is futile, projections seem grim, and your mental and fidooshiary well-being depend on nothing more than your complete and utter submission to THE MAN, in all of it’s holdings and territories, as declared in their mission statement, thumbtacked to your forehead." - VictimofTime.com.

                                        Recommended for fans of Baseball Furies, Wire, Reatards, Persuaders, Guilty Pleasures

                                        FORMAT INFORMATION

                                        Ltd 7" Info: 1st pressing 375 copies black vinyl.

                                        “The first time I heard Dan Melchior I felt betrayed that no one had turned my ear to his strange sounds before then. The LP was called Hello, I’m Dan Melchior and it starts with the line ‘I once did mushrooms with Björk…’ Goddamn, he had me at mushrooms.

                                        “Since then, I’ve been blessed with unearthing several of his masterpieces from LP bins all around the world. Dan has made mighty and copious marks upon the world of wax. Every record is a wade through the primordial poem- brain that is Dan Melchior’s creative force.

                                        “What we have here is a fabulous collection of classic Melchior und das Menace. We asked, he let us dig through the archive, and lo and behold: Hunger, a grip of unreleased Melchior gold. It will take less than ten seconds for the high to kick in after the rush of greasy guitars consume you at the get-go of ‘A Wizard Doesn’t Need a Computer.’ And yes, he’s taking the piss. “I’ve also been lucky enough to do some touring with him and his lovely wife and co-conspirator Letha. They may be the only white cats I know who don’t look weird in dashikis. I wish I was kidding…quite comely. Letha has been duking it out with a heavy illness, and although strong as ever, the bills are piling up and they could always use a hand. A portion of the proceeds from the sales of this record will go to aid them in this fight. Here’s a link to the website, should you feel the urge to donate otherwise: http://melchiorfund. blogspot.com/

                                        “So please dig in with open ears and hearts. Let Dan melt your brains as he has ours at Castle Face.” - John Dwyer.

                                        ‘Come On Die Young’ was - and remains - a hugely accomplished, elegant and important album, setting a benchmark for the fierce intelligence that would characterise Mogwai’s future body of work.

                                        The reissue of ‘Come On Die Young’ - fifteen years after it originally hit the shelves - recognises the vital role this album played in Chemikal Underground’s development as the label approaches its 20th anniversary in 2015.

                                        This deluxe edition of ‘Come On Die Young’ has been painstakingly put together by the band and label, unearthing more than an hour of bonus material.

                                        Previously unreleased takes from early Chem19 sessions of ‘Waltz For Aidan’, ‘Christmas Steps’, ‘Rollerball’ and ‘7-25’, which featured on ‘Zidane: A 21st Century Portrait’.

                                        Seven remixed and remastered album tracks from CAVA sessions pre-dating the final Tarbox recording sessions.

                                        Two previously unreleased tracks - ‘Satchel Panzer’ and ‘Spoon Test’.

                                        Rarities ‘Nick Drake’, ‘Hugh Dallas’ and the three track ‘Travels In Constants’ EP.

                                        The original, previously unreleased version of ‘Helps Both Ways’.

                                        ‘Mindwaves’ is the new long player from The Moons. A rich sounding, 21st century, psychedelic space odyssey, it’s full of well-crafted songs and infectious rhythms, steeped in love and destruction, peace and paranoia. Classic pop melodies brim with tight harmonies and layered guitars resulting in a rich and varied collection of songs.

                                        Formed in Northampton 2008, The Moons is the ideas of singer/guitarist/songwriter, Andy Crofts. With two critically acclaimed albums to date, ‘Life On Earth’ (2010) and ‘Fables of History’ 2012 The Moons are purveyors of the great British pop song. Crofts’ songwriting craftsmanship deals with typical modern day life. With a mixed melting pot of melody, texture and influence, The Moons are honest songwriting personified with exquisite arrangement and glorious production which harks back to a golden era in classic songwriting.

                                        Motorama

                                        She Is There / Special Day

                                        "She Is There", new 7 inch of Russian indie rock band Motorama, with B-Side 'Special Day'. Two brilliantly catchy songs that remains sunner despite Vlad's deep and dark voice. A new Motorama album is expected later this year.

                                        7 inch includes free mp3 coupon.

                                        Nones

                                        Midwestern Family Values

                                          Recommended If You Like: Jesus Lizard, Flipper, Grong Grong, Aluminum Knot Eye, Toupee, Negative Trend, Puffy Areolas, Von Lmo, MX-80 Sound, migraine headaches!!

                                          Chicago is luckily a large enough city to engulf a multitude of polarizing bands, and one of the best and most ominous of the darker side of the spectrum is the powerhouse known as NONES. Originally forged as an exact opposite blueprint of the archetype female-fronted punk group, this band is a fully-BACKED female force of contention with one deranged and sufficiently blurred frontman slashing forth and breaking the stereotype into micro shards of glass you will never be able to completely pick out of your fine upholstery. As far away from the over-flogged "garage" tagged sound as possible, thereby wrecking the career opportunities of budding music critics, NONES are a riveting, throbbing, mutating single-celled organism growing fins as you read this, constantly evolving into the next life form, yet reliably antagonizing with each live performance. As their two 7" EPs had first signaled within their soiled grooves, this debut LP is an anthropomorphic anomaly of audio art, shedding it's skin and eating it's young between pummeling chord changes, it grasps at the real desperation and de-evolution around us all, churning all that bad karma into a screaming wall of damaged reality.

                                          And even as the death's knell tone of the saxophone emerges as the background noise subsides momentarily, it's only mere seconds before your chest is thrust back again with a hideous wallop of incessant rhythm coerced with the most agonizing vocals from someone that's not being quartered by a group of horses for heresy. The debut LP from NONES is no joy ride, and it's nothing you want to relax with after a hectic day, but more of an instant agitator, a tool for stirring up your inner turmoil and a safe place to keep your paranoid thoughts where they can drift around in a contained space. It's the best kind of death trip we've found in a long while, and while nothing sounds quite like them, it's kind of like the soft lullaby accompanying a celebratory castration on a summer day, or maybe even a high-end hysterectomy on a fancy yacht. No smiley faces, hearts or flowers, just crying babies, broken dreams, fever sweat, double-vision and boiled-over belligerence, cooked down into a thick mess of vengeance and insanity. Whatever you do, this album is already laying eggs under your skin, so it's time to take a deep breath and dive in before the peripheral blackness of your fears are truly inescapable. – Victimoftime.com.

                                          FORMAT INFORMATION

                                          LP Info: First pressing 400 copies black vinyl.

                                          Noxagt

                                          Brutage

                                            John Hegre: Guitar Kjetil D Brandsdal: Bass Jan Christian Lauritzen: Drums.

                                            “Although heavy they have a deftness of touch most bands playing this style of music lack. There is subtleness at work during their long song workouts and an almost jazz perspective to some of their low-end rumblings which means they are never less than exciting to hear.” (Supersonic Festival) After an extended hiatus, NOXAGT return with two new LPs - both on Stavanger-based screen printing/record company DRID MACHINE.

                                            BRUTAGE is the band's fourth album and the first to feature John Hegre (also of Jazzkammer) on guitar. John’s guitar work is predominantly textural -providing an intense, yet soothing counterpoint to the brutal rhythm section. The album contains four lengthy tracks which are a natural continuation on the band’s penchant for repetition and heaviness. As with all previous NOXAGT albums, the album cover features a photograph by world-renowned photographer Torbjørn Rødland.


                                            Noxagt

                                            Collection 1

                                              John Hegre: Guitar Kjetil D Brandsdal: Bass Jan Christian Lauritzen: Drums. “Although heavy they have a deftness of touch most bands playing this style of music lack. There is subtleness at work during their long song workouts and an almost jazz perspective to some of their low-end rumblings which means they are never less than exciting to hear.” (Supersonic Festival) After an extended hiatus, NOXAGT return with two new LPs - both on Stavanger-based screen printing/record company DRID MACHINE.

                                              COLLECTION 1 is a compilation of unreleased material from 2001-2004. The band then consisted of Nils Erga on viola alongside the current rhythm section. COLLECTION 1 contains tracks from the first, unreleased NOXAGT album recorded in 2001. It also includes a live recording featuring producer Billy Anderson on vocals, a track from a 2004 Peel Session and much more. The LP comes in a 4-colour screen printed cover and the LP itself is split black/clear vinyl.

                                              Phoenix

                                              Wolfgang Amadeus Phoenix

                                              We can all breathe now. The coolest band on the planet are finally back - and how! Phoenix have been firm Piccadilly favourites for a good decade now (eep!) and this album has been eagerly anticipated ever since the incredible "1901" streamed on their homepage a few months ago. You should all know the band's sound by now and, even if you don't, you're in for a real sonic treat. "Wolfgang Amadeus Phoenix" continues the Parisians' effortless ability to carve out achingly-hip sophisticated pop music. Indeed, the polished ambience on this LP actually brings to mind the genius production skills of Steely Dan whilst Thomas' vocals are thankfully sounding less and less cheesy! Worth the price of admission alone is perhaps the centrepiece of the whole album and probably the best and most ambitious song they've ever done: the unimpeachable near-instrumental "Love Like A Sunset Part 1 & 2". Deftly traversing several genres - from the ominous keyboard-heavy opening via hypnotic Carpenter-esque spacey plodding to the lush acoustic finale - and synthesizing them into a steadily building sumptuous whole, this is pure pop for NOW PEOPLE!


                                              STAFF COMMENTS

                                              Andy says: The record that finally made them! Super stuff.

                                              For Those Who Stay is PS I Love You's third album, and it was made after Paul quit Kingston for a different big smoke. It was encouraged by the girding strength of love but of course it's still dredging and confused, of course it's still resplendent in its churn. Of course the band had to go back to Kingston to record it - working at a place called the Bathhouse, the duo's first time in "a proper studio".

                                              As always, PS I Love You's songs were the result of collage and experiment: "Advice" and "Friends Forever" were still being written until the moments they were recorded. But in the studio, Paul Saulnier says, with "fancy gear" and tons of time, they could wait until they "really nailed" the perfect part. "And I think we made a very indulgent and decadent album because of it."


                                              FORMAT INFORMATION

                                              LP Info: Limited clear vinyl pressing.

                                              Remember Remember

                                              Forgetting The Present

                                              Brand new studio album from Remember Remember, following on from their Scottish Album Of The Year shortlisted ‘The Quickening’ (2011).

                                              "Forgetting The Present shares all the essential DNA of its precursors; thick waves of emotive guitars, piano and synth are punctuated by lovely melodic through-lines and delicate trickles at the top end that, in their fragility, make the big sounds even bigger. But each element feels more in-synch than ever before, from the chilly, Tubular Bells-referencing flow of opener “Blabbermouth” to the final strains of echoing electronics on “Frozen Frenzy”, the distant but soothing lullaby that closes the album." - Best Of Line Fit.

                                              Recorded in Glasgow at Castle Of Doom Studios by Tony Doogan (Belle & Sebastian, Mogwai, The Pastels, The Delgados, Super Furry Animals) and mastered at Abbey Road by Frank Arkwright (Mogwai, Johnny Marr, Rudimental, Arcade Fire), ‘Forgetting The Present’ will be released on CD, heavy pressed gatefold double LP and digital download via Mogwai’s Rock Action Records label.

                                              Rose Windows

                                              There Is A Light

                                              This single includes two new, previously unreleased songs by Seattle band Rose Windows.

                                              ‘There Is A Light’ was written near the end of the band’s sessions for their 2013 Sub Pop album ‘The Sun Dogs’ and it highlights the band’s talent for creating driving, psych-tinged pop.

                                              ‘Fix Me Another One’ the B-side was written under the influence of Curtis Mayfield, who was in heavy rotation while the band toured in support of The Sun Dogs.

                                              Running

                                              Frizzled

                                              If you like the taste of pure, uncut, gnarly, full of fire fury and fun then you’ll dig running into Running.

                                              ‘Frizzled’ cuts thickly into the ears and breaks on through to the other mind, which is instantly oxidized by the penetration of their spinning wheels, plates, cones, strings, drumsticks, etc.

                                              Equal parts shamble-dance and noise-pop, Running drive relentlessly while shouting their hilarious lyrics with vigour from the bottom of a well of cheap reverb.

                                              Southern Comfort

                                              Suzanne

                                              Recommended If You Like: Circle Pit, Angie, Dum Dum Girls, Wax Idols, Redd Kross, Miss Destiny.

                                              There’s just no way around it, this Southern Comfort 7″ is possibly the most visceral bummer punk classic two-sider of 2014, and your head won’t be the same after you hear it blasting with the windows open on a warm sunny day. As if it was even possible to keep up with all of the great underground music bleeding out of Australia at the moment, always the the helm of that perfectly effortless burnout guitar sound is Angie Bermuda, who somehow had time to fit Southern Comfort in her massive release schedule, but with how great of a dirgey hit their debut single was, we knew this was just going to get better. Filling the other side of this equation is Harriet Hudson, a tough-talkin’ gal whose incredible snarling vocals intertwine angelically with Angie’s to form a knot in your skull you just can’t pull loose, and you certainly won’t want to. That perfectly innocent jangling intro isn’t anything to be worried about, but as it intensifies and and that inimitable first guitar solo on “Suzanne” cuts through the space junk and right into your heart, your body will writhe and your mind will liquefy into thickened honey, and you’ll hear it dripping right from your speakers. It might be a lot to take in but we know you can handle it, just don’t crash into the rocks and you’ll be fine.

                                              If you aren’t already familiar, be sure to check into all the other great bands Angie is currently involved with, RUINED FORTUNE, STRAIGHT ARROWS, her solo ‘Angie’ LP, and get ready for Harriet’s MISS DESTINY debut 7″ to burst forth later this summer, all shining examples of the incredibly fruitful Australian landscape. - VictimofTime.com.

                                              FORMAT INFORMATION

                                              Ltd 7" Info: First pressing 400 copies black vinyl.

                                              Toy

                                              As We Turn

                                                The third single to be released from the album ‘Join The Dots’, this time ‘As We Turn’.

                                                Another limited screen printed sleeve this time on 12”, with remixes from Part Time Punks and Tom Furse from The Horrors.

                                                STAFF COMMENTS

                                                Ryan says: Another great single taken from 'Join The Dots', this time Tom Furse (The Horrors) joins them on the b-side with a re-imagining of 'Conductor.

                                                Originally conceived as a frenetic side-project founded by members of Thursday, Glassjaw and Converge, United Nations’ membership and ideology have evolved into a full-time flagship for incendiary chaos. Their line-up overhauled to include members of acclaimed screamo group Pianos Become The Teeth, United Nations have become a perpetual lightning rod for controversy, confusion, and contempt – in other words, they have become one of the most promising punk bands in North America.

                                                Now, the enigmatic supergroup have returned with the long-awaited follow-up to their self-titled 2008 debut – and their first new recordings since 2010’s highly sought-after “Never Mind The Bombings, Here’s Your Six Figures” 7” on Deathwish Inc.

                                                Featuring material recorded between the spring of 1981 and the fall of 2016, The Next Four Years picks up where “Never Mind The Bombings” left off, expanding on their already caustic sound with an even greater sense of urgency and aggression. It’s a furious homage to the pioneers of punk, and a scorching critique on the current state of “punk.” It is the most cathartic music of their mysterious career, and unquestionably some of the most vital heavy music released this year.

                                                White Haus

                                                The White Haus Album

                                                João Vieira's career as a DJ started 15 years ago in East London, promoting Club Kitten (weekly) for three years with a couple of DJ friends. Back to his hometown (Porto, Portugal) in 2001, his career took off as a DJ, selling out 2000 people capacity venues in Porto, and revolutionizing the club night by mixing punk records with disco, Suicide, Add n to X and 80s electro.

                                                In the past 10 years he released four albums with his band X-wife, where he sings, plays guitar and co-writes all the music. His band was praised by James Murphy from lcd and played various shows in New York city with Metronomy, Simian Mobile Disco etc.

                                                Following on from the previously vinyl-only "White Haus EP", he now drops a full length CD, which includes all the tracks from the "White Haus EP" on a bonus disc. White Haus is his first work as a music producer, writing, performing and producing all the music (he even used his skills as a graphic designer to do all the artwork). The album is a mix of genres, heavily influenced by the New York post-punk disco-not-disco, West coast 80s electro and no wave.

                                                Woman’s Hour are not your average band. The first clue comes in the name of the London-based four-piece, taken from a beloved female-focused news and culture show on BBC Radio 4. The second is in their graphic, striking monochrome visuals, meticulously curated in collaboration with Tate and MOMA certified fine artists Oliver Chanarin and Adam Broomberg. These play with shape and texture, much like their powerful, iridescent music. Their 360º approach is closer to the art / music crossover of acts such as Throbbing Gristle, Yoko Ono or Factory Floor than most of this year’s indie hopes.

                                                Their debut album ‘Conversations’ displays the intricate construction and intimacy of The xx and the iridescent shimmer of Summer-defining indie pop. Their music - as poignantly personal as pop gets - has a rare singularity and purpose.

                                                Woman’s Hour have an uncompromising commitment to the unconventional. For them, music does not exist as merely a hummable soundtrack but as a wider and more artistic proposition.

                                                FORMAT INFORMATION

                                                Ltd LP Info: Limited edition coloured vinyl format available exclusively to independent retailers (600 copies for the UK & Eire).

                                                The first release from new label Rongorongo shines a light on the grey area between punk and reggae. ‘Spiky Dread’ is the result of a few years of hunting by Wrongtom and Ed Zed, who sifted through a plethora of punk and post-punk oddities, picking their favourite approximations of dub and reggae - a side of punk which is largely overlooked, save for tales of the mighty Don Letts playing roots records at The Roxy, or dub sessions round at John Lydon’s gaff in the wake of the Sex Pistols.

                                                ‘Spiky Dread’ tells a deeper story, focusing on the lesser known practitioners of punky reggae, with the odd iconic act snuck in for good measure. Opening the set, “America’s greatest unknown band” The Offs sat snugly amongst the mutant disco and noise bands of early ‘80s downtown NYC with an infectious brew of punked up funk and ska … their ‘Cool Down’ is a rare moment of downbeat brilliance. The following 13 tracks take in the skanking R&B of The Offs compatriots Bad Brains (who also grace the album’s cover thanks to Pulitzer Prize winning photographer Lucian Perkins), dubbed-out Liverpudlian dancehall from Jah Scouse (and two-thirds of Young Marble Giants), a heavyweight bubbler from South London art collective Family Fodder, and the unlikely combination of prog, punk and reggae from Birmingham’s Dangerous Girls, responsible for some of the best-worst rhyming couplets ever committed to tape.

                                                Acclaimed writer and punk professor Vivien Goldman appears here twice, penning liner notes as well as dueting on the lovers rock cover of Bob Marley’s ‘Do it Twice’ by her short lived group Chantage, with faders manned by dub experimentalist Adrian Sherwood. Heading north, there’s a rare opportunity to catch A Certain Ratio in dub mode in their Sir Horatio guise, whilst back down to Brighton we hear Peter & The Test Tube Babies tormenting their bassist with the Clash-esque (well musically at least) ‘Trapper Aint Got A Bird’. Also included is Return Of The Panthers’ apocalyptic dub rocker ‘Calling Captain Nemo’, which has sat unreleased for 30 years since these Cardiacs associates split up soon after the recording session. Another Home Counties group Red Beat offer up a sneering skanker produced by Killing Joke’s sonic mastermind Mark Lusardi, who also boasts credits on PiL’s ‘First Issue’ and LKJ’s ‘Bass Culture’.

                                                A brace of Brit-dub legends make an appearance, first on Ruts DC’s rhythm collision with Mad Professor and then Dennis Bovell crops up with The Slits, who’s ‘Animal Space’ 12” is as unsettling as it is slinky. Finally, the session wouldn’t be complete without a trip to the mecca of UK bass music, and Bristol serves up two of it’s finest uneasy skankers via the dislocated dub of Glaxo Babies versioning their own post-punk staple ‘Who Killed Bruce Lee’, and the frenetic steppa ‘Work’ by Electric Guitars closes off thecomp with a jerky response to Two Tone’s ska revisioning.



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