15 years after the album’s release, ‘City Of Echoes’ is now available in a deluxe 2LP edition, newly remastered by Josh Bonati and featuring a full LP’s-worth of bonus material, including original album demos, alternate takes, and pieces originally only available on the rare ‘Pink Mammoth’ EP.

‘City Of Echoes’, originally released in 2007 by Hydra Head Records, marked a paradigm shift for Pelican. Coming off the heels of the glacial ‘Australasia’ and their even more expansive and acclaimed follow-up, ‘The Fire In Our Throats Will Beckon The Thaw’, their third album is a study in precision.

Inspired by their non-stop tour schedule following ‘The Fire In Our Throats Will Beckon The Thaw’’s release, the quartet composed ‘City Of Echoes’ to be a lean powerhouse of non-stop melodic hooks and lurching rhythms that reflected the energy of live performance.

Guitarists Trevor Shelley de Brauw and Laurent Schroeder-Lebec trade crisp riffs that twirl in opposition before thundering together in monoliths. The sheer amount of potent interplay between the two, often borrowing from disparate edges of rock and metal at a whim before completely transforming, is mind-boggling. Bassist Bryan Herweg and rhythm section compatriot / drummer / brother Larry Herweg lock into a wider array of grooves than ever before. Their considered bedrock guides the band’s dynamics into some of the ensemble’s most tender moments as well as their most ferocious.

Recorded by Andrew Schneider at Electrical Audio Cover. Art designed by ISIS and SUMAC founder Aaron Turner, with photography by Robin Laananen.

STAFF COMMENTS

Barry says: One of my favourite post-metal bands of all time, Pelican so seeing this beautiful LP again a full FIFTEEN years after its original release is a big treat. Churning grooves, walls of sound and cathartic, doom-laiden noise. Unlike 'The Fire In Our Throats...' and 'Australasia', we see a lot more melody and melodic-leanings on this LP, and though they were both classics, the lightening of the instrumental palette works wonders for them. Ace.

TRACK LISTING

Bliss In Concrete
City Of Echoes
Spaceship Broken - Parts Needed
Winds With Hands
Dead Between The Walls
Lost In The Headlights
Far From Fields
A Delicate Sense Of Balance

Treviso, Italy-based two piece Kill Your Boyfriend are releasing their fourth album 'Voodoo' via Sister 9 Recordings (Europe), Little Cloud Records (North America) and Shyrec (Itay). A frantic and hypnothising bacchanalia of Psych & Industrial tinged soundwaves, the new album is a collection of reverb laden necromantic charms, summoning the souls and bones of the greats in the Rock & Roll pantheon of the 1950s. The duo delivers such glittery dark enchantment via 7 hoodoo hymns, travelling with a crumbling, ghostly and magically whizzing Rocket 88, in the company of Marie Laveau and madame Lalaurie. It's a relentless whirl of Voodoo-Psych, Industrial-Billy, Electro-GrisGris, which you can dance to.

The new LP follows 'Killadelica', where Kill Your Boyfriend had refined their debut signature sound, bridging the gap between the semi-obscure but hauntingly fascinating tradition of Veneto's PostPunk (Death In Venice, Evabraun, Pyramids, etc.) and contemporary Psych-Nouveau. With 'Voodoo', Matteo Scarpa and Antonio Angeli, explore new genres and expand the sonic borders, without losing their original intent. They replace the synth bass with a bass-guitar, adding more fluidity and weight to a renewed and punchier rhythmic section. Electronic and acoustic percussion are fuller and heavier, and the band's new stomp-machine is a hyper-convulsive version of the saturated Rock & Roll and R&B drumming, from the cheap garage studios of 1950s indie labels.

Sida A is the most Rock & Roll of the two, and it is inspired by Michael Ventura's essay "Hear that Long Snake Moan", which brought forward the idea that "the Voodoo rite of possession by the god became the standard of American performance in Rock’n’Roll" where the performers "let themselves be possessed not by any god they could name but by the spirit they felt in the music”. Each song invokes one or a set of the lost souls of the Rock & Roll era, with 'The Day The Music Died' referring to the infamous 3rd of February 1959. Side B descends deeper into the magic swamps of Creole magic, with music taking on a much more liturgical function, conjuring shamanic possessions via extra layers of tribal percussion. The band says of side B: "we see it as a one long ritualistic descent into a psychedelic underworld made of echoing voices, claustrophobic spaces populated by lost souls, enchanters and witchdoctors."

For fans of: Throbbing Gristle, The Soft Moon, Suicide, Cult Of Dom Keller, Sonic Youth, The Cramps, Sisters Of Mercy, Wall Of Voodoo

TRACK LISTING

1. The King
2. The Man In Black
3. Mr Mojo
4. Buster
5. The Day The Music Died
6. Papa Legba
7. Vodoo

Mogwai return with their 9th studio album which was recorded with renowned producer Dave Fridmann (Mercury Rev, The Flaming Lip’s, Mogwai’s Come On Die Young and ROCK ACTION) at his Tarbox Road Studios in New York State.

'Every Country's Sun' named after a friends lack of knowledge in how the universe works, takes two decades of Mogwai's signature, contrasting sounds and distills it, beautifully, into 56 concise minutes of gracious elegance, hymnal trance-rock, and transcendental euphoria. It will definitely appeal to fans of the band and will gain many new ones along the way.

TRACK LISTING

1 Coolverine
2 Party In The Dark
3 Brain Sweeties
4 Crossing The Road Material
5 Aka 47
6 20 Size
7 1000 Foot Face
8 Don't Believe The Fife
9 Battered At A Scramble
10 Old Poisons
11 Every Country's Sun

Oozing Wound are comprised of members Zack Weil (guitar, vocals), Kevin Cribbin (bass) and Kyle Reynolds (drums).

The members of Oozing Wound are veterans of Chicago’s underground scene, having played in Cacaw, Unmanned Ship, ZATH and Bad Drugs

TRACK LISTING

Bank Account Anxiety
Total Existence Failure
The Good Times (I Don’t Miss ‘Em)
Hypnic Jerk
Crypto Fash
Between Cults
Chudly
Midlife Crisis Actor
Old Sludge
Face Without Eyes

Sightless Pit is Lee Buford (The Body) and Dylan Walker (Full of Hell), two unparalleled artists at the forefront of redefining heavy music.

‘Lockstep Bloodwar’ is Sightless Pit’s sophomore album, following the band’s acclaimed debut ‘Grave of a Dog’, which featured Lingua Ignota, as well as The Body and Full of Hell’s collaborative album, ‘Ascending a Mountain of Heavy Light’.

The album includes eclectic and celebrated guest artists, including Gangsta Boo (Three 6 Mafia), YoshimiO (Boredoms), Frukwan (Gravediggaz), claire rousay, Midwife, Lane Shii Otayonii (Elizabeth Colour Wheel), Foie Gras, and more.

TRACK LISTING

On A Knife (feat Midwife)
Calcified Glass (feat YoshimiO & Gangsta Boo)
Flower To Tomb (feat Lane Shi Otayonii)
Lockstep Bloodwar
Low Orbit (feat Frukwan & Industrial Hazard)
False Epiphany (feat Claire rousay)
Shiv (feat Crownovhornz)
Morning Of A Thousand Lights
Futilities (feat Foie Gras)

With "Leave Me Alone", Detlef Weinrich presents his fifth album under the moniker Tolouse Low Trax. Weinrich, who has meanwhile turned his back on Düsseldorf and lives in Paris, has long since ceased to be an insider tip and is a guest in renowned clubs and festivals all over Europe. With his new album, he succeeds in an exciting, unforeseen new direction. The velvety heaviness and rawness of earlier records seems to have given way to a new playfulness. A playfulness perhaps in the sense of an electronica reminiscent of the late 1990s, which in its idea of deconstruction and reduction is currently enjoying a new appreciation in the clubs. But also in the sense of an urban vibe of hip hop and dub references, which are woven into a very unique mix in Weinrich's tracks.

Nervous mechanical murmurs, drifting comic-like through razor-sharp rhythm cliffs: welcome to "Leave Me Alone", a loop meta-level dreamland of styles and mental meteorology. A repetitive notion on the overwhelming speechlessness towards the world, its clocking, and all the despairs that come along with it. Wholly veiled in a sharp sonorous language, that brings a complete agreement of the expression with the idea, a sense of harmony, of a secret beauty, that often escapes the judgment of the crowd. It marks the latest longplayer by Tolouse Low Trax. After his stunning collaboration with French singer and hurdy gurdy player Emmanuelle Parrenin and myriad remixes for artists like Aksak Maboul, Ex Ponto, or Sebastian Tellier, he sharpened his artistic skills for a fresh musical treasure hunt. "Leave Me Alone" is a renunciation from the industrial slow drone zones, waving into spectacular decon- structed style collages.

13 veiled drum machine experiments, featuring dubby jazz districts, hip-hop flair, haunting little melodies, and the TLT signature funk. Again, he listened to the prose of his rhythms deeply, connecting the tones, placing rhythmic commas judiciously, like stops on a long road. All obscured into a new, ironic, yet totally serious sound layout, that is mirrored in the minimalistic shaped cover art- work full of suggestions to ramified cultural meanings. For a wonder, this time almost no pocketed vocal samples in the TLT creations. Instead, freshly recorded spoken words and singing by Brooklyn based producer Chris Hontos aka Beat Detectives, poet and multidisciplinary artist Fran from Paris and Italian synthesist and singer Andrea Noce aka Eva Geist, chanting introspective verses and Pier Paolo Pasolini poems over rugged grooves and suggestive sounds, opening his creative universe into a crisp manic eroticism. A cluster of genres, dancing in a rebellious, blistering swing, whirling styles upside down with an overall atmosphere that is flourishing on a positive spirit. An accessibility unusual for TLT and his non- conformist MPC driven music. So, let’s leave him alone and get lost in a wavering jaunt that chase away angst and depression with smoky musical spells and dramatic interlocking beat patterns.

TRACK LISTING

1. Albatros
2. How To Beat The Sea
3. Gates
4. Impure Nature
5. I Would Prefer Not To
6. My
7. Non Giudicare
8. Yellows
9. A Great, Strange And Moving Work
10. Ossia
11. White Flicker
12. Muddy Floors
13. Bianca From Rome

Cosmic American Music from the far flung reaches of rural Oregon. Issued in 1979 on Allan Wachs’ own True Vine imprint, Mountain Roads and City Streets gathers a decade of songs written while hitchhiking up and down the west coast. Screeching pedal steel, lilting flute, and tingly dulcimer are peppered throughout Wachs’ tales of brief affairs, invisible dogs, and getting lost in a changing America.

TRACK LISTING

SIDE A

1. Adventures Of The Invisible Dog
2. Least Of My Strangers
3. Anna Lena
4. Pretty Face
5. Dancer

SIDE B

6. Mountain Man Breakdown
7. The Lord Will Provide
8. Travelin’ Light
9. Mountain Roads
10. Northwest Passage

A selection of private press 45s featuring Nate Young, John Olson, Alex Moskos, Gretchen Gonzales, Aaron Dilloway & Raven Chacon. These collaborations between the core Wolf Eyes crew and friends was originally self-released as a series of super-limited 7” hand painted box sets, but now the core ‘hits’ have been compiled by Disciples for wider consumption.

The results are surprisingly diverse, from Short Hands’ avant-garde rock’n’roll through to the delay-drunk drum machine of Time Designers, and the classic Michigan underground audio sprawl of Universal Eyes.

A current snapshot of the vast amount of music and art that Wolf Eyes and friends continue to transmit into the world. Limited edition clear vinyl with 16 page booklet.

In similar fashion to the recent Maxine Funke compilation on Disciples, this collection also trails a brand new studio album from Wolf Eyes which will be landing early next year.