We're clearing some space to make room for the mountains of new releases that are piling in at the moment.

Most of these items are last copies, so if you want one, don't hang about.

Once they're gone, they're gone!


Live! - Live At The O2 - Blue-Ray Edition (With Limited 5 Postcard Set)

    Filmed in high definition at London’s renowned O2 Arena on 15th December 2011, this is Kasabian’s first stand alone Blu-Ray release. The show came on the back of the band’s No.1 album ‘Velociraptor!’ and the set-list combines tracks from that album with hits and classic album tracks from across their career so far. The concert was part of a sold out arena tour that covered the UK and Ireland at the end of last year. Kasabian are the recipients of numerous awards for ‘Best Live Band’ and ‘Best British Band’ in recent years and this new show with its spectacular and innovative staging will be a must have for their huge and dedicated fanbase.

    This special edition includes bonus CD of highlights from the live show.


    2xCD/DVD Info: Blu-ray edition.

    Elfin Saddle


      Elfin Saddle began working with Constellation in late 2008. At the same time, the band's co-founders, Emi Honda and Jordan McKenzie, were also completing a year-long art project involving sculpture, stop-motion animation and time-lapse video. Using the backyard of their Montreal apartment as an installation site, Emi and Jordan evolved and devolved an entire miniature world, conjuring an historical arc of civilization from early settlement and relative harmony with nature to gradual industrialisation, mechanisation and the inevitable discontents of over-production, waste and decline.

      The resulting work is a wondrous, unpretentious, gently mystical 23-minute video piece entitled "Wurld", for which they also composed the soundtrack. "Wurld" premiered at the Vienna International Film Festival in November 2009 and received a Canadian premiere at the Musee d'art contemporain de Montreal (MACM) in May 2010.

      Elfin Saddle's "Wurld" is available in two formats, each using 100% recycled papers and boards:
      Custom DVD package is a screen-printed 25 pt. chipboard gatefold jacket with front cover die-cut window, containing a series of four full-colour 5"x7" postcards featuring stills from the "Wurld" film (each of which can be positioned to shine through the window cut) and a 7"x14" duotone art print. Limited to 1000 for the world.
      10" vinyl package is similarly screen-printed and die-cut on the same thick board, with a 10"x10" full colour insert card, the 5"x7" postcard set, and a larger 10"x20" duotone art print poster. The 10" package includes the DVD in a printed sleeve, inserted in the vinyl jacket. Limited to 500 for the world.

      "Wurld" represents a new convergence in the art and music practice of Emi and Jordan, who also produced beautiful new drawings and collages for the package design and insert poster. Constellation is very proud to be presenting a truly multi-media work by these unique and talented artists.


      Rooms Filled With Light (Signed Deluxe CD Box Set)


        Signed box sets. CD (Limited to 100 copies only). Limited edition clamshell box.
        12-page illustrated booklet. Double-sided poster. 5 band portrait postcards. Compass. Bonus 4-track CD. Previously only ever available from the ban’s fansite.

        "No Line On The Horizon" is U2's twelfth studio album, and follows the massive success of 2004's "How To Dismantle An Atomic Bomb". The first single from the album, "Get On Your Boots", may be an all-out rocker akin to previous successes like "Vertigo", but the remainder of the album sees the band diversifying in ways similar to their "Zooropa" days. It is inescapably a U2 album, though, so Bono's vocals still speak of injustices personal and global, and The Edge's guitar work continues to be both feathery and metallic in equal dose.


        Ltd CD Info: Limited edition digipak includes 36 page colour booklet and fold out poster along with access to exclusive downloadable Anton Corbijn film.

        Michael Flower & Neil Campbell

        Wharf Cat

          Second outing on Golden Lab for the pairing of Michael Flower & Neil Campbell (following a limited, instant sell-out double cassette in 2011). Best known for helping to establish the entire British underground psychedelic noise/drone scene as members of legendary unit Vibracathedral Orchestra, they are today, quite rightly, two of its most lauded proponents. This release - a beautifully packaged CD/7"/book set with stunning silk screened print work by Manchester artist Lucy Jones - pays reverence to that fact. The music was recorded spontaneously at live shows at Leeds' Wharf Chambers and Hebden Bridge's Trades Club, as well as at Michael Flower's home, and it demonstrates a more mellow, major scale bliss out version of the Sister-Ray-inspired endless web of intricate psychedelia that appeared on their previous release. It is, needless to say, utterly without peer.


          CD & 7" Info: Full-length CD + 7" single + silk screened art book by illustrator Lucy Jones. Limited to 250 copies.

          Penny Rimbaud

          Acts Of Love

            Remastered edition of the first ex-Crass work by Penny Rimbaud, Eve Libertine, and Gee Vaucher. 124 page perfect-bound book of 50 poems by Penny Rimbaud, each illustrated by Gee Vaucher.

            With the accompanying audio remastered in 2008 and now released for the first time on CD. Includes 21 additional tracks of studio extras and out-takes, and a poem by Eve Libertine. 139 x 139 cm.

            Originally released in 1985 as a vinyl edition with an accompanying 32 page book. Written and composed by Penny Rimbaud. Sung by Eve Libertine. Illustrated by Gee Vaucher. "Everything that we write is a love song." - Crass "Yes Sir, I Will" Recorded towards the end of Crass' seven year social bombardment and previously released in 1984 on vinyl, 'Acts of Love' was Penny Rimbaud's 'other voice'. Fifty poems written by from 1968 to 1973, set to music - classical, jazz and avant garde - composed by Rimbaud and performed by Eve Libertine. Penny Rimbaud: "Throughout the late Sixties and early Seventies, I had worked on a series of fifty poems entitled Acts Of Love, an expression of the existential/zen hybrid which to this day remains the core of my philosophical musings. The poems laid out a raison d'être far from the political, psychological and social complexities which later began to engulf me. To counter what had become the darkness of Crass, I felt compelled to return to those poems as a source of light, and further, to make them public. I wanted to the work to be a celebration of the communality of beauty, of a shared purpose within creativity. I was looking for a confirmation of unity, a reclamation of the great romantic tradition, an act of unconditional love." Gee Vaucher: "For me, Acts Of Love was the starting point anyway - the poems and the original illustrations were done a long time before Crass.They were part of the inspiration, part of the source of going on to say what we did. For me, it's a return to those roots - not going backwards, but the source of inspiration within oneself. It's a very natural extension of what we've done with Crass. What we tried to do is remind people of why they were putting themselves in a very dangerous position socially and personally, by making a beautiful record really."

            "What in the world are you thinking of, laughing in the face of love?" - John Oko Lennon, Instant Karma .

            Howe Gelb

            Sno Angel Like You + Sno Angel Winging It

              Clocking up a decade since its initial release ‘Sno Angel Like You’ will be reissued this September celebrating its ten year anniversary. Collaborating with Canadian Gospel Choir, Voice of Praises following a performance at 2003’s Ottawa Bluesfest where Howe was billed alongside gospel choirs. Howe experienced his own awakening of sorts and found himself discussing with the church director the possibility of recording together. A similar run of events ensued at the same festival and Howe would go on to meet folk singer Susan Odle. Recruiting along the way, Jim Bryson’s keyboard player and recording engineer Dave Draves was soon on board and would go on to record the album. Once in the studio, Howe met drummer Jeremy Gara (pre-Arcade Fire) and together they laid down the initial recordings of the album on guitar and drums using similar recording techniques to older Giant Sand. Recording seven new songs with the choir arranging vocals, they also covered three Giant Sand songs and three Rainer Ptacek tracks. The uplifting and soulful popular tenth solo record sees “the occasionally unassuming, semi-mumble of Gelb's voice contrast marvellously with the trained, primed-for-transcendence-quality singing of Voices of Praise.

              Available in a deluxe custom designed book bound gatefold sleeve, hard bound slipcase with full colour artwork and bonus signed insert - Edition of 500 copies.

              Tears for spheres. Be warned: the sounds you are hearing are NOT marmots eating your tweeters, though you are best advised to apply volume lightly at first. Stapleton’s astral weeks have been spent distilling sounds into sipping moonshine. LITERAL moonshine. After a viscerally present launch cycle, the Voyager Nurse Module is designed to be piloted by the out-of-body listener. With Lilith-like subtlety, the concrete powered craft makes its way ever closer to the edge of the galaxy. Which one? Who knows? Whichever it is, Vaclav Helhybel (Outer Space: Music) and Frank Perry (Deep Peace) are there, waiting to celebrate the space escapade with chilled cocktails and green friends.

              Various Artists

              Not Alone

                An amazing 5CD box set put together by Durtro Jnana to raise monies for Medecins Sans Frontieres (doctors without borders), specifically their work on the aids pandemic in Africa. There is 1000 copies worldwide. Over 75 artists and featuring unreleased tracks by Antony, Devendra Banhart, Current 93, Coil, Six Organs Of Admittance, Nurse With Wound, and Thurston Moore.

                Borderland State unfurls amidst the exquisite tones of opener I Remember, whilst expansive new single Riding On Your Love enters the fray, hushed vocals coupled with a cinematic-esque backdrop before cascading headlong into the love-lorn fragilty of The Boardwalk. From it’s inception the album has proven a rich musical canvas for, having excited online with previously unearthed tracks In The Summer and Yesterday, Churcher excels with single-in-waiting, Finding Roxanne awash with fuzzy, reverb drenched guitars, an exhilarating high!

                Recorded in East London with producer, Dreamtrak, Churcher has created an album of dreamy indie-folk, glacial vocals, intricate musicianship that has seen him described as creating a “sonic sandstorm”, evoking memories of Mazzy Star, and at times the Jesus And Chain amidst a backdrop of hazy sun-soaked beauty.

                FORMAT INFORMATION

                LP includes MP3 Download Code.

                Crash City Saints

                Are You Free?

                  Features Simon Raymonde of Cocteau Twins on "Dawn of a Bright New Nothing". Crash City Saints are back with the long awaited follow up to Glow In The Dark Music, which inspired rave reviews back in 2010. The band says their music sounds like a sandblaster spraying sugar, Are You Free? might be the best shoegaze-influenced album released all year, and yet it's so much more than that.

                  At times, Crash City Saints sound like a powerpop band in shoegaze clothing. 'There's No School Tomorrow,' a song that prompts the equation GBV+MBV=CCS, might shower us in sparks, but it grooves like The Cars.

                  What do you say about a band that's been able to take the best parts of MBV, Smashing Pumpkins, Galaxie 500, cut out the worst parts and make an album of 12 great songs?

                  Four track EP from The Floating Light on Encierro Records - a new UK label specializing in garage, blues and rock & roll. Here we've got some great fuzz-fried garage with a touch of punk inflection; pulled off with stylish aplomb with cool as deadpan lead male vocal. Instantly conjuring up images of reckless motorcycle rides, the band's focussed energy combined with an ear for a catchy hook mean these songs burn out in fine style. The Floating Light proudly bring the crown of scuzzy, soulful blues and garage to north Yorkshire; and wear it with pride! Great stuff!  

                  FORMAT INFORMATION

                  Ltd 12" Info: Special deluxe 12" EP with hand made, 'portcullis' sleeve.

                  Ethan Gold

                  Songs From A Toxic Apartment

                    Like an underbelly of Leonard Cohen’s ‘Songs From a Room’, Gold’s debut is a tactile journey through the toxicity of memory. Where Justin Vernon escaped to the woods, Ethan Gold escaped deeper into the city, recording and mixing alone in a collapsing building in the wastelands of Los Angeles.

                    Gold, native son of San Francisco, grew up in the hangover that followed free love - son of Beat-adjunct writer Herbert Gold - and was raised with various step-families by his mother Melissa, who was tragically killed in a helicopter crash with the legendary rock promoter Bill Graham. For Ethan, the escape was always into his songs and the dreams where he hears them.

                    STAFF COMMENTS

                    Barry says: Channeling the melodic, rapidly shifting psychedelic moods of the brilliant Morgan Delt, with some high-octane bursts of full-force rock and electronics thrown in there for good measure, this is a refined and unforgettable debut LP.

                    Higher Authorities



                      Higher Authorities is the new project from a duo of shadowy, psychedelic adventurers.

                      Their debut album, ‘Neptune’ – a collection of dub influenced, electronic explorations - is set to be released on Record Store Day 2016.

                      The album was produced by Higher Authorities alongside legendary producer Adrian Sherwood who handled mixing duties alongside additional production.

                      Includes download card.

                      Limited to 500 copies.

                      Holiday Ghosts

                      Holiday Ghosts

                        PNKSLM Recordings are proud to present the self-titled debut album from the UK’s Holiday Ghosts.

                        Holiday Ghosts are based in Falmouth on the south coast of England and originally started out as the solo project of Sam Stacpoole of The Black Tambourines, with the rest of the line-up evolving since 2012. Now a full collaboration between Sam and girlfriend Katja Rackin, also featuring various members of The Red Cords, The Golden Dregs and William Weak, playing a stripped back and primitive style of rock n roll, with influences from acts such as Modern Lovers, The Clean, Violent Femmes and The Velvet Underground.

                        The debut LP "Holiday Ghosts" showcases a mix of tracks written by Sam Stacpoole, Katja Racking and Charlie Murphy (also of The Red Cords, Freak Genes, Murph & The Gazorpos). It was recorded over two years at Troubador Studio in Falmouth on 8 track quarter inch tape and also features Ben Woods on bass. The album steps away from today’s heavy, fuzzed out guitar riffs and drones, and instead shows a leaner, snappier and more playful sound.

                        Kreol Lovecall

                        Jangle And Chime

                          Kreol Lovecall is south London-born multi-instrumentalist Jonathan Richards. A fixture in some of Britain’s more left-leaning musical scenes for almost two decades, the album Jangle and Chime is his astonishing solo debut. Until recently an integral member of UK heavy psych rockers Hey Colossus, Richards played a major part in the band’s transition from harsh noise-rock blowouts to a more focused and melodic proposition. His influence shouts loudest on their two 2015 albums, In Black And Gold and Radio Static High (both on Rocket Recordings). Kreol Lovecall is a bold and surprising stylistic change; a project featuring clean, shimmering guitar and soulful vocals, tightly packed arrangements of popping drum machine, funky bass and Casio keyboard. ‘One In F1ve’ is the first single from the album, released on 5 December via Fighting Spirit Records. 21st century blues with pulsing synths and a mantra-like chorus, it reflects the doom and dread brought on by a Trumped-up, post-Brexit present and future back in on itself. 

                          Mysteries is just as it implies. A few months ago the felte label received an anonymous demo accompanied by a photo of 3 figures, faces covered like some sort of futuristic druids. To this day the label still doesn't know the group's origin, but the joy of discovering this music unimpeded renders this fact almost irrelevant.

                          There’s a sense that the band would prefer to keep your focus on the music and not who they are, where they come from or what you might perceive them to be before hearing a single note. If you need glorious mug shots and preamble to capture your intrigue, then this is not for you. The album’s title, New Age Music is Here, could even be interpreted as a sarcastic shot at the new listening habits dictated by the constant noise all around us, but is more likely a simple invitation to engage with the music on its own terms, in its own universe. One thing is certain. New Age Music Is Here glows with exotic, crunchy, muscular, expressive pop music built around vocals and drums, rather than the big synth or guitar riffs prevalent today. Almost like a psych-rock, cyborg, 50's doo-wop Alice Coltrane if you will. Is it truly new age? We definitely haven't heard much like it.

                          Listen with an open mind and heart and you too might believe in music once again strictly for music’s sake. Let’s get to it then, shall we?

                          Recorded immediately following on from their truly epic European tour last Summer, ‘Wild Hunt’ by VEXX is a deliriously hot-wired mini-LP. Showcasing the band utterly consumed in the moment, these six tracks blaze with giddy abandon, raging mere heartbeats away from oblivion.

                          Recorded by Hayes & Sam at Dub Narcotic in Olympia, mastered by Golden Mastering. This LP is a one-time pressing (on black vinyl) in collaboration with our good friends at M’Lady’s Records, with incredible artwork drawn by Maryjane herself depicting the supernatural Wild Hunt in hot pursuit.


                          Jane's Lament

                          Sydney's Au.Ra, a duo composed of Tim Jenkins and Tom Crandles, are set to release their new full length Jane's Lament, a work which carefully envelops the listener in dreamy hues of sound. Made over the course of two years, the LP was birthed from improvised jams the pair play over droning guitars and looped drum beats. Tracks like “Sun,” and “Pyramid” emerge slowly out of interplays between simple melodies and layered, reverbed instrumentation.

                          Au.Ra's “emotive soundscapes” perfectly encase their nontraditional pop songwriting, like on highlight “Morning,” where shimmering guitar riffs transport you to a serene, meditative realm. Their repetitive lyrics belie this easy transcendence, sometimes even verging on incantation. These songs evoke a languid drive along a bending highway in autumn, the scenery and light shifting ever so slowly out the windows. As the sun sets earlier, this is an album to savor with the dying light.

                          Arranged Marriage NP

                          Arranged Marriage NP

                            "We call them sonic ragas", says Jerry Adler, guitarist in Arranged Marriage NP. Adler (who is also the singer and guitarist in Wave Sleep Wave, The Blam, and Flugente) and sitarist Mustafa Bhagat (who plays in the traditional Indian music duo Biryani Boys) are creating unlikely, adventurous, and compelling music.

                            Shindig - 4**** review June 2017 - "an extraordinary musical conversation...the audio equivalent of floating down the Ganges towards nirvana, with added flange pedal".

                            ARBORIST will release their debut album Home Burial on Kirkiriola Records. Mark McCambridge played his first show as ARBORIST in 2014 supporting James Yorkston. A solo tour of Ireland followed before impressive performances led to notable support slots alongside Low, Cat Power, Echo and The Bunnymen and Guy Garvey. 2015 saw the release of Twisted Arrow, the debut single by ARBORIST. A nonchalant and thoughtful piece of Americana, conceived in Belfast, it features the casual yet unmistakeable tones of KIM DEAL. It premiered on Stereogum and The Line of Best Fit (who described it as; “soaked in country-western hallmarks and nuanced flecks of The Decemberists"), and had extensive play on BBC 6Music. It was also featured in The Guardian Guide’s tracks of the week who described it as; “…not unlike a vexed, downcast version of The Breeders' country chug on 'Drivin on 9'. 

                            Apprentice Destroyer

                            Glass Ceiling Universe

                              Recorded one track at a time at Guitar Center, completely in secret, Apprentice Destroyer’s debut Glass Ceiling Universe transcends its intriguing concept to highlight a hyperactive and omnivorous talent within. These wide-ranging, kaleidoscopic instrumental compositions veer from the disorientingly complex to the achingly and delicately beautiful, all the while maintaining a metallic, misanthropic edge. It’s almost as if computers were playing to each other across the sales floor, laughing at the puny humans attempting to create harmonics in air when they can do so perfectly in the vacuum of binary. Glass Ceiling Universe is lifestyle music for all the cyborg assassins out there, and it’s out on Castle Face Records.

                              Brett Anderson

                              2011 Live At Koko - Coloured Vinyl


                                Brett Anderson's fourth solo album, "Black Rainbows", was released in September 2011 and in October he undertook a six date tour: Leuven, Paris, Luxembourg, Manchester, London and Istanbul. The album is pressed on dark green vinyl, and the inner sleeve features previously unpublished photos from the rehearsal sessions.

                                At Koko in Camden on 12th October, Brett and his band (Jim Dare on guitars and backing vocals, Didz Hammond on bass and backing vocals, and Kriss Sonne on drums) played a rousing set that concentrated on "Black Rainbows" and its predecessor "Slow Attack" from September 2009. The best performances of the evening, seven songs from "Black Rainbows" and five from "Slow Attack", have been re-mastered by Didz Hammond especially for this exclusive Record Store Day release.

                                This is Amateur Childbirth’s Christian Rock album. The previous LP from Ivan Matthew David’s solo project, 2015’s Pripyat, concerned itself with the blighted belief systems of UFO worshippers, Your Afterlife Is Cancelled expands this compelling solo project’s field of enquiry to look at a wider array of “religious anomalies” – cults, for want of a better word. Each song is about a different such anomaly.To call Hicks’ vision apocalyptic would be to underplay its cruelty. The Bible’s rampant sadism pales in comparison. This is a world where faith – in a god or gods, in astrology, morality, or any meaning whatsoever – is merely a prelude to punishment.

                                His lyrics are vivid glossaries of pain, abjection and indignity; the songs’ protagonists swim in blood, piss, shit and ejaculate. Eschatology and scatology are indivisible here. Drugs are rampantly abused, albeit to little benefit. There are scalpel-flashes of humour in David’s wordplay, rhyming and dour Brisbane diction – but this offers scant consolation for the songs’ embattled subjects, who wait, in vein, for salvation, while crows peck out their eyes, blood pours from their ears, and psoriasis ravages their skin.These words, for all their pessimism and body-horror, are cradled in minimalist, folk-rock arrangements that are quite dazzling in their beauty and grievously earned simplicity: Hicks’ monochord strum embellished with subtle violin, synthesizer and percussion shading. Amateur Childbirth’s caustic end-times worldview inevitably prompts comparisons with Current 93, but also a wider (non-)tradition of caustic and disturbed loner psych that includes Simon Finn, Patrik Fitzgerald, Robyn Hitchcock, Peter Jefferies and Roy Harper.Your Afterlife Is Cancelled is a depressive tour de force from one of the most crushingly eloquent voices in the Australian underground. 

                                Amateur Best

                                The Gleaners

                                Amateur Best is the alias of Birmingham-based ‘personal pop’ musician, songwriter and producer Joe Flory.

                                After releasing debut album ‘No Thrills’ via Double Denim Records (Empress Of, Tei Shi, Kero Kero Bonito) in 2013, Amateur Best returns with ‘The Gleaners’, his second full length, via Brille Records (The Knife, Gwilym Gold, John Wizards).

                                The result of three years writing and recording, the 10 tracks that make up ‘The Gleaners’ straddle the fine line between outright ecstasy and muted melancholy. Initially envisioned as a concept album about a charity shop-bought doll’s house, it mutated into a full-on dance record.

                                ‘The Gleaners’ is testament both to Flory’s commitment to making music on his own terms and to the sheer joys of making music full stop.

                                FORMAT INFORMATION

                                LP includes MP3 Download Code.



                                  ALASKALASKA is an art-pop 6 piece from London. They make beautiful, groove-laden music that seamlessly blends jazz, disco, funk and R&B into a bold and playful sound uniquely their own; synthetic beats play alongside live drums, delayed guitars and shimmering saxophones to create something musically rich and delightfully intricate.

                                  Band leader and principle vocalist Lucinda twists brooding and introspective lyrics - akin to the words of Arthur Russell - into infectious melodies reminiscent of Warpaint, Dirty Projectors or Talk Talk, which demand repeat listens and could as easily soundtrack a wistful evening alone as they could a party.

                                  They’ve built a cult following and reputation as extraordinary performers. Their debut self-titled EP is the perfect introduction to their unique brand of off-kilter pop.

                                  Josh Scott is ready to unveil the unique and stunning fruits of his labour on his self-titled debut album as the distinctively named Aero Flynn - a record that may never have seen the light of day, had it not been for his old friend Justin Vernon of Bon Iver fame.

                                  Up to now Scott may have been living life as an outsider but solid relationships sit at the very heart of his musical make up. Whilst his grandfather played a key influence on his life and new stage name (“I grew up with him and he worships old cinema so I’ve seen every Errol Flynn film,” explains Scott of the reason behind his new guise, “It’s my Narnia.”), his saving grace has become those who surrounded him during the 2000s while attending the University Of Eau Claire, Wisconsin. During that time Scott’s band Amateur Love was the most talked about band in the small college town’s scene.

                                  After struggling with the high expectations thrust upon him (so esteemed was his song writing to those who knew him back then that the ‘Lip Parade’ sited in Bon Iver’s ‘Holocene’ is a direct reference to one of Scott’s earlier songs), Scott disbanded the group, moved to Chicago and stepped further back into the shadows. After being diagnosed with a mysterious autoimmune disease affecting his kidney in addition to crippling untreated depression, he went underground. That is, until now.

                                  Refusing to let Scott go without a fight, Vernon eventually managed to coax him back out of hibernation by establishing a label on which to reissue the one and only Amateur Love album. This was the spark; Scott’s interest was piqued and he began writing and recording what would become Aero Flynn’s deeply personal self-titled debut. The writing for it began in Scott’s empty Chicago apartment and it brilliantly displays a newfound exploration of longform composition techniques and ambiguities rather than the simple versechorus- verse-type song structure he had mastered. Once the songs arrived at Vernon’s April Base Studios in rural Wisconsin (where he and Scott coproduced the self-titled debut together) the songs were stretched and manipulated further into their spaced out ethereal final form.

                                  With a dazzling cast of musicians, including Bon Iver players Mike Noyce, Sean Carey, Rob Moose and CJ Camerieri plus Justin Vernon himself, guitarist Matt Sweeney, pedal steeler Ben Lester and Solid Gold’s Adam Hurlburt, recording progressed well and, over the course of a year, an album that many had spent over a decade waiting for was finally finished.

                                  The Acorn


                                    Tin Fist is being issued on vinyl for the first since its 2007 original release date. The vinyl includes two never before heard bonus tracks ‘Shoot The Moon’ and ‘Sleepwalking’. The Acorn, led by Rolf Carlos Klausener, is very thoughtful, deliberate and at times haunting. Think of the best of worlds encompassed by Bright Eyes, Under Byen and Bruce Springsteen and a song like the dark, mysterious and hushed "Heirlooms" immediately comes to life. Soft and melodic before slowly gaining a harder tone, the track morphs into a tension-filled coda that never breaks through the surface. And while Tin Fist might only be a eight-song EP, this song exemplifies the strength of the effort. "Dents (Glory, Pt.1)" has a distinct folksy nature that gently pushes it along, resembling a fine Appalachian tune that might have been attempted in Wilco's earlier incarnations. Following a warm "Brokered Heart" which has ample twists and turns, the Acorn show another side of themselves with the melodic pop oozing out of "Feral Chile" that sounds like XTC influenced by dance-rock. Carrying on this momentum is the joyful "Spring Thaw" that has the same bounce and panache as songs by the Diableros and the Arcade Fire. – (Taken from a Pop Matters review)

                                    Sharing a seaside home and studio with fellow Brightonians The Magic Gang, the Abattoir Blues of today - vocalist Harry Waugh, guitarists George Boorman and Sam Pitman, and drummer Scott Kennedy - are a far cry from the beer-swigging, stage-smashing brutes of old. Taking equal influence from the grizzly post-punk of The Fall and the dark atmospherics of the Nick Cave album from which they take their name, their swarm of sound engulfs the senses, while drawing on a social conscience reminiscent of punk’s early greats: recent singles ‘Sense’ and ‘Fading’ reflected on mental illness and the refugee crisis respectively.

                                    “You should talk about those things if that’s what matters to you,” Harry states. “I feel like, more than ever, there’s a big apathy problem. People are so alienated by the way politics is and the way the world’s run that they switch off and disassociate from things.”

                                    “It’s important to encourage people to engage,” agrees George, “we want to stimulate discussion.”

                                    It’s a captivating, call-to-arms take on modern punk that’s drawn more than a few eager ears - that “monstrous noise” was heralded by The Guardian at the start of 2016, while NME praised their “abrasive post-punk that’s big on atmosphere and meaning”. DIY joined them in dubbing Abattoir Blues one of 2017’s most essential new acts – further nods from Noisey and Radio 1’s Huw Stephens followed.

                                    New EP ‘Blinded’ is the sucker-punch moment that Abattoir Blues have been building towards. The anthemic likes of ‘Change Your Mind’ and the record’s title-track put those years of tight-knit companionship to tape, while ‘Trying Everything’ bites harder than they’ve ever dared before. Closer ‘What You Mean To Be’, meanwhile, is as beautiful and melodic as British punk has ever been one second, and a thrashing monster the next. Abattoir Blues thrive on that light-and-shade duality.

                                    Ali Beletic

                                    Legends Of These Lands Left To Live

                                      Ali Beletic is best known for her work as an installation artist, creating beautiful, symbolic stunts such as hiking in and installing mahogany and glass Judd-like sculptural pools into remote deserts, throwing parties with hidden drummers, lighting up an entire boulder field one can hike through or riding vintage motorcycles backcountry to create beautiful lines of fire.

                                      Legends of These Lands Left to Live is her long-anticipated debut record, written and recorded during her time in the Sonoran Desert, after having left the saturated Brooklyn art / punk scene to explore concepts of transformation, personal rebellion, and that which exists on the boundaries. Filled with mysterious and emotional songs, Legends is the anthem of that journey, tracing rock ’n’ roll’s ancient history off road and telling her vogue rebel stories from the artist streets of New York and the vast Southwest.

                                      What emerges is a powerful, feminine rock ’n’ roll record, evoking the bare humanity of solo-era Lennon, the overtone depths of Skip James, the proto-punk power of Patti Smith and the sounds of self that emerge from the quiet, raw, visceral American landscape when we allow ourselves to hear our own intimate voice.

                                      Beletic’s stories of cultural nomadism travel from beatnik New York to the new wave of women motorcycle riders, enlivening wild romantic trips through the backcountry of ancient deserts. Her sensual, jazz-like vocals evoke singers as far flung as Mary Travers or Cat Power; up-front, dry, intent, rhythmic and powerful, and accompanied by her broken-speaker, gritty electric guitars.

                                      Legends was recorded and produced alongside Seth Olinsky (Cy Dune, Akron / Family, Angels of Light) in the art / music studio they set up in the Sonoran Desert. They finished the record in several different studios in Los Angeles and New York with drummers Danny Frankel (Lou Reed, Fiona Apple) and Mike Horick, and are releasing the record on Lightning Records, the label the two founded alongside Lightning Magazine to bring the badass, rock ’n’ roll spirit of funhavery back into the world.

                                      FORMAT INFORMATION

                                      Ltd LP includes MP3 Download Code.

                                      This is the first album by BBQ since 2005’s Tie Your Noose on the historic Bomp! label. BBQ is Mark Sultan, who also has recorded many other albums and 45s, as well as playing in bands like The King Khan & BBQ Show, Almighty Defenders, Ding-Dongs and Les Sexareenos etc., etc. BBQ is his preferred monicker for playing as a very strict live-recorded one-man band.

                                      This album serves as a little wink goodbye to any complexities past and a strong “welcome back” to the primitive, brusque and airy rock’n’roll which has made Sultan beloved since 2003. Forgoing lo-fi, BBQ is reinventing the one-man band, taking it back, for a loud, clear and raw sound; helmed by great songs, sung truly and passionately. Recorded by himself in his basement, live in one to two takes — twelve brand new killers.

                                      Birth Defects

                                      First 8 Mistakes

                                        Meet Birth Defects, your new favorite garage rock band. No seriously, this band is basically the Justice League of garage rock. These dudes have a lot working in their favor — they've got Petey Dammit from Thee Oh Sees, former Bleached drummer Jonathan Safley, and have a new album produced by Ty Segall being released on Nathan Williams’ (Wavvess) record label, Ghost Ramp.” — Noisey / Vice.



                                          This March Brooklyn’s self-proclaimed “pillars of rock and roll righteousness” will release their new, self-titled album through Los Angeles’ equally badass record label RidingEasy Records. Blackout was initially formed by guitar player/vocalist Christian Gordy and drummer Taryn Waldman at Gordy’s July 4th cookout in the Bushwick neighborhood of Brooklyn, New York back in 2011. Waldman, a former Hooter's waitress turned big time commercial film editor and Gordy; a one-legged bartender/artist/BBQ enthusiast were (by their own admission) something of an oddball couple for NY's rigid metal scene. Yet with no direction and zero discussion both connected instantly and instinctively began banging out massive caveman jams against a patriotic backdrop of food, alcohol and the stars and stripes.

                                          In fact as far as names go, choosing Blackout – suggesting a power crash, sudden and temporary loss of consciousness or a mob hit on an entire family – was a total no brainer. In the months that followed the pair recruited close friend Justin Sherrell on bass duties, and as things began to get louder and considerably heavier in November 2012 the trio entered Vacation Island Studio with engineer and producer Rob Laakso (Diamond Nights, Swirlies, Kurt Vile) to record their debut release We Are Here. Choosing to self-release the album on vinyl in early 2013 it garnered plenty of acclaim from some of the hottest blogs du jour and was praised for its Melvins-esque ferocity and pounding Sleep-like groves. “Blackout get it right, hammering jam after jam, pound after pound. The smoky swirls buzz with electric accusations and shock-therapy repressions.” (Heavy Planet)

                                          Following an extensive gigging regime in, around and way beyond New York’s city limits with acts like Acid King, Weedeater and Trouble the band took to the studio once again in the summer of 2013 to record a body of new songs. Songs that strictly worked off the riffs spontaneously summoned during practice sessions where old material was revived, ideas hashed out and sounds reworked into the record you will soon hear in full. Songs that make up Blackout, the band’s eagerly awaited follow up and soon to be released revelation on RidingEasy Records.

                                          Bleeding Heart Pigeons

                                          A Hallucination

                                            Bleeding Heart Pigeons' hauntingly eccentric EP is available on limited heavyweight 12" vinyl with artwork designed by the band. Their inventive new music earned them a slot on latitude this year and early praise from 6music, clash and DIY. With an incredible album to come early next year this is just the beginning from the Irish three piece! Their sound is unique and genre-bending but comparisons have been made to early Radiohead, Everything Everything, Wild Beasts, Pink Floyd and alt-J.

                                            Bressa Creeting Cake

                                            Bressa Creeting Cake

                                              All too rarely does a musical group come along with all the right bits intact and just enough of the wrong bits there to make you sit up and really take notice. Emerging on the Flying Nun label in the late 90s, Bressa Creeting Cake was heralded as a young band "brimming with ideas". Their self-titled 1997 debut album - made up of 15 tracks swinging between psychedelic and progressive rock (including single 'Nervous Wreck') received acclaim. Having already made serious wobbles in the airwaves over student radio with a string of demo recordings. Stretching their prodigious talents into a full album's worth of tunes, this young band revel in the chance to show us exactly what they're capable of. And that, my friends, is a lot. Right from the calypso swing of 'Palm Singing', Bressa Creeting Cake kick into the playful pop inventiveness that stands as the album's major mood.

                                              The vast array of styles on the album include plenty of psychedelic tinges and a hint of progressive rock, but the band don't get stuck in any one place for long over fifteen songs. And those frivolous moments like 'Rocky Mountain' are balanced out by more earnest tracks such as 'You and I' and 'They Write Words To People Who Are Dead'. Lyrically, both Edmund Cake and Geoff Creeting string words together with no small amount of flair. Whether it be the Hungarian/Mongolian hybrid language in 'Zenax', the imaginative leaps of syntax and imagery in 'Rocky Mountain' and 'Egyptian Tanker', or the strange tales told in the likes of 'A Chip That Sells Millions' or 'An Early Microscope', the use of words and meaning adds depth to the tunes here. Geoff Maddock (then going by the stage name Geoff Creeting) and Joel Wilton, went on to form pop-folk band Goldenhorse alongside Kirsten Morelle. Ed Cake has released a solo album and produced Don McGlashan, Neil Finn and The Brunettes. 

                                              Rafi Bookstaber

                                              Late Summer

                                                We’d like to welcome back our old friend Rafi Bookstaber. It’s all good…the immediate thing I felt when I jammed his Late Summer for the first time was wanting to hug life, cosmic love in the underground. “This is a diff kind of human digitata, it’s sweet analog. You dig spring reverb, then maybe flesh it with sum Ra-fi. Pure jam. Extended solos and explorations go from downtown woodland discord and eternal reverie to Relatively Clean Rivers and beat earth poetics. Pretty darlin’ indeed...

                                                “What a vapor trail of music; very groovy to see folks finally catching up to this head. Dawn of a new vibration out of his occult pedigree in so many spaced out earth objects (Death Chants / Aswara / Von Himmel / Mendocino). Bookstaber also logged golden hours with Time-Lag and that deep scene. The beginning of an ear and golden spirit juice. Mined private press vision with his own Azriel and Humito imprints, shucked handmades—there’s also his groove and howl with the wolfpack in the MV / EE axis. Oxide, preserves and records…Rafi hummed the music of maidens. Iron Maiden this is not, shipbuilding it sails, four sail and many years ago I was there, so was Rafi’s fi. You dig, apache? Find some wampum, blow a journey, be here now for Late Summer eternal…” - Matt “MV” Valentine.

                                                When squirming black mold in a dingy Bayshore, CA, warehouse became sentient, creaked and took humanoid form it created Blank Square and their singularly oddpunk debut, Animal I — sounding like the weirder end of Flesheaters but with a sterility that can only be contemporarily compared to Total Control’s Aussie hardcore no-wave and then with a pinch of what made DNA and Mars amazing. This album is captured with plenty of concrete and sheet metal kept in the mix and a highlight towards dissonant syncopations, as if it was recorded in a empty room minus one chair and definitely down a flight of wet, cement stairs. Featuring saxophone with a mild but nauseating-at-times rippling slap delay, the band cruises on a rhythm section that sounds like the they’ve got another house show to play tonight after this one. Rectangular in all the right places, it’s uncomfortable, like sleeping in a car. For listeners who love art in their sax punk, reaching waaaay back into California’s punk history (SST would’ve undoubtedly dug this). There you go, weirdos.

                                                Boy & Bear release their third studio album "Limit of Love", produced by Ethan Johns (Kings Of Leon, Ryan Adams).

                                                The album, including all lead vocals, was recorded and mixed live resulting in an amazingly fresh and unique sound.

                                                Limit of Love follows acclaimed Harlequin Dream, a gold album after a #1 debut in Australia. The band has been featured on ‘ones to watch’ lists for USA Today, Huffington Post and Uncut.

                                                Anyone with affection for treasure of a particularly luminous dream-pop vintage will know about Joe Cassidy and his alias Butterfly Child.

                                                Having recorded three albums and a handful of EPs in the 90s, in 2012 a brand new Butterfly Child single ‘No Longer Living In Your Shadow’ was released without any fanfare, as Cassidy wasn’t then sure of what he was shaping up for. This is now resolved, as the first Butterfly Child album in 18 years is here.

                                                'Futures' refutes any fears that Cassidy couldn’t match past glories with an epic, radiant 54-minute journey invested with his usual melodic richness – both musical and vocal - and a more widescreen production, even though the record was recorded at Cassidy’s LA home. Sonically, the album lives somewhere between The Beach Boys and dreampop, but with a much more direct emotional impact, between bliss and melancholy. It combines new songs with unreleased older material, reaching as far back as Cassidy’s very first demos as a teenager, and lyrics inspired by relationships past and present, and where Cassidy is now, 24 years after Butterfly Child’s first release.

                                                In the early Nineties, a Butterfly Child demo had ended up with the celebrated noise/dream-pop adventurists A.R.Kane. The duo were signed to Rough Trade (UK) and Luaka Bop (US) but were starting their own label H! Ark. Cassidy recorded the Toothfairy EP (1991) and the Eucalyptus EP (1992) for H.ark! before he moved to Rough Trade himself for the Ghetto Speak EP and debut album Onomatopoeia (both 1993).

                                                But Rough Trade’s collapse saw Butterfly Child move again, to Dedicated for the Beaujolais EP (1994) and The Honeymoon Suite album (1995). It was then Dedicated’s turn to implode. Cassidy – battling Britpop’s tide, “which I found woefully uninspiring” – was given a fortuitous way out by Chicago label Hitit!, which had licensed both Butterfly Child albums for the US, and invited Cassidy over to make use of studio space. “I just fell in love with Chicago,” he recalls. “I recorded eight tracks in a week, and then the label asked if I wanted to make an album. So I went back, and stayed for ten years! I’ve always gone where the chance to make music has been afforded to me.”

                                                Hence the lush, sun-dappled climes of LA, which can be felt in the expansive folds and grooves of Futures, both on the softer, heartache-y side and pop-centric songs such as ‘A Shot In The Dark’ and ‘Holding On’. The latter has a fascinating genesis: Sirman sent a string loop to Cassidy, which reminded him of Dionne Warwick, though the eventual track was inspired by Jimmy Webb and Glen Campbell. This being LA, Cassidy could call on his pals Justin, James and Christiaan, Webb’s three sons, to add backing vocals, while Campbell’s son Cal plays guitar and percussion.

                                                The track also features drummer Matt Walker (he’s also on ‘Shot In The Dark’) and keyboardist Brian Liesegang. Other Futures guests are Ryan J Rapsys (Euphone, drums), Pendle Poucher (a Butterfly Child accomplice back in the Nineties, on ‘glitch’ guitar), Merritt Lear (another Butterfly Child accomplice, and Assassins co-singer, on violin and backing vocals) and Oliver Kraus (strings and horns on the exquisite finale ‘Beauty #2’). Assassins producer Stephen Hague (of Pet Shop Boys and New Order fame too) has done a remix of ‘A Shot In The Dark’ that will be released as the next Butterfly Child single. 

                                                STAFF COMMENTS

                                                Andy says: Luminous dream pop with shoegazey swathes and a Big Music widescreen sweep. In another pop world this would be massive! Heartbreak and longing never sounded so good.

                                                The Butterscotch Cathedral

                                                The Butterscotch Cathedral

                                                  The Butterscotch Cathedral is the new psychedelic studio project from Matt Rendon (The Resonars, Lenguas Largas) with Chris Ayers & Jim Waters. Featuring three tracks total (side one is one 18-min sidelong track, & side two contains "Loud Heavy Sun" & the 17-minute suite "Lisa's Dream") the project is Rendon's homage to the great Sixties & Seventies concept records from bands like The Who & The Beach Boys, both of whom Rendon cite as an influence. Art & design by Jason Willis. Plenty of great music has been the byproduct of a singular vision; that "man-alone" in the studio producing genius works (Brian Wilson, Curt Boettcher, Pete Townshend).

                                                  Tuscon, AZ's Matt Rendon know plenty about being the "man-alone" in the studio. Ever since he debuted The Resonars in the early Nineties he's produced six albums of Sixties mod-inflected power pop all by himself in his home studio. The Butterscotch Cathedral is the latest album from Rendon & his first project outside of The Resonars since 2004. The Butterscotch Cathedral "s/t" debut is comprised of only three tracks total; one shorter song "Loud Heavy Sun", & two longer suites both nearing the 18 minute mark ("Side A" and "Lisa's Dream").

                                                  In this day & age, sidelong tracks in the context of a "rock & roll band" are scarce, and 'The Butterscotch Cathedral' hearkens back to an era that could produce albums like 'Smile' & 'Quadrophenia' without batting an eye. Rendon's had two decades to familiarize himself with his home studio & on this album he's never sounded more at home. Rendon attacks the tunes here with renewed vigor, with every song crackling with shimmering melodic intensity & the sharpest hooks this side of The Brill Building. The tunes embedded within the albums sides ebb & flow from fiery rockers to emotive ballads, woven together in a psychedelic tapestry by Rendon & studio-mate Jim Waters. They fold & unfold onto each other like the rolling ocean tides. Songs like "Waterfall Parasol" & "Uncle Tommy's Song" are snappy power pop numbers, utilizing the Resonars model as a springboard into new territory along with the upliftingly melancholic dirge of "Saxifrage Drive" & the 17-minute "Lisa's Dream" suite on Side Two which bounces to & fro between sparkling pop, acoustic balladry, psychedelic mindfuckery & gorgeous, layered vocal harmonies. 

                                                  Ask any New Yorker what makes them special and they’ll all tell you something different. But there’s something very particular about a city so condensed with a vast range of humanity all facing myriad daily challenges that gives its rock music a brash, direct aggression unlike other places. Case in point, NYC trio Blackout’s take on doom and stoner rock is filled with a gritty, mechanistic heft unlike bands of their ilk from anywhere else.

                                                  Subsumed within the greasy grooves of The Horse there are echoes of NYC heavy legends like Helmet, Cro-Mags, Judge, Prong and others — not as intentional homage, but rather a vibe that permeates and inadvertently gives its bands a unique power that few can match.

                                                  After a brief hiatus between the March 2015 release of their self-titled sophomore album on RidingEasy Records, Blackout has regrouped and (ahem) gotten back on The Horse for an 8-song blast of riffs that does not fuck around.

                                                  On one fateful day in July 2016, with a handful of mushrooms and a bottle of tequila, vocalist/guitarist Christian Gordy set out to write an entire new Blackout record. Following the departure of original drummer Taryn Waldman earlier that year, the band’s fate was uncertain. But, Gordy’s writing forray resulted in a wellspring of inspiration and by happenstance he contacted drummer Adam Taylor who had just parted with his band Ghost Punch. Within two months of banging out riffs with bassist Justin Sherrell, Blackout was back in action.

                                                  The Horse was recorded over 4 days in September 2016 at Spaceman Sound in Brooklyn’s Greenpoint neighborhood, which the band describes as “a whirlwind session laced with loads of buds, Petey’s burgers and lipstick.”

                                                  Or, described by blackout themselves: “What you have before you now is a messy plate of meat, slathered in weird sauces. A haunted steak from from Centaurus A to sink your tingling fangs into. Sit back, crack a semi cold one, maybe get some snacks… and turn this motherfucker up to 8.”

                                                  Caroline Says

                                                  50,000,000 Elvis Fans Can't Be Wrong

                                                  The album title seems to refer to the contrast between what our elders tell us and the perspectives we form out of our own experiences. There's a vacillation between idealism and realism, and it expresses itself musically in the hairpin turns from gentle folk into brazen experimental flourishes, like on “Funeral Potatoes.” The track opens with lilting, somber, Satie-esque piano, but at the halfway point, typical choices of song structure and transition are discarded in favor of a screeching, static-washed loop of violin and feedback that transcends the formality of songcraft, becoming something altogether more daring and collage-like.

                                                  The more band-driven songs on 50 Million recall an early-1990’s style of production in the way chorus-twinged electric guitars and tight, papery drumbeats point our mind’s eye to the West Coast sunset, like on the mid-album standout “Gravy Days.” Sallee decorates the background of most songs with hushed humming that could stand alone as a minimalist-ambient choral album, and when employed on her songs, elevates the ¬final product to an astral level. Sallee’s gift lies in pitting the familiar against the unexpected with a delicate assuredness, never compromising the one for the other. These kinds of debuts can sometimes feel like an over-promise of what is to come, but in the case of Caroline Says there's clearly plenty more thread to be unraveled. It'll be a pleasure to see where the next bus ride takes us. 

                                                  A delicate collection of songs for meditation on spiritual struggle, The Leaves Fall is a window into the parallel reality of Justin Carter. Centered on his intimate vocals, pointed with hints of Arthur Russell and John Martyn; the eight tracks are buttressed by warm acoustic guitars, vibraphones, organs and flourished with modern production. They are familiar but distant, like ghosts living in the present. Carter grew up in a country house in rural North Carolina, a place with a pecan tree and abandoned train tracks in the front yard. On long car rides from home to his dadʼs work as a school teacher, his ears were filled with the prog of Yes, the vocals of Al Jarreau and the complexity of Christopher Parkeningʼs take on Bach. It was his father, who himself has moonlighted as a guitar player and songwriter for nearly 50 years, that taught Carter to sing and play in his early teens.

                                                  The Leaves Fall was written on and off over the course of about five years, a secret to most. Carter is more familiar, alongside Eamon Harkin, as co-founder of popular New York parties Mister Saturday Night and Mister Sunday, and their label offshoot, Mister Saturday Night Records. As the Mister thrived, his songwriting continued to tick along in the background, days and weeks stolen here and there to write and record in various locations – from remote studios in the Catskills to basements in Venice Beach.

                                                  The album features Jason Lindner, pianist on Bowie's final masterpiece, Blackstar; cello from Archie Pelago's Greg Heffernan; and programming by LIES Records and The Trilogy Tapes producer Marcos Cabral. It was mixed by Benjamin Tierney, who also worked his magic on Kamasi Washington's The Epic. It finds its context in the world of Planetarium, a new listening session established by Carter and his Mister Saturday Night DJ partner, Eamon Harkin, where live music is mixed amongst hours of records to create an immersive, communal listening experience focused on quality hi-fi sound in non-traditional spaces; the album will presented in this manner when toured.

                                                  “Nothing makes me happier than to see people letting go. My ambition in all my creative work is to make moments where that can happen. As a DJ, I use othersʼ music to create those moments, but itʼs always been in me to make my own music for that purpose. After twenty-five years of writing music for myself, it makes me really happy to have something to share with others.” - Justin Carter

                                                  Brendan Canning is the co-founder of the Toronto supergroup Broken Social Scene that includes members of Metric, Do Make Say Think, Stars and the Grammy-nominated Feist. One of the most enduring and influential alternative bands of the 00s, Broken Social Scene’s ‘You Forgot It In People’ defined the ‘indie rock’ era and paved the way for Canadian acts like Arcade Fire and Wolf Parade. Canning’s third solo album, ‘The Home Wrecking Years’, is his first release with a full band since Broken Social Scene’s 2010 release ‘Forgiveness Rock Record’. The album is released on Arts & Crafts and marks Canning’s first solo album release since 2013’s ‘You Gots 2 Chill’. While that record had been crafted solo in his living room, ‘Home Wrecking Years’ features a few other musicians helping fill out the sound. This includes fellow Broken Social Scene members Sam Goldberg and Justin Peroff, as well as former Stills keyboardist Liam O’Neil.

                                                  The Castillians

                                                  You & Me

                                                    The Castillians first formed in 2010, born out of the should-be-legendary ColdRice collective from Birmingham UK, who were responsible for probably the best underground music scene in Europe that we ever came across. Alongside the other "ColdRice House Bands" (including Black Mekon, Copter, Sex Beet and more), The Castillians made their mark at home playing decadent warehouse parties, and opening for the likes of Black Lips and Reigning Sound. In 2011 they self-released their debut album, “Show Your Teeth”, on a small run of CD-Rs under the ColdRice Records banner, and is one of our favourite albums of all time.

                                                    PNKSLM are incredibly psyched to announce that the band's long awaited second album You & Me. The album takes a slightly more soulful direction than Show Your Teeth, but keeps raw energy and hooks, thanks to production-duty shared by labelmates Lucern Raze & Black Mekon.

                                                    “I’d seen CCR Headcleaner several times before, usually an entertaining mess of fucked-up rock racket that emerged from the ashes of a Georgia band I liked called Long Legged Woman. But at their Hemlock show opening for Human Eye back in September, CCR somehow transmuted themselves from an unevenly good local band into a marauding gang of Scanners-style head-exploder telepaths and delivered a defining, transcendent, next-level performance.

                                                    CCR’s hypnotic and malevolent psychedelia wasn’t faux-fun party-psych or disingenuously mellow Zen Center nature psych—it was more of a Jim Thompson’s Killer Inside Me psych with elective self-surgery K-hole romps and post-hate-fuck cuddle balladry. The band was possessed, the room was juiced, the audience transfixed. At points, CCR’s set was suffused with a prosaic evil vibe that reminded me of the Rembrandt Pussyhorse / Locust Abortion-era Butthole Surfers live shows. Musically, CCR are way different than the Buttholes—I’m referring more to the air of all-pervading cathartic menace. Shortly afterward, CCR went with Fuzz on a national tour (huge props to Fuzz for that act of public service) and I caught them a month later at Death By Audio in Brooklyn. They were in top road shape, which only underscored how special that show with Human Eye had been.” - Anthony Bedard, Bay Bridged.

                                                    Sarah Mary Chadwick

                                                    Roses Always Die

                                                      Following three critically acclaimed solo albums, Sarah Mary Chadwick’s Roses Always Die expands on the quiet intensity of her previous work, exploring memory, grief and personal analysis. Her unflinching approach to songwriting introduces complex, often difficult subject matter as vivid as it is understated. An old immobile organ provides the only accompaniment to her voice, giving the album an eerie consistency that perfectly underpins the diverse, open-ended narratives that run through each song.

                                                      The second album recorded with Geoffrey O’Connor (Crayon Fields), it has a more organic sound than the wall of synths used on 9 Classic Tracks, with most songs comprised of just one voice and a live ’70s Yamaha analogue organ- a huge, heavy, double-tiered beast with built-in percussion beats and pedal bass - recorded on site in the loungeroom at Sarah’s house in Collingwood, Melbourne.

                                                      Unembellished and at times brutally sparse, these songs are whittled down to their surprisingly hooky, heartbreaking, wry, bare-boned essentials. The sentiments are personal and the refrains are huge and ambitious, while Sarah’s voice is strong and vulnerable - it croons and croaks and cracks, conjuring grief and memory.

                                                      “Sarah Mary Chadwick’s new album is a beautiful and insightful collection of songs. Her work achieves a poignancy which is distinct as it is rare.” - Henry Rollins.


                                                      On The Legs Of Love Purified

                                                      Debut album from this San Francisco, female based duo. Chasms is the San Francisco based project of Jess Labrador and Shannon Madden. The duo crafts percussive dirges that are at once beautiful and menacing. Labrador's haunting vocals and hypnotizing guitar work wade between rhythmic bass lines and bursts of Madden's stinging feedback, laid on a bed of pummeling drum programming. The band's affinity for industrial rhythms, swelling textures, precise minimalism, and chaotic eruptions of noise sounds as equally informed by shoegaze as drone and doom metal—to choose just one would be a disservice. On the Legs of Love Purified, the band's debut full-length album, will see the light of day on October 14th. Written over the course of several years, the album explores the healing force of love and the exorcism of pain that inescapably accompanies it. Light cannot exist without dark, bliss without suffering. …Love Purified conjures this atmosphere of duality as it drifts through an expanse of emotion. While this is Chasms’ debut, they’ve been an active duo since 2012. They’ve released the When It Comes (Dream, 2012), Riser (Dream, 2014) EPs and the "Bad Evolution" single (Sleep Genius, 2012). They then collected a majority of the two Eps on the Subtle Bodies compilation album (Sleep Genius, 2014). Why hasn’t it taken so long for a debut album? Labrador spent a year recording the album herself despite a hand injury that made guitar playing and production work difficult and physically painful. Recording between the band's illegally rented rehearsal space and a cramped apartment compounded a sense of tension and isolation as the two struggled to not only finish the album but to also stay afloat in a city that is increasingly hostile to artists, and where the threat of eviction constantly looms. This underlying uneasiness and discomfort can be heard in these recordings, and it works not to mar their beauty but rather to emphasize it by contrast. 

                                                      Robert Pollard’s freak-rock trio Circus Devils (2001 – 2017) says farewell with a pair of simultaneous releases. First is their 14th and final album Laughs Last, along with a best-of, double LP collection titled Laughs Best: The Kids Eat It Up (with DVD included). On Laughs Last, Pollard and the Tobias brothers romp breathlessly through multiple styles, starting off with the brash hotdogger, “Get Out Of My Way When I’m In Town.” Along the way we’re treated to the R.E.M. inflected “I Do the Nixon,” the organ-fuzz stomper “Teenage Rooster,” and the defiantly conventional “Crucified by The British Press.” Full of high humor and low drama, Laughs Last is the bold exclamation point at the end of Circus Devils’ 16-year run.

                                                      Robert Pollard’s freak-rock trio Circus Devils (2001 – 2017) says farewell with a pair of simultaneous releases. First is their 14th and final album Laughs Last, along with a best-of, double LP collection titled Laughs Best: The Kids Eat It Up (with DVD included). Laughs Best (The Kids Eat it Up) — a collection of 30 speedy deliveries from rock’n’roll’s Twilight Zone — will leave you exhausted, satisfied, and ready for another spin. Circus Devils’ entire mind-bending catalogue is represented here, including three songs from the brand new album. While the emphasis is on friendlier numbers, plenty of the trio’s prog psychedelia is also on display. 

                                                      Charlie Clark

                                                      Feel Something EP

                                                      Originally from The Outer Hebridies of Scotland, Charlie Clark is now based in Los Angeles, California where he hosts a weekly music night called "Mad For Sadness" at Taix in Echo Park. Clark was a founding member of the criminally overlooked band Astrid, who released three full-length records, including 1999's sophomore lp, Strange Weather Lately, which was produced by legendary musician, Edwyn Collins. Clark was also a core member of the Scottish "supergroup", The Reindeer Section, which featured members of Snow Patrol, Belle & Sebastian, Teenage Fanclub and The Vaselines. Clark has also appeared as a guest vocalist and musician on records by The Zephyrs, Arab Strap, Mogwai and Snow Patrol.

                                                      For his, debut solo record, Charlie Clark has hooked back up with Edwyn Collins. The five song record features the talents of Brandi Emma, Eric McCann (who also produced the record), Isobel Campbell, Yohei Shikano (My Hawaii), Kaitlin Wolfberg (Fort King) and Joe Luisi (A House For Lions). Feel Something shows off Clark's keen ability to write a smart pop song, but the Scottish songwriter has been absorbing the sunshine and laid-back vibes of his adopted home.

                                                      Clockwork Radio

                                                      No Man Is An Island

                                                        Clockwork Radio have released two songs 'Fever' and 'Sitting Bull' as previews to their debut album ‘No Man Is An Island’. Recorded, mixed and mastered at 80 Hertz Studios in Manchester over 2 days in December 2013, the album sees the band take, what is for them, a completely new approach to how they've previously recorded.

                                                        "The idea for the album was to have a live, raw and honest record of where we are as a band. It seemed out of place and quite strange to record like this considering how most music is recorded and sounds recently, but to us it’s what makes music special and honest." Rich Williams (singer and guitarist).

                                                        Having toured extensively around the UK and Europe over the last 2 years the bands sound has developed and been completely stripped back, which has resulted in a clearer sound and vision for the album.

                                                        "Usually we'd have layer upon layer of effects, electronics, guitars and synthesizers, so really stripping back the songs and trying to capture the sound of 4 people playing their instruments was a completely new approach. The result being a snapshot in our live sound with all the human aspects of a performance, instead of trying to perfect every last detail.”

                                                        More Memphis, more Fuzz, more greasy foot-beating, party-greeting, soul-treating maximum RnB. And yes, more Cowbell. Jack Sandham (Guitar/Keys/Vox) and Wednesday Lyle (Drums/Vox) have straddled the Atlantic with the beat stampede of their songbook so far, but Haunted Heart sees them walk down the dark end of the street, drawing on Atlantic-era Ray Charles and Dusty, while still keeping on creeping on with the sweaty-hand shaky knee Garage rock ear-worms. From the Sun Studio, Cramps-like swagger of the title track, to the paranoid Coasters swing and Doors-keys of None Of Your Business, Jack’s urgent vocals yelp out from the first needle drop, stepping aside for Wednesday’s wink of the eye on the Holly Golighty/Black Lips femme-fatale fury of Downlow, which sounds like it’s been ripped straight from the beating heart of the Fillmore during the Summer Of Love.

                                                        Produced by the band themselves at Soup studios in Limehouse, London, their early raw bare-bones sound has now been fully expanded with Jack’s sandpaper grit guitars and Wednesday’s freight train rhythms chased down with some glitchy synths and vintage organs (Doom train/Neon blue) as well as a drop of Delta gospel Blues on Nothing But Trouble (also incidentally the first Cowbell song ever to actually feature a Cowbell). Otis and Pickett-era horns breathe seductively into the swampy-stomp of What Am I Supposed To Do, while New Kind Of Love tiptoes onstage with its alluring smokey jazz piano as Wednesday brings a beautifully casual Peggy Lee type Fever to the microphone.But it’s with the curtain-closers on both sides of wax that 



                                                          Coypu is the musical project born from the European-American friendship between Ben Chasny (of Six Organs of Admittance, Badgerlore, 200 Years, Rangda), Paul Beauchamp (Blind Cave Salamander, Almagest!), Fabrizio Modonese Palumbo (Blind Cave Salamander, Almagest!, ( r ), Larsen) and Daniele “Lo Dev Alm” Pagliero. Subtle electronics and drones, psychedelic guitar lines and the melancholic sound of the Appalachian Dulcimer and musical saw merge into desertic, watery and evocative soundscapes.
                                                          Floating is their first full length studio album and it follows the release of the debut EP “Of Tails and Whiskers”

                                                          Cristobal And The Sea


                                                            ‘Exitoca’ is a trip into an alternative reality where humans care for each other and the environment, value sensual experiences and dance their troubles away. The title is a reference to the genre known as “Exotica”, which represented the escapist dreams of a generation of American salary-men and housewives in the 50s and 60s. For Cristobal and the Sea, expatriates from Portugal, Spain, France, Egypt & USA, now based in London, the idea of “Exotica” is more than just an escapist plot to avoid workaday drollery; it is a proposed evacuation from the toxic mires of Brexit; the very notion that threatens the place they now call home.

                                                            This philosophy is narrated no greater than between the words and music of ‘Goat Flokk’ where longing, searching lyrics are mixed with both Brazilian Tropicalia-like speed and rhythm with a healthy Syrian-pop breakdown. The fusion of sounds and styles proves that harmony is very much possible when cultures are mixed.

                                                            Recorded and produced in a self-made studio on the outskirts of Paris with upcoming London-based producer and artist Yehan Jehan. The lush surroundings, combined with Jehan’s creative impetus, offered Cristobal a greater richness to their recording process.

                                                            The ecstatic quality of the band, whose personal manifesto calls for warmth, nakedness and polygamy (as opposed to the cold and sexless Brexit reality), is on display in ‘The Seed.’ This track brings images of lolling natural bodies, flesh and excitement, again with the production and arrangements in full force. Play it loud during your next late night foray with your best friends and you'll see what they mean.

                                                            Cristobal and the Sea's Balearic roots are inseparable from their essence. The bossa anthem ‘Uma Voz’ is a reach out to everyone in their situation, a passionate and all-encompassing hand to everyone facing the same nationless situation.

                                                            Came Down a Storm is an album that creates a world. Through Claire Cronin’s deep, intimate voice come songs of wreckage and redemption. A published poet and English Ph.D. student as well as a musician, Cronin uses images and symbols to craft songs that reach beyond the personal. She sings of death in a field, death at sea, dreams of dying, and a vision of a future where death is no longer allowed. Yet the music is not depressing; even in its darkest lines, these songs aim to float. The album is a collaboration between Cronin and Deerhoof guitarist John Dieterich, who met by chance at a Los Angeles show and began writing songs together long-distance. After sending recordings and ideas back and forth over email for a year, Cronin joined Dieterich at his house in Albuquerque, New Mexico, to record Came Down a Storm. It was mixed with Jay Pellici at New, Improved Recordings in Oakland, California, where the full instrumentation was put in place. The album features Pellici and Chris Vatalaro on drums and Ezra Buchla and Heather Trost on strings. The spare, melancholy style of Cronin’s previous self-released work is evident in this album, but the music created with Dieterich takes Came Down a Storm beyond the folk genre. Cronin’s voice recalls Karen Dalton or Jason Molina in its sincerity and ache—plaintive and burnished with a kind of dark gold throughout. The instruments build around her singing: breaking to crescendos, driving emotional currents, or providing lively counterpoint to the lyric’s funereal themes.Cronin will tour this Summer and Fall with Buchla, performing pared-down arrangements of these songs and others.

                                                            The Cult release the tenth studio album of their stellar career, the epic ‘Hidden City’, produced by Bob Rock and written by Ian Astbury and Billy Duffy. It’s the final part of a trilogy that has witnessed the rebirth of the band, beginning with ‘Born Into This’ (2007), which evolved into ‘Choice of Weapon’ (2012), and arrived fully formed, kicking and screaming with the seductive ‘Hidden City’

                                                            The sonic assault of ‘Dark Energy’ is the perfect intro to this startling new album. Peel away the layers of this 12 track master class in space and time, and you will discover a band in their absolute prime. Which comes as no surprise, as the Cult have existed in the shadows and wild spaces since their inception.

                                                            When the Cult played Coachella last year, Rolling Stone hailed their performance as “the messianic moment of Coachella” This year they’ve played a handful of visceral shows that promises much for next year’s touring. For the Cult, ‘Hidden City’, became the perfect metaphor for the revolt between the self and soul and provided the framework for the new album.

                                                            “I find today’s gurus are trying to peddle some cure, product or insight as if it’s a new phenomenon,” says Ian Astbury. “My place is to respond, not react, to observe, participate and share through words and music. There is no higher authority than the heart.”

                                                            The Cult have cut their own career path. From the iconic ‘Love’ album to the dystopian ‘Beyond Good & Evil’ (2001) to the current biting truth of ‘Hidden City’, the band live their art. As The future unfolds The Cult will respond. It’s what they do.

                                                            FORMAT INFORMATION

                                                            2xLtd LP Info: 2 x Black Vinyl 180 gsm LP cut at 45 RPM in gatefold Sleeve with colour inner sleeves and spot gloss finishes.

                                                            2xLtd LP includes MP3 Download Code.

                                                            Crystal Shipsss

                                                            Dirty Dancer

                                                              Jacob Faurholt of Berlin-based Crystal Shipsss has never been very good at hiding things. So when he decided to write and record a collection of personal songs intended only to share with his future self and not for official release, deep down Faurholt always knew that this diary of songs would one day be left open for the world to find. The album, Dirty Dancer, is a hauntingly intimate collection of minor falls and major lifts through one man’s life of ups and downs – all documented through melodies reminiscent of Daniel Johnston, Xiu Xiu and Grandaddy.

                                                              Recorded sporadically between 2011-2013, Dirty Dancer is an autobiographical album with stories centered around struggles with anxiety, obsessive thoughts, teenage insecurity, and in one case a panic attack. In “I Had a Friend,” Faurholt sings about the true story of a burning ferry that took the lives of his best friend along with the boy’s entire family, while in the song “I’m Not Insane,” he shares details of a helpful therapy session. “I wanted to make an album that lyrically would be embarrassingly direct and describe moments in my life that burned into my mind,” admits Faurholt, a native of Denmark, who relocated to Berlin in 2010. Faurholt recorded the album with a mix of studio experiments and pre-written arrangements but without having a pre-meditated clue of how to glue everything together. Faurholt recorded and mixed most of the album in his living room in Berlin. In the end he invited some good friends and fellow musicians to help out with some additional recordings and mixing. They are: Soren Little Brothers from Canadian act Man Meets Bear, Daniel Crowell from California’s The New Slave, and Jens Christian Madsen from the Danish one man band Tjaere+Fjer. The album was mastered by James Plotkin (Isis, Earth). Faurholt and Crystal Shipsss have played a long list of shows, sharing the stage with bands such as Nadja, The Black Heart Procession, TEEN, CocoRosie, Efterklang, and Grizzly Bear, including a successful US tour, which saw Crystal Shipsss play shows in California, Oregon, and Washington.

                                                              FORMAT INFORMATION

                                                              LP includes MP3 Download Code.

                                                              Donald Cumming

                                                              Out Calls Only

                                                                Longtime East Village resident Cumming has been intimately involved in the music and art scenes of downtown New York since he was a teenager. After being featured on the cover of Ryan McGinley’s debut book of photos in 2002 he continued to work as a model and actor before forming The Virgins.

                                                                The band released two critically acclaimed albums receiving accolades and rave reviews in outlets such as Rolling Stone Vogue and The New York Times. NME called their last album a “dynamic listen” and described “how classic it sounds Cumming’s posturing sounding as if it’s been lifted straight from a forgotten vinyl covered in dust and suspicious stains. It’s Dire Straits teamed with louche New York cool – a combination that shouldn’t work but totally does.”

                                                                Cumming and his new band recently kicked off their album release campaign at New York's Symphony Space as part of punk rock legend and author Richard Hell's interview and performance series Night Out With Richard Hell. March 2015 he supported Brandon Flowers at his NYC solo show.

                                                                Recorded at East Village Recording Center with additional work done at Sullivan Street Studios in Manhattan Out Calls Only boasts a sound that transcends The Virgins second and final album 2013’s Strike Gently (released on Julian Casablancas' Cult Records).

                                                                Cumming explains "I don't listen to a lot of contemporary music but it seems to a trend that favors aesthetics over content. I don't have a sound that I'm looking for as much as I just want to be as sincere as possible." The talented musicians who accompany him on Out Calls Only include bassist Ian Fenger drummer Skip Johnson and lead guitarists Jack Byrne and Jack Straw. For Cumming working with producers Johnny T. Yerington and Gus Osberg in an organic and loose fashion was tantamount to the outcome of Outcalls.

                                                                Diane Coffee

                                                                Everybody's A Good Dog

                                                                  Shaun Fleming is a member of Foxygen. The album features Felcia Douglass of Ava Luna and Sam France of Foxygen. In December of 2012, former Disney actor and didgeridoo craftsman Shaun Fleming moved from his hometown of Agora Hills, CA to aManhattan apartment. The move took its toll on Fleming, who soon fell ill with the flu. Fleming holed up in his apartment writing and recording songs everyday, a process that gave birth to the alter-ego Diane Coff­ee, and her first album My Friend Fish.

                                                                  My Friend Fish was an album born out of sickness and nostalgia for the sunshine and solitude of California. Sweet, gritty, and full of life, the songs were our first glimpse into Diane's vibrant and pleasantly twisted world. According to Fleming, it was "a documentation of my new east coast existence. My acceptance and embrace of Diane. It's not surprising that after visiting the charming midwest town of Bloomington, IN (home of Foxygen's label) Fleming decided to make yet another spontaneous move.

                                                                  "I might just like new surroundings. Naturally the move and the return to a small town got his creative juices flowing again. Just as the move from sunny California to New York inspired a dark album with relatively optimistic lyrics, his move from New York to Bloomington inspired the new album Everybody's a Good Dog, a bright energetic album with relatively dark lyrics. Unlike the production limitations that defined the sound of My Friend Fish (recording drums on an iPhone, using a detuned guitar in lieu of a bass, etc) Everybody's a Good Dog was recorded in proper studios with a full band, horns, and a string ensemble, finally bringing to life Fleming's deep well of talent and ideas.

                                                                  The album opens with the dynamic "Spring Breathes", which erupts from sweet acapella into bursts of full band mayhem as Fleming croons about a new love. "Mayflower" with its big brass and Motown swagger is a contender for party jam of the year, while the head-bobbing "GovT" explores "politics involved in the music business, and the struggle to govern and be governed." "Too Much SpaceMan", a psychedelic trip into the eyes of a jaded defense attorney, is followed by "I Dig You Baby" on which Fleming comes unhinged as he channels early New York Dolls. The album closes with the bittersweet "Not That Easy", which finds Fleming coming to terms with the fact that he'll never been an ordinary partner, "I will always be the lover coming home," he says. The album's unstoppable grooves and melodies were written with live performance in mind. When you hear him pouring every bit of his two decades of experience as a performer into these songs, it's clear that Diane Co­ee is not a side project, it's THE project Fleming has been working towards his whole life.


                                                                  Hemisphere Of Shadows

                                                                    To Complete the holy trinity of DANAVA LPs, Danava Hemisphere of Shadows… Limited coloured vinyl first (re)pressing on Riding Easy. Housed in a thick 24 pt Reverse Board jacket and pressed by RTI. This has been recut and is a brand new much louder pressing than the previous.

                                                                    One of the early signings that helped put Kemado Records, this is their third LP released in 2011. From their initial appearance on Kemado's famed Invaders comp, Danava turned heads with a bombastic 70's sound that melded blazing psych-metal with glam-rock flair. Upon the release of the band's self-titled debut EP in 2006, Pitchfork hailed Danava as true leaders, calling them "the sole working owners of this sound, an almost glam-rock, Hawkwind thing" and Guitar World lauded their "chaotic psych-metal brew."

                                                                    " …. the latest album from Danava, the sound evokes the days of Deep Purple's Fireball and Machine Head, but who has been paying attention to their most recent albums? Not including Deep Purple fanatics, there isn't much to speak of in terms a fan base beyond their classic albums…. Hemisphere of Shadows evokes the early days of heavy metal and prog rock, with the creativity of new musicians and the songs often push the boundaries of "craziness" in terms of what is produced. Songs like "The Last Goodbye" with its epic mind-shattering organ solo near the end of the song, as well as the synth sounds of "Dying Into Light" don't remind me of anything else that happened in 1970's heavy metal/rock. ….." 8/10 Metal Archive.

                                                                    High Voltage Rock N Roll, Fresh of the US run with Uncle Acid available for the first time on Double LP. Supercharged psychedelic space rock that could have been made in the 70s available for the first time on Double LP. When this first came out Pitchfork hailed Danava as true leaders, calling them “the sole working owners of this sound, an almost glam-rock, Hawkwind thing” and Guitar World lauded their “chaotic psych-metal brew.”

                                                                    This is rock n roll to the core and definitely not your parents kind of party.

                                                                    RIYL: Earthless, Ted Nugent, Yes, Kyuss, Red Fang, Nebula, Uncle Acid and The Deadbeats

                                                                    After releasing two strong albums within a mere 11 months, the DeSoto Caucus has taken their time completing this upcoming release. "4" is an album marking a change in the band's modus operandi; after consistent touring and shows everywhere from humble Reeperbahn bars to imposing concert halls, the former musical collective has steadily become more of a tight knit gang of four. Having picked up a great deal of dexterity in handling musical curve balls through years of touring and recording as Howe Gelb's Giant Sand, the intuitive way of playing is ever present. Along with still more personally engaged songwriting, the sound of the band is significant, intriguing and utterly unique. There's still the solid, liquid grooves made up of Peter Dombernowsky's rolling beats and dry percussion, perfectly matched by the rock steady flexibility of bass player Henrik Poulsen, the boiling organ, pensive piano and twang guitar of Nikolaj Heyman with the signature dual lead vocals he shares with main songwriter Anders Pedersen. At the same time, though, fans of the band will recognize new flavors not only in the fat sounds oozing from the album, but also in the expanded collaborative efforts of Heyman and Pedersen on stories of frailty, detachment and rupture.

                                                                    For recording the band relocated to Heyman's north country studio in a former horse stable turned Big Pink, and isolated themselves, jamming and trying new approaches. The artistic benefits of being without cell phone signal and wifi are obvious, but during the winter the remoteness also meant having to deal with frozen pipes, and melting snow for the morning brew. Two and a half years down the road, the foursomes' fourth album is proof that the process, focused on gaining new territory while never abandoning your trademarks, was worth the wait. So join the DeSoto Caucus' continued journeys under the wide open sky, down red dirt roads, into towns without names, and into the hearts of people out of touch and out of time.

                                                                    Not unlike the DeSoto Caucus itself, timeless as their take on contemporary independent rock is. Four brothers in arms. Four musketeers. Embarking on yet another sonic voyage. 

                                                                    Tom Diabo was late-70s/early 80s punk musician from Wuppertal, Germany. He played in several bands, most notably Western Force and X 112 For Dancing, and also curated a series of legendary local cassettes called "Talfahrt". Diabo passed away from cancer in 1988 shortly after his 30th birthday. He left behind a cache of home-recorded songs that eventually came out posthumously as an LP called "Dark Star" that same year.


                                                                    New Work

                                                                      Dinner is Danish producer and singer Anders Rhedin. Following the release of his EP collection and last year’s debut album, ‘Psychic Lovers’, the now LA-based artist presents New Work on Captured Tracks.

                                                                      With ‘New Work’, Dinner had a wish to do things differently. “I just needed to get back to the approach I used when I was still self-releasing cassettes, back in Copenhagen. I spent way too much time on the previous record. I was sitting in front of a computer-screen alone for seven months working on it, obsessing over it. This time I wanted to work very fast in order to think less. I wanted to collaborate more. I hoped that other people’s presence would keep my perfectionism in check.”

                                                                      Dinner enlisted Josh da Costa (Regal Degal, Ducktails) to produce the album with him. He and Josh worked in the night time at off hours at a studio in an industrial part of downtown LA. The album’s songs were recorded on the spot with no preparation time. In-between studio sessions, Dinner recorded and overdubbed material in his apartment on an early 80s 4-track recorder.

                                                                      “We did very little editing, we just tried to record what was there. You’ll hear a lot of first-takes on the record. The best part of the process was driving home early in the morning though the empty streets of LA, listening to the night’s recordings. Because it was such an immediate experience.”

                                                                      The two previous Dinner releases were recorded in Berlin and Copenhagen with mostly European musicians. This isn’t the case on ‘New Work’, which features performances by Andy White (Tonstartssbandht), Charlie Hilton (Blouse), Rori McCarthy (Infinite Bisous, Connan Moccasin), Staz Lindes (Paranoyds) and a duet with Sean Nicholas Savage. “A lot of my favorite music is American. I thought it would be fun to go a little bit less Euro on this one. I’m plenty Euro by myself, some might say. I wanted to add a different color.”

                                                                      Asked to describe the sound of ‘New Work’ after the first listen, Captured Tracks owner Mike Sniper texted: “Julian Cope, 60’s Baroque Pop, early 70’s Canterbury Sound, Japan, Ryuichi Sakamato, ‘Raspberry Beret’-era Prince... Need to listen a few more times before anything concrete comes!”

                                                                      Dream Machine

                                                                      The Illusion

                                                                        Warm Soda’s Matthew Melton makes it a fantastical family affair

                                                                        When Matthew Melton told us he had two brand new records for us to hear, a final Warm Soda record as well as a new band with his wife Doris called Dream Machine, I must admit there was a little sadness that Warm Soda had run its course. Then I put on Dream Machine and poof, a puff of smoke and a familiar looking magician appears, beckoning for me to jump through his top hat and we’re off! The vibe makes a deft jump from Warm Soda’s terse power pop to tongue in groove swinging proto-metal a la Iron Butterfly, Deep Purple, Heart, and more than a hint of LA’s dark masters The Doors…Doris absolutely murders the organ all over this thing, along with some perfectly placed synthesiser pepper - it’s just jammed with hooks and pulsing vintage vibes but in an unassailably clever and accomplished manner. This band is going to be the background party band of the summer I can already tell, this sounds like a saturday night satanic ritual in a sunsetting Austin backyard, everyone dressed to the nines and we’re fuckin goin’ there man. If I didn’t know Melton already I would have lost my shit seeing this out in the wild - expertly played, fantastically recorded (at A = 432 hz, by the way) and just a real tasty party platter of a record here for you –

                                                                        RIYL: Vanilla Fudge, Blue Cheer, Uncle Acid & Dead Beats, Purson, Iron Butterfly, The Doors, Brown Acid… oh yeah!



                                                                          New Zealand ethereal trip-pop six piece Doprah return with their highly anticipated debut album 'Wasting'. From the eerie, reed-filled depths of its' conception and recorded over a period of three years following 2011's Christchurch earthquake, the album's atmosphere is dark, undulating and electric. Sounds throb, crack, glisten and weave across a genre-melting sonic landscape. Wasting is a visionary debut - a powerful statement of intent crafted by an unusually talented young band on a tiny island at the bottom of the world. Wasting sees the now six-piece band’s ethereal, trip-pop sound reach a new level of fidelity and cohesion, with credit due to the band’s principal producer Steven Marr. Liquid synthesizers and cavernous programmed beats are fused with traditional live instruments to create a trendless sound, uniquely Doprah. Floating among the instrumentation is Indira Force – a musician able to transmit emotion like few vocalists can, sometimes forgoing lyrics altogether in the Björk/Elizabeth Fraser vein of vocal envelopepushing. 

                                                                          Etant Donnes With Michael Gira

                                                                          Offenbarung Und Untergang

                                                                            Reissue of this 1999 collaboration between Etant Donnes (Eric & Marc Hurtado) and Michael Gira (Swans), featuring Mark Cunningham (Mars) and Saba Komossa (Delkom). The album is based upon the text "Offenbarung Und Untergang" ("Revelation and Demise"), written by the Austrian expressionist poet Georg Trakl in 1914. The Hurtado brothers create a fittingly eerie, somber and desolate soundscape as backdrop to Gira's reading and singing (in German) of Trakl's equally somber poetic text. 

                                                                            Dog Chocolate

                                                                            Snack Fans

                                                                              Dog Chocolate sound like a crowded room but are actually four individuals from London. Having played in many other bands including Yeborobo, Limn and Gasp! Cracking Eggs, united they recognise Dog Chocolate as their one true love. Abandoning notions of elegance, cred and professionalism they embrace the ramshackle, instant and fun, capturing a vivid spontaneity with their music. ‘Snack Fans’ is the band’s debut album, following on from 2014’s release ‘Or’, a split LP with gastronomic kin Ravioli Me Away (also released by Upset The Rhythm).

                                                                              ‘Snack Fans’ is comprised of 14 bite-sized nuggets high in salt and sugar content. The sound is a shabby, fast, over-excited ball of wet fur falling down the stairs, knocking over plant pots along the way and staining the carpet. With an average song time of 2 minutes, Dog Chocolate are on to the next treat before fully digesting the last. Chewing up bits of punk, post-punk, noise and pop, Matthew and Robert’s guitars race around each other like wasps, pitch-shifting and phasing all over the place while Jono’s rolled-up-newspaper drums chase them round the room. Andrew’s occasional impressionistic keyboard flourishes add further colour to the scene, whilst Andrew and Robert take it in turns to sing with the others joining in occasionally.

                                                                              Lyrically the album deals with themes domestic, emotional and metaphysical: purging your life of material possessions, cosmically ordering a pet, memories evoked by the tactile properties of objects, the impermanence of the body, confusion, holidays, environmental concern and hay fever. There are moments of flippancy and silliness, but also of investigation and introspection.

                                                                              On ‘Emotionally Buff’, Andrew tells the tale of an ill-fated band he played in called Mature and how their music was a kind-of primal scream therapy for the angst they felt at the precariousness of their living conditions. “My bed was an increasingly mouldy futon, surrounded by towers of boxes of all of my stuff, I was awoken at 5am by a burglar, whose t-shirt was inside-out and back-to-front” admits Andrew with his often anecdotal vocal. On ‘Be a Bloody River’, Robert strings together a list of failures and pointless endeavours “I’m trying to coax a sparrow into a cardboard box .... I’m stroking the mane of a concrete horse .... I’m managing a spill with a blood-stained jay cloth....” getting increasingly frustrated. Andrew tries to calm him, urging him to let his troubles wash over him “be a river, be a bloody river”, Rob responds in mock desperation “I’m trying to be a river, I’m trying!”.

                                                                              In just over 25 minutes the band gleefully assemble a roller-skate of sound held together with sellotape and blu-tac, just robust enough to reach it’s destination as it’s chucked downhill. It’s an album packed with ideas and momentum, no need to set the table, Dog Chocolate are in a rush. If ‘Snacks Fans’ doesn't satisfy your appetite then you’ll need to fix yourself a feast or something.

                                                                              Dinner is Danish producer and singer Anders Rhedin. Dinner leads a nomadic existence, dividing his time between Los Angeles, Copenhagen and Berlin. So far Dinner has released three EPs and a guided hypnosis tape. Now he presents his debut album ‘Psychic Lovers’.

                                                                              Whether the finished album lives up to Dinner’s vision only Dinner knows. Musically, the album exists in its own space between the 1980s, 1990s and the present. The songs are pop songs held together by somewhat idiosyncratic arrangements.

                                                                              Opener ‘Cool As Ice’ sounds like the soundtrack to David Lynch directing ‘Miami Vice’ with overdriven synthetic strings and an equally eerie and funky slap bass that slowly grow into a pop structure.

                                                                              ‘Turn Me On’ invokes the feeling of Sade recorded on VHS fronted by Klaus Nomi’s baryton-possessed ghost, or a warped jingle from The Home Shopping Network.

                                                                              The song ‘Lie’ has distinct Nico-esque undertones and John Cale-ish overtones wrapped in 1980s melancholy, while ‘Wake Up’ and ‘The World’ explore inverted 90s Euro-pop.

                                                                              In the words of mix-engineer Filip Nicolic (Poolside), “The whole album sounds like Chimo Bayo produced by Marquis de Sade.” An even more concise definition of Dinner comes from labelmate Mac Demarco: “Great face, great body, great tunes.”

                                                                              Ian Drennan

                                                                              The Wonderful World

                                                                                The greatest innovators are often characterized by their love - hate relationship with popularity and acceptance. To accept what is ‘now’ is to stagnate, yet to reject it is to become irrelevant. The true harbingers of the ‘new’ reach for the stars with one arm while clinging to the ground with the other. In essence, dragging us forward. Such is the case with The Wonderful World, Ian Drennan’s debut solo work, to be released September 11, 2012, as a double LP on Underwater Peoples.

                                                                                The Wonderful World is as gratifying as it is unnerving, the music weds perfectly with the boundless number of variables facing those alive, today. The sensitive listener in search of a thesis statement will enjoy voyaging through Bill Nelson's melodic lure and Otomo Yoshihide's stylized noise, yet they may find an optimistic message to murky and fucked to be considered a workable form of positivism. Ian Drennan's first solo effort is sorrowful, active and curious; a vast record that is exponentially enjoyed by the emotionally attuned.

                                                                                Being in a band can be like being in a marriage, for better or for worse. Dumb Numbers is more like an open relationship. There is no definitive lineup. I have an amazingly talented bunch of friends from all across the world who contribute to recordings, but there is no commitment beyond that. This makes live performances a rare occurrence. Basically if My Bloody Valentine want us to open we'll be there! But otherwise Dumb Numbers is mostly a recording project. With that being said, The new album from DUMB NUMBERS features ADAM HARDING with LOU BARLOW (Sebadoh, Dinosaur Jr), DALE CROVER (Melvins), DAVID YOW (the Jesus Lizard/Scratch Acid), MURPH (Dinosaur Jr), KEVIN RUTMANIS (Cows/Melvins) ALEXANDER HACKE (Einstürzende Neubauten), BOBB BRUNO (Best Coast), BONNIE MERCER (Grey Daturas) and STEVE PATRICK (Useless Children). 

                                                                                Signed to Danger Mouse's '30th Century Records' and released via Columbia in the UK, this is the debut solo album from Vampire Weekend drummer Chris Tomson. A 10 track album, produced by Pat Carney (Black Keys), including the singles "Death Wish" & "Tell The Truth". 

                                                                                FORMAT INFORMATION

                                                                                Ltd LP includes MP3 Download Code.

                                                                                After bursting to the American heavy rock forefront with their 2014 debut album, Sateen, Cincinnati four-piece Electric Citizen are ready for a Higher Time. Their second album for RidingEasy, it is a breakout moment for the band as a whole and for vocalist Laura Dolan, who stands tall in the spotlight throughout “Evil,” “Misery Keeper” and the rest of Higher Time, rising to the occasion of a fuller, bigger sound and meeting the memorable riffing of husband/guitarist Ross Dolan head on with already-stuck-in-your-head hooks and a fiery, passionate delivery.

                                                                                Like its predecessor, Higher Time was recorded at The Diamonds studio in Cincinnati by Brian Olive (The Greenhornes, Dan Auerbach, Dr. John, etc.), and in search of an even more expansive feel, Laura, Ross and Brian traveled to mix the album alongside Black Keys engineer Collin Dupuis at Easy Eye in Nashville, TN. The results speak for themselves. In Laura’s performance and in the multi-faceted approach of Ross alongside bassist Randy Proctor and drummer Nate Wagner, Electric Citizen branch out with stage-born assurance across a collection of definitive rock ‘n’ roll. It is a bold, complete sound that sacrifices nothing of the band’s on-stage energy and clearly demonstrates that while their progression has been quick, it’s been hard won the traditional way: They worked their collective ass off.

                                                                                “We chose producer Brian Olive because he's an excellent musician with a great ear for rock ‘n’ roll, and a good friend that we trust,” notes Laura. The dividends of that trust can be heard in “Ghost of Me,” the rolling “Natural Law” or “Devils in the Passing Time,” as Electric Citizen brazenly refuse to be pigeonholed and craft a style that, like every stage they step onto, is completely their own.

                                                                                Electric Citizen spread their name far and wide on tours with Fu Manchu, Wolfmother, Budos Band and Pentagram for Sateen. Look for them to support Higher Time on the road in North America and Europe throughout 2016 and beyond.

                                                                                Hiperasia marks the return of one of Spain's most noted producers after achieving international recognition with his first album Alegranza (2007) and his sophomore mega hit Pop Negro (2010). "I started Pop Negro in 2008..... I've even forgotten some of the lyrics! Things have happened to me since that record which have left more of a mark on me than that album..... everything I record gets released, and it's been that way since I was young; I'm lucky of course, but it also enslaves you".

                                                                                The immediate impression on the listener to Hiperasia is its abrupt, almost violent, enhanced, futuristic sound. ¨I thought of making music that pushes itself. I like music that seems to move inwards, from its sides towards its own centre. As if it were actively trying to become mono but some force, which is usually something prominent like a 808 or a voice, expands to push those sounds sideways¨. Thus from a simple song based around one or two ideas, you will find intrusions - "Tutti frutti", as Pablo explains: "We can throw bombs in, firecrackers - sounds, other songs which poke through for a moment.... whatever you want".

                                                                                James Elkington And Nathan Salsburg


                                                                                  RIYL Bert Jansch, John Renbourn, Stefan Grossman, Mike Cooper, Nic Jones, Roscoe Holcomb, Richard Thompson, Richard Crandell and Bill Bartels, Daniel Bachman, and Steve Gunn.

                                                                                  The second album of astonishing duets by guitarists James Elkington (who has toured and/or recorded with Jeff Tweedy, Richard Thompson, and Steve Gunn, among others) and Nathan Salsburg (an accomplished soloist deemed by NPR "one of those names we'll all associate with American folk guitar") is a sublime suite of nimble, filigreed compositions by two singular stylists. Belying its title - "ambsace" is the lowest throw of dice; snake eyes - the record thrives on a gentle empathy and generosity of spirit, sitting sneakily protean original compositions alongside gorgeous arrangements of songs by Duke Ellington and The Smiths at the same big hand-hewn table.

                                                                                  The record was composed and recorded in Jim’s attic studio over two late summer sessions, one year apart. Joined later by Avos alums Wanees Zarour (violin) and Nick Macri (bass), Elkington and Salsburg each brought in parts to be submitted to the experience, which was animated by plenty coffee before three, plenty beer after, with songs taking shape in some cases over many stifling hours (e.g., “Bee’s Thing”); in others, over a matter of manic minutes (e.g., “Stern and Earnest”). Tunes grew out of constituent elements assembled like a round of Jenga, with the occasional crash to the floor and outbursts of laughter. When the teetering edifice seemed complete, it was played till structural integrity was achieved and it sounded good enough to record. Their ten new compositions, plus the further inclusion of three covers—by Duke Ellington, Norman Blake, and the Smiths—offer an adequate representation of the influences brought to bear on the playing of Ambsace in particular, but also the players of Ambsace in general. When taken as the sum of it parts, “ambsace” in fact means a couple of aces.

                                                                                  "Their playing and guitar tones are so complementary, so perfectly wed that I wouldn't hesitate to put the duo up there with some of the very best acoustic guitar partnerships: Stefan Grossman and John Renbourn come immediately to mind, as does the work of Richard Crandell and Bill Bartels." Work & Worry. 


                                                                                  The Stand

                                                                                    Volume 6 in Dekorder's series of highly limited Hybrid-Vinyl 12" releases to celebrate the 10 year anniversary of the label. It comes out simultaneously with Vol. 5 (Experimental Audio Research) and 7 (Black To Comm). Previous entries in the series had been exclusive releases by Pye Corner Audio, Ensemble Economique, Kemialliset Ystävät and Alien Radio.

                                                                                    Future contributions will feature new & exclusive recordings by Leyland Kirby, Bill Kouligas (PAN Records) and Vindicatrix. Hybrid-Vinyl is a newly devised combination of a Picture-Disc on one side and a regular vinyl release on the other. The audio will be cut into the black vinyl side to utilise the superior audio quality of classic vinyl (compared to the often weaker sounding picture disc pressings).

                                                                                    Excepter is the creation of No-Neck Blues Band member John Fell Ryan founded in 2002. Their records have been released on labels such as Load, Fusetron and Animal Collective's Paw Tracks. Most of their improvisational live shows have been recorded and released on the band's website. A new album will be coming out this year on the Blast First (petite) label.

                                                                                    The Stand includes three new recordings featuring Lala Harrison Ryan and John Fell Ryan's son John Victory. Victory was only 18 months old when he performed his vocals. The Fence was originally used as the soundtrack to their piece in the Museu Berardo exhibit in 2012.


                                                                                    Ninety Thirty Thirty

                                                                                      Born from dreams of science-fiction and a desire to decode a whirlwind of experience, Fielded’s sophomore album Ninety Thirty Thirty is a freaky cosmic pop opus. Each song is an installment in a series from some cinematic drifter’s wasteland. They are outer space transmissions, but also quite intuitive and direct with stories and melodies unfolding at the same time. The current project of Lindsay Powell (of Ga’an and Skyblazer), Fielded’s music is led by and built around Powell’s vocal operatics. On her debut release Terrageist and recent split with Alex Barnett, Powell’s vocal layering and manipulation provided the song’s foundations, as well as much of the instrumentation and textures.

                                                                                      On Ninety Thirty Thirty, Powell’s arrangements went from a’cappella soliloquies to fully arranged mood-melters adding collaborators into the mix. It’s Fielded’s first album that works more than just the voice, embarking on a more fulfilling journey of musicianship, songwriting, and divadom. Throughout the record she explores her side of the song utilizing thick, warped vocals, synth arrangements, and drum programming - while simultaneously inviting others to come up with their own parts with very little guidance, allowing for that exciting element of chance. The result is futurist vocal-driven pop steeped in the heavily arranged art-rock structures of the 70s and 80s; each song pulls you in upon first listen but the instrumentation leaves much to unravel and repeatedly return.

                                                                                      The album was realized in a childhood-home studio in New Jersey, the isolation of suburbia inspiring determination and commitment. to the fulfillment of the fantasy sound that existed in her private world. Regarding it’s creation, Powell says “This record was a pause. A slow pulse of clarity. A moment of reflection after a period of time when i lived without hesitation; then came the growing pains. Ninety Thirty Thirty comes from a cinematic, science fiction dream I had while was on tour. I was the founder of a cult in post-apocalyptic America called “Ninety Thirty Thirty.” Ninety represented the Uterus and Thirty Thirty the ovaries. What a code to unlock, I thought. And I think that’s what Fielded deals in often. The decoding of experience. We’ll never understand ourselves but there are so many questions that allow for amazing records or songs or relationships along the way.” A cinematic dissection of a post-apocalyptic dominion; Ninety Thirty Thirty aims to translate the specificities of human experience in order to defy genre and compartmentalization. Fielded’s desire is palpable. The desire to let go in order to make room for the unknown, the desire to not only summon but to become the outsider. Ninety Thirty Thirty is a step toward expansion and passion; we listen and internalize it’s sincerity, we gratefully invite to what was simply and pleasantly unexpected in the world of pop music.

                                                                                      The Flexibles

                                                                                      Pink Everything

                                                                                        The Flexibles are a Punk Rock Band. The Flexibles bend space and time, flex your head, space your Punk, a jarring lightning bolt of truth to the heart of the matter. Comprised of Richard Youngs, his young son Sorley Youngs and family friend Andrew Paine, they operate within Glasgow city limits, outsiders in an outsider culture. Swirling around the wild, searing guitar playing and cosmically infused songwriting of Sorley, The Flexibles' Pink Everything is a concept album of sorts, on the surface a narrative about space travel, the state of the human race in the modern Acopalyx. While vicious in its take down of humanity's own death-drive, the subtext of Pink Everything describes a world where anything is possible. Perhaps the Acopalyx, or Apocalypse, needs to happen for us to be re-born. Anything can be Pink.

                                                                                        Over both sides, The Flexibles depict a realm where fantasy and reality are inexplicably fused together… Sorley’s lyrical flourishes touch on the stream-of-conciousness imagery that seems to be swimming in the Youngs genepool, but there are dashes of real life. When I Was 86 has Sorley tearing modern living apart both from the perspective of the anti-hero Arcosta – an alien visitor to Earth but also from his own perspective as a young man making sense of a reality that needs changed. Smothered by Richard’s electronics and the super-massive fuzz bass of Paine, it’s a radical stomper. Album opener Pink Everything however, offers the flip: a distorted, crazed sermon that essentially asks Why Not? Why can’t everything be pink, true and truthful. Side B comprises a suite chronicling Arcosta’s journey, struggling to comprehend the things we do; capitalism, the endless grind of work-play, the rituals that to extra terrestrials and indeed to children unaffected by cynicism seem meaningless.

                                                                                        As a power trio, The Flexibles blow apart pre-conceptions, burn down barriers and paint them pink. The Flexibles believe anything can be possible and embody an ultimate creative freedom, unencumbered by age barriers, limits. Anything can be Pink.

                                                                                        24 year old Benjamin Garrett, aka Fryars, has always bucked trends. His startling new album Power has been more than just a labour of love, it's been a near-five year journey of the imagination built around a story that spans three continents and deals with all the deliciousness of life; love, greed, loss and death.

                                                                                        FORMAT INFORMATION

                                                                                        Ltd LP Info: Heavyweight vinyl in a gatefold sleeve with full colour printed bag and lyric sheet, all on a satin finish.

                                                                                        Ltd LP includes MP3 Download Code.

                                                                                        Ltd CD Info: Limited edition digipack with foil blocking and 16-page satin finish booklet.

                                                                                        "Farflung are one of the heaviest - especially adjusted for Earth gravity - bands in Los Angeles and have learned well from the explorations of ancient astronauts like Hawkwind and Chrome."(L.A. Record). Internationally recognized as torchbearers in the contemporary space rock scene, FARFLUNG have been altering people's minds with their hugely psychedelic yet fuel-driven space rock for over twenty years now. Their aptly-titled debut 25,000 Feet Per Second (1995) immediately placed them at the forefront of the rock underground, leading them to collaborate with numerous iconic musicians such as Nik Turner (Hawkwind), Dave Catching and Gene Trautmann (former Queens Of The Stone Age & Eagles Of Death Metal), and share the stage alongside The Melvins, Voivod, Fu Manchu, Nebula, Amon Duul and many others. This new album entitled 5 will feature the likes of Nik Turner (Hawkwind), Jensen Bell, David Catching (QOTSA, EODM), Gene Trautmann (QOTSA, EODM). It was recorded at Saturn Moon studio, Tarantula Ranch and Rancho de la Luna. 

                                                                                        Folk Devils

                                                                                        Beautiful Monsters (Singles And Demo Recordings 1984-1986)

                                                                                        First time ever on CD. Digitally restored audio. The complete Folk Devils singles collection plus bonus unreleased demo recordings. Limited edition 180 gram double vinyl. 

                                                                                        Initially managed by Ray Gange, star of The Clash's film Rude Boy, the Folk Devils first single "Hank Turns Blue" recorded for £180 (allegedly the bands combined dole money) and released on the label Ganges Records and distributed through Rough Trade resided at number three in the indie charts for six weeks being kept off the top spot only by New Order and Depeche Mode.

                                                                                        Luminaries such as Jason Pierce of Spiritualized still regard the Folk Devils as a highly influential musical force.

                                                                                        Named after Stanley Cohen’s book on youth subcultures “Folk Devils and Moral Panics”, this highly underrated British band was as far as one could get from ‘folk music’ at the time. They were formed by Co. Durham native Ian Lowery (formerly of The Wall and Ski Patrol) in late 1983 with a line up that consisted of Whiteley (Bass), Kris Jozajtis (Guitar) and Alan Cole (Drums). Throughout their short lifespan, the band released several acclaimed independent singles including “Hank Turns Blue”, “Beautiful Monster”, 1985’s intense “Fire And Chrome” EP, and recorded three sessions for BBC Radio’s John Peel Show.

                                                                                        By early 1984, their heady brew of swampy rock on a bed of bastardized blues had created a vehicle for Lowery’s increasingly misanthropic worldview. A well-honed gutter poet since the early days of punk, Ian developed an idiosyncratic style, fusing a natural gift for sly wordplay and a well-turned snarky phrase with his often vitriolic and poignant lyrics channeled through an explosive onstage persona.

                                                                                        By 1985, their sound was becoming sharp, ominous, brooding and urgent, and had taken shape with the help of producer Richard Mazda, with whom they collaborated several times. The band moved label and management duties to Nick Jones’ KARBON operation, gigging constantly, most memorably opening for the likes of The Fall, Nick Cave and the Bad Seeds, The Gun Club and Spacemen 3. They also toured extensively throughout Europe and were featured prominently in the UK music press. Sadly, by early 1986 frustration within their ranks had created a point of no return, and the band imploded.

                                                                                        These newly digitally re-mastered recordings have been painstakingly restored from the original master tapes, which had spent 30 years languishing in Nick Jones’ archives Never before released on CD, the re-mastered sound captures the ragged fury and adrenalized energy that uniquely characterized the Folk Devils oeuvre. Also included here are eight demo recordings that feature some of their best unreleased material, both musically and lyrically.

                                                                                        Listening again to the ferocious sonic snarl of Whiteley’s Rickenbacker, Kris Joz’s rhythmic wall of sound and sparse, blues-inflected guitar figures, Al’s crisp, metronomic drumming, and Ian’s artful, grimy tales of love, loss, loathing and libation, one can’t help but think it was becoming a sound unto itself, an insatiable and yes, beautiful, monster. We hope you enjoy these resurrected gems, and in doing so, join us in honouring the band’s legacy and paying tribute to the twisted genius of Ian Lowery, who died in 2001, age 45.


                                                                                        Till It's All Forgotten - Bonus Disc Edition

                                                                                        Till It’s All Forgotten arrives with the conviction of a threat, and the grace of vengeance. Farao – musical identity of Norwegian singer, songwriter, and musician Kari Jahnsen – delves into the liberation of her debut album. Till It’s All Forgotten is an artistic statement wrought with intense emotional and musical craft, marked by Jahnsen’s determination to conquer, to wrestle desperation from the still water of apathy.

                                                                                        Hailing from Ulnes, a village of 500 people in the Nordic mountain valley of Valdres, Farao makes enchanting and adventurous pop music, tinged with celestial electronics and earthen orchestration. The now London-based Farao’s songs bear a vibrant surface beauty while taunting the depths within, reflecting the dramatic yet serene environments of her remote origin.

                                                                                        Jahnsen took to Iceland in Spring 2014 to record her first album, following the acclaimed self-titled EP of earlier that year. Working intuitively with producer Mike Lindsay (of London experimental band Tunng), Jahnsen was free to make bold artistic decisions without reservation. A studied musician, Jahnsen composed and performed all instruments except brass and drums on Till It’s All Forgotten’s ten songs, creating a suite of music that is otherworldly and entirely her own.

                                                                                        FORMAT INFORMATION

                                                                                        CD Info: Includes 'Influences Mix' bonus CD while stocks last.

                                                                                        Get a load of Castle Face’s first local release from their new home in East LA: native Angeleno four-piece Feels and their debut self-titled LP.

                                                                                        Scuzzy, slanted guitar interplay, a little grrrlish swagger, flashes of raw emotion and a cement chip of punk attitude propel these songs directly to your dome and down the brain stem. Kinetic, omnivorous, and easy to get stuck in the noggin, Feels has charm and grit to spare and is pushed deeper into the red, weird wilds by Ty Segall’s home-cooked production.

                                                                                        Filthy Friends


                                                                                          Invitation is the debut album by Filthy Friends, the new supergroup from Corin Tucker (Sleater-Kinney), Peter Buck (R.E.M.), Kurt Bloch (The Fastbacks), Scott McCaughey (Young Fresh Fellows, The Minus 5) and Bill Rieflin (King Crimson).

                                                                                          The 12-song collection works through a flurry of different moods and styles, genre exercises and joyous experiments. The intricate guitar knots and blasts of bubblegum pop of Buck's beloved Television are all over the herky-jerky "Windmill." A mashup of '60s downer vibes and rootsy rumblings makes up the marvelous "Second Life" whereas "Come Back Shelley" is all swagger and glitz in the style of a lost glam rock 45. There aint nothing this band cant do with the wet clay of rock music and what they sculpt out of it is pure art.

                                                                                          Peter Buck knew he wanted to be in a band with Corin Tucker from the first time he saw Sleater-Kinney play to an empty room in 1997. "It was the day that Princess Diana died," the former R.E.M. guitarist says. "I remember thinking, 'Where did these people come from?' It was a totally unique take on what punk rock was." He told Rolling Stone.

                                                                                          Flowers Must Die


                                                                                            Ask many self-styled music aficionados, and they’ll tell you that rock in the early to mid ‘70s descended into a mire of boundless self-indulgence and instrumental virtuosity. Not so in Sweden. For there, the egalitarian spirit that many thought revolutionary to punks in the UK was nothing new for the heads to be found enjoying the cult Swedish psychedelia of bands like Träd, Gräs och Stenar or Älgarnas Trädgård.

                                                                                            It’s exactly this lineage forty plus years later where one can find Flowers Must Die, the six-piece Swedish outfit whose ‘Kompost’ - their full-length debut on Rocket Recordings, home of Goat and Josefin Öhrn + The Liberation - is a landmark moment for an outfit pursuing an improvisation based approach removed from the codified realm of contemporary psych, and exploring uncanny and unhinged territory fuelled by diverse record collections yet unique to their own collective headspace. The band may have taken their name originally from an Ash Ra Tempel song, whilst both the strains of Amon Düül II and the repetition of Can lurk within these overgrown sonic pathways.

                                                                                            Yet ‘Kompost’ shows them honing their improvisatory excursions into coherent songcraft amidst spectral techno and cosmic disco shapes, as the angular post-punk pop of The Sugarcubes sits alongside the narcotic clangour of prime Royal Trux, and one-take spontaneity locks horns with nocturnal revelation. Here the outward-looking spirit of 1971 and the anything-goes mentality of the Scandinavian freaks of yore is transposed elegantly to a modern era in need of new horizons, and in a manner refreshingly bereft of retro chic. What’s more, who’s to say what dimensions this alchemical force have yet to explore.

                                                                                            5 Billion In Diamonds

                                                                                            Five Billion In Diamonds

                                                                                              The transatlantic musical alliance of Garbage drummer and legendary American Producer Butch Vig (Nirvana, Foo Fighters, Smashing Pumpkins), UK DJ James Grillo and UK producer Andy Jenks, 5 Billion In Diamonds have announced the release of their mammoth self-titled debut album.

                                                                                              Made as a tribute to the music that inspired them (including Jimmie Spheeris, Ramases, Linda Perhacs, John Barry, Krautrock, The Free Design and the BBC Radiophonic Workshop), the album weaves modern techniques and fresh music into an early 70’s sun-drenched soundtrack of rock, folk, and psychedelia.

                                                                                              Recorded in Vig’s Grunge is Dead Studio in LA and Jenks’ Christchurch Studios in Bristol, Vig said “James would bring in these obscure albums and play something for us, we would get jazzed by the music and try and channel that inspiration into a new song idea”.

                                                                                              With a longstanding bond over cult film soundtracks from the 60s and 70s Butch, Andy and James formed the band following a discussion on how the perfect soundtrack album would sound. Recruiting guitarist Alex Lee (Goldfrapp, Strangelove and Suede), the magnificent rhythm section including bass player Sean Cook and drummer Damon Reece (Spiritualized, Massive Attack and Elizabeth Fraser) and the gorgeous vocals of Bristolian chanteuse Helen White (Alpha) Sandra Dedrick (from The Free Design) and David Schelzel (The Ocean Blue) in the process.

                                                                                              To complete the line-up Ebbot Lundberg of renowned Swedish rock group The Soundtrack Of Our Lives came on board after Butch and James talked their way into the band’s dressing room. “We walked up to Ebbot and said "Hey we're in a band, would you like to sing on a couple songs we're working on?" Ebbot said "Yah!" and a few weeks later we flew him down to Bristol”.

                                                                                              With a stellar line up and the songs to back it up 5BiD are set to release one of the most sonically pleasing debuts of the year.

                                                                                              The Grifters

                                                                                              One Sock Missing

                                                                                                The Grifters were a 1990s indie rock band based in Memphis who released albums on Doink, Sonic Noise, Shangri-La Records and Sub Pop Records. The band originally formed in the late 1980s as A Band Called Bud, with vocalist / guitarist Scott Taylor, bassist Tripp Lamkins and drummer Dave Shouse. After being renamed The Grifters (after the novel by Jim Thompson) Shouse joined Taylor on guitar, with Stanley Gallimore taking over on the drums. Songwriting duties were shared between Shouse, Taylor and Lamkins. For several years in the 1990s the band recorded primarily at Easley McCain Recording and were closely affiliated with Memphis’ Shangri-La Records label for a time. Jeff Buckley was a vocal supporter of The Grifters and was close friends with the band.

                                                                                                "A Birmingham power trio given to insistent but agile rhythms and psychedelic interpretations of standard rock muscle, GT self-released two excellent EPs in 2013. Spurred by the enthusiasm of Alabama label and recording studio Communicating Vessels, who signed on to produce and release the band's debut LP, the trio doubled down to make their best work yet-the thrilling, anthemic, addictive eight-song debut, Beats Misplaced. It's a rock 'n' roll thrill ride, full of pumping beats and plangent guitars, howled vocals and hooks that past. For these eight tunes, the blues commingle with noise rock, and a righteous boogie pulsates beneath shoegaze distortion.

                                                                                                Think Japandroids or No Age being born in and embracing the humid and strange American South, and you start to hear GT through the haze. Front man and lead guitarist Scotty Lee had tinkered with various incarnations of "GT," the unifying acronym of his one-man arts-and-music project alternately known as Green Teeth, Get Tryin' and Ghost Traveler. He's been playing in bands since high school, from early cover acts and sets of instrumental brooders to post-hardcore crews and straight-ahead rock acts. But GT was a chance for him to separate himself from the frustrations of band life and start an outlet that would be forever his. With Byron Sonnier on bass and Mark Beasley on drums, both respected veterans of the music community themselves, Beats Misplaced represents the fulfillment of self-determination and the start of a great new rock band from the depths of the South."

                                                                                                Los Angeles' Gothic Tropic introduces a new brand of female fronted, guitar-driven indie rock. The brainchild of Cecilia Della Peruti, Gothic Tropic keeps the vibe playful and punchy, bringing audiences into a new era of female rock nobility, nodding to stars like Debbie Harry and Chrissie Hynde.

                                                                                                Delivering a blend of Richard Lloyd and Nile Rodgers on guitar, Della Peruti has won sponsorships with Fender and leading pedal manufacturers, and works professionally as a touring and session player for Charli XCX, BØRNS, and more. This is the band's debut album, Fast Or Feast.

                                                                                                If you want to know the secret to happiness, look no further than transcendental psychedelic pop outfit Glass Vaults. The New Zealand via Berlin band led by Richard Larsen, Rowan Pierce and Carpark Record’s signee Bevan Smith, create a unique concoction of joyously uplifting pleasure in their sonic laboratory and The New Happy is the result – an exploration of the euphoric sensations associated with Autonomous Sensory Meridian Response (ASMR).

                                                                                                Glass Vaults' sophomore LP was recorded and mixed to seduce. ASMR, otherwise known as a “brain orgasm,” is an aurally triggered euphoric experience characterised by a tingling in the scalp which travels down the neck and spine and The New Happy was specifically mixed to elicit an ASMR effect. “We focused on retaining short high frequency transients and worked on modulating and panning certain sounds to induce goose bumps and shivers when listened through headphones,” Smith explains of the record’s atmospheric ambiance. “It looks not to emulate a sexual high, but a deeper, euphoric wave, that washes over the body in feelings of comfort and security… a new kind of happy.”

                                                                                                “We have always considered Glass Vaults to be an extension of our larger artistic interests and process,” Richard reveals. “One thing which has never changed is our goal of creating music that fully immerses those who experience it. We’re creating worlds and stories to fully transcend the audience.”

                                                                                                Whether it’s capturing the feelings brought about by recollections of the pair’s pre-teen days chatting with friends on MSN and downloading music from Napster (‘Savant’) sitting on Manhattan rooftops (‘Brooklyn’) or watching the sun rise after a long cold winter (‘The New Happy’), each song is a shot of serotonin to the synapses. Speaking of the title-track Larsen says; “I was interested in creating the feeling of the classic New Zealand summer. When I listen to this song I imagine a Fruju iceblock advert shown there in the 90s. Young beautiful people jumping off a boat, eating ice blocks and singing “Ooh Aah!”

                                                                                                Not stopping at physical pleasure, The New Happy’s absorbing soundscapes delve deeper into the unconscious by exploring nostalgia and dreams; ‘Rewind’ was inspired by a dream of hitting rewind on life whilst ‘Mind Reader’ refers to the way dreams linger, well into waking hours.

                                                                                                The New Happy sees the band peeling away at a once hazy veneer to reveal vibrant and colourful majestic pop moments crafted with precision and clarity. “The New Happy is a sonic departure for us… where once we would have relied on large crystalline reverbs, this record takes cues from intimate spaces, percussive rhythm and groove to elicit a different kind of transcendence.” Glass Vaults’ unique brand of dreamy psychedelic pop has wowed capacity crowds everywhere from drained swimming pools and humid forests, to New Zealand, Australia, and the U.S.A.

                                                                                                FORMAT INFORMATION

                                                                                                Ltd LP Info: 180 gram vinyl with digital download code.
                                                                                                Printed inner sleeve.
                                                                                                Outer sleeve with spot gloss UV finish.

                                                                                                The Gist

                                                                                                Holding Pattern

                                                                                                  Young Marble Giants sprang from what may have seemed like another planet, but was in fact that provincial flared jeans boogie rock town of Cardiff. It was this cultural isolation that allowed for YMG’s unique style, fostered in the belief no one would ever care. So despairing was leader Stuart Moxham of the band’s chances, after Rough Trade heard tracks on a compilation album and offered a 7” deal, Stuart agreed . . . but only if the band could record an entire album off that bat. To his amazement, Rough Trade agreed. That album, Colossal Youth was an instant classic, inspiring countless musicians to champion the album’s visionary otherworldliness - Kurt Cobain, David Byrne, REM and many others. As YMG imploded, Stuart started The Gist, a group more theoretical than real. Members included Vivien Goldman, members of This Heat, Swell Maps, Essential Logic, and various Cardiff pals.

                                                                                                  One song, Love At First Sight, led to a French hit by Etienne Daho and a shoegaze version by Lush. Three singles and an album, Embrace The Herd, were released and performed well, but Stuart later revealed the debilitating anxieties and stresses of that era, including a long hospital stay after a near-fatal motorbike accident. More important, Stuart had no plan; he’d met his goals on his debut. The Gist was an attempt to create another sonic world, influenced by travel, Eno and dub. It was perplexing, and years passed before its originality was revered, via a lengthy Mojo piece, and reissues on Rykodisc, Cherry Red and 1974 Records. After David Byrne reunited Young Marble Giants to play Meltdown, Stuart re-emerged, admitting that after Rough Trade dropped him in their culling spree to make room for the likes of The Smiths, that he never bothered contacting new labels for a deal. Instead, he married, had kids . . . and recorded ceaselessly. Those recordings are almost entirely unheard. An extensive trawl through miles of recording tape resulted in the discovery of hundreds of recordings of an unusually high standard. The first fruit of this archaeology is “Holding Pattern,” an unreleased album by The Gist which might have been Stuart’s follow-up to Colossal Youth, instead of the strange choice of the more tentative Embrace The Herd. 



                                                                                                    The small towns of California’s northern Central Valley have an eerie loneliness to them. Cinematically, take Two-Lane Blacktop and fuse it with Neil Young’s Human Highway. Fix that into music and you’d get something like Ghostwriter.

                                                                                                    Odd rock & roll from Orland, California, the home of the dearly departed Nothing People (and theater organ legend George Wright), Ghostwriter lurks in the dust-caked shadows of rusted old cars and “obsolete,” solidstate, electronic instruments. The Chrome-meets-psych sounds of the Nothing People is there, with some haunted rockabilly à la Alan Vega, Residents-like wooziness, and something that conjures the words “paranoid closet.” These outsider / loner rock sounds will be listened to for years to come.


                                                                                                    Night Reels

                                                                                                      ‘Night Reels’ is Gentlemen’s first collection of blissed-out guitar synesthesia put to record in jaw-dropping style.

                                                                                                      Originating separately from the UK, Italy and Australia, the five piece connected through their shared love of the noir, the unknown. Their formation in 2012 was the beginning of a journey which has seen them blossom into a completely immersive and thrillingly eccentric new whole.

                                                                                                      “With ‘Night Reels’ we wanted to draw on the sounds we saw as classic but make a forward thinking record – the sort of record we would want to lay back and listen to late at night.”

                                                                                                      With ‘Night Reels I’ – the first half of this new collection and their debut EP release the likes of the darkly sweltering ‘Late Nacht’ and the twisted pop of ‘Children of The Setting Sun’ saw their output acclaimed by the likes of Zane Lowe, NME and The Guardian as well as packing out shows in their adopted London hometown. Now with its espousal tracks ushered in by the glorious bombast of ‘Gentle Duke’, Gentlemen’s beautifully kaleidoscopic vision comes fully into light.

                                                                                                      Balancing their astute pop sensibility with a massive array of breathtaking instrumentation and swooping melodies – note the ornately mellow keys of ‘Midnight Movie’ switching seamlessly to the cathartic, genre-bending instrumental of ‘Underground’ – ‘Night Reels’ is the display of Gentlemen at the peak of their mind-altering powers.

                                                                                                      Limited Edition - 300 units only.

                                                                                                      “What the Beatles might have sounded like in 1972, post-T Rex.” - The Guardian

                                                                                                      “Following in the Technicolor wake of Tame Impala and Temples, London’s Gentlemen take the glam-pop template and twist the kaleidoscope until it contorts into their own unique vision.” - NME “Sounds like something that might’ve spilt from the pen of Kevin Parker on a lazy Sunday, and which may or may not be offered in tribute to one of the band’s idols, late jazz-fusion pianist George Duke.” - The Fly

                                                                                                      Horse Thief

                                                                                                      Trials & Truths

                                                                                                        Two years after their widely feted Bella Union debut ‘Fear In Bliss’, Oklahoma quintet Horse Thief have created another surging, crafted beauty in ‘Trials & Truths’.

                                                                                                        The record’s unified feel still contains many contrasting elements, sounding both panoramic and nuanced, intimate and anthemic and vibrant and contemplative, while frontman Cameron Neal’s lyrics range from the confessional to the metaphorical as he surveys the passing of time.

                                                                                                        Neal concludes, “All the songs have guided me through the writing process, and comforted me, which is part of what the whole record is contemplating - making something to comfort someone, to write songs they can relate to. And with this record, the band is in a great place.”

                                                                                                        Hospital Ships

                                                                                                        Oh Ramona

                                                                                                          Hospital Ships founder and sole member Jordan Geiger has a long, varied indie-rock resume, with stints as the trumpeter in Shearwater and the chief songwriter of Minus Story. On his first album as a solo artist, Oh, Ramona, Geiger showcases his artistic progress while displaying remarkable tenderness. His concisely drawn songs get fleshed out in these weepy bedroom recordings, rendered with more than just crackly, near-whispered vocals and gentle strums on an acoustic guitar.

                                                                                                          Oh, Ramona's title track unfurls slowly over the course of a sublime three minutes, buttressed by layered instrumentation and a flair for the experimental that recalls The Flaming Lips. (Geiger named Hospital Ships after a song on that band's 1995 album Clouds Taste Metallic.) Before "Oh, Ramona" is over, Geiger has even unveiled a swell of horns to go with his oscillating chord progressions.

                                                                                                          Inevitably, Geiger has earned comparisons to Bright Eyes' Conor Oberst, thanks to their shared Midwestern roots and emotive lyrics. But with Oberst coming of age musically, Hospital Ships' makes an ideal heir apparent: Oh, Ramona is rooted firmly in Geiger's "not a boy, not yet a man" phase. Fortunately, Geiger doesn't take himself nearly as seriously. The real-life Ramona in "Oh, Ramona"? The singer's cat.

                                                                                                          FORMAT INFORMATION

                                                                                                          Ltd LP Info: 180g pink vinyl includes 2 bonus tracks.

                                                                                                          Ltd LP includes MP3 Download Code.

                                                                                                          Hatcham Social are set to return with a new album of their very own art-pop, post-punk, and rock ‘n’ roll sound on Crocodile Records on the 2nd of October 2015. ‘The Birthday of the World’ is the follow up to last years ‘Cutting Up The Present Leaks Out The Future’, described by Q Magazine as “a thrilling long dark night of the soul”, and features ten new tracks including the recent download release ‘Bucket Of Blood’.

                                                                                                          Since the release of their debut long player ‘You Dig The Tunnel, I’ll Hide The Soil’ in 2009, Hatcham Social have never been a band to fall neatly into a scene or formula. From lo-fi bedroom pop cassettes, to post-punk shards and poetry, short films, girl-boy rock 'n' roll, and drug fuelled dark folk tinged psychedelia they have constantly reinvented and evolved with each release.

                                                                                                          The atmospherics, lyrical heart, and energy are carried through to this new album: a science fiction themed art-pop odyssey titled ‘The Birthday of the World’. Inspired by the stories of Isaac Asimov, Ursula K Le Guin, and Arthur C Clarke, the new album is an exploration of Earth’s last days and the colonisation of Mars and is without doubt their finest collection of songs to date. 


                                                                                                          Outside, The Great Drought

                                                                                                            MA-based multi-instrumentalist Colby Nathan delivers a debut that contains a jumpy and highly neurotic form of outsiderpop combining bebopdrenched rants and surrealistic torchsongs with lush arrangements that constantly test the limits of self-control and good reason.

                                                                                                            "Outside, The Great Drought" offers baroque exuberance and teenage angst through sixties inspired craftsmanship that keeps spiraling out of this worldly realm. Think Jonathan Richman, Brian Wilson and Van Dyke Parks.

                                                                                                            The Heads


                                                                                                              Timely reissue of the first 3 releases The Heads put out on the ROCKET label, form their first split 7” release (with Lilydamwhite) in 1998 to their much lauded SESSIONS 2 freakout 12” from 2002… compiled here in their remastered glory, the Heads we quite prolific back in the late 90s / early 00’s, and in between the Everybody Knows We Got Nowhere album and Undersided album they released their jams and raw rehearsals via the burgeoning ROCKET Label..

                                                                                                              Compiled here with extensive sleeve notes from Rocket founder Simon Healey, this limited 3LP (1000 copies) and 2CD (1000 copies) set captures the band at their most laconic and free… psychedelic sprawling morass or sound and aural distortion grooves akin drawing from their wide influences…also from simply plugging in and letting go…

                                                                                                              Joey Herzfeld And His So Called Friends

                                                                                                              .... Are Watching You

                                                                                                                ‘Darkly comic and melodic little songs for your horror and amusement’ In 2010, after 5 years writhing and screaming in cabaret/rock band Hooverville, Joey Herzfeld strapped on an accordion and gathered together an impressive array of so-called friends to deliver his nasty but melodic little ditties with a more acoustic lineup.

                                                                                                                ‘..Are Watching You’ is their debut album, a collection of dark and funny tales of hangings, heartbreak, stalkers and lechers all interspersed with foot-stomping instrumentals. Highlights include "Great Again", the story of a failed writer with lofty intentions stalking a famous novelist, "Maggie Dickson", where a woman somehow survives hanging, then sets up a thriving pub overlooking the gallows, and "Cracks", a surprisingly swinging take on modern hermitism whose apocalyptic finale gives the band full licence to let rip.

                                                                                                                Joey has long been something of an anomaly in the North London music scene, honing traditional song-craft while playing with more experimental musicians. So here amidst the rye banjo licks and folk fiddle we find the best and brightest of the Stoke Newington / Walthamstow avant garde. There are cheery clarinet tootlings from Alex Ward, best known for his boundary shredding free improv and noise rock, anchored double bass and keys from Santiago Horro and Luke Barlow, both members of ear-melting math rock band Nought, and springy drums from Jem Doulton of the Thurston Moore Band and Roisin Murphy.

                                                                                                                All of the above have been playing challenging and unpredictable music together for years in every conceivable combination, but here rub shoulders with players from more grounded folk traditions. So, if pithy twisted storytelling accompanied by a circus of wheezing accordion, twanging banjo, gypsy fiddle, wailing clarinet plus an occasional smattering of surf guitar, toy piano, spooky organ, musical saw, glockenspiel, mandolin, ukulele, scronking sax, scrap metal and cutlery (breathe..) intrigues your musical palate, please take a seat at the ringside.. 

                                                                                                                Andrew Hung


                                                                                                                  Realisationship is Andrew Hung's debut solo album. As co-founder of Fuck Buttons; the highly-influential noise-electronic duo, Andrew Hung has toured extensively with headline shows at the Kentish Town Forum, Glastonbury and Greenman Festivals, been featured on the 2012 Olympics opening ceremony and all three albums have featured as Best New Music on Pitchfork Media. His production work has included Zun Zun Egui's "Shackles Gift" and co-writing/co-producing the critically acclaimed "Kidsticks" by Beth Orton. He soundtracked the multiple-award winning film "The Greasy Strangler". 

                                                                                                                  Brimming with creativity, “Fluff” is the debut album from singer-songwriter Andy Gabbard (Buffalo Killers). This is “Modern Grunge Fuzz Pop with 60’s aura”. On “Fluff” you can hear the deeply-solid effects of the grunge genre and mid-90’s ‘alternative music’ in a sonic gestalt. Exhibiting characteristics of fairly recent genres, as well as some classics that surrounded him during his youth, the album breaks barriers of seemingly comfortable, unthreatening music cultivating a physical embodiment of Nirvana, Dinosaur Jr, latter Beatles and even Brian Wilson! Buffalo Killers continue their successful run and now, it’s not running alone. “Fluff” is the start of something great. 

                                                                                                                  Jim & The French Vanilla

                                                                                                                  Afraid Of The House

                                                                                                                    Jim And The French Vanilla is the solo project of Jim Blaha from The Blind Shake. This is his third album under this moniker, but the first to be made widely available — the first two came out on CDR-only and limited-to-100 vinyl, respectively. The first two albums were acoustic, one-man-band affairs, but on Afraid Of The House Jim (along with his brother/bandmate in Blind Shake Mike Blaha) expands to a full band sound, to astonishing effect. The basic songwriting retains the incredibly distinctive mystical, other-worldly atmosphere of The Blind Shake, but the instrumentation and sound are both stripped down to their essence, dialing way back on the loud-psych stamp of his main band.

                                                                                                                    Raw, feral, but incredibly catchy, this album covers a wider sonic pallet than one might pick up on at first. From poppy to heavy, from atmospheric to wild, it reflects a wide range of ideas and emotion, while maintaining surprising consistence throughout.

                                                                                                                    Invisible Familiars

                                                                                                                    Disturbing Wildlife

                                                                                                                    Invisible Familiars’ ‘Disturbing Wildlife’ is the work of Jared Samuel, alongside producer Michael Leonhart.

                                                                                                                    Guests include Yuka Honda and Miho Hatori of Cibo Matto, Nels Cline, Jolie Holland, Stuart Bogie of Antibalas and Superhuman Happiness, Scott Metzger, Ryan Sawyer, Alex Holden and Andrew Borger.

                                                                                                                    The band behind the album are also the backing band for Sean Lennon.

                                                                                                                    “Jared kinda sounds like Mark Bolan. I’ll just say it, cause you might think it. It’s science. When I asked him what record felt to him like how he wanted ‘Disturbing Wildlife’ to feel to me, he said ‘‘Cuckooland’ by Robert Wyatt’, promptly adding ‘and the first time I listened to ‘What’s Going On’ through headphones, stoned.’ He’s got a Small Faces song link for just about everything I say and he knew the Lifetones song I sent him yesterday, which may be my secret litmus test. When I listen to ‘Invisible Familiars’, I don’t hear just anything - I hear everything. It’s the cumulative result of being alive with the radio on. And I’m not talking about subliminal influences, because even the color of the sky can turn into a song. It’s that other transaction, where music accompanies your body - and your brain inside of it - and enables your understanding and definition of life. And then you go and make something: some food, a picture, your bed, a friend, a baby, a joke, a new song.” - Sara Padgett Heathcott, Hometapes

                                                                                                                    FORMAT INFORMATION

                                                                                                                    LP includes MP3 Download Code.

                                                                                                                    The Japanese Girl

                                                                                                                    Sonic-Shaped Life

                                                                                                                      The Japanese Girl is a Portuguese band formed in late Dec 2013 by Bruno Sousa, Corinna Sousa and Emanuel Cunha. Starting with two guitars, an organ and vintage drum machines, they immediately forged a raw and powerful sound somewhere between garage rock and psych lo-fi, while recently they have been joined by a drummer hammering through their opiated layers of reverb. Their intense, noise-filled live shows are accompanied by mysterious visual elements, and besides their own headlining shows the band has also played with Jacco Gardner, The Wand, Girls Names and as part of the Reverence Festival Party.

                                                                                                                      In early 2015 they recorded "Sonic-Shaped Life", their debut album. It was put down on tape at Oporto's renewed studio Sá da Bandeira by Cláudio Tavares and João Brandão, and mastered by Miguel Pinheiro Marques at SDB Mastering. Leading single 'You Should Have Switches', released in September, gave the first clues about their own brand of hypnotic rock, where pulsating psychedelia, droney garage and shimmering, trippy pop provide the setting for haunting compositions, catchy hooks and engaging melodies. Over the course of ten tracks, the band sounds commanding in the darker passages or punked-up outbursts and shine in the more sunny, coloured moments, while the flow and pace of the album produce a wholly entrancing record.

                                                                                                                      Brutal and complex, furious and spirit-evoking, making spikes then descending, the new album strikes the nail of black-garage-gospel with the hammer of Viking gods, right in the middle of a storm of decibels that lance the climate, electrically charged by each of J.C. Satan's coming shows.

                                                                                                                      Imagine Queens Of The Stone Age backing Serge Gainsbourg during Mexico's Day Of The Dead!!! 

                                                                                                                      Hey, this aint no “follow up” number, this is a the other arm getting a shot; this is the Slave Vows era of the Icarus Line getting its I’s dotted. A sort of finality at play here, “Avowed Slavery” is the companion release to 2013’s well received SLAVE VOWS album, this completes the circle of fury.

                                                                                                                      With the video release of “City Job” at the end of 2013, and the Slave Vows album still making people talk, it was time to put these songs to wax, prepare the world for The Icarus Line's next move. Five tracks spread over the two sides, this mini album serves as aSlave Vows booster jab, the feral verocity of the last album is in spades here, maybe even more so, the fire in the band’s belly is roaring, and its only when the last track closes down do you realise quite fully, the impact.

                                                                                                                      Reference points take in a whole gamut of genres, styles, sounds, stances…… Cardamone leads the gang once more into the rough, the desecrated warzone that is the music industry, american culture and love , they (Cardamone, Hallet, De Guzman, Arnao) create their brand of “hellfire and brimstone” rock and roll…

                                                                                                                      Leeches and Seeds is a frenetic blast of noise with Hallets drums threatening to collapse your ears, driving you into live favourite Junkadelic. The bastard offspring of Clinton and Bargeld this grooves and slithers, winding its earworm abilities into your whole shuddering psyche…..

                                                                                                                      Raise Yer Crown closes off side one, with their LA swagger back in full effect, thump and grind from the Icarus Line, this is Los Angeles NOW…

                                                                                                                      Side two opens with the long awaited studio version of other live fave “Salem Slims”, first aired on the Killing Joke support tour in 2012, this fearless headrush is so adamantly an Icarus Line song, that theres no other comparison, howling stoogian vocal, building-destroying rhythms, shards of guitar gloss stunning all within range, this headrush of almost-insanity then moves into the last track, “The Father,. The Priest” , is this the calm after the storm, is this the comedown, is this the penance for the passion? Or is this the Vows era Icarus Line laying down tools to prepare for the next go?

                                                                                                                      Listen at full blast
                                                                                                                      - Joe Cardamone

                                                                                                                      FORMAT INFORMATION

                                                                                                                      LP includes MP3 Download Code.

                                                                                                                      Johnny Foreigner

                                                                                                                      Mono No Aware

                                                                                                                        Johnny Foreigner are back with their long awaited 5th album sounding more visceral and vital than ever before – it's unmistakably Johnny Foreigner, but there's a deep subtlety imbued within that twin barrel vocal barrage and something defiantly delicate within those churning riffs… This is tragic pop.

                                                                                                                        But tragic pop that zips and fizzes as if everything depends upon it. Who knows? It probably does.

                                                                                                                        "a powerful message put to a signature style that's beginning to seem defiantly timeless" – The Line of Best Fit

                                                                                                                        "How they top this is beyond me." – Drowned In Sound

                                                                                                                        "You Can Do Better is a perfect execution of a well thought out plan." – DIY

                                                                                                                        "Johnny Foreigner are, thankfully, still showing no desire to slow down." - Clash



                                                                                                                          JUNODEF’s post-death, post-rock music is inspired by bands such as Warpaint, Chelsea Wolfe and PJ Harvey. They started out in south Sweden but has now moved to south London and are working their way up fast.

                                                                                                                          This spring they will release their debut album Ocean, on the Swedish label Rundgång Rekords. JUNODEF’s precise, emotional live perfomances show them at their best - with a combination of distorted guitars, singing bass lines, stormy synthesisers and crushing percussion JUNODEF creates a unique, dark sound that shows you the future.

                                                                                                                          Madeline Kenney

                                                                                                                          Night Night At The First Landing

                                                                                                                            Madeline Kenney begins her new album with a helpful reminder: “Don’t forget, there’s room for you.” The declaration is meant to lay to rest unnecessary competition. The universe is pretty large. It’s a fitting welcome to Kenney’s debut full-length, Night Night At The First Landing. The record is framed by meditative, repetitive recordings that each offer some kind of encouragement. "Don't you worry about a thing, you're fine." "I won't give up on anything now." The trip on Night Night is deciding whether the narrator is full of confidence or talking to themselves privately.

                                                                                                                            Kenney began working on the record immediately after completing her first EP, 2016’s Signals. As with Signals, Company Records label head Chaz Bundick (Toro Y Moi) was on hand as producer, but with Kenney as the arranger and key creative force, Night Night reveals more of the artist. Kenney wrote and arranged all the songs and tracked most of the instruments at home.

                                                                                                                            "No one's a hero for just being strong," Kenney sings on first single “Rita,” letting us know it’s about action and how that strength is utilized. It takes guts. The song bursts with an exhilarating guitar workout providing a clear-headed version of distorted bliss. Similarly euphoric is a math-y tapout on “Witching Hour.” Narratives of people and how those people affect others are surrounded by musical worlds of echo and propulsion. The melody through-line of “Always” is a transfixing piano part of royal heritage. “Big One” is a lyrical puzzle and a musical skip across happy times.

                                                                                                                            The album is unavoidably dreamy, dipping into sweet fuzz while usually sailing through smooth, crystalline production. The songs are about people, and though people sometimes disappoint, this record is meant to comfort. Fall into it and imagine the clouds scooping you up, or the changing tide’s ripples gliding you past a gentle moon’s new reflection.

                                                                                                                            STEREOGUM: “Lead single “Rita” is exceptional, building from understated beauty to dense guitar theatrics. It reminds me of Chicago circa ’93 as remembered in a dream — a little bit of Liz Phair 'Exile In Guyville' - rendered in soft-focus with the graceful confidence of a young master. Its video, directed by Adam Murphy, makes for a compelling introduction. 

                                                                                                                            Largely written following the traumatic arrival, three months early, of her first baby, its extraordinary eleven songs track her experience with uncommon honesty and unshrink-ing courage. Like a collection of short stories, it chronicles the events surrounding her pregnancy and the agony of nearly losing her daughter, but it’s much more than an album about childbirth. Mother Tongue is about instinct, about belonging, and about finding one’s own emotional language. “I never know what my records are about until they´re almost done,” Rebekka Karijord admits of Mother Tongue’s provenance in a typical, if wry, display of candour. “It´s like a subconscious collecting process, shooting arrows into the dark and then getting out there to see where they have landed. This time, however, it was a bit different…” The album was recorded in Hawaii, Stockholm & Oslo during 2015 and 2016, and produced, ar-ranged and edited by Karijord with help from Elias Krantz as technician, co-producer and mixer. 

                                                                                                                            Mike Krol

                                                                                                                            Mike Krol Is Never Dead : The First Two Records

                                                                                                                              On Mike Krol Is Never Dead: The First Two Records, we catch up with the past, that is. Indeed, Turkey, released in 2015, is Chapter 3 of the Krol saga; here, finally, are its long-lost predecessors. Self-released in 2011, I Hate Jazz was the opening salvo of World War Krol. Only 500 copies were pressed; they were given away to anyone who showed interest (and many who showed none whatsoever). Including Krol classics like “Fifteen Minutes” and “Like a Star,” the record has long been unavailable.

                                                                                                                              Trust Fund followed in 2013; its 500 copies sold out on the ensuing tour, fueling a mini-mania that would elevate it to cult status. This set includes both records on freshly pressed Merge vinyl; an illuminating selection of digital outtakes, demos, and B-sides; and a fold-out poster showcasing a selection of Mike Krol ephemera. “Like a Star” & “Fifteen Minutes” as performed by animated Mike Krol featured on Cartoon Network’s Steven Universe (2016). 


                                                                                                                              Four Songs For Fifty States

                                                                                                                                Kuroma are a band from the US of A, and are led by Hank Sullivant, ex MGMT guitarist. He has bloody long hair. The record features James Richardson (MGMT guitarist) and Will Berman (MGMT drummer). Hank hails from Atlanta, Georgia. This is Kuroma’s first ever UK release and is released on 10" CLEAR VINYL....nice!

                                                                                                                                The Little Beauties

                                                                                                                                A Rude Awakening

                                                                                                                                Dublin's 'The Little Beauties' trade in upbeat ska-rock of the highest order. Mellow, grooving numbers form out of a sturdy backbone of snappy snares and rolling bass licks. What would a bit of ska be without an upstroke or two? Well, you won't be disappointed. Opener, 'Ideal Notion' treads familiar ground, but not to it's detriment, brilliantly upbeat instrumental backing underpins Amanda Claxton't swooning mournful vocals, and soaring horn section.  Brilliantly danceable, and perfectly produced ska-indie. 

                                                                                                                                'Surprises' begins with a screeching ambient crescendo, then slowly introduces that trademark  hammond organ before launching into soaring ska-punk, complete with triumphant horns and clattering percussion. It's hugely melodic and toe-tappingly addictive stuff, perfect for getting you up and dancing. 

                                                                                                                                'Shadow In The Wind' wears it's reggae influence slightly more readily, with the 2-step percussion and stompink toms holding the fort before sweping horns take over, it's familiar territory, made all the more enjoyable by the skill that has gone into it. Brilliant pop songs, shining with optimism and all the better for it. 

                                                                                                                                In young Maesa Pullman The Last Hurrah!! mastermind HP Gundersen has found the perfect singer for this ever developing project that is so dear to his heart. After exploring the possibilites of the drone guitar on their debut "Spiritual Non-Believers" and the slightly more song-oriented follow-up "The Beauty Of Fake", HP is back with a third album that dives straight into the heart of classical song traditions and vintage production values, blending elements from country and Americana, classic British pop, psychedelia, blues and a pinch of soul.

                                                                                                                                HP Gundersen has been a central figure on Bergen´s vibrant music scene for more than three decades, as producer, composer and mentor for many of the city´s artists. As a producer he discovered and nurtured the career of a very young Sondre Lerche, one of Norway´s most successful international exports. As well as Madrugada´s mega-hit "Lift Me" with Ane Brun, he has produced over 50 albums - including Tim Rose´s final album "American Son".

                                                                                                                                HP names Beatles, early Stones, Tin Pan Alley, cosmic American country... as his life changing musical epiphanies.Maesa Pullman comes from a very musical family and was brought to the attention of HP Gundersen through mutual friends. Also a songwriter, guitarist and pianist, she performs frequently with different musical constellations in Southern California, being a profiled presence in the local roots community. Her cousin Rosa Pullman sings lead on two tracks, "You Ain´t Got Nothing" and "Those Memories". Among the musicians we fine some of Bergen´s finest as well as American guests such as Marty Rifkin on pedal steel, John Thomas on Hammond organ, Kiel Feher on drums and Jason Hiller on bass. 

                                                                                                                                Little Scream

                                                                                                                                Cult Following

                                                                                                                                  Little Scream aka Laurel Sprengelmeyer says she began conceiving of Cult Following while visiting a friend in a small intentional community in northern Brazil. “People were running around reading auras, interpreting each other’s dreams, and ‘living on light’ instead of eating—which was as compelling as it was absurd. I became very aware of the entropy of belief. You could feel the magnetism of ideas take shape and pull people into their center like a black hole… a thing so filled with light that its own gravity means that none of it can escape.” That experience laid the groundwork for Cult Following, a lush, expansive. retro-leaning gem that straddles intimate fragility with bombastic dancefloor-ready songs. Right from the start, you know you’ve entered a universe with its own rules—dazzling, dark, and whimsical, not unlike Willy Wonka’s gated factory. From the candy-filled ballroom of “Love as a Weapon,” you are invited onto the comforting ship of the warm ballad “Evan,” only to find that “the waves are falling/ they’re falling in faster, and the ship has no master… here comes disaster!” When the shipwreck subsides, you find yourself in the dark depths of the song Wishing Well, where Mary Margaret O’Hara makes a stunning, subtle vocal appearance.

                                                                                                                                  Mary Margaret is one of several guests to appear on this record, along with Sufjan Stevens, Sharon Van Etten, and Kyp Malone. Encountering them is not unlike having cameo stars within a film, but the world they inhabit is entirely Little Scream’s, and her voice acts as a tour guide through lush and sometimes terrifying sonic landscapes carefully constructed with her creative partner, Arcade Fire’s Richard Reed Parry. Cult Following is a record that deserves to be listened to from start to finish, with each song having been constructed to meld seamlessly into the next. There may be those who listen only to the record’s obvious catchy hit, but they would be missing out on the depth of stunners like “Wishing Well” and “Someone Will Notice.” Like a classic novella, you must pass through all of the record’s stages to fully experience a triumphant hero’s journey. 

                                                                                                                                  Al Lover Meets Cairo Liberation Front

                                                                                                                                  Nymphaea Caerulea EP

                                                                                                                                    San Francisco based DJ Al Lover’s list of collaborations contain names like The Brian Jonestown Massacre, Goat and White Fence, and he has remixed bands like The Night Beats and Thee Oh Sees. Except from producing mind-altering music, Al Lover is also the official DJ of Levitation and tours Europe extensively. Al Lover’s double album release “Zodiak versions” on Höga Nord Rekords (2015) opened up for a beautiful cooperation between the label and the artist and now the two parts are taking it to the next level with the release of The Nymphaea Caerulea EP. On this picture disc EP, a third player flavors the music and that is Cairo Liberation Front (CLF). Residing in Amsterdam this collective represents the future of European club music lends equally from House, punk and psychedelia, filtered through generations of hedonistic groove. The six tracks on this picture disc EP holds the essence of what psychedelic dance music is about – escapism. Where to escape? Well, due their sound, CLF could just as well be from where their name implies because this record oozes more of northern Africa than of northern Europe. It puts the listener outside of time somewhere on the banks of the Nile, just before dawn. The combination of Al Lover’s use of samples, drum machines, live instrumentation and analog synthesizers, clashes beautifully with the fierce energy of the CLF’s sound of cracked software, American hip-hop, Euro house and Arabic rhythms. 

                                                                                                                                    Matt Lamkin

                                                                                                                                    Where I'm Matt

                                                                                                                                      MATT LAMKIN and MATTHEW MCLOUGHLIN were high school friends who started the MUSLIMS in 2007, indulging in their love for the Modern Lovers, punk rock and power pop. The band released a self-titled LP on 1928 Records and a 7” on I Hate Rock n Roll before changing their name to the SOFT PACK and releasing LPs on Mexican Summer and Kemado, culminating in a performance on David Letterman in 2012 and a video with Bob Odenkirk of Breaking Bad, Better Call Saul, Mr. Show, etc.

                                                                                                                                      In 2013, Lamkin moved to Ensenada, Mexico, and began building a life there and slowly writing the songs that would eventually make up his self-titled LP, Where I’m Matt. Lamkin and his band will tour the West Coast along with Silver Shadows.

                                                                                                                                      FORMAT INFORMATION

                                                                                                                                      Ltd LP Info: Limited to 500 on yellow vinyl.

                                                                                                                                      LAKE are an experimental-pop ensemble centered around the songwriting partnership of wife/husband duo Ashley Eriksson and Elijah Moore. LAKE's musical kindling is unusual for a band whose genesis was rooted in the punk and indie community - before signing to legendary K Records (for their 2nd album Oh,The Places We'll Go, 2008) Calvin Johnson apparently couldn't believe a band from the Olympia underground would be so keen on reinterpreting the music of mainstream pop acts from a bygone era. LAKE has since converted him, and many more, to a re-sensitized appreciation of big musical ideas, which are non-cynical, joyous, inviting.

                                                                                                                                      Citing the likes of King Tubby, John Coltrane and Maurice Ravel, as much as The Durutti Column, Venom P Stinger and Public Image Ltd, as creative catalysts, TRUST sees Denmark's Less Win in the throes of an instinctive and free-form approach to rock music, transcending the connotations and clichés that come attached to ‘post-punk’. Here, pianos sound like sledgehammers, and saxophones like wailing widows. Strings are a haunting undercurrent, while the vocal scope of Casper Morilla and Patrick Kociszewski sounds crystal clear above the trio’s treacherous atmospherics - sang just a breath away from the deranged.

                                                                                                                                      "dark, unrelenting and absolutely brutal." DIY "Denmark's been explosive for punk lately and this trio ride the blast waves in style." NME

                                                                                                                                      "sounding like a lost lo-fi Mission Of Burma classic" Stereogum "the blackened guitar sound of late-70s Manchester." Loud & Quiet

                                                                                                                                      "draping each note in a powerful shade of black." CLASH

                                                                                                                                      Brooklyn based duo Lushes have thought long and hard about the pros and cons of quitting their day jobs and they are confused. Don't you worry. They're not looking for an answer. They have an album for you, though - Service Industry - out October 16, 2015. The album is a rollercoaster through the maze of modern living. It was recorded and mixed by Sonic Youth's long time engineer Aaron Mullan at Echo Canyon, during a period of intense money, work and life stress. The record also includes some guest appearances from Zs front man Sam Hillmer, Justin Frye of PC Worship (Upright Bass on "You Only Have") and Jonathan Schenke (Parquet Courts' engineer and member of Eaters).

                                                                                                                                      Service Industry extends the tensions begun with Lushes' debut album, What Am I Doing. In their first album, the themes of anxiety were often held back in pursuit of serene moments, brief escapes from our mundane lives. With Service Industry, Lushes give you something more raw, more guitar-and-drum driven, more primal.

                                                                                                                                      The album throws a wrench in things. It stands as a map of a crisis, a bleak and gorgeous snapshot of our world, and a question: why continue living like we do?



                                                                                                                                        Levitations are a three piece post punk / garage band from berlin. The three girls formed in 2009 and after a 7" this is finally their debut LP. 9 songs of blistering dark post punk - somehow reminds of a mix between Super Wild Horse meets Kleenix or Lilliput. Raw and catchy at the same time. 

                                                                                                                                        Geelong delinquents The Living Eyes will unleash a new, 10-track slab of stompers via Agitated Records.

                                                                                                                                        The Living Eyes are Billy Gardner (who, not only runs the esteemed Geelong record label Antifade, but also plays in Ausmuteants and Wet Blankets amongst others…) on vocals and guitar, Mitch Campleman on guitar / vocals, bassist Dayle Herbert and drummer Nicholas Hill. Their second full-length, “Living Large,” was recorded in a day-and-a-half by (Straight Arrows’ front man) Owen Penglis in his (new) Sydney hideout, Goliath Professional Recording Studio. The tapes were then driven back down the Hume highway and finished off in a couple of West Geelong bedrooms before being sent off to Australia’s mixing master, Mikey Young.

                                                                                                                                        Taking their cues from the likes of The Easybeats, The Hoodoo Gurus, The Saints and The Hard Ons, The Living Eyes stand true to the vitriolic punk brash and sharp garage crunch of their s/t debut (2013, Antifade Records) whilst crafting some DAMN SWEET power-pop hooks. The Living Eyes are ‘Living Large’ with feral wallaby beat to make you pick up your feet and a shake you just can’t shake! For Fans Of: Jay Reatard, Citadel Records, The Kinks, Waterfront Records, The Ramones, In The Red Records, High Voltage AC /DC.

                                                                                                                                        Lone Wolf


                                                                                                                                          Just who is LONE WOLF aka Paul Marshall? In 2010 Bella Union introduced a storyteller dressed in black, pedaling ballads of murder on critically lauded album ‘The Devil and I’.

                                                                                                                                          At this point there was barely a night that Marshall was not to be seen playing live, being asked personally to tour and perform with the likes of Wild Beasts, Bat For Lashes, St Vincent, John Grant, Broken Bells, Jose Gonzales and Radiohead’s Philip Selway to name a few. He was even chosen by Richard Thompson to perform a set at his Meltdown Festival.

                                                                                                                                          His video for lead single ‘Keep Your Eyes on the Road’ was a homage to Peter Gabriel’s seminal ‘Sledgehammer’, and was both approved and complimented by Gabriel himself.

                                                                                                                                          By 2012, the story started to take a different turn when Marshall parted ways with his label Bella Union, and decided to crowd fund his next record ‘The Lovers’. Gone were the acoustic guitars and huge grandiose soundscapes one had come to expect from ‘The Devil and I’, and a new synth led, art-pop sound was introduced. Also gone was the
                                                                                                                                          narrative based blood soaked lyrics, in favour of what seemed to be a listener’s personal insight into Marshall’s sleep anxiety and depression.

                                                                                                                                          Though the record gained significant critical acclaim, Marshall was barely to be seen on the live circuit, playing only two UK sell out shows at the Brudenell Social Club in Leeds, and The Lexington in London.

                                                                                                                                          But as time went on, it was starting to seem that Marshall was becoming disenfranchised with the music industry, and even his own desire to create or perform. In one spit of bile on social media, he described his desire to make any new music as ‘terminally ill’. Marshall withdrew himself from the public eye, got married, went back into full time employment and took up the challenge of scoring his first motion picture, a film by Tunisian director Nejib Belkadhi entitled ‘Bastardo’.
                                                                                                                                          The film went on to be selected for multiple respected film festivals worldwide including Toronto, Palm Springs, Milan
                                                                                                                                          (where it won best picture), Abu Dhabi and many more. It seemed that Paul had opted for an alternative career in music.

                                                                                                                                          In July 2014, out of the blue, Marshall posted a blog on his website speaking openly about how his diagnosed anxiety had finally gotten the better of him, and was now the thing that pretty much determined his decision making process. He spoke of locking himself away in his house and almost trying to shed the ‘musicians skin’ he had been living in.

                                                                                                                                          He spoke about the strong feelings he had previously had about never releasing a record again but now due to a significant event in his life, the tables had turned and he now felt the need to make a new album more than ever.

                                                                                                                                          Paul found out that his long time producer and band mate James Kenosha’s studio ‘The Lodge’ in Bridlington was soon to be no more. ‘The Lodge’ is a small converted barn in the middle of nowhere, and the location in which pretty much all of Paul’s material up to now has been recorded, and the one room in which Paul feels like the veil of anxiety becomes lifted.

                                                                                                                                          Paul decided to lock himself in The Lodge for six days with only Kenosha and trumpet player David Wärmegård, as a swan song to the room in which so much of his music has been created, to see what sounds and personal lyrics would emerge. He specifically wanted ‘no studio trickery’ on this album and wanted a record that captured the very essence of performing in that room, most significantly the piano.

                                                                                                                                          There are no acoustic or electric guitars on this album.

                                                                                                                                          Every note on this album was recorded in that room.

                                                                                                                                          Marshall performs every instrument, except the trumpets.

                                                                                                                                          Most importantly, nothing is processed.

                                                                                                                                          Paul did the most important thing to him, and that was to lock the door, wear his heart on his sleeve and make the record he wanted to make in The Lodge before it was no more.

                                                                                                                                          So who is LONE WOLF? You are about to find out. 

                                                                                                                                          Now Joe McAlinden is back with Rest and be Thankful, another elegantly soulful and emotional record. Having travelled to West Heath Yard in 2012 to work with Edwyn Collins and Sebastian Lewsley on Bleached Highlights, Joe decided this time he needed a rural approach and it quickly became apparent that it would be easier to make a new record at home in Argyll with the _LINDEN live band; Stuart Kidd, Eric Lindsay and Marco Rea. Joe built a makeshift studio in an old fisherman’s croft on the shores of Loch Fyne, threw some logs on the fire and set about recording Rest and be Thankful which he then sent to Edwyn and Seb via courier pigeon to mix at WHY in London. The boys reckon you can hear Argyll in the music, you can feel where Joe lives… a sonic snapshot of rural life!

                                                                                                                                          Rest and be Thankful are the words inscribed on a stone near the junction of the A83 and the B828, placed there by soldiers who built the original military road in 1753. The section is so named as the climb out of Glen Croe is so long and steep at the end that it was traditional for travellers to rest at the top, and be thankful for having reached the highest point. RABT features on the album sleeve with striking artwork by Jim Lambie.

                                                                                                                                          FORMAT INFORMATION

                                                                                                                                          Vinyl comes with CD version of the album enclosed.

                                                                                                                                          Featuring Laetitia Sadier (Stereolab) and Emmanuel Mario (Holden) .Eleven songs, tri-continental production and two years in the making, We Are Divine is the brainchild of activist and film maker David Thayer (Documentary Rio Bogota) in collaboration with Laetitia Sadier.

                                                                                                                                          Inspiration can come in many forms. For David one of the turning points was a trip to Columbia accompanied by Laetitia to document the effects of decades of industrialisation and mismanagement of the Bogota River. Realising this was symptomatic of a worldwide problem they wrote a manifesto. The band was conceived as a vehicle for this manifesto.The result is 11 tracks of mellifluous spoken word, arrangements of organs, flutes and horns set against a backdrop of avant country, psychedelia and lush pop.

                                                                                                                                          Saba Lou

                                                                                                                                          Planet Enigma

                                                                                                                                            "Her debut album is the best damn thing in the world - except for the album she's about to make. (...) So here is a document to a time in your life that I hope has not expired. Here is a breeze for your soul, a spur for your heart and a setting for your daydreams. Simply put, here is a reminder of all the things that make life worth living." - Jared Swilley (The Black Lips) Saba Lou was born in the year 2000 in Kassel, Germany. She moved to Berlin with her family in 2005. She began her recording career at the age of 6, putting out a 4 song 7-inch on Atlanta's Slaughthaus/Rob's House Records.

                                                                                                                                            At the age of 8 she recorded "Good Habits (and Bad)" which was then used for the end credits on Cartoon Network's "Clarence" T.V. show. The song was also released in 2012 on the "Until The End" 7-inch on Seth Bogart's (aka Hunx) label Wacky Wacko records. Saba Lou recorded her debut album "Planet Enigma" this year at the age of fifteen. Ryan Sambol, of the Strange Boys, makes a guest appearance on "Our Fate". Erin Wood from the Spits also sings back ups and provides some space synth on "Planet Enigma". The album was recorded at Moon Studios, Berlin in late 2015 - early 2016. Saba Lou is currently finishing up high school in Berlin. Her hobbies are drawing, collecting records, reading and writing songs.

                                                                                                                                            Legendary singer/songwriter Jack Lee has been on the radar of rock fans since the late 70’s, when he formed the iconic power pop band The NERVES, alongside Paul Collins and Peter Case. His songs have been covered by a multitude of artists (Blondie, Suzy Quatro, Cat Power, Paul Young), but fans have found his solo work very hard to come by prior to this release. “Bigger Than Life” is a double LP single CD filled with 23 memorable songs, all reissued for the first time since the 1980’s, and showcasing the incredible songwriting craft of this reclusive and pop genius. 


                                                                                                                                            How To Ruin Other People's Futures

                                                                                                                                            Made up of Tom Bellamy (ex-Cooper Temple Clause), Paul Mullen (ex-YourCodeNameIs:Milo/Young Legionnaire), Eddy TM (DJ/new music radio and club guru) and Dean Pearson with years of history across a huge range musical landscapes, Losers are the rarest of species, a band with no safety net and no conformist formula to follow. Their previous material has crossed over a huge range of styles and genres with their earlier dance driven material developing all the way into the more rock driven and poignant emotive output of their previous album. Now, Losers are back with another more developed new outlook, as a new band, and more importantly, with their new album ‘How To Ruin Other People’s Futures’.

                                                                                                                                            Losers’ previous album ‘…and so we shall never part’ was received with critical acclaim across a huge range of publications spanning from electronic all the way through to the rock press. The album also saw multiple tracks synced to the likes of the London 2012 Olympics, Game Of Thrones, CSI, Michael Bay’s Black Sails, Xbox title Far Cry 3 and more. Achieving acclaim across the industry ‘…and so we shall never part’ has also earned plaudits from the likes of Zane Low and Rob Da Bank alongside Gary Numan and the legendary Sisters Of Mercy, who both handpicked the band to tour with them in 2013 and 2014 respectively.

                                                                                                                                            For long-time Losers fans ‘How To Ruin Other People’s Futures’ will be seen as a rapid evolution to the bands top form. The new album is a free falling head first descent into the bands new dark, brooding and emotionally brutal sound. Crushing electronics reminiscent of HEALTH collide with instrumental and vocal dynamics and intensity that call to mind the sounds of early-Nine Inch Nails, whilst the lyrics are far more visceral and caustic than before. On tracks such as ‘Chainsaw’ and ‘This Is A War’ Losers exhibit their newly found raw power and abrasive edge, at times calling to mind the electronic punk edge of early-Prodigy albums. The lyrics are contemplative and full of ferocity, however they also induce feelings of transfiguring uplift. ‘How To Ruin Other People’s Futures’ is the culmination of what Losers have been working towards over the past four years, harking back to the more guitar driven, melodic work of their second album, and even the more dance driven sound of their earlier incarnation, whilst eagerly succumbing to their darker and heavier sensibilities.

                                                                                                                                            “If they didn't already exist, someone would have had to invent The Lines” -  Mojo

                                                                                                                                            “Nimble funk rhythms, discordant guitar, woozy, trombone, dollops of echo and debts to Public image Limited, A Certain Ratio and Can.” The Guardian

                                                                                                                                            Between 1978 and 1983,The Lines released five singles, one EP and two LPs to mixed reviews and little sales. One reviewer at the time noted: "The stumbling block for instant accolades seems to be the puzzling paradox that these are lasting pieces of work which require several listens before they finally take root in your soul." Sure enough, anybody who's spent enough time with these records has developed a cult like devotion to The Lines.

                                                                                                                                            Acute Records is excited to present the band's latest and final release, the “lost” third album by The Lines. After the release of their cult-classic singles, EPs and LPs (compiled on Acute’s Memory Span and Flood Bank releases,) The Lines continued to record, first in a series of home experiments and then in William Orbit’s Guerilla Studios. Unfortunately these recordings were never finalised as band members began to drift apart.

                                                                                                                                            Although they played shows with bands like The Cure, Bauhaus and Birthday Party, and featured members of Prag Vec and Alternative TV, they were never part of any scene. They never toured and rarely spoke to the press. For 5 years they rehearsed, performed and recorded to little acclaim, leaving only 8 releases on vinyl. While unappreciated in their time, they perfectly encapsulate the best qualities of the era: angst ridden Angularity, danceable catchiness, sublime dub-influenced atmospherics, sonic experimentation and killer hooks, with an unrivalled consistency.

                                                                                                                                            Singer and multi-instrumentalist Rico Conning continued working at Guerilla, spending the better part of the 80s engineering and remixing such artists as Wire, Coil, Swans, Renegade Soundwave, Depeche Mode and many others of your favourite bands, often in collaboration with Mute’s Daniel Miller.

                                                                                                                                            Some of the skills utilised on those era-defining records are prefigured in the more dance oriented selections on 'Hull Down', such as the new wave grooves of “Single Engine Duster” and “Raffle” or the vocoder electro-funk of “Where in the World,” These tracks marry drum machine programming with classic post-punk textures in a way not dissimilar to other artists making the post-punk to dancefloor transition circa 1983. Songs like Flat Feet” and “Archway” recall the atmospheric post-punk dub of their prior LPs, but with a decidedly more electronic sheen. Other compositions include instrumental experiments exploring cross-sections between home-recorded DIY post-
                                                                                                                                            punk and sequencer rhythms.

                                                                                                                                            Over 20 years after these sessions, the original cassette tapes were dusted off and different incarnations have been blended or cross¬faded to create a version of what might’ve been a third LP, an alternate 80s where The Lines continued developing and exploring.

                                                                                                                                            Bermuda is the latest effort by San Diego’s dismal-pop outfit Mrs. Magician and their second full-length release on Swami Records. The album offers a concise collection of punk songs inspired by the big sounds of classic ’60s pop and rock ’n’ roll, with structures more associated with ’70s and ’80s power pop. Thomas Garcia’s blissed-out backwash guitar tones and fuck-it fuzz attack juxtapose the band’s dry and thudding foundation, creating a tropically depressed grog. Cutting through the lacquer with a glossy shimmer, producer Swami John Reis (Drive Like Jehu, Rocket From The Crypt, Hot Snakes) coaxes a tightly wound, rigid backdrop for vocalist Jacob Turnbloom’s morose-pop delivery.

                                                                                                                                            Lyrically far more non-linear than their 2012 debut album Strange Heaven, Bermuda echoes the familiar selfdeprecating humor that is heavily present in the band’s prior work, but focuses less on interpersonal relationships, favoring broader inspirations of alienation and melodrama. Themes of gentrification, addiction, religion and the intoxicating aroma of modern day conspiracy theories wrestle against a bright and tight sonic terrain. This is the ghetto of Kokomo. Bermuda has a boozy and breezy island malaise on the surface. But once submerged, the listener is exposed to confusion, nihilism and the notion that even with all of our technology and omnipresence of big brother, essentially we are all still very lost.

                                                                                                                                            Dan Melchior's Broke Revue

                                                                                                                                            Lords Of The Manor

                                                                                                                                            It’s been a long time since the world heard from Dan Melchior’s Broke Revue. Their last album, O Clouds Unfold!, was recorded in 2004 and was posthumously released in 2009. During their five year existence, the band’s sound evolved from raw, blues-based rock ’n’ roll to a more experimental / post-punk style. Since the band disbanded, Melchior has carried on with a solo career that has been prolific, to say the very least. The volume of singles, albums and cassettes that he’s churned out over the past decade has been staggering.

                                                                                                                                            Now, after a ten-year hiatus, Melchior has reassembled the Broke Revue and (in record time) recorded a new album. Lords of the Manor takes a very different turn from the band’s last album. O Clouds Unfold! was an voluminous showcase of Melchior’s infectious and melodic songwriting, with layers of extra instrumentation spanning 23 songs. Lords of the Manor is an entirely different beast; song structure and instrumentation are stripped to the bare bones, melody is ditched in favor of repetition, Dan’s usual lyrical style is jettisoned for a far more minimal approach and the band’s previous penchant for tightly-crafted two-to-three-minute rock songs has given way to long, sprawling improvisations. The result is dark, relentless and incredible.

                                                                                                                                            Dan Melchior

                                                                                                                                            The Souls Of Birds And Mice

                                                                                                                                              Since 2011’s Assemblage Blues, Dan Melchior has proceeded to document the scope of vulnerability, carrying the torch of DIY through territory explored previously only in the wake of Pierre Schaeffer. The Souls of Birds and Mice isn’t composed of elements so much as it is composed of the composing of elements. This is the sound of the digital workflow, transparent composition; wrenching the processing of Muura or Doc Wör Mirran and dismantling the investigative passivity. One could draw a comparison straight to Cornelius Cardew or Li Daiguo, but that’s just because Melchior’s work is so laterally referential it slows down any pull to deconstructing the singular voice to simple candidness. And it all ends with some of the most perfect psychedelic guitar work ever paired with helicopter sounds. With the whole array of structural speculation drifting past, recall that all spatial language betrays - but who needs translation when the instinct purifies? However unreliable this container, it’s a given that this is Melchior at his most impassioned.

                                                                                                                                              FORMAT INFORMATION

                                                                                                                                              LP includes MP3 Download Code.


                                                                                                                                              Fable Electric

                                                                                                                                                Marine make music that bridges the gaps between spectral pop, dreamy grunge and ambient folk, whilst lyrically exploring ancient tales of mythology and the underworld.

                                                                                                                                                Since forming in 2014, the band - made up of Cara Sebastian (lead vocals, guitar and ‘Fable Electric’ artwork), Ruby Jack (lead vocals and guitar), Beth Dariti (bass) and Kaja Magsam (drums) - have been running their own show in their own way, touring across Europe and the UK and quickly building a cult following in both Berlin and London, whilst racking up support from tastemakers at 6Music and across the blogosphere.

                                                                                                                                                Wymond Miles was raised in the working-class small towns of the American West. On Call by Night, the singer’s latest widescreen opus, Miles masterfully evokes that lost landscape, all while grappling with issues of fatherhood, privacy, PTSD, violence, and dissipated romance. The album adds a critical new chapter to the Fresh & Onlys guitarist’s story as an artist, and reasserts him as a major voice in contemporary songwriting. Call by Night sees Miles building a noticeably bigger sound than on his previous solo records, while simultaneously standing as his most intimate work.

                                                                                                                                                It’s a record explicitly written for the fidelity of the vinyl format, with louder songs beginning each album side and quieter songs at the interior. His attention to sequencing paid off; the album flows like a piece of classic cinema, and sounds like it’s splashed across a drive-in screen in 70mm. Recorded using vintage gear by Phil Manley (The Fucking Champs, Trans Am) at El Studio in San Francisco and Miles’ Garden Chamber home studio, the record is a treasure of tube-amp warmth, and a landmark in the songwriter’s catalog. Miles wrote most of Call by Night on piano, and while the wall-of-sound guitar and cinematic synth playing that helped define his earlier efforts is still present, the beating heart of the songs is left more open thanks to his new method.

                                                                                                                                                Where previous full-lengths were cloaked in distinct aesthetic choices, this record exists outside of any stylistic restraints. “Divided in Two,” the lead single, considers dignity, class, honor, and father-son relationships through the devastating lens of PTSD, all set to a sardonic flag-waving waltz, with martial percussive bomb blasts. The title track explores the enduring aesthetic of British psych-folk. Other songs dip into the traditions of gospel music, sea shanties, and even big-box power ballads, using antique instruments and Miles’ unique perspective on the modern world to forge a new collection of entries for the American songbook. Miles has said the songs on Call by Night mark his “more definitive commitment to seek, listen, and give voice to an enduring muse.” If that’s true, then the muse has obviously been singing to him loud and clear.

                                                                                                                                                New solo record by the guitarist of The Fresh & Onlys

                                                                                                                                                The husband-and-wife songwriting talents of Jeffrey Clarke (Demon’s Claws, Hellshovel) and Emily Frances give one the feeling that Milk Lines have been commissioned by time itself to build a dream-like bridge, so that reality might have the chance at a glimpse… Their wide range of influences and unique brand of music are organic, primitive yet thoughtful. The lo-fi, trippy and sometimes country-laced tunes display a fresh and original sound. After having played a few select events in the Montreal- Toronto area, Milk Lines were noticed by Toronto’s Fucked Up and asked to record their first and only release to date, the Crystal Crown single. The band has since been tapped by The King Khan & BBQ Show to support them on two of their US tours. In The Red is now proud to announce the release of the band’s debut full-length, 'Ceramic'.


                                                                                                                                                Nothing Valley

                                                                                                                                                  Melkbelly, formed by vets of Chicago’s experimental and DIY scene champions, organized noise and thoughtful freneticism on its debut full-length, Nothing Valley, fusing dreamy vocal lines and cantankerous guitar racket. Its songs clang and bang in stripped-down production that highlights the band’s sharp edges; multi-faceted slabs of sound serve harmonious, immediate songs.

                                                                                                                                                  So it shouldn’t be a surprise that the band members’ tastes run obscure--The Hecks, Lightning Bolt, and jazz drummer Paal Nilssen-Love and, as they tell us, “bands and musicians that draw on a sense of adventure." The quartet’s membership overlaps with several Chicago noise and experimental bands and art collectives.

                                                                                                                                                  An efficient one-day recording session resulted in Melkbelly’s first EP, 2014's Pennsylvania, which opened the door to touring and opening slots for Speedy Ortiz, Magik Markers and Built to Spill, and led to The Chicago Reader calling Melkbelly “one of the most exciting new sounds out of Chicago.” Next, Melkbelly got back to writing and working, recording a pair of 7-inches with Dave Vettraino at Chicago’s Public House where it had made its first recordings ever for Public House’s Digital Singles Series and a Public House compilation tape. The sessions gave the band a chance to deepen its collaboration with Vettraino.

                                                                                                                                                  Miranda writes most of Melkbelly’s tunes on guitar and brings them to the band who puts them through the ringer, where they morph into a Melkbelly arrangement. Often, however, the band will take a guitar riff or two from an open jam recorded at practice and spin it into a song.

                                                                                                                                                  Nothing Valley was recorded in early 2016 in Vettraino’s basement studio to 8-track analog tape. Fresh off a West Coast tour, the band let the hours on the road and missed art tourism opportunities at Spiral Jetty shape the songs as well as the recording process itself, writing half the album material in the studio. Nothing Valley breezes gust fresh and forcefully.

                                                                                                                                                  Michael Malarkey


                                                                                                                                                    What comes first? The actor or the songwriter? For Michael Malarkey, the writer came first, then the self-taught musician, rapidly followed by the self-made actor Malarkey was born in Beirut, Lebanon to an Irish-American father and a British mother of Arab/Italian origin and is most famous in the acting circles for his role as the notorious Enzo in the hit CW series The Vampire Diaries. Growing up in Yellow Springs, Ohio, Malarkey travelled to London to study at the London Academy of Music and Dramatic Art and alongside his acting career he immersed himself in music. ‘I consider it a form of poetic journalism. It’s an endless journey of self-discovery.’

                                                                                                                                                    Described recently as folk-tronica’ (Metro), Malarkey’s musical imprint is inspired by a host of different artists and his debut record Mongrels is a demonstration of an eclectic musical taste. Admitting to enjoying the exploration of the darker side of his nature in an effort to find peace with it, Malarkey utilises his discoveries to inspire his songwriting. ‘A lot of what this record is about is that whole struggle of wrestling with those opposing forces within us; the duality of animal and human’ The outcome is songs that are both lyrically deep and melodically potent, ‘the key is to keep the balance’.

                                                                                                                                                    Mongrels doesn’t beat around the bush. The songs don’t jump and down, they don’t wear fancy clothes but lyrically the record plunges you into the depths of a passionate poet with an ear for melody. Malarkey’s writes a mixture of introspective country/folk music or driven, ravenous blues songs with lyrics filled with a haunting beauty, yet displaying a warm soul. Each song is a new journey into another corridor of his mind, charged with the depth of a man who sees the world in imagery and emotion.

                                                                                                                                                    Midas Fall

                                                                                                                                                    The Menagerie Inside

                                                                                                                                                      Described as "powerful yet fragile, devastatingly beautiful and beautifully devastating" by The Founder Magazine, UK-based quartet MIDAS FALL have carved a distinctive and captivating sound, fusing elements of electronica, post-rock, shoegaze and alternative rock with progressive and gothic undertones to create taut, shimmering soundscapes led by the hauntingly melancholic vocals of Elizabeth Heaton. Forged in Edinburgh, Scotland and now based in the north of England, the eclectic collective – founding members Heaton and Rowan Burn (guitar, piano) with Steven Pellatt (drums/percussion/piano) and Chris Holland (bass) – has spent the past year composing the follow-up to their 2013-issued Wilderness full-length.

                                                                                                                                                      Titled The Menagerie Inside, MIDAS FALL’s third long player was captured live at Red Wall Studios, mastered by Seattle legendary engineer Ed Brooks (Pearl Jam, Caspian, Fleet Foxes et al) and offers up ten sprawling tracks of sonic enormity. From the sorrowing echo of wilting violins in “Counting Colours,” to the emotionally gutting close of “Circus Performer,” the forty-six-minute epic is as heavy sonically as it is cerebrally. An introspective journey through dark and light, The Menagerie Inside is at once graceful, urgent and star-gazingly compelling. Cascading riffs ebb, flow and surge into rich, ethereal piano crescendos, the weight of Heaton’s delicate angelic resonance adding depth to her every echoing word. With The Menagerie Inside, MIDAS FALL manifests a sound and atmosphere that’s organic, emotionally stirring and habitually awe-inspiring, further verifying the strength of their songcraft and musicianship. 

                                                                                                                                                      New Zealand's Kim Pflaum introduces the world to her pop project MADEIRA with her transcendent debut MLP Bad Humors on Carpark Records. The MLP contains the buzz single 'Let Me Down' which was previously released on Ryan Hemsworth's Secret Songs label to praise from Pitchfork, Stereogum, The Fader, Gorilla vs. Bear, and more.

                                                                                                                                                      MADEIRA is Kim Pflaum, a multi-hyphenate if there ever was one. Aside from songwriting, singing, and playing a variety of instruments, Pflaum is a graphic designer, music video director, writer, illustrator, and animal activist. Music became a major part of her life growing up in Christchurch, New Zealand. "As an introverted kid, music helped me express my emotions and frustrations when I didn't know how else to cope," Pflaum says.
                                                                                                                                                      In 2013, she co-founded Yumi Zouma as lead singer and co-songwriter. Before leaving the band at the end of 2014, the group would tour the world and play concerts with artists including Lorde, Chet Faker, and TOPS. Now as a solo act with full creative control over her art, Pflaum has taken the opportunity to grow in new directions and experiment.

                                                                                                                                                      MADEIRA began before Yumi Zouma as an outlet for escapist songs about fantastical vacations and holidays. After years of globe-trotting and starting over again with a move to Auckland in 2014, returning to MADEIRA was restorative. "I saw music as an escape," Pflaum says, "a way to take a break from my hectic life and just relax, to let music soothe and heal me."

                                                                                                                                                      Bad Humors, her debut EP with Carpark Records, is her first new music since collaborations with Boycrush, Brett, and Cyril Hahn. With grace and melody, these five songs tackle heartbreak and betrayal, and offer a critique of performance artifice. These are songs of elevated synth-pop, of growth and change, of letting go and not holding back.

                                                                                                                                                      Male Gaze

                                                                                                                                                      Miss Taken

                                                                                                                                                        “Matt, Mark and Adam, aka Male Gaze, return quickly from the brainy roar of their previous album King Leer with their six heels hanging even further over the edge of the abyss. Good bands often pull punches but the great ones don’t and these charismatically scarred veterans of romance, gear singed from all too real firefights in the dark world of adulthood, lodge ten new slugs into your vest. Your life was spared but you’ll feel every second of the thirtyfive-plus minutes, grateful that all you got was a bruising. Imagine what it did to them! Have you ever flung yourself out there to such a degree that you risked total humiliation if it all went south, to where the next step would be self deportation to some distant island of annihilation in your mind? How did that work out for you? Don’t worry, Male Gaze knows and they wrote some songs about it. Look out your window, down at the glittering metropolis below and listen to this album.” - Henry Rollins.

                                                                                                                                                        Empty Cellar is proud to release the newest album by Magic Trick, Other Man’s Blues—written and recorded while songwriter Tim Cohen split his time between two lives and two worlds, a horse ranch with his newborn daughter, and on tour or at Phil Manley’s Lucky Cat Studios in San Francisco.

                                                                                                                                                        A book of songs Cohen had written while bouncing to and fro sufficed in lieu of rehearsal time with the thirteen other musicians who appear on the tracks: James Kim and James Barone (Beach House) on drums; Alicia Van Heuvel (Aislers Set) and Paul Garcia on bass; Joel Robinow (Once and Future Band / Danny James) on keys; Emmett Kelly (The Cairo Gang / The Muggers) on guitar; and omnipresent vocal harmonies from Alicia, Noelle Cahill and Anna Hillburg. The album is a loose, largely improvised affair, with many guest appearances and stop-ins. Allegedly tequila was centrally involved. It’s the principle that gave this project a name five years ago. Especially in this case, the players on the album define what shapes these songs take.

                                                                                                                                                        A ghostly choir of female voices opens the album like a séance, with the spirit they conjure flitting about the ensuing ten tracks, from the baroque pop of “Forest of Kates” to the icy post-punk of “I Held the Ring.” There’s the air-tight R&B groove of “Startling Chimes,” the krauty “Purest Thing,” a jammy side-to-side trot that moves “First Thought” along, taking a detour into country before culminating in a glorious Grateful Dead-indebted coda. Throughout, it’s Cohen’s lyrics that are pushed to the front of the mix—collectively fleshed out, from his composition book.

                                                                                                                                                        Punk Slime Recordings are proud to present our latest signing Mind Rays and their debut album Nerve Endings. The Belgian garage punk quartet have quickly emerged as one of the most exciting new garage acts in mainland Europe, and with Nerve Endings, they’re set to take over the world.

                                                                                                                                                        The Ghent based quartet Mind Rays first appeared on the Belgian music scene in 2013, and have since made a reputation for themselves as one of the best live bands in the region, with countless wild and chaotic gigs in Belgium, Holland and France. Last year they released a split 7” with fellow Ghent act Teen Creeps on Oddie Recordsand a cassette EP on the Los Angeles based label Gnar Tapes, while supporting the likes of King Khan & The Shrines, Wand, Ausmuteants and Rocket From the Tombs.

                                                                                                                                                        Mariam The Believer

                                                                                                                                                        Love Everything

                                                                                                                                                          In addition to her solo work as Mariam The Believer, Mariam Wallentin is one half of vocal-and-drum-duo Wildbirds & Peacedrums with husband Andreas Werliin. She is also a founding member and composer in Fire! Orchestra. The follow up to 2013’s debut album - the critically acclaimed ‘Blood Donation’ released on Moshi Moshi – ‘Love Everything’ is written, produced and self-released on Mariam Wallentin’s own label Repeat Until Death.. Equipped with her courageously uncompromising approach to music-making Wallentin started Mariam the Believer to focus her expression into a pop project. In total 15 musicians collaborated on the album, resulting in songs that twist and turn evolving organically with each contribution. From vocalist virtuoso Sofia Jernberg to drone experimentalist Oren Ambarchi and free form jazz star Mats Gustavsson, it’s an eclectic roll call, yet despite that Love Everything is at its very core, a collection of pure pop melodies. On ‘Love Everything’, she lets melodies lead the way – the piano flowing with harmonies that emphasise Wallentin’s powerful and at times raw, honest voice. The songs are ripe, ready to be eaten, before metamorphosing into new structures and an unexpected richness. Power ballads are interrupted by a change of rhythms. Enchanting vocals turn into pulsating R’n’B, new opportunities are lurking behind every corner. In Wallentin’s lyricism, the heart is a muscle pumping blood. Approaching spiritual subjects rooted in the human body and nature, she pulls esoteric themes into a context and reaches dizzying heights. 

                                                                                                                                                          Monsternaut is a straight up stoner rock group from Kerava Finland. An unpretentious trio that delivers simple rock’n’roll boasting a sound born out of heavy Fu Manchu influence, with a tonal touch of Queens of the Stone Age bounce and desert-bred groove. The trio of vocalist/guitarist Tuomas Heiskanen, bassist Perttu Härkönen and drummer Jani Kuusela thicken up nodding, momentum-rich riffs and offer a return to ’90s stoner heavy purity without sounding retro or like they’re 20 years behind the times — at least not any more than they want to be. The songs on their two offerings to date offer catchy, The Action is Go-style stomp, where a slower lurch that maximizes the groove at play. The release itself is a combination of two older recordings. First session was back in 2012 and the second in 2014. "We’re happy to have HPS release them as one bundle, but are also more or less ready to record more if the stars keep aligned!” 

                                                                                                                                                          FORMAT INFORMATION

                                                                                                                                                          LP Info: Limited yellow vinyl version

                                                                                                                                                          Minna Choi’s music inhabits an alternative universe, a place where sound is unfettered by limiting categories, free to drift between rock, pop, classical, electronic and ambient music, following its own impulse to explore the infinite possibilities of melody and meter. The sensibility she brings to the songs she composed for her eponymous debut album, agik*Magik, was honed by her work as the Music Director of Magik*Magik Orchestra, a group she started while attending the San Francisco Conservatory of Music in 2008. When she told fellow students about the session work she’d been doing at recording studios in New York City, they got excited about doing studio work themselves, so Choi put together a string orchestra that would work with people outside of the classical sphere. “We started doing session work for rock bands, hip hop artists and pop singers, to create a name for ourselves,” she says. Shortly after they got together, Radiohead guitarist Jonny Greenwood hired the orchestra to support a performance of his classical piece, “Popcorn Superhet Receiver.” The sold out concert launched their career. Since then, they’ve recorded with hundreds of artists, toured with Pop-Up Magazine scoring the live stories, contributed music to video games (Iron Man 2) and film scores (Looper, The Dam Keeper), written and performed string charts for Death Cab for Cutie’s Codes and Keys album and backed the band on stage. “Ben (Gibbard) handed me 20 songs from their back catalogue,” Choi says. “I wrote the charts and we toured with them for six weeks.” 


                                                                                                                                                          Stupid People Happy Days

                                                                                                                                                            Intergalactic archeologists Moviestar prepare to astound and amaze with their new collection of sci-fi infused punk-rock tracks. The first single to be taken from the album, Stupid People, is a fuzz-filled, electro-punk anthem about people on earth….The track is instantly catchy from the offset, filled with a plethora of futuristic sounds and a shit ton of reverb. Moviestar are not just a band, they are a reality experience. Their live shows encompass performance, art, storytelling, fashion and music in a whole new transcending form.

                                                                                                                                                            Okay, cards on the table, we are quite smitten with this. truth is we don’t know why, it just kind of sloped beneath our radar and sneaked by our defences, it might be down to the fact that it purrs day dreamily and thoughtfully with a head in the clouds nonchalance, partly slacker-esque yet irresistibly trimmed in a twinkle toning cuteness that catches you off guard, its softly teased sunny disposition snoozing amid a becoming lazy eyed radiance that sweetly curdles and coos with a lilting pastoral phrasing. 


                                                                                                                                                            Perfect Body

                                                                                                                                                              Mermaidens are a three-piece outfit from Wellington, New Zealand, who are renowned for their intricate and unique songwriting, boldly raw but increasingly refined studio production, and a hypnotic live synergy that leaves audiences enchanted. Their entrance onto the NZ music scene was extremely strong following the releases of their widely acclaimed debut EP O in 2014 and subsequent album Undergrowth in 2016. As a result, they were offered dozens of national shows and international support slots, which led to them being picked up by Flying Nun Records. Mermaidens’ sound offers a mesmerising dip into the realms of postpunk and psych, while the voices of Gussie Larkin and Lily West embrace warm harmonies and dreamy, hypnotic lyrics, entwined with dark and moody riff-based melodies, underpinned by Abe Hollingsworth's fluid and dynamic percussion.

                                                                                                                                                              Drawing inspiration from bands like Warpaint, Fugazi, Exploded View and Sleater-Kinney, Mermaidens formed in 2013, having been friends in high school. Lily and Gussie had nervously shown each other songs they’d written before collaborating together. The name Mermaidens seemed to fit well as it’s fun and a little bit silly, yet dark at the same time. As Gussie explains; “I guess that’s us in a nutshell.” The band self-released their first EP O in 2014, which was a raw and enthralling DIY offering, recorded at drummer Abe’s parents house. There was a focus on capturing the ‘live’ element of the songs, which has always been very important to Mermaidens’ music. 

                                                                                                                                                              Motor Ghost

                                                                                                                                                              A Gold Chain Round Her Breast

                                                                                                                                                                MOTOR GHOST is the project of drummer / vocalist Alex Neilson (Trembling Bells / Bonnie Prince Billy) and multi-instrumentalist Ben Reynolds. From the brooding opener through tracks of soaring electricity to the beautifully fragile a capella rendition of the folk song ‘Leaves Of Life’, this album sees the duo explore darkness and light and all shades in between. Alex’ drumming provides much of the backbone of the album supporting and conversing with Ben’s acoustic and electric guitars, loops and the call of the dümuk (a Greek horn). The album comes in screenprinted sleeves, all of which have been hand embellished and are individually numbered.

                                                                                                                                                                Fire Records are delighted to announce the release of the brand new solo album from Australian songwriting legend Tom Morgan, best known for his contributions to Smudge and The Lemonheads. 'Orange Syringe'
                                                                                                                                                                includes ten perfectly formed stripped-back pop songs saturated with Aussie charm, with just the right amount of jangle and an instantly comforting hook. The album showcases Morgan's skills as a master storyteller and lyricist, delving in to complex and personal subject matter, while never forsaking the hooks, leaving the songs swathed in melodic hues and moods ranging from the bright to the very, very dark. The man who wrote iconic songs like "It's A Shame About Ray" and "Outdoor Type" delivers line after line of tongue-in-cheek genius, with darkly funny twists like "the outcome is bleak, the second time in a week" and "I'm not broke, I'm just not working" along with casual flirtations, winking as he delivers "this beauty before me, she's a bit of alright" and smiling through his days of holding back on the bus fare when a pretty girl sleeps over and remembering his full family history while picking up the bottle of wine for dinner at his mother's.

                                                                                                                                                                Tom Morgan has played in a plethora of bands, including fronting Aussie stalwarts Smudge, a tremendous 'slacker pop' trio who he formed in 1991 with drummer Alison Galloway (immortalized in The Lemonheads "Alison is Starting to Happen"). They quickly became known for Morgan's melodic, mini-pop masterpieces with his colourful lyrics and the band's low-fi approach to recording, releasing three albums (plus a collection of B sides and unreleased covers), a mini-album, a handful of singles, and appearing on several compilation albums. Fire has recently reissued their stellar Real McCoy, Wrong Sinatra and Manilow records. Long established as one of the finest lyricists of a generation of Aussie tunesmiths, Morgan was brought to wider attention when he paired with Lemonheads frontman Evan Dando for the albums It's a Shame About Ray and Come on Feel The Lemonheads. With Tom's lyrical dexterity and ear for a perfect pop song, their meeting bore immediate spoils, inspiring Evan to global acclaim as he began the more 'pop' direction of his career. He was so taken with Tom's tunes that he even covered some of Smudge's songs, with great commercial success. Following passing a guitar back and forth with Evan, Tom and Smudge continued in various guises before finally splitting in 1999, only to get together a few years later to play periodic shows. A prolific writer, he has been continuously working and creating, and is finally ready with a proper solo album, seeing him recording with his wife Leticia and producing some of the very best work of his career. It is clearly time to sit up and take notice of the pop songwriting masterclass that is "Orange Syringe", where finally Tom Morgan can take centre stage and receive the recognition he deserves.

                                                                                                                                                                Miss Destiny are a band from Melbourne, Australia who play music that’s reminiscent of a mythical time when guitar music’s material of choice was transitioning from denim to leather. Post-hippie, pre-punk era rock ‘n’ roll meets the origins of New Wave of British Heavy Metal, with a glimmer of Sunset Strip feel-good excess. While this could sound like another careful curation of rawks past, and eggheads could argue about the relevancy of rock music in 2016, there’s a life and spirit in this band beyond the typical genre curations that often render rock music one dimensional.

                                                                                                                                                                Their self titled debut album is released by R.I.P. Society Records / Agitated and was recorded across a couple of hot summer days in 2015. The all-female line-up on the recording was Harriet Hudson (Circle Pit, Ratsak, Southern Comfort), Harriet Stewart (Sleepless Nights, School of Radiant Living), Annie Llewellyn (Grotto, The Angel & Baby Chain) and Emily Jans (Straightjacket Nation, Bloody Hammer). This record extends on the “muscle and bite” (Evan Minsker, Pitchfork) of their debut 7” on Hozac Records, with a startling leap in the departments of power, precision and overall toughness. No doubt this has to do with powerhouse Emily joining behind the kit, who recorded both this and the forthcoming Straightjacket Nation record while very pregnant! Find another example of this in punk/hardcore/rock ‘n’ roll history, I dare ya.

                                                                                                                                                                The track “Killers” focuses on the horrendous effects of domestic violence, it’s Miss Destiny’s reaction to the number of women murdered or harmed by domestic violence in Australia in 2015 - a big ”go fuck yourself” to the perpetrators, and a song for those affected and those who stand up against the perpetrators to draw strength from, and party to.

                                                                                                                                                                It might be said that any time a woman rebels against archaic societal gender roles by playing music and having a voice, it’s a political act. And while this record label and Miss Destiny would agree with this, the band are weary of being positioned as such - they’re just just a rock band having a good time. They possess a self-deprecating sense of humour and deep appreciation of the excesses of rock ‘n’ roll - shared beers, shared jokes, shared experiences. Miss Destiny are having a laugh while sticking it to the man.

                                                                                                                                                                The ladies in the band say their main influences are KISS and Danzig, but I can hear a bunch of gals from a punk/D-I-Y/basement rock perspective getting hip to Di’anno era Iron Maiden and Girlschool. But mostly it just sounds like them being their true selves, fierce and fun.

                                                                                                                                                                Like the Runaways if they recorded for Neat records.. .Denim and Leather and Studs and Bullet Belts!!!!

                                                                                                                                                                Keath Mead would like to invite you to Sunday Dinner. The 25-year-old South Carolina native’s debut album is as pleasurable as a drive along the coast, as comforting as a day out with friends, and as sweet as pie after lunch. Steeped in the classic sounds of ‘60s and ‘70s pop singer-songwriters, Mead is just as influenced by contemporary artists such as The Shins’ James Mercer and Jack White. “Waiting” opens the record with a warm bed of synths and Mead sings, “One day you’re gonna land/ in a place that you never planned/ in your life to see.” An optimistic song about potential? Maybe. But it’s definitely a song about regret. Mead has that timeless ability to make songs that seem to say one thing, but move us to feel many things. With Sunday Dinner, Mead aspired to achieve a songwriting ideal: “If a song doesn’t hold up with one person singing and playing a single instrument, then it’s probably not that good of a song,” he says.

                                                                                                                                                                The album was recorded in only eight daysover the span of nine months—with the help of Chaz Bundick (Toro Y Moi, Les Sins). Bundick hosted Mead in his Berkeley, Calif., home studio for the recording. Mead’s guitar and vocal tracks came first, then Bundick on bass, before the pair took turns on drums and synthesizers. The collaborative process lent an improvisational aspect to the album, with the pair playing music until they found a passage they both liked. The live playing and “happy accidents” of the recording process add to the easy-going vibe of the LP.

                                                                                                                                                                Though recording the album was relatively short, the songs were written over three years. The primary theme of the record is the anxiety induced by the rapid changes brought on by coming of age. Mead also contemplates isolation, loss of innocence, and angst associated with maturation.

                                                                                                                                                                Nova Materia

                                                                                                                                                                All The Way EP

                                                                                                                                                                  Caroline and Eduardo scoured the scenes of Europe and Latin America for over 12 years with their post punk band PANICO. Ten albums later, Caro and Edu launch a new project: NOVA MATERIA. NOVA MATERIA was born from the willingness to consider music as a direct derivative of the natural and industrial elements that surround us. More electronic and experimental than PANICO, the duo uses raw material to transform and recycle: scrap metal tubes, stones rubbed on metal, drum, beat boxes, bass, electric guitars used as percussions....To refine their sound Caro and Edu fetched parisian DJ and producer CHLOE, a real expert in turning raw elements into gold nuggets. Their first EP "APARECE EN SUENOS" released on Paris based label Kill The Dj is a concentrate of wild energy, live act ferocity and sound experiments magnified by CHLOE. Their second EP "ALL THE WAY" will be released through chilean label BYM and will feature remixes from Alejandro Paz, Föllakzoid and Paul Thomson from Franz Ferdinand.

                                                                                                                                                                  Their mystical, electrically charged mineral quality charges through ‘All The Way’ and advances their base values established on the previous release. The agenda is to flow without restraint while harnessing a DIY-Artesanal mode of production with feedback and BPM. This is full frontal and raw, with a knowing nod to Chicago house, an urgent twist of power pop and an unhealthy dose of sexual tension - so as you might imagine - it works. The high end production with a deft touch from Chloé Thévenin helps too, casting as it does a well meaning eye on the duo’s new material since their early steps. Nova Materia remains a compelling mixture of joyous confusion and organised chaos of noise mastery where the anarchy is channeled to evoke and stir something living within the dancer.

                                                                                                                                                                  They say moving house can be one of life's most stressful tasks. If one person knows about that its Manchester-based musical craftsman Marc Rigelsford, or as he’s become better known, Magic Arm. More used to wiring up microphones and keyboards than picking out wallpaper patterns, no one, least of all him, would have expected some innocent house-hunting to give life to a brand new album.

                                                                                                                                                                  “I didn't think about recording at home until the new house began to empty as people moved out,” he reveals. “But I was slowly introduced to the perfect studio... houses have windows, studios don't. There’s something inspiring about being able to see a car or a bird.”

                                                                                                                                                                  Following 2009’s debut album Make Lists Do Something, Images Rolling is a further exploration of the musical playground that is Magic Arm’s world. Somewhere between ‘This Way Up’ cardboard boxes and the stairwell in which the new record’s violin and trumpet sounds were recorded, a studio gradually took shape. Boasting an array of cables, switches, and instruments donated by friends and family such as a piano, guitar, bass, synths, keyboards, glockenspiel, various types of organ, and drums, Rigelsford’s new sound workshop offered the perfect balance between vocational artistic freedom and a chaotic living space; “Tripping over your instruments on your way to the kitchen is a constant reminder that there is something else that you should be doing,” he confesses.

                                                                                                                                                                  Always one to find new avenues of exploring what’s readily presented in front of him simply by ‘giving it a whirl’ rather than exercising any form of technical training, Rigelsford is a true DIY pop maverick. From the colourful television theme music of Ski Sunday to that of the detective shows he grew up with, plus a penchant for big soundtracks like those of The Godfather, A fistful of Dollars, and Michael Galasso’s In the Mood for Love, his naturally inquisitive sense of sonic adventure has always been provoked by all that surrounds him.

                                                                                                                                                                  Musing on a bout of melancholic nostalgia ('Images Rolling' refers to reflecting the past and the way that you can scroll through memories “like a television on the blink”, he says), this record is the sound of one man exploring not only where he’s been but also commenting upon the present; editing, re-editing, then editing again, an album itself. “. “It's an album inspired by the process of writing an album”

                                                                                                                                                                  Moving away from the more electronic sound of his debut LP, Images Rolling has taken on the natural reverbs of the vast part-derelict three-storey house, coming over as an altogether warmer and more comforting entity. Take infectious opener Put Your Collar Up; classical sounds are thrown off centre by detuned pianos and woozy synths that move with hip hop bounce. Elsewhere Warning Sign recalls the ambience of Mercury Rev’s weirdly magical off-kilter daydreams whilst Lanes’ sweeping strings and the merry-go-round waltz of Great Life give light to Rigelsford’s new method of exploration in writing songs on a piano rather than a guitar for the very first time.

                                                                                                                                                                  “After finishing the first album I bought a piano with the intention of learning it and it being a key part of the new album. I spent a few months learning Beethoven's Moonlight Sonata as an entry point.”

                                                                                                                                                                  From entry point to its end Images Rolling is a restless, fearlessly ambitious, yet understated and articulate piece of work. No-one could ever accuse Rigelsford of making music that fits into any pigeon-shaped holes, but with this record he’s certainly found a musical home.

                                                                                                                                                                  FORMAT INFORMATION

                                                                                                                                                                  LP Info: Was £15.99.

                                                                                                                                                                  Matthew Melton

                                                                                                                                                                  Outside Of Paradise

                                                                                                                                                                    At this point Matthew Melton is a household name in the genres of garage rock and power-pop. Melton’s collection of bands includes SNAKE FLOWER 2, BARE WIRES, and most recently WARM SODA. Much like his first solo album (Still Misunderstood, 2010) this album was recorded over an extended period of time from 2007–2014. For a prolific writer such as Melton, it’s only natural to accumulate a stockpile of songs that never made the cut for another project. Thankfully Melton had the foresight to save these songs for what has become his newest solo record Outside of Paradise. Fans of Melton’s past and present projects will enjoy this medley of songs ranging from power-pop gems, smooth punk jams and heavy psych hitters. Outside of Paradise is the latest addition to Melton’s already phenomenal body of work.

                                                                                                                                                                    Jack Name’s genius is the listener can never anticipate his next direction. A change of trajectory is as likely a return to the beginning as it is a sharp upwards spike that pulls one deeper into one’s seat and threatens unconsciousness. Nothing here is concrete or predictable. Songs float, attract, repel, and rebound off each other like pitch black matter.

                                                                                                                                                                    A wonderful followup to 2014’s masterpiece Light Show (God?), Weird Moons was recorded in a room with mirrored walls, moth-eaten shades pulled low to block the sun’s brutal radiation and the howls of the urchins 60 stories below. Less a sequel to the tales spun in the first, and more a rocket that has jettisoned its initial thruster to be driven further away from this mortal orb and deeper into this sticky story.

                                                                                                                                                                    Reminiscent of late-era Can, Bruce Haack, Hans Edler, Solid Space, Dario Argento and VHS tapes, it’s fucking great. Listen to this album in an egg-shaped speaker chair, if possible.

                                                                                                                                                                    NSRO play guitars, violin, cello, bassoon, clarinets, organ, synth, vibes, percussion, voices, beautiful melodies allied to unusual but likewise beautiful chord progressions. After a 4 year break NSRO return with their fourth album 'Dronne'. All NSRO music is composed, recorded and lead by guitarist Craig Fortnam who during the last four years he has not been idle.

                                                                                                                                                                    As well as releasing Arch Garrison's 2014 CD, 'I Will Be A Pilgrim' (Craig as singer-songwriter, singing songs about old roads and chalk downland in a psych-folk haze), Craig also spent the first half of 2014 immersed in the music of Robert Wyatt, having been asked to direct and do all arrangements for a performance of Wyatt's music for the Nuits de Fourviere Festival in Lyon, with North Sea Radio Orchestra as house-band. 'I A Moon', NSRO's previous album was very much concerned with the tragic illness that befell Craig's good friend Tim Smith (that underrated genius from pop/prog/punk legends Cardiacs), so that album felt almost unbearably sad at points.

                                                                                                                                                                    For this release Craig wanted there to be no 'meaning' or particular theme but of course life often intervenes in such plans; half way through making the record Craig suffered a close family bereavement, naturally having a huge impact on the outcome of this album 'Dronne' still contains all the elements that have made NSRO special to their fans and wholly unique in British music; the ability to produce beautiful music without being over-sweet, the combination of large-scale instrumentals ('Dinosaurus Rex Parts 1 and 2') with smaller pieces and songs, the beautiful voice of Sharron Fortnam, and the ability to marry seemingly disparate influences (Britten, Vaughan-Williams, Cardiacs, early Kraftwerk etc), all wrapped up in a very English/Northern European harmonic and melodic language.

                                                                                                                                                                    David Nance

                                                                                                                                                                    More Than Enough

                                                                                                                                                                      David Nance lives in a world where rock has been influenced as much by This Kind of Punishment and The Pin Group as by The Velvet Underground and The Rolling Stones. Omaha’s best-kept secret, up to now known primarily to DIY tape collectors and record club subscribers, Nance welcomes all with More Than Enough, his first fullband full-length, which follows the stellar but criminally under-heard 2013 Actor’s Diary LP on Grapefruit Records, as well as a string of limited-edition, over-modulatingly intense and emotionally destructive cassette releases. Recorded in Los Angeles, scrapped, then re-recorded after a move back to his Omaha hometown with his wife, More Than Enough sounds like the very last record to have undergone any process longer than a few hours of recording. It’s that immediate and on fire. The recipe: (a) get a shithot group of musicians; (b) cut songs down to their most “on” moments, or alternately let them ride a groove into the sun; (c) capture it all on actual tape. That’s the Nance approach, and it’s as much an ode to home-recorded brilliance as it is to whoop-ass inspiring rock. Nance will be touring this summer with Itasca, and later on with Simon Joyner and The Renderers. Blare on.

                                                                                                                                                                      Naked Lights

                                                                                                                                                                      On Nature

                                                                                                                                                                        Surrender yourself into Naked Lights’ dark and intense orbit! From the first few seconds through to the end, On Nature is intensely addictive and welcomely unpredictable. Shades of post-punk, dub, even anarcho-punk are thrillingly blended into wholly futuristic shapes that defy easy categorization.

                                                                                                                                                                        The cross-talking guitars speak their own thorny language, the atmosphere is wide-focus and carries a subtle tang of danger, and it’s topped off with unique vocals that are as in-your-face as they are intriguing and foreign. An altogether refreshingly vital listen, Naked Lights’ On Nature comes courtesy of Castle Face Records.

                                                                                                                                                                        Christine Owman

                                                                                                                                                                        When On Fire

                                                                                                                                                                          Features Mark Lanegan on vocals on title track.

                                                                                                                                                                          Christine Owman's music starts from the darkest underground, surfaces the ground into a mesmerizing cloud of mist and continues reaching for the open sky. Empowering, sensual, dark, dreamy and raw all at once.


                                                                                                                                                                          Cartographer / Explorer

                                                                                                                                                                          Ormonde are Anna-Lynne Williams (Trespassers William/Lotte Kestner) and Robert Gomez, and ‘Cartographer/Explorer’ is the Seattle band’s second album, following on from 2012’s ‘Machine’ which garnered keen praise on both sides of the Atlantic for its delicate acoustic songwriting.

                                                                                                                                                                          Individually, the two members of Ormonde have impressive CVs: Williams toured with Damien Rice, Feist, Broken Social Scene and Explosions in the Sky during her time in Trespassers William (Nettwerk Records) and also co-wrote and sang ‘Hold Tight London’ on Chemical Brothers’ ‘Push the Button’ album. Gomez is a respected producer/multi-instrumentalist who has worked with John Grant, Centro-matic and Sarah Jaffe and was previously signed to Bella Union. Ormonde, however, is where the two locate their shared vision, and it’s a spellbinding place to spend some time.

                                                                                                                                                                          In contrast to the debut album, ‘Cartographer/Explorer’ is a much more ambitious affair. Primarily written and recorded in an immersive two week period, the songs have a late-night, narcotic quality. They frequently centre themselves around repeating guitar or organ/synth phrases and passages, slowly spinning out captivating webs of sound. Williams concentrates on her words and singing, whereas Gomez provides the lion’s share of the instrumentation, incorporating beats and processed drums into the mix, submerging them under liberal reverb and effects. Gomez himself takes lead vocals on four of the album’s ten songs - with the purity of Williams’ voice winding around his slurred, somewhat sinister tones - with ‘A Grand Design’ being a perfect example of how the combination of their voices, together and separate, is one of the album’s strongest features.

                                                                                                                                                                          It perhaps comes as little surprise that Ormonde spent time watching the second series of ‘Twin Peaks’ during recording. There’s a similar fascination with the undercurrents of love, death, and trust, and the anxiety of whether our interactions with others are harmonious or destructive. The small moments that come to define us over time, a story unravelling: “After you go, I rest my eyes, it’s like they’ve been walking out in storms“ as Williams sings in ‘Paintings’, against a backdrop of Gomez’s Morricone-style twanging guitar and reverberant percussion. An entire world barely hinted at in just a few words. Ultimately, ‘Cartographer/Explorer’ is a wonderful album, compelling in its subtle moves, finding its own sweet way as only the best records do.

                                                                                                                                                                          Joanne Pollock


                                                                                                                                                                            ‘Stranger’ is the debut solo album from Canadian artist Joanne Pollock. Released via Venetian Snares’ Timesig imprint, with whom Pollock previously collaborated as Poemss, ‘Stranger’ is a stunning collection of electronic pop songs that range from the unsettlingly calm and beautiful through to ferocious explosions of caustic noise, all held together by Joanne’s multi-octave ranging vocals.

                                                                                                                                                                            “What happens when we push up against that which contains us?” asks Pollock. “By distorting the mirror, we may become plastic. When the comfort of familiarity is stripped away, it can feel as though we become a stranger in our own bodies. Is it through embracing the Stranger that we discover ourselves? Stranger explores the multiplicities of selfhood - what defines us, where the boundaries lie.”

                                                                                                                                                                            On tracks like the album opener ‘Carnival’, ‘Myself Apart’ and ‘Expect Me’ Pollock’s vocals weave in and out of the bruised and bruising bass lines, glacial synths and stop-start beats almost becoming one with the music, before suddenly overpowering the synthetic elements to take centre stage in bursts of joyful exuberance.Combining an intricate, detailed approach to music production with illusive almost dreamlike textures ‘Stranger’ sees Pollock further burnish her reputation as one of electronic music’s most exciting and idiosyncratic new artists. Throughout the album’s ten tracks she continually leads us down dark, surprising paths as she experiments with and twists song structures, resulting in an album that feels both eerily familiar and startlingly new and continues to reveal new secrets with every play.

                                                                                                                                                                            Paul & The Tall Trees

                                                                                                                                                                            Our Love In The Light

                                                                                                                                                                             Paul Schalda, the bandleader, singer and songwriter of Paul & The Tall Trees is from Staten Island. One part of a crazily talented musical family, Paul’s music seems to embody the unexpected overlap of The Band’s Americana, Ian MacKaye's unhinged emotion, Otis Redding’s raw, warm soul, and the doo-wop melodies his father, Bill Schalda Sr. (a member of Brooklyn vocal group, The Montereys) raised him on. On Paul & The Tall Trees' debut album “Our Love In The Light” you hear the sum of his experiences. This singular sound is helped by the fact that his father, William Schalda, Sr., and brother, Will Schalda Jr., play on and inspire the record.

                                                                                                                                                                            The album was written entirely by Paul, and produced by another Staten Island native, Thomas Brenneck of Charles Bradley, Menahan Street Band, and Budos Band fame. The combination of the two gives the record an amazing sonic range, from the powerhouse rocker “Crack Of Down” to the ethereal western vibes of “She Comes Around”. Paul pens a tune about the forever changing conviction of a man in love on “Once In A While”, and ironically “The Little Bit Of Sunshine”, is a story about Paul giving up on a career in music. One thing you hear in Schalda’s music, no matter which song, is that the road hasn’t been easy.

                                                                                                                                                                            His voice can be hauntingly harsh, yet hopeful and tender, raucous and gravelly one moment, smooth and intimate the next. Even though he is being compared to the famous groups and musicians mentioned above, he can only call it Rock and Roll and be humbled. “I’m very lucky to be able to do this,” Schalda says. “And I’m extremely happy. Especially for my father. He worked hard for his sons and this record.”

                                                                                                                                                                            Aleix Pitarch

                                                                                                                                                                            Canis Soundtrack

                                                                                                                                                                              "In October 2014, I attended the Celluloid Screams film festival in my hometown of Sheffield, which I try to get to each year. I also had the pleasure of selling records at the festival, and it was great to see so many people excited about buying records in between films, of course this meant I was relatively tied to the stall, but managed to get to see various films of interest across the weekend. Robert Nevitt, the head programmer of the festival shows shorts before every film, a great way to get new filmmakers work on to the big screen, I remember heading in to see a new horror comedy which sounded pretty interesting early on Sunday, and prior the main feature was 15 minute stop motion film called Canis, which sounded pretty interesting too.

                                                                                                                                                                              The premise of Canis is two men are trapped in a house which is constantly under siege from a pack or wild dogs. This 15 minute black and white trip into world of handcrafted characters was an intense experience for 11am in the morning. The story was dark, and one of the things that struck me was there was no dialog, only soundtrack (sounds of dogs and humans), and the score. The score performed by Aleix Pitarch, is 15 minutes of heavy distorted layered drones, monolitchic static blasts and dark ambient industrial. The music stands alone beautifully if you have an interest in the darker end of music (and film music)." - Blackest Rainbow.

                                                                                                                                                                              Pressed on 10" grey and white swirl vinyl in an edition of 250 copies with hand numbered insert of liner notes by Robert Nevitt of Celluloid Screams film festival. Includes download card.

                                                                                                                                                                              Edward Penfold


                                                                                                                                                                                Edward Penfold's music is a blend of the old and the new, nostalgic but not dated. More than anything it sounds like now. It's music from the heart, a hazy collection of sounds and moods – sometimes upbeat, sometimes down but always genuine and always captivating. His lyricism reflects the observation and eloquence of a very English sort of poetry, seeing the depth in the shallows of life, the profundity in the mundane. All accepted with a matter-of-factness that is reflected in the driving impetus in every song, whether slow or fast or groovy.

                                                                                                                                                                                Given the tendency of popstrels to emerge fully formed from the ether, the development of North-Londoner Pawws (aka singer-songwriter Lucy Taylor) has undoubtedly been a much-needed breath of fresh air. Describing her sound as “upsetting disco”, her work details trials of love lost and won.

                                                                                                                                                                                Lucy started her career as a live session musician for Kele Okereke and also performed with the likes of MGMT. Her experiences with them led her to write her own tracks, recording them at home and posting them online under her adopted nom de plume. Her first releases gained her a huge amount of attention, heralding praise from the likes of NME and Billboard. Not long after releasing her debut single Time To Say Goodbye / Slow Love she signed a deal with Three Six Zero, a management company partnered with Roc Nation.

                                                                                                                                                                                Sugar, her debut EP, is coloured by a subtlety of emotion and lingering nostalgia that encapsulates the maturity of her sound, all the while exploring the tempestuousness of relationships. “I guess the main theme of this EP is the what happens when you continue loving someone, even when you know it is bad for you,” she explains. “Although the EP is generally about the pitfalls of love I still think it has an element of hope to it, because you only take risks and end up in those situations when you’re open with your heart.”

                                                                                                                                                                                John Parish is an accomplished composer, solo artist, and producer. Parish has worked with PJ Harvey since the 80s (when she was backing singer and guitarist in his cult band Automatic Dlamini), producing and performing on many albums with her, including the 2011 Mercury Prize-winning ‘Let England Shake’.

                                                                                                                                                                                Parish has also worked with Eels (he co-wrote and performed on Eels’ 2001 album ‘Souljacker’), Sparklehorse, 16 Horsepower, Tracy Chapman, Adrian Utley, Rokia Traore, Jenny Hval, and Howe Gelb / Giant Sand.

                                                                                                                                                                                ‘Screenplay’ compiles music created for the films ‘Little Black Spiders’ (2012, Patrice Toye, Belgium), ‘Sister’ (2012, Ursula Meier, Switzerland), ‘Nowhere Man’ (2008, Patrice Toye, Belgium), ‘Plein Sud’ (2009, Sébastien Lifshitz, France).

                                                                                                                                                                                FORMAT INFORMATION

                                                                                                                                                                                2xLP Info: Deluxe 2LP version includes eight tracks not on the CD
                                                                                                                                                                                format, and is pressed on high quality virgin vinyl
                                                                                                                                                                                packaged in a gatefold sleeve. A coupon for a free
                                                                                                                                                                                download of the music with a digital booklet is included.

                                                                                                                                                                                CD Info: CD version is packaged in a 4 panel mini-LP style gatefold package with a 4 page booklet.

                                                                                                                                                                                London quartet, PIANO WIRE announce their debut album ‘Dream Underground’ via their own Hanging Houses label. To celebrate the occasion, here’s ‘Cherry Coma’, a relentless hybrid, fusing rock’n’roll, pop sensibilities and their distinctive lopsided song-writing. It’s another tale from the darkside, a place all too familiar to the band: "The hallucinations of a dark, neurotic sycophant lost and lonely in his addled obsession". The video is directed by their visual collaborator, Steve Gullick, filmed within the fruity confines of London’s notorious Flying Dutchman.

                                                                                                                                                                                Formerly of Eighties Matchbox B-Line Disaster, Sym Gharial and Andy Huxley split the duties thusly - Sym on bass and crafting those unique lyrics; Andy singing, writing the music and playing guitar. Their 2015 EP, ‘The Genius Of The Crowd’ set out the band’s stall, discharging 8 blistering pop songs in 20 minutes.

                                                                                                                                                                                ‘Dream Underground’ shows a giant leap forward in song-writing and approach, realising their aim to make a huge and satisfying rock album that could rattle the ribcages and fuel the imaginations of as many people as possible. It begins in style with the Gil Norton-produced ‘Get A Life’, a riff-fuelled punch in the gut, which serves as a delicious warning of what is to follow. It’s a down and dirty juxtaposition of dark and light, grit and sweetness, grinding riffs and explosive melody - a theme that continues throughout the record. The idea of hedonism and its consequences is often at the heart of their songs. Sym and Andy’s experiences have provided a lifetime’s worth of inspiration, powering the weirdly wonderful tales of the ‘Dream Underground’ and beautifully realised in Jude Wainwright original oil paintings, commissioned for Loose Collective.

                                                                                                                                                                                The literary influence is strong in Piano Wire’s approach. Lyricist Sym draws succour from the likes of Oscar Wilde and Chuck Bukowski and the parallels can be seen in a number of places across ‘Dream Underground’ – “I thought I found romance in drinking and hard drugs but realised I had been fooled and was fooling everyone,” he says. “I like Oscar Wilde a lot. The lyrics to the tracks are about fucked up, twisted love and being a loner and going mad. The tragedy of old fashioned Romance. Wanting what you can't have. Feeling detested. And Fear. Strong experiences.” Despite the darkness that undercuts many of their tracks, Piano Wire’s exuberant aesthetic is uncontrollable on the record’s monstrous peaks and choruses.

                                                                                                                                                                                POW! continue their danse macabre in the laser glow of hi-beam synthesizers, with a new batch of synth-punk candy that will rot your teeth: Crack An Egg. Vacuum-sealed, chrome gleaming, propulsion pounding, eyebrows arched and slightly pixelated, this album is like the cupie-doll face beckoning from a digital billboard outside your hovercraft window. From a none-too-distant dystopia and on to your turntable — VCFs slowly open across a smogged-out horizon as they urge you to take that “Necessary Call,” warn moodily against a “Cyberattack,” and inexplicably “Crack An Egg” in honor of the human race. Synthetic earworms squirm into and out of view like twinkling city lights through evening’s opaque air, feasting on terse punk skeletons. The neon is buffed to an aerosol sheen by Chris Woodhouse behind the blinking motherboards, with a streetlight or two of Gary Numan’s slanting through the door. The automatons know where the party’s at — follow them.

                                                                                                                                                                                STAFF COMMENTS

                                                                                                                                                                                Barry says: Dusty synths meet with crackling vocals and VHS saturation. Pow! rip into the ozone layer with their jagged celestial melodies and trancey psychedelic rock. Half electronic, half direct rocking anthems, but brilliantly balanced throughout. A triumph of concept and execution.

                                                                                                                                                                                Phaedra´s debut album "The Sea" (2011) received fantastic international reviews in magazines as diverse as The Wire, Uncut, Shindig and Prog, drawing lines to Vashti Bunyan, Elizabeth Fraser and Nico. Chicago Reader said "this is one of the loveliest, most striking albums, unlike anything I´ve heard in years".

                                                                                                                                                                                "Blackwinged Night" is the follow-up, and the second album in a triology, a lyrical and musical cycle with its own mythological structure. From the ethereal folk universe of the debut, "Blackwinged Night" dives into a darker dreampop underworld, where acoustic elements of woodwinds, strings and marimba are mixed with layers of analog synths, bigger drums and darker basslines. Vocals are as crystal clear and haunting as ever, with lyrics circling around themes like creation and collaps, time and falling stars.

                                                                                                                                                                                Phaedra is Ingvild Langgård; singer, composer and artist. Educated from The Academy Of Fine Art in Oslo, she composes music for stage and screen as well as doing art projects with sound, video and installations. In co-operation with choreographer Ingri Fiksdal and scenographer Signe Becker she has made the acclaimed dance performances "Orchard Ballads" and "Night Tripper". "Night Tripper" won the Oslo Award in 2012 and has since been toured extensively in Europe, and had its US premiere in April this year. The Guardian wrote "an extraordinary piece, simple yet powerfully affecting".

                                                                                                                                                                                "Blackwinged Night" is produced by Langgård herself, with contributions from Christian Engfelt, who also mixed the album. There are contributions from Ensemble Neon members Kristine Tjøgersen on clarinet and Yumi Murakami on flute. Last heard on Motorpsycho´s "En Konsert For Folk Flest", Kari Rønnekleiv plays violin and Ole Henrik Moe is on viola. Last but not least, we have Ingvild´s regular band; Gunhild Mathea Olaussen on violin, Jørn Tore Egseth on bass and keyboards and Ane Marthe Sørlien Holen on drums, percussion, marimba and vibraphone. Mastered by legendary Greg Calbi at Sterling Sound

                                                                                                                                                                                Rising from the smoking embers of several leading Merseyside acts, newcomers Pure Joy have now readied their playful, intelligent and refreshingly bold psych-rock to tape in the form of debut LP ‘Bang Flower.’

                                                                                                                                                                                This band of friends stemming from the Wirral (the beautiful, sleepy, wigged-out bank off the Mersey - Liverpool's Brooklyn if you will) serve up hot, psychedelia-heavy filthy garage-rock candy tinged with patches of late-60s American psych, buzzy Motor City riffage, and decades of British pop, ranging from the pastoral pop of Ray Davies to the vivid expansiveness of Kurt Vile and the Antipodean warmth of Tame Impala.

                                                                                                                                                                                From the blissed out cloudburst of ‘Bubblegum Husky’ to the anthemic sun-blasted driving pulse of first single, ‘Katie's Gone Home’, the timeless sleaze of ‘Thunderlooper’, the lick-sodden Morrissey-esque weavings of ‘Theme From…Peach Fuzz’ and the complex dream-weavings of ‘Turner Sky’, Pure Joy guide you through a neo-psych wonderland, gripping your sweaty mitt and lurching you into fantastical scenery (‘Terrorize’) or into sheer bewildering, hippy-infested, hallucinogenic territory.

                                                                                                                                                                                On album closer ‘O’Sullivan On Song’ the band float some creamy synth and trippy guitar interplay before ripping a hole across the chest of the song with a woozy guitar line so big it essentially serves as a chorus.

                                                                                                                                                                                Sampling the 1995 film Billy Madison, the band close their album with the phrase ‘May God have mercy on your soul.’ Standing at 37 minutes, the brevity of the album only makes one yearn for the much-missed ‘repeat’ button.

                                                                                                                                                                                FORMAT INFORMATION

                                                                                                                                                                                LP Info: White vinyl includes CD and poster.


                                                                                                                                                                                In The Wind

                                                                                                                                                                                  Operating on the belief that heavy metal didn’t come from the forest or beam down from outer space, but rather that it crawled up out of the sewer and writhed to life in the grit and grime of the streets, the four rock n roll freaks of R.I.P. call their sound ”Street Doom” and spread the message with heavy touring across the United States. Obsessed with death and disgusted with the scene, they dragged their knuckles into the studio in 2016 and excavated a debut LP dedicated to fear and trembling, calling it In The Wind.

                                                                                                                                                                                  R.I.P. is defined by fast, regressive riffs, terrified vocals, live shows akin to near-death experiences, and steadfast adherence to the notion that doom isn’t how slow or de- tuned you can play, but the combination of fear, death, and leather. In The Wind is just the right level of down ’n’ dirty guttural rock that cuts and chews with raw fury. The Portland, OR quartet — guitarist Angel Martinez, vocalist Fuzz, bassist John Mullett and drummer Willie D. — echoes the grimy vibe of legends like Saint Vitus, Pentagram and Motorhead , with the no b.s. aesthetic of the early Metal Massacre compilations.

                                                                                                                                                                                  Peace And Love Barbershop Muhammad Ali / Druggy Pizza.

                                                                                                                                                                                  Split 3

                                                                                                                                                                                    The third in the split series featuring Peace And Love Barbershop Muhammad Ali and Druggy Pizza.

                                                                                                                                                                                    This is PALBMA’s (featuring Mark from Brown Brogues) first release and showcases the bands glam garage rock sound. They have already been featured on BBC 6 Marc Riley’s show as well as live in session. We previously featured two songs of theirs on Vegetarian Meat Vol 2.

                                                                                                                                                                                    “Peace And Love Barbershop Muhammad Ali are a super group in every sense.” – Jukebox86

                                                                                                                                                                                    Band membership has one rule: “band members …must own at least one leather. Any more is a bonus.”

                                                                                                                                                                                    On the flip side we have Druggy Pizza (featuring members of Dusty Mush) and their EP Chili Cheese Crust. The EP has never had the chance to see wax and we wanted to give it that honour. Songs about pizza punched out as raw fuzzy garage rock drenched in reverb. We also featured two songs on Vegetarian Meat Vol 2.

                                                                                                                                                                                    Brooklyn NY band Regal Degal are proud to announce their sophomore album Not Now on Terrible Records.

                                                                                                                                                                                    This collection of songs serves as the most essential Regal Degal record yet. Not Now is a culmination of the myriad experiences that have shaped theRegal sound - a stint in Los Angeles where the band released their debut full-length Veritable Who's Who on No Age's PPM Records, a recent relocation to NYC and countless shows with the likes of Black Dice, Chk Chk Chk, The Clean, Panda Bear, DIIV, Real Estate and Grizzly Bear - the latter of which turned out to be most fruitful for the band.

                                                                                                                                                                                    Produced in tandem with Grizzly Bear's Chris Taylor, and recorded in both Berlin and New York at the legendary Grizzly Bear church and Mexican Summer's Brooklyn studio, the band were able to truly capture the impact of their live show, while leaving space for Taylor's unique sense of space and dynamics.

                                                                                                                                                                                    Not Now toys with a dense array of sonic influences ranging from 60s psych pop, 70s glam and krautrock, 80s post-punk, 90s shoegaze, and a post-00s appreciation for a variety of electronic music (Italo disco, minimal synth, classic Chicago house) creating the album's vibrant and intricately woven fabric.

                                                                                                                                                                                    Track one "Delicious" takes the listener through its swaying dream-funk, decorated with a deliriously sweet bodega guitar lead that suggests a traditional melody of some forgotten old world celebration. After the first line drops -- "I hear a lonely cyborg sing a techno lullaby" - a melancholy cityscape begins to unfold.

                                                                                                                                                                                    Such is the terrain of Not Now -- bustling, vast, worldly, at once familiar and alien. "Ruining My Life" picks up where "Delicious" leaves off (literally, the first word of the song is "Delicious"). Its jangling 12-string guitar infuses an ecstasy-fuelled drum machine-driven hoedown, with a shimmering Johnny Marr-esque appreciation of precious melodic prowess.

                                                                                                                                                                                    Fun guitar riffs aside, Regal steps up the vocal game significantly this time around. From the tense Eno-esque strut of "Wide Awake" to the playfully devastating drama of "Pyramid Bricks" (re-recorded from its previous incarnation as the title track of Regal's previous EP), Not Now is a suite of deep and ponderous rock songs that stem from a curious mix of romantic and rhythmic sensibilities. It occupies many spaces at once, simultaneously existing in dimensions of pure joy, dire depression, and everything in between.

                                                                                                                                                                                    The album title itself presents the idea of another time, or perhaps a denial of the present -- could this be an acknowledgment of infinite possibilities beyond our present-minded daily routines, or maybe just an escape in general? It's a statement to consider, especially when choosing "not now" is an option that anyone with a laptop or a smartphone is confronted with on a daily basis. Maybe now is not the time to be doing whatever you're doing, but instead a good time to entertain a new idea, a new sound, a new record by a band new enough to keep people on their toes but seasoned enough to make it worth their time and energy. 

                                                                                                                                                                                    The Rails

                                                                                                                                                                                    Other People

                                                                                                                                                                                      Recorded in Nashville and produced by Ray Kennedy (Steve Earle, Lucinda Williams) the album features ten brand new Kami Thompson and James Walbourne original songs that showcase their trademark harmonies and vocal prowess. The Rails 2014 debut album ‘Fair Warning’, produced by Edwyn Collins, had critics gushing. It was chosen as Mojo’s best folk album that year and the band went on to be presented the Horizon Award for Best New Act at Radio Two’s prestigious Folk Awards in 2015. The new album lives up to expectations as we hear The Rails adopt a slightly harder edged sound that incorporate elements of folk, 60's pop, psychedelia and soul with a distinctive British flavour. James is one of the country’s finest guitarists and full time member of the Pretenders, he also plays with both Ray Davies and the Pogues. Kami is folk rock royalty, daughter of Richard and Linda Thomson, sister to Teddy. The couple began working together in 2011 and married the following year. ‘Other People’ was recorded at Room & Board Studios in Nashville and features James on guitars and keyboards, drummer Cody Dickinson (North Mississippi Allstars), bassist Jim Boquist (Son Volt) and Eric Heywood (Ray Lamontagne) on pedal steel. Kami lends her exquisite voice and acoustic guitar playing to the proceedings.



                                                                                                                                                                                        Rafter Roberts stands no taller than your average human male, yet his fiery red-haired head is filled with the minutiae of music, swirling and churning constantly. Fortunately this leaves little room for fear, of which Rafter has nearly none. His fearlessness has led him to do just about everything he sets his mind to, which of course includes free-for-all rowdy sweatiness, hanky panky, and rolling on the stage, yelping. (Not to mention playing in bands since the age of two, fatherhood and marriage, running a business, goin' to shows, building recording studios, makin' his own music, recording bands and eating vegan... all without going too furiously nuts.) His is a strong will tempered by humor. One of the most intense and powerful music nerds you may ever meet, there is a refreshing lack of poseur hipness to Rafter Roberts. In its stead is a pure enthusiasm for people, for doing it yourself, and the helping hand, for kicking against the pricks and kicking out the jams. Track listing: I’ve Done The Strangest Things, Lonely World, You Are the Last of Your Kind, Lifelike, Oblivion, The Things I’ve Learned From Reggae, When I Die I Wanna Get Some of My Blood on Them, Rafter Vs Maimai, We Could Be Monsters, Weird Animal.

                                                                                                                                                                                        FORMAT INFORMATION

                                                                                                                                                                                        Coloured LP includes MP3 Download Code.

                                                                                                                                                                                        The Renderers

                                                                                                                                                                                        In The Sodium Light

                                                                                                                                                                                        The seismic rumbling of The Renderers goes beyond the fiendish pastoralia of their music. Long-time Christchurch residents, Brian and Maryrose Crook witnessed the earthquakes crumble the city. That, and Maryrose’s developing career as a painter (she is self-taught, only starting in her late thirties), inspired them to move to America and concentrate on touring here. So, where do they move? Obviously, a rock-throw’s distance from the San Andreas Fault, to Joshua Tree.

                                                                                                                                                                                        Not surprising, given the tenacity of the Crooks. Through endless band lineups and continual challenges, they have maintained a focused sound and approach to their music. A Renderers song creates its own space, one that threatens dissemblance at every turn. With two of the most distinct voices in New Zealand rock, they trade off vocal duties, and both contribute toward burying their songs in layers of swelling and swirling guitars.

                                                                                                                                                                                        For their new record, In the Sodium Light, The Renderers take a step back from the furious chug of their last album, A Rocket Into Nothing. Instead, they appear to be representing the landscape of their new home. Songs creep out of holes, seep and spread, permeating the room. The album is a languid, calm-waters drift over the abyss in a glassbottomed boat. Let the tide take you.

                                                                                                                                                                                        The Ruby Suns

                                                                                                                                                                                        Sprite Fountain

                                                                                                                                                                                          The Ruby Suns, the band-ish pseudonym of nomadic Californian-New Zealander Ryan McPhun, return after four years with a brilliant and ambitious new record Sprite Fountain.

                                                                                                                                                                                          It began in earnest upon moving to Oslo, Norway from Auckland in 2013's twilight with impending fatherhood tapping him on the shoulder. A slowly ripening thing, it was made amidst child rearing and touring with NZ pals Lawrence Arabia and remixing, recording and touring with Norwegian acts like Snasen, Heyerdahl and Beezewax.

                                                                                                                                                                                          Having released on Sub Pop and Memphis Industries in the past, new independent album Sprite Fountain is a pithy nine songs running over thirty-three minutes, stylistically it's an amalgam of the 4 previous Ruby Suns records. Rhythmically and harmonically complex, McPhun's influences are eluded to like snatches of a jukebox heard across a busy motorway. The touchstones are brief - ELO for four bars, a hint of Julia Holter in an arrangement - before they disappear into a kaleidoscopic tapestry that reveals McPhun to be a singular savant hinted at by his diverse back catalogue.

                                                                                                                                                                                          Though harmonious in macro, there is a mania within – a fitting analog to what is often the predicament of a new parent: constantly under-slept, delirious and confused yet somehow elated. Not to mention the matter of cultural isolation that comes with being an immigrant in a new country, and an antipodal one at that.

                                                                                                                                                                                          McPhun has trouble relating to the 'Pram Gangs' he passes by on the street and grapples with Norway's political movements in 'Blåhvalene.' He then goes back to California with the Wilsonesque 'Blankee' - a Steinbeck referencing ode to his teenage surf break (Ventura Point) and the almost A Capella album closer 'King Cake,' citing McPhun's own brush with the law and the overextending slippery tentacles of the War on Drugs in the mid 90s. Elsewhere things get a little more upbeat. 'Gatrapa' is a tropicalia-induced, Siri Hustvedt-quoting epistle on the inexorable parade of time, and 'Tilt of His Hat' - a jovial but bumpy supplication to an overworked and overstressed loved one. 'K Rd Woody' recounts halcyon days on Auckland's Karangahape Road with it's transient dive bars, cheap late night eateries and pre-mixed drink of choice, the Woodstock bourbon and cola, while 'Waterslide' is a fuzzy cautionary tale of Primitivism gone awry.

                                                                                                                                                                                          Sprite Fountain was made almost single-handedly by Ryan McPhun in Scandinavia. Beginning in an old schoolhouse in Asker, Observatoriet studio in central Oslo, and McPhun's home in Grünerløkka, Oslo. He then moved onto Spice Boys studio in Copenhagen, with finishing touches made in a friend's 18th century villa in Chelva, Spain. Live Ruby Suns member and long time sonic guru of McPhun's Bevan Smith (Introverted Dancefloor/Signer) visited Norway with his Eventide Harmonizer and assisted with the final mix of the record.

                                                                                                                                                                                          It's a treasure box of potent ideas, discrete and often discreet. The record makes for an experience that is blissful, psychedelic and always totally surprising; with each subsequent listen revealing gleaming new attractions.


                                                                                                                                                                                          Street Reaper

                                                                                                                                                                                            When R.I.P. came crawling out of the sewers of Portland, Oregon, last year, their grimy, sleazy street doom was already a fully formed monstrosity, quickly infecting the minds of everyone it encountered. Now, borne from the band’s declining mental health and an increased focus on songwriting, Street Reaper is even more unhinged and menacing than their debut In The Wind. Borrowing equally from ’80s Rick Rubin productions and Murder Dog magazine aesthetics, this latest album is a streamlined yet brutally raw manifesto of heavy metal ferocity hearkening to the era when both metal and hip hop were reviled as the work of street thugs intent on destroying America’s youth.

                                                                                                                                                                                            Throughout, Angel Martinez’s guitar and John Mullett’s bass are inextricably interlocked like a massive sonic steamroller, while drummer Willie D keeps the beat solid and simple for the most powerful impact. Plus, the band’s extensive touring and excessive virgin sacrifices have provided singer Fuzz evermore agile vocal chords to drive it all home with extreme precision. Operating on the belief that doom is not tied to a tuning or a time signature, but rather a raw and terrified feeling, R.I.P. eschews well-trodden fantasy and mysticism tropes of the genre and focuses on conveying the horror and chaos inherent in the everyday reality of the human mind.

                                                                                                                                                                                            Mark Stoermer

                                                                                                                                                                                            Dark Arts

                                                                                                                                                                                              Mark Stoermer can remember a teenage tradition that subconsciously exerted a profound impact on his creative identity and career. The Killers bassist and solo artist spent his formative years ingesting classic albums from Pink Floyd, Led Zeppelin, and The Beatles in their entirety right before bed. In many ways, you could trace the origin of his second full-length album, Dark Arts, to those nocturnal listening sessions. Its 13 songs comprise a mosaic of sixties-induced psychedelia, bluesy desert rock swagger, plaintive lyrical poetry, and lithe and lush cinematic orchestration. He wanted to build on the foundation of his 2011 debut, Another Life, while expanding the sound beyond its folk-tinged roots. David Hopkins, an integral and inspirational collaborator, would catalyze the process.

                                                                                                                                                                                              Side Eyes

                                                                                                                                                                                              So Sick

                                                                                                                                                                                                So Sick, the debut album on In the Red Records by Southern California punk quartet the Side Eyes, raises interesting questions about nature versus nurture—the eternal scientific debate about whether a human being’s personality is predetermined by genetics or whether it’s actually shaped by the environment one grows up in. Their lead singer, Astrid McDonald, is a fascinating test case. The 22-year-old Angeleno is the real-wild-child daughter of Go-Go’s guitarist-songwriter Charlotte Caffey and Redd Kross singer-guitarist Jeff McDonald. How much has McDonald’s notoriously fiery onstage presence been influenced by basic heredity and how much was her personality inspired by being raised by two legendary punkpop icons?

                                                                                                                                                                                                Similarly, how did growing up together as brothers in New Jersey affect the hard-driving musical attack of 22-year-old guitarist Kevin Devine and 20-year-old bassist Chris Devine? Much of rock history has been fueled by the unique familial dynamics and sibling rivalries of brothers in bands, from the Everly Brothers and the Kinks’ Ray and Dave Davies to Redd Kross’ Jeff and Steven McDonald. When the two Devines’ aggressive approach is combined with 23-year-old San Diego native Nick Arnold’s remorselessly throttling drumming, the Side Eyes end up as a powerfully controlled punk rock machine that blows past the sonic barriers of their past inspirations.

                                                                                                                                                                                                The Severed Limb

                                                                                                                                                                                                Good And Gone

                                                                                                                                                                                                  The Severed Limb are a young six-piece skiffle band from London who write songs influenced by a variety of roots styles. The band released their debut EP in Oct 2010 to much acclaim and released an album for Damaged Goods in 2014.It led to a filmed BBC Session with Steve Lamacq who said of them "Rampant and joyful ... an infectious mix of old rock & roll styles playfully twisted for (today)".

                                                                                                                                                                                                  From busking with washboards to recording raucous rock in pub basements, Severed Limb are the epitome of DIY. Born and bred in Brixton, the Londoners’ new album is the point at which punk and skiffle meet with one clear aim; to take their sound from the streets and make people dance to a pub-punk rock that’s defiantly outspoken.

                                                                                                                                                                                                  Buskers by day, noise-makers by night, ‘Severed Limb Strikes Again' sums up the band’s tormented, vastly defiant look at the world and all its ills; from drink and drugs, even to love. Ever since Bobby, and fellow rebels-with-a-cause Charlie, his half-brother Leo, Sam, Alex and Simon, came together to record their first tracks on cassette in the basement of a pub where Charlie was landlord after bonding over their favourite jukebox sounds, they’ve been on a mission to make a noise – sonically and politically – and to get the world bopping in the process.

                                                                                                                                                                                                  Written, right there, on the concrete of London’s Borough Market during one of the bands regular busking sessions, the album’s spontaneity, from the immediate Undertones stomp of opener ‘Oh My My!’, will make anyone take notice – including singer Imelda May who invited the band to open her show at The Royal Albert Hall. “It’s the first track we recorded and we only did one take. We wanted it to sound like a slap in the face. It's about staying engaged with life and not giving in. It's also about South London - the vilification of poor young people and the rampant gentrification. I'm a socialist so I feel I can stick my oar in,” tells Bobby.

                                                                                                                                                                                                  Swelling with their own authentic take on the sounds they love, each track is infused with sounds from the 50s to the 70s; from the Tom Waits style percussion of ‘Poison’ to ‘Freezing Point’ which revives Berlin-era Iggy & The Stooges as it reveals details of a recent visit to China. “I played in a heavy metal bar that was owned by a policeman - something that was completely illegal for him to do! I also visited a school where children sang the communist anthem 'March of the Volunteers' every morning,” tells Bobby.

                                                                                                                                                                                                  Laid down on two-inch tape in an all-analogue New Forest studio, the band were given chance to express their appreciation for a vintage sound in their own frank way – even if things did take a mysterious turn. “We'd drive down to Dorset and it was great to be totally isolated,” they say. “The studio was a wooden hut near a village called Burley which is famous for witchcraft. It was an apt place to record the b-movie horror film-inspired tracks like ‘Bela Lugosi’. Hopping from punchy skiffle to the murkier depths of visceral punk rock, Severed Limb imperfectly embody the uncompromised spirit of true rock’n’roll.

                                                                                                                                                                                                  FORMAT INFORMATION

                                                                                                                                                                                                  Ltd LP includes MP3 Download Code.


                                                                                                                                                                                                  Sargent Place

                                                                                                                                                                                                    Spain's brand new studio album, Sargent Place. Produced by Gus Seyffert (The Black Keys, Beck, Norah Jones), mixed by Darrell Thorp (Beck, Radiohead, Atoms For Peace, Paul McCartney), and recorded at Gus' home studio (on a street in Echo Park, CA called Sargent Place) the album marks an artistic departure for the band and is arguably their finest work since 1995's The Blue Moods Of Spain. Stand-out tracks include "You And I", which features a bass-vocal duet between Josh and his father Charlie Haden (only the second time father and son have recorded together), Petra Haden's lilting strings and lead guitarist Daniel Brummel's haunting guitar melodies on "The Fighter", the bluesy sense of musical reckoning of "From The Dust", and the uptempo, Threepenny Operatic "Sunday Morning". 

                                                                                                                                                                                                    Spain was founded in Los Angeles by Josh Haden (son of bass-playing jazz great Charlie Haden). Their debut, The Blue Moods Of Spain was released in 1995. The band garnered a devoted cult following and they toured the U.S., Europe, and Australia. They performed on French TV, and opened for Cocteau Twins during their final U.S. tour. Spain's song "Spiritual" was recorded by Johnny Cash on his Grammy-winning, Rick Rubin-produced Unchained, and by Charlie Haden and Pat Metheny on their Grammy-winning Beyond The Missouri Sky.

                                                                                                                                                                                                    Spain's 1999 sophomore CD, She Haunts My Dreams, found the band headlining large venues across Europe. A song from the album, "Every Time I Try" was picked by Academy Awards winning filmmaker Wim Wenders for the score of his movie "The End of Violence", and the song "Our Love Is Gonna Live Forever" was featured prominently in an episode of the HBO series Six Feet Under. The third CD, I Believe, was released in 2001, after which Haden took an extended break from the band. In 2007 Josh reformed Spain with members of his live solo band: Randy Kirk on keyboards and guitars, and Matt Mayhall on drums. In 2010 lead guitarist Daniel Brummel joined the group, and 2012 saw the release of Spain's first full-length album of new material in over ten years, The Soul Of Spain (Glitterhouse).

                                                                                                                                                                                                    Shock Machine

                                                                                                                                                                                                    Shock Machine

                                                                                                                                                                                                      Shock Machine is the new project from the Mercury and Ivor Novello winning artist James Righton (formerly of Klaxons).

                                                                                                                                                                                                      His eponymous debut album is a collection of timeless pop music that embraces inspiration from decades of off-kilter classics, such as ELO, Roxy Music, 70s McCartney, “Benny and the Jets by Elton John on acid”, alongside a passion for ultra vivid shimmering psychedelia - the result is a gorgeous celebration of melody and synths.

                                                                                                                                                                                                      Recorded in a cabin in the South of France with the help of esteemed producer James Ford (Arctic Monkeys, Florence and the Machine, Foals, Haim) and then mixed in Atlanta by Ben H Allen (Animal Collective, Deerhunter, Gnarls Barkely), the material has already won fans such as Mark Ronson,The Strokes, Graham Coxon and Erol Alkan, as well as continued support from Pitchfork, Zane Lowe and Annie Mac.

                                                                                                                                                                                                      FORMAT INFORMATION

                                                                                                                                                                                                      LP includes MP3 Download Code.

                                                                                                                                                                                                      Milo Scaglioni – former member of Sub Pop signed Jennifer Gentle and bassist with Jim Noir, Dellera and Sonic Jesus - marks his debut solo album with a psych folk delight that nods to the English traditions of his adopted homeland.

                                                                                                                                                                                                      Having lived in England for a decade, Milo moved back to Rome to make the record. This is a split indie release between Manchester’s Akoustik Anarkhy and Italian label Crytmo Records (a division of the Rome based Misty Lane Records). As co-producer, Milo enlisted his own travelling wilburys to assist in creating the record’s insatiable atmosphere with some of Italy's finest musicians; Roberto Dellera (Bass), PJ Harvey collaborator Enrico Gabrielli (Piano, Organ, Rhodes, Sax, Vocals), Lino Gitto (Drums, Percussion, Organ), Gianluca De Rubertis (Piano, Wurtlizer), and Simone Prudenzano (Drums).

                                                                                                                                                                                                      Bolstered by ‘October’s Beatlesesque harmonies and the down-and-out eccentricity of The Kinks, the smoky melancholia of ‘Sea of Misery’ and the final jam at the end of ‘Enough is Not Enough’ (an homage to Love’s Da Capo), each track floats along in a sun-blushed magic-hour haze and is unapologetically simple, hence the title. Simple Present is bound together with the honesty of early Leonard Cohen, the flair of fellow countryman Fabrizio de Andrè and Gruff Rhys's melodic nous – not to mention English lyrics which, says Milo, were a natural occurrence. “When I moved back to Italy, even though I am Italian and have lived there until the age of 19, I still felt English,” he says. “None of my initial inspiration came from Italians. The UK and the States had always been my place where to look for inspiration.”

                                                                                                                                                                                                      Sometimes to truly discover yourself you have to go a long way before finding your way back again. “To quote Shakespeare” tells Milo. “Life can end up becoming ‘a tale told by an idiot full of sound and fury signifying nothing.’ Simple Present is about living. It’s about finding the way to live an authentic and satisfying life as a present to yourself.”

                                                                                                                                                                                                      Sheepy are Liverpool schoolfriends Luke Jones (guitar/vox) and Ollie Phillips (drums) aided and abetted by Irishman Villy Raze (bass). Alarm Bells is their second album. They play highly melodic punky pop. Previous records have been played on 6Music by Steve Lamacq (who played ‘Another Day’ single seven times), Tom Robinson and Gideon Coe and on Absolute by Frank Skinner and Dave Gorman. Two singles have been used on Sky Sports Soccer AM to soundtrack goal compilations. Rocket PR are working a radio campaign and Cannonball PR are running a press campaign. In mid-February album track 15 Songs and accompanying video was exclusively premiered at Louder Than War and Pure Volume (in UK and US respectively) and featured as a Track Of The Week at Team Rock and as a news item at With Guitars. Single Home will be released a week before the album. 

                                                                                                                                                                                                      Sulfur City

                                                                                                                                                                                                      Talking Loud

                                                                                                                                                                                                        Fronted by singer/electric washboard player Lori Paradis, Canadian band Sulfur City comes roaring out of your speakers with echoes of Grace Slick, Patti Smith and Janis Joplin. This is no wimpy chick rock! Sulfur City is the first female-fronted band on ALIVE, and their balls-to-thewall, high-energy gritty blues style fits right in with label mates like the Black Keys and Left Lane Cruiser. Born in a small mining town in North-eastern Ontario, Lori’s lyrics reflect her life experience (she has been a truck driver on a construction crew, a bartender and a house painter among other odd jobs). “Talking Loud” was recorded at the infamous Gas Station Recording studio by Dale Morningstar (Cowboy Junkies, Neko Case), and features Jesse Lagace (guitar), Steve Smith (bass), Sam King (drums), and Keith Breit (keys).

                                                                                                                                                                                                        Spectral Park

                                                                                                                                                                                                        Spectral Park

                                                                                                                                                                                                          We bring you Spectral Park’s debut full-length under the auspices of pop brainchild Luke Donovan, who played all of the music (and records) on the record. These are songs borne from the trash, literally sourced from a box of records the Southampton multi-instrumentalist found on a walk by a council block’s curbside garbage. Donovan chopped them up and fed them through his sampler, warped, pitch-bent snippets of notes, rhythms and loops spanning disparate portions of musical history. Then he started recording live instrumentation and heavily-treated vocals over them, creating a gritty, noisy, yet wide-eyed dive into manic, ‘60s psychedelia, clear-eyed flower child reveries of reverberation and pop chaos.

                                                                                                                                                                                                          Spectral Park is a collection of songs that serve as reflections of a fractured year full of joys and sadness, a jumble sale of ideas and moments that work together, dancing and exploding off of one another. These songs lunge off the record, bursting with breakneck tempos and infectious, soaring melodies, sounding as if they are ready to shatter under all of the energy rattling inside. Moreover, they offer a unique and exciting view into a reconstructed musical past, one that brings bygone eras of mind expansion and infinite human potential back within reach.

                                                                                                                                                                                                          Gayna Florence Perry and Robin Surtees are perhaps best known for their work with cult Eighties band Shiny Two Shiny. Signed to Red Flame Records, they released one mini LP entitled ‘Halfway Across The Rainbow’ and one single ‘Waiting For us’ c/w ‘Ritual Hate’, in 7” and 12” formats. A mixture of bright and breezy synth pop with some darker undercurrents both records made a dent in the indie charts gaining positive reviews in the music press for releases and live appearances and acclaim from John Peel as well as daytime airplay on Radio 1. They also toured Europe and appeared on TV. At the start of 1984 the band played at the ‘Big Brother’ music festival at the ICA in London, supporting Pink Industry. But by this time the writing was on the wall for Shiny Two Shiny.


                                                                                                                                                                                                          Second Two: Chapter Home

                                                                                                                                                                                                          When you hear a band with something different about them, something unique, that rare and precious quality, the shock of the new, you just know.

                                                                                                                                                                                                          Barcelona’s Seward are extraordinary. A four-piece that don’t go in for typical song structures that captivate one minute with a heart-tugging melody, before collapsing into thrilling noise the next. They ascend from delicate acoustic beauty to dissonant chaos, from atmospheric samples to scrunching wreckage.

                                                                                                                                                                                                          Second Two: Chapter Home for Naim Records (home of the Mercury Prize-nominated Eska) is a stunning work of art. A record to get lost in. These are unconventional, original songs that ditch the tired verse-chorus-verse structure but trigger the same addiction cravings that the best pop music can.

                                                                                                                                                                                                          It’s the follow-up and third part of a trilogy of albums that began with 2011’s Home: Chapter One and continued with 2014’s Home Was a Chapter Twenty Six. Mixed and mastered by regular collaborator Matt Pence (Midlake, American Music Club, John Grant) at his Denton, Texas studio The Echo Lab, it’s their definitive album. Second Two: Chapter Home encompasses so much and demands to be heard in its entirety.

                                                                                                                                                                                                          They call their music ‘free song’. It’s a new appellation for a new musical age, a determination to avoid using those same genre names that haven’t changed for decades.

                                                                                                                                                                                                          They’re a band borne from live performance. They thrive upon it. Their recordings always aim to capture the feeling of playing live. You can hear the room, the air. The sense of space; the tension and electricity.

                                                                                                                                                                                                          Seward have picked up plaudits from music sites Line of Best Fit and A New Band A Day, performed for John Kennedy’s XFM show and picked up a growing host of fans from stellar live performances at SXSW in the States, the UK’s Great Escape festival, Vive Latino in Mexico, Exit in Serbia, Sziget in Hungary, Pohoda in Slovakia and Spain’s Primavera Sound. Seward prefer to let their music breathe. They haven’t opted for the usual online portals to get their music out there. To hear their album, you need to buy it.

                                                                                                                                                                                                          Seward are your new favorite group. And they’re about to begin their most momentous chapter yet. Time to turn the page and make your own discovery.


                                                                                                                                                                                                          Person L

                                                                                                                                                                                                            STACIAN is Person L is Oakland resident, solo artist and academic Dania Luck. Beginning in the American Mid West, Stacian has been an ongoing Bay Area concern since 2008, deeply involved in the minimal wave and underground electronic music scene. A dystopian vision of alienated humanity, broken communications and technoid mal-forms, Person L is her most fully developed full length and a leap forward from 2012’s Songs For Cadets.

                                                                                                                                                                                                            Moving away from the primitive Cold Wave of previous work, Person L manages to create a bleak dystopia without relying on Ballardian cliche, though still invoking concrete prisons and urban disassociation. Person L is a throbbing, murky underworld that revels in imperfections, a submersive, digital swamp bleeding through the club. Themes of humanoid alienation and identity confusion abound. Person L is the nominal (and sole) band member of STACIAN, a manifestation of Luck’s that re-creates a near-human face in the mirror.

                                                                                                                                                                                                            Album opener Volx is a massive stomper, 909 kicks bringing an almost electro-glam thump into the stereo field. Luck’s skill as Person L and as STACIAN is in maximilising minimalism. Volx is a simple composition, an arpeggiated analog synth and simple kick-snare but it creates the drama Luck’s vocal thrives on. Headstand is similarly huge sounding, though here the track unfolds gradually with synth strings eeking out a simple melody before the catastrophising kick ramps up the pressure. It’s a wonderful exercise in abstraction vs. body moving dynamics. Album single Telephonix is the closest thing to a conventional pop song on Person L, with murky electronics belying a thrilling Cold Wave dancer.

                                                                                                                                                                                                            We’re lost in the throes of miscommunication: in placing our trust in electronic communications we’ve divorced ourselves from human interaction. On Side 2, Dirgent heralds a darker portion of the album. A slow burner with a blown-out low end anchoring the doom, it marks a dark wave of distortion that swells up and consumes the listener. The narrative turns in on itself Remote Cntl, ironically marking the most human of the tracks here.

                                                                                                                                                                                                            Though the album is devoid of any overt feminist sentiments, here Stacian covertly samples a male voice man-splaining electronic music before burying him in electronic sludge. It’s absurdly thrilling. Spooky Action At A Glance takes John Carpenter-esque atmospherics into Stacian’s Maximalist approach, the horror blow up to kitch, day-glo proportions. Album closer gNoMoN takes a dub rhythm and blasts it into the Cold Wave outerverse, a menacing doom to close Person L.

                                                                                                                                                                                                            Over a decade since The Magic Numbers landed in the Top Ten with their double platinum-selling debut album, Michele Stodart takes temporary leave of the band she formed with her brother Romeo in order to release her second solo album, ‘Pieces’, on One Little Indian.

                                                                                                                                                                                                            STAFF COMMENTS

                                                                                                                                                                                                            Barry says: Former magic number pulls out a wistful collection of Americana-tinged soulful anthems. Understated tales of longing and pain, grand instrumentation springing from a solo acoustic guitar, and Stodart's trademark pitch-perfect vocals. Recommended.

                                                                                                                                                                                                            Ian James Stewart


                                                                                                                                                                                                              Arcticana - The second solo album from vocalist, guitarist songwriter Ian James Stewart features guest including Foss Paterson on piano/keyboards (John Martyn, Bonnie Raitt) Yaron Stavi on upright bass/cello and electric bass ( Dave Gilmour, Blockheads) Robert Wyatt -vocals , Alice Barnard -Backing Vocals Thom Reuben Whitworth - Trumpet as well as Davey Stewart -Bass Jim Drummond -Drums and percussion. The follow up to 2013’s ‘Junk DNA” is a beautifully crafted deep rich musical experience with thought provoking words and great performances from the assembled musicians. Stewart has many influences from Joni Mitchell, Blue Nile to Pink Floyd but always seems to manage to express himself in his own unique way. From his soulful vocals to his rich textured guitar playing ‘Arcticana’ is just simply a wonderful album with great songs that reflect Stewarts view of today’s world. Track listing: March To The Right; Who Knows Where; Arcticana; Your Love; End of the World; Blue Alice; Funny; So Wrong

                                                                                                                                                                                                              So Stressed

                                                                                                                                                                                                              The Unlawful Trade Of Greco-Roman Art

                                                                                                                                                                                                                The first release from Honor Press, a label founded by Meredith Graves of Perfect Pussy. Packaging includes lyric sheet insert and full color inner sleeve So Stressed initially began in Sacramento, CA as a largely improvisational noise project that included the band’s three members (Morgan Fox, Andrew Garcia and Kenneth Draper). Over time, the lineup was refined and their sound coalesced into what's heard on 'Unlawful Trade,' a technically meticulous but anxiety ridden and sometimes terrifying cry which calls to mind everything from Q and Not U to No Trend and the Minutemen.

                                                                                                                                                                                                                At times, Fox's lyrics bring to mind the emotional distress and social reservation seen in Wire and Wall of Voodoo. The fact that their sound is so violent and tense as to be physically disarming is almost deceptive; the members of So Stressed are kind, conscientious and smart young men. Writing this album took more than two years (and recording took more than six months) due to a common habit of throwing away fully formed songs deemed to be even slightly less than perfect. All this was done with no goal in mind - if no one wanted to release it, Fox says, "we were just going to delete it." Honor Press could not be more pleased to offer this as our first release. 

                                                                                                                                                                                                                'Slugger', the debut LP from Sad13 a.k.a. Sadie Dupuis, prioritizes self-possession in every sense. Sadie, who fronts the dynamite grunge-pop band Speedy Ortiz, forewent her usual modes of collaboration on Slugger, writing and producing the record herself–“to exorcise my control-freaky demons,” she says.

                                                                                                                                                                                                                After Sadie moved to Philadelphia in early 2016, Slugger quickly began to take shape: “I wrote and played and recorded almost all of it in the two weeks I was subletting a friend’s tiny bedroom,” she says. Fittingly, directness, self-determinism, and intimacy are the bedrocks of Slugger’s overall tone. Sadie maintains her dignified wit even in less-than-ideal entanglements, as on the album’s opening track, “<2,” styled to resemble the level of affection of which a heart is capable when it’s been twisted out of shape. “I’m in less than two with you,” sings Dupuis, her crystalline voice steadfastly delicate and assured, recalling self-proprietary forebears like Liz Phair and Fiona Apple.

                                                                                                                                                                                                                Imitating the reflexive wordplay of Slugger’s lyrics, Sad13’s bedroom recordings are largely about bedroom-based themes. She chews on what it means to give and receive consent, sexual and romantic autonomy, finding new modes of enjoying love and boning after destructive partnerships, shredding joyously past misogyny and other exclusionary gender politics, and so many more exploratory, non-exploitative areas of love. Throughout Slugger, Sadie makes her motives and desires invitingly clear. As she sings on the song “The Sting” , “You don’t know how I’d like to say yes”—but she intends to tell you, and to be heard in kind.

                                                                                                                                                                                                                Slugger–produced by Dupuis, mixed by Gabe Wax (Beirut, Wye Oak, Boots) and mastered by Emily Lazar (Sia, HAIM, Sky Ferreira)–is less rock-principled than Sadie’s other projects, but the talented guitarist makes intelligent work of her instrument throughout the record. The guitar lines are layered with synth melodies written on her laptop and are, occasionally, joined by live drums from Julian Fader (currently of Ava Luna; formerly bandmates with Sadie in Quilty).
                                                                                                                                                                                                                This matches Sadie’s penchant for bright, tricky assonance and Wilde-style wit, her verses like sailors’ knots tying her instrumentation carefully in place. Her MFA in poetry from—and stint teaching writing at—UMass Amherst are apparent. This is also true of the rapper, producer, and PhD student Sammus’s guest appearance on the album’s final track, “Coming Into Powers,” where she raps, “I’m a star/ I’m a pulsar.” The song closes the loop on a thought ribboning around Slugger on the whole: As Dupuis sings, “I want a life where I can be who I like / Look at me, looking back at me, recognizing who I see.” Slugger identifies an artist and person who, throughout this record, is her own best company.

                                                                                                                                                                                                                Soft Healer


                                                                                                                                                                                                                  Soft Healer's latest release, EP, is brilliant. In the Austin band's highly crafted sound, there are levels of everything from the deeply eerie to the warm and fluid, and in their attempt to make expansive but subtle songs, their sound is reminiscent of foreplay. It touches lightly on specific organ keys here, then beats gently on tom-tom drums there, and with the vocals emanating and growing amongst the reverbed walls, you'll find this release feeling as rare as a vintage child's toy. They're intimate and jarring, nuanced and deliberate. Though it may only be four songs, EP brings with it a distinct tone that gets set in the same way reading an epilogue before diving into a new book does the same. --IMPOSE.

                                                                                                                                                                                                                  FORMAT INFORMATION

                                                                                                                                                                                                                  Ltd LP includes MP3 Download Code.

                                                                                                                                                                                                                  In May of 1979, UK native Martin Newell was 26 years old and in transition. He’d just split up with his girlfriend and moved out of the Colchester house they’d shared for four years. A month later, Newell also stepped down as the singer for Gypp, a band he’d been in for three years. Though they had a great live reputation and a strong regional following, Newell, with some misgivings, felt their music was out-of-step with the times. That same year he turned down the offer of a literature degree course at university as well. He had a part time washing-up job, a guitar and a room in a rambling, boho house. He could just tear the whole thing down and start again.

                                                                                                                                                                                                                  That summer friend and recording engineer Dave Hoser heard some of Newell’s demos and offered to help record them on his 4-track equipment, dubbed ‘The Octopus Mobile’. With some of Newell’s former optimism and energy restored, he put together a new band: the then 23- year-old drummer Michael ‘Stix’ Natkanski, former Gypp bass player Tony Phillips and Braintree guitarist Malcolm Burch (AKA Max Volume). Calling themselves The Stray Trolleys, the music here predates Newell’s work as The Cleaners From Venus and the bulk of the sessions on their sole album, ‘Barricades And Angels’, were recorded at Octopus Studios during spring and summer of 1980. Amazingly, although they had little to no rehearsals, all backing tracks were recorded fairly quickly and everyone got on well, especially in the pub afterwards.

                                                                                                                                                                                                                  CD and LP digital download card include bonus track ‘Mrs. Killer’.

                                                                                                                                                                                                                  Spider Bags

                                                                                                                                                                                                                  Frozen Letter

                                                                                                                                                                                                                    Formed in 2005, Chapel Hill, North Carolina’s Spider Bags were largely a revolving cast, with only Dan McGee (guitars, vocals) persevering through the various incarnations of the band. But during the 2011 recording of Shake My Head, the current lineup consisting of Steve Oliva (bass) and Rock Forbes (drums) was finally solidified. Building upon the foundation laid down by its predecessor, Frozen Letter rocks with the clairvoyance of three musicians who have spent a lot of time recording and touring together over the last few years.

                                                                                                                                                                                                                    “When we started this record, we weren’t even thinking about it being released. We just did it to have fun and keep moving forward,” says Forbes. This approach allowed the band to push itself further out into the psychedelic frontier than ever before, aided by engineer/producer Wesley Wolfe. Recorded mostly live over the course of a few days, there’s an exhilarating urgency to the record, as heard in riff-driven rockers like “Back With You Again in the World” and “Chem Trails.” The band brings the tempo down a notch for “Coffin Car,” which finds them mining an ominous morbidity over one of their prettier chord patterns. “We Got Problems” comes on like a true acid trip, alternating between utter terror and unfettered joy. Featuring a heavy and repetitive pattern, a slew of effected guitars, and searing guest leads from Superchunk’s Mac McCaughan, the song encapsulates an entire Spider Bags epoch in under six minutes.

                                                                                                                                                                                                                    Frozen Letter is the band’s fourth full-length record overall and first for Merge Records.

                                                                                                                                                                                                                    Summer Flake

                                                                                                                                                                                                                    Hello Friends

                                                                                                                                                                                                                      Summer Flake returns in full force with Hello Friends , the followup to the critically acclaimed 2013 debut LP You Can Have It All . The album marks a new era for Melbourne-via-Adelaide musician Stephanie Crase (whose former credits include No Through Road, Birth Glow, Hit the Jackpot and Batrider), having enlisted the production finesse of Geoffrey O’Connor to propel her idiosyncratically sun-drunk guitar pop into new and more lush territories.

                                                                                                                                                                                                                      Drenched in a timeless reverb, Summer Flake’s transcendent songs float on the ethereal wings of pop , via the Crystals and the Paris Sisters, wander down the lonely byways of Karen Dalton and Laurel Canyon folkies, amble up alongside the hard-edged ’90s alternative rock of Hole and Sonic Youth, before finally emerging into the sunshine of other dream-pop contemporaries like Best Coast or Mac DeMarco. It’s only the second full-length release for Summer Flake but Crase’s output has been prolific over the last four years, with four EPs under her belt that garnered increasing attention in Australia and internationally.

                                                                                                                                                                                                                      Hello Friends continues Crase’s tendency for the thoughtful arrangements, ’90s-tinged frankness and dizzying harmonies that have led her from strength to strength, this time adding a deeper layer of emotional reflection to an already enduring sound. These songs, as delicate as a snowflake on a summer beach, unmoor one from the drudgeries of place and time, and Hello Friends confirms Summer Flake as a band to watch.

                                                                                                                                                                                                                      “Like Angel Olsen and Waxahatchee? Prefer more nostalgic
                                                                                                                                                                                                                      references, how about PJ Harvey, Look Blue Go Purple, Hole, and
                                                                                                                                                                                                                      mellow Sleater-Kinney cuts? What’s that you say? They’re some your
                                                                                                                                                                                                                      favourite musicians! ... [Y] ou’ll love Summer Flake.” — Catalogue Magazine.


                                                                                                                                                                                                                      Mental Health

                                                                                                                                                                                                                        Albert Sjöstam and Christoffer Fransson are behind the seven tracks that will force you to some ass and mental bending. Höga Nord gladly supports that type of activities and delivers 300 copies of pure white vinyl. Opening track Cha cha cha goes in like russians on a tour de france frenzy. The album continues with Second hand smoke - pure hypnotic chaotic anarchoi kraut. Beautiful and toned down Turn your illness into a weapon will mellow your mind to (un)comfortable numbness. Closing track Dope Rider aims deep down for the underground. Proper music to go mental to while studying health with your brain is one way to sum it up. Good music another one. Regardless: Stay safe. Hate will eat you whole even tough you might fail when you must sail. Stay Höga! 

                                                                                                                                                                                                                        Riding on a cloud of smoke, psychedelic travelers Shadow Band make sounds that move like foggy dreams from fantastical lands. Their patient but powerful songs set in motion a series of refracting echoes that call forth images of medieval battles, spirits unseen by human eyes, and the gentle, constant pulsing of the universe. The band formed organically around the songwriting of Mike Bruno, a quiet figure whose vibrant mental landscape is the center of the group’s orbit. Growing up in New Jersey, Bruno immersed himself in a self-made world of gloomy sonic alchemy, honing his songcraft as a solo act in New Brunswick's small-but-dedicated freak scene. The early years saw Bruno attracting a rotating cast of area heads around his growing arsenal of songs and dubbing it Black Magic Family Band. The sprawling web of artists varied with every gig and recording session, but the roots of Shadow Band started here. Sonically, the homespun production mirrors the communal environment in which they were made. Layers of murky instrumentation congeal into a singular sound, with strange stringed instruments, theremin vibrations and buried percussion all washing by as a solid alien texture. Songs melt into one another to the sound of distant birds and pagan pan flutes only to rise up in swells of unholy synth.

                                                                                                                                                                                                                        Shelf Life

                                                                                                                                                                                                                        Everyone Make Happy

                                                                                                                                                                                                                        Shelf Life is longtime Philadelphia sideman / recording engineer Scotty Leitch, recently seen drumming for Alex G. He’s stepping out front to release his first album of solo material, ‘Everyone Make Happy’, on the venerable Lefse label.

                                                                                                                                                                                                                        Album opener ‘The Curse’ is a homespun 1990sstyle indie rock chestnut delivered with warmth and idiosyncrasy. Lazy acoustic strums and trippy keyboards serve as the basis for Leitch’s charmingly twee narration, filtering memories of early Modest Mouse and Built To Spill through his own distinct musical perspective. It’s one of those introductions that leaves a huge impression without making a big show of it.

                                                                                                                                                                                                                        “The first leak from Shelf Life’s debut full-length, ‘The Curse’, is about facing your demons. Its somber acoustic melodies and deadpan, occasionally grim poetry (‘Talk to the ghost of my dad’s mom / About nothing but heaven and the cancer in her gut’) reminds me of something David Berman might have dreamed up with his great, probably-not-reuniting indie-rock band, Silver Jews.” - Fader

                                                                                                                                                                                                                        Total Freedom is the long-overdue long-form platter from Philadelphia’s Spacin’, low-key torchbearers of both John Sinclair’s bold program and the “less is more” aesthetic (often much more) exemplified by Lou’s time with Morrison and Tucker and Cale.

                                                                                                                                                                                                                        Guitarist and vocalist Jason Killinger blazes the path and lead guitarist Paul Sukeena and bassist Sean Hamilton vamp on economical electric chugs while drummer Eva Killinger reprises her role as thee undisputed master of basement motorik. As a handsomely illustrated insert attests, the whole thing is punctuated by flourishes from some of the most celebrated talents of this town’s percolating stew. Blast it soon or remain condemned to a billion years probation.



                                                                                                                                                                                                                          Soulsavers release their new album ‘Kubrick’ through San Quentin.

                                                                                                                                                                                                                          Self-produced and recorded at various studios around the world, including Sunset Sound, Real World and Air Studios.

                                                                                                                                                                                                                          ‘Kubrick’ is an extraordinarily poignant, unashamedly beautiful instrumental Soulsavers album whose sumptuous strings, opulent woodwinds, resonant drums and soaring organ, piano and guitar melodies offer an often subtle, sometimes epically cinematic seduction.

                                                                                                                                                                                                                          Each of the album’s eight dextrously arranged essays is named after a different character from the iconic oeuvre of maverick moviemaker Stanley Kubrick but, as the band’s Rich Machin is keen to point out, the album is not so much a musical homage to the director’s films as a journey into the kinds of emotional landscape and allembracing atmosphere the great auteur delighted in creating.

                                                                                                                                                                                                                          TEEN’s new album, Love Yes, explores the disharmony and empowerment that both sexuality and spirituality can create within the modern woman’s psyche. Universal ideas of loyalty, pleasure, purity, power, aging, and love are confronted with a knowable specificity. There is a quality of wholesomeness, but also an edge—a kind of wise anger and electricity.

                                                                                                                                                                                                                          After extensive touring following their breakthrough release The Way and Color (2014), the band had to keep traveling to find Love Yes. The group first went to Woodstock in the dead of winter to write new material. Here, keyboardist and singer Lizzie Lieberson created the stunning, autobiographical “Please.” But the band, and especially lead singer and multi-instrumentalist Teeny Lieberson, felt a crushing lack of creative energy. Recognizing the need to recharge, they took some time off. Teeny moved to a small lakeside cabin in Morehead, Kentucky. Surrounded by rolling hills, sparked with sudden thunderstorms, and inspired by the musical joy of uninhibited late-night bluegrass jams and barn parties, Teeny immediately began writing again. Here she felt a new freedom in her songwriting; drawing on themes important to her identity as a woman, and exploring love, sexuality, and the tension between desire and the construct of desire that can exist within oneself, in relationship, and within society.

                                                                                                                                                                                                                          After three weeks in Morehead, Teeny returned to New York to workshop with rest of the band, including drummer Katherine Lieberson and bassist Boshra Al-Saadi. Acknowledging the benefits of being creative in a cocoon like the lakeside Kentucky country, the band decided to record at the Old Confidence Lodge, in secluded Riverport, Nova Scotia. Leaving the noise and relentless energy of the city behind, TEEN retreated into the nurturing stillness of Nova Scotia, the Lieberson sisters’ childhood home. Situated on the La Have River, the studio was hidden in a perpetual mist while the band recorded day and night. Fueled by new material, a change of place, and creative collaboration, the lull of the winter lifted and the band came together in a new way. Teaming up once again with producer Daniel Schlett, TEEN wanted to capture the energy of full band recording. Rather than multi-tracking, Schlett worked with the band as they played the songs relentlessly, waiting to achieve the right energy and take as a group.

                                                                                                                                                                                                                          The result is a beautiful, detailed album about womanhood and the embodiment of the sensual, played by a group fully in step with one another. Love Yes bursts into the static air with a vibrancy recognized by its confidence and power.

                                                                                                                                                                                                                          On the album cover, the quartet is bejeweled in crystals and bathed in Venusian red. This red is the colour of vitality and pulsing life — unmistakable traits of Love Yes. It is the iconic red of Dorothy’s slippers and Eve’s apple — potent with society’s tales and notions of innocence lost. In Love Yes, something else more mysterious and tender is gained.

                                                                                                                                                                                                                          Swedish trio Svvamp is the real deal. Countless bands today strive to sound genuine -- whether faking their way through a ProTools pastiche of carefully assembled takes, painstakingly tarnishing tracks to give them a “live feel” or simply copying the style of their favourite band. And, usually, their posturing is entirely transparent. Every once in a while though, you find a band without self-conscious pretence that truly echoes the mood and vibe of an era when the rulebooks were burned with the draft cards and the act of playing rock’n’roll was simultaneously defiant and inherently casual. Svvamp is just that type of primordial beauty captured on a perfect 11-song debut. Svvamp was created by three friends - Adam Johansson, Henrik Bjorklund and Erik Stahlgren - drawn together for the sake of jamming and a love of rock, folk and blues. Their resulting heavy psych sound is immediately gripping in its homespun feel and hints of Cream, Eric Bell-era Thin Lizzy, CCR and Crazy Horse.

                                                                                                                                                                                                                          “Serpent in the Sky” kicks things off with a syncopated bluesy riff romp, while “Burning Down” echoes the stomping freeform feel of the New Yardbirds’ “How Many More Times.” Once things settle in to the laid back shuffle of “Free At Last”, Svvamp really finds its groove and lets loose like Axis: Bold As Love Jimi Hendrix . “Time” sounds almost like Ziggy Stardust era Bowie with a boogie swagger and cheeky vocals. “Set My Foot and Leave” sounds as earnest and unpretentious as The Faces (and at times like Rod Stewart’s “Maggie May”, without all that shaggy, smug Rodness). Elsewhere, “Blue In the Face” slips into a heavy groove while “Oh, Girl” bashes out stop ’n’ go riffs with the Marshall stack dramatics of Blue Cheer . Chiming mandolin and acoustic guitars lead the charming closing anthem, “Down By The River" (not the Neil Young song).

                                                                                                                                                                                                                          Flying Fantasy was recorded and mixed by Scott Solter, known for his work with St. Vincent, Superchunk, The Mountain Goats, and many others. As an accomplished 12-string guitarist/composer, Alexander Turnquist was naturally alarmed when the ulnar nerve in his left hand seized up in 2013, but after a surgical procedure he gratefully started the process of learning to play guitar again. His recovery was cut short when not long after the surgery he was hospitalized with meningitis. Though his recovery is ongoing, and he continues to struggle with a weakened immune system and memory loss, he was inspired to soldier on, rather than being deterred by his physical struggles.

                                                                                                                                                                                                                          Turnquist's latest full-length Flying Fantasy confirms the idea that out of great hardship can come great art. As he wrote the material for the new album it became clear that his sensitivity had sharpened, his empathy magnified, and his sense of purpose blossomed. The unfortunate circumstances he endured ostensibly forced his metamorphosis from a remarkable guitar player to a truly great composer. Much like the butterflies that adorn the album cover, he seems to have changed form and taken flight.

                                                                                                                                                                                                                          The album opens with the sparse harmonics of "House of Insomniacs", which are soon joined by lush swells of vibes, cello, and even wordless vocals. On the tracks that follow, Turnquist continues to make use of this dynamic sonic pallet, even adding organ, piano, marimba, steel drums, violin, and french horn to the mix. From "Red Carousel", which was inspired by Ray Bradbury's Something Wicked This Way Comes, to the somber lilt of the love song "Wildflower", to the truly arresting title track "Flying Fantasy" which uses only 4 open strummed guitars and loops of damaged tape and wire recorders, every note vibrates with life as Turnquist ushers us though his intoxicatingly colorful worlds of sound.

                                                                                                                                                                                                                          "By embedding both new age and noise-oriented electronic themes into his pastoral pieces, Turnquist unites disparate traditions and ideals, essentially employing sonic counterweights to construct 57 minutes that are as surprisingly dynamic as they are perfectly beautiful." PITCHFORK (8.2) .

                                                                                                                                                                                                                          Timmy's Organism

                                                                                                                                                                                                                          Singles & Unreleased Tracks

                                                                                                                                                                                                                            Timmy Vulgar, Detroit's favorite son, and most ambitiously amphibious creative force doesn't need much of an introduction to anyone familiar with subversive punk music over the past decade and a half. He's been such an irreplaceable figure in each of his musical endeavors since his emergence in such legendary acts such as the Epilieptix and Clone Defects back in the late 1990s, right up through his shape-shifting efforts in the mollusk-like Human Eye and the prog-soaked Reptilian Forcefield, and straight into his latest nerve-numbing scatterbomb known simply as Timmy's Organism. We've been lucky to have bore witness to Timmy's metamorphosis many times over during these crazy years, and with this unit coming as close as it gets to "solo material," you the listener, can get an intimate encounter to vacuuming up the pieces of Mr. Vulgar's shattered heart, spread over two full LPs worth of out-of-print 7" singles, and for the dedicatedly faithful, an entire album's worth of unreleased tracks.

                                                                                                                                                                                                                            When the White Stripes decided to take Timmy's earth-moving Clone Defects on their first major national tour in 2000, we knew that we weren't alone in this infatuation, and forcing the curiously benign audiences to endure this infected strain of mutant punk throb was one of Jack White's most important moves as a budding curator of the underground, at such a pivotal point in time. I have an incredible Canderson photo of the Clone Defects onstage in 2000 at a huge venue, framed right above my desk, with the bland, alienated crowd, fingers-in-ears reacting to one of the most important musical experiences of their lives. It's a daily inspiration, as has been everything Timmy has touched ever since. Sure it's not for everybody, and that's what makes the dimly lit underground punk world so exciting, and worth risking your life and your livelihood for, over and over again. And that's just one of the many reasons Vulgar is still one of the most important figures in music today, and why his recorded output will surely fill not only museums and exhibits someday, but the folklore passed to the next generations by those who were lucky enough to get exposed to his unique personality, as well as his many varied recordings, all of which seem to invoke "instant classic" status upon release.

                                                                                                                                                                                                                            Yes, I've been tapped to write many of Vulgar's press releases over the years, and it's always a welcome assignment, not to mention my only chance to use tacky terms such as "expired lunchmeat punk" and "disemboweling synthesizer squeal" in a serious context, and thanks for that! But back to the monster at hand, this massive 2LP 'Singles & Unreleased Tracks' collection is a cranium-swelling blast of his best tracks from the numerous 7" releases on Sacred Bones, Bat Shit, Goner, Douchemaster, Goodbye Boozy, Cass, and Hozac, along with unreleased tracks from his deep vault of garishly nightmarish goodies you've still not yet laid ears upon. Spanning a full spectrum of deranged styles, from the intimidating visceral to the rivetingly morose, this collection might just expose you to another side of Timmy you never knew existed, and yet another reason to hang on for dear life as we all wait anxiously for what he does next. Dedicated to "Fast" Eddie Altesleben, RIP.

                                                                                                                                                                                                                            Recommended If You Like: Clone Defects, Human Eye, electric eels, Piranhas, Alice Cooper Band, Edgar Broughton Group, Debris, George Brigman

                                                                                                                                                                                                                            Tom The Lion is a uniquely rich tapestry of sonics and songs that get more intense and irresistible with every listen. Sleep is shaping up to be one of the ,most enticing and atmospheric records of 2014.

                                                                                                                                                                                                                            FORMAT INFORMATION

                                                                                                                                                                                                                            2xLP Info: Limited edition white vinyl pressing in deluxe tracing paper covered sleeve, includes exclusive photo, CD version of the album plus a CD containing 4 live tracks.

                                                                                                                                                                                                                            Turning Shrines

                                                                                                                                                                                                                            Face Of Another

                                                                                                                                                                                                                              THIS IS A RECORD STORE DAY 2013 EXCLUSIVE, LIMITED TO ONE PER PERSON.

                                                                                                                                                                                                                              The one-sided 7" from Jorge Elbrecht and New York-based Tamaryn features a cover of Turning Shrines "1/4 Circle Black" - a track which almost feels tailor-made for Tamaryn's brand of lush shoegaze.

                                                                                                                                                                                                                              Mexican Summer is excited to re-release this rare 12" EP from Turning Shrines, uniquely accompanied by a 7" from Jorge Elbrecht featuring current Mexican Summer signee Tamaryn.

                                                                                                                                                                                                                              Turning Shrines was one of a handful of projects from revered electronic artist Fred Giannelli, perhaps best known for his work with Psychic TV and under other aliases including Kooky Scientist and Acid Didj. Turning Shrines was a trio made up of Giannelli, Neal Sugarman and Leslie Asako Gladsjo. Temple Records (Psychic TV’s own imprint) released Face Of Another in 1984, followed by one LP Cinnabar and Porcelain in 1988 -the second and last ever official release from the project.

                                                                                                                                                                                                                              After meeting the founder of Temple Records in Boston in 1984, a 24-year-old Fred decided that he would document his development as as musician and music producer and finance an actual record of his own! material. Fred had also done! extensive live sound for various bands in Boston area clubs since 1980 and was working in a recording studio throughout the early 80s learning the craft. The four tracks which make up Face of Another showcase the early fruits of this craft - ghostly vocals and reverberating guitar swirls, all held together by Giannelli's unmistakeable synth work.

                                                                                                                                                                                                                              500 Copies for the UK

                                                                                                                                                                                                                              The bouncy, surf-esque qualities pitch Total Babes a million miles from their Cloud Nothings connections (the bands share the octopus-onamphetamine drumming of Jayson Gerycz), with ‘Heydays’ instantly presenting itself as a beachcombing ode to sweaty summers.

                                                                                                                                                                                                                              Lead by the undulating basslines of Nathan Ward (Smooth Brain / Cruelster) and fleshed out by warped synth work John Elliot (Emeralds / Outer Space), the choruses are a masterclass in indie rock’s ability to shift perceptions - “I only want to be beautiful,” frontman Christopher Brown cries but it’s in their rough edges that Total Babes really shine.

                                                                                                                                                                                                                              For fans of Cloud Nothings, FIDLAR, Wavves and Eagulls.

                                                                                                                                                                                                                              Thus Owls are a transatlantic band comprised of husband and wife duo Erika and Simon Angell. The album is both a scrapbook of memories and oral transmissions from an island in Sweden, and a sonic experiment in tone and colour recorded in Montreal.

                                                                                                                                                                                                                              Turning Rocks is lyrically inspired by Erika’s childhood home: a small house in her family for generations, in a tiny village on Orust—an island in Sweden just north of Gothenburg. The process began with true stories that Erika’s grandmother told her about people and events from her own youth. “She was a little girl growing up on the exact same land and in the same house as I did,” Erika explains “so when she spoke about all those things I felt very connected to it.” The process followed from there, with each song on the record drawing inspiration from a different human life somehow connected to the place.

                                                                                                                                                                                                                              Though Thus Owls sound is rooted very much in Erika’s vocal style and Simon’s guitar tone, the new record also emphasizes a wider sonic palate. “We realized a lot of the things that was catching both our ears were those old vintage 60s organs,” Simon explains, when discussing their musical inspiration. “So we started buying a bunch of them: a Farfisa, a Wurlitzer,” he goes on, noting that their new keyboard player, Parker Shper, shared their enthusiasm for the older gear. “It was a nice fit,” he says, and it comes through on the recordings. In addition to Parker, Montreal drummer Stefan Schneider was added as a permanent fixture of the group, and he along with Swedish bass player Martin Höper round out the core band on the recordings. Notable guests on the record include Timber Timbre’s Taylor Kirk (who sings on closer, “Thief”), Pietro Amato, and Marie-Pierre Arthur.

                                                                                                                                                                                                                              Thus Owls originated in Sweden as an outlet for Erika’s songs. She met Simon by chance while the two were touring in Europe as part of different bands that were paired on the same bill. Erika recalls that she “fell in love with Simon’s sound right away,” citing the “harshness and the sweetness combined” of his guitar, as well as his experimental approach to music. It wasn’t long before they were married, and making music together as Thus Owls.

                                                                                                                                                                                                                              Fronting some of the most original, compelling and unpredictable bands (not only in Detroit, but the world) for over two decades, Tim Lampinen’s work with the Epileptix, Clone Defects, and Human Eye has always held a rapturous cult following. Yet his work with his current trio, Timmy’s Organism, presents Lampinen (aka Timmy Vulgar) along with bassist Jeff Giant and drummer Blake Hill, ready for their close-up. With Heartless Heathen the group touches on their artistic and spiritual forbears of Captain Beefheart and Destroy All Monsters, while amply ramping up the slop culture rapture of classic punk ‘n’ roll like Chrome, Crime, and the Damned as well as contemporaries like Thee Oh Sees. There’s a reason why Lampinen won a $25,000 Kresge Grant for his work with his bands...he creates music that borders on art, live shows that border on theater. It’s high time the rest of the world takes notice. Are you ready?

                                                                                                                                                                                                                              The Terminals


                                                                                                                                                                                                                                The Terminals are the best rock band New Zealand has ever produced. Period. There’s heavy competition, but believe it. No group has lasted over three decades and maintained such intensity, structure and mood better than the core team of Steven Cogle and Peter Stapleton. Cogle’s voice is a quavering incantation of deep spell-casting, throwing more dirt onto already gritty guitar squalls. Stapleton’s rhythm section propels songs through lightning charges of tempo and energy. Age has only embedded the band’s mastery of deep sonic realms. The ten years between their last album, Last Days of the Sun, and the release of Antiseptic whip by in a flash when these records are played next to each other—they never disappoint, they never relent.

                                                                                                                                                                                                                                This latest album does mark some changes, however. Longtime guitarist Brian Crook now lives in the California desert, so Nicole Moffat has replaced him, providing violin and vocals. Mick El Borado thickens the atmosphere with his improvisational keyboard playing. A group that has stayed together so long knows instinctively where a song can go, although it is often the maverick pieces—ones that at first don’t seem to belong—that end up on the records. Their work together has become only more sagacious, and The Terminals don’t waste an intended or improvised note. This is a peerless rock album—think of another group who’ve stayed as heavy, as broke, and consistent for this long.

                                                                                                                                                                                                                                Tut Vu Vu

                                                                                                                                                                                                                                Slow Sound Horn EP

                                                                                                                                                                                                                                Slow Sound Horn is Tut Vu Vu's debut solo release, and is the flagship offering from new label / creative collective JAS POW; the brainchild of Dave Maclean (Django Django) and Andy Wake (The Phantom Band).

                                                                                                                                                                                                                                Slow Sound Horn was recorded in the Glasgow suburb of Cumbernauld, in 2012. It was mixed and mastered by Iban Perez.

                                                                                                                                                                                                                                Tut Vu Vu is a Glasgow-based ensemble created by former members of now legendary cult "Horror R&B" band Uncle John & Whitelock - Raydale Dower, Matthew Black and Jamie Bolland, with the addition of Iban Perez (L Casio Immunitas, Mussel Memory, Sparkling Shadazz).

                                                                                                                                                                                                                                The following words are printed on the record sleeve of JASP001:

                                                                                                                                                                                                                                At this point the critic is meant to roll out the screaming factories and the melodies hidden in pavements, the occult codings of the streets and the hidden galleries of the city: to celebrate the excluded cultures that grow like mould in the margins and cracks. A release by Tut Vu Vu. like their guerilla performances and surprise gigs that pop up in unexpected venues, is an event, a snapshot of a band firmly in the moment but essentially timeless. A joyous union of free jazz, Musique Concrète and high concept visceral rock, Tut Vu Vu inspire the writer to chase hyperbole, to capture that wild, electric sound, to describe the towers and plunge to the depths, only to surrender and simply point, dumbstruck.

                                                                                                                                                                                                                                It is a well known trick of the critic to complain that words are not enough, and so, like the Buddhist pointing at the sky, I can only shout:

                                                                                                                                                                                                                                "Ignore the finger and look at the moon."

                                                                                                                                                                                                                                It's only an excuse: the trick is not to boil down and clarify what Tut Vu Vu are doing, but to provide something that accompanies the experience. That Tut Vu Vu are as rooted - if such mercurial music can be said to have anything so static as foundations - in the howling art sculpted from the muddy banks of the industrial river: growing strong as they crouch in the shadows, sustained by endless collaborations with found spaces and rediscovered sounds.

                                                                                                                                                                                                                                Their ancestors are not the banal fusions of jazz and rock, nor the academic exercises of minimalists or serialists - although they take that tradition and reinvigorate it. Rather, they echo the drums of Neolithic settlers, slapping wood with skin to soundtrack barely comprehensible rituals - they recall the stamp of bare feet in the early theatre - they make music that would soundtrack the experiments of Dada, Surrealism, the angry edge of conceptualists. Tut Vu Vu don't imprison the words of the critic.

                                                                                                                                                                                                                                They liberate, they challenge. Bland documentation will not do, flights of fancy are insufficient. They encourage a response that evokes and invokes, expands and retracts. Fully aware of their absurdity, words take wing and choreograph extravagant choreographies.

                                                                                                                                                                                                                                Like the best of jazz, they take any heritage or genre and bend it to personal experience. Like the best of rock, they growl and snap at restrictions. Their lineage is in Miles Davis as he stretches the blues across new beats, in the venerable Jonny Woo's reinvention of drag, in Saint Joseph Beuys defining art as a social sculpture. Their music is the sound of a concrete elephant, smashing open as it falls to earth: this sound is atomised, every note of disintegration lovingly attended, re-assembled and broadcast to the universe, every track herein a message to civilisations yet undiscovered.

                                                                                                                                                                                                                                Gareth Vile 2012

                                                                                                                                                                                                                                STAFF COMMENTS

                                                                                                                                                                                                                                Laura says: Loving this 6 track EP. Dark cinematic jazz. Fans of Barry Adamson's 'Moss Side Story' should dig this!


                                                                                                                                                                                                                                The Way And Colour

                                                                                                                                                                                                                                  Imagine a 21st-century amalgam of Talking Heads' Remain in Light and D'Angelo's Voodoo, with a little of OutKast's Aquemini thrown in for good measure, all filtered through TEEN's distinctive musical vision. And listen closely: the tracks are filigreed with all kinds of fascinating events buried deep in the mix.

                                                                                                                                                                                                                                  Any great band evolves. And even though TEEN have released some excellent and acclaimed music in their first few years of existence, they knew they were still discovering their voice — in more than one sense of the word.

                                                                                                                                                                                                                                  TEEN just might have found it on their brilliant second album, The Way and Color, one reason why it's such a stunning creative breakthrough. Singer-multi-instrumentalist Teeny Lieberson's voice is starkly highlighted, but the whole album is a conversation between Katherine Lieberson's crafty, minimalist drumming, Boshra AlSaadi's lithe, sinuous bass lines, and Lizzie Lieberson's irresistible synth hooks. The music is filled with overlapping countermelodies of vocals and synth lines; even Katherine's drums are hooky, so that the songs become ingenious interlocking sonic mantras.

                                                                                                                                                                                                                                  Teeny played keyboards and sang in Here We Go Magic before founding TEEN in 2010. She self-recorded and self-released the beguiling lo-fi Little Doods EP the following year, then formed a band that included Katherine and Lizzie (yes, they're sisters), and signed to Carpark for 2012's beguiling In Limbo. Produced by Sonic Boom (Spectrum, Spacemen 3), In Limbo encompassed trancey but kinetic pop and sprawling, ethereal ballads, and everything in between. Rolling Stone listed its opening track "Better" as one of the "50 Best Songs of 2012." The Carolina EP followed in 2013 and it was even more varied and accomplished; the band was growing by breathtaking leaps and bounds. But in retrospect, it was all prologue for the remarkable The Way and Color.

                                                                                                                                                                                                                                  The Way and Color has its share of darkness — fear, regret, and loss are all in the picture — but it's always redeemed by the sheer soulfulness and powerful ingenuity of the music, and the way Teeny always sings even the darkest lyrics with rhythmic and melodic daring. Listen to the way Rose 4 U only gets more triumphant when things go bad, or the how the sorrowful mood of All the Same becomes redeemed by a stately horn coda. "We're living in a really aggressive time, a not very thoughtful time," says Teeny. "And when I finally listened to the album all the way through, I felt proud that we made something that made me feel uplifted. I hope this music will make people feel some happiness and joy."

                                                                                                                                                                                                                                  The Way and Color does sometimes recall the sound of post-millennial R&B, but, more importantly, TEEN itself embodies one of that era's signature features: bold, visionary, female musicians. It's music with heart, soul and brains, and TEEN is not afraid to do it their way.

                                                                                                                                                                                                                                  Tall Tales And The Silver Lining are a Los Angeles based band led by songwriter Trevor Beld Jimenez.

                                                                                                                                                                                                                                  Beld Jimenez grew up on the sounds of 70s AM radio, along with LA classics like Jackson Browne, Court and ‘Spark’-era Joni Mitchell, Neil Young & Crazy Horse and The Byrds. His music incorporates all of that - classic songwriting, great playing, simple, hook-heavy arrangements and thoughtful production - but updates the sound for today.

                                                                                                                                                                                                                                  It’s straightforward, heartfelt rock & roll, ten songs of love and loss, ocean-scented breezes and the hum of the open road beneath your wheels.

                                                                                                                                                                                                                                  There’s no band that can lay claim to being the true best in the business, except VIDEO. Crawling from the musical wasteland that is Texas, their intentions are simple: they want to own the world. While the band features members of Bad Sports, Wiccans, Radioactivity, and the Wax Museums (just to name a few), VIDEO stands on its own as one of the most powerful and visceral bands active today. Combining equal parts snotty punk, hard rock, and melodic dissonance, VIDEO are pioneers of their own subgenre, Hate Wave. Going well beyond the confines of paint by numbers punk, and generic, flaccid garage rock, VIDEO forges a new cult like movement. So pay attention, consumers, and don’t miss out on the best thing going today. Long Live The New Faith, Long Live VIDEO.



                                                                                                                                                                                                                                    Brit-Pop By Way Of East L.A.

                                                                                                                                                                                                                                    Debut From Vision – Intense 100 Mph Post-Punk Grunge Blasts.

                                                                                                                                                                                                                                    Incredible Album From Start To Finish. If You Don’t Know. You Should Know. 

                                                                                                                                                                                                                                    ‘Gift Of Life’, the first proper full length by VHS, follows in the footsteps of their previous EPs, with the band self-recording their amalgam of Lost Sounds’ trashy discontent, early Big Black’s trebly guitar stabs and ‘Only Theatre Of Pain’-era Christian Death’s black reverberations. These are brash and bitter territories to occupy but the band sees no other choice for their musical direction, citing the daily grind as the impetus behind their music.

                                                                                                                                                                                                                                    The harsh reality of frontman Josh Hageman’s day-today existence working on the periphery of the medical field played a direct role in the overall theme of the album. Those fatalistic views and medical themes are on full display on ‘Wheelchair’, where a punk pulse underscores Hageman’s harrowing description of a life lived in chronic pain with drugs serving as the only escape.

                                                                                                                                                                                                                                    The album continues on to ‘Hospital Room’, where wiry guitar leads and ominous chords provide the soundtrack to a scene of misery and tragedy within the sanitized walls of Western medicine.

                                                                                                                                                                                                                                    Elsewhere, the themes of addiction and exposure take on more universal themes, such as on the culturegorging lament of ‘Binge Everything’ or the panopticon-paranoia of ‘Public Act’.

                                                                                                                                                                                                                                    Vision Fortune

                                                                                                                                                                                                                                    Night Jukes

                                                                                                                                                                                                                                      Hot on the heels of the recently sold out debut album - Mas Fiestas con el Grupo Vision Fortune, Cardinal Fuzz are proud to present the vinyl reissue of Night Jukes by Vision Fortune. Previously only available as a cassette only edition on the Italian Beach Babes label, Night Jukes gets a well deserved release onto vinyl.

                                                                                                                                                                                                                                      Vision Fortune can take a single idea and run with it, each track becoming a hypnotic meditation of repeato-rock discipline. Taking elements of raga, middle eastern vibes and kraut, Vision Fortune reprocess these into something altogether more ritualistic and uniquely woozy as they guide you through a feverish suite of exotic, undulating grooves.

                                                                                                                                                                                                                                      Presented in a reverse board sleeve and cut at 45rpm.

                                                                                                                                                                                                                                      RIYL: Grizzly Bear, Dirty Beaches, Deerhunter, Women, Viet Cong, Beach House, Wild Nothing, Youth Lagoon.

                                                                                                                                                                                                                                      Weird Dreams is the nom-de-plume of Doran Edwards, a London-based artist returning nearly four years after the release of his band's debut album, Choreography. This new record, Luxury Alone, is a collection of ten songs made over a 3 year period of uncertain times in different rooms in various homes, and was written, produced, performed and mixed by Edwards. Luxury Alone documents a very difficult period of emotional turmoil and various health issues for Edwards, and the result is an extremely moving and beautiful personal journey. “All this music is how I felt in the world. I eventually choose to learn to mix the record myself, design my own fantasy image and then have that world disappear. “ Luxury Alone is hundreds of songs down to just ten. 

                                                                                                                                                                                                                                      FORMAT INFORMATION

                                                                                                                                                                                                                                      Coloured LP Info: Limited sky blue vinyl is for Cargo Collective stores only.

                                                                                                                                                                                                                                      Coloured LP includes MP3 Download Code.

                                                                                                                                                                                                                                      Working For A Nuclear Free City

                                                                                                                                                                                                                                      What Do People Do All Day?

                                                                                                                                                                                                                                      Working for a Nuclear Free City have never been too concerned with genre. Since their debut release almost a decade ago they have danced around the constraints of genre, eschewing predictability and expectation in the process by creating a body of work dictated by invention and momentum.

                                                                                                                                                                                                                                      Their latest release is no exception although, like much of their previous work, whilst it is difficult to pinpoint it is not lacking in stylistic coherence, “When putting the record together I was trying make something cohesive in some way.” Says one of the group’s founding members, Phil Kay.

                                                                                                                                                                                                                                      The end result is an expansive, pop-tinged, experimental album that can be as propulsive as it can be restrained, bringing to mind artists as diverse and brilliant as Beck and Brian Eno to the Super Furry Animals.

                                                                                                                                                                                                                                      The situations and inspiration around the record have been rather hodgepodge, “I listen to the radio most of the time, stations that play pretty diverse things, or I put things on shuffle a lot - mainly just trying to take the decision making process out of what I choose to listen too” Kay says, whilst also stating that the environments in which the record were created were just as all over the place, “I move around a lot so all the tracks are from different areas. Some from back in Manchester, a few from here in London, a couple I recorded in LA up in the Hollywood hills in Jennifer Anniston’s old apartment.” This geographically vast record was also done over a period of time too, making it a continent-spanning record that has had years’ worth of thoughts and ideas funnelled into it, “It was recorded over such a long period of time that each track has its own distinct memories for me.” Kay says of the process.

                                                                                                                                                                                                                                      The title of the album What Do People Do All Day? Has a dual meaning, as Kay points out, “I was writing a kids book at the time so had loads of Richard Scarry books lying around. I think we hit on the title as it of course reminds you of Scarry and puts you in that playful territory but the second meaning of it is about the mundanity and futility of life, so there's that juxtaposition. It was supposed to be this loose concept album about peoples lives or various snapshots of people lives. The songs also all seem to relate to these imagined characters and their lives - perhaps a days in their lives”

                                                                                                                                                                                                                                      As a result the songs vary enormously and when discussing what some of the individual tracks are about, Kay paints a picture of a little universe of strange tales and stories, one song is about “Media and politics and bullshit and living in a city and everyone wired up and concrete and adverts and too much noise” whilst others are about: “A girl who dreams of killing her boss, quitting her mundane job and living in a magazine”; “The heir to Blackpool Pleasure Beach who turns it into a Vegas-style resort, makes millions, moves to Venice beach and turns it into Blackpool” and “Teenagers getting stoned in a park in suburbia and discovering a secret portal”. As illustrated by these unique and vast narrative situations, it’s an album with huge scope and one that has set out to be as lyrically ambitious as it is sonically. 

                                                                                                                                                                                                                                      Warm Soda

                                                                                                                                                                                                                                      I Don't Wanna Grow Up

                                                                                                                                                                                                                                        Within seconds of dropping the needle on I Don’t Wanna Grow Up one gets the feeling of being in good hands: an AP course in power-pop, delivered by Matthew Melton, with the confidence and consistency of your favorite late night diner. Familiarity works as a curious device — this is directly in Melton’s wheelhouse, no sonic surprises whatsoever, yet somehow these odes to teenage love and heartache are brand new, catchy and vital.

                                                                                                                                                                                                                                        His twists and turns utilizing the same tools are astounding in their continued freshness. That this is the final Warm Soda record (in anticipation of his new band Dream Machine’s debut, also forthcoming on Castle Face Records) seems logical when you consider the way he’s re-written the same vibe into four excellent records of catchy pop. A lesser talent would have given up after two records, tops — Melton’s commitment to the platonic ideal of power pop again bears fruit, and perhaps this one is the best yet? Mix tape makers of the world, take note: if you leave this album out of your next amorous transmission, you’re fucking up.

                                                                                                                                                                                                                                        Brand new album from former Ash front man, Tim Wheeler.

                                                                                                                                                                                                                                        Although most of the instruments were played by Tim, he also enlisted a handful of other musicians including ex Razorlight drummer Andy Burrows, Leanne Macomber from Neon Indian, Fred Aspelin from Alberta Cross and also the London Metropolitan Orchestra.

                                                                                                                                                                                                                                        The album deals with the loss of his father to dementia, and the effect that it had on his family. Talking about the situation, Tim said: "It was a really hard time, but the closeness within my family made it a powerful bonding time as well.”

                                                                                                                                                                                                                                        Wild Palms

                                                                                                                                                                                                                                        Live Together, Eat Each Other

                                                                                                                                                                                                                                        Recorded by Wild Palms in the same self-built Manor House studio where they made their 2011 debut ‘Until Spring’, new album ‘Live Together, Eat Each Other’ is a lusciously layered offering of hazy experimentalism and off-kilter alt pop, that follows in the auspicious lineage of Beach House, Cocteau Twins and TV On The Radio.

                                                                                                                                                                                                                                        Half a decade in the works, ‘Live Together, Eat Each Other’ packs a lifetime’s worth of experience into 13 tracks, alongside a painstaking approach to recording that beams out of its shimmering glitches and collaged soundscapes. “Because we redid the songs so many times, and sat with them so long and went through so many transformations in terms of layering, it was kind of like the songs had eaten themselves and been regurgitated as something else,” explains Lou of the album’s title. “It seemed like the whole thing was this weird process of consumption and reconstitution. The time it took seemed to allow for a kind of gestation, or fermentation, period. It gave time for influences to bond and stick to each other. Things were made, smashed up into fragments and reformed repeatedly until we couldn’t really remember what it’d been before and it was just what it was. Darrell [the band’s guitarist and Saatchi approved artist]’s artwork followed the same trail as well, collage, re-working, painting, and blotting.”

                                                                                                                                                                                                                                        ‘Live Together, Eat Each Other’ is released through One Little Indian Records. The album was produced by the band’s bassist Gareth Jones and Liam Howe (Lana Del Rey, FKA Twigs) who was drafted in to coproduce and fine tune the record.

                                                                                                                                                                                                                                        Andrew Wasylyk


                                                                                                                                                                                                                                          Andrew Wasylyk is the alias of Scottish writer, producer and multi-instrumentalist, Andrew Mitchell. Cinematic nostalgia, elements of baroque pop and the influence of classic 1970s songwriters come together in a diverse collection of ten songs which comprise debut album Soroky.

                                                                                                                                                                                                                                          The record is the ninth to date on which Mitchell has featured; he joined cult Scottish favourites Idlewild in 2014, and has released six albums with ongoing indie pop group The Hazey Janes along with the acclaimed debut of psych duo Art of the Memory Palace. Previous tours supporting Wilco, and as a session player with Electric Soft Parade and School of Language further add to the rich mix of influences which shape his first proper solo work.

                                                                                                                                                                                                                                          Soroky, the name of the village his grandfather Iwan Wasylyk hailed from in Western Ukraine, explores a range of themes – from the disillusion and anxiety of “Last Of The Loved” to the playful riposte “Mr White, It's No Trouble At All”. The songs convey warmth, but at the same time a spaciousness that makes them seem at home in the still of night: a feeling particularly apparent in "The More I Believe, The Less I Really Know”.

                                                                                                                                                                                                                                          Recorded on the Isle of Mull in just five days, orchestral layers weave in and out of traditional guitar, piano and drum arrangements, creating a sense of haunting unease which is punctuated by Mitchell's powerful yet fragile vocals: reminiscent at times of early Scott Walker, Randy Newman or the late Billy Mackenzie.