Consisting of three brand new tracks created and performed by the iconic duo of Stephen O’Malley and Greg Anderson and co-produced by sunn O))) and Brad Wood. Brad Wood recorded the material at Bear Creek Studios in Woodinville and Sea Grass in Los Angeles in 2025. The tracks on this maxi 12” are the first official sunn O))) studio recordings to feature only the original core duo on heavily saturated electric guitars and synthesis.

sunn O))) gave extreme focus and care to each step and aspect of the recording, each tone and level of saturation, each gain stage and speaker, each arrangement and harmonic. The Pacific Northwest forest is our guide.

'Eternity’s Pillars' is named for the mid-1980s television program created and hosted by jazz visionary and spiritual guru Alice Coltrane Turiyasangitananda, focusing on her incessant belief in music’s capacity to attain spiritual transcendence. 'Raise the Chalice' is named for a rallying cry often uttered by Northwest legend Ron Guardipee throughout the mid-1990s. 'Reverential' equally pays respect and sends loud praise to those who came before us with the heaviest burdens, expressions with music and art being the materials of an antiphon.

The front cover of the maxi 12” depicts the duo in the woods northeast of Seattle, through the lens of Charles Peterson.

TRACK LISTING

1. Eternity’s Pillars
2. Raise The Chalice
3. Reverential

Dâm-Funk & Lorenzo Soria retouch Elkin & Nelson's Balearic classic "Vámonos". A cross-continental tribute form the West Coast funk to Andalusian Rhythms.

Two generations, two continents, and one timeless Balearic groove -  “Vámonos”, the 1970s classic from Colombian-Spanish duo Elkin & Nelson, gets a retouch by the hands of Dâm-Funk and Lorenzo Soria. Infusing the track with new sonic energy while paying homage to its iconic roots, this version of “Vámonos” travels from the beaches of Ibiza to the sun-drenched streets of Los Angeles and Seville.

Dâm-Funk - a pioneer of modern-funk and longtime ambassador of the West Coast boogie-funk sound. Known for seminal albums like “Toeachizown” and “Invite the Light” on Stones Throw Records, as well as collaborations with Snoop Dogg, Ariel Pink and Christine and the Queens. Dâm-Funk brings his signature analog synths and laid-back groove to the mix. His unmistakable style draws deeply from Prince, Slave, and the golden era of 1980s funk.

Lorenzo Soria represents a new generation of global-minded producers reshaping the electronic landscape from Southern Spain. A native of Seville, Soria’s collaborations with, Califato ¾, draws from reggaeton, EBM, punk, and traditional Andalusian folklore, Lorenzo’s rhythmic palette is both eclectic and rooted. His contribution to “Vámonos” brings percussive depth and vibrant energy that pulse with Mediterranean warmth.

Together, Dâm-Funk and Lorenzo Soria have created a two versions of “Vámonos” that is both respectful and with genre-defying flair, this collaboration reinvents a Balearic gem for a new generation of listeners and dancers.

TRACK LISTING

Vamonos - (DāM-FunK & Lorenzo Soria Retouch)
Vamonos - (DāM-FunK & Lorenzo Soria 110bpm Edit)

The album’s 10 tracks mark a bold evolution in the band's sound and Death Pill really deliver with ferocity and belief through multiple gear changes and genres as if it were easy. Hardcore, punk, grunge, thrash, riot grrrl, emo, are just some of the touchstones this album moves through, and all with the accomplished ferocity and memorable melody the band introduced on their debut. There are cellos, piano’s, sound effects and ornate arrangements that open out their sonic palette, there’s a bit of pop and even a bit of prog. But rest assured … It's all pure ‘Death Pill’. Thematically ‘Sologamy’ is, at its core, a celebration.

So over to Death Pill for the lowdown …

“The title, inspired by the concept of marrying oneself, speaks to the importance of making a personal commitment to self-care, happiness, and emotional well-being. In an era where that can sometimes be misconstrued as selfishness, Death Pill pushes back against these misconceptions, inviting listeners to embrace the power of prioritizing their own mental and emotional health.”

“Each track on the album is quite different from the last, and we see this as a way of accepting and supporting yourself in any emotional state. You arrive in this world alone and you leave it alone. The bottom line is: You're the only person you've got. “Every song on the album is a story that happened to us. Maybe it'll happen to you too. But every story deserves to become a song.” “Sologamy” is more than just an album—it's a call to action”

Kicking off with ‘Listen To Me Sister’. A metal thrashing, bass drum pummelling, snarling statement of intent. A bag of riffs n’ grooves punctuated by one line of 'call-to-arms' vocal. It totally kicks ass. The pedal stays firmly rooted to the floor with the nasty but hooky hardcore of ‘Haters Gonna Hate’ before the fuzzy, sardonic grunge groove of ‘Ugly Me’ settles the pace. Only temporarily, because ‘Craterface’s thrash metal puts things firmly back in face melter territory.

At this point it must be said that the playing and musicianship and singing on this album is top drawer. Mariana certainly delivers the goods, doing spit and snarl and clean and melodic with equal aplomb. ‘Don’t Say It So’ is as catchy as it gets, an almost anthemic slice of grunge, which set the scene for ‘Phone Call’ , probably the most accessible Death Pill track to date, it’s a brilliant slice of … well … pop. You might call it 'pissed off pop’ something Green Day or Foo Fighters wished they’d written … a new genre if ever there was one.

And it’s at this point in the album where Death Pill really open it out. ‘Hey Man’ with it’s melodic guitar/cello intro and super hooky pop sensibility is followed by the frankly crazy ‘Monsters’. An off kilter hardcore-prog psycho nutcase story for Generation Z. It ups the ante on the single version released last year. But perhaps the trio have left the best till last, with 2 connected songs. ‘Outro’ has an almost progressive post metal vibe, twisting and turning but always (and this is one of this album’s trademarks) delivering pure earworms tunes. Complete with an almost baroque middle section and sound fx it segues into ‘Pro Yarika’s piano led opening. Which in turn explodes into proper nastycore with a great chorus. Cinematic in its scope it’s a fitting finale to a mighty second album, signalling that from this point on, Death Pill can go anywhere they choose to.

TRACK LISTING

1. Listen To Me, Sister
2. Haters Gonna Hate
3. Ugly Me
4. Craterface
5. Don’t Say It So
6. Phone Call
7. Hey, Man
8. Monsters (In My Brain)
9. Outro
10. Pro Yarika

This is the first collaboration between Al Cisneros (OM, Sleep) and David Eugene Edwards (Wovenhand, 16 Horsepower) on limited 10" vinyl.

TRACK LISTING

1. Pillar Of Fire
2. Capernaum

Neon Pill is the highly anticipated new album from Cage The Elephant, and group’s first new music since their album, Social Cues, which won Best Rock album at the 2019 GRAMMY Awards. Cage The Elephant consists of brothers Matt Shultz (vocals) and Brad Shultz (rhythm guitar) along with Daniel Tichenor (bass), Jared Champion (drums), Nick Bockrath (lead guitar) and Matthan Minster (guitar, keyboards, backing vocals).

After forming in 2016, Pillow Queens released a series of singles, honing their craft and working towards their first album, In Waiting (2020). Along the way there has been acclaim from UK and American press, many sold-out gigs and an appearance on James Corden's Late Late Show. After signing with Canada’s Royal Mountain Records, they released a follow-up album, Leave the Light On in 2022, touring the UK, US and Europe extensively, including shows at Austin’s SXSW and supporting Phoebe Bridgers in Glasgow.

Three albums in three years indicates a serious work ethic, for their new album Name Your Sorrow they stuck to a strict schedule. They showed up every day from 9-5, in a windowless Dublin room to just play, swap instruments and experiment. From there, they decamped to a rural retreat in County Clare along the Atlantic coastline of Ireland, to immerse themselves further. “ The palpable shift in sound and tone is possibly the result of working with a new producer, Collin Pastore from Nashville, who has produced boygenius, Lucy Dacus and Illuminati Hotties. The band holed up for three weeks at Analogue Catalogue studio in Newry, and quickly noticed that the change of scene and personnel impacted on the record.

The result of combining new experimentation, heartfelt lyrics and a sound that pinballs from quiet and loud offers a kind of catharsis. Of picking through the shrapnel to find slivers of hope. Previously, the band have road-tested new tracks live, playing them to an audience and reworking them based on the crowd’s reaction. They haven’t done that this time, because the songs already feel fully formed. The band also had to unlearn the process of questioning whether a song sounded like “a Pillow Queens song”. There are definite links to the last two albums, but Name Your Sorrow feels like a triumphant step in another direction.

STAFF COMMENTS

Barry says: Moody post-grunge riffs and soaring distorted guitar swells break into upbeat indie jangles and major-key lifts, all topped with the gothic-leaning vocals that easily switch from morose and solemn into stadium-fillingly grand in the blink of an eye. A wonderfully produced, perfectly written statement from the Pillow Queens.

TRACK LISTING

Side 1
1. February 8th
2. Suffer
3. Like A Lesson
4. Blew Up The World
5. Friend Of Mine
6. The Bar's Closed
Side 2
1. So Kind
2. Heavy Pour
3. One Night
4. Love II
5. Notes On Worth

Following the hugely popular first ‘Acid Jazz (Not Jazz)’ release in 2022, label heads Eddie Piller and Dean Rudland return with a second volume, ‘We’ve Got A Funky Beat’.

The record further takes in the club sounds of the original acid jazz scene in the early 1990s, where obscure funk, soul and rock records were mixed with new productions that turned up at the Acid Jazz (then Denmark Street) offices on a near-daily basis.

A document of an era, before the internet, where clubs and record stores informed the tastes and direction of the burgeoning London music community and the close-knit groups of producers, musicians, label and shop owners that were constant companions in search of the new sound.

Ballistic Brothers and X-Press 2 appear alongside unsung heroes such as Night Trains and The Hightower Set.

Presented in a beautiful geometric graphic sleeve, with a printed inner sleeve documenting the original release designs.

TRACK LISTING

1. Super Strut - The Apostles
2. Escucha Ma Funk - The Hightower Set
3. Testify - Mains Ignition
4. Russian Roulette - Night Trains (ft. Afrika Bambaataa)
5. From The Ghetto - Dread Flimstone
6. Delancy St… The Theme - Ballistic Brothers Vs. Eccentric Afros
7. Tranz Euro X-Press - XPress 2
8. Farside - Jaziacs

Long Awaited Fourth Long Player By Leeds Punk Band Cyanide Pills! We catch up with lead singer Phil to discuss where the band is at man… What inspired you to make this concept album, time was right? I had to look up what a concept album was, it means an album where the songs all relate to each other? It must have been an accident due to memory loss, “Phil, haven’t we already done a song about war?” “Phil, haven’t we already done a song about corruption?” We live in dark times, the stupid ones are in charge, the evil ones are at the controls. It’s hard to write songs about kittens and flowers at the moment. It’s been six years since your last album, why so long? It’s taken a while! At first due to laziness, everyday life gets in the way, we have to pay the rent and eat so tyres have to be changed, holes have to be dug, floors have to be swept, then there was a pandemic! but it’s mostly laziness, we are lazy cunts. The album was produced by Carl Rosamond at the Billiard Room in Leeds. What’s it like working with him? Everything we have ever recorded is with Mr Rosamond, he’s the extra member of the band. Who needs George Martin or Phil Spector when you have the ‘razor blade’ Rosamond living down the street. Love the cover art for the new album. Who’s the talented artist? The cover was drawn by ‘The head honcho’ ‘Numero uno’ ‘The big cheese’ ‘Our glorious leader’ ‘Das Kapitan’ ‘The chosen one’ ‘The golden goose’ ‘The idiot Savant’ ‘The one that walks among us’ otherwise known as Phil Privilege, he didn’t credit himself as he is very humble and shy. ‘Low Budget Rock ‘n’ Roll’ – Love it! If you were making a mixtape of low budget rock ‘n’ roll, which bands would be on it? Low budget rock n roll, the mix tape would include anyone who hasn’t got a pot to piss in but knows three chords and just wants to play rock n roll, you know who you are. How do you think the government are doing, happy with the Tories still? The government are doing a marvellous job! Encouraging us all to return to old traditions like starvation, destitution, hopelessness, and despair. Let’s hope the guillotine makes a resurgence too. You finally managed to make it into Europe for your Covid-postponed gigs. What were the best and worse things to happen on the tour? Touring will always be fun, a bit more bureaucracy and self-inflicted bullshit to deal with but it’s soon forgotten when we get to play for our punk brothers and sisters in Europe. You’ve been playing live without Alex, is he still in the band? Yes, we are playing without our Mr Arson, like we mentioned earlier, life gets in the way of fun sometimes, they have to work and pay the rent in Norway too. We decided to play as four-piece for the time being, we want to play live no matter what! It was a difficult decision at first but when we noticed how much more room there was in the van…..Yours sincerely Cyanide Pills.

Death Pill, are an all-female hardcore punk power trio of considerable muscle, combining metalcore, punk rock and (like labelmates ‘Shooting Daggers’) oodles of ‘Riot Grrl’ vibe. It’s significant how many female punk bands are using the stance and attitude of the ‘Riot Grrl’ movement as a touchstone for what they are about, but it doesn’t end there. From the classic punk of Black Flag, The Distillers and Circle Jerks, to modern outfits like Axe Rash and the thrash metal of Nervosa and Exodus, there’s a nod to all of this in Death Pill’s visceral sound. Full on and fully formed on their self-titled debut album. That aside, what makes this release even more pertinent for us, and the fact that it is happening at all, is that Mariana, Anastasiya and Nataliya are from the Ukraine, who’s troubles are well known to all of course, but naturally enough have hit the band very hard. Singer/guitarist Mariana tells the story so far. Just imagine: You are a 20-year-old girl. Society constantly puts pressure on you: you should find a nice husband, have children and at the same time build a successful career. But no one asks what do you really want? What are exactly your interests and ambitions? Because maybe you want to be a punk rock star? Yes, I do and even against it all. I can create a female non-commercial band, play heavy high-quality music, and ignite the crowd. After all, rock is not only about brutal men with curly long hair, right? Nafa (Anastasiya), the drummer, also got sick of this idea. Together we created an all-female punk rock band Death Pill (2017), just like we wanted to! There is a strong and super friendly community of people in Ukraine. It's a big family of true music lovers, people who live by creating the Ukrainian underground scene. This is also how we met Nataliia our bass player. After our first practice with her, we realized that this is a real perfect match. In February fucking Russia started a full-scale invasion of Ukraine. It really changed our plans, dreams, and attitude. Some do it with weapons in their hands, some volunteer and help in any way they can to bring our victory closer. Hard times, but right now we have a real chance to change lives for the better. Victory will be ours; we are sure of it We couldn’t have put it any better. So there is hope for sure, and as this album amply demonstrates, plenty of fighting spirit. It’s a killer debut. However, producing a ‘killer record’ under such extraordinary circumstances was a challenge too. Tracking started during Covid and was completed in late 2021, only three tracks were mixed before the war hit. However the band and their production team were able to somehow continue and finished everything including the artwork in 5 months whilst the Russian invasion rolled on. A testament to their drive and single mindedness. The musicianship and commitment on display is undeniable, plus the tracks on the album have been totally remastered for this release, sounding as fat and full as a raging whirlwind. Although things are uncertain, the band are still strong and still together.

TRACK LISTING

Side 1
1. Dirty Rotten Youth
2. Miss Revolt
3. Die For Vietnam
4. Друг
5. It's A Joke
Side 2
1. Go Your Way
2. Kill The Traitors
3. Расцарапаю Ебало
4. Would You Marry Me

A compilation of the finest early ’90s underground club sounds presented by Eddie Piller and Dean Rudland. As Acid Jazz began a period of extraordinary commercial success – Brand New Heavies and Jamiroquai selling millions of records – London’s club scene began to have a global influence. The compilation offers a snapshot of the kinds of records that were being played at the time, combining original Acid Jazz releases with sides from other labels that surrounded the scene. These records could fill a dance floor in seconds. This collection gives them a new platform to be celebrated.

TRACK LISTING

Blacker – The Ballistic Brothers Vs. Eccentric Afros
Beads, Things & Flowers – Humble Souls
Come On – Marden Hill
Last Night Beats – The Subterraneans
APB – A Man Called Adam
Modal (Blue Train Dub) – The Quiet Boys
Jazz Jupiter (Da Scat Mix) – A-Zel
Everything Is Going To The Beat – Dhama B Vs. Ace Of Clubs

Leave the Light On is an exploration of the uncertainty of emotions as they are in process, and an intuitive outpouring of ideas as they form. It’s about being intimately honest with yourself, and as a band. It’s about trusting that this state of vulnerability can be held as it emerges, by you, by us.

What do queer dream blues sound like? More importantly, what do they feel like? Leaving home at night, driving through the black back roads until the tungsten light starts to glow. “Uaigneas an chaldaigh”, the Irish sense of loneliness experienced on the shore. The confusion and discombobulation of waking and feeling unfamiliar.

The liminal space between dreaming and being conscious. The unmooring that happens when a sense of self is being explored and sometimes slipping away.

But gravitating towards the unknown and the ambiguous can often yield the kinds of sounds and feelings that provide creative certainty, where the art is coming to you, as much as you going to it. Leave the Light On fills vast new sonic plains for Pillow Queens. It’s an album that encourages duality; to be soft and hard, delicate, and muscular, intimate and anthemic, alone and together. Collaborating on lyrics, a shared emotional experience fills these songs of hope and home, insecurity and estrangement, songs that track time passing and a sense of reflection grows deeper every day.

When real movement is stillness, when to be stationary feels transitionary, and when the most vital journey in life is to go within, then it’s time to leave the light on, and open up.

TRACK LISTING

Be By Your Side
The Wedding Band
Hearts & Minds
House That Sailed Away
Delivered
Well Kept Wife
No Good Woman
Historian
My Body Moves
Try Try Try

Long before John Brannon of Negative Approach cemented himself as a USHC icon, you would hear rumblings about his pre-NA glam group, STATIC. Only a handful of people were lucky/brave enough to see them live. Scenesters spoke of a tape but never seemed to have one. Their most well-remembered song, Toothpaste and Pills, allegedly featured smashing beer bottles against John’s mom’s basement wall as a percussion instrument. Could this be real?

Fast forward to 2020 and a few months into the covid-19 lockdown, Brannon came across a bunch of tapes he dug out of a box in his Mom’s closet - STATIC “DEMOS ‘78”, STATIC “LIVE AT GROSSE POINTE SOUTH H.S.”, STATIC “LIVE AT PLEWA HALL”. Holy shit! The legend is true! And best of all, STATIC rule!

John Brannon grew up in Grosse Pointe Park just a few blocks from the Detroit border. John was always into music, but as soon as he heard T-Rex, The Stooges and Alice Cooper, he was obsessed (and still is) and had to start a band to channel his obsessions. With the help of neighborhood kid and collaborator Billy Daniels and a local drummer simply known as “Red”, STATIC was born.

Before Negative Approach changed the face of punk and hardcore, before Laughing Hyenas scared the world silly and blew everyone else off the stage and before Easy Action started melting minds all over the world, there was STATIC. STATIC was real. STATIC was real as shit.

Third Man Records is beyond ecstatic to be providing this long-missing piece of the American Underground Music puzzle. We worked closely with John Brannon and Warren Defever, one of Third Man Mastering’s resident wizards, to put together this essential collection of demos and live recordings.

TRACK LISTING

SIDE A
1. Toothpaste And Pills
2. Punk Nation
3. TV Show
4. We're So Cheap We're Divine
SIDE B
1. Ain't No Stranger
2. High School Riot
3. What's This Thing Called Love
4. We're So Cheap We're Divine
5. Video Deficiency
6. If We Had Brains We'd Be Dangerous
7. Ugly Teenager

A follow up to 2018’s Jazz On The Corner which has now sold over 10,000 copies, and last year’s equally successful Soul On The Corner, this compilation see Martin and Eddie return to the world of jazz for another bite at the cherry after Volume one was declared to be “the best jazz compilation of the last 20 years” by Jazz FM’s Chris Phillips.

The concept came from a radio show that Freeman and Piller put together for BBC Radio 6 Music which was so well received that the pair decided to dig deep into their record collections and build a double album of some of their favourite tracks.

The concept is simple: an album packed full of jazz gems which they hope are slightly off the beaten track. This year we have hidden gems from Nina Simone and Nicola Conte, classics from Roberta Flack, Roy Ayers and The MJQ, whilst the new British jazz generation is represented by Emma Emma-Jean Thackray. Running the gamut from hard bop, to progressive fusion via Latin beats, it’s an exhilarating listen from start to finish.

STAFF COMMENTS

Laura says: Eddie Piller dons Sherlock’s Deerstalker, teaming up with national treasure Martin Freeman for another trip through their enviable jazz collections. Eschewing the wilfully obtuse in favour of personal favourites from across the decades, the duo celebrate a lifelong love of the genre.

TRACK LISTING

Double LP Tracklisting

Side A
1. Stanley Turrentine – The Magilla
2. Nina Simone – I’m Gonna Leave You
3. The Jazz Crusaders – Tough Talk
4. Gene Ammons – Jungle Strut
5. George Benson – Shape Of Things To Come

Side B
1. Nicola Conte – Caravan
2. Duke Pearson – Gira, Girou (Round And Round)
3. Chet Baker – Do It The Hard Way
4. The Modern Jazz Quartet – Concorde
5. Lorez Alexandria – Nature Boy

Side C
1. Emanuel K Rahim & The Kaliqs – Al Amin
2. Roberta Flack – Compared To What
3. Horace Silver – Tranquilizer Suite Part : Perservance And Eudurance
4. Emma-Jean Thackray – Ley Lines
5. The Lyman Woodard Organisation – Creative Musicians

Side D
1. Charles Earland – Leaving This Planet
2. Brain Auger Oblivion Express – Freedom Jazz Dance
3. Johnny Mercer – That Old Black Magic
4. Roy Ayers – A Tear To A Smile
5. Lonnie Liston Smith – Summer Days

Double CD Tracklisting

Martin’s Picks
1. Stanley Turrentine – The Magilla
2. Nina Simone – I’m Gonna Leave You
3. The Jazz Crusaders – Tough Talk
4. Roberta Flack – Compared To What
5. Duke Pearson – Gira, Girou (Round And Round)
6. Lonnie Liston Smith – Summer Days
7. Roy Ayers – A Tear To A Smile
8. Les McCann – Us
9. Johnny Mercer – That Old Black Magic
10. The Modern Jazz Quartet – Concorde
11. Horace Silver – Tranquilizer Suite Part : Perservance And Eudurance
12. Chico Hamilton – Conquistadores

Eddie’s Choices
1. Emanuel K Rahim & The Kaliqs – Al Amin
2. Brain Auger Oblivion Express – Freedom Jazz Dance
3. Gene Ammons – Jungle Strut
4. George Benson – Shape Of Things To Come
5. Charles Earland – Leaving This Planet
6. Emma-Jean Thackray – Ley Lines
7. Nicola Conte – Caravan
8. Lorez Alexandria – Nature Boy
9. Chet Baker – Do It The Hard Way
10. The Lyman Woodard Organisation – Creative Musicians
11. The Bukky Leo Quintet – Rejoice In Righteousness
12. Patrice Rushen - Haw Right Now

Happy Mondays formed in 1980 and were signed by Tony Wilson to Factory Records. While their first album 'Squirrel And G-Man' had been all ramshackle ramblings and jarring grooves, by their second album 'Bummed' they were already showing signs of what was to come on 'Pills and Thrills' with off kilter funky grooves carrying Sean's sneering nonsensicle lyrics. 

By 1990, 'Madchester' was in full swing, this was the time of the indie-dance crossover. Previously there had been a very distinct line drawn between these two genre's which was rarely (if ever) crossed, but rave culture and Ecstacy had erased such rigid barriers and with DJ Paul Oakenfold more dancefloor orientated production, the Mondays embraced this change and added loose (ok, yes, baggy) psychedelic grooves to their uncompromising lyrics and shady tales. This album (along with Primal Scream's 'Screamadelica') came to defined this indie-funk-psych-rave melding of genres and hedonistic scene perfectly. 

STAFF COMMENTS

Andy says: The Mondays first "pop" (but not really) LP was produced by superstar DJ Paul Oakenfold and featured their biggest hit, the superb "Kinky Afro". This was their time,and they didn't fail to deliver.

TRACK LISTING

Kinky Afro
God's Cop
Donovan
Grandbag's Funeral
Loose Fit
Dennis And Lois
Bob's Yer Uncle
Step On
Holiday
Harmony

Soft Hell, Pill’s second full-length album, is a raucous, splintering dispatch from New York City, animated by the madcap ingenuity of a foursome finding a palpable sense of joy and play in expressions of caustic, black humour. Like the contradiction of the album title, which references our acceptance of everyday miseries, it’s a slew of dichotomies, a frenzied cutup. It’s bleeding saxophone and lustrous feedback sounding somehow pastoral, and winking hooks subtly infused with venom. Pill’s lyrics are severe and funny, cryptic and straightforward, but never didactic. They reliably interrogate power. Vocalist and bassist Veronica Torres, a poet and visual artist, has cited as influences J .P. 'The Big Bopper' Richardson and Ian Svenonius, apt references for her wildly expressive range. Atop the clattering rush of opener “A.I.Y.M.” she uses an ambiguous narrator to complicate gendered stereotypes, while “Fruit,” a coolly pulsing vamp, explores the paralysis of political anxiety. “What am I allowed to create or destroy?” she asks in “Power Abuser,” highlighting the inanity of needing to ask for permission. Pill resent complacency, whether in political or creative senses. “For me this band’s about being provocative with sound,” said saxophonist Benjamin Jaffe. Drummer Andrew Spaulding said the album title, Soft Hell, critiques the “work-to-play” cliché of New York life, with its breakneck, competitive pursuit of comfort. Torres added that it evokes sexual bondage, describing Soft Hell as a reference to the cyclical monotony of humans harming one another.

TRACK LISTING

1.Softer Side
2.A.I.Y.M?
3. Double Think
4. Dark Glass
5.Midtown
6.Fruit
7.Plastic
8.HaHa
9. Sin Compromiso
10. Power Abuser
11.Soft Hell
12. OK

Dan Haywood is a Black Country wordsmith and itinerant ornithologist whose most recent albums 'Dapple' (2013) and 'Dan Haywood's New Hawks' (2010) and 'New Hawks: Field Notes' (2012) ventured way out into the unexplored outdoors.

Sunstone is proud to present his garage rock project PILL FANGS which meets us in the white-hot interior of a jangling nerve, deep inside your central nervous system.

Derivative of 60s and 70s NY groups, Pill Fangs' LP is full of the species of wild VU / Voivoidal electric guitar breaks that only a high dose of amphetamine agitation can bring out.

The foursome-- Dan, Richard Turner (of Three Dimensional Tanx), Rob Daniels & Simon Fletcher form a gleefully hi-gain and confrontational live act-- and their album, single-mindedly recorded in mono, builds on this playful no-compromise premise.

TRACK LISTING

1 Bison Grass 1:35
2 Friends In High Places 2:09
3 St. Français 1:44
4 Cruel To Be Kind 2:19
5 Surface 8:07
6 Mary Rose 2:55
7 I Turned A Corner 4:07
8 Material Girl 2:24
9 AX & Luggage 4:13
10 Tower Of Song Written By – L. Cohen 3:33
11 Year Of The Hole: Exodus (Part 1) 4:21
12 Year Of The Hole: Exodus (Part 2) 2:42

Convenience skids like a garbage truck with no brakes, barreling through passages of guitar chording bent at the wrong angles and ring-modded riffs aligning with Benjamin Jaffe’s expressive sax before splitting apart into chaos. Veronica Torres assumes double-duty between vocals and bass, while Jon Campolo plays three instruments in the live setting and Andrew Spaulding four, including circuit-bent noise rigs of their own invention. Veronica’s words are delivered with the speed and frenzy of someone with their life on the line, but she’s also able to slow things down in a gesture of dominance, confidence, and trust. This band is wise enough to know that safety is fleeting, so they take their digs when and where they can.

Given Pill's backgrounds, their music advances a notion of what the punk spirit of NYC might be: the capture and distillation of the energy and friction that comes from living amongst so many people in such a confined space. The idea seeds in free jazz and improvisation; reached adolescence in galleries and loft spaces in the ‘70s; found politics in squats and independent spaces; and it grows stronger the more these several sensibilities are practiced ands stewed. Call them No wave, post-punk, noise; they are immune, content to head off in a direction of their own design.

TRACK LISTING

1. 60 Sec.
2. Which Is True?
3. My Rights
4. Fetish Queen
5. Dead Boys
6. J-E-N-O-V-A
7. 100% Cute
8. Sex With Santa
9. Speaking Up
10. Vagabond
11. Love & Other Liquids
12. Medicine 

London duo Man Like Me release their new album ‘Pillow Talk’. The album has been mixed by Mike Skinner, who is also credited as executive producer after re-launching his label tBeats to release the record. Skinner helped co-produce and mix the new album which includes last summer’s electro smash, 'Squeeze' and new single, 'Wallow' - a concoction of carnival drums and whistles, muddled electronics, big bass and an insanely infectious chorus.

"Surrealistic Pillow", as the name implies, is one soft ridden, slightly mad piece of psychedelic San Francisco folk rock. From its percussive intro of "She Has Funny Cars" to the thumping mystique of "Plastic Fantastic Lover", this album's one heaven of a trip alright!

Jefferson Airplane truly hit the mark with this seminal album from 1967 - hippies, druggies and students from all over the world embraced the hitmaking ensemble and probably smoked another cheeba cheeba to the sweet tones of the band. Highlights that should not be overlooked are or course "Somebody To Love", "White Rabbit" and "Today".

TRACK LISTING

A1. She Has Funny Cars (3:03)
A2. Somebody To Love (2:57)
A3. My Best Friend (3:02)
A4. Today (3:00)
A5. Comin' Back To Me (5:20)

B1. 3/5 Of A Mile In 10 Seconds (3:41)
B2. DCBA-25 (2:33)
B3. How Do You Feel (3:26)
B4. Embryonic Journey (1:52)
B5. White Rabbit (2:32)
B6. Plastic Fantastic Lover (2:36)

After their first two 7” singles last year the Cyanide Pills are ready to launch their loud & snotty debut album… Exploding out of the speakers this 19 track album is bursting with some of the best Pop-punk tunes we’ve heard in years. Think of The Boys, The Briefs, Dickies and you’ll get it. The Cyanide Pills are from Leeds, UK and have been playing around for a few years, this is pure, very British punk rock with a great pop sensibility, they are heading out with the Cute Lepers in May and the will be doing a full tour later in the year.

This is from SugarBuzz Magazine… 'love the Cyanide Pill's tinny, spontaneous, cheap-sounding, production value, too. It sounds raw, and real...Americans tend to Pro-Tool the life outta everything, nowadays. They polish it 'til it becomes a product, loses all it's charm, and truthfulness. The 'Pills aren't merely eager young puppets, being master-minded by some grey haired old fart producer. I'm glad they ain't got nobody editing out all the raggedy, heart-felt bits! Man, the CYANIDE PILLS are fucking great! They're fun, boppy, now. Truly, the nazz. Bubblegum lyrics about politics and teenage alienation. They look terrific. You're sure to dig 'em. if you like real rock'n'roll. Seek them out, NOW'.