Genre pick of the week Cover of Night Gnomes by Psychedelic Porn Crumpets.

Psychedelic Porn Crumpets

Night Gnomes

    Within 11 seconds of clicking “play” on “Lava Lamp Pisco” it’s instantly apparent why Night Gnomes, the latest album from Psychedelic Porn Crumpets might be their greatest offering yet. The track is a riffy monster that delivers a much-welcome Black Sabbath-style slap to the head. It’s big, shiny, sleek and irresistible. It’s Psychedelic Porn Crumpets giving their best and Jack McEwan the band’s fearless leader has the battle scars from the four-second harmonica solo to prove it. “I hadn’t blown the harmonica in five years. It was just sitting on my desk,” he recalls. “The first thing I did was suck in all this dust, and I couldn’t talk for like a day. Afterwards, the rest of the band was like, ‘You have to scrap that. It’s so cheesy.’ Anyone under 30 hates it, but it has the dad-rock vibe, so I kept it in.”

    That devil-may-care spirit is present on each and every song on Night Gnomes. With guitarist Luke Parish, drummer Danny Caddy, bassist Wayon Billondana and multi-instrumentalist Chris Young by his side, McEwan bunkered down in his home studio, creating a sonic pastiche that almost sounds like turning the dial on a temperamental old radio every few minutes. “A lot of these songs are structured from the beginning, but then we add another part towards the end to really keep it interesting, even if it’s just for ourselves,” he says of the project, which was recorded at McEwan’s home studio in and around Perth. “Like on Fleet Foxes’ “Helplessness Blues,” every song has an ending that is completely different than the first part. That was the idea here.” Hence, distorted synths giving way to and then enveloping the lighter-waving riffage on opener “Terminus, The Creator,” a magnificent string section suddenly appearing on the nostalgic acoustic folk ditty “Dread and Butter” and a dizzying array of sounds linking arms on the title track, which imagines the proverbial creatures frolicking around a campfire in some far-off, mystical forest. “It feels jolly, but it’s also kind of terrifying and disturbing. My girlfriend told me she couldn’t listen to that song,” McEwan says of “Night Gnomes,” adding, “I’ve always liked how some Beatles songs just come out of nowhere, like “Mean Mr. Mustard.” This is our own little jingle that doesn’t fit with anything else on the record.”

    On “Bubblegum Infinity,” the Crumpets waded through nearly 50 different variations of the track before a Eureka moment during a rehearsal jam session revealed its final structure. The song itself wound up as a commentary on the often rudderless nature of the COVID-19 pandemic and “taking comfort in the fact that nobody had a clue what was going on,” according to McEwan. “The song used to open with a huge riff that was sidechained to the kick drum so it sounded like it was thumping, but then that's how every Crumpets song starts. I swapped the heavy guitars for acoustics, which made it feel way stronger, both dynamically and sonically. It felt like we'd uncovered the clutter which guides the song to build into that chorus and not give anything away beforehand.”

    McEwan is particularly proud of the dreamy “Sherbert Straws,” which he says “actually has some dynamics in it rather than having nine elements in the same spectrum as my vocals that I’m trying to constantly mix in and out of the track.” The song descends from the proud lineage of Australasian rock acts such as Tame Impala and Unknown Mortal Orchestra to whom McEwan professes devotion. “When we formed back in 2015, we marveled at how these awesome bands from around here could self-release music on vinyl and create their own stories. There wasn’t any waiting for labels to come knocking. It was all DIY and we loved that concept. We’re still holding right onto those coattails and we’re getting dragged as far as we can,” he jokes. For all of its varied vibes, the album never skimps on massive rockers sure to delight Psychedelic Porn Crumpets fans across the world in 2022. “Acid Dent” thrashes with abandon, but actually offers a slight concession to advancing age. “When we were younger, we were carefree and living tall, “McEwan says. “You get home with a handful of stuff in your pocket from whatever festival and just munch all of it, until you wake up in the morning so scattered. If we kept carrying on this way, we’d wind up in mental institutions by 35. So this is a nice little story about slowing down a bit.”

    “Bob Holiday” pays homage to classic riffs McEwan remembers from his youth, like Lenny Kravitz’s “Are You Gonna Go My Way?” “We’ve been trying to emulate that sound forever,” says McEwan, who also played in a Rage Against The Machine cover band when he was younger. “I also thought ‘Bob Holiday’ was a really strong name — like, if you were called that, you’d be able to do anything.”

    The album comes full circle with the one-two closing punch of the instrumental “In Dreams, Out” and “Slinky/ Holy Water,” touching again on the thumping drums, acoustic guitar flourishes, washes of sound and strange noises introduced on the opening track. With the pandemic having provided McEwan the chance to “get my life together and get healthy,” not to mention move 200 meters from his favorite pub, he and his bandmates will soon be onto their next musical adventure. But exploring the undiscovered territory of Night Gnomes has already made a major impact on its creators.

    “I have no idea what I’m doing half the time,” McEwan says. “It’s like, plug in, record. Why does this sound like shit but this other thing works? I needed five albums to get to this point of revealing some golden nuggets of information about dynamics, production and exploring new sounds. Everyone finds fault in their own work, but that’s probably what makes us want to keep creating.”


    1. Terminus, The Creator
    2. Lava Lamp Pisco
    3. Dread & Butter
    4. Bubblegum Infinity
    5. Sherbet Straws
    6. Night Gnomes
    7. Bob Holiday
    8. Microwave Dave
    9. Acid Dent
    10. In Dream, Out
    11. Slinky / Holy Water

    Belief (Stella Mozgawa & Boom Bip)


      With a back catalogue at Lex Records that spans half a dozen studio LPs as Boom Bip, plus another two as one half of electronic pop duo Neon Neon, Bryan Hollon has already made a name for himself as a Mercury prize-nominated producer and multi-instrumentalist. Equally impressive are the credits to Warpaint drummer Stella Mozgawa’s name; she’s contributed percussion to albums by Kurt Vile, Cate le Bon, Courtney Barnett, Sharon Van Etten, and Kim Gordon, among others. But as improvisational techno duo Belief, the pair make music that harkens back to ‘90s acts like LFO and 808 State – artists that indelibly, but near-anonymously, altered club and rave culture, mostly identifiable by clean, bold logos on 12” sleeves. “They didn’t have much of an image – you didn’t really know what the guys looked like, it didn’t matter at all,” says Hollon. “Their logos kind of define them.”

      Hollon met Mozgawa just after she joined Warpaint, when Boom Bip shared a rehearsal space in Echo Park with the band. The two quickly bonded over a love of early Warp Records, drum breaks, acid house, and Y2K-era rave flyers. They swapped playlists and ideas when Mozgawa played drums for Neon Neon’s 2013 West Coast tour, but due to busy schedules, it would be another three years before they packed every piece of gear they collectively owned into Eric Wareheim’s Absolutely Studios for an initial jam session. “The actual rat’s nest of midi cables was so overwhelming and intense. But for some reason when we just started jamming, it just felt like we intuitively knew how to make something sound the way that both of us wanted it to sound,” says Mozgawa. “We had a kind of mutual taste or something. It just came so easily once there was another mind there.”

      Instinctively playing to each other’s strengths and whims – and recording the session to build on later – allowed Mozgawa to explore a style of music she’d long considered a dark art, and pushed Hollon, known for his meticulous planning in previous work, to be more spontaneous. “There is a looseness and jam quality to it that my other music doesn’t have. We have hours of improvised sessions, which is something I always wanted to do but never took the time in my solo work nor have I ever trusted anyone as much as Stella in knowing exactly what to do and when to do it,” Hollon says. “We connect on another level that you can only tap into when improvising.” They found pockets of time to revisit the project over the next four years, even playing some early shows where they billed themselves as ‘Beef’ – a comedic wink to the project’s pulsating minimalism.

      While it was all in good fun, more reverent threads began to emerge as they began finalizing and recording headier, more enigmatic tracks. “As the music started developing, it was a bit more soulful and deep,” Hollon says. “There was always that little bit of a religious element in early rave culture… it gave us a bit of a box to work within.”

      When they’d hit on something during a performance, they’d make a note to record it; samples they’d used as placeholders were reworked with the duo’s personal touches; Mozgawa tapped bandmate Emily Kokal to record some vocal textures during Warpaint studio time; Hollon chopped, looped and arranged the jungle breaks Mozgawa had recorded from memory; and finally, the two returned to a mostly complete album during pandemic down time to flesh out and warm up some of the cooler machine-like tones, an invaluable final step.

      “The house-y acid-y stuff works really well in the live setting but when it came to recording the stuff, some of it just didn’t feel as warm or as whole as it should, to represent Stella and I,” says Hollon. “We were able to go back and inject a lot of personality into the music, so I’m really happy that we didn’t rush it and spent more time digging a little bit deeper into the songs.”
      “We were also very aware of not overcooking it,” adds Mozgawa. “It’s such a delicate balance.”

      Though governed by the central question – What Would Mark Bell Do? – Belief were careful not to create anything too derivative. “It’s something that really does come up a lot when we’re making decisions in the studio. We felt a kindred connection with one another over that music,” says Mozgawa. “It’s definitely a record that we made with our own influences and capabilities but there’s still this prevalent thread of wanting to add to that conversation in the musical universe, like making a contribution to that out of reverence to what came before.” Born out of an oddly divine foresight the duo share, Belief pays homage to the pioneers of techno, the synergy of two devout tastemakers building a shrine to inner peace and outward pleasure.


      Side A
      1. I Want To Be
      2. Anx
      3. Bayo
      4. Luther
      5. Dreams
      Side B
      1. Nebo
      2. WOT
      3. Ulu
      4. Jung
      5. Art Of Love

      Benjamin Berton

      Dreamworld - The Fabulous Life Of Dan Treacy & His Band The Television Personalities

        Enriched with plenty of scene and period colour from British pop from the 1960s to the present, "Dreamworld" tells of all the ups and downs of a legend who once ironically (but quite rightly) described himself in an interview as the "Godfather of Indie Pop".


        See Those Colours Fly

          The songs of See Those Colours Fly possess a hallucinogenic and dreamlike quality - coloured by ineffable magic but always guided by hooks. The album is firmly in the grand tradition of Breathless music - epic, ethereal, otherworldly - The result is perhaps the most perfectly distilled album of the group's career. Mixed by Kramer.

          "When Dominic Appleton sang on 4AD's This Mortal Coil projects, his regal voice was arguably the most admired of that era..." UNCUT ****



            Dälek, “the subversive indie hip-hop outfit” (Pitchfork),present their eighth album, ‘Precipice’, via Ipecac Recordings, now available to independent retailers on gold vinyl. Forged in the fires of the East Coast underground music scene of the late ‘90s, experimental hip-hop pioneers Dälek have spent the past two decades carving out a unique niche fusing hardcore hip-hop, noise and a radical approach to sound. Their brutal sonic temperament pushes rap music’s capacity for noise and protest to exhilarating conclusion.

            Following in the footsteps of Public Enemy while drawing influences from My Bloody Valentine and Faust, Dälek have succeeded in adding completely new textural and structural dimensions to rap music. Predominantly the work of Brooks and Manteca (aka Mike Mare), ‘Precipice’ was recorded and mixed by the two band members at their Dead verse Studios in Dälek’s hometown of Union City, N.J. Tool’s Adam Jones guests (guitar / synth) on ‘A Heretic’s Inheritance’. The band have supported Tool on tour previously.

            The album’s cover was created by Paul Romano(Mastodon, Withered) with interior packaging featuring the art of Afrofuturist painter, Mikel Elam. The band have toured with and supported a wide range of acts in the hip-hop, rock, metal and experimental genres, including KRS One, Tomahawk, The Melvins, Grandmaster Flash, Jesu, Dillinger Escape Plan, Pharcyde, RJD2, De La Soul, Flying Lotus, The Bug, Mastodon and Fantomas, among many others.

            TRACK LISTING

            1. Lest We Forget
            2. Boycott
            3. Decimation (Dis Nation)
            4. Good
            5. Holistic
            6. The Harbingers
            7. Devotion (when I Cry The Wind Disappears)
            8. A Heretic’s Inheritance
            9. Precipice
            10. Incite

            C Duncan


              ‘Alluvium’ is the fourth album from C Duncan, Glasgow’s classically trained multi-instrumentalist and singer-songwriter, released through Bella Union. After the haunting raptures of Architect (2015), the Twilight Zone-inspired reveries of The Midnight Sun (2016) and the richly melodic Health (2019), Alluvium is a sublime palate-refresher for Duncan (C for Christopher), brimming with revitalised fluency: a warming dispatch from the daylight zone, if you like.

              TRACK LISTING

              We Have A Lifetime
              Bell Toll
              You Don’t Come Around
              I Tried
              Sad Dreams
              The Wedding Song
              Upon The Table

              Ferris & Sylvester


                Ferris & Sylvester release their debut album ‘Superhuman’, a body of work highlighting the very best of the duo’s timeless songwriting. The twelve track album holds ten never before heard songs and takes the listener on a journey through the duo’s world where genres intertwine and emotions are stripped down to the core.

                The album was recorded at Bear Creek Studios, Seattle USA with Grammy nominated producer Ryan Hadlock (The Lumineers, Brandi Carlile, The Strokes) and at Sawmills Studio, Cornwall UK with producer Michael Rendall (Pink Floyd, The Jesus and Mary Chain, Youth). Combining influences from Folk, Blues and Americana music from both sides of the Atlantic, the duo’s debut sits in a new and distinct territory.

                A note from the duo: ‘This record is a story that unravels all that we have come to know and understand about being human. The messy parts which we all share and experience, though often we keep them safe behind our armour. Heartache, rage, hunger, jealousy, disillusion, confusion, loneliness. Also, the wonderful parts, the things that shape us. Self-knowledge, friendship, love, understanding, sacrifice. These are what make us human and this is what has shaped our record. We kept these songs close to us in the hope that when we released our first album, we could share the experience with the people who have honoured and supported our music from the beginning. In the flesh. It is as much yours as it is ours. Our hope is this: you will feel connected, inspired maybe even empowered by our writing and will go forward with a new sense of courage and self-belief.’

                Since meeting as solo musicians a few years ago at the London Blues joint Spiritual Bar, F&S have released a collection of singles and EPs, a lot of which they recorded in their South London flat. Their raw and honest songwriting about their life together brought praise across BBC Radio 1, 2, 4 and 6, earned them a place in Rolling Stone’s ‘Top 10 Americana Acts You Need To Know’ and saw them climb to number 14 on Spotify’s UK Viral chart. Their EPs ‘Made In Streatham’ and ‘I Should Be On A Train’ have racked up over 10 million streams on Spotify and their singles have been synced across British TV, most notably for BBC’s coverage of Wimbledon.

                During their relatively short pre-Covid existence, their music took them around the world, playing over a hundred shows every year including Isle of Wight, Sziget, Americanafest and BST in Hyde Park. They have shared the stage with the likes of Robert Plant, George Ezra, Jade Bird and James Morrison, winning over audiences and building a loyal and mighty fanbase. The pair sold out two nights at London Omeara on their last tour and are in the middle of a run of UK dates ending at London’s Lafayette on 21st November, promoted by Live Nation and Kilimanjaro. They’ve been championed by BBC Introducing and have played their stage at SXSW, Wilderness and Glastonbury as well as their very own live session at Maida Vale Studios. Last year, they won the Emerging Artist Award at The UK Americana Awards, earned a spot on BBC Introducing’s ‘Best of 2020 list’ and signed their first publishing deal with Sentric Music.

                TRACK LISTING

                1. Superhuman
                2. Golden
                3. Flying Visit
                4. Sickness
                5. Party’s Over
                6. This Is How My Voice Sounds
                7. Thunder Love
                8. Breadwinner
                9. Vices
                10. Demons
                11. Darkness I Feel
                12. Special

                Craig Finn

                A Legacy Of Rentals

                  Best known as the singer of the Hold Steady, Craig Finn is a Minnesota-bred singer, songwriter, and guitarist based out of New York City. Combining literary influences like Jack Kerouac and John Berryman with the musical influences of Bruce Springsteen and fellow Minnesotan Paul Westerberg, Finn's highly descriptive lyrical style has a strong focus on narrative, crafting whole worlds for the people in his songs to exist within.

                  'A Legacy of Rental's', the 6th solo record from Finn, was produced by Josh Kaufman and recorded by D. James Goodwin at The Clubhouse recording studio. Compared to past solo releases, this new collection was recorded with the help of a 14-piece string section including violins, violas and cellos, instead of the usually horn-heavy sounds that Craig and The Hold Steady are known for. The themes of the record explore memory -- how we remember our loved ones, the places in our lives that have changed, and recent events that are part of our pasts.

                  TRACK LISTING

                  1. Messing With The Settings
                  2. The Amarillo Kid
                  3. Birthdays
                  4. The Year We Fell Behind
                  5. Due To Depart
                  6. Curtis & Shepard
                  7. Never Any Horses
                  8. Jessamine
                  9. A Break From The Barrage
                  10. This Is What It Looks Like

                  Grave Lines


                    Two albums in and London’s Grave Lines, purveyors of ‘heavy gloom’ have already carved a unique niche in the myriad spheres of heavy music. Their first album ‘Welcome To Nothing’ set the tone for their distinct take on doom metal, which was broadened even further with album two ‘Fed Into The Nihilist Engine’. An epic feast of hard ‘n’ heavy riffs coupled with brooding sadness interspersed with thoughtful transcendent moments of introspection. Never a band to rely solely on trotting out those ‘doom metal’ tropes, the band began to weave in gothic and experimental elements into their music, to delve deeper into the dark shadows of the psyche.

                    Now with their third album ‘Communion’ Grave Lines continue their exploration into the ugliness of the human condition, at the same time becoming a band that truly defies any pigeonhole. Continuing to hone and evolve their collective vision and aided by the masterful production of Andy Hawkins at The Nave Studios, 'Communion' sees Grave Lines creep further into the various corners of their sound. In a nutshell ‘Communion’ is a violent descent of bile-soaked intensity spiralling between filth laden swagger, and fragile mournful lament. The album delves into the internal aloneness of existence and the failings of the human connection.

                    Owing as much to Bauhaus and Killing Joke as it does to Black Sabbath or Neurosis, there are moments of gut wrenching doomed up heaviness and bellowing noise rock, contrasting with ambient gothic passages and a thoughtful melancholy, to a create a powerful new chapter in their ceaseless journey through the gloom. The seven tracks act as distinctly separate representations of the album, each individually mirroring the remoteness of human consciousness. Opening track 'Gordian' doesn't waste any time, a burst of feedback kicks you straight into a filthy low slung punked up stomp before the band switch mood to drop off into a doom abyss, singer Jake raging at the void.

                    'Argyraphaga' continues the pummelling groove, gradually descending into nihilistic sludge. In direct contrast the sprawling atmosphere of 'Lyceanid' travels through the darkness. Jake’s vocals harnessing the spirits of Scott Walker and Mark Lanegan in equal measure. The rest of the band (on top form throughout) focus the dynamics over eleven enthralling minutes, as the song builds and builds to a towering crescendo before finishing with a plaintive acoustic coda. This is pure Grave Lines’. An immersive blend of darkness and light. 'Tachinid' is a violent palette cleanser, harsh industrial synths astride a hateful droning spoken word sermon. 'Carcini' is soaring melancholic doom, with the band at their most melodic whilst still able to crush the listener. Broodsac, with its circular riffs, is all gothic post punk noise rock meets fuzz fat riffs, and album closer ‘Sinensis’ offers a final delicate, melancholy moment of calm before launching into an industrial charged grind into oblivion.

                    Grave Lines’ fusion of elements makes them one of the most powerful and mesmerising bands inhabiting the heavy music world at the moment, and with ‘Communion’ they have crafted an album that encapsulates their distinctive dynamic perfectly. ‘COMMUNION’ will be released in deluxe black and white smoke effect vinyl, housed in a full colour single sleeve with download included, CD and all digital platforms. 

                    TRACK LISTING

                    Side A

                    1. Gordian
                    2. Argyraphaga
                    3. Lycaenid.

                    Side B

                    1. Tachinid
                    2. Carcini
                    3. Broodsac
                    4. Sinensis

                    The Interrupters

                    In The Wild

                      After three studio albums and over a decade deep into the music game, The Interrupters deliver their new album, In The Wild.

                      This 14-track opus is the real deal; it's a story of survival, a story of resilience, by a band being bold and rejecting the easy impulses of simply repeating what's worked before. Together during lockdown, Aimee Interrupter, partner and guitarist Kevin Bivona, and his younger twin brothers, Jesse (drums) and Justin (bass), decided to put idle hands to work. After building a home studio in their garage together, Kevin stepped up and took charge of production duties to become "the accountable one" this time around. The record took shape in an unforced and organic fashion, and the recording process was evidently a fun one, which is refected in the sound of the album, gliding across a spectrum of breathless punk rock, doo-wop, gospel, dancehall, and the band's customary nods to the lineage of two-tone. It's further evidenced in the uplifting spirit and the glittering rollcall of guests (Tim Armstrong, Rhoda Dakar, Hepcat, The Skints) involved too. Thanks to the cocoon of the intimate environment they'd built and relaxed working practices, the results made for the most personal Interrupters album to date, as well as being the one all four feel most connected to

                      Island Of Love

                      Songs Of Love

                        Originally called 'Love Island' - until "Linus didn't make the audition process so we jumbled it around" (or, possibly, for legal reasons) - Third Man London's first signing settled instead on 'Island of Love'.

                        For the label, an island within the UK music scene is exactly what Karim, Linus, Daniel and Jimmy are: feedback-fuelled adolescents with a depth of songwriting unheard since Teenage Fanclub's formative 'Catholic Education', and late '80s Dinosaur Jr. So mind-bendingly good are the group that Third Man co-founder and owner Ben Swank presented an offer approximately thirty seconds after they played the opening weekend of Third Man's new Soho digs ( to the extent that drummer Jimmy left the stage with paint up his back).

                        Bonded by playing in various punk, hardcore and metal bands in their hometown of London, Island of Love's now double frontmen, Linus and Karim, would write and share demos between their family homes. The lo-fi, fuzzy fruits of these sessions melded into 2020's seven song 'Promo Tape'.

                        Now, no longer a bedroom project, the four-piece's first collaboration with Third Man is the EP 'Songs of Love': twelve minutes of adrenaline, awashed with guitar distortion, Linus and Karim's dark harmonies and contemplative lyrics beyond their teenage years. Out March digitally and June on vinyl, this special release is sure to go down in both the TMR history books as well as mosh pits nationwide. 

                        Josef K

                        The Only Fun In Town - 2022 Reissue

                          “Rarely has there been a better album opener than Fun n’ Frenzy, a shimmering yet abrasive mix of Subway Sect dustbin lid guitar, No Wave twitchiness, a hint of psychedelia and a crooning vocalist intoning poetic, abstract lyrics that conveyed existential menace. Continuing with Revelation, Crazy to Exist and single tracks like Sorry for Laughing, The Only Fun In Town was an extraordinary achievement – eclipsed by the group's split. It remains an early 80s high point. Those who haven’t heard it should; those who have might be tempted by this latest upgrade, which features remastered sound and different extras”. Josef K ‘The Only Fun In Town’ (Jon Savage – Mojo 2014)

                          Crepuscule presents a new limited 180GM black vinyl edition of The Only Fun In Town, the influential debut album by iconic Scottish guitar group Josef K, originally released on Postcard Records in July 1981.

                          Speedily recorded in a small studio in Brussels, The Only Fun In Town was a defiantly abrasive, serrated long-player in the mould of the second Velvets album, Josef K having already shelved a more conventional recording. Sharp-edged pop singles abound – It’s Kinda Funny, Sorry for Laughing, Revelation – along with rattling Haig/Ross twin guitar classics such as Fun ‘n’ Frenzy, Heart of Song, Forever Drone and The Angle.
                          The Only Fun In Town topped the independent charts on release and remains a canonical post-punk album. This remaster arrives housed in a handsome gatefold sleeve, and by way of bonus tracks also features several Postcard single A and B sides including Radio Drill Time and Chance Meeting. Side 4 features all four tracks from JoKay’s celebrated John Peel Session in June 1981, including Heaven Sent and The Missionary.

                          TRACK LISTING

                          Side 1:
                          1. Fun ‘n’ Frenzy
                          2. Revelation
                          3. Crazy To Exist
                          4. It’s Kinda Funny
                          5. The Angle
                          Side 2:
                          1. Forever Drone
                          2. Heart Of Song
                          3. 16 Years
                          4. Citizens
                          5. Sorry For Laughing
                          Side 3:
                          1. Radio Drill Time
                          2. Romance
                          3. Chance Meeting
                          4. Pictures
                          5. Final Request
                          Side 4:
                          1. The Missionary
                          2. Heaven Sent
                          3. Heart Of Song
                          4. Applebush


                          Time Flies

                            Time Flies, is an extraordinary collection that fuses intimate subject matter and upbeat guitar-led rock with irresistibly catchy electronic elements. In the half decade since her acclaimed 2016 album Wild Things, Pip has gone through a personal transformation.

                            Pip has openly struggled with mental health, anxiety and depression for a long time and, after dealing with severe postnatal depression + a serious skin cancer condition which has thankfully seen a full recovery, was able to successfully procure the right balance of therapy & medication which is so individually specific. When she embarked on writing songs for this new record in 2019, there was a sense of freedom in the work. “I was feeling pretty grateful to be alive and making music, so I felt like I didn’t ‘care’ anymore - not in a bad way, I just stopped overthinking it.”

                            Time Flies was produced with a host of incredible collaborators including, LA songwriter and producer Tommy English (K.Flay, Carly Rae Jepsen, Kacey Musgraves, Adam Lambert, Broods etc), Auckland based Josh Fountain (Leisure, Benee), Jeremy Toy (Leonard Charles, She’s So Rad) , Sydney's Chris Stracey (Bag Raiders, Paloma Faith, Diplo.) and Jono Sloan (Empire Of The Sun, PNAU).

                            TRACK LISTING

                            SIDE A
                            My Love
                            Think About You
                            Time Flies
                            Mixed Emotions
                            Guilty Love Ft. BROODS

                            SIDE B
                            Take It Easy Mama
                            Walk Away
                            Love Is Blind


                            Repair And Reward

                              The complete recorded history of one of the more influential and revered post-hardcore bands of the early 1990s. Newly mixed in 2021 by J. Robbins (Jawbox, Burning Airlines). Lincoln was a Morgantown, WV band formed in 1992 by Jay Demko (vocals/guitar), John Herod (guitar), Justin Wierbonski (drums), and Johanna Claasen (bass). Dan Ball would later take over on bass. Though a band for only a brief time who left behind only a handful of recordings, they remain highly respected and are often regarded as one of the many foundational pieces of what would become known as “post-hardcore,” as well as the proto-emo scene that was birthed by bands like Rites of Spring and Moss Icon. Lincoln’s first 7” was originally released in 1992 by Watermark Records.

                              The following year, their universally beloved split 7” with Washington, DC’s Hoover became the inaugural release on the Art Monk Construction label. A final Lincoln 7” was released posthumously in 1994. All of Lincoln’s releases have remained out-of-print and unavailable since the late 1990s. In 2021, Lincoln’s entire recorded history was recovered, and the original analog tapes were restored and transferred. J. Robbins (Jawbox, Burning Airlines) newly mixed every song. All eight songs – seven that originally spanned three 7” singles, plus a previously unreleased track are now finally available on CD, LP, and Digital formats. It all sounds and feels better than ever, and shows just how much a small band from a small town with a small discography can have such a large and lasting impact

                              TRACK LISTING

                              1. Benchwarmer (5:01)
                              2. Sugarloaf (3:27)
                              3. Waterboy (4:42)
                              4. Repair And Reward (5:06)
                              5. Union (2:39)
                              6. Grade Curve (3:06)
                              7. Stop Means Stop (2:12)
                              8. Seed (3:40)

                              Sofia Mills

                              Baby Magic

                                The debut album from 19-year-old artist Sofia Mills, Baby Magic intimately details the most pivotal moments in her coming-of-age experience: breakups with toxic boyfriends, coming out as queer at age 16, a longtime struggle with mental illness.

                                As shown on her breakthrough single "Coffee Breath" (a self-produced track that's amassed over 100 million streams on Spotify to date), the Massachusetts-born singer/songwriter/multi-instrumentalist imbues her storytelling with both startling clarity and profound sensitivity, an element echoed in her warmly textured brand of indie-pop.

                                Written entirely by Mills and co-produced with John Mark Nelson (Taylor Swift, Allison Ponthier), Baby Magic arrives as a complex and captivating body of work, built on a potent tension between her dreamy romanticism and intense self-awareness.

                                TRACK LISTING

                                1. DREAMGIRL
                                2. Won’t You
                                3. Drunk / Tired
                                4. Life Of The Party
                                5. Baby Magic
                                6. Wish I Would
                                7. Bite
                                8. Sleepover
                                9. White Lilies

                                The Queen's Head

                                Your God Owes You Money

                                  Hot off the back of their self-titled debut single – the energetic five piece made up of Joel Douglas (vox/guitar), Tom Butler (vox/bass), Robbie Cottom (keys), Mike Hendry (guitar) + George Thompson (drum/percussion) follow it up with the provocatively titled ‘Your God Owes You Money.’

                                  For those unacquainted with the band’s brand of esoteric eclectic pop - The Queen's Head are a five piece from South London making alternative music about modern anxieties. Blending elements of post-punk, noise-rock, disco and modern dance music, wrapped in a familiar verse-chorus pop structure, the resulting sound is simultaneously enchanting and terrifying.

                                  Ordering this giddy chaos are the dual vocals of childhood friends Joel Douglas and Tom Butler. Together they combine cutting, spoken word narratives and growling melodies which take form as vigorous, traumatised calls to arms, scriptures not as much sung but bellowed and preached to the audience. It’s a sermon.

                                  ‘It did feel like that’ recounts Speedy co-runner Pierre Hall who put them on at one of Speedy’s ‘Homecoming’ nights at The Social at the end of lockdown. ‘From the second they came on to the second they finished – everyone was completely entranced. You were sucked in. It was powerful. Scary, intense, confrontational. But powerful nonetheless. I was hooked.’

                                  On the resulting track – a heady mix of post-punk influences crossed with everything from The Clash to The Specials via Daniel Avery and Charlie XCX, the band say: ’We are a band interested in world-building, with our process normally meticulous, pouring over tiny production and song-writing details. Taking 'Your God Owes You Money' into Dan Carey's space and method was a deliberate attempt to disrupt our complacencies. We played live, welcomed error and followed improvised ideas, under Dan's guiding hand. The version of this song we produced in just a day hopefully captures the rage and range of our live show - a direct glimpse into the band, what we believe and our frailties as self-confessed performers. An honour, a privilege and a wholly enjoyable day amidst Dan's Aladdin's cave.’ The genie is out of the lamp.


                                  Actions And Indications - 2022 Reissue

                                    Seaweed formed out of the fertile northwest punk scene of the mid-to-late '80s in Tacoma and Olympia Washington. Singer Aaron Stauffer, fresh off a stint in the little-known Spook & the Zombies, founded the band with best friend Clint Werner, who assumed guitar duties. After the recruitment of guitarist Wade Neal, bassist John Atkins, and drummer Bob Bulgrien, Seaweed began playing clubs throughout the Pacific Northwest. From 1989 to 1999, Seaweed recorded five punk-pop LPs and played over a thousand shows.

                                    According to All Music Guide, "they played D.I.Y. with the Sub Pop label for their first three records, went ambitiously astray by signing with Hollywood Records, then did the cool right thing by returning to indie Merge." This August, Merge Records offers the vinyl reissue of 1999's Actions and Indications, remastered and pressed to high quality vinyl, with three unreleased bonus tracks (digital only) added. Originally recorded at Tacoma's Uptone Electric studio in the summer of 1998, Actions and Indications is a tour de force of power chord dynamism.

                                    TRACK LISTING

                                    1. Antilyrical
                                    2. Thru The Window
                                    3. Hard Times
                                    4. Steadfast Shrine
                                    5. Red Tape Parade
                                    6. What Are We Taking?
                                    7. Warsaw
                                    8. Against The Sky
                                    9. In The Middle
                                    10. Let Go
                                    11. Stay Down
                                    12. Everybody’s OK

                                    BONUS (included On Download Coupon) Choices Lost, Ghosts.

                                    Léa Sen

                                    You Of Now Pt. 1

                                      Open-eared and open-hearted: these are the watchwords of Léa Sen’s music. At just 22 years old, the London-based singer, songwriter and producer has established herself as one of the capital’s most in-demand talents, meandering between gossamer vocal features for Joy Orbison to solowork that references everything from Bon Iver’s electronic timbre and folk guitars to Sampha’s impressionistic lyricism.

                                      Now Sen arrives with her most comprehensive statementto date - her debut EP, ‘You Of Now’. The five-track collection presents the self-assured maturity of an artist twice her age, with all tracks written, produced and mixed by Sen - still a rarity in a male dominated industry.

                                      “People assume that if you're a woman, you’re just a singer, whereas I do so much more,” she says. “I’m not going to make myself feel insecure though - I’m going to be comfortable expressing myself however I want.”

                                      TRACK LISTING

                                      1. Much To Lose
                                      2. I Like Dis
                                      3. With Or Without
                                      4. Hyasynth
                                      5. I Feel Like I'm Blue


                                      And Then There Were Four

                                        Featuring Andre Innes, Martin Duffy & Darren Mooney of Primal Scream. “In 2018 after a particularly messy session involving Pacharan, a Spanish version of Pernod, the name and then there were four was bandied around as my fellow travellers fell by the wayside, sounded like a Spaghetti western…and the idea was hatched. We began recording in Artesonao studios in Malaga, myself and Ed Chapman, a renowned English artist, we were ably assisted by Rachel Hewitt on violin we recorded a dozen or so tunes in a week.

                                        We recruited the services of Darrin Mooney and Martin Duffy of Primal Scream on drums and keys, Andrew Innes of Primal Scream assisted on additional guitars, celeste and bells…lots of bells. Robert McGovern came out to Malaga to play on a few tracks also. We had the voice of Justine Petty – Burrows a Canadian chanteuse to be a foil to my less than acrobatic voice. The record was a return to my favourite music of my youth, soaking up Dylan, Scott Walker, Tim Buckley, Tim Rose, Tim Hardin and the soundtracks of Morricone, like an old compilation tape from 1986” – Sheer Taft 2022

                                        TRACK LISTING

                                        Side One
                                        1. And Then There Were Four
                                        2. Everybody's Been Somebody's Fool
                                        3. Gypsy River
                                        4. After Midnight
                                        5. The Sun Is Ours
                                        6. Mezcal Dream
                                        7. Four Ride Out
                                        Side Two
                                        1. Enemigo De Todos
                                        2. Alegria
                                        3. Chasing Down A Dream
                                        4. The Ghost
                                        5. Time
                                        6.Requiem For Pablo
                                        7.(There Goes) A Friend Of Mine


                                        There's So Many People That Want To Be Loved

                                          A brand-new 7” from Sorry, featuring new single “There’s So Many People That Want To Be Loved” backed by b-side “15’4”.

                                          Third Man Books Present

                                          Maggot Brain (Issue #9)

                                            WE HAVE COLUMNS FOR YOU, by Lucy Sante (their first autobiographical writing for us, touching and brilliant); we have a tear-jerker of an advice column by Mimi Lipson; the tapes column is more succinct this time; the forgotten hip-hop column is on the enigmatic Son of Bazerk!; we revisit the roadside America column with a dinosaur theme because why not; we take a look at forgotten early Hawaiian music in the reissue column; we go into detail about why the mysterious Seymour Glass from Bananfish matters so much; and there’s a terrific first-person account of growing up in DC right when Fugazi hit and why that band was such a crucial signpost for misfits of all stripes at the time. Our columns alone are worth the price of admission, hah.


                                            Raymond Pettibon: In a wide-ranging and sweet interview by Adam Woodhead Pettibon walks us through his entire career, and even makes economics sound interesting.

                                            John Waters: We have a beautiful discussion on the merits of transgression in today’s climate by Feral House publisher and old friend Christina Ward.

                                            Cheri Knight: The great Seattle-based scribe Dave Segal goes deep on this neglected experimental pop musician from Olympia in the '80s.

                                            David Nance: Editor Mike McGonigal is fascinated by the way Nance manages to mix up tributes to other artists, and collaborations, with such deeply strong solo material.

                                            Amy Ruhl:The cinematic visual artist is explored in depth by Chelsea Wolfe.

                                            John Brannon: Check it out: we have the most epic and excellent career spanning photo packed feature by Brannon’s longtime photographer Doug Coombe.

                                            Melvins photo tour diary: Entirely by Buzz Osbourne, photos and words -- this is like a dozen pages and so and taken just months ago. It’s really rad, all shot on their first tour in forever!

                                            Lidia Yuknavitch: Alex Behr turned in a brilliant interview with the cult writer.

                                            Kan Mikami: The Japanese outsider blues-folk musician and actor is interviewed by the LA-based saxophone player and composer Patrick Shiroishi

                                            The Willies: And here we have thanks to Tyler Wilcox the most Maggot Brain type article, a big in-depth, lyrical feature on the Feelies ambient offshoot who have never been written on in-depth. The band’s connection to Downtown minimalism has never been written on this way, and basically you will for the first time understand how the band morphed from the first record into the second, and at least part of why there was so much time in between. We’re not worthy!

                                            Sarah Elizabeth Schantz: We have some brilliant and timely fiction that deals with gun violence by this great writer.

                                            Doorman Memories: Tim Abbondelo delivers a poignant set of memories (in the style of Joe Brainard’s celebrated long poem I Remember) on his days as the doorman to a midsize indie venue.

                                            Ural Thomas & The Pain

                                            Dancing Dimensions

                                              Though Ural Thomas is universally recognized as one of the most exciting singers remaining from the original soul era, and an active musical institution for over sixty years, his band, all decades younger, are treated as equals. The Pain are no backing band - but rather a well-oiled tightly knit musical aggregation that have spent the last eight years with Thomas developing a unique sound of their own. 

                                              The relationship extends beyond the stage and the studio and the practice room. On a given night you may witness the octogenarian soul journeyman turning up at the club with a crew one-third his age at midnight. If you don't recognize him, he's the sharp-dressed man with the charismatic grin out on the floor cutting a rug long after the young folks went home. This love of life and crossgenerational relationship is the essence of Ural Thomas & The Pain. 

                                              Despite the usual COVID-19 obstacles, Ural Thomas and The Pain finally completed their much-anticipated third album, ‘Dancing Dimensions’. While exploring everything from sweet Chicago soul to airy West Coast psychedelia to Sly funk, their latest collection retains the distinctive sound the band organically developed over years of relentless work.

                                              TRACK LISTING

                                              1. Dancing Dimensions
                                              2. Heaven
                                              3. Do You Remember The
                                              4. Times We Had?
                                              5. First Dimension
                                              6. Apple Pie (Oh Me Oh My)
                                              7. Ol Safiya
                                              8. El Eey Em Eh
                                              9. Gimme Some Ice Cream
                                              10. Second Dimension
                                              11. My Favourite Song
                                              12. Third Dimension
                                              13. Hung Up On My Dream
                                              14. Promises
                                              15. If It Wasn't For Love


                                              Levitation Sessions

                                                The live album from Windhand's show on Levitation Sessions. The Richmond, VA based quartet has quickly risen to the top of the heavy rock music scene, with their genre-defying take on doom and psychedelia. Perhaps the perfect soundtrack to these dystopian times.

                                                “It was great to get together with the band after so many months apart, to plug in all the gear and let the demons loose once again. For a moment there it almost felt like being back on the road. We got to work with our old friends like Jonathan Kassalow (lighting and organ), and frequent music video collaborator Jordan Vance. They pulled it all together and made the show a heavy visual experience to pair with the audio which was recorded and mixed by our live sound engineer, Chris Moore. We look forward to seeing you on the road sometime soon at a real show, but this is as close as we'll get for now. Hope y'all enjoy.” - Dorthia, Garrett, Parker, and Ryan

                                                Windhand is one of the key artists in the resurgence of heavy music, and in a scene teeming with great bands inspired by Black Sabbath, Pentagram, Sleep and Electric Wizard, Windhand stands apart due to their mastery of the craft and the stunning vocals of singer Dorthia Cottrell.

                                                TRACK LISTING

                                                DISC 1
                                                SIDE A

                                                1. Old Evil
                                                2. Diablerie
                                                SIDE B
                                                1. First To Die
                                                2. Forest Clouds

                                                DISC 2
                                                SIDE C

                                                1. Three Sisters
                                                2. Grey Garden
                                                SIDE D
                                                1. Orchard
                                                2. Cassock


                                                Bright And Guilty - 2022 Reissue

                                                  In 1989, while the musical world was fêting serial-killer worshipping noise bands, white boys with dreadlocks and the first glimmers of techno, one band – The Wolfhounds – was describing the times and the country exactly as they were. Or at least as they saw it.

                                                  Well, not exactly. The privations of finding enough money to live on, a semi-permanent roof over your head and perhaps the hope of real change were all there in the lyrics along with the multitudinous shards of ideas in the music, both raging and reflective – but there was also a sense of magical realism and authentic personal circumstance imbued in it all.

                                                  Formed as a frantic noisy fusion of sixties garage and independent post-punk in Romford in 1984, by 1986 it was the band’s misfortunate to be corralled with the jangly and quirky bands of the era-defining C86 tape, given away free with the NME that year. The frustration of being lumped with the lumpen was already spilling over into a heightened creativity that would see the band release three LPs in 18 months, the first and perhaps most fully realised of which was Bright & Guilty.
                                                  The band’s sense of melody saw three singles taken off it, and all received plentiful radio play that resulted in enthusiastic audience responses when the band toured with My Bloody Valentine and the House of Love shortly after the LP came out. This renewed attention also saw them being threatened with legal action by the food company satirically targeted by one of the singles – Happy Shopper.

                                                  The band’s magpie listening habits also saw the first glimmers of an interest in sampling with the track Cottonmouth, hip hop in the drum rhythms of Invisible People and Son of Nothing, discordant post- hardcore in Non-specific Song and even percussive hints of Tom Waits’ Rain Dogs in Charterhouse.
                                                  The album’s lyrical themes have sustained the relevance of these 30-something year-old songs. The dictatorship of the class system over the economy is touched on in Charterhouse, the unfairness of housing policy in Rent Act and Red Tape Red Light, the desperation of not having enough money to even seek employment in Useless Second Cousin. But there is contemplation and mystery, too: Rope Swing’s nostalgia for pre-teen childhood, Invisible People’s detailing of intangible weaknesses.

                                                  Of all their peers, The Wolfhounds post-C86 output stands up straight and proud, and you’ll find echoes of their sound in Fontaines DC, Idles and many others – but not performed with the brashness, vigour and uniqueness of the originals.

                                                  TRACK LISTING

                                                  Non- Specific Song
                                                  Happy Shopper
                                                  Useless Second Cousin
                                                  Ex- Cable Street Tomorrow Attacking
                                                  Son Of Nothing
                                                  Rent Act
                                                  Invisible Peopl
                                                  A Mess Of Paradise
                                                  No Soap In A Dirty War
                                                  Red Tape Red Light
                                                  Natural Disasters
                                                  Died The Small Death
                                                  A Mess Of Paradise (scarf Demo)
                                                  I’m Not Like Everybody Else
                                                  Set Me Free
                                                  Second Son

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