As mui zyu, Hong Kong British artist Eva Liu searches for a portal, wandering between nothing and everything in her pursuit of peace. On her second full-length album nothing or something to die for she looks outward, embracing the chaos with each tentative step.

mui zyu's debut album Rotten Bun for an Eggless Century saw her explore her heritage, as she dived inward to find acceptance and healing. Now, instead of searching for answers from the inside, Liu raises her head to look at the world around her. As she attempts to understand the complexities and significance of human existence, she observes apathy alongside overwhelming chaos; the technological advancements of connection with the lack of meaningful bonds and the frustrations of upholding standards set by others. nothing or something to die for tries to decipher these juxtaposing truths, holding both the weight of those trying to destroy the world with the utter futility of it all.

Working with co-producer and fellow Dama Scout band member Luciano Rossi, the sonic world of nothing or something to die for encapsulates both the fleeting tranquility of serenity and the dissonance in chasing it. After all, our reality can change in an instant. Like the psychedelic tones of Ryuichi Sakamoto's Thousand Knives, the urgent techno-pop of Miharu Koshis Parallelisme or the eerie wanderings of Angelo Badalamenti's work for Twin Peaks, nothing or something to die for expertly toes the line between disorder and clarity.

Lead-single “the mould,” which is inspired by moving on from the past and pushing against the grain to attain inner peace. “Missing the dread, obsessed with it,” Liu sings over a shifty instrumental, carried by blocky drum machines, sharp guitars, and woozy synthesizers.

The track is accompanied by a psychedelically youthful video inspired by creepy ‘90s kids shows, directed by 3D artist and Dama Scout member Danny Grant. Creatively toying with VR sculpting techniques, the otherworldly visuals came to life as Grant intentionally misused the high-end VFX software Houdini. It plays into the song’s wonkiness, heightening its empowering transcendence.

On the track, Eva Liu shares: "'the mould’ is a frosted glacial sweetie about the many meanings of mould. mould is very cool, and the right kind can give you super powers. unfortunately though, it’s less than ideal to be squeezed in to a mould that doesn’t fit snuggly. so i’m at the bottom of the rotten jelly bowl trying to work out what mould is the good kind, and what is the bad kind, and maybe realising none of it really matters at all, as long as i can get out of this steep, slippery bowl. this also marks a new approach for my writing indicative of the whole record in a kind of anti-overture-y way."

TRACK LISTING

Satan Marriage
The Mould
Everything To Die For
Donna Like Parasites
The Rules Of What An Earthling Can Be
Please Be Okay (feat. Miss Grit)
Telephone Congee I
Speak Up, Sponge
What’s The Password Baby Bird?
Hopefulness, Hopefulness
Telephone Congee Ii
Sparky (feat. Lei, E)
In The Dot (feat. Pickle Darling)
Cool As A Cucumber
Ɖ

The Lovely Eggs will release Nothing/Everything - the lead single from their forthcoming album “Eggsistentialism” on Friday April 26th on Egg Records.

Their third collaboration with Grammy Award winning producer Dave Fridmann, “Nothing/Everything” will be released on ltd edition bright yellow 7” ” vinyl with more out of this world art-work by illustrator Casey Raymond.

Nothing/Everything is a wistful, stark, magnificent seven minute psychedelic epic. It’s The Lovely Eggs as you’ve never heard them before. “Nothing/Everything is the Yin/Yang of life,” explains Holly. “There’s hope and despair, patience and frustration, birth and death, the mundane and the extraordinary. It’s the magnificence of “Being” walking hand in hand alongside life’s daily grind. This song is simply what is. It’s not looking forward or back. It’s us now. It’s uplifting and it’s tragic.

It is probably the longest and most meaningful song we’ve ever written and recorded. It’s our magnum opus about life.”

With the full 7 minute and two second version on the A side, the B gives you the radio edit.

2023 was a remarkable year for James - with a Top 3 album (their 9th Top 10 album), a sell out UK tour with a 25 piece orchestra and 8 piece choir onstage with them, a stunning special guest appearance at Latitude Festival, a headline show at The Acropolis in Greece and receiving the Icon award at The Ivor Novello awards in recognition of their songwriting. Amongst all of this, the band have recorded their new album to be released in April 2024. It is produced by Leo Abrahams (who has previously collaborated with Jon Hopkins, Brian Eno, Jarvis Cocker, Imogen Heap and Regina Spektor) and mixed by Cenzo Townsend (Courteeners, Specials, Keane, Snow Patrol, Everything Everything).

2024 is already shaping up to being another huge year for the band - their June Arena tour is their biggest ever tour and they are already close to selling out both The O2 and the new Manchester Co-Op arena. James release their new album Yummy, with the first single ‘Is This Love’. The artwork for both the album and first single was designed by Stephen Kennedy (Studio Fury) who is responsible for a number of iconic works over the years including the Rolling Stones’ latest album Hackney Diamonds.

STAFF COMMENTS

Barry says: One of the most legendary bands in Manchester's storied musical history return for their latest LP, 'Yummy'. It's got all of the soaring melodic turns and presents a perfectly produced, meticulously paced backdrop for Tim Booth's instantly recognisable vocals. Another brilliant statement from a band that show no signs of slowing down.

TRACK LISTING

Standard CD And LP Tracklisting:
1. Is This Love
2. Life Is A Fucking Miracle
3. Better With You
4. Stay
5. Shadow Of A Giant
6. Way Over Your Head
7. Mobile God
8. Our World
9. Rogue
10. Hey
11. Butterfly
12. Folks

Deluxe 2CD Tracklisting:
1. Is This Love
2. Life Is A Fucking Miracle
3. Better With You
4. Stay
5. Shadow Of A Giant
6. Way Over Your Head
7. Mobile God
8. Our World
9. Rogue
10. Hey
11. Butterfly
12. Folks
13. Anyone But You
14. Close Enough
15. Mine To Lose
16. Activist Song
17. Won’t Be The Same
18. Tell Me Something
19. Poolewe Day1Jam4
20. Arpen Charp
21. Deliver The Dawn
22. Something Of A Pleasure
23. Walk Tall
24. 50s Out Takes

Two brothers, surname Summers. London rap duo Summers Sons return with a new sound & vision.Still Nothing Stillis a far cry from the beloved jazz rap the group is known for. The jazz influence is still there but sonically and lyrically Turt & Slim are playing in a class of their own.

Slim is adding a more electronic, trip-hoppy vibe to his beautifully executed beats. Turt delivers his raps with a new urgency and confidence. Having been diagnosed with epilepsy in 2021 had a major impact on his life and art. As a lyricist, Turt has always worn his heart on his sleeve but never so honestly, poetically, vulnerably, angrily, and sharp as onStill Nothing Still.

Since 2018, Summers Sons have released four albums (Undertones,Uhuru,The Rain,Nostalgia) and a string of high profile collabos with artists like C.Tappin, Twit One, The Silhouettes Project and Koralle. Not forgetting Slim's beat tape for KO-OP. They have been touring with Children of Zeus, performed shows with FloFilz and Melodiesinfonie and are part of The Silhouettes Project.

In 2023, Turt released the albumThe Questionsas one third of the project Syrup (with Twit One & C.Tappin) while Slim released the album projectCeruleanwith Benaddict and Ella Mae Suref. Turt also dropped two singles with The Silhouettes Project alongside Nix Northwest and Frankie Stew & Harvey Gunn.

TRACK LISTING

1. Amnesia
2. What It Is
3. Growing Pains
4. Roots
5. Sonbeams
6 Numb
7. The Buzz
8. The Blues
9. Epilectric
10. Nothing Still (feat. C.Tappin & Poppy Daniels)
11. One
12. Only Change
13. Fidget
14. Harmony
15. The Thirst
16. Mother Earth
17. Summers Sons Pt. 2

The Last Dinner Party present a new 7” vinyl to celebrate their debut single release ‘Nothing Matters’. This limited-edition Crystal Clear transparent 7” release features the hauntingly beautiful 'Nothing Matters' on the A-side and a stunning stripped back acoustic version of 'Nothing Matters' on the B-side.

Coloured vinyl 10". Strictly limited.

WAO (Waltaa Abnd Onra) is an ephemeral project, a musical experiment between two friends that happened during a rainy afternoon in the Parisian suburban area in 2014.

After years of knowing each other, Waltaa and Onra finally decided to make music together in the same room for once, and this double-sided 10” single is the product of this collaboration between the two underground French producers.

With “Sexy Robot”, a (then) retro-futuristic ballad for a talkbox duet, and “All Night Long”, a new jack swing instrumental cut, the release encompasses many different influences that the two producers share, but the use of the talkbox on both tracks suggest a direct inspiration from legendary 90’s R&B producers, Devante Swing and Teddy Riley respectively.

Matt Says: Landing somewhere between the cough syrup swillin' slo-mo futurism of chopped n screwed, and the vocodered electro funk of Ed DMX, Wao showcase their own gnarly version of RnB and it's great!

STAFF COMMENTS

Matt says: Landing somewhere between the cough syrup swillin' slo-mo futurism of chopped n screwed, and the vocodered electro funk of Ed DMX, Wao showcase their own gnarly version of RnB and it's great!

TRACK LISTING

Sexy Robot
Sexapella
All Night Long
Sexy Robot (Instrumental)

A pioneer of the home recording movement, Linda Smith released several collections of delicate, bewitching solo music on cassette in the 1980s and 90s. The 2021 release of Till Another Time: 1988-1996, Captured Tracks’ compilation of Smith’s work, has helped bestow rightful critical acclaim to the ahead-of-her-time artist. Now, Captured Tracks dives deeper into Smith’s catalog with the release of two full-length companion albums, Nothing Else Matters and I So Liked Spring, available for the first time on vinyl & streaming formats.

Recorded at Smith’s home in Baltimore in 1995, Nothing Else Matters chronicles the tension between the mundanity of daily life and the creative impulse: Traffic noises on the charmingly boisterous “Little To Be Won” showcase this levity, as does the addition of playful hand claps and a laugh track to her striking cover of Young Marble Giants’ “Salad Days.” I So Liked Spring, recorded the following year, saw Smith experimenting with the unique challenge of putting another artist’s words to music. She’d come across a biography of the English poet Charlotte Mew and found her wistful poetry rife for musical interpretation. The songs on I So Liked Spring are delightfully unpredictable, full of upbeat melodies and spellbinding vocal harmonies. This is perhaps best showcased on the title track, one of Smith’s most popular songs to date, a lovelorn anthem that recalls the airy melodies of early dream pop.

Both of these albums showcase the mesmerizing charm of Smith’s songwriting, often compared to the likes of the Velvet Underground and Laurie Anderson. Home recording technology has come a long way since Smith first began recording demos on her tape machine, but her influence reverberates through the work of today’s bedroom artists. The release of these two essential albums seeks to further illuminate this connection, welcoming a new generation of listeners to the work of this trailblazing artist.

TRACK LISTING

1. The Answers To Your Question
2. In No Uncertain Terms
3. I'll Never See You Again
4. For Here Or To Go
5. In The Hospital
6. Bright Side
7. All Of The Blue
8. Only A Moment
9. I See Your Face
10. It Seems To Me
11. Little To Be Won
12. Nothing Else Matters
13. Salad Days

We Started Nothing is the debut studio album by English indie pop duo The Ting Tings. Jules & Katie's combination of dance, indie pop and new wave proved to be one of the hottest things in 2008. The result being the album peaking at #1 in the UK Albums Chart. We Started Nothing spawned no less than six hit singles, including "That's Not My Name", which reached #1 on the UK Singles Chart. Eventually, the band, the album and several singles and videos were nominated for a variety of NME, MTV, Grammy Award and Brit Awards. The Ting Tings won the MTV Award for Best UK Act and "Shut Up and Let Me Go" won the award for Best UK Video.

TRACK LISTING

Side A
1. Great DJ
2. That's Not My Name
3. Fruit Machine
4. Traffic Light
5. Shut Up And Let Me Go

Side B
1. Keep Your Head
2. Be The One
3. We Walk
4. Impacilla Carpisung
5. We Started Nothing

All or Nothing at All is a studio album from 1958 on Norman Granz's Verve Records label

Featuring twelve songs taken from five different recording sessions that took place in 1956 and 1957, a period when some thought Billie Holiday was in vocal decline, a thought not shared by Mile Davis it must be said:

"I'd rather hear [Billie Holiday] now. She's become more mature. Sometimes you can sing words every night for five years, and all of a sudden it dawns on you what the song means.... So with Billie, you know she's not thinking now what she was in 1937, and she's probably learned more about different things. And she still has control, probably more control now than she did back then. No, I don't think she's in decline."-- MILES DAVIS, 1958.

"For these sessions, Granz assembled a wonderful group of musicians who shined as much when backing Holiday as they did on their solos. The front line was covered by Harry Edison and Ben Webster, both longtime friends of Holiday and each a specialist in accompanying vocalists. Holiday's pianist was the exceptionally sensitive Jimmy Rowles, who had rehearsed the songs with Holiday before the sessions. Barney Kessel provided both harmonic and melodic support on guitar, and the rhythm section was filled out with Red Mitchell and Joe Mondragon alternating on bass, and Al Stoller and Larry Bunker swapping duties on drums. All of these musicians were based in LA at the time and had all worked together, so the fine ensemble playing was a given, and the group easily put together all of the arrangements on the recording dates." - AllMusic: Jim Lennon May 6, 2022

TRACK LISTING

Do Nothin' Till You Hear From Me
Cheek To Cheek
Ill Wind
Speak Low
I Wished On The Moon
But Not For Me
All Or Nothing At All
We'll Be Together Again
Sophisticated Lady
April In Paris
Say It Isn't So
Love Is Here To Stay
Moonlight In Vermont

Boy Harsher's entire catalogue as strictly limited indie editions on colored vinyl. Yr Body Is Nothing was originally released by DKA Records. All three LP pressings sold out in a matter of weeks. With a heavy emphasis on rhythm and atmosphere, the 10-songs presented here showcase a songwriting and production style that is sophisticated and unique, dark but powerfully uplifting. The sound is paradoxically massive yet minimal, providing the perfect space for Jae Matthews’ rich, deep, and emotive vocals to occupy as she, along with co-pilot Gus Muller, pulls the listener ever deeper with each passing song.

TRACK LISTING

1. Intro
2. A Realness
3. Yr Body Is Nothing
4. Last Days
5. Suitor
6. Morphine
7. Save Me
8. Deep Well
9. Big Bad John
10. Cry Fest

Because Hold, Jack Tatum’s fifth album under the moniker Wild Nothing, was written in the aftermath of new parenthood during the pandemic, it was probably inevitable that it would be searching and existential music. But during the recording process, the artist known for synth-pop tastefulness used it as an opportunity to reach for a new sonic maximalism and wider set of influences. With contributions from longtime collaborator Jorge Elbrecht, Tommy Davidson of Beach Fossils and Hatchie’s Harriette Pilbeam, first single “Headlights On” features an acid house-worthy bass groove and breakbeat that prove Tatum is playing for the rafters.

Tatum produced the rest of the record on his own, partially out of necessity, due to the challenges of the pandemic. The songs were eventually brought to Adrian Olsen at Montrose Recording in Richmond to begin recording drums and filling in the gaps. While largely a product of isolation, Hold also reflects the things Tatum has learned from collaborators, both on previous records and during his acclaimed work with Japanese Breakfast and Molly Burch. The rest of the record was mixed by Geoff Swan, who listeners might know for his work with Caroline Polachek and Charli XCX. Swan put Tatum’s vocals high in the mix, and throughout the album, he embraces playful vocal processing like never before.

Tatum moved from Los Angeles back to his home state of Virginia about five years ago in search of a scaled-back lifestyle. The relatively suburban environment—and the occasional regret it inspired—proved to be great artistic fodder. It’s the para- dox of modern America—the suburbs are supposed to be stultifying to art, but they are so full of human desperation perfect for dramatizing. On “Suburban Solutions”, he presents an anti-jingle with an acidly bright synthesizer melody, imploring you to sign on the dotted line, put your feet up, and embrace sweet oblivion.

Adding to the song’s menacing cheeriness is a chorus-sung bridge, made with as- sistance from Molly Burch and Tatum’s wife, Dana, It was loosely inspired by the classic Martika song “Toy Soldiers” and the long-ago pop craze for children’s choirs, and he embraces the trend’s less-than-stellar reputation. By design, Hold dwells in uncertainty and fear, but in a package that encourages meditation and a bit of fun. “In the face of the pandemic, I think being a parent really forced my hand,” Tatum said. “I felt that I had no other choice but to have a positive outlook on the world. Because if I were to give in at any moment and say, “Oh, everything is horrible,” then I’ll feel as if I’ve lost and I’ve given up on my son being able to thrive in this world.”

STAFF COMMENTS

Barry says: Another beautiful selection of hazy melodies and airy jangle from the ever-talented Jack Tatum, just this time we veer into silken synthpop territory. It's just as perfectly formed and shows what a breadth of styles Tatum has as his disposal.

TRACK LISTING

1. Headlights On
2. Basement El Dorado
3. The Bodybuilder
4. Suburban Solutions
5. Presidio
6. Dial Tone
7. Histrion
8. Prima
9. Alex
10. Little Chaos

The third 12” on Laen Disc from Farren Laen. "A Crossing Road" opens in stylish manner - cascading acid fragments drizzled across a introspective soundbed whilst a ring modulated synth note rattles around in the mix. Reminds me a little bit of Swayzak or Recloose. Moody, red lit, electronic soul. "In Betweens" continues with expansive pads sweeping in over fluttery hi-hat patters and rising bass plumes. Finally "Distrubance" sounds like a lost B-12 number with its vintage drum machines rhythms, heavenly high register synth licks and bubbling acid bassline. Very nice very suave! 

Hand stamped & numbered in NYC. 150 copies.

Early support from: Kornel Kovacs, Mr. Beatnick, Move D, Gene Tellem, Frits Wentink, Nathan Micay, Massimiliano Pagliara, Johannes Albert, & more

STAFF COMMENTS

Matt says: Farren Laen's infrequent but considered series drops its third volume in as many years. They might not come around very often, but for lovers of sincere, pure and deep-as-you-like house music, Laen Disc's are completely essential.

TRACK LISTING

A1. Farren Laen - A Crossing Road
B1. Farren Laen - In Betweens
B2.. Farren Laen - Disturbance

Almost Nothing is a new band from Roddy Woomble.

Written and recorded throughout 2021 and 2022, the debut album ‘Almost Nothing’ is a collaboration between Woomble and four different producers – Scott Paterson (Protection), Andrew Wasylyk, Le Junk, and Luciano Rossi (Dama Scout). As the title suggests, it is an exercise in artistic freedom, from a songwriter with almost thirty years of musical expression behind him. A bold new chapter, the songs shift through electronica to moments of shimmering art-pop.

A genre-fluid record, the Almost Nothing LP is melodic, playful, and just confusing enough to escape full comprehension.

TRACK LISTING

1. Instant Love
2. Almost Nothing
3. Anything Whatever
4. Returning Shadows
5. Better You Belong
6. True Time
7. Dialogue Trails
8. Made It To Fade
9. I Know Where I’m Going
10. If Not Tomorrow

‘My Noise is Nothing’ is the collaborative LP between Lord of The Isles and Scottish poet Ellen Renton. For the pair, both the poems and music came to them in a quick and concentrated period.

Renton's poems were written during 2020 and capture something of that time- that feeling of having no obstacles between ourselves and our emotions. Especially the feeling of anger, which is expressed by Renton as a feeling that is not wholly negative but complicated, necessary, unifying and even joyful.

Likewise, Lord Of The Isles’ dusky and unfurling production refuses obstacles- embracing experimental live recordings using pedals and vintage synths. It is warm and fuzzy, but most importantly organic, with all the imperfections and character of a living entity.

TRACK LISTING

A1. Let The Colours Flood In
A2. A Discovery (feat. Ellen Renton)
A3. For A Burning World (feat. Ellen Renton)
B1. A Portrait (feat. Ellen Renton)
B2. Last Day
B3. Don’t You Ache (feat. Ellen Renton)
B4. My Noise Is Nothing (feat. Ellen Renton)

Teenage Fanclub's new album, Nothing Lasts Forever, is a beautifully rich and melodic album, the sound of a season’s end, of the last warm days of the year while nights begin to draw in and thoughts become reflective and more than a little melancholy.

That reflection is everywhere on the record, whether on the autumnal folk rock of Tired Of Being Alone that repositions Laurel Canyon to somewhere deep in the heart of the Wye Valley, the William Blake quoting Self-Sedation or on the song that preceded Nothing Lasts Forever’s completion, last year’s I Left A Light On, where a spark of hope is kept alight at the end of a relationship.

One of the recurring themes on Nothing Lasts Forever is light, as a both a metaphor for hope and as an ultimate destination further down the road. Although the band’s songwriters Norman Blake and Raymond McGinley found themselves touching on similar themes, it was pure coincidence.

Raymond: “We never talk about what we’re going to do before we start making a record. We don’t plan much other than the nuts and bolts of where we’re going to record and when. That thing about light was completely accidental; we didn’t realise that until we’d finished half the songs. The record feels reflective, and I think the more we do this thing, the more we become comfortable with going to that place of melancholy, feeling and expressing those feelings.

Norman: “These songs are definitely personal. You’re getting older, you’re going into the cupboard getting the black suit out more often. Thoughts of mortality and the idea of the light must have been playing on our minds a lot. The songs on the last record were influenced by the breakup of my marriage. It was cathartic to write those songs. These new songs are reflective of how I’m feeling now, coming out of that period. They’re fairly optimistic, there’s an acceptance of a situation and all of the experience that comes with that acceptance. When we write, it’s a reflection of our lives, which are pretty ordinary. We’re not extraordinary people, and normal people get older. There’s a lot to write about in the mundane. I love reading Raymond Carver. Very often there’s not a lot that happens in those stories, but they speak to lived experience.”

The band recorded Nothing Lasts Forever - Blake, McGinley along with Francis Macdonald on drums, Dave McGowan on bass and Euros Childs on keyboards during an intense ten-day period in the bucolic Welsh countryside at Rockfield Studios, near Monmouth in late August. You can hear the effect of that environment on the record - it’s full of soft breeze, wide skies, beauty and space.

One of the most striking lyrics on the record is on the closing track I Will Love You. A gorgeous seven minute almost Kosmiche acoustic daydream drone, it looks to a point beyond the fury and polarisation of our modern discourse, to a time when “the bigots are gone/after they apologise/for all the harm that they’ve done”. Looking for positives while faced with the grim realities of the 21st century feels very Teenage Fanclub - a band who’ve been a force for good for over three decades and who can effortlessly turn melancholy into glorious, chiming harmony.

Teenage Fanclub have announced an extensive touring schedule with a handful of dates in the Summer followed by a full UK & European tour in October and November. 

STAFF COMMENTS

Barry says: Hazy folky slide guitar and Euros Child's silky keys, classic Teenage Fanclub melodies and swooning vocals make for one of the most immersive TF albums in years. A beautifully rendered, optimistic vision from Blake & co, and one that is a familiar as it is inventive.

TRACK LISTING

1. Foreign Land
2. Tired Of Being Alone
3. I Left A Light On
4. See The Light
5. It’s Alright
6. Falling Into The Sun
7. Self-Sedation
8. Middle Of My Mind
9. Back To The Light
10. I Will Love You

Brighton-based feminist electro-punk trio CLT DRP are delighted to announce that they have signed to Gallows’ label Venn Records (Bob Vylan, Witch Fever, Meryl Streek) and now release their new LP.

Formed in 2017, CLT DRP released their rave-reviewed instant classic debut album Without The Eyes on Small Pond Records in August 2020 to a surge of press and radio support from BBC Radio 1, BBC 6music, Radio X, and many more. Leading to support slots with some of the most vital and exciting alternative bands on the live circuit including JOHN, Saint Agnes, Clipping, Svalbard, Witch Fever, Heriot, Tokky Horror, De Staat and Warmduscher, their early success saw the band appear at a host of festivals including Strangeforms, PORTALS, Tredfest and more. CLT DRP’s subsequent 2021 standalone single ‘Ownership’ picked up praise from Kerrang! Magazine, was made John Kennedy’s X-Posure Hot One on Radio X, and also enjoyed support from Spotify’s The Punk List, Fresh Finds: Rock, and Post Punk 2k playlists. By 2022 the band were being hailed as one of the most abrasive, innovative new artists in the UK, and most-recent singles ‘TORX’ and ‘Aftermath’ saw them collaborate with New York’s FLOSSING (Brace Yourself Records)—landing hot on the Radio X Xposure Evening Playlist, the material marked a further evolution of their eclectic, experimental approach to fusing electronic and punk music in boundary breaking fashion.

TRACK LISTING

1. NEW BOY
2. Nothing Clever, Just Feelings
3. I See My Body Through You
4. Desire / 1 On 1
5. M.U.T.M
6. Cake 4 The Women
7. Only One 
8. DAILY AFFIRMATIONS 
9. The Door 
10. Easier Than This
11. I Put My Baby To Sleep 

Repress of that scene-shattering Jack Pattern 12" from back 2015. Originally released on Lustpoderosa, it was the first record by the producer and kicked off the label in fine style. Containing four tracks brimming with electro-disco, cosmic and Italo influences, it's the opener "Miami Phonecall" particularly that caused a micro-panic amongst collectors and DJs getting on board the Italo resurgence that was (and still is) present in 2015. The other tracks also possess a charismatic red laser elegance which'll have you dishing out the poppers and mithering the lighting engineer for more and more fog as you pull out your finest thrusts through into the morning session. Official reissue from Groovin.

STAFF COMMENTS

Matt says: Remember when this one dropped on Lustpoderosa some eight years ago? Targeting the ascendency of the Italo resurgence brilliantly, it become a cult artefact of the era. Now Groovin do the right thing and offer up an official licensed reissue for those who missed it first time round. File next to Count Von Delicious, Senor Chug, Il Bosco, Alexander Robotnick etc etc.

TRACK LISTING

A1. Miami Phonecall
A2. Echange Mystique
B1. Disco Prohibido
B2. Penisola D`Amore

This is Fugazi's second full-length record, released in 1991.

This 12" LP was re-cut and re-issued in September 2009.

Originally Released: 1991

Ian MacKaye vocals & guitar
Guy Picciotto vocals & guitar
Joe Lally bass
Brendan Canty drums

Recorded At Inner Ear Studios Produced By Fugazi.

TRACK LISTING

1. Exit Only
2. Reclamation
3. Nice New Outfit
4. Stacks
5. Latin Roots
6. Steady Diet
7. Long Division
8. Runaway Return
9. Polish
10. Dear Justice Letter
11. KYEO

Nottingham post-punks Do Nothing blend jerky, spidery rhythms with surreal, half-spoken vocals that recall the Fall 's Mark E. Smith . Do Nothing was formed in 2017 by four long-time school friends: frontman Chris Bailey, guitarist Kasper Sandstrøm, drummer Andy Harrison, and bassist Charlie Howarth. All had played in various acts around the city; the band got their start at the popular Maze Club. Bailey, whose father was a singer in an a cappella folk group, grew up listening to the sounds of Simon & Garfunkel , and his own biggest influence was Tom Waits . Initially attempting to copy big names like LCD Soundsystem (as heard on their first 7" single, "Gangs," released in 2019), they eventually became more confident about doing their own thing, and Bailey gave his stream-of-consciousness lyrics and outsider stage persona free rein. Associated with, but wary of, the then-popular post-punk revival, they made clear it was their intention to follow their own path. Their debut EP, Zero Dollar Bill, was released in 2020; another, Glueland, arrived the following year, with an album in the works.

STAFF COMMENTS

Liam says: Born amongst the sea of post-punk revivalists, Nottingham quartet Do Nothing have decided to follow their own path with their debut LP 'Snake Sideways'. In turn, this results in a collection of wonderful wonky and infectious indie bops that serve as a refreshing alternative in today's guitar scene.

TRACK LISTING

1. Nerve
2. Happy Feet
3. Snake Sideways
4. Fine
5. Ivy
6. Hollywood Learn
7. The Needle
8. Amoeba
9. Moving Target
10. Sunshine State

James announce details of a new album in celebration of their 40th Anniversary.
Be Opened By The Wonderful is a 20 track (19 Vinyl) of some of their most loved and rare tracks, re-imagined with a 22 piece orchestra and 8 piece choir. 

Be Opened By The Wonderful was recorded at Blueprint Studios in Manchester, orchestrated and conducted by Joe Duddell with the ORCA22 Orchestra lead by Andra Vornicu featuring the Manchester Inspirational Voices choir, directed by Wayne Ellington.

STAFF COMMENTS

Barry says: James have been around for a bit eh? It would be easy to whip up a best of from but a portion of their discography but here we get new versions of their classic tracks, spanning four decades, beautifully orchestrated and produced. Lovely.

TRACK LISTING

CD Track Listing:
#1
Sometimes
Love Make A Fool
We're Gonna Miss You
Tomorrow
The Lake
She's A Star
Lookaway
Sit Down
Alaskan Pipeline
#2
Someone's Got It In For Me
Hey Ma
Hello
Beautiful Beaches
Why So Close
Medieval
Hymn From A Village
Say Something
Top Of The World
Moving On
Laid

Vinyl Track Listing:
Side A
Sometimes
Love Make A Fool
We're Gonna Miss You
Tomorrow
Side B
The Lake
She's A Star
Lookaway
Sit Down
Alaskan Pipeline
Side C
Someone's Got It In For Me
Hey Ma
Hello
Beautiful Beaches
Whjy So Close
Side D
Medieval
Say Something
Top Of The World
Moving On
Laid

Taking his cue from seminal mix albums of days gone by, Glenn Astro is back with a compilation of original productions from a cast of fictional artists on “Nothing Is Real”. Across 13 tracks, the Tartelet mainstay celebrates the thrill of discovery which came as standard listening to new entries in series’ like X-Mix and DJ Kicks, moving between head-nodding downtempo, ambient techno, broken beat and all manner of chill-out room delights. You might be left wishing artists such as DJ 1999, Mental Trance and Eye Soul8r had actual discographies to go and explore, but as Astro himself is keen to point out, ‘nothing is real.’

Astro has never been shy to embrace classic tropes and tones in his past albums for Tartelet, Apollo and Ninja Tune, but he’s drawing on a different set of influences for this album and embracing the flexibility afforded by using imagined aliases for varied production styles.

‘I had the idea to do a mixtape, preferably with unknown dance tracks that also reflect that whole 90s/early 00s vibe,’ Astro explains. ‘Instead of digging for some records that haven’t been sourced yet or trying to find those forgotten treasures, I made the tracks myself. That way I had full control over BPMs, feel and the whole arrangement of tracks. I thought of a few alter egos and started producing the tracks in the order that I intended to play them in a mix. In the end a whole compilation of tracks emerged.’

While the concept might suggest you’re going to hear a lot of over-familiar sounds, don’t be fooled. Astro is inspired and inquisitive, channeling the experimental spirit of the 90s and early 00s when electronic music was still continually being redefined in all kinds of micro-scenes. In many cases, Astro’s productions slip into the cracks between genres rather than specifically mimicking a style.

Even if the reference points are detectable, the end result is a curious blend as indebted to ambiguity as the overall concept of the compilation. Like the spine-tingling sensation of hitting play and awaiting the waves of unknown sonics on one of those seminal mixes, you never know exactly what you’re going to get as you take the trip through “Nothing Is Real”.

STAFF COMMENTS

Matt says: A brilliantly conceived project which sees Glenn attempt to recreate the halcyon sounds of 90s downbeat which he does with staggeringly authentic results. Light up a joss stick, roll up your finest indica a get fully submerged in this post-xtc glow.

TRACK LISTING

A1. Glenn Astro & Mental Trance - Intro Track
A2. Glenn Astro & Crystalline Reality - The Growl
(crystalline Mix)
A3. Glenn Astro & Eye Soul8r - Autumn Subs
A4. Glenn Astro & Dj 1999 - The Abyss
B1. Glenn Astro & Brain Liquor - Jaque?
B2. Glenn Astro & Crystalline Reality - The Growl
(night Mix)
B3. Glenn Astro & Mental Trance - Mental Trance
B4. Glenn Astro & The Foundation - Steppers
Worldwide, Unite!
B5. Glenn Astro & Dj 1999 - Almost Pleasant

In 1980, Genesis P-Orridge and Peter “Sleazy” Christopherson of (then-)Throbbing Gristle travelled to New York City to meet up at the fortified apartment, known as The Bunker, of famed beat writer and cultural pioneer William S. Burroughs and his executor James Grauerholz. Genesis and Sleazy started the daunting task of compiling the experimental sound works of Burroughs, which, up until that point, had never been widely heard.

During those visits, Burroughs would play back his tape recorder experiments featuring his spoken word “cut-ups”, collaged field recordings from his travels and his flirtations with EVP recording techniques, pioneered by Latvian intellectual Konstantins Raudive. Over the following year, P-Orridge, Christopherson and Grauerholz spent countless hours compiling various edits, each collection showcasing Burroughs sensitive ear and experimental prowess for audio anomaly within technical limitations. In early 1981, Burroughs had relocated to Lawrence, KS to escape the violence and manias of New York City life. There, P-Orridge and Christopherson put the finishing touches on the record that would be known as Nothing Here Now but the Recordings.

Released in Spring 1981, the album would end up as the final release on Industrial Records, brought about by the dissolution of Throbbing Gristle. It was quietly out of print until 1998, when John Giorno and the Giorno Poetry Systems included the album on a retrospective CD box set, which compiled the majority of Burroughs's seminal recordings. In 2015, Dais Records worked closely with the Estate of William S. Burroughs to finally re-release, for the first time in 36 years, a proper vinyl reissue of William S. Burroughs Nothing Here Now but the Recordings to celebrate the centennial anniversary of William S. Burroughs.

TRACK LISTING

Side A:
1. Captain Clark Welcomes You Aboard
2. The Saints Go Marching Through All The Popular Tunes
3. Summer Will
4. Outside The Pier Prowed Like Electric Turtles
5. The Total Taste Is Here - News Cut-up
6. Choral Section, Backwards
7. We See The Future Through The Binoculars Of The People
8. Just Checking Your Summer Recordings

Side B:
1. Creepy Letter - Cut-up At The Beat Hotel In Paris
2. Inching - "Is This Machine Recording?
3. Handkerchief Masks - News Cut- Up
4. Word Falling – Photo Falling
5. Throat Microphone Experiment
6. It’s About Time To Identify Open Area
5. Last Words Of Hassan Sabbah

Howard "Youngblood" Bomar's long overdue debut album finally makes landfall! Howard Bomar was a man who slipped through everybody's fingers but his artistry escapes that fate thanks to I, Who Have Nothing, the first full length Bomar release! This collection features his early '60s 45 soul sides and largely unissued R&B recordings, including a cover of Prince's "Purple Rain." Mixing explosive renditions of familiar favorites with outtasite originals, Bomar's music makes you wonder why his music never surfaced in the first place. Includes 5 CD-only bonus tracks!

TRACK LISTING

LP Tracklisting
Set Down Fo I Fall Down
I Who Have Nothing
I'm Gonna Love You
Best Of Luck To You
I'll Be There
Let It Be Me
Shotgun
What Love Has Joined Together
I Who Have Nothing
She's A 911
Purple Rain

CD Tracklisting
Set Down Fo I Fall Down
I Who Have Nothing
I'm Gonna Love You
Best Of Luck To You
I'll Be There
Let It Be Me
Shotgun
What Love Has Joined Together
I Who Have Nothing
She's A 911
Purple Rain
Down Home Georgia Girl* (CD-only)
Crazy Bout You Baby* (CD-only)
Something Beautiful* (CD-only)
I'd Like To Be* (CD-only)
Just Let Me Love You* (CD-only)

Expanding on the signature surf/garage rock sounds from their debut album Buds, Surf Curse emerge on Nothing Yet retaining the same infectious formula, but with more wisdom and finesse. Trading the angst for self-reflection, and sprinkling in flourishes of synthesizer and other slick production choices, the sophomore album sees the band truly finding their voice as songwriters and instrumentalists. Upbeat tracks like The Strange and the Kind will deliver the same wistful heart pounding choruses Surf Curse fans love, while album closer Falling Apart is new territory for the band. Forgoing drums for a sparse guitar ballad with backing harmonies and haunting synth pads, it’s a hint of the versatility the group would come to display on future projects.

TRACK LISTING

SIDE A
1. Christine F
2. Doom Generation
3. The Strange And The Kind
4. It Followed Me
5. Cronenberg
SIDE B
6. Sleeping
7. Nostalgia
8. All Is Lost
9. Falling Apart

Award-winning Scottish composer Craig Armstrong’s trailblazing 2002 album ‘As If To Nothing’ receives 20th anniversary first-ever vinyl release on Hydrogen Dukebox.

Twenty years on from its original release, Craig Armstrong’s ‘As If To Nothing’ - his electronic/orchestral masterpiece featuring musical heavyweights Bono, Mogwai, Evan Dando, King Crimson and others - is being reissued for the first time on vinyl in a super-deluxe, super-limited edition run via Hydrogen Dukebox.

Remastered at Abbey Road Studios and cut at half-speed to produce a superior sound quality, the release comes completely repackaged with reimagined artwork by award-winning designer Christopher Thomson and there's also a special 'Dinked Archive Edition' version limited to just 500 copies worldwide including a bonus 10" of a newly unearthed track from the original recording sessions.

‘As If To Nothing’, Armstrong’s second solo album following 1998’s ‘The Space Between Us’, is a timeless, groundbreaking record that marries stunning string arrangements, atmospheric electronics and contemporary popular music.

Originally released on renowned UK electronic outfit Massive Attack's label Melankolic, the record captures an enduring mood and sentiment that continues to enchant listeners today, from the stirring opener ‘Ruthless Gravity’ to the euphoric closing of ‘Choral Ending’. Armstrong’s collaborative work with Massive Attack on the 1994 album ‘Protection’ is an influence that can be heard throughout ‘As If To Nothing’:
“It was a very particular time musically within Britain, and the world”, he says. “To be part of the label, Melankolic, and working with Massive Attack, was a unique moment in time. They gave me real freedom to do what I wanted. The album was ahead of its time, I think - it still sounds pure and contemporary.”
“A lot of younger acts have contacted me over the years to say how seminal the album has been to them. One of the great things is that people have never stopped listening to the album. To have it reissued and released on this first-ever vinyl package is a very special thing to me.”

The album features a cast of luminaries including Bono on ‘Stay (Farway, So Close!’), Mogwai on ‘Miracle’ and Lemonheads’ Evan Dando ‘Wake Up In New York’, as well as producer Photek, soul singer David McAlmont, Alpha vocalist Wendy Stubbs, and Antye Greie-Fuchs, and a sample of King Crimson’s ‘Starless’ on ‘Starless II’. Praise for the album at the time of its release included Pitchfork ("Powerfully evocative and serene") and Rolling Stone ("[Armstrong] makes Bono sound like a fallen angel on a majestic remake of "Stay (Faraway, So Close!)".

Through his orchestral writing, electronic compositions and wide-ranging artistic collaborations in classical and film music, Craig Armstrong’s work has received worldwide acclaim. Armstrong is widely known for composing award winning film music, having scored both Hollywood and independent films, from Peter Mullan’s directorial debut 'The Close Trilogy' to the BAFTA, Ivor Novello and Golden Globe-winning award scores for Baz Luhrmann’s 'Romeo and Juliet', 'Moulin Rouge!' and 'The Great Gatsby'.

His film scoring has also featured in many other popular films including 'The Quiet American', 'Orphans', 'Love Actually', 'World Trade Centre', 'Elizabeth: The Golden Age', 'Far From The Madding Crowd', and 'Ray!', with the latter awarded a Grammy for Best Original Score. And several collaborations with Oliver Stone, ‘World Trade Center’ and ‘Snowden’.

The reissue of ‘As If To Nothing’ is a fitting celebration of this exemplary album’s 20th anniversary, and an opportunity to own this key record from Armstrong’s celebrated body of work on vinyl for the first time.

TRACK LISTING

Side A
Ruthless Gravity
Wake Up In New York
Miracle
Amber
Side B
Finding Beauty
Waltz
Inhaler
Hymn 2
Side C
Snow
Starless II
Stay
Side D
Niente
Sea Song
Let It Be Love
Choral Ending

Having lived their rollercoaster ride to the top of the charts and main stages inside just two years, The Lathums state their intentions to supercharge their continued rise with the release of 'Say My Name'.

TRACK LISTING

1. Struggle
2. Say My Name
3. I Know Pt. 1
4. Lucky Bean
5. Facets
6. Rise And Fall
7. Sad Face Baby
8. Turmoil
9. Land And Sky
10. Crying Out
11. Understanding

Nocturne, the critically acclaimed sophomore album by Wild Nothing, is a window into singer/songwriter Jack Tatum’s “ideal world” of pop music. Written largely while living in Savannah, GA during 2011, the songs that became Nocturne blur the lines between Tat- um’s influences and personality. The album features some open references to past music just as his hit debut Gemini did, but it’s also an album that feels much less rooted in anything in particular, and marks a distinct evolution in songwriting for Wild Nothing.

Gemini was written before there were Wild Nothing fans or even a live band; Nocturne is different. With an unexpected new fan base to turn to, Tatum spent more time perfecting his craft. The obsessive- ness of Nocturne is inherent in it’s gentle harmonies, orchestrated synths, wandering voice, and songs that speak to his post-Gemini experiences as he explores new paradoxes of pop. And yet, Nocturne isn’t obvious, it is a strange and distinctive musical beast, the product of an obsessive pop vision that creates its own reality.

Over the past 10 years, Nocturne has distinguished itself as the quintessential Wild Nothing record, and includes catalog highlights “Shadow”, “Paradise”, and “Only Heather” - all of which have be- come dependable standouts in Tatum’s live performance through the years.

TRACK LISTING

Shadow
Midnight Song
Nocturne
Through The Grass
Only Heather
This Chain Won’t Break
Disappear Always
Paradise
Counting Days
The Blue Dress
Rheya

RIYL: Sleater-Kinney, Bartees Strange,Liars, Shellac, Blonde Redhead, Protomartyr, Iceage, A Place To Bury Strangers, Throwing Muses, Omni, Shopping, Bikini Kill.

In the era of Ganser’s Just Look At That Sky delightfully descended on the world in July of 2020, I do admit that I mostly did find myself looking skyward, though that looking was often colored by an ever-present anxiety. My city was coming apart and maybe your city was coming apart too. Maybe atop the buildings of your downtowns there were guns, and men in fatigues. Maybe in front of the libraries, there were tanks, maybe in front of the food banks, there were army patrols. And yet, maybe you found an album or some tunes that reflected the times, which means both everything and nothing at all now, as time fractures into small, elastic shapes, some jagged, some joyful. An album of a moment must require malleability – songs that hold several songs within them.

Ganser is back with a couple of tunes that will anchor spring through fall, a project called Nothing You Do Matters (produced by Liars' Angus Andrew) and the songs are full, biting, sweet and relentlessly tongue-in-cheek. What propels Ganser as a band, for me, is what shines here: their performance of joyful apathy so often has many other moving parts underneath that suggest that they are a band of deep caring, simply unsatisfied

with the hands they’ve been dealt by the world. The dark humor seeped into the apathy is the central and most visual part of the magic trick, but it isn’t the trick itself. It is the disappearing bird or rabbit, that which returns safely to the open palm in order to distract an audience from everything else unfolding during its

disappearance. “People Watching” is almost a mini-suite of a jam, which first kicks in your door and then lulls you with what feels like comfort, before tearing your place apart on the way out. It’s a thrasher of a tune that is more deliberate than breathless, picking its spots to twist the lyrical knife of talk until the words lose meaning, which circle the drain of the song repeatedly, until it has evicted you, or you have evicted it.

“What Me Worry?” fills the space of breathlessness, a sneering romp where each line of lyric feels engaged in a mighty tug-ofwar for what comes before and after, simmering with the kind of tension that Ganser has gotten great at – a tension that pushes a listener to the edge before dragging them back to firm ground.

Survival is hard-won. For many folks, it has always been, for many more folks it feels especially hard-won now. Ganser has adjusted to the times. Yes, the lyrics are darker, seem more exhausted with the realities of having to make it to whatever is next. But there’s also real bursts of playfulness and gratitude wrestling underneath these songs. Gratitude for what winning another inch of survival, perhaps. I needed these songs, and you might, too. It’s good to feel, for a moment, that all is not lost. And even if it is, at least we can laugh our way to somemeaningless demise. - written by Hanif Abdurraqib

TRACK LISTING

01. People Watching
02. What Me Worry
03. People Watching (Liars Remix)

Something And Nothing is the second volume in the autobiography from David Gedge of Wedding Present fame. The stories featured in this stunning 176-page matt-laminated, hard-back book have previously only been available to readers of the Tales From The Wedding Present comic book series. This collected edition comes with 100 pages of never-before-seen additional material and an introduction by Craig Cash.David writes the Tales From The Wedding Present narrative together with long-time musical associate Terry de Castro, and then the stories are illustrated by virtuoso artist Lee Thacker. For the past decade, they’ve been working steadily (along with editing help from Jessica McMillan) to relate David’s life and adventures.Something And Nothing is presented in chronological order; it takes up where Volume One left off – just after the release of The Wedding Present’s first single ‘Go Out And Get ’Em, Boy!’ in 1985 – and takes us through the next three years of the band’s existence. David writes intimately about all of the events leading up to the writing, recording and release of the band’s classic debut album, George Best, as well as detailing sessions that the group recorded for John Peel [including the legendary Ukrainian folk music ones], early live appearances in the UK and the rest of Europe and the development of their label Reception Records. On the way, we also learn about some of the romantic experiences that may have informed his writing.

After nine critically acclaimed albums, twenty bandmates, countless bars, clubs, theaters and festivals, after two full decades, Will Sheff is letting Okkervil River drift out to sea with the release of Nothing Special, his debut collection under his own name. Nothing Special was recorded with a mix of old friends (like Benjamin Lazar-Davis and Will Graefe) and new collaborators (Christian Lee Hutson, Cassandra Jenkins, Dawes drummer Griffin Goldsmith, and Death Cab For Cutie pianist Zac Rae).

Coach Party grew up on the Isle of Wight (“it's only a matter of time until you meet pretty much everyone else on the Island,” says Eastwood) and eventually crossed paths as avid music fans - working in venues, playing together and meeting at the same gigs. Coach Party eventually formed after Eastwood and guitarist Steph Norris decided to start playing music together; quickly realising that there was something special about the pair’s songwriting and bond, guitarist Joe Perry and drummer Page joined the ranks. Musically, Coach Party are inspired by a broad palate of artists, but always find themselves drawn back to Nirvana, Sonic Youth and The Strokes, and contemporary artists like Wolf Alice, The Big Moon and Tame Impala. Ultimately though, Coach Party’s primary drive to write and perform music comes from “the often entertaining struggle of real life.” The band still live and work on the Isle of Wight (Jess at a farm park, Guy in a music studio and Steph & Joe in cafes), and describe life on the island as going “through pretty distinct phases of being a great, and a really frustrating place to live.” 

TRACK LISTING

1. FLAG
2. Shit TV
3. 3 Kisses
4. Weird Me Out
5. Nothing Is Real

“There Is Nothing Left But The Enjoyment Of Senseless Destruction” is the first deadly plastic bullet from Dead Normal, a Barcelona-based trio fusing harsh electronics with a confrontational punk aesthetic to devastating effect. Think: early SPK meets 1990s Whitehouse, distorted Scorn/JFK type skullcrushing beats, a sprinkling of deconstructed Mark Stewart/Tackhead-esque mutant groove and a ferocious dual male/female vocal attack reminiscent of Mark E Smith at his most irascible combined with Crass' Eve Libertine at her most acerbic. Push the levels into the red and you're still only half way close to the unique and original hybrid of Dead Normal's punishing sonic assault. Founded in 2016 by Mario (electronics) with Oriol Rosell and Zoë V sharing vocal duties, the members of Dead Normal have a pedigree spanning two decades in the experimental/avant-garde scene, including collaborations with artists such as The New Blockaders and 2nd Gen. Dead Normal have played in Spain, London and Berlin alongside a diversity of acts from hardcore punk to power electronics and synthpop with further live performances to be announced shortly. 

TRACK LISTING

1/Reasons To Not Love
2/When The Shit Hits The Fan
3/The Epiphany
4/Little Tweaker Fuck 
5/The Man Is A Twat
6/Bobby
7/Guilt Hits Harder Than The Truth
8/You Were Good
9/Fully Loaded

700 Bliss is the forward-thinking duo of DJ Haram and Moor Mother. Their first full length for Hyperdub is an album of noise rap that ties together the raw edges of club music and hip hop with punk energy, jazz, house-party catharsis, percussion-heavy analogue sound design, and cheeky skits, ranging from experimental rap tracks with rolling hi hats and lyrical bravado, to poetry set to noise and sound collage.

Moor Mother and DJ Haram started collaborating in 2014 and eventually formed 700 Bliss, a blistering live act in Philly's DIY scene, releasing their 2018 debut, Spa 700 on Halcyon Veil / Don Giovanni Records. Since that time, both artists have grown global followings. Moor Mother is a prolific solo artist and collaborator, writer, and member of Black Quantum Futurism while Haram has been curating and creating radio shows, DJing, and producing (including an EP for Hyperdub in 2019).

‘Nothing To Declare’ is a smart, danceable revelation, a chiseled soundscape of dive bombing bass, piercing bleeps, crunchy distortion, and wavering synth lines. Welcoming in a variety of voices from their extended, cross-genre scene, 700 Bliss also bring along a cast of collaborators, including vocalists Orion Sun, Lawfandah, Ase Manual, and Ali Logout (from the band Special Interest), plus Palestinian producer Muqata'a, and writer M Téllez who delivers a surreal sci fi monologue over a pounding kick drum on ‘More Victories’.

‘Nothing To Declare’ is a deeply layered rewriting of hip hop and electronic music that gives more with each listen. You won't hear another rap album like it in 2022.

TRACK LISTING

A1. Nothing To Declare
A2. Totally Spies Ft Lafawndah
A3. Nightflame Ft Orion Sun
A4. Anthology
A5. Discipline
A6. BlessGrips
A7. Easyjet
A8. Candace Parker Ft Muqata’a
B1. No More Kings
B2. Capitol Ft Alli Logout
B3. Sixteen
B4. Spirit Airlines
B5. Crown
B6. More Victories Ft M. Téllez
B7. Seven
B8. Lead Level 15 Ft Ase Manual

Reissue of the first Dire Straits greatest hits collection, originally released in October 1988 and featuring songs from their first five albums.

Fully remastered by Bob Ludwig, and cut by Bernie Grundman, this vinyl reissue includes ‘Telegraph Road (Live Remix)’ which was previously only available on the original CD format, and a brand new mix of ‘Portobello Belle (Live)’. It is cut over four sides of vinyl for the first time.

STAFF COMMENTS

Barry says: I remember having a copy of this on CD when I was younger, and thoroughly believed it to be a proper album. Imagine my surprise then when it turned out it's just a really good compilation. Andy and I were talking about just this the other week. I love Dire Straits, and this is the best 'album' that never was.

TRACK LISTING

LP1 - Side A
Sultans Of Swing (5:46)
Down To The Waterline (4:01)
Portobello Belle (Live: Alternative Out-take) (4:33) – Previously Unreleased Version
LP1 - Side B
Twisting By The Pool (Remix) (3:30)
Tunnel Of Love (8:10)
Romeo And Juliet (5:56)
LP2 - Side C
Where Do You Think You're Going (3:30)
Walk Of Life (4:08)
Private Investigations (5:50)
LP2 - Side D
Telegraph Road (Live Remix) (11:59) – Previously Unreleased On Vinyl
Money For Nothing (Single Edit) (4:06)
Brothers In Arms (Edit) (4:49)

Just as a film or painting does, recorded music proposes a space in three dimensions, it may not be permanent and it could be said to be illusory, but to us, in the moment, it is there. Sunstroke were Ben Bollaert and Etienne Delaruye. Both were obsessed with the burgeoning possibilities of electronic music so it made sense that they collaborate in the studio. The resulting experiments culminated in the 1985 release of "Nothing's Wrong in Paradise".

The record was conceived as a soundtrack to a film that doesn’t exist - a sophisticated meeting of post-Berlin-school dreaming, Yen-records hi-tech calm and Impressionist Café music ennui. What makes it most compelling though, is that even while it conjures a seemingly perfect world, something around the edges lets you know that all might not be as it seems. Maybe there is nothing wrong in paradise. Or maybe that’s just wallpapering over the cracks. The rough edges and regret of everyday life cannot help but intrude. Once you have spent some time with it, the whole record starts to seem bathed in a dim half-light, suggesting utopia glimpsed through a smudged lens.

Just like the ethereal space in their music Sunstroke only existed for a moment, a second LP was planned but never materialized, Delaruye returned to theatre music and Bollaert opened a successful synthesiser store and was active in the new beat scene. Briefly they created a paradise and pointed out its temporary nature, all at the same time.

TRACK LISTING

A1 Nothing's Wrong In Paradise
A2 Re-Incarnation
A3 Race Of The Oasis

B1 Boat People
B2 Dance Of The Prophets
B3 Re-Incarnation (Prepared Piano)

In 2011 Dawes released their highly anticipated sophomore album ‘Nothing Is Wrong’.

Produced and mixed by Jonathan Wilson, ‘Nothing Is Wrong’ built on the band’s sun-drenched, Laurel Canyon sound with rock solid songwriting and beautiful Crosby, Stills and Nashstyle harmonies.

The album was met with near universal critical-acclaim and catapulted the band’s career. With ‘Nothing Is Wrong’, Dawes staked their flag

TRACK LISTING

‘Nothing Is Wrong’
Time Spent In Los Angeles
If I Wanted Someone
My Way Back Home
Coming Back To A Man
So Well
How Far We’ve Come
Fire Away
Moon On The Water
Million Dollar Bill
The Way You Laugh
A Little Bit Of Everything

Bonus 7”
Strangers Getting Stranger
Rest Easy

Dean Wareham (Galaxie 500, Luna) returns with his first new songs in seven years, a politically-minded collection of indie guitar beauty. Produced by Jason Quever (Beach House, Cass McCombs). Eight songs by Wareham, plus covers of "Duchess" by Scott Walker and "Under Skys" by obscure Massachusetts late-60s band Lazy Smoke.

TRACK LISTING

The Past Is Our Plaything
Cashing In
The Last Word
Robin & Richard
The Corridors Of Power
As Much As It Was Worth
Under Skys
Red Hollywood
Duchess
Why Are We In Vietnam?

THIS IS A RECORD STORE DAY 2021 EXCLUSIVE AND WILL BE AVAILABLE INSTORE ON SATURDAY JULY 17TH ON A FIRST COME FIRST SERVED BASIS, LIMITED TO ONE PER PERSON.

IF THERE ARE ANY REMAINING COPIES THEY WILL BE MADE AVAILABLE ONLINE AT 6PM ON THE SAME DAY (SATURDAY JULY 17TH).

The latest Sonic Boom album, remixed by the man himself – Pete Kember.

Contains Two Tracks (Tick Tock / Almost Nothing Is Nearly Enough) In Remixed Form That Were Not Originally On The UK Album. 

To Sonic Boom’s Pete Kember, re-imagining the past can lead to ways forward on life’s natural, interconnected path. In April of 2020, he released his first album in over 20 years called All Things Being Equal, a lush and psychedelic record full of interwoven synthesizers and droning vocal melodies, concerned with the state of humanity and the natural world. An entire year later, Kember has re-imagined his last release and created an album of self-remixed tracks called Almost Nothing Is Nearly Enough, inspired by the spirit of late 70s, early 80s records by artists like Kraftwerk, Blondie and Eddy Grant. His new album is hypnotic and moody, holding onto the existential framework of the original, but exposes a fresh, beating realm of possibility.

In his last album, All Things Being Equal, Kember told regenerative stories backwards and forwards as he explored dichotomies zen and fearsome, reverential of his analog toolkit and protective of the plants and trees that support our lives. His work is always complex, both in its instrumentation built using modular synthesizers, and with his attempts to observe the many variables that exist in the universe that are intrinsically connected. Kember takes his existential and musical curiosity even further in Almost Nothing Is Nearly Enough, explaining “how we interact now is especially critical.” Written while the world endures many environmental and human crises, the album is both a balm and a reminder to nurture our own relationships, both natural and personal.

Almost Nothing Is Nearly Enough includes remixes of six tracks from All Things Being Equaland two tracks previously released exclusively in Japan. The album opens just like the original, with “Just Imagine”in its remixed form. The modular synthesizer at its foundation sounds familiar, but as the song progresses it branches out into various veins of sparkling embellishments and deep humming to truly expand the world that the song attempts to envision. On the albums’title track “Almost Nothing Is Nearly Enough,” Kember’s instrumentation mirrors the interactions he wishes to inspire; synthesizers responding and building on one another, a conversation of sorts that the human world currently seems to avoid.

Almost Nothing Is Nearly Enough sets itself up to be a grooving, night-time record, while carrying on Sonic Boom’s sense of urgency to assess our relationship with the world. As Sonic Boom revisits his last album, he exposes the arteries and bones of his past work and shares its raw, exciting potential. The result is a re-textured and re-colored new set of songs, emphasizing Sonic Boom’s ability to make a sonically expansive album feel distinctly impactful for anyone who listens closely.

To screengaze we see the frenzy of the hyperreality; the chaotic and unending flow of info which serves as the composite of the idealworld as it’s presented to us. Projections of self-styled-life, illusions of societal norm, prescribed freedom, and omnipresent prompts for consumption embody this hyperworld which once zoomed in on becomes dissociative, overwhelming, and often unstable as its reflection is held up to itself.

While to windowgaze, we see a muted reflection of the actual. We see in such a way that allows us to view a still and serene world onto which we can project our own idealisms; romanticising the mundane with notions of love and beauty, while flirting with senses of meaninglessness and nothingness. Through windowgazing we allow ourselves to eulogise the actual in a “is-it-really-real” way.

Tears Voyuer is the debut LP by the duo All Times Now Nothing. Tears Voyuer is presented in two formats. The physical 12” LP is comprised of two 22 minute collage pieces. The digital format is made up of 14 tracks which form the basis of the collages as heard on the record. Digital download included with the release.

TRACK LISTING

A1. Ad
A2. Mm Denone
A3. Patience
A4. Love
A5. Dream
A6. Whats It Like
A7: Television
B1. Bound
B2. Shutter
B3. Gut
B4. Smile?
B5. Smudge Into Air
B6. Tears Voyuer

Shopping return with their new album All Or Nothing – a record that speaks about commitment, leaps of faith and tests of courage. “A lot has happened in our personal lives since we last recorded and we knew this album was going to reflect that exciting and scary feeling that comes with change, heartbreak and personal evolution”, the band explains. Since their last record the band are now spread across the globe with Billy in LA and Andrew and Rachel in Glasgow, and the songs were written in a two week intensive period while they were all together. Taking a bold leap towards pop with their most vibrant & punchy production to date, mixed and produced by Nick Sylvester. For fans of ESG, Bodega, Priests, Squid, Public Practice, Sacred Paws, Sault, Dry Cleaning.

STAFF COMMENTS

Barry says: Driven rolling bass and fuzzy guitars swirl around under the angular, mathy buzz. Shopping maintain the momentum while injecting things with a good amount of vigour, and a keen melodic sensibility. Lovely stuff.

TRACK LISTING

Side A:
Trust In Us
Initiative
Follow Me
No Apologies
For Your Pleasure

Side B:
About You
Lies
Expert Advice
Body Clock
All Or Nothing

A live musical performance to Derek Jarman’s “In The Shadow of the Sun”. Recorded live at Cafe OTO, London, England — May 23, 2017. Derek Jarman’s “In The Shadow of the Sun” forms part of a series of films, shot and edited on s8mm, grouped under the collective title “The Art of Mirrors”. “In The Shadow of the Sun” is the longest of these running at 54 minutes. Filming took place between 1972-74 and the film was completed in 1974. When Derek showed the film he would play Verdi’s requiem as an accompaniment. In 1980 the FDK in Berlin agreed to make a 16mm blow up of the s8mm film to be shown at the Berlinale forum. The footage was blown-up to 16mm by John Hall of Colour Technique. Derek felt that the new version should have a new accompaniment and, with this in mind, approached throbbing gristle to provide the music. In May 23 of 2017, Psychic TV performed two live soundtracks to “In The Shadow of the Sun” at Cafe OTO in London. The recordings on this LP were made that night. The finished film was premiered at the Berlin film festival in february 1981. In 2018 the British Film Institute undertook the making of a 2k scan from the 16mm negative and sound. Filmed & edited by Derek Jarman. 16mm version produced by James Mackay. Original soundtrack by Throbbing Gristle. For thee realization of this project Psychic TV were: Genesis Breyer P-Orridge: violin, Edley ODowd: drums and percussion, Alice Genese: flute, Jeff Berner: guitar, John Weingarten: keyboards - Live mixing by Matski, Album produced by Edley ODowd

Originally released in October 1998 and now available on standard weight black vinyl, ‘Without You I’m Nothing’ is the second album from the critically acclaimed Placebo.

TRACK LISTING

Pure Morning
Brick Shithouse
You Don’t Care About Us
Ask For Answers
Without You I’m Nothing
Allergic (To Thoughts Of Mother Earth)
The Crawl
Every You Every Me
My Sweet Prince
Summer’s Gone
Scared Of Girls
Burger Queen

'‘Nothing Great About Britain’, the charged title of UK rapper slowthai’s debut album is the phrase echoing among the disenfranchised members of Britain’s society. Not just a title, the phrase epitomises all that slowthai has been talking about to this point, all that he himself believes in. With this offering he sets the stage to become the voice of Britain’s mistreated, unrepresented and forgotten. 
Blessed with a versatile voice and a fresh view of society, slowthai lays a grimey flow over trap-tinged beats, pulls an ODB on the narcotic love song "Crack" and yelps over garage-tinged jams "Doorman" and "Piece Of Mind" like a millenial Mike Skinner. Punk energy, urban attitude and a unique voice, slowthai ladies and gents.

TRACK LISTING

1. Nothing Great About Britain
2. Doorman 
3. Dead Leaves
4. Gorgeous 
5. Crack
6. Grow Up Feat. Jaykae
7. Inglorious Feat. Skepta
8. Toaster
9. Peace Of Mind 
10. Missing
11. Northampton's Child

London based HENGE have been frying brains for the last 4 years with their psychedelic doom, coming on like an acid-fried freight train straight to your cerebral core. Think Black Sabbath through an Amphetamine Reptile filter, via Pigs x7. Their first LP, released in January 2016, gained rave reviews and 'Nothing Head' builds on their S/T debut oppressive groove. The album opener, 'Compressor' feels like you are staggering through a Californian desert with the heat beating down on your back, bewildered and lost but knowing full well when you reach your destination that's when things will start to get really weird.

'The Sea' continues the desert stagger until a white light beams down opening up a portal to your subconscious and your bad deeds spring forth. 'Beginners' makes feeling of claustrophobia tingle with a forlorn wail following your every move. The light finally begins to raise again with 'Human Beings' although briefly until darkness descends with 'Teddy Bear'. Desperately trapped but once you let yourself go movement flows freely. This is it. At just over 8 minutes long 'Dracila' is the one that stretches time and builds on everything gone before. 'Nike' ebbs and flows with a worldly understanding and rounding the LP off in an enlightened state.

The cover says it all. There was an ecstasy tablet going around London a couple of years ago, unbeknownst to the band, bearing their name and logo. Reports say the experience was like witnessing HENGE live - claustrophobic but downright beautiful. Bandcamp listed them in the Top Ten UK Noise Rock Bands alongside Terminal Cheesecake, GNOD, US Nails, Casual Nun etc so they must be doing something right. 

The sleeve tells you so much about the process. It’s a picture of a lone figure. Suited up and immersed in interplanetary protective gear, he walks out across unmapped terrain. In the distance, a mountain range towers over the roughly gridded sand he’s striding. This is very much a solo mission – giant steps into the unknown. Inside the helmet, there’s all the uncertainty and madness that such a pursuit brings.

That sleeve (designed, as ever, with Mark Farrow), comes wrapped around And Nothing Hurt - Spiritualized’s eighth album, the follow up to 2012’s Sweet Heart, Sweet Light. From the opening lullaby of A Perfect Miracle through to the fading Morse Code at the close of Sail on Through, it painstakingly wraps layer upon layer of gloriously transcendent sound together to create a mesmerizing and cinematic collection of songs.

There are points – the thunderous climax of On the Sunshine; the spectral waltz of The Prize; the towering guitar solo on I’m Your Man – where the waves of blissful noise are almost overwhelming, where one can imagine the studio’s speakers vibrating themselves off of the walls. Which is an incredible feat when you discover that the album was conceived and recorded almost entirely by one man – Jason Pierce, AKA J.Spaceman - in an upstairs room in his east London home. Sat in an edit suite in Whitechapel a month or so after finishing recording, Jason talks honestly about the painstaking, frustrating process of creating And Nothing Hurt.

“Making this record on my own sent me more mad than anything I’ve done before. We’d been playing these big shows and I really wanted to capture that sound we were making but, without the funds to do, I had to find a way to work within the constraints of what money I had. So I bought a laptop and made it all in a little room in my house.”

Whereas bedroom recording is commonplace for a generation of musicians who’ve grown up with horizon-expanding tech, Spiritualized have long used the studio as they would an extra member of the band – as a vital building block in the construction of some of the most cherished records of the modern era. This time would be very different. With no grounding in digital recording, Jason had to learn everything from scratch.

“The biggest thing for me was to try to make it sound like a studio session. There are bits that I went to a studio to record – mainly drums and percussion. I mean, there’s no way I’m going to get timpani up my stairs. When I came to terms with how I was going to make the record, I assumed it was going to sound like Lee Perry - all flying in from different angles; all extraordinary and not hi-tech in construction. But I was new to it all, I didn’t have all the short cuts people use when they’re making records – I just sat there for weeks… for months… moving every level up bit by bit just to try to get the sounds right.”

For the listener, the nine tracks on And Nothing Hurt effortlessly replicate the scale and power of Spiritualized’s previous releases, whether it’s the sonic blowback of On the Sunshine, the last dime in the jukebox love letter of Let’s Dance or the swell of an imaginary orchestra that seems to lift Damaged towards the heavens as it plays out.

“With a bit of trial and lot of error, I found ways of doing something that’s quite simple, if you’ve got the resources. I spent two weeks listening to classical records and strumming the chord that I wanted on my guitar. When I found something to match what I wanted, I’d sample that bit and go for the next chord and try to match that. It took weeks, trying to put together and layer convincing string sounds. But, if I’m honest, all I wanted was for someone to come and play the part and bring their own thing to the record.”

One of the biggest influences on the final sound of the record was a series of shows played in 2016 celebrating the (near) 20th anniversary of the band’s peerless 1997 release Ladies And Gentlemen We Are Floating In Space. Those shows, played with a fifteen-piece orchestra and a gospel choir, forced Jason to revisit songs that he’d already been working on for years.

“Part of the reason for doing those gigs was to inform the songs I’d been working on. Trying to sing convincingly in a little room at home was really difficult. The big shows helped remind myself what it’s like to sing with that kind of backing. I can’t really describe it… when you’re singing with a choir behind you and there’s all this noise coming off the stage, you sing things very differently to how you would A) in a studio or B) sitting on your bed at home recording into a laptop.”

Lyrically, And Nothing Hurt touches on thoughts of passing time and acceptance of one’s age – never more beautifully than on Let’s Dance (‘The hour is getting late, they’re putting all the chairs away / they’ve got Big Star on the radio, they’ll let us stay’).

“I didn’t want to be fighting against my age; it’s very much about acceptance. And not with any dissatisfaction either – I’m not raging against the inevitable. I spent a lot of time thinking about the way that the songs should hold together, trying to make the narratives make sense rather than just throwing together a couple of lines that rhymed. Let’s Dance was very much a ‘last orders’ kind of song, about grasping at the finality of that moment.”

During the making of And Nothing Hurt, Jason kept returning to the thought that this would be the last Spiritualized record – interviews over the last couple of years made it clear that the frustration of trying to replicate the sounds in his head whilst sat on his bed were proving too much. With the record finally finished and a new UK label (Bella Union – Fat Possum continue to release Spiritualized records in the States), does he feel the same way now?

“I was quite sincere about that and I still feel like it might be the case. It was such hard work. I found myself going crazy for so long. It’s not like there’s no coming back, I’m fine now… it’s just such a hard thing to do, to make a record like this on your own. It’s almost as if, if I’m not pushing myself to point of madness, it’s not going to be right. And I know it’s going to be like that every time. What’s the definition of madness? Doing the same thing over and over and expecting different results. I kind of do that. I think the biggest goal is to make something that’s worthy of all that time and effort. And the more time and effort, the bigger the goal. I knew I had to make something that was good enough that it should be made. And a massive positive about making the record is that we get to play it live. That’s always the most joyous thing; everyone gets to contribute to the sound, this amazing thing that seems to come right through the roof.”

If the last set of Spiritualized gigs helped set the course for how And Nothing Hurt now sounds – alternately intimate, hypnotic, cyclonic and downright spiritual - maybe… just maybe… this next set will encourage Jason to flip open the laptop to press record again. Here’s hoping.

TRACK LISTING

1 A Perfect Miracle
2 I'm Your Man
3 Here It Comes (The Road) Let's Go
4 Let's Dance
5 On The Sunshine
6 Damaged
7 The Morning After
8 The Prize
9 Sail On Through

Around a decade ago the genre 'Witch House' suddenly took off with a wave of artists producing horror-inflected electronic tracks which caught the imagination of a lot of people. One of the most influential of those acts was WHITE RING who put out the EP Black Earth That Made Me. In the 8 years since the release of the EP, WHITE RING have remained elusive, and the genre tag 'Witch House' has died out in favour of other terms - but the group have come thundering back with the song 'Leprosy', which gives absolutely no fucks about how you want to term it, because it absolutely won't be pigeonholed.

'Leprosy' thunders on grotty bass lines, which sound like they're strangling the yelps out of singer Kendra Malia. This surging life force may be bruised purpley black, but it resounds with gritty and determined life, which suggests that WHITE RING are back with a point to prove. 'Leprosy' is just the first smack to the chops from their newly announced debut album Gate Of Grief, which will be coming out on 22nd June through Rocket Girl.

Maps and Atlases Lightlessness Is Nothing New, their first since 2012s critically acclaimed Beware & Be Grateful, serves to foreshadow an emotionally and musically dynamic collection of songs that contemplates the jolt of loss and the strain of longing to music that, against our better judgment, makes us want to dance.

TRACK LISTING

The Fear 
Fall Apart
Ringing Bell
Violet Threaded
Fog And The Fall
Learn How To Swim
Super Bowl Sunday
War Dreams
4/25
Wrong Kind Of Magic

Here Lies Man took the music world by storm in 2017 with their self-titled debut positing the intriguing hypothesis: What if Black Sabbath played Afrobeat?

'We’re very conscious of how the rhythms service the riffs,' explains founder and vocalist / guitarist/ multi-instrumentalist Marcos Garcia (who also plays guitar in Antibalas) of the band’s sound. 'Tony Iommi’s (Black Sabbath) innovation was to make the riff the organizing principle of a song. We are taking that same approach but employing a different organizing principle: For Iommi it was the blues, for us it comes directly from Africa.'

Sonically, on "You Will Know Nothing" the dynamic range is thicker, crisper and more powerful. It glistens as much as it blasts. The songs are even catchier, more anthemic, and the production reflects that of a band truly come into its own. Lyrically, it’s an equally more conceptualized effort that reflects upon states of being and consciousness — a driving force that carries throughout the words and moods of all of the band’s releases, interconnected to their trancelike music. Here Lies Man have honed their sound and their focus, and soon, you will truly know Nothing.


Garcia and Mann recorded the album much like they did the debut, at their own L.A. studio on a Tascam 388 8-track tape machine. Congas were later recorded by percussionists Richard Panta and Reinaldo DeJesus. Then, Garcia went to NY to record interludes with former Antibalas keyboardist Victor Axelrod. Mixing took the most time in order to find the proper sonic space for each layer of musical detail, with first album engineer Jeremy Page mixing the drums and the band tackling the remainder while also juggling a hectic touring schedule.

STAFF COMMENTS

Barry says: Bringing the frantic, almost percussive snapping guitars over the top of galloping toms and distorted, psychedelic vox, Here Lies Man have presented a fascinating and head-nodding stoner throb to the masses. 'You Will Know Nothing' pits nuanced stoned heft against swooning, psychedelic groove to great effect.

Since their widely-acclaimed self-titled debut album released in 1999 Dead Meadow have released seven studio albums - three via Matador records (Shivering King and Others (2003), Feathers (2005), and Old Growth (2008)) and two live albums which includes Three Kings, a feature length live film and soundtrack. Their unique marriage of Sabbath riffs, dreamy layers of guitar-fuzz bliss with singer Jason Simon’s melodic croon has won over psychedelic pop/rock and stoner rock fans alike and with their new album The Nothing They Need (Xemu Records) the band show that in 2018, they continue to fuse their love of early-’70s hard rock and ’60s psychedelia into their own distinct sound.

The album was recorded in Dead Meadows’ studio/rehearsal space, The Wiggle Room and it celebrates twenty years of the band with eight songs that feature everyone that has been musically involved with the band over the years. Jason and Steve Kille are joined by original drummer Mark Laughlin, Stephen McCarty ( the drummer throughout the Matador years), and current drummer Juan Londono. Cory Shane joins them on guitar for some Feathers era dual guitar interplay.

STAFF COMMENTS

Barry says: Woozy, warbling guitars and throbbing bass kicks bolster the psychedelic maelstrom that only Dead Meadow could provide. A wholly mesmerising trip through progressive psychedelia and staggered rock. Superb.

TRACK LISTING

1. Keep Your Head.
2. Here With The Hawk.
3. I'm So Glad.
4. Nobody Home.
5. This Shaky Hand Is Not Mine .
6.Rest Natural
7. The Light.
8. Unsettled Dust

The music of Hawthonn is dense and atmospheric, but not inaccessible. Experimental electronic techniques fuse with doom-laden organ riffs, crystalline piano, elemental drones and haunting vocals. Largely guided by their own unconscious muse, the band’s chief inspirations lie outside of music, in Romantic poetry, dreams and reveries, esoteric symbolism, the history of magic and witchcraft, folklore and the English landscape.

Hawthonn is Leeds-based duo Layla Legard and Phil Legard. Having previously collaborated in music, as well as text and photography, they officially formed in 2014 to deepen their uniquely imaginative approach to musicmaking. Often developing from obsessive explorations of a particular theme, their work precipitates dreams and imaginative journeys, which inform the direction of their music. Their earliest music explored the afterlife mythos of Coil’s Jhonn Balance through the image of the Hawthorn tree and Cumbrian landscape where his ashes were scattered. Their approach draws lyricism from the psychoacoustic phenomena of “phantom words”—sonic textures translated from geographical space into droning sound spectra, and verbalized dream imagery.

The prime symbol of Red Goddess (Of This Men Shall Know Nothing), is mugwort. An herb associated with dreaming, travel and menstruation, mugwort particularly favors edgelands: those abandoned, untended places, part man-made, part rural, where nature begins to reclaim what humanity has left behind. The music here unfolds a mandala of symbolism from these liminal spaces, drawn from a web of fascinations which unfolded during the recording process.

TRACK LISTING

1 In Mighty Revelation
2 Misandrist
3 Lady Of The Flood
4 Eden
5 Dream Fugue

Now available on vinyl for the first time, Josienne Clarke and Ben Walker’s ‘Nothing Can Bring Back The Hour’ album from 2014.

A year in the making, ‘Nothing Can Bring Back The Hour’ builds on the blend of traditional and contemporary songwriting first explored in 2013’s ‘Fire And Fortune’.

Drawing on sumptuous chamber folk textures and rich instrumentation, this new record has a timeless yet current sound, examining and reflecting upon the theme of time past, present and future.

Baby In Vain are a three-piece from Copenhagen, Denmark. Think Queens Of The Stone Age, Black Rebel Motorcycle Club and Sonic Youth. Their debut album, ‘More Nothing’, was produced by Rob Ellis (PJ Harvey, Torres, Bat For Lashes).

The band have previously toured with The Kills, Thurston Moore, Ty Segall, Jesus and Mary Chain.

Partisan Records released the ‘For The Kids’ EP in April 2016 and it went to #1 in the Denmark vinyl charts.

“Denmark’s Baby in Vain are giving guitar music a snarling shot of adrenaline” -NME

“A band whose sheer unrelenting attack can leave you breathless” - Clash

“Songs that thrum with fearlessness and great confidence” - The Guardian

“A visceral combination of Sleater Kinney, Babes In Toyland, and Queens Of The Stone Age with boss-ass results” - Noisey

“The Danish trio don’t fuck around.” - DIY

TRACK LISTING

K.
Each Time You Fall In Love
Sunsetz
Apocalypse
Flash
Sweet
Opera House
Truly
John Wayne
Young & Dumb

Infamous Nymphs front woman Inger Lorre celebrates how vital her songs still sound today, with a live recording of a sold-out show at the legendary Viper Room. The set includes classic Nymphs tracks, ‘Sad & Damned’, ode to a serial killer ‘The Highway’ and the mourning swirl of ‘Imitating Angels’, with the addition of a cover of Siouxsie & The Banshees ‘Monitor’. This live album is raw and primal; tribal, glamorous, witch-y, grunge-y, punk. Inger states, “These songs are the sound of me walking through fire…”

Lorre’s cult following has grown in strength of late, with the seminal self-titled debut album re issued by Rock Candy Records and 2 new songs released for Record Store Day. Encouraged by the interest she is recording a new album, tentatively planned for an autumn release. Often seen as musician’s musician (once dubbed by Jeff Buckley as ‘The Patron Saint of Fucked-Over Musicians’) and having worked with the likes of Iggy Pop and Henry Rollins, sadly Inger’s notoriety often eclipsed her darkly beautiful music. Haunted by the infamy of a band that burned brightly all too briefly, before imploding in a devastation of bereavement, addiction, mental health issues and misguided record company dealings.

No one will ever forget the desk pissing incident. Inger Lorre is a music industry legend. These days Inger Lorre has mostly conquered her own demons - exorcised through art, music and time to heal. What comes next will no doubt be unique as the women herself. “Inger retains her strength as a songwriter and performer without losing any of her sensitivity, fragility and danger. I always look forward to what she does, it never disappoints” – Henry Rollins / "The Nymphs were a very original underground band with a unique sound and GREAT songs

TRACK LISTING

Rumble
Alright
Death Of A Scenester
Sad And Damned
7B; Snowflake
Hate In My Heart
Wasting My Days
2 Cats 
The River
Imitating Angels
The Highway 
Monitor 

Wild Nothing, aka Brooklyn-based musician Jake Tatum, released his debut album ‘Gemini’ in 2010 to critical acclaim. Five years on, with an equally impressive sophomore release and a series of EPs under his belt, Tatum is pleased to announce his third-studio album and self-proclaimed most “mature and honest” work to date, ‘Life Of Pause’.

When Jack Tatum began work on ‘Life Of Pause’ he had fascinating ambitions. “I desperately wanted for this to be the kind of record that would displace me,” he says. “I’m terrified by the idea of being any one thing, or being of any one genre. And whether or not I accomplish that, I know that my only hope of getting there is to constantly reinvent. That reinvention doesn’t need to be drastic, but every new record has to have its own identity, and it has to have a separate set of goals from what came before.”

‘Life Of Pause’ is an exquisitely arranged and beautifully recorded collection of songs that marry the immediate with the indefinable. “I allowed myself to go down every route I could imagine even if it ended up not working for me,” he says. “I owe it to myself to take as many risks as possible. Songs are songs you have to allow yourself to be open to everything.”

After a prolonged period of writing and experimentation recording took place over several weeks in both Los Angeles and Stockholm, with producer Thom Monahan (Devendra Banhart, Beachwood Sparks) helping Tatum in his search for a more natural and organically textured sound. In Sweden, in a studio once owned by ABBA, they enlisted Peter, Bjorn & John drummer John Ericsson and fellow Swedish Radio Symphony Orchestra veteran TK to contribute drums and marimba. In California, at Monahan’s home, Tatum collaborated with Medicine guitarist Brad Laner and a crew of saxophonists.

From the hypnotic polyrhythms of ‘Reichpop’ to the sugary howl of ‘Japanese Alice’ to the hallucinogenic R&B of ‘A Woman’s Wisdom’, the result is a complete, fully immersive listening environment. “I just kept things really simple, writing as ideas came to me,” he says. “There’s definitely a different kind of ‘self’ in the picture this time around. There’s no real love lost, it’s much more a record of coming to terms and defining what it is that you have - your place, your relationships. I view every record as an opportunity to write better songs. At the end of the day it still sounds like me, just new.”

TRACK LISTING

Reichpop
Lady Blue
A Woman’s Wisdom
Japanese Alice
Life Of Pause
Alien
To Know You
Adore
TV Queen
Whenever I
Love Underneath
My Thumb

Fugazi were formed from the ashes of legendary DC hardcore bands Minor Threat and Rites Of Spring. They played their first shows in 1987.
. 
This is Fugazi's second full-length record, released in 1991 and although it is still unmistakeably a Fugazi record it is something of a departure from their previous output. While still as intense, the pace is slower and there are dubby and even experimental influences. It's less immediate, and in our face, but it's a definite grower. 

TRACK LISTING

1. Exit Only
2. Reclamation
3. Nice New Outfit
4. Stacks
5. Latin Roots
6. Steady Diet
7. Long Division
8. Runaway Return
9. Polish
10. Dear Justice Letter
11. KYEO

"In 2005, having decided to approach Gil Scott-Heron to suggest that we made a record, I stopped listening to any of his previous output. This was to avoid feeling intimidated by the weight of Gil's musical history, and by the sheer quality of the 14 studio albums he'd released since 1970.

Part of my initial suggestion to Gil was that we recorded sparse, stripped down versions of his old songs. We both thought that might make an intriguing album. So we started off recording versions of some of Gil's repertoire, just voice and piano. But our album gradually evolved into something different - "I'm New Here", which as the title suggested, didn't touch on any of Gil's previous recordings (except for "Your Soul And Mine", which is a re-imagining of "The Vulture" from Gil's 1970 debut LP "Small Talk at 125th and Lennox").

I didn't pay much attention to the acoustic versions of Gil's older repertoire that we had recorded, as I was so focused on our making an entirely new album. We didn't make the album we set out to; we made something different.

In November 2011, six months after Gil died, I sat down to listen to the whole of Gil's back catalogue, on vinyl, album by album, chronologically. It's an incredible body of work; 13 albums between 1970 and 1982, and then 2 ("Spirits" and "I'm New Here") until Gil passed in 2011. I did this as a sort of meditative exercise, for the joy of sitting and listening to Gil, now that I was no longer getting to hear his voice down the phone from Harlem.

I listened to these 15 albums over the course of a few weeks as a way to keep our communication going. They led me back to the acoustic piano versions of Gil's old songs that we had captured in New York and I found that they were in themselves remarkable; completely different to the originals, and full of magic in their simplicity. I realised we in fact had made the album we originally set out to, as well as "I'm New Here". We had recorded an album's worth of new, stripped down versions of some of Gil's best (but not necessarily best known) songs. We had recorded an album I thought should be called "Nothing New".

"Nothing New" is recordings Gil and I made in New York of songs he chose from his catalogue, just voice and piano, pure Gil. I realised that each song he had chosen was from a different album of his. He had carefully curated the selection, so the album serves as an excellent introduction to his previous output.

In our early letters, Gil had picked up on my use of the word "spartan" to describe how our record could be. The Oxford dictionary defines "spartan" as showing "indifference to comfort or luxury". Very Gil. "Nothing New" is truly spartan in that it is utterly sparse and devoid of anything that is not completely necessary. All it contains is Gil's singing and piano playing.

You also hear excerpts of our conversations between takes; these give a sense of Gil's profound and profane nature. I believe Gil would approve of calling an album of him covering his own material "Nothing New"; the wordplay is inspired by him. Gil once expressed that he felt our album "could do with a few more yuks" - so now you can check out some of Gil's asides, and particularly the final interlude "On Bobby Blue Bland" for a glimpse of the man's playful sense of humour.

Once I'd compiled and edited these songs, I made three acetates, and we screenprinted artwork at XL. I gave one of these three special copies to Gil's son Rumal Rackley, sent another to Gil's friend and keyboard player Kim Jordan in Washington DC, and the third went to Ms Mimi, who kept Gil's house in order. This could have been the end of the process, but Rumal felt we should share this work with people - so here it is.

I hope you enjoy this album. It completes the set of 3 albums generated from our sessions in New York between 2005 and 2009 - the first 2 records being the main work "I'm New Here" and Jamie xx's remix album "We're New Here".

This is "Nothing New"."

Richard Russell, XL Recordings, London, 2014

TRACK LISTING

01. Did You Hear What They Said
02. Better Days Ahead
03. Household Name (Interlude)
04. Your Daddy Loves You
05. Changing Yourself (Interlude)
06. Pieces Of A Man
07. Enjoying Yourself (Outro)
08. Alien (Hold On To Your Dreams)
09. Before I Hit The Bottom (Interlude)
10. 95 South (All Of The Places We’ve Been
11. The Other Side
12. The On/Off Switch (Interlude)
13. Blue Collar
14. On Bobby Blue Bland (Outro)

Born in Berlin in early 2014 and nurtured over the following summer, ‘I Declare Nothing’ is the spine-tingling collaboration between Tess Parks and Anton Newcombe (Brian Jonestown Massacre), released on Anton’s A Recordings label. The duo co-wrote and co-played on the album.

A native of Toronto, Tess Parks moved to London, England at the age of 17 where she briefly studied photography before deciding to focus on music. Tess made an impression on industry legend Alan McGee, founder of Creation Records, albeit the timing of their meeting could hardly have been less ideal; McGee was no longer involved in music and Tess was due to move back to Toronto. After moving back to her hometown in 2012, Tess formed a band on the advice of McGee and less than a year after their meeting, he returned to music with his new label, 359 Music. Tess became one of his first signings and released her debut record ‘Blood Hot’ in November 2013 to excellent reviews. One reviewer described her as “Patti Smith on Quaaludes”. Others have mentioned her "gauzy psychedelic sound” and "smouldering voice”. Alan McGee himself said: “She’s only 24 and is already an amazing songwriter... she just doesn’t quite know she is yet … her most beautiful quality is her lack of ego. Tess is an amazing lady”.

Anton Newcombe as I'm sure you know, is the leader of the Brian Jonestown Massacre, who returned last May with their 14th full-length album ‘Revelation’ to critical acclaim. It is the first album that was fully recorded and produced at Anton Newcombe’s recording studio in Berlin and was released on his record label A Recordings. It was supported by a successful European tour. Named in tribute to the legendary Rolling Stones guitarist and his influence in introducing Eastern culture and music into the world of Western rock & roll, Brian Jonestown Massacre formed in San Francisco, California in 1990. Two dozen band members later and numerous “ups and downs” (some have been famously sensationalized in the media), the one thing that has always remained consistent for this psychedelic collective, is front man Mr. Anton Alfred Newcombe.

TRACK LISTING

LP Tracklisting
SIDE A -
1 – Wehmut
2 – Cocaine Cat
3 – Peace Defrost
4 – German Tangerine
5 – Gone
SIDE B
6 – October 2nd
7 – Mama
8 – Voyage De L’ame
9 – Meliorist
10 - Friendlies

CD Tracklisting
1 – Wehmut
2 – Cocaine Cat
3 – Peace Defrost
4 – German Tangerine
5 – Gone
6 – October 2nd
7 – Mama
8 – Voyage De L’ame
9 – Meliorist
10 - Friendlies

Back in 2012 Shinies broke through in a way they never would have imagined was possible. "A long way from the Fun House: Pat Sharp gets ‘beaten up and burned alive’ for music video" read the headline in the Daily Mail. An attack on nostalgia and childlike innocence, the Manchester based four piece kidnapped and toyed with everyone’s favourite mullet sporting early 90s TV idol in their video for ‘Ennui’, eventually setting him adrift upon a burning raft of fire. Shinies’ don’t do things by halves.

After a series of singles and an EP on up-and-coming label Dirty Bingo, who were the first to bring Novella and Women’s Hour to the fore, the boys return with their long awaited debut album ‘Nothing Like Something Happens Anywhere’, a line borrowed from Philip Larkin’s famous poem ‘I Remember, I Remember’. Nostalgia, memory, confusion and regret are themes that run deep throughout the Shinies catalogue so it’s no surprise that such a title was chosen. The sunrise through squinted eyes drifty narrative of Larkin’s key poem is the perfect backdrop to the swells and swirls of their impressive shoegaze-pop debut long play.

They’ve come a long way since their initial late night jams in a Manchester basement back in 2011. The DIY spirit remains but is crafted, executed and expressed better than ever before. MJ of Hookworms produced, and his stamp is understated but important, threading together narrative, a journey. This is more than just a collection of songs. It’s an etching. The story of our every day struggle for expression, for freedom, set against the monotonous hum of our zero hour contract inner city jobs.

Singer and guitar player Adam Davison’s effortless pop melodies drive the LP forward. Title track ’Nothing Like Something Happens Anywhere’ begins with the characteristic soft swell of Ric Stringer’s guitar work but unfurls surprisingly, reminding us just why we fell in love with Shinies in the first place. With the two sharing vocals throughout the record, Tom Haben on drums and Joe Fisher on bass complete the line-up. Elsewhere on the record, the lo-fi surfy ‘Beached’ screeches and screams along its rickety iron tracks and ‘6s & 7s’ shows the group breaking new ground. With its slower groove and laid bare vocal, it’s reminiscent of Yo La Tengo and Connan Mockasin, suggesting future directions.

In a time of struggle and nostalgia for a time that never was, Shinies remind us to keep our heads down and carry on.

Rising up from the bed of the River Tyne, a voice that crumbles and soars, steeped in age old balladry and finely-chiselled observations of the mundane.

Richard Dawson is a skewed troubadour at once charming and abrasive. His shambolically virtuosic guitar playing stumbles from music hall tunesmithery to spidery swatches of noise-colour, swathed in amp static and teetering on the edge of feedback.

His songs are both chucklesome and tragic, rooted in a febrile imagination that references worlds held dear and worlds unknown.

New album ‘Nothing Important’, released by Weird World, hypnotises from its tender dark whispers to its wild screams, an unparalleled voice in today’s over-preened and manufactured music world.

TRACK LISTING

Judas
Nothing Important
The Vile Stuff
Thomas

THIS IS A RECORD STORE DAY 2014 EXCLUSIVE, LIMITED TO ONE PER PERSON.

Limited to 300 copies.

TRACK LISTING

1. Nothing Stays The Same (Home Recording)
2. Greatest Lovers (Home Recording)

Micah P. Hinson was born in Memphis, Tennessee, USA, into a strict Christian fundamentalist household. He began to experiment with music upon moving to Abilene, Texas in his teens. In the relative isolation of this town, he became immersed in the local music scene. In 2003, he teamed up with the Texas collective the Earlies which provided a lush backdrop for Hinson’s winsome tales of love, loss and regret, before releasing solo albums for Sketchbook, Jade Tee and Full Time Hobby. 'Micah P. Hinson and the Nothing', his first release on Talitres, is a collection of songs Micah wrote before a terrible van accident he had on the Spanish highway in 2011.

Unsure if or when his arms would ever work properly again, Micah began listening to demos he has made before he went on that Spanish trip. The songs took a different light and he began sending them off to people around the world (The Twilight Sad, his Belgium Quartet, his Texan side-kick, T. Nicholas Phelps) and with their help he began to create a record without the use of his arms. Soon after this, Micah was invited to go and record in Santander, Espana, at Moon River Studio. For two weeks and two days, Fernando 'Mac' and Micah realized what was to become "Micah P. Hinson and The Nothing", working with an astounding array of local musicians, sitting behind the trap set, standing beside the upright bass, holding a viola, or tumbling away the tympani.

Crystal Antlers have returned to their roots as an agile power trio of singer/bassist Johnny Bell, drummer Kevin Stuart and guitarist Andrew King and signed with high-powered L.A. independent Innovative Leisure to release their new album Nothing Is Real.

The band have accrued plenty of stories in a short space of time: their debut 7” was funded by a friend who also happened to be a bank robber; they completed the FYF Fest tour in a veggie-oil powered school bus, which got them on the front page of the Los Angeles Times.

Nothing Is Real is Crystal Antlers going beyond the beyond, with songs that rattle and ricochet from desolation to delirium. Opener “Pray” sounds like what would have happened if Black Flag’s Greg Ginn had produced the first Psychedelic Furs single; “Persephone” and “Anywhere But Here” match the desperate, relentless rhythm of the Wipers with the inside-out guitar melodies of the Pixies, “Licorice Pizza” recalls lost cult-punk heroes like the Flesh Eaters or the Embarrassment. On Nothing Is Real, you’ll feel as much as hear echoes of bands like Wire, Sonic Youth and Dinosaur Jr., especially on the bleak closer “Prisoner Song”— bands who knew beauty and noise could be the same thing. And for the first time ever on a Crystal Antlers recording there are also drum machines, synths and even 4/4 drum beats.

“Crystal Antlers aren’t really about making some shit we’ve heard before, but they do take notice of some important touchstones: powerful organ runs, ragged vocals and an ability to turn even relatively short songs into something that sounds beyond epic.” THE FADER

“Merging psych, garage, lo-fi, prog, and countless other influences, the group easily maintains consistency despite a complete inability to be pinned to any specific movement or trend.” PITCHFORK

TRACK LISTING

1. Pray
2. Rattlesnake
3. Licorice Pizza
4. We All Gotta Die
5. Paper Thin
6. Persephone
7. Anywhere But Here
8. Don't Think Of The Stone
9. Wrong Side
10. Better Things
11. Prisoner Song

Super Furry Animals songwriter, vocalist, keyboard player and producer unveils his second, politically charged album following 2012's critically acclaimed, debut solo release, Outside In.

Cian Ciaran, one fifth and founding member of the legendary Super Furry Animals will release this self-produced album on 23rd September preceded by a download only EP a week before featuring album tracks Sewn Up and Sleepless Nights and two exclusive non-album tracks, released on Ben Ayres and Tjinder Singh's Ample Play label.

Partly written and recorded in California, Scotland and Wales, every track was played and produced by Cian himself, teaching himself guitar in the process. Heading to the U.S with a head full of scathing lyrics, he pieced together what he hoped would be an intentionally 'noisy' album. Having previously written on a piano, starting the album on the guitar means an almost complete absence of Cian's trademark keyboards. Where Outside In earned comparisons to John Lennon, Chris Bell and The Beach Boys, this album owes as much to Jesus and Mary Chain, The Pixies and stoner rock.

Although tackling the big issues of corporate and political negligence and environmental suicide, the depth of of Cian's disaffection is married with a breezy style of song writing, with many tracks layered with lavish, yet understated vocal harmonies and hints of the upbeat psychedelia that pervades the Super Furry Animals back catalogue.

London noise-rock trio Comanechi return with their long-awaited second album. Expanding to a three-piece with the addition of 18-year-old Charlie - who joins former The Big Pink and PRE star Keex and Simon - the new album follows their unrelenting and wildly acclaimed debut 'Crime Of Love', dripping with the primordial ooze of the trio's beloved noise, metal and punk forebears.

Music critics and fans agree, Redd Kross is back and delivering their signature brand of genuine rock 'n roll with a vengeance. Founded 34 years ago in Los Angeles during the first wave of LA punk rock by brothers Jeff and Steven McDonald (then respectively 15 and 11 years old), Redd Kross cut their teeth opening for Black Flag at a middle school graduation party. Their debut recordings caught the attention of Rodney Bingenheimer, who quickly became a fan as he spun their Ramones inspired songs like “Annette's Got The Hits” and "I Hate My School" on the world famous KROQ.

Their following releases maintained roots still firmly planted in punk, but the band started to experiment with different musical elements and band members. Redd Kross boldly broke new ground by intuitively and inventively mixing their eclectic inspirations in song and performance. They understand and embrace the esoteric commonalities between the Partridge Family and the Manson Family; the Beatles and Black Sabbath; The Osmonds and the New York Dolls. The result was a band that was ahead of their time - daringly original, artistic and uncontrived. Records like “Teen Babes from Monsanto”, “Born Innocent” and “Neurotica” became precursors to the Seattle bands of the 90's, as well as becoming an inspiration to many indie and alternative rock bands worldwide. “(Redd Kross) are definitely one of the most important bands in America” - Sonic Youth's Thurston Moore

In 1990 the band released their major label debut, “Third Eye”. Taking their obsession with late 60's bubblegum am radio to a new level, the song writing matured with more complex arrangements, harmonies and lush production. Redd Kross had their first single chart “Annie's Gone”(#16 billboard modern rock), and began to tour with notable artists such as Sonic Youth, The Go-Go's, The Posies, Jellyfish, The Lemonheads, and the Hoodoo Gurus. Robert Hecker took leave as lead guitarist and the McDonald brothers were joined by Eddie Kurdziel (guitar), Brian Reitzell (drums), and Gere Fennelly (keyboards). They released the critically acclaimed “Phaseshifter” album in 1993 featuring the hit songs “Jimmy's Fantasy”, “Lady In The Front Row”, and a raucous cover of Frightwig’s “Crazy World”.

In 1997, Redd Kross released one of their most polished albums, “Show World” featuring the perfectly crafted pop single, “Mess Around”. After supporting the album by touring with Sloan and the Presidents of the United States, the band went on a much needed hiatus. Fans wondered when they would return, and things seemed more uncertain after the untimely passing of guitarist Eddie Kurdziel in 1999.

The McDonald brothers launched www.ReddKross.com and began to reconnect with their fans and make new ones. They experimented with the new medium just as innovatively as they do with their music - Steven McDonald released an online only mashup album called “Redd Blood Cells” by adding bass tracks to the White Stripes album, Jeff McDonald began podcasting (“Hit It!”) before iPods or podcasts were invented, and also released a web based video series (Bitchin' Ass”) far ahead of YouTube.Redd Kross reissued their classic “Neurotica” album as they worked on a variety of other projects including “Ze Malibu Kids”, “The Steven McDonald Group”, and worked in various capacities with other bands on stage and in the studio such as the Donnas, Turbonegro, Imperial Teen, Anna Waronker, be your own pet, fun., Sparks, Tenacious D, Beck and OFF!.

In 2006, Jeff and Steven announced their reunion with the “classic Neurotica” line up – and were joined once again by guitarist Robert Hecker (IT’S OK) and drummer Roy McDonald (the Muffs). Redd Kross have been playing to enthusiastic audiences at sold out select shows and festivals such as the Azkena Festival, Coachella, The HooDoo Gurus’ Invitational - “Dig It Up”, All Tomorrow's Parties, and Pop Montréal. “Researching the Blues” is the highly anticipated new record. It is their first new album in 15 years and will be released on Sweet Nothing August 6th, 2012.

TRACK LISTING

Researching The Blues
Stay Away From Downtown
Uglier
Dracula’s Daughter
Meet Frankenstein
One OF The Good Ones
The Nu-Temptations
Choose To Play
Winter Blues
Hazel Eyes

The follow up to the staggeringly good Harlem River Blues. JTE's new album was recorded completely live at Echo Mountain Studios in Asheville, NC with many of the same players involved as on Harlem River Blues. Amanda Shires joins on fiddle this time though. Skylar Wilson co-produced w/JTE. It is a decidedly soulful affair, the fingerprints of Memphis all over it.

This is Earle’s fourth release and follows his critically acclaimed 2010 album, Harlem River Blues, which debuted #47 on the Billboard Top 200 chart and led to a “Song of the Year” award at the 2011 Americana Music Awards.

Featured on Rolling Stone's 15 Albums to Look Forward to in Early 2012 "The son of Steve Earle and namesake of Townes Van Zandt has done his country music forefathers proud with his previous efforts, including 2010's stand-out Harlem River Blues. His fourth studio album leans away from traditional country and more toward Memphis soul, with a little folk and Americana thrown in for good measure. If every celebrity's offspring were this talented, we'd have no problem with nepotism."

As Detroit continues its seemingly irreversible slide into the tar pits of economic despair, new traditionalists Tyvek unashamedly take the reins and harness the ambition to keep their slurred, manically refreshing noise pop bouncing around the skulls of everyone still breathing in the real, uncategorizable fumes of the original new wave. With an already impressive trail of essential releases behind them, including last year’s debut album and an infinitesimal stream of 'tour only' CDRs, the band is always evolving, yet never strays too far from the original cacophony that earned them a spot in the hallowed halls of modern punk’s elite erratics. As dynamically diverse as Tyvek’s recordings are, their live set also shifts dramatically with each new appearance, ranging from a monstrous five-piece to the currently stripped-down trio that gets the job done without sacrificing intensity or brazen brevity. With relentless touring, razor-sharp songwriting and the ability to adapt to their surroundings without resistance, no wonder Tyvek captures the off-center sounds of bygone-era DIY scrapings and spins them into gold, all without showing any influence of the 'Detroit sound' that’s known the world over.

Tyvek’s In The Red debut, "Nothing Fits", is a scalding collection of amped-up and thrust-out songs that cranks up the energy level far beyond their previous releases and decimates the detractors into the abyss. It’s Tyvek at their fiery, screaming best, and if this doesn’t curl your eyebrows and your toes simultaneously with excitement, then you might need to settle for something musically akin to hospital food or take another laxative, because this blast of new recordings might just flush out your system to the point of personal emergency.

STAFF COMMENTS

Darryl says: Superb dumb-ass garage punk, fiery and amped-up into the red.

TRACK LISTING

1. 4312
2. Animal
3. Potato
4. Future Junk
5. Nothing Fits
6. Outer Limits
7. Underwater 1
8. Underwater 2
9. Kid Tut
10. Pricks In A Car
11. This One Or That One
12. Blocks

'Swoop Swoop (aka Streaky Jake) sounds like he fell down a deep old well, and couldn't get out. At the bottom, he had a lot of time to think about life and people and how irrational they can be. He cried out for help, over and over, but no one heard him. So he just started singing. While others have compared him to The Soledad Brothers, Devendra Banhart and Mazzy Star, his weightless sound reminded me of fellow welldwelling contemporaries, Zach Rogue and Damien Jurado. Incorporating a gritty lo-fi 60s sound, his songs would have also slotted in nicely somewhere on The Forest Gump Soundtrack, maybe for that classic shot of Jenny out the bus window.'

El Condorez are a three-piece band based here in Manchester. Currently picking up great reviews and a recent 'single of the week' accolade on XFM Manchester. They are being compared to rock legends like Led Zeppelin, The Who, and The Faces.

Recorded in Los Angeles, the twelve-track "All Or Nothing" marks a tremendous progression for the band since the "Young For Eternity" debut. Freshly inspired by bands including Death Cab For Cutie and Refused, the result is an album that recalls the exuberance of "Young For Eternity" while embarking upon an adventurous sonic progression. The vehement opening riff of single "Girls And Boys" is a bold reintroduction to the band and is followed by the dynamic "Kalifornia" that contrasts the band's most vitriolic moment to date with an infectious, summery hook. Other highlights of "All Or Nothing" include the breezy, retro-pop of the title-track, the raw power of live favourite "Shake Shake" and the sun-kissed vocal harmonies of "Alright".

Eleven tracks featuring the single "Blood, Bunny, Larkhall", live favourites "Cities On Fire", "Agony/Agatha" and "We're All Going Home In An Ambulance", and the scathing track "Crushed Under The Weight Of The Enormous Bullshit". Reuben have returned to the fray with the best record of their careers: Inventive, exciting, emotional and packed with great tunes.

Tribute To Nothing have been an institution on the European punk scene for over a decade now and have gained much respect on their travels. "How Many Times Do We Live?" captures their intense, unique, powerfully melodic yet aggressive sound, and gives an insight into where the band has been for the last few years and where they are headed in future days.

Kalev is a five piece band based in London. They produce dark electronic guitar music, made with pounding rhythms and white noise. The band has come from the rethinking of Stockholm Syndrome, a Lichfield-based post-punk band set up while the members were half way through high school. Kalev have a wide range of influences, including: At the Drive-in, Nirvana, Squarepusher, Tool, Nick Cave And The Bad Seeds, Radiohead, Led Zepplin, Kraftwerk, The Micronauts, The Doors, Joy Division, Aphex Twin and Depeche Mode.

Detroit's Sights return with their brand new single. Once again recorded and produced with the aid of Jim Diamond at Ghetto Studios in Detroit. With their self-titled third album on the horizon, The Sights are now a force to be reckoned with. The addition of Robert Emmett on piano bass (think Terry Reid, not Ray Manzarek) and Hammond organ gives the band a colour-splattering spectrum to draw from. "Circus" is taken from the new album, and is a stomping slab of pop that proves singer / guitarist Eddie Baranek is leagues ahead of most of his contemporaries with his catchy songwriting. The B-side is exclusive to this release.

This has to be their best effort to date, which, after the excellent "Moon Is Down" and "How To Start A Fire" is saying something. Jon Bunch, ex of Sensefield, is now the latest (and hopefully, on this showing, the last) of three vocalists they've managed to get through - his angelic crooning adding depth, eloquence and texture to the emotional landscape of a clean, passionate sound built around blazing, shimmering, guitars. Quite brilliant and highly recommended.

Lock two girls and two boys up in old house in Detroit with walls stained and decaying with neglect, and what do you get? You get the Von Bondies and the soundtrack of depraved America. Awesome, pulsating, creepy and often deeply sinister rock'n'roll. Production comes from Jack White (White Stripes).

A great slice of Nuggets-style pop from this Detroit three piece. "Be Like Normal" is taken from their "Got What We Want" album. The flip-side is a cover of a Mahalia Jackson gospel song "I'm Gonna Live The Life I Sing About In My Song".

Originally released in 1982, "Nothing Can Stop Us" compiles the first four singles Robert Wyatt issued for Rough Trade. The A-sides were all cover versions, ranging from Chic's "At Last I'm Free" to his version of the unofficial Cuban anthem "Caimanera" ("Guantanamera") and a haunting version of "Strange Fruit" depicting the lynching of three young black men in the US in the 1930s and made famous by Billie Holiday. The other tracks include Wyatt's most political recordings including the spine-tingling "Born Again Cretin" or "The Red Flag" and shows him at his uncompromising best.

New EP on Sweet Nothing from these crazed rockers.

Third full length from these well known US punkers. They're on tour with Less Than Jake in Europe to support this brand new album. These Southern punk rockers are gonna have the fans of power pop punk begging for more, pogo-ing until they can pogo no more.

Second release from rising popular Bristol ska punkers Kenisia, now with a big horn section and bigger pop punk tunes this will cement their name alongside those of Capdown, Lightyear and Spunge in the ever-developing UK ska punk scene.

Vince Mole is one of the original members of The Apples In Stereo and he played on their debut single "Tidal Wave". This single was penned to be the last single to come out on Elephant 6 but the label folded. It's been in limbo until now. Three poptastic tracks, handmade sleeves, limited to 500 copies.

New album from Barry Adamson, and his most accessible to date. Still with his usual cool, dark vibes and filmic layered moods, but with an added dimension of lush, funky, soul-jazz. Add to that great musicianship and deep production and you've got yet another absolutely superb Barry Adamson album. Totally essential.

Like their labelmates Arson (also released this week) Dark Day Dawning are uncompromisingly heavy. Their music embodies melody, metal and mayhem. This young five piece outfit hails from Philadelphia, Pennsylvania, where they have made a significant name for themselves by wreaking havoc with their reputedly intense and kinetic live performances.

Brand new album from Worcester's finest! The band have been touring and honing their sound for the last year and have found the time to write this album which is passionate and driven, more melodic than their previous outings, but losing none of the urgency and bite that the band are known for. Great stuff.

Nebula release a collection of remixed EPs, and three brand new songs. Moving away from the stoner rock tag a little, and delving further into psychedelia, 70s rock and punk.

Special edition UK version of the new LP, includes a bonus track: "The Nobodies (acoustic version)", plus collectable competition cards.