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New York City’s Guards don’t mess around. Debut album ‘In Guards We Trust’ erupts from the speakers, a whirlwind of Phil Spector atmospherics, stomping drums, hazy spiralling guitar lines, and harmonydrenched psychedelic pop vocals.

The songs harness big hooks and choruses with enough fuzz-pedal to keep things suitably lo-fi, but with more melodies in each song than many bands manage over the course of an album.

Guards’ protagonist Richie Follin is also the guitarist in indie-pop band Cults, whose self-titled debut album was released to great critical acclaim in 2011.


LP Info: LP format includes an MP3 redemption code with
bonus tracks ‘Alive’ and ‘For You’.



    ‘Deran’ – which loosely translates to “best wishes” – is Bombino’s most focused, compelling, and diverse statement to date, and delivers a message of hope and well-wishes to the world in a time of great pain and tumult.

    Written and sung entirely in Bombino’s native language of Tamasheq, ‘Deran’ was recorded in Casablanca – at a studio owned by current Moroccan king Mohammed VI, no less - over a ten day stretch, and marks his first time making an album in Africa in nearly a decade. In Bombino’s own words, “my mission for this album was always to get closer to Africa.” How to celebrate, protect, unify, and above all, never forget that desert home, are the salient themes throughout ‘Deran.’ Across ten tracks, the album showcases Bombino’s mastery of a rich palette - from folk, rock, blues, funk, and of course the ‘Tuareggae’ sub-genre which he has single-handedly pioneered.

    Bombino will tour extensively behind ‘Deran,’ and has already confirmed a headline a special release show at NYC’s Brooklyn Bowl on May 9th, as well as a run of headline shows this summer. Full itinerary below, stay tuned for more dates coming soon.

    Over the past decade, Bombino has grown into an internationally renowned and acclaimed act with an impressive list of collaborators and on-the-record admirers ranging from Stevie Wonder, Keith Richards, Robert Plant, Dave Longstreth, Dan Auerbach + more. He’s performed at Bonnaroo and Newport Folk Festival, and been hailed by Pitchfork as “both authentic and ambitious.”

    The Amazing

    In Transit

      The Amazing stay just out of focus. On their fifth album, In Transit, they once again perform the unlikely trick of making music that is both dreamlike, drifting across the consciousness, as well as perfectly constructed. While In Transit shares the sense of mood of many of singer and founder Christoffer Gunrup’s favourite bands – the Cure, My Bloody Valentine, Flaming Lips – it never drifts away into self-indulgence. At the heart of it all, beneath the washes of guitar, the woozy reveries, are sturdy, intensely melodic songs. You hear that from the very start of the album, when Pull slides into view, slide guitar casting shapes and shadows across the arpeggios beneath, while lightly jazzy drums propel the song forward and Gunrup mournfully whispers his barely audible lyrics, before the song ascends into a refrain that sounds like every emotion combined.

      That combination of melody and mood comes from the way the songs are made, and the interaction between Gunrup and his fellow members, Reine Fiske (also of Dungen, guitar), Moussa Fadera (drums), Alexis Benson (bass), and Frederik Swahn (keyboards and guitars). Gunrup writes alone, in what he calls “a very disgusting process. It’s just me in my underwear on my couch.” He emerges with a complete song – “the intros, the outros, the melodies, all the chords” – which he takes to the band, imagining they will play it just as he imagined. Except they never do. “They can feel rather than hear what needs to be done,” Gunrup says. “They do pretty much what they please.”

      Yet In Transit does not sound self-indulgent. Gunrup’s songs are the very heart of In Transit, and the musicians’ playing always serves them, rather than overwhelming them. On For No One, you can hear the subtlety of their interaction, which is not what one might expect to say of a song in which whistling feedback provides the core of its climax – it’s only at the end you realise how cleverly it has transformed from what begins as fingerpicked near-folk into something very different.

      As one might expect, Fiske’s guitars are at the heart of The Amazing: gorgeous tones and textures, sometimes fed through layers of distortion, sometimes kept clear and clean, to convey melody in the most direct way. “He has a sound and a way of playing that not many guitarists do – he’s all about emotion, which is great,” Gunrup says. Benson se Convirtio Completamente Furiosa, just short of 10 minutes long, Fiske displays the full range of his talents. It’s an extraordinary song, beginning with Gunrup’s voice, a lazy sigh, telling of “being caught up in a deadly boring place”, over a gorgeous, circular guitar pattern for two-and-a-half minutes, before hypnotic, swirling instrumental section built on a melancholy arpeggio takes up another two-and-a-half minutes. Gunrup’s voice returns, a little more urgent. Then the song apparently stops – only to return with Fiske playing a furious, squalling solo, a shriek of rage and despair. For the other side, listen to Rewind, a song so simple and gorgeous it sounds as though it has existed forever, in which the playing is resolutely unshowy, yet devastatingly emotive, with one simple hook – a single high note repeated in each phrase – that proves the power of well-deployed restraint.

      It doesn’t come as any surprise to learn that Fiske is obsessional about his equipment. A few years back, The Amazing’s practice space was robbed, and their equipment stolen, all bar Fiske’s Stratocaster. “Afterwards we went for a beer,” Gunrup says. “We sat there in silence and felt blue. But the person who was most upset was Reine. He was so much more upset than us, he said, because what would have happened if they had taken my guitar? He couldn’t even comprehend what would have happened to him.”

      But there’s so much more to The Amazing than guitar histrionics. “The drummer comes from a jazz background, so he doesn’t do what is expected, which I love.” A mention of Black Sabbath’s Bill Ward having the same background, and adding the same swing sets Gunrup off excitedly talking about a film of an early Sabbath live show. He identifies the common thread between Ward and Fadera: “Someone else would do something you had heard a thousand times before, but he won’t.”

      Maybe that freewheeling element is what causes Gunrup to name “playful” as the adjective he most associates with the music of The Amazing, rather than the more obvious “melancholy”. “That’s something I feel, but maybe it doesn’t come across in the records at all. But playful – and, I don’t know, I guess it could sound a bit blue occasionally, when the vocals are there. That to me is what makes it fun to play.”

      On In Transit, Gunrup’s voice is mixed a little higher than before. Snatches of lyrics gain clarity, drifting across the music like clouds. Yet you wouldn’t say he had been placed front and centre, and that suits him. “Lyrics are important to me,” he says. “But I am extremely uninterested in coming across lyrically. That is nobody’s business. If people enjoy the way the vocals interact with the music, that’s good. If not, I don’t care.” Much of his favourite music shares the quality of the vocal being a texture rather than conveying a message, he says. “If you listen to Loveless by My Bloody Valentine, I can make out maybe 11 words in one song, but I love that album more than any album ever made.

      “If there are words I don’t hear, I can decide for myself what they’re saying and I like that. With 99.9% of all music made in this world the lyrics are, oh, so fucking dumb and boring and stupid. There’s no point in me adding to that stupidity. They are important to me, but you can decide for yourself.”

      Work on In Transit began as soon as The Amazing’s last album, Ambulance, was finished. That’s when Gunrup began writing the 11 songs – stretching over 71 minutes – that make up the new record. He wrote quickly, then took them to the band, who recorded them piecemeal in (Fredrik) Swahn’s studio in Stockholm. “We started pretty soon after the last album was released, and did bits and pieces here and there,” Gunrup says. “It’s been forever.”

      While The Amazing aren’t the kind of band who insist every album has to sound radically different from the one before. They change incrementally, adjusting and refining their sound rather than revolutionising it. Changes Gunrup had thought were dramatic – like the greater use of chorus pedals and organ on their third album, Picture You – turned out to be minor. This time, the development from Ambulance is a slightly fuller sound. “The last album was just basic tracks and vocals and that was pretty much it.” He ponders for a moment. “I was convinced the last album was better because the songs were better. But now it’s the other way round. This has got more stuff on it: more vocals, more overdubs.”

      For all Gunrup’s self-deprecation, for all his unwillingness to reveal secrets and his desire to talk down his desire to deflect attention from himself, The Amazing is something he needs to do: it’s his purpose. He laughs and says that without music, “I maybe would not have killed myself, but I would have been even more boring than I am” – but he is compelled to make music, incredible music, which is why he never stops writing songs. And then he connects with the other four members to create something extraordinary. It’s about that combination, those people, playing those instruments.

      “That is the essence of it, so when we all connect in a song it’s pretty nice to be in that room. That’s therapy. I pretty much see everything we do – being on my couch, the recording process – as this therapeutic thing. I don’t necessarily think we go into the studio to do this, this and this, I just want to be with those four guys and play.”

      Cigarettes After Sex


        The acclaimed early single from 2017’s breakout indie act, Cigarettes After Sex, available for the first time in physical format of any kind.

        Includes as B side the cult favourite REO Speedwagon cover, ‘Keep On Loving You’.


        Andy says: Two tracks not on the album. The weepie AOR cover sounds like one of their own, whilst "Affection" is near perfection.

        The Black Angels

        Death Song - Glow In The Dark RSD Edition


          The Black Angels are a psychedelic rock band from Austin, Texas.

          This is their fifth studio album.

          Produced by Phil Ek (Built to Spill, Father John Misty, Band of Horses, Fleet Foxes, The Shins).

          Ambassadors of the current psych rock scene with not only their music, but as the founders and hosts of the annual Austin Psych Fest/Levitation Festival for the past 9 years

          Their music has been used in numerous film, advertising and TV projects including HBO's True Detective, Nashville, True Blood The Twilight Saga, Assassin's Creed, etc.

          250K cumulative albums sold worldwide

          The band has toured with Queens of the Stone Age, Brian Jonestown Massacre, The Black Keys + more, and played festivals such as Glastonbury, Fuji Rock, Primavera, Coachella and Bonnaroo.  "Heavy psych rarely feels as fresh as it does with The Black Angels“ - NPR Music.

          “Deliver insistent, neo-psychedelic drones, reaching back to the most ritualistic 1960s songs of the Velvet Underground, the Doors and their hometown forebears from Austin, the 13th Floor Elevators, along with a touch of 1970s krautrock” – NYT

          “Some of the heaviest material of their career...blistering“ - Consequence Of Sound

          This RSD version of their album is on glow in the dark vinyl, black light cover, double LP, sticker, poster, download card.

          Limited to 500 copies for the UK and Eire.

          Violents And Monica Martin

          Awake And Pretty Much Sober

          ‘Awake And Pretty Much Sober’ is the debut full-length album from multi-instrumentalist and producer Jeremy Larson - AKA Violents - and vocalist Monica Martin (of PHOX).

          Colourful, effervescent, honest and emotive, the record turns the traditional duets album on its head, offering up its own version of electronic-influenced pop music along the way.

          Stacked with string arrangements, electronic samples, pop melodies, bursts of piano, layers of vocal harmonies and blasts of brass, their collaboration bridges the gap between two musicians from different ends of the musical spectrum.


          Coloured LP Info: LP pressed on pink marbled vinyl.

          Coloured LP includes MP3 Download Code.

          Written and recorded in large part during the recent election cycle, the music on ‘Death Song’ serves as part protest, part emotional catharsis in a climate dominated by division, anxiety and unease. “Currency,” a strong contender for the heaviest song the band has ever put to wax, meditates on the governing role the monetary system plays in our lives, while slow-building psychedelic earworm “Half Believing” questions the nature and confusing realities of devotion.

          Recorded between Seattle and Austin, ‘Death Song’ features production from Phil Ek (Father John Misty, Fleet Foxes, The Shins). The 11-track collection offers a sharply honed elaboration on their signature sound - menacing fuzz guitar and cutting wordplay, steeped in a murky hallucinatory dream.

          The band will tour extensively behind ‘Death Song’, including a headline set at one of the first-ever shows at new NYC venue Brooklyn Steel on May 2nd. Full itinerary below for “The Death March Tour”, which begins in Nashville. The band will be supported by A Place to Bury Strangers.

          Since forming in Austin in 2004, The Black Angels have become standard-bearers for modern psych-rock, and the New York Times has said they “play psychedelic rock as if the 1960s never ended, and they are absolute masters of it”. The band has toured with Queens of the Stone Age, Brian Jonestown Massacre, The Black Keys + more, and played festivals such as Glastonbury, Fuji Rock, Primavera, Coachella and Bonnaroo. Two of the band members co-founded Levitation Festival (formerly Austin Psych Fest) in 2008, which has since grown into one of the best-reviewed and expertly-curated festivals in the country (returning in 2018).


          Barry says: Twisting psychedelic passages, heavy wig-outs and tripped-out percussion. Brilliantly sedate in parts, only to soar into a mind-bending sunny haze of reverbed vocals and astral delay. Taking influence from all over the psychedelic spectrum, with throbbing single-note guitar lines meeting rolling, pulsing bass distortion and pitch-shifted screaming guitar.

          ‘Ambulance’ sees The Amazing continue their journey to a place where music is free of restrictions. Despite reflecting Chris Gunrup’s often bleak worldview, the music is expansive and beautiful, marked by playing that’s as much free jazz as rock - pure music without any showiness.

          The songs unfold slowly, without a traditional verse / chorus structure, spinning gauzy webs of shimmering mystery with their own inimitable dynamic of sinuous, swirling guitars; rich, ambient basslines; crisp percussion and restrained, church-like, keyboard textures. The stately tempos suggest a room full of shadows desperately reaching out for intimacy but never quite making the connection. The songs brim over with tension and more implied release than actual relief.

          Gunrup is known for his reluctance to talk about his process and prefers to let the music speak for itself and if 2015’s ‘Picture You’ was brighter, exploding outward to explore the limits of experience, ‘Ambulance’ is much more intimate. The mix denser and darker, the instruments pressing closer, crowding each other, imploding inward to reconnoitre the uncharted distances that exist between us, even in life’s most intimate moments.

          Sharing members with Sweden’s psych forefathers Dungen, the album delves into the hidden recesses of the heart, finding inner space to be just as expansive as the midnight sky. It was recorded in just a few days in one tiny room at Stockhom’s Buller & Bäng studio.

          The Amazing’s drummer, Moussa, is one of Sweden’s top jazz drummers and has also played with Rodriguez and Jose Gonzalez.

          The video for lead track ‘Ambulance’ features Ross Marquand (AMC’s ‘The Walking Dead’).

          Previously the band have performed on The Late Show with David Letterman and toured with Tame Impala.

          “The Amazing specialize in a beauty that isn’t airbrushed or slick or antiseptic, it’s elemental rock - earthy, molten, aquatic, but using each of their qualities to soothe rather than destroy or intimidate.” - Pitchfork


          Barry says: Indie roots and melodic intonations with a tantalising mix of Jazz structures and surf-rock tinged slide guitar. Mournful moments mix seamlessly with more upbeat offerings, showing the breadth of talents on display. Sweet vocal refrains and layered otherworldly harmonies float around the fluid instrumental backdrop. Gorgeous heartwarming masterpieces.


          LP includes MP3 Download Code.

          Lontalius is 18-year-old Eddie Johnston from Wellington, New Zealand. Eddie has been releasing music since the age of 13 but started to garner attention in the last year and a half with his self-released Casio covers of Top 40 pop hits which were picked up and praised by Lorde, Corbin FKA Spooky Black, Unknown Mortal Orchestra, Ryan Hemsworth and more. He was selected for the Red Bull Academy Class of 2015.

          Approaching the end of his teenaged years, Eddie began to create and share his own original compositions. Initially heavy on lo-fi presentation and shoegaze style aesthetics, Eddie’s emotionally resonant songs steeped in youth, confusion and sadness have grown to become cleaner and more richly melodic and lyrically focused while still maintaining his characteristic electronic and R&B fused style.

          The album was made in Bristol and produced by Ali Chant (PJ Harvey, Perfume Genius, Youth Lagoon).

          Eddie was featured on the Ryan Hemsworth track ‘Walk Me Home’.

          Craig Finn

          Faith In The Future

            Craig Finn (of The Hold Steady) will release his new solo album 'Faith in the Future' through Partisan Records on 11th September. Josh Kaufman produced the record in the cosy, rustic confines of Woodstock's The Isokon recording studio and helped Finn stretch the boundaries of his songwriting with confidence, invention and ambition to realise what will be a defining moment in his career.

            At times stark and spare, at other times vibrant and dynamic, 'Faith in the Future' is Finn's most compelling collection thus far, each song a powerfully alluring and subtly nuanced composition wedded to his distinctive short story narratives.

            Torres knows the darkness. The Brooklyn-based singer-songwriter otherwise known as Mackenzie Scott waits until anything - an idea, an emotion, a memory - gnaws at her, tearing at her fingers and throat until she releases it in song. Her husky voice strains against its human biological constraints like a wild-eyed horse, whispering desperately “Don’t give up on me just yet” on one end and yowling about jealousy with unnerving intensity on the other.

            Following her self-titled debut in 2013, TORRES pushes herself to even noisier extremes on ‘Sprinter’, a punishing self-examination of epic spiritual and musical proportions.

            “Atmospheric enough to fill a stadium but also stark and intimate” - The Guardian

            “A ravaging sea of riffs and piercing electronic screams” - NME

            “Most stunning” - Pitchfork

            “A blow-your-socks-off introduction” - DIY

            “A grunge-rock maelstrom” - Line Of Best Fit

            “The most exciting music to emerge so far this year” - Rolling Stone

            “[The] flowering of a major talent” - The Guardian

            It’s a rare thrill nowadays, when listening to the opening few bars of a track, to hear a voice that slices its way through such a riot of colour and effortlessly holds your attention. The smoky jazz vocals from PHOX’s Monica Martin provide a heavy, sultry coating to the glittering pop background that slides into clarinet interludes.

            PHOX were born in Baraboo, where six unlikely musicians kindled their creative streaks, almost as a family. It’s with the bare, strippedback harmonies and subtle melancholy of the lyrics that show PHOX have created something totally enchanting and unique, captivating from the first listen and bringing a live audience to a mesmerised standstill.


            Ltd LP Info: LP is pressed on 140g coke bottle green clear vinyl and featuring a digital download card which also includes the two CD bonus tracks.

            Deer Tick

            Eel Bowel


              While Deer Tick have been rightfully hailed for their raucous rave-ups, their last album ‘Negativity’ placed considerable focus on the band’s nuanced and tender side.

              At once heart-breaking, fist-pumping, and indeed, life-affirming, ‘Negativity’ stood as a genuine high water mark for Deer Tick – a defining collection from a band driven by an undying faith in rock‘n’roll’s evergreen power of redemption and transcendence.

              The band now present this collectible 7” exclusively edited for RSD with previously unreleased B-sides of those recordings.

              Comes in 4c sleeve and polybag.

              Includes download card.

              Limited to 300 copies for the UK and Ireland.

              Ages And Ages first came together in 2009 thanks to Portland’s ever-fertile music community. An ardent audience surfaced for their US debut, ‘Alright You Restless’, including committed cohort Barack Obama, who added (without permission, mind) the album’s ‘No Nostalgia’ on his 2012 campaign playlist.

              Ages And Ages spent much of the subsequent two years in wilful isolation following a barrage of unhappy events that befell some of the band members. As a result, they have composed an emotive and emotional song set that sees a band wrestling with many of the contradictions and confusion that life has to offer.

              Fraught with heartfelt drama, celebratory spirit, and sonic ingenuity, ‘Divisionary’ shows a band torn and frayed but optimistic, empowered and transcendent in spite of their turmoil and trials.

              Ages And Ages recently played their first ever European dates, including gigs in Berlin, Copenhagen, Paris, Amsterdam, London, Brussels and Haldern, preceding the band’s scheduled shows at this year’s SXSW Festival in Austin, with more festivals expected in summer 2014.

              Diamond Rugs are a supergroup consisting of John McCauley (Deer Tick), Robbie Crowell (Deer Tick), Ian Saint Pe (The Black Lips), Steve Berlin (Los Lobos), Hardy Morris (Dead Confederate), Bryan Dufresne (Six Finger Satellite).

              The band owe plenty to Deer Tick’s ragged-andraw, blue collar country rock.

              For fans of Deer Tick, Black Lips, Los Lobos, Dawes, Drive-By Truckers.

              Latest Pre-Sales

              160 NEW ITEMS

              Ahead of stocktaking next week, we've had a tidy up. Loads of one off warehouse finds here: Don't snooze!
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              Laura says: My album of the week this week! Gorgeous cosmic Americana. As much lazy Summer sunshine listening as it…
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              RT @Sinkyateeth: DEBUT ALBUM out 1st June!! Pre-order VINYL or CD here:
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