Genre pick of the week Cover of The Best Day by Thurston Moore.
'The Best Day' - Thurston Moore’s first solo record since 2011’s ‘Demolished Thoughts’ – is released via Matador Records.

Backed by James Sedwards of Nought (guitar), Deb Googe of My Bloody Valentine (bass) and Steve Shelley of Sonic Youth (drums), the album radiates with both his signature thrashing electric guitars as well as blissful 12-string acoustic ballads.

In case you don’t already know: Thurston Moore has been at the forefront of the alternative rock scene since that particular sobriquet was first used to signify any music that challenged and defied the mainstream standard.

He is the founder of Sonic Youth, the band that turned on an entire generation to the value of experimentation in rock n' roll.

From its influence on a nascent Nirvana, to Sonic Youth’s own ‘Daydream Nation’ album being chosen by the US Library of Congress for historical preservation in the National Recording Registry in 2006, the band’s importance in rock history is undeniable.

Moore records and performs in a cavalcade of disciplines ranging from free improvisation to acoustic composition to black/white metal/noise disruption.

Alongside his various activities in the musical world, he is involved with publishing and poetry, and teaches writing annually at Naropa University, Boulder CO, a school founded by Allen Ginsberg and Anne Waldman in 1974.

Elisa Ambrogio, Magik Markers’ power front, lyric intelligence, guitar g’rilla and awkward weirdo, is back, and forth too, to deposit her first full length solo outing on your doorstep. ‘The Immoralist’ lies at the wicked crossroads of the electric wail of Wilson Pickett and the sweetest harmony of Wilson Phillips.

Ambrogio exhibits a new refinement on ‘The Immoralist’. Working with Papercuts’ Jason Quever, Elisa’s earliest childhood musical loves The Poni-Taies, Tiffany and The Dixie Cups rise through the haze-nraze of electric guitar and drums with a pop repercussion previously unexplored by Magik Markers. Glossy melodies, drums that throb with the rhythmic stamp of a celibate sect and layers of vocals joined in harmony over stark sound-beds engage a whole new quadrant of Starship Ambrogio. Meanwhile, the endocrine hiss of Love’s ‘Baby Soft’ and heart-caught-in-throat emulsion sweats from the tracks, taking Cale’s conceit of fear as man’s best friend and playing fetch with it.

Flashes of the youthful innocent and her shadow illuminate ‘The Immoralist’s early moments, ‘Superstitious’ and ‘Reservoir’. With ‘Mary Perfectly’, at long last we take the guitar player for a ride. Over the cheerleader chants and locust synth of ‘Comers’, a dreamy meditation on agency, she writes a song about a horse and admits it is a hack move to write a song about a horse in one breath. Not every album can successfully write love songs about examples of irrigation but Ambrogio pulls it off seamlessly on tracks like ‘Reservoir’ and ‘Arkansas’.

As ‘The Immoralist’ moves through its masterfully sequenced narrative arc, disparate elements are pulled into focus: a suburban dad playing the steering wheel of a Pontiac 2000 is echoed in the opening drum beat of ‘Stopped Clocks’, while the coiled freedom of improvised piece ‘Kylie’ captures at long last the poetic resonance of applying lip gloss and features Ambrogio’s long-heralded but neverbefore captured cello playing. ‘Far From Home’ evokes the loneliness and confusion of waking up in a dark field and feeling your way back to civilization - along with a nebulous-yet-unshakeable vibe of romance.

Formed in late 1994 by singers/guitarists/drummers Conrad Keely and Jason Reece, Trail of Dead has evolved over the years expanding their line-up while still being creatively driven by the core founding members. Friends since childhood, Keely and Reece started playing music in the indie rock town of Olympia, WA and eventually relocated to Austin, TX where they started …And You Will Know Us by the Trail of Dead.

This is their ninth album.


2xLtd CD Info: Limited 2CD digipak edition featuring 2 bonus tracks and 'Tao Of The Dead Part 3' EP as bonus disc.


All In A Dream

    Balduin – a one man Swiss enigma who has been ploughing his own unique path to the stars since 2001 – and his Sunstone album finds him on glittering form and should appeal to fans of classic pop music and anyone with a grounding in the history of genuine, underground sounds, each listening reveals more depth and variation, and this truly is a work of pure invention and originality.

    There are deep echoes from the chasm that is British Psych and nods to the experiments of the Fabs as well as those often ignored late 60’s Bee Gees albums, Kevin Ayers, Syd and countless lost music by bands with exotic names such as Rainbow Ffolly and Velvett Fogg – this is no re-treading of the past though – it’s a fresh as the breeze that blows through Balduin’s Glamour Forest, the limited 500 press vinyl comes in an eye catching gatefold sleeve – it’s on coloured wax and includes a download code



      After last year’s icing on the CAVE, ‘Threace’, who knew when in the world there’d be another CAVE record? Next year maybe? Well, next year is here and there isn’t a new CAVE record but instead there’s a CAVE record with some ‘old’(ish) sides compiled.

      ‘Release’ compiles jams from the sweltering heart of CAVE that didn’t make it onto their three albums and three EPs. Anyone who’s heard their albums can attest that CAVE have a fresh, yet well-seasoned ear for long-play records and each one shows their ever-revolving palette. Being in CAVE is also about fun though and they’ve also indulged themselves now and again with standalone songs and shortplay records on Trensmat, Static Caravan, Giradiscos and Permanent, as well as some self-released cassette freakouts.

      Like the best singles, CAVE’s sides here have singular qualities that songs on albums can’t, as they unwind themselves over 30 or more minutes in time. A couple of the Release tracks rock more extreme too, which the CAVE-head will find in awesome contrast to the refined production of ‘Neverendless’ and ‘Threace’.

      There are three waves of CAVE so far, from 2007 - 2014 and they’re all a part of ‘Release’. The first band was Cooper on guitar, organ and / or synth, Rex on drums and Zach on bass but Dan came on pretty quick after that and plays on almost everything else here. Then it was the second wave: Cooper, Rex and Dan plus Adam playing keys and Rotten Milk on synth. Adam left after ‘Pure Moods’ and Rotten Milk left after ‘Neverendless’. Then the third wave began when Jeremy came in on guitar. He plays and sings too on the ‘Threace’ outtake, ‘JIM’. Phase three continues to expand with Rob on woodwinds.

      Since the beginning, when they recorded on cassette and released on CD-R, CAVE have been all about formats, interacting with them as the they captured their sound, the weirder the better. ‘Release’ contains mostly 4-track stuff, plus some 8-track stuff. A bunch of the masters had to be transferred from VHS, which CAVE liked for mixdowns in the early days of the late 2000s.

      It should be said that the ‘Harshmellow Mix’ of ‘Butthash’ is not the same version as on the Permanent split 10” with the California Raisins.

      Chicks on Speed are back with a new daring style of Media-Art-Pop-Music.

      The album and series of six interactive musical instrument apps presents analogue craft strategies alongside digital human computer interaction, in a collision between pop music, art, activism and data - this album and international series of interactive live-art exhibitions and concerts to launch 'Artstravaganza' invites Chicks on Speed audiences to become PROSUMERS.

      'Artstravaganza' was created by Murray-Leslie and Logan in collaboration with leading contemporary artists, activists, producers and a princess, including: Julian Assange, Yoko Ono, Peter Weibel, Francesca Thyssen-Bornemisza, Christopher Just, Oliver Horton, Angie Seah and Anat Ben- David.

      Quality reissue of Codek’s highly sought-after first release from 1980. This hard to find 12” version features the incredible full length six minute version of ‘Me, Me, Me’ a funky slo-mo new wave floorfiller that originally found favour with Baldelli, Loda etc. on Italy’s early eighties cosmic scene as well as the equally great instrumental ‘Demo’ version on the flip. Somehow bridging a sonic wormhole between Ian Dury, Talking Heads and David Bowie…Unmissable!

      The Coral return with the release of a new album - ‘The Curse Of Love’ - on Skeleton Key Records.

      The album features 12 previously unreleased tracks recorded and produced by the band in 2006 on a Tascam 8-track recorder.

      Recorded in a period between the release of ‘The Invisible Invasion’ (2005) and ‘Roots & Echoes’ (2007).


      Ltd LP Info: Limited edititon - 900 copies only.

      The Cramps

      Blue Fix

        The Cramps’ “Blues Fix” first came out in 1992 as a side project to “Look Mom No Head!” – sort of the single from the album, plus three. It came out then on newfangled CD, so here’s your chance to get a vinyl fix of the “Blues Fix”, all big 10 inches of it.

        ‘So what you got here big boy? Well, first up is ‘Hard Workin’ Man’, originally released on MCA Records in 1978 as part of Jack Nitzsche’s soundtrack to Blue Collar, which had Harvey Keitel playing alongside Richard Pryor. The record featured Ry Cooder on slide guitar and Captain Beefheart growled a mean vocal. Jack was a good friend of Ivy and Lux, with a shared passion for records. This has to be the latest original they covered on record.

        It was the Cramps who introduced me to the delights of Lightning Slim’s ‘It’s Mighty Crazy’, originally issued on Excello 2131 in November 1957, if you must know. Of course you must, as like the rest of us record freaks you just keep on rubbing at that same old stuff: catalogue numbers, matrix numbers, dates, the colour of the label, the thickness of the wax, even what’s inside the groove. A svelte take here from our band.

        Walter Brown got his Jelly Roll rocks off on Zip 4686 in 1958 and is definitely not to be confused with the blues shouter of the same name who fronted the Jay McShann Orchestra. Our Walter made this singular outing in his search for fame and poverty and put a lot of energy into both sides of his 45. This tune is the more insistent, and the Cramps do that restless-breathless-energetic thing so well on their take.

        The EP closes with ‘Shombalor’, originally issued by Sheriff & the Ravels on Vee-Jay 306 in December 1958, just in time for Christmas. Sheesh, who buys their loved one this to play under the mistletoe? (You’ve guessed.) The record was produced by Aki Aleong, who might have also owned up to writing “Of all the animals in the world, I’d rather be a bear”. But then again, as Sheriff sings it with such panache and conviction, maybe they are his finely tuned lyrics. Whatever, Lux eats the song like only Lux could eat a song.’ – Roger Armstrong


        Nowhere Is Home

          "Nowhere Is Home" is a brand new film about Dexys and their recent live shows. It is directed by recent BAFTA winner Kieran Evans and Paul Kelly (the first time the pair have collaborated since 2003's Finisterre) the film documents Dexys celebrated residency at the Duke Of York's Theatre in London last spring.

          This deluxe vinyl live set is released to coincide with the film.

          Dilly Dally

          Candy Mountain

          Katie Monks and Liz Ball started Dilly Dally in 2010 while living in a cockroach-infested apartment near Toronto’s Kensington Market. The two shared a love for dreamy guitars, weed and karaoke. Turning to good friends Corey Marshall (drums) and Michael Guiliani (bass), the four piece spent the next three years playing any bar or basement with a PA, building a solid fan-base in Toronto and sharing the stage with notable bands such as Born Ruffians and Tokyo Police Club.

          By 2014 the band had recorded their first full length record with producers Leon Taheny (Owen Pallett, Austra, Dusted) and Josh Korody (Fucked Up, Beliefs, Greys) at Candle Studios in Toronto, capturing a collection of songs that had been written over the course of three years. The track ‘Next Gold’ was released independently as a single: “Katie Monks sings the way drunk people do at weddings - loudly, messily, and with absolute conviction. You can make out about five words total on ‘Next Gold’, the first track from Dilly Dally’s forthcoming debut, but the Toronto four-piece’s Pixies-style grunge pop is no less riveting for being incomprehensible.” - Pitchfork, May 2014

          Dope Body have built their name in the underground with intense live performances of their also intense studio recordings. On the back of their second album, 2012’s ‘Natural History’, they embarked on a rigorous nineteen months of almost nonstop touring, bringing their individual performance stomp to every bar, basement and backyard that asked for it.

          It’s easy to picture the members of Dope Body emerging from their distant and hidden cave of rock with a new wave of grimey, Sabbath-refracted mayhem in order to torch Earth once again but they’re actually a group of trained players and fine artists with vision.

          On ‘Lifer’, Dope Body redefine the aural yawp they have been venting for some time, honing wild windmills into surgical strikes, their gut-busting repulsion-sound continuing to expand without losing any of the feral energy that made a crazed reputation in the already-insane Baltimore music and arts underground.

          Zachary Utz’s metalloid guitar fingerprints are as uniquely rough and scabrous as ever but with a few new refinements added to his barrage. Andrew Laumann’s vocal bellow continues to incite a riot of excitement with each additional chorus. David Jacober’s power-and-precision drumming continues to grow in might and scope, driving the songs whether at peaks of volume or the depths of introspection. Plus, bassist John Jones, who joined following the recording of ‘Natural History’, contributes to the weird math of Dope Body’s nu-power trio with lines that perfectly expand the bounds for the band. When Dope Body converge to conceive of the next thing, the storm brews, songs are rocked out and written and we’re propelled into another sweaty go-round. This is a controlled demolition, planned but with room to take down additional structures.

          Simply put, there’s a distinct-but-subtle evolution from one Dope Body record to another and ‘Lifer’ is no different. ‘Repo Man’ progresses the band’s songwriting, creeping on you and crooning with an oscillating bass groove before whipping into a frenzy. ‘Hired Gun’ gives us the pyrotechnics we want with a forward-evolving, 2014-style dynamic range of loud / soft / loud and a big-ass sing-along chorus. Where most Dope Body songs show lead singer Laumann’s rhythmic ability, ‘Rare Air’ exhibits his talent for constructing melody.

          ‘Lifer’ juggles the rough spark of Dope Body’s sound, shuffling slow burners and their previously (and righteously) established propulsive attack, making for a new yet satisfyingly heavy trip into the heart of Dope Body.

          Following on from Dury’s acclaimed 2010 album ‘Happy Soup’, ‘It’s A Pleasure’ is a series of conflicted emotions, stark drum beats, comic vignettes and strung out synths coming together to present one man’s wry take on the battle with existence. It’s metaphysics meets morose disco.


          Ltd LP Info: Special white vinyl LP format exclusively available to independent retailers.

          The George-Edwards Group

          Chapter III

            ‘Chapter III’ of The George-Edwards Group archives draws from deep in the pockets of their sporadic later embodiment. With their grand 70s dreams of Hollywood stardom fading, Edward Balian and Ray George continued to track their winsome muse, perhaps a bit more aggro and with a bit more dolour than they had back in the ‘38:38’ days.

            Although late 60s Detroit was the seedbed for The George-Edwards Group, they had more in common with Silver Apples than the Amboy Dukes. Enamoured of keyboard effects and sonic tomfoolery, they developed their sound away from the scene, slowly developing a spacily elegant pop music as the 70s passed by outside their basement lair. Scoring their melancholic melodies with bells, pianos and synthesizer led to something you might almost call ba-roque ‘n’ roll, or perhaps like demos for Big Star’s ‘Third’.

            In 1977, they laid down enough tracks to produce a white-label LP pressing that they dubbed ‘38:38’; however, a trip to the Sunset Strip to drum up record label enthusiasm was a complete bust. However, without that pressing of 100 copies, where would the legend of George-Edwards be? Instead, based on oft-told tales, Galactic Zoo Disks located the music and the band brought this wayward classic to Drag City. ‘38:38’ received a first official release in 2009, to great fanfare. The 21st century discovery of The George-Edwards was also accompanied by a show or two (still in the deep underground, of course), along with, naturally, the recovery of more tapes. The 2011 GZD / DC release, titled ‘Archives’, brought to the light a few fuzzheavy rock cuts and deep synth dirges to add to the ethereal G-E signature.

            ‘Chapter III’ throws the vault open once again with flair: ‘The 8th Circus’ is a magisterial guitar lead couched in synth chirps and swoops, all of which has a distinctive ASW (After Star Wars) vintage to it. The classic George-Edwards murk drifts through several sweetand- sad songs before the bubblegummy bounce of ‘My Love’ pops up, followed by the trapped-in-the-funhouse pastiche of ‘Who Stole My Brain?’.

            Side two features a few surging tracks that recall Archives rockers like ‘Shattered Heart’, as well as several more ARP-string-laden ballads in the classic ‘38:38’ G-E tradition. All in all, an excellent third trip to the faraway heart of The George-Edwards Group.

            Brand new studio album by the legendary Merseyside band. Released on Probe Plus Records.

            Famed for making ill-tempered music with a social conscience, Birkenhead band Half Man Half Biscuit, formed in the early eighties, ‘merely as a way of getting through the day’. Quickly picked up by the angst-ridden youth of the eighties, their punk driven, lyrical rants, and protests against all things celebrity and fake, became the unofficial anthems of the underground.

            “A band as savage as they were whimsical, Half Man Half Biscuit provided an unexpected desser for those British post-punk teenagers who lamented the demise of bands with bite. Nigel Blackwell’s inimitable songwriting on the minutae of life, football and TV celebs quicly garnered cult status, particularly live, whwer fans could eagerly chant back his wisw words” – Patrick Thorne.

            Heat Leisure

            III & IV

              Heat Leisure are a collective featuring all members of Pontiak along with Greg Fox (Guardian Alien, Liturgy, Ben Frost), Alexandra Drewchin (Guardian Alien) and Steve Strohmeier (Beach House).

              Heat Leisure take a freewheeling approach to psychedelia with obvious nods to Amon Düül II, Can and The Grateful Dead.

              ‘III & IV’ features Merry Prankster and Grateful Dead associate Ken Babbs.

              Pontiak will tour in both the US and Europe this Autumn. Guardian Alien will tour in Japan.

              ‘III & IV’ is released on LP only, pressed on virgin vinyl and presented in a jacket with spot UV gloss printing on cover and free download card.

              Heat Leisure’s first recording (‘I & II’) premiered at the Chicago International Music And Movies Festival in 2013.

              “Intense guitar rock isn’t a new pleasure, but in the Carneys’ capable hands, it’s still a potent one.” - PopMatters on Pontiak

              “Guardian Alien’s music creates wide and wonderous sonic vistas” - The Wire

              The Inspiral Carpets – along with the Stone Roses and the Happy Mondays – made their name as part of the whole ‘Madchester’ scene, with a string of classic singles and a lucrative line in iconic T-shirts.

              Between 1989 and 1995, the band notched up 15 hits and four Top 20 albums. In 2003, they re-formed and have been playing live ever since. In 2011, they reunited with original singer Stephen Holt. One of the LP’s highlights is the garage punk opus “Let You Down”, which boasts an amazing and unique cameo by special guest and legendary punk poet John Cooper Clarke!

              One of the most popular and successful underground bands of the early- / mid-’90s, California’s Jawbreaker was comprised of Blake Schwarzenbach (guitar and vocals), Chris Bauermeister (bass) and Adam Pfahler (drums). The band melded raw vocals, a driving rhythm section and grinding guitar with complex song structures and literary lyrics, forging a distinctive style that has since, along with Schwarzenbach’s subsequent band Jets to Brazil, influenced a generation of independent music.

              By the end of 1993, Jawbreaker was in full stride. The band had completed a full US tour in the summer, played several shows that October with Nirvana, and was attracting significant major label attention.

              24 Hour Revenge Therapy, released in early 1994, was Jawbreaker’s third album. After the more “progressive” Bivouac, the trio had returned to a straightforward, poppier sound, and the resulting full-length is widely regarded as their best. The bulk of the recording was done by noted independent producer Steve Albini (though it is officially credited to Albini’s cat, Fluss).

              Following the mainstream success of fellow Californians Green Day and Rancid, Jawbreaker decided to sign with DGC. They released a final studio album, Dear You, before calling it quits in 1996. A feature-length documentary on the band is currently in the works.

              What if Can played Ghanaian highlife? What if Morroicone had scored spaghetti westerns in a Moroccan souk?What if The Fall had garnished their rockabilly grooves with swing-era horns? King Champion Sounds recombine canonical influences in new contexts. (SUNDAY TIMES / Stewart Lee December 2013)

              King Champion Sounds deliver a blistering 10” album combining hypnotic krautedelic / dub / minimalist / electronica tunes with a sugarshit sharp wordsmith in his element.

              G.W.Sok (former lyricist / singer for The Ex) has never been in better form. The band, led by Ajay Saggar, close ranks hard to deliver the tightest and most exciting palette of music you will hear all year.

              This is a strictly limited 10” slab of vinyl which includes a free CD inside with TWO extra bonus tracks. Don’t miss out!!!

              They combine the grit and grind of the best of post rock underground with the swinging horns of Africa in an astonishing whole. Great packaging with CD and vinyl combined.

              King Champion Sounds are fantastic. They have real presence and authority, they have an astonishing sound (a mix of shuddering, rumbling Fall bass lines, clattering guitar patterns and this soothing, affirming soul revue / Dexys feel from the horns), and they have the songs. They sound massive live. (INCENDIARY October 2013).


              10" LP Info: Limited to just 500 copies.


              Backspace Unwind - Clear Vinyl LP+CD Edition

              'Backspace Unwind' is the long awaited new Lamb album. The sixth album of the electronic music duo contains 10 new songs written by Andy Barlow and Lou Rhodes with four featuring string arrangements by Tom Trapp, who also conducted the string section for the recording session at Air Lyndhurst Studios in London.

              "Making this album has been a journey of discovery in so many ways", says Lou. "After making music together over a period of almost 20 years (with a 5 year hiatus to take a breath) it’s reassuring that new routes and approaches seem to abound. Over those years I think we’ve learnt that this journey needs no map; in fact tearing that map up, at every twist and turn, has become our regular gleeful practice."

              Musically we're treated to crisp electronica, tech-house and downbeats, sweeping orchestral passages and, as ever, Lou Rhodes fragile, folk-tinted vocals centre stage.

              The LP version of 'Backspace Unwind' contains a bonus track that’s not available elsewhere (“As Satellites Go By (Piano Version)'). This fantastic package also contains a free CD copy! And to top it all off, just for the fans, the first 1000 copies are numbered and pressed on transparent vinyl!

              Lanegan's chief compositional tool on Phantom Radio was his phone – specifically an app called Funk Box. “I didn’t bother to hook up my 909 and 808 this time,” he says, “because the app had ’em. I’d write drum parts with it then add music with the synthesizer or the guitar.” The album grew organically from these synthetic roots, taking in Mark’s ongoing love of Krautrock and also an ’80s new wave show on Sirius satellite radio, his favoured aural companion as he drives around Los Angeles. “They have a few good shows but the ‘80s one in particular I like,” he says. “That’s the music that was happening when I started making music. And although the Trees drew on Nuggets psychedelia, 13th Floor Elevators and Love, we were actually listening to Echo And The Bunnymen, Rain Parade, the Gun Club. A lot of British post-punk. We loved that stuff. I just waited until I was in my late forties before I started ripping it off.”

              Lanegan’s generous collaborative spirit sees him deliver an excellent co-write with British guitarist Duke Garwood, with whom he made last year’s dustbowl-desolate Black Pudding, and who now offers the music for I Am The Wolf, a Lanegan signature tune. Mark’s favourite song on the album, meanwhile, is Torn Red Heart, an intensely tender meditation for a broken heart that’s like The Velvet Underground’s Pale Blue Eyes orchestrated by Angelo Badalamenti. He also has a special mention for Floor Of The Ocean, which balances sheer catchiness with a deceptively bleak lyrical reflection on a life lived on the hard shoulder: “Clear eyes, can’t avoid the searchlight/Hope that they don’t find me/Find me where I’m lying.”


              Ltd LP Info: Limited white vinyl edition.

              Lanegan's chief compositional tool on Phantom Radio was his phone – specifically an app called Funk Box. “I didn’t bother to hook up my 909 and 808 this time,” he says, “because the app had ’em. I’d write drum parts with it then add music with the synthesizer or the guitar.” The album grew organically from these synthetic roots, taking in Mark’s ongoing love of Krautrock and also an ’80s new wave show on Sirius satellite radio, his favoured aural companion as he drives around Los Angeles. “They have a few good shows but the ‘80s one in particular I like,” he says. “That’s the music that was happening when I started making music. And although the Trees drew on Nuggets psychedelia, 13th Floor Elevators and Love, we were actually listening to Echo And The Bunnymen, Rain Parade, the Gun Club. A lot of British post-punk. We loved that stuff. I just waited until I was in my late forties before I started ripping it off.”

              Lanegan’s generous collaborative spirit sees him deliver an excellent co-write with British guitarist Duke Garwood, with whom he made last year’s dustbowl-desolate Black Pudding, and who now offers the music for I Am The Wolf, a Lanegan signature tune. Mark’s favourite song on the album, meanwhile, is Torn Red Heart, an intensely tender meditation for a broken heart that’s like The Velvet Underground’s Pale Blue Eyes orchestrated by Angelo Badalamenti. He also has a special mention for Floor Of The Ocean, which balances sheer catchiness with a deceptively bleak lyrical reflection on a life lived on the hard shoulder: “Clear eyes, can’t avoid the searchlight/Hope that they don’t find me/Find me where I’m lying.”


              2xLtd CD Info: The 2CD edition features the 5 tracks from the 'No Bells On Sunday' EP.

              The story of The Leisure Society began in Burton-Upon-Trent when Nick Hemming picked up a guitar and formed a band with Shane Meadows, Paddy Considine and Rich Eaton. Following a year of demos and increasingly bizarre gigs, Shane and Paddy were drawn towards careers in film, leaving Nick to pursue a life of making music. After serving time with Burton's best known exports The Telescopes (latterly Unisex), Nick contributed scores to some of Shane's movies, including A Room For Romeo Brass and Dead Man's Shoes, under a new moniker, 'The Leisure Society'.
              Then in 2005 he moved to South London where he bunked up in singer Christian Hardy's postage stamp bedroom. One thing inevitably led to another and soon Nick started shyly presenting his compositions in the wee hours of the morning, picking up a ukulele, mandolin, banjo or guitar and pouring out songs that were wistful, romantic, poetic and drenched in longing. Hemming was dismissive, Hardy was transfixed. Thus The Leisure Society was reborn, a new band in which Christian tinkled the ivories, twiddled the knobs and sung all the notes Nick couldn't reach.
              Nick joined the ranks of two Brighton folk ensembles, Sons Of Noel and Adrian and Shoreline, both members of a newly formed Willkommen Collective. It was from this rich pool of talent that Nick and Christian found band members to realise their ever-expanding vision of The Leisure Society. Simple ukuleles and close harmony were joined by lush orchestral chamber pieces with vast rhythm sections and choirs. Nick brought home a sitar, Christian brought home a pedal steel, Nick brought home a flute player, Christian brought home a drummer. And so on. And now they have produced a collection of 30 or so songs, 11 of which are presented on their first limited release, "The Sleeper".


              2xLP Info: Full Time Hobby 10th anniversary repress. Pacific blue vinyl. Limited to 300 copies.

              Last year saw Johnny Marr enjoy a rapturous start to his solo career following the critical acclaim (included the honour of being named as NME’s Godlike Genius) greeted to his Top 10 debut solo album ‘The Messenger’. Meanwhile his shows were celebrated for his ability to combine the best of his new material with select highlights from The Smiths plus others from his extensive back catalogue.

              Johnny Marr’s upwards trajectory continues unabated with the release of his second solo album ‘Playland’. Work on ‘Playland’ commenced in London in the Spring as soon as the year of touring in support of ‘The Messenger’ came to a close. It finds Marr continuing the creative connection that was forged on ‘The Messenger’ with collaborator and co-producer Doviak as well as the other musicians who performed on the album and accompanying tour.

              As Johnny states: "When The Messenger came out I kept on writing. I liked that the band had a momentum going on tour and a connection with the audience, and I thought that energy would be good to capture on the new record."

              Written around a common theme of “songs that move at the speed of life,” ‘Playland’ captures much of the spirit that made ‘The Messenger’ so memorable with energetic, post-punk songwriting complemented by Johnny Marr’s characteristic guitar style, thought-provoking lyrical ideas and poised vocal phrasing. "It's important to sound like your environment and on this record that's London and Manchester,” he adds. “The feeling of the cities and the people make it into the music."

              The title ‘Playland’ is inspired by ‘Homo ludens’, a 1938 book by the highly influential Dutch cultural theorist Johan Huizinga which explores the concept of play as a precursor and principal element of cultural development.

              STAFF COMMENTS

              Andy says: Even better than his debut, Johnny rips up the rule book with an impossibly vibrant, melodic follow-up album that once more draws on his post-punk/new-wave pop roots. Bottle up and EXPLODE!!


              Ltd LP Info: Limited Edition Aqua Blue Coloured LP. 1000 copies only, indies EXCLUSIVE!!

              Loud, fast, wild—you’ve heard this all before but you haven’t because the Meatbodies are brand new and they’re going to dominate your eyes and ears and give you a bangover like you’ve never had before.

              Meatbodies initially came about as a solo project for Chad Ubovich after spending the last several years touring in other groups: In 2011, he was recruited by his friend Mikal Cronin to play bass, and eventually guitar, in Cronin’s band’s first ever tour. While Cronin strummed his twelve-string to his future classic pop songs, Ubovich howled alongside, adding his own brand of wolf-man style to Cronin’s live show. Heavy super-group Fuzz took notice of his on-stage prowess and recruited him to deliver Geezer Butler-style bass riffs that could propel Charles Moothart and Ty Segall’s songs through the stratosphere. While both of these bands have kept him busy over the past few years, his mind was always on his own songs. He would come home and secretly work on his own material—explosive, crunching, grinding songs with soaring melodies and gentle bridges cascading into torrents of riffs.

              Eventually he shared his work and allowed Segall to put out a tape of his bedroom recordings on his label God? Records. The tape was well received, so Ubovich recruited several friends with whom he could play around Los Angeles and San Francisco, and people began to see that he was more than just a sideman to his heavy-hitting comrades. Eventually, In the Red took notice and the Meatbodies were added to their roster. Sequestering himself in master studio magician Eric “King Riff” Bauer’s San Francisco studio / psychedelic sanctuary, Ubovich busted out an album’s worth of songs, barely leaving the small Technicolor underground quarters.

              Once the tracks were done, he sent them up to Chris Woodhouse to give them just the right final touches of perfectly controlled chaos. And perfectly controlled chaos is what this trifecta delivered. The self-titled record is a sonic experience truly evocative of its creator: Unabashed, unrestrained, beautiful and strange. Riffs for days. It’s everything we’ve come to expect from Chad Ubovich.

              The Melvins return with Hold It In, their first studio album as a quartet since 2010's The Bride Screams Murder.

              Joining Buzz Osborne and Dale Crover for the 12-song outing are BUTTHOLE SURFERS' guitar player Paul Leary and bass player JD Pinkus.

              Hold It In was recorded in both Los Angeles and Austin earlier this year.

              "Hold It In is a refreshing piece of fiction in a boring world of fact and bullsh*t," said Osborne. "Paul is one of the best guitar players I have ever heard and Pinkus has an outside the box type of approach to both guitar and bass that you just have to let it ride. I can't believe this actually happened. I'm thrilled."

              "It's very rare you get a chance to work with three folks from the 'Break A Wish' foundation, all at the same time," said Pinkus. "I believe they'll remember their experience with me forever (or until they finally all lose their fight with S.I.D.S)."

              Miilk Tooth

              Desert Town

              Miilk Tooth - Raphael Mura and JP Robelot - formed in Los Angeles in 2014. As teens Raph and JP were already writing, recording music on 8 track cassette recorders and playing gigs in the Paris region in France.

              After 10 years of experience in the London (Raph signed as an artist to One little indian records) and LA (JP writing for films and singing in various music projects) scenes, the pair regrouped and decided the time was right to recreate the magical chemistry that makes their songwriting so unique.

              Raph moved from London to LA in February 2014 and Miilk Tooth started writing and recording drums, guitars, bass, synths in Jp's home studio. 3 months later, their first single was being mixed in London by PDub Walton (The Cure, Massive Attack...).

              'Desert Town', 'Plastic Universe' and 'Bonsoir Nails' are explosions of noisy dream pop, psychedlia and post punk, carefully crafted with elaborate melodies inspired by LA and California's desert landscapes.

              Kevin Morby

              Still Life

                Still Life is the second solo album from Kevin Morby. The namesake of the record is an art piece by Maynard Monrow entitled “Still Life with the Rejects from the Land of Misfit Toys.” The album’s title has several meanings. On the surface, it refers to Morby’s change in lifestyle that came with moving to Los Angeles from New York in August of 2013. But he also admits that the title is ironic. The songs from Still Life were written during yet another period of tour and travel for Morby, as he spent almost all of 2013 on the road with Woods (with whom Morby parted ways amicably last year), The Babies (who are currently on hiatus) and as a solo artist.

                The album reflects both this time in transit and the quiet confines of his new home in Montecito Heights. Scenes of performers, audience expectations and the paradoxical confines of a roving individual perpetually caught in a crowd percolate the songs, notably in “The Jester, The Tramp & The Acrobat,” and “Parade.” (Morby calls the latter an elegy of sorts for one of his major influences, Lou Reed.) Violent fates, wrestling with destiny and the nature of death creep into songs like “The Ballad of Arlo Jones,” “Bloodsucker” and “Amen.” Even Morby’s more obvious love songs like “All of My Life,” “Drowning” and “Our Moon” are highly bittersweet; the characters seem to never quite find each other, but perhaps they find themselves.

                As with Harlem River, Still Life is produced by Rob Barbato (Cass McCombs, Darker My Love) who adds his signature guitar and bass playing to the album. The album was engineered and mixed by Drew Fischer, who also worked on Harlem River and The Babies’ second full-length album Our House on the Hill, and recorded between March and June of 2014 at Barbato and Fischer’s new studio, Comp’ny. Morby is also once again joined by Justin Sullivan (The Babies) on drums and percussion. Sullivan is a fixture in Morby’s live band, which completed a full US tour in January of 2014, supporting Cate Le Bon. Solo artist (and Le Bon guitarist) H. Hawkline handled bass duties for Morby on the tour and contributes bass to three songs on the record that were a live staple. Multi-instrumentalist Will Canzoneri (Le Bon, Cass McCombs, Jessica Pratt), who also performed live with Morby on the tour and who was a contributor on Harlem River, performs piano and organ on the album.

                Alanis Morissette

                Jagged Little Pill Acoustic - Clear Vinyl Edition

                'Jagged Little Pill Acoustic' is an acoustic studio version of Alanis Morissette’s international breakthrough album 'Jagged Little Pill' (1995). When 'Jagged Little Pill Acoustic' was released in 2005, it commemorated the tenth anniversary of the original album.

                The album’s single in the US was “Hand In My Pocket”. The video for the track received rotation on VH1. The accompanying tour ran for two months in mid-2005, with Morissette playing small theatre venues. During the same period, Morissette was inducted into Canada’s Walk of Fame. In the autumn of 2005, Alanis Morissette opened for The Rolling Stones for a few dates of their A Bigger Bang Tour.

                FORMAT INFORMATION

                2xLP Info: 180g audiophile vinyl pressing. First 1500 numbered copies on clear vinyl. Includes insert. Available on vinyl for the first time!

                Hotly anticipated sophomore album from Felix Martin (Hot Chip), Al Doyle (Hot Chip, LCD Soundsystem) and Tom Hopkins.

                Recorded at their own Lanark Studios in Shoreditch and Club Ralph in West London with Mark Ralph (Franz Ferdinand, Clean Bandit), the 10-track self produced album follows their 2012 debut ‘Yesterday Was Lived And Lost’.

                An unashamedly electronic collection, ‘Pour It On’ is a cohesive and assured record of rich, monolithic dance music. With shades of The Human League, textures reminiscent of Caribou or Dan Avery and vocal turns right out of Richard Thompson’s songbook, it explores the outer limits of the pop-song-structure.

                Topped and tailed by ‘The Sunlight’, the band’s atmospheric festival set opener, and ‘Pour It On’ a beautifully crafted seven and a half minute masterpiece, the album is an anthemic set of bold statements, lyrically addressing very human concerns; broken lives, frustration, fear and confusion, whilst simultaneously celebrating the resistance of the human spirit.

                ‘Legendary’ is the kind of description that gets slapped on artists far too often these days but in the case of Nick Nicely it, for once, feels justified. Bursting onto the UK’s music scene at the start of the ‘80s nick’s debut single ‘DCT Dreams’ was a remarkable slice of ‘synth-pop on acid’ (FACT Magazine) perfectly fusing the electronic sounds of Neu and Kraftwerk with the psychedelic lyricism of Sgt Pepper-era Beatles and Syd Barrett’s Pink Floyd. Soon signed to EMI, nick’s second single, 1982’s ‘Hilly Fields’, took us even further down the rabbit hole with a heady mix of synthesizers, cello and the first recorded use of ‘scratching’ in a non-Hip-Hop record. Hailed by the NME as "the best psychedelic record made since the '60s” it set nick up to be a star and to this day remains one of the most collectable records from the period.

                Sadly though, as is all too often the case, it wasn’t to be and despite the critical plaudits heaped upon nicely’s head and the interest of various labels, and even legendary producer Trevor Horn, nick’s debut album wouldn’t make it to the shops until 2004 when Tenth Planet Records finally released ‘Psychotropia’, a collection of recordings from 1978 to 2004. Since then though nick’s reputation has continued to grow with critically acclaimed releases on US labels Burger Records and Captured Tracks, contemporary psychedelic acts like Bevis Frond and Amorphous Androgynous citing him as a key influence and following his live debut in 2008 appearances on bills alongside artists such as Ariel Pink and John Maus.

                As a fresh wave of psychedelic sounds spreads across the globe nick’s music is more relevant today than ever before and now we have ‘Space of a Second’, 14 songs that range from the “prime shoegaze bliss” (Pitchfork) of ‘Wrottersley Road’ and ‘HeadwindAheadwind’ through to a brand new imagining of ‘Hilly Road’ that reveals nicely to be once again at his bewilderingly creative best.

                Bringing to the fore nick’s unique take on lo-fi baroque psychedelia, Space Of A Second bends influences from across time and space into an exhilarating construction that evades easy definition, indeed perhaps in the end the best description comes from The Guardian’s Alexis Petridis who simply hailed nick as “Unique, almost inexplicable”.

                Guitars, hip hop beats and traditional folk arrangements.

                As one third of The Monks Kitchen, Luca Nieri wears many hats. He can typically be found behind the drums, or noodling on a Spanish guitar, or plucking a bass or contributing anything from eerie melodica lines to banjo, bar room piano or blues harp.

                Featuring his own compositions and several cover versions, including Bert Jansch, Davey Graham and John Frusciante.

                Nieri also finds time to be a member of Colorama, sessioning with Emma Trica and Fabienne Delsol, as well as co-producing the forthcoming John Stammers album.

                The Orchids

                Beatitude #9

                  The Orchids formed near Glasgow in 1986. Since day 1 they were one of the darlings of the illustrious Sarah Record’s roster and developed far more on that label than any band not named The Field Mice. Starting with a melancholy guitar-pop sound on Lyceum and contemporaneous 7”s, they moved on to become more keyboard and sample/effects-based for their 2nd and 3rd albums, Unholy Soul and Striving For the Lazy Perfection, saw the development of a more electronic sound as they continued to work with producer Ian Carmichael (One Dove). Then, in 1995 they disappeared without ever really splitting up. Their entire back catalogue was re-released on CD in 2005. The band had already reformed in 2004 and published Good to Be a Stranger (2007) on Madrid-based label Siesta, playing live gigs for the first time in twelve years. In 2011 the group released a fifth album, The Lost Star through Pebble Records.

                  Now, The Orchids are excited and proud to announce the launch of their new full-length, Beatitude #9, their sixth in a 26 year career. When you put Beatitude #9 on to listen to, the feeling could be compared to being reacquainted with your best friend that you've known the longest but might not have seen for a few years. In the moment you get together again and embrace them for the first time in a while, it's only a split second before you feel like they've never really been away. There’s no awkwardness between you despite the long hiatus, as you realize there is no mistaking The Orchids sound and they're as good as they've always been. Whilst the familiarity is soothingly comforting, there is still a freshness that means there is a passion and excitement gripping you that is difficult to describe.

                  Beatitude #9 is made up of 14 brand new songs recorded in their home studio over the past three years and sees the band broaden their horizons again, sounding modern and revitalizing whilst still sometimes harking back to some of the mainstream acts that they grew up with in the eighties. It has a feel of summer written all over it and captures classic Orchids guitar pop in tracks such as "Something's Going On" and "Hey! Sometimes". At the same time it also delves into their well known contrary habit of producing more experimental sounds in the epic cinematic soundscape that is "Away To You" as well as in "Today's The Day", which features a groove throughout the five minutes that is impossible not to become entirely mesmerized by. They also pepper the release with several songs that appear to easily cross over into the mainstream where you can imagine other acts covering the songs and charting with them such as "Good Words" (where lead vocals are handed over to the wonderful Pauline Hynds - as they did to similarly wonderful effect with "A Kind Of Eden" on their third album), "A Perfect Foil" with its beautiful harmonies and "Someone Like You".

                  STAFF COMMENTS

                  Andy says: Best band on Sarah Records, still going and still writing superb songs. Could've been massive. ARE massive in my house!

                  Four days before New York noise musician Margaret Chardiet was supposed leave for her first European tour as Pharmakon, she had a medical emergency which resulted in a major surgery. Suddenly, instead of getting on a plane, she was bedridden for three weeks, missing an organ.

                  “After seeing internal photographs taken during the surgery, I became hyperaware of the complex network of systems just beneath the skin, any of which were liable to fail or falter at any time,” Chardiet said. “It all happened so fast and unexpectedly that my mind took a while to catch up to the reality of my recovery. I felt a widening divide between my physical and mental self. It was as though my body had betrayed me, acting as a separate entity from my consciousness.”

                  Consumed by these ideas, and unable to leave her bed, Chardiet occupied herself by writing the lyrics and music that would become Bestial Burden, the second Pharmakon LP for Sacred Bones Records. The record is a harrowing collection of deeply personal industrial noise tracks, each one brimming with struggle and weighted with the intensity of Chardiet’s internal conflict.

                  Bestial Burden was recorded at Heaven Street Records in Brooklyn, N.Y. with Sean Ragon (Cult of Youth, Venerence), who also recorded 2013’s critically acclaimed Abandon. Ragon allowed Chardiet to experiment with a mix of live recording and tracking, and some of the vocals were recorded live with a small group of people packed into the studio so she could feed off their energy. The result of those sessions is the bar-raising follow-up to Abandon, and an invitation to go even deeper into the sometimes terrifying, always fascinating labyrinth that is Margaret Chardiet’s mind.

                  'Cabinet Of Curiosities' is a brand new, nine-track Pop Group compilation which kicks off with the fractured future-funk single 'Where There's A Will', described by Gareth Sager as "The group's best attempt to mix a message with a groove plus some real free playing. If you are really unhinged you may be able to dance to this."

                  Next up is the unheard, original previously unreleased version of 'She Is Beyond Good And Evil', probably the band's most infamous song and more recently covered by St Vincent on the Jimmy Fallon show and throughout her 'Strange Mercy' tour. 'Cabinet Of Curiosities' continues with BBC John Peel session tracks 'We Are Time' and 'Words Disobey Me', and rounds up previously unreleased songs 'Abstract Heart' and 'Karen's Car', plus other alternative versions.

                  Mark Stewart describes 'Cabinet Of Curiosities' as being of similar status to a lost Pop Group album. The release will also be available as part of a limited CD box set (The Pop Group 'Curiosities') accompanied by memorabilia and an extensive 36 page booklet.

                  The Pop Group was born in Bristol in 1977 out of a disenchantment with punk failing to bust out of its rock origins. With mystical fire, enraged by global injustices, the group delivered scathing political and society-indicting messages aboard a post-apocalypse rollercoaster, ferociously straddling their beloved free jazz, conscious funk, heavyweight dub and audacious experimentalism.

                  The LP version is on 180g heavyweight vinyl version and includes a download card of rarities by The Pop Group.

                  FORMAT INFORMATION

                  LP Info: Limited grey vinyl pressing.

                  After spending over a year collating original singles, albums and previously unreleased studio and live recordings, the Pop Group have created a limited box set containing albums 'We Are Time' and the brand new compilation 'Cabinet Of Curiosities' + 36 page perfect bound book + bookmark + badge.

                  'We Are Time', named after one of their most infamous onslaughts was originally released on vinyl in 1980 a nd has been remastered from original tapes becoming available on CD for the first time and also reissued as limited vinyl. Of the early live and studio recordings that comprise 'We Are Time', frontman Mark Stewart says "We Are Time is really 'the' teenage Pop Group album. It's full of defiance and the material demonstrates the band's staunch independence and our really early DIY ethic before the studio became another instrument."

                  'Cabinet Of Curiosities', the nine-track compilation includes the fractured future-funk single "Where There's A Will," described by Sager [guitar] as "The group's best attempt to mix a message with a groove plus some real free playing. If you are really unhinged you may be able to dance to this."
                  Also included is the original previously unreleased version of "She Is Beyond Good And Evil," probably the band's most infamous song. The set continues with BBC John Peel session tracks "We Are Time" and "Words Disobey Me," and rounds up previously unreleased songs, "Abstract Heart" and "Karen's Car," and other alternative versions.

                  The Pop Group was born in Bristol in 1977 out of a disenchantment with punk failing to bust out of its rock origins. With mystical fire, enraged by global injustices, the group delivered scathing political and society-indicting messages aboard a post-apocalypse rollercoaster, ferociously straddling their beloved free jazz, conscious funk, heavyweight dub and audacious experimentalism.

                  "It's one of those moments when the cogs of your mind shift and your life is going to irreversibly change forever" - Nick Cave on hearing The Pop Group for the first time.

                  The Pop Group

                  We Are Time

                  'We Are Time' was named after one of the Pop Group's most infamous onslaughts and originally released on vinyl in 1980, has been remastered from original tape s and available on CD for the first time and limited vinyl.

                  Of the early studio and live recordings that comprise We Are Time, frontman Mark Stewart says "We Are Time is really 'the' teenage Pop Group album. It's full of defiance and the material demonstrates the band's staunch independence and our really early DIY ethic before the studio became another instrument."

                  Guitarist Gareth Sager explains that the band was "trying in an inexplicably naive manner to combine Patti Smith's Rimbaud ramblings, James Brown, the Stooges, Roxy Music, T.Rex and classical aleatoric music. You can hear the results of this on tracks 'Genius Or Lunatic', 'Colour Blind', 'Trap', 'Sense Of Purpose', 'Kiss The Book' and 'We Are Time." He goes on to say "soon after this the band were bringing in other influences, Ornette Coleman, King Tubby, Funkadelic, Debussy, Jacques Brel, Fela Kuti, Steve Reich and then you get 'Thief Of Fire'."

                  The Pop Group was born in Bristol in 1977 out of a disenchantment with punk failing to bust out of its rock origins. With mystical fire, enraged by global injustices, the group delivered scathing political and society - indicting messages aboard a post-apocalypse rollercoaster, ferociously straddling their beloved free jazz, conscious funk, heavyweight dub and audacious experimentalism.

                  "It's one of those moments when the cogs of your mind shift and your life is going to irreversibly change forever" – Nick Cave on hearing The Pop Group for the first time.

                  FORMAT INFORMATION

                  LP Info: Limited red and white marbled vinyl pressing.


                  Primus & The Chocolate Factory With The Fungi Ensemble

                  The classic Primus line-up are back together and set to release their first full-length studio album in nearly 20 years, 'Primus & the Chocolate Factory,’ on ATO Records.

                  "The idea was to combine the Frog Brigade and Primus, and do this record,’ says Claypool. “I think like a good portion of the planet, we were all pretty put off by the remake of the 'Willy Wonka' movie - the Tim Burton version. I really wanted to pay homage to a film [1971's 'Willy Wonka & the Chocolate Factory,' starring Gene Wilder] that was very important to me as a kid and very influential to me musically. So that's what we did. And as opposed to just going in and recording the songs and playing them the way they are in the film, we twisted them up a bit…twisted them up a lot”.

                  FORMAT INFORMATION

                  Ltd LP Info: Limited edition lilac vinyl.

                  Radio Birdman

                  Radio Birdman - CD Box Set

                    Radio Birdman, legendary Australian underground band and one of the pioneers of the high energy rock 'n' roll scene, are primed to reissue their formidable back catalogue in a comprehensive limited edition CD box set just in time for Halloween.

                    The box set will contain the three studio albums Radios Appear (Trafalgar and Sire versions) and Living Eyes, all remastered from original tapes and each accompanied by a standalone bonus disc. Much of the bonus disc material is previously unreleased and will provide a treasure trove of material for diehard fans.

                    The seventh disc to make up the box set is a previously unreleased live concert recorded at Paddington Town Hall (Sydney Australia) in December 1977 just prior to the band's departure for the UK to promote the Sire release of Radios Appear. This live recording has been mixed from master tapes that have languished forgotten for decades. The result is a totally wild and raw release that captures the band's true primal energy. The bonus accompanying this disc is an all regions PAL format DVD of live footage; two clip from the December '77 concert, one from April '77, two obscure '76 tracks plus a promotional video made to celebrate the Australia only 1988 LP box set release "Under The Ashes".

                    Detroit three piece Ritual Howls new album tells stories fit for Poe or Lovecraft. On their debut full length for felte, titled Turkish Leather, they incorporate a variety of styles into an ominously self-assured statement of intent, Ben Saginaw and Chris Samuels' sounds providing an imposing form for Paul Bancell's darkly alive lyrics to inhabit. Their influences range from English post-punk to Nick Cave to the industrial sounds of Skinny Puppy, and the band melds them expertly. Combining field recordings with electronics, this music is sound design turned pop. Many tracks here feel cinematic – whether it's the industrial clanging of “A Taste of You,” which brings to mind a Lynchian bar scene, or the gothy synths of “Take Me Up,” a slow burning track that escalates into full on melodrama. It's easy to imagine these twangy guitar lines gracing a scene in a Jarmusch film: their aesthetic owes as much to Tom Waits as it does Ennio Moriccone.

                    Ritual Howls manages to take all these influences and come out sounding uniquely morbid, raw and unyielding – never derivative. It's a record that holds nothing back: the band announcing themselves to the world with all of the confidence of long time professionals. Their future audience will greet them with enthusiasm.


                    Start Together: 1994-1996

                      “Sleater-Kinney is America's best rock band” - Greil Marcus, Time (2001).

                      "America's best punk band ever. Ever" – Rob Sheffield, Rolling Stone.

                      Sleater-Kinney are an acclaimed American rock band that formed in Olympia, Washington in 1994.

                      The band's core lineup consists of Corin Tucker (vocals and guitar), Carrie Brownstein (guitar and vocals), and Janet Weiss (drums).

                      Sleater-Kinney were known for their feminist, leftleaning politics, and were an integral part of the riot grrrl and indie rock scenes in the Pacific Northwest.

                      ‘Start Together’ is a deluxe box set compiling all seven of Sleater-Kinney’s critically-acclaimed albums, plus a 44-page hardcover book and an art print.

                      Each LP is on a different colour of vinyl, and this box is the only way to get these albums on coloured vinyl.

                      Each album has been freshly remastered by Greg Calbi for this release.

                      The box set is limited to 3,000 copies worldwide, with just 150 available to the UK and Ireland.

                      These New Puritans’ album ‘Field of Reeds’ was a beacon of experimental music last year, bathed in the adoration of critics.

                      ‘TNP: Expanded (Live at The Barbican)’ captures the incredible performance from 2014 of These New Puritans performing with a full orchestra at The Barbican Centre.

                      “Joined by an orchestra and the spellbinding Portuguese fado singer Elisa Rodrigues, the brothers Barnett capture the beautiful, foreboding majesty that marks their music” - The Guardian

                      FORMAT INFORMATION

                      2xLtd LP Info: Deluxe clear double vinyl in a gatefold sleeve.

                      Toronto songwriter Timber Timbre (a.k.a. Taylor Kirk) is an other worldly soul, creating stirring, haunting songs that evoke imagery both dark and stunning and has earned a reputation as a spellbinding and dynamic performer. Timber Timbre documents a rapid progression from dusty, lo-fi bedroom blues to the more sophisticated, cinematic studio work that still possess the grainy, rustic feel epitomized as a sound all his own. Timber Timbre recorded the self-titled album at his home studio, putting the finishing touches on the record at the Lincoln County Social Club with producer Chris Stringer (Ohbijou, The Coast, Rush).

                      FORMAT INFORMATION

                      Ltd LP Info: Full Time Hobby 10th anniversary repress. Grass green vinyl. Limited to 300 copies.

                      In early 2011, Tindersticks were commissioned by the In Flanders Fields World War One Museum in Ypres, Belgium to create the soundscapes for the new permanent exhibition commemorating the centenary of the Great War and beyond.

                      Tindersticks response was to write, record and produce a continuous, orchestral score to accompany the visitor on their emotional journey through the unique story of Ypres in the Great War. The score evolves through the different, distinctive spaces and sections of the museum, punctuated with private contemplative spaces where the music was allowed to be more poetic.

                      Made from a series of interlocking orchestral loops, the music flows seamlessly all day, everyday, without beginning, middle or end. The aim, for Stuart Staples, was for the soundtrack to “become the sound of air within the museum”.

                      Ypres was the epicenter of the Western Front in The Great War and was virtually destroyed by the conflict. It has since, only relatively recently, been rebuilt to its original plans. The museum is housed in the rebuilt cloth hall that stands in the centre of the town and was once the hub of the towns industry.

                      Hundreds of thousands died in Ypres and the surrounding area, with allied cemeteries and graves scattered everywhere. In keeping with the perspective of the new museum, Staples felt it crucial to “bring the essence of the experience to a personal level. To somehow loosen it away from the images we have all become accustomed to.”. Inspiration for the work was found in the quiet, dignified German memorial garden of Vladslo and Kathe Kollwitz’ famous ‘Grieving parents’ statue that resides there.

                      Stuart Staples and Dan McKinna worked closely to compose the score and felt the museum building resonated with a key of F. The starting point for the music became a musical cluster of E flat, F and F sharp. The recording was presided over by long time collaborator and orchestra leader Lucy Wilkins. The orchestral recordings were made at the Church in Crouch End, London and were then taken back to Le Chien Chanceux studio in France to prepare for the installation. In collaboration with London Sound designers ‘Sound Intermedia’ a bank holiday weekend in May 2012 was spent meticulously building the soundscape for every individual space.

                      The In Flanders Field Museum re-opened its doors with tindersticks soundtrack on 11th June 2012. Now tindersticks are releasing the recording of the soundtrack on October 2014 via lucky Dog Recordings

                      Tunng's second LP, has been eagerly awaited round these parts and they haven't let us down. Twelve more expertly crafted wonky folk songs that have been trussed up in harp strings, super-charged with electronic pulses and spliced with a sampler. Truly they embrace all the good things on offer to open minded musicians, quasi-traditional songs laced with meditative accoustic lines and a pulsing mechanic undercurrent. Tunng deftly unite numerous eccentric elements without causing chaos, plodding melodically through a fairy lit magical underground.

                      FORMAT INFORMATION

                      Ltd CD Info: Special 'indie shops' only edition including two bonus tracks in a black slip case.

                      Ltd LP Info: Full Time Hobby 10th anniversary repress. Gold vinyl. Limited to 300 copies.

                      Third LP from one of the most accessible of the new-folksters, and the third in as many years, which is nicely pop for such a raggle-taggle genre. And whilst this is still as pitter-pattery, electronic glitch meets acoustic meandery as before, now expanded to a sextet, this record is the band's most coherent statement yet. It's still a long way from mainstream, but the melodies are slightly more concise, the personalities behind them a little more in focus. With dulcimers, harps, clarinet and melodica blending nicely with guitars and electronics, and not one week song to interrupt the flow, this is the perfect companion for those Indian-summer nights. It's mellow gold.

                      FORMAT INFORMATION

                      Ltd CD Info: This CD includes two bonus tracks and is exclusive to independent stores.

                      Ltd LP Info: Full Time Hobby 10th anniversary repress. Vanilla vinyl. Limited to 300 copies.

                      Seth Sutton has been ripping the shit out of terse Telecaster-sharp riffs and Devo-indebted angular rhythms with Useless Eaters since dude was 18 years old. A young protégé of Jay Reatard, Sutton’s home-fried concoctions are sharp, corrosive mini-masterpieces that drive you to flick cigarettes and push strangers. Psycho-sexual, serrated vocals; thin, acidic guitars; rubbery bass and hot-to-tape traps lather the whole disc. Sutton delivers a really ripping crew of tunes this time around, kicking off with the supremely heavy “American Cars” and not letting up ’til the side break—these are glass-crunching gems with just the right amount of crud to cut your lip a little. A great alienated vibe flows throughout, along with some really sticky melodies, too. Going out under the neon tonight? Take this with you.

                      The Vestals

                      Life Without Love EP

                      A collection of four soaring, melancholic tracks that firmly position the band as ones to watch over the coming months. The EP follows on from 2013’s critically acclaimed AA side debut ‘Perfect Pain/ Seventeen’, which received support from the likes of Huw Stephens, BBC Introducing and Xfm. At the centre of The Vestals’ music is an intrinsic understanding of melody.

                      The EP opens with ‘Waking Up’, a minute and a half of dreamlike synths swelling around each other and providing the perfect preface to the EP’s title track. ‘Life Without Love’ immediately demonstrates the band’s ability to juxtapose sweeping, atmospheric guitars and synths with infectious, catchy hooks and a melancholic melody that is, at its heart, pure pop.

                      Scott Walker & Sunn O)))


                      When Sunn O))) first approached Scott Walker about appearing on their 2009 album Monoliths & Dimensions, little did they know what it would actually lead to. Four years on, Scott was back with something even more enticing, collaborating on Soused, a body of work he was writing with them in mind.

                      With a career spanning more than five decades, Scott Walker’s cult status remains as significant as ever before. Experiencing mega-stardom as part of The Walker Brothers before carving out a career as a solo crooner who released a quartet of peerless self-titled LPs that painted rich vignettes of life in the late 60s, Scott went through what felt like a massive U-turn by recording a collection of masterfully challenging albums: Climate Of Hunter (1984), Tilt (1996), The Drift (2006) and Bish Bosch (2013). While there’s some truth to this artistic arc, the actual picture is a lot more complex, with his knack for introducing the disturbingly counter-intuitive and the uncanny into his songwriting dating back to the likes of 'The Plague' (1967) and ‘It’s Raining Today’ (1969).

                      Centred around the core duo of Stephen O’Malley and Greg Anderson, Sunn O))) have been at the heart of underground and experimental metal since they began in Los Angeles back in 1998, broadening in range to increasingly encompass avant-garde and jazz dynamics to their dark music. Anderson runs Southern Lord (Sunn O)))’s usual label home), whilst O’Malley is involved in a remarkable web of projects as a musician, designer, and label head of Ideologic Organ. They appear alongside extended Sunn O))) member Tos Nieuwenhuizen on this recording.

                      Recorded in London in early 2014 and produced by Scott Walker and long-time ally Peter Walsh with the assistance of musical director Mark Warman, Soused is a 5-track, 50-minute collaborative record that cements the status of both act’s wide-reaching and otherworldly renown.

                      FORMAT INFORMATION

                      2xLP Info: Vinyl edition is double 180 gram black vinyl, with a heavyweight tip-on sleeve and includes download codes.

                      Like all good parables Jane Weaver’s sixth solo album, a concept album called ‘The Silver Globe’, is as multifaceted as it is beguiling. Part coming of age / part cautionary tale and part romantic paeon, this twelve track synth ridden post-apocalyptic prog pop opus is based on tightly embroidered, non-linear recurring themes and inspired by esoteric stories, cosmic imagery and refiltered past experiences.

                      Written from the optimistic vantage of a long-standing female independent artist, in an desperately evolving industry, Jane’s latest set of self penned pop abstractions combine mechanical rock / recycled European cinema / empyrean vocalisations and an arsenal of rescued vintage synths to create a futurist narrative backdrop of a allegorical post apocalyptic landscape.

                      ‘The Silver Globe’ features collaborations with David Holmes, Australian space rockers Cybotron, Damon Gough (Badly Drawn Boy), Suzanne Ciani and Andy Votel, as well as a recycled chunk of an 80s Hawkwind track.

                      STAFF COMMENTS

                      Philippa says: The Manchester-based singer-songwriter returns with a wonderful self-produced album that augments her previously folk-tinted sound with krautrock, space rock, cosmic disco, Eastern European cinematica and Moog-pop. Seductive and beguiling, 'The Silver Globe' is Weaver's most accomplished album to date!

                      The Innocents is the name of the second album by southeastern Pennsylvania’s Natalie Mering, who performs as Weyes Blood. Its ten songs confront us with a vocalist of rare choral purity; lyrics so emotionally unflinching that they could pierce stone; music rooted in American and British folk, then pulled and stretched at its fringes, like a sweater that’s just begun to unravel.

                      As you sift through her words, you’ll feel something, and you’ll associate those feeling with past experiences that may cause you to associate them with something more, something that affects your own emotional state. The Innocents is akin to the most primal form of expression: elements laid bare, deeply connected to the past, and miles away from anything else you’re likely to hear in music today.

                      “Weyes Blood isn’t making anachronistic music, but rather blending psychedelic synthesizers, rock drums, and vocal layering effects to produce something that only could have been made today.” – Fader

                      “Drawing from the androgynous folk-rock vocals so characteristic of early ’60s and ’70s outsider folk singers like Vashti Bunyan and Sibylle Baier, Weyes Blood’s Natalie Mering never hesitates to dive head-first into complex and mature arrangements.” – Fader

                      “…her quavering alto, which floats above an intriguing mix of conventional instrumentation and electronics, tape collages, and delay effects to create a compelling update of '70s psyche-folk.” – Nylon

                      "Hang On" finds Mering released from these ghostly gates—its her most pronounced track to date, and one that more directly recalls her 1960s British folk touchstones.” – Pitchfork

                      “Singing at once with vulnerability and strength through an austere, multi-layered warble, Mering searches for truth and light while facing the end of something.”– Pitchfork

                      “Hang On,” its first single, sounds like a tweaked and adrift version of ’60s folk music.”– Stereogum

                      "Fits" is an explosive album of garage, psyche and soul carrying on from where "Workout Holiday" left off but leading you into a completely new world. From thunderous prog and psyche to tender blue eyed soul, White Denim's highly-anticipated second album is packed with instantly memorable songs.

                      FORMAT INFORMATION

                      Ltd LP Info: Full Time Hobby 10th anniversary repress. Lobster red vinyl. Limited to 300 copies.

                      Whyte Horses


                      What happens when you put an obscure Mancunian music chronologist on a three month sojourn in the heart of the Italian countryside with some battered analogue recording gear, some cheap guitars and a female vocalist and friend to explore themes of the human condition and daydreams of fantasy with one piece of decoration: a poster of their favourite band Os Mutantes looming large on the wall, offering some company and direction during this time of solitude? The answer is a new group of seismic psychedelic proportions. May we present Whyte Horses.

                      Inspired by the nomadic travels of cult folk artist Mark Fry and outsider Krautrock groups, strange sounds began to emanate from deep within a dilapidated cottage, deep in the Frosinone mountains range with no access to the outside world.

                      Panoramic views baring an uncanny resemblance to Alejandro Jodorowsky's epic pseudo-western ‘El Topo’ began to filter the songwriting, as hazy instrumentals evolved into mutant pop sketches, blurring seventies MOR sensibilities, obscure imagery and everyday thoughts. The result is other-worldly, classically of another time and space. Triumphant yet melancholy, a colour-sound of psychedelic dream pop, fearless and tender at the same time.

                      STAFF COMMENTS

                      Laura says: Whyte Horses is the new project from Finders Keepers' Dom Thomas. 'Snowfalls' is a gorgeous psych pop gem, all swirling melodies, chiming guitars and girl vocals. 'Morning Clouds' on the flip is a darker affair with melancholic vocals an rumbling drums, but is equally lovely.

                      Wild Beasts

                      Mecca / Palace - Juan Atkins / Sohn / Steve Moore / Foals Remixes

                      Limited ediition remix 12" with silver printed labels. Wild Beasts' indie sounds get remixed for a different dancefloor, a different bedsit. Detroit techno legend Juan Atkins applies driving pressure to 'Mecca', adding two stepping beats and gurgling acid. Sohn takes the track in more of a down-tempo direction; synthetic slo-mo vibes. Dreamier still is the rework of 'Palace' by Steve Moore, which transforms the track with brooding kosmische textures. So, that leaves Foals to provide a final dancelfloor fling, going down the wonky indie-house route for their remix of 'Palace'.

                      If you want to know the alternative music classics that both reflected and helped shape contemporary culture, BBC Radio 6 Music’s Alternative Jukebox is the album for you! A 2CD set of 34 extraordinary tracks that tell the story of Alternative Music..These songs have been carefully chosen by BBC Radio 6 Music producers and presenters, including Cerys Matthews, Craig Charles, Don Letts, Gilles Peterson, Huey Morgan and more. Let them help you uncover awealth of tracks you never knew, and return afresh to the songs you love. Hit play on BBC Radio 6 Music’s Alternative Jukebox and enjoy hearing some of the most significant musical moments of all time. From Billy Bragg to Parliament and The Specials to the Buzzcocks its a whos who of he musical hall of fame!

                      On the same day Ba Da Bing releases an album by Dunedin legend Hamish Kilgour, the label is honored to present the city’s current artists.

                      The tiny city of Dunedin, located in the Otago Region of New Zealand, is synonymous with smart bands, incredible melodies and a wholly distinct and innovative music. Thanks to The Clean, The Chills, The Bats, The Verlaines, and The Dead C, Dunedin has amassed a worldwide reputation for innovative music.

                      Local label Fishrider Records has taken on the mission of compiling and producing an album that casts a light toward the Dunedin of today. These bands have all created their own sound away from the shadow of their city’s past, yet like many of their predecessors they retain the air of slightly disturbed melancholia along with a sense of space and distance from the rest of the world. Whether it is dark synth-pop, teen angst noise pop, guitar-and-organ jangle, or all-out psychedelic weirdness, these songs all come from a place on the edge of the world where the young still read books in abundance and fend off boredom by creating music and art in cold houses. Yet again, an extraordinary number of incredible groups are populating the scene, and the songs on Temporary are the best of the best—a Dunedin Double Plus Good, if you will.

                      When times are hard (and popular music goes through a prolonged period of being shit) people get up and start taking things into their own hands. This is what Trashmouth Records is all about…and on Monday October 20h the label release ‘Thinking About Moving To Hastings’, a 20-track compilation of brand new and unreleased tracks, which musically maps out what they’re up to...Trashmouth Records rejects the slick, the smooth and the sterile embracing something more real, something you can’t just hear but you can probably smell. The label and their wayward progeny The Fat White Family have been at it for a while, and now the tribe continues to grow with likeminded label mates Taman Shud, Bat-Bike, Warmduscher, David Cronenberg’s Wife, Pit Ponies, Meatraffle & Lewis Idle. Setting up shop in the suburbs as far from the Cup Cakes and beards of east London as they could get, Trashmouth has a studio & label dedicated to recording and releasing out-of-the-ordinary music. This is outsider music and it would appear the world is full of outsiders hungry for a taste of something different. There is no doubt something new and exciting is starting to happen to London’s music scene. We’re not sure exactly what it means yet, but we know it’s important and Trashmouth is right in the middle of it…

                      Latest Pre-Sales

                      93 NEW ITEMS

                      RT @carelessnative: @PiccadillyRecs came in to buy Real Estate, exited with @HorsebeachBand couldn't be happier.
                      Sat 25th - 11:12
                      RT @kernowking123: #vinyl choice of the week #1 is ‘Caribou Our Love' a very welcome return @caribouband @PiccadillyRecs
                      Sat 25th - 4:30
                      RT @ThePinkTeens: Just picked up a pretty nice re of Ned Doheny's 'Hard Candy' from @PiccadillyRecs so good
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                      JUST IN: Various Artists - Roadside Edits Volume 1 / Eastbound |
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