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Delta 5

Singles And Sessions 1979-81

    Part of the Leeds UK art/music scene in the late 70s that launched the Gang Of Four and the Mekons, Delta 5 were signed to Rough Trade after only a few months in existence, and released their first single recording in 1979. No less an authority than legendary BBC Radio DJ John Peel received an advance copy of the single and played it twice that same night. He then requested that the band do a session for him and the band was officially on its way. Relentless gigging with the Gang Of Four, Echo And The Bunnymen, B52s, Specials, Teardrop Explodes, and U2 put the band on the map worldwide. They continued touring and recording until various members departed in late 1981, when they recorded one last single and then broke up for good in 1982.

    This album finds Corin Tucker, Peter Buck, Scott McCaughey, Kurt Bloch, and new drummer Linda Pitmon flexing their muscles both sonically and thematically: the music contains more surprises and sophistication, while the lyrics take on the current state of our planet and our people.

    The album title and title track come from another name for Eugene, OR, Tuckers home city, and evolved, in her words,into “a sort of manifesto about the kind of place we are at as a country but also as a region. Just taking stock of where were at and feeling like I cant believe we let things get this bad.

    FORMAT INFORMATION

    Coloured LP Info: Indies exclusive coloured vinyl.

    Coloured LP includes MP3 Download Code.

    CD includes MP3 Download Code.

    Filthy Friends

    Invitation

      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.

      Building off the success of their 'Massive Context EP' (Small Plates) released in 2012 and a 7" released on White Iris in January, songs like "Videolove" and "Trouble" show Hands’ innate ability to blend instruments and electronics into a deep texture that moves ethereally through genres. Hands moves from rock to synth-pop to skyrocketing stadium anthem, often within the same song.

      The band made a mark on the scene immediately, quickly playing packed shows across the USA including stops at SXSW, CMJ and Deluna Fest, headlining Echo Park Rising, sessions with Daytrotter, and a west coast jaunt with Maps and Atlases.

      Hands’ ability to win over fans with their feverish live show and dance-party ready sound has already earned them opening spots for the likes of Deerhoof, DeVotchKa, Foster the People, and Kimbra as well as playing shows to sold out crowds at venues across LA.

      "The band blends thumping bass, esoteric guitar riffs, frenetic drumming and soaring, looping vocals to get staid indie rockers moving." - Time "If you’re a fan of Hot Chip or Tanlines, this is your band to follow in 2013." - Stereogum

      Sunday Times 'Hottest Download'

      There’s little doubt that Marnie Stern lives up to her reputation as “the lady who shreds,” but for Marnie, shredding is not enough. After putting out three critically-acclaimed albums, Marnie could have gotten away with putting out another album filled with her richly layered sound, singular frenetic finger tapping and almost philosophical lyrics. However, as anyone who has given her last few albums a good listen can tell, Marnie is not one to stand still. Instead she attacks her musical evolution with full frontal bravado, revelling in musical risk instead of relaxing in the comforts of the known.

      Her new album, 'The Chronicles of Marnia', finds Marnie not only working with a new drummer (Oneida’s Kid Millions), but also passionately subtracting from her normally dense song structures to craft a sound that is both familiar and wholly original. “I always gravitate towards interweaving and a more abrasive sound,” Marnie said about working on the new album. “I was working with Nicholas Vernhes from Rare Book Room Recording in Brooklyn, and he was the producer. He wanted my voice clearer and fewer guitar parts. I tried it because I wanted to try something different.” The musical transformation evident on her new album isn’t entirely unexpected, as fans who have listened to both “For Ash” and “Every Single Line Means Something” in a single sitting know. That same slow progression can be seen between 2010’s self-titled album and the forthcoming The Chronicles of Marnia. Even as Marnie evolves from what Pitchfork called her “art-metal math-rock bubblegum pop” genre, fans will still find themselves jumping head first into the album and quickly bonding with the emotionally resonant material, cascading hooks and transcendental guitar riffs. Plus, the album shreds. She is Marnie Stern after all.

      Boats makes music songs in Winnipeg, Manitoba, Canada. Sometimes their songs are about fictional performing duos who have holes in their bodies and/or have a belief that they will one day give birth to a flock of birds. Sometimes they are about winning the Superbowl and finding buried treasure. Often they are about failure and death. A noisy indie-pop band with high-end hopes but low-end equipment, Mat Klachefsky's bizarre vocal chords mixed with his infectiously catchy pop songs and boundless energy have been freaking out audiences ever since they released their critically acclaimed first album "Intercontinental Champion" to local audiences in October 2007. Since then they have embarked on several North American tours, played packed houses at SXSW, NXNE, Pop Montreal, Halifax Pop Explosion and Sled Island.

      The band, led by bassist and classically trained vocalist Sherry Fraser, crafts songs with just as many sonic nooks-n-crannies and trapdoor surprises as the oft-cited "Funhouse" references associated with the band's particular dark, infectious pop. This is their long awaited debut full length.

      Mecca Normal

      The Family Swan

      New album from this Canadian duo. All the songs were written over a year ago, the band then took them out on tour to refine the songs and get them exactly how they wanted before recording them with Unwound's live sound engineer and Swearing At Motorists frontman Dave Doughman.


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