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Echo Ladies

Echo Ladies

    Their mixture of guitars, synths and drum machines is more like a Venn diagram of your favourite bands and records. At various points you can hear The Cure’s ‘Disintegration’, The Jesus And Mary Chain’s ‘Automatic’, New Order and A Place To Bury Strangers’ total sonic annihilation, but crossed with the soaring indie-pop melodies of The Radio Dept, Alvvays, Camera Obscura and even a little bit of Saint Etienne. The band’s self-titled debut EP was released by Hybris in Scandinavia last year, but will be reissued for the first time on vinyl and digital via Sonic Cathedral on March 23. It includes the tracks ‘Close To Be Close To Me’ and ‘Nothing Ever Lasts’, the video for which was premiered on The Line Of Best Fit and which went on to get plenty of airplay on BBC Radio 6 Music, BBC Radio 1, XFM, Amazing Radio, Beats 1 and more. Echo Ladies are Matilda Bogren, Mattis Andersson and Joar Andersén. They are three school-friends who, after playing together in a few different bands, realised that they worked best on their own.

    In 2014, after looking for “a name that represented our sound”, they became Echo Ladies, partly inspired by the name of the drum machine from another of their favourite bands, Echo & The Bunnymen. (Their own drum machine, for now, remains nameless.) They don’t just look back for inspiration, however, also citing The Raveonettes, The KVB and Black Marble as helping to shape their sound, but they claim their biggest influence to be effects pedals (they are now making their own to sell on tour) and “the feeling of nostalgia and hope for the future mixed with angst over defining who you are and what you will become”. This explains why so many of their songs hit that melancholy/euphoric, happy/sad sweet spot. They are in good company at the moment, too, with other Swedish bands from Gothenburg and Malmö all making similar noises; FEWS, Hater, Pink Milk, Makthaverskan and Wy are all achieving varying degrees of international success. 

    Moon Diagrams


      Limited-edition pink vinyl 7" featuring remixes by Happy Meals and Komodo Kolektif.

      300 copies only.

      The Early Years


        Songs from last year's second album 'II' reworked by Andrew Weatherall, Andy Bell from Ride and XAM.

        Limited-edition pressing of 300 copies on black vinyl. Plays at 33rpm and comes with a code for a free Bandcamp download in the digital format of your choice.

        Lifetime of Love is the debut album by Moon Diagrams, the solo recording project of Deerhunter co-founder and drummer Moses John Archuleta. Gradually pieced together over a ten-year period, it finds Archuleta processing various stages of love, loss and regeneration via forlorn outsider pop, minimal techno and warm, weightless experimentation. Hymnal opener “Playground” has echoes of Eno and Grouper; lengthy workouts such as “The Ghost and the Host” recall long-lost Harmonia outtakes, or something from one of Warp’s Artificial Intelligence compilations; the bitter pill pop of “End of Heartache” has the scratchy guitar of New Order circa Brotherhood and the square pegness of Dazzle Ships-era OMD. Several songs are instrumental, while “Bodymaker” features Sian Ahern (Eaux, Sian Alice Group). Subtly grandiose and quietly epic, Lifetime of Love really does live up to its title: a hopeful and curious beginning makes way for a morose middle, before a bittersweet, optimistic end. 


        2xColoured LP Info: One pink, one red LP

        Mojave 3

        Ask Me Tomorrow

          A special, one-off reissue of Mojave 3's debut album, pressed on seafoam green vinyl and with Vaughan Oliver and Chris Bigg's artwork beautifully repurposed in a shiny gold mirror board sleeve. 'Ask Me Tomorrow' has been unavailable on vinyl since its release on 4AD in October, 1995 and original copies change hands for three-figure sums. This reissue is timely as it follows the recent announcement of Slowdive's fourth album, and 'Ask Me Tomorrow' could well have been that record, but after being dropped by Creation following the release of ‘Pygmalion’, the band - reduced to a three-piece of Neil Halstead, Rachel Goswell and Ian McCutcheon - rechristened themselves Mojave 3 and experimented with more stripped-down and acoustic songs more in thrall to Leonard Cohen than LFO. As a result, ‘Ask Me Tomorrow’ is essentially Slowdive Unplugged; a special record, with a unique, hushed grandeur all of its own.

          Lorelle Meets The Obsolete

          The Sound Of All Things (Inc. Gnoomes Remix)

          Red vinyl 7" single coupling the original album version of 'The Sound Of All Things' with a remix by Russian trio Gnoomes.

          Limited-edition of 274.


          Barry says: One of the highlights of their album, 'The Sound Of All Things' is a slice of motorik guitar-driven synth pop, psychedelic and bracing, all remixed on the flip by Gnoomes into a dystopian re-imagining of the original. Shadowy where it was glittering, but retaining the charm and skill of the original. Great stuff.

          Neil Halstead

          Palindrome Hunches

            Limited-edition coloured vinyl repress of the Slowdive and Mojave 3 frontman’s third solo album, which was originally released in 2012. Including the tracks ‘Digging Shelters’ and ‘Full Moon Rising’, along with the previous singles ‘Tied To You’ and ‘Spin The Bottle’. The album was released shortly before Halstead reunited with his first band and was hugely critically acclaimed: The Times described it as “an exquisite set of dark folk music”, while MOJO pointed out how it “draws from the same understated, reflective well as John Martyn”. This is the first time it has been available on vinyl in the UK and Europe since the original pressing of just 300 copies

            Spectres release their second album ‘Condition’ via Sonic Cathedral on March 10. The follow-up to their acclaimed 2015 debut, ‘Dying’, it was recorded by Dominic Mitchison in the band’s adopted home city of Bristol and mastered by Frank Arkwright (Mogwai, 65daysofstatic) at Abbey Road in London. It’s louder and more abrasive than their debut, but also a real progression. It sounds huge and adds a genuinely innovative and confrontational edge, partly inspired by last year’s remix album, ‘Dead’, which saw everyone from Factory Floor to Richard Fearless instructed to “kill” the songs from ‘Dying’. “There were discussions about experimenting with electronics, but the idea soon petered out when we realised we still wanted to experiment with guitars,” reveals singer and guitarist Joe Hatt.

            As a result tracks such as ‘End Waltz’ have a relentlessly pounding, almost techno structure, in contrast to the kinetosis-inducing dirge of ‘Dissolve’ – the first single from the album that came with a suitably stomach-churning video late last year. Elsewhere the almost restrained (by Spectres’ standards) white noise and wordplay of ‘A Fish Called Wanda’ and the sprawling ‘Colour Me Out’ are counterbalanced by brutal assaults such as ‘Neck’ and ‘Welcoming The Flowers’, which keeps threatening to drown itself in its own roiling diamond sea. “On this album we became even less interested in actually playing guitar,” explains Hatt, “which meant that we got more into experimenting with the sounds we could get out of them when brutalising them and letting the feedback do the talking.”

            STAFF COMMENTS

            Barry says: Spectres have returned and it's heavier but more concise than ever. Brutal but focused, full of crushing breakdowns and sharpened guitar stabs, droning psychedelic repetition interspersed with prowling rhythms and anarchic intensity. Superbly concise but wrought with burning intensity. A triumph.

            The Early Years

            The Early Years

              Following the release of The Early Years' long-awaited new album 'II' in September, we are excited to reveal that we have licensed their self-titled debut album for a special 10th anniversary vinyl reissue. 'The Early Years' will be released on November 11 as a limited edition pressing of just 300 copies on transparent orange wax. It's a brand new vinyl cut by Noel Summerville, who has previously worked on a number of My Bloody Valentine and Warp reissues. The album was originally released on Beggars Banquet on September 25, 2006 and includes the singles 'All Ones And Zeros' and 'So Far Gone'. It also features the live staple 'Simple Solution', which most recently closed the band's incendiary set at Liverpool International Festival Of Psychedelia. On its release, it received glowing reviews from the likes of NME, Uncut, The Fly (RIP), The Independent (RIP) and the standard withering 6.4 from Pitchfork. But rather than sounding "like Coldplay on muscle relaxers", we think it's an underrated classic that will appeal to fans of 'Sowiesoso' and Spiritualized alike. It also comes with the seal of approval of Brian Eno, The Horrors and Damo Suzuki and we are proud to be making it available on vinyl once again.


              Coloured LP Info: Very limited transparent orange vinyl.

              New outfit formed by Matthew Benn of Hookworms and Christopher Duffin of Deadwall. Its six tracks of improvised ambient beauty are both meditative and peaceful, it is astral jazz with an experimental kosmische undercurrent; modular synths meet saxophones; Cluster meets Terry Riley; Laurie Spiegel meets Pharoah Sanders; Ohr meets Impulse!. A warm, immersive and downright musical record, it rewards repeat listens. XAM was originally Matthew’s solo project, the name borrowed from the closing song of latter-day Dusseldorf-via-Detroit cult classic ‘Subway II’. He recorded a number of tracks at home between Hookworms albums in 2014 which were released last year as the ‘Tone Systems’ EP on Deep Distance.

              Christopher says he approaches each song as a “mini-soundtrack to an imaginary film that doesn’t exist yet” and reveals that, while he was practising at home, he played along to clips of ‘There Will Be Blood’, ‘Mulholland Drive’ and ‘Synecdoche, New York’ to get the requisite atmosphere. Live sets are also completely improvised, meaning no two shows are ever the same. “I appreciate that improvised music isn’t for everyone, but it’s something I love doing,” Matthew concludes. “And, more often than not, Chris and I create something beautiful together

              STAFF COMMENTS

              Barry says: Otherworldly developing ambience and celestial synth swells, gradual building and eventual fragmentation turn this into a tour-de-force of Reich-esque structural integrity. Jazzy interludes give way to churning echoes, while hints of percussion give just enough purpose to direct the cloud of blissful fog.

              Almost 10 years since they released their self-titled debut on Beggars Banquet, The Early Years return with a brand new album called, simply, ‘II’. It was recorded in their home studio in rural Cheshire before being mixed in Atlanta, Georgia by Jason Kingsland (Deerhunter) and mastered at Abbey Road Studios by Frank Arkwright (Mogwai, New Order). It’s a stunning record, the sound of a band who have matured and relaxed into their playing, created without any external pressures or expectations. It is also more relevant now than ever, despite their long absence; it towers above the legions of kraut-psych bands who came along in their wake with the sheer scale of its scope and vision. Opener and lead single ‘Nocturne’ is a ferocious collision of man and machine: guitars sounding like Will Sergeant has moved to Neil Young’s farm, Roland TB-303s squelching away and the wild-eyed energy of Julian Cope circa ‘Fried’. Cope and the Bunnymen are reference points throughout, but ‘II’ also takes in the elegiac New Order of ‘Fluxus’, the Dean Wareham duelling Tom Verlaine solos of ‘Out Of Signal’, the Spiritualized lullaby of ‘Hush’, and the Harmonia-meets-pre-definite-article-Verve of album closer ‘Memory Case’.

              Mexican duo Lorelle Meets The Obsolete return with their fourth album, ‘Balance’, which is released on September 16 via Captcha Records and Sonic Cathedral. ‘Balance’ was recorded by the band at their home studio, before being mixed by Cooper Crain (Cave, Bitchin Bajas) at MINBAL in Chicago and mastered in Melbourne by Mikey Young (Total Control, Eddy Current Suppression Ring).

              The title track and opener blows away the layers of dusty psych from 2014’s ‘Chambers’, the duo’s previous album, to reveal a sparse and spare sound, embellished with new wave keyboards that wouldn’t sound out of place on one of the early Magazine albums; ‘The Sound Of All Things’ is a mini-epic, opening with a two-and-a-half-minute soundscape, before roaring into life; ‘La Distinción’ is a driving drone-rocker, not dissimilar to ‘What’s Holding You?’ but with the addition of a surprisingly soulful chorus. Lorelle Meets The Obsolete count Robert Smith, Mani and Sonic Boom among their fans, but the most enthusiastic is Henry Rollins. Here’s what he said about ‘Balance’: “It lives up to its name by achieving a balance between fuzz and clarity, nuance and throttle. The mix, which is incredible, utilises the brilliance of the component parts of each song, with a subtlety and dexterity that is not nearly as frequent in the albums that came before. It feels more like there was such an accumulation of captured dreams and their interpretation, that eventually it filled an album.” 


              Ja Bitte

                The ‘Kraftwerk? Ja Bitte!’ EP includes the two songs from the long-sold-out 7” we released back in 2013 – Disappears doing ‘Trans Europa Express’ and Cloudland Canyon covering ‘Radioaktivität’ – alongside a new version of ‘Neonlicht’ by Remover (a new band that is essentially three fifths of Hookworms: it was recorded by MB and JN and mixed by MJ) and a raucous reboot of ‘The Robots’ by Californian space-rockers White Manna, which was actually recorded live in soundcheck at Ramsgate Music Hall in September 2014.

                FORMAT INFORMATION

                Ltd 12" Info: Mega limited glow in the dark 12".


                Low : Live In Chicago

                  Recording of Disappears performing David Bowie’s classic 1977 album ‘Low’ in its entirety, mastered by Sonic Boom. Limited-edition orange vinyl, housed in a stunning see-through PVC sleeve, complete with the tracklisting on a sticker, as an homage to the original.

                  The band ran through the album twice on November 22 last year as part of a concert series entitled Bowie Changes, which featured several Chicago-based musicians reinterpreting the Bowie catalogue to mark the opening of the ‘David Bowie Is’ exhibition at the city’s Museum of Contemporary Art. “Naturally we chose the hardest one,” jokes guitarist/singer Brian Case. They succeed by being faithful to the original, while turning it into something that sounds very much like a Disappears record. The seven regular songs on the first side are buzzing and muscular, injected with steroids by the ferocious rhythm section of Noah Leger (drums) and Damon Carruesco (bass). However, it is the more avant-garde songs on the B-side that are the revelation. Stripped of Eno’s EMS Synthi AKS and Minimoogs, ‘Warszawa’ becomes an intense battleground between Brian and Jonathan van Herik’s treated guitars, ‘Subterraneans’ swaps saxophones for Rother-esque kosmiche curlicues and ‘Weeping Wall’ builds to an appropriate and fearsome (Berlin) wall of noise. It’s stunning.

                  We first met Brian when his old band The Ponys played a Sonic Cathedral show back in 2006. He formed Disappears a couple years later, and the band have since released five albums through venerable Chicago indie label Kranky, the most recent, ‘Irreal’, coming out last January. They were also recently namechecked in Kim Gordon’s book ‘Girl In A Band’, thanks to her ex-Sonic Youth bandmate Steve Shelley being Disappears’ drummer for a time. In 2013 we got them to record a cover of Kraftwerk’s ‘Trans-Europe Express’ for a long sold-out split 7”, but with ‘Low: Live In Chicago’, they have excelled themselves.

                  Disappears are: Noah Leger: drums/tank drum Jonathan van Herik: guitar Damon Carruesco: bass/vocals Brian Case: guitar/vocals Recorded and mixed by: Mike Lust Mastered by: Sonic Boom. 

                  FORMAT INFORMATION

                  Ltd LP Info: Orange vinyl.



                    Spectres’ alternative Bond theme is a dark and brooding duet between frontman Joe Hatt and chamber pop torch singer Ela Orleans, with strings, horns and a kitchen sink of looming feedback. ‘Spectre’ is beautiful, mysterious and deadly serious; like a shaken and stirred version of Blur’s ‘To The End’, or a cross between Sonic Youth’s cover of ‘Superstar’ and The Smiths’ ‘Death Of A Disco Dancer’.

                    FORMAT INFORMATION

                    Ltd 7" Info: Limited edition gold vinyl.

                    Richard Fearless (ex-Death In Vegas) has reworked the already epic album closer ‘Sea Of Trees’ and, instead of playing up the original’s krautrock groove as you might expect, he loops a five-second sample of the song’s opening on a distorted synth, adds a pulsating techno groove and turns it into something that sounds like a long-lost Metroplex record. That slighty lo-fi edge is accidental – the track was finished not long after Richard DJ'd at Spectres’ album launch show at The Lexington in London earlier this year, but the very next day his studio was broken into and his computer stolen. It contained not only the master of this remix, but almost all of his work from the previous 15 years and, despite appeals for its return, it has never been recovered. But, as luck would have it, he had made an mp3 version to listen to, and it was good enough to master from.

                    There was less drama with Gabe Gurnsey’s Factory Floor remix on the flipside, but no less excitement, as Spectres are huge admirers of the post-industrial electronic trio, even supporting them at an instore show in Rise in their hometown of Bristol. Here the original’s wall of noise is held at bay, snippets of guitar and vocals breaking through as if phoned in from another dimension, while jerky, jittering rhythms hypnotise for just under seven minutes.

                    FORMAT INFORMATION

                    Ltd 12" Info: 12" in clear polythene sleeve with art print insert.

                    The debut album by the new band formed by Super Furry Animals’ Guto Pryce and his wife Lindsey Leven!

                    Ten instant hits of sunshine. Folky female vocals atop ’60s-influenced psych-pop and motorik synth-prog – like a shinier Stereolab or a more bucolic Broadcast. ‘Seasoned Sun’ also features contributions from fellow Super Furry Animals Cian Ciaran and Dafydd Ieuan and ex-Race Horses drummer Gwion Llewelyn.

                    “The Wicker Man getting fresh with Nancy Sinatra. That’s Gulp: easy to swallow, hard to forget.” The Guardian Guide. “Sixties-inspired psychedelia. Full of vintage synths and organs… warm textures and gliding vocals.” - NME.

                    STAFF COMMENTS

                    Sil says: Gulp are Guto Pryce (Super Furry Animals) and Lindsey Leven with Gid Goundrey on guitar. Their album ‘Season Sun’ is full of wonderful psychedelic nonsense with doses of depth, and beautiful catchy melodies. It offers the listener a collection of delicate, bright tracks with slightly ominous undertones. “Vast Space” could easily be found on a Tarantino soundtrack; the slow-paced guitar centred “Hot Water” flows luxuriantly into favourite “Everything”; “Grey Area” gives us moody and mysterious melodies and “I Want To Dance” is the perfect summer pop song with a majestic 50 second ending. If you love synths, psychedelia and bands such as Air or Teleman this is your thing. Sing-along inducing pop-like hits and positive sun drenched melodies flood this accessible yet enigmatic album. The perfect soundscape for playing human chess while watching ‘The Prisoner’.

                    The debut album by the Burlington, VT, duo of Jared Artaud and Brian MacFadyen follows acclaimed single releases on Mexican Summer and the Reverberation Appreciation Society, plus an appearance on the ‘Psych For Sore Eyes’ EP, now recognized as a landmark in the burgeoning new psychedelic movement. ‘Departure’ was mixed and mastered by Spacemen 3 legend Sonic Boom at his studio in Rugby, UK. His other recent credits include Panda Bear, Peaking Lights, MGMT and Wooden Shjips.

                    The key element of the almost primitive rock’n’roll songs on ‘Departure’ is their boundless energy, which tear up the psychedelic rock template with a genuine punk spirit. Combine that with the use of synths and drum machines, and it’s not surprising to see why the band have won over Suicide’s Alan Vega, with whom they will be working soon. Another famous friend is former Galaxie 500 and Luna frontman (and Sonic Cathedral labelmate) Dean Wareham, who plays guitar on ‘Tomorrow’. 

                    FORMAT INFORMATION

                    CD Info: Sleeve designed by Anthony Ausgang (MGMT, etc).

                    In an unprecedented burst of creativity, Dean Wareham follows his well-received solo mini-album ‘Emancipated Hearts’ just over four months later with his solo debut proper. Consisting of eight original songs and a cover of Michael Holland’s ‘Heartless People’, the self-titled album is a very different record to its predecessor, much less understated and more self-assured. No doubt partly due to its producer, Jim James of My Morning Jacket, who also plays on some of the tracks here (and turns in a remix of ‘Happy & Free’ as the iTunes bonus track). Dean has admitted that Jim James pushed him in more of a “rock” direction, something which mini-album producer Jason Quever actively shied away from. This has resulted in surprisingly direct likes of ‘Holding Pattern’ (an ode to bicoastal commuting, which inexplicably turns into a list of AOR bands “Kansas, Boston, Toto, Journey, Foreigner and Styx”) and ‘I Can Only Give My All’, which sit comfortably alongside the countryfied rock of ‘Happy & Free’ and the retro-pop of ‘The Dancer Disappears’.

                    Between 1987 and 1991 Dean Wareham was singer/guitarist/ songwriter with Galaxie 500, who recorded three albums for Rough Trade (now available on Domino). His next band, New York-based quartet Luna, recorded seven studio albums for Elektra and Beggars Banquet between 1992 and 2004. He has since released three albums with his wife Britta Phillips as Dean & Britta. Their most recent release was a soundtrack to accompany their multi-media show ‘13 Most Beautiful: Songs For Andy Warhol’s Screen Tests’. Dean has recently acted in the film ‘Frances Ha’, directed by Noah Baumbach, and written a memoir, ‘Black Postcards’, for Penguin Books.

                    The first ever solo album from Dean Wareham (Galaxie 500, Luna, Dean & Britta). Produced by Jason Quever (Papercuts). Includes the single ‘Love Is Colder Than Death’, as premiered on Pitchfork. ‘Emancipated Hearts’ is a downbeat collection that suggests Galaxie 500 playing bucolic folk-rock. As if to underline this comparison, there’s a cover of The Incredible String Band’s ‘Air’. “I know they can be a bit silly, but they can be hilarious too,” says Dean. “Our version was recorded in Jason’s living room, just him and me.” Before this almost light-hearted conclusion, however, the album explores much darker territory, something that is evident from just the titles of the songs. It’s no so much political as politicised, as Dean explains: “Each of these songs started with a line or phrase I borrowed from a poem or film or newspaper headline. The idea is you steal a line and then build your own song around it…”

                    Between 1987 and 1991 Dean Wareham was singer/guitarist/ songwriter with Galaxie 500, who recorded three albums for Rough Trade (now available on Domino). His next band, New York-based quartet Luna, recorded seven studio albums for Elektra and Beggars Banquet between 1992 and 2004. He has since released three albums with his wife Britta Phillips as Dean & Britta. Their most recent release was a soundtrack to accompany their multi-media show ‘13 Most Beautiful: Songs For Andy Warhol’s Screen Tests.

                    Happy Families

                    New Forgetting

                    Sonic Cathedral is very pleased to announce the release of the debut single by Happy Families, the new band formed by Lawrence Chandler (Bowery Electric) and Lucia Rivero.

                    ‘New Forgetting’ comes backed with a reworking of the Ramones’ ‘I Remember You’ and will be available on 7” vinyl and as a digital download.

                    Drenched in feedback and white noise masquerading as guitar, ‘New Forgetting’ is the loudest debut we’ve heard in quite some time; a wall of sound unashamedly built on the legacy of The Velvet Underground, Suicide, Joy Division, Spacemen 3, The Jesus And Mary Chain and My Bloody Valentine.

                    Following the split of New York-based shoegaze/post-rock pioneers Bowery Electric, Chandler, a former student of La Monte Young, opted for a more formal education in music. He studied composition at The Juilliard School, worked for Philip Glass and completed an MA at Goldsmiths in London. His most recent work was ‘The Tuning of the World’, a 24-hour sustained tone piece.

                    This is the musical debut of Rivero. Following art studies at Complutense University of Madrid and L’École Supérieure des Arts Saint-Luc, Liége, she came to London to do an MA at Central Saint Martins. Her work has been shown at Guest Projects, Poppy Sebire and Zabludowicz Collection in London, as well as at LABoral Art and Industrial Creation Centre in Gijón, Spain where she recently contributed an installation for the show ‘Visualizing Sound’, alongside artists such as Ryoichi Kurokawa.

                    At the moment, though, for both Chandler and Rivero it’s all about Happy Families.

                    Various Artists

                    Psych For Sore Eyes EP (Inc White Manna & Hookworms)

                      Sonic Cathedral have been painstakingly putting together this audio-visual delight for months now, with the help of the good folk at Heretic (who have previously designed posters for their shows with Damo Suzuki and Spectrum).

                      They don’t want to spoil the surprise as all will be revealed nearer the time – and to be honest mere words do not do justice to it – but the EP will come on two slabs of 7″ vinyl, one red, one green. Like 3D glasses. This is handy, because the sleeve that houses the two records folds out into a giant, screen printed 3D poster of mind-melting proportions. There will also be a pair of real 3D glasses in there as well, just in case you need to add a few extra dimensions.

                      And that’s just the sleeve. The music’s not bad either – exclusive tracks from six of our favourite new bands:

                      Yeti Lane

                      The Echo Show

                        The incredible second album from Parisian psych-pop duo Yeti Lane, the follow-up to 2010’s hugely acclaimed self-titled debut.

                        Includes the track ‘Analog Wheel’, premiered on The Line Of Best Fit last December, and the single ‘Sparkling Sunbeam’, featuring guest vocals from Herman Dune.

                        Co-produced and mixed by Antoine Gaillet (M83, Zombie Zombie, The Berg Sans Nipple).

                        Artwork by Jean-Philippe Talaga, founder of the Gooom Disques label.

                        For fans of Kraftwerk, My Bloody Valentine, Broadcast, Stereolab, Can, Pavement and LCD Soundsystem.

                        STAFF COMMENTS

                        Andy says: Grandaddy gone Krautrock. Heavenly.

                        Darryl says: Superb psyche-kosmische indie-pop mantras from this Parisian duo on the Sonic Cathedral label.

                        Limited edition bonus disc version also available - click here.

                        The incredible second album from Parisian psych-pop duo Yeti Lane, the follow-up to 2010’s hugely acclaimed self-titled debut.

                        Includes the track ‘Analog Wheel’, premiered on The Line Of Best Fit last December, and the single ‘Sparkling Sunbeam’, featuring guest vocals from Herman Dune.

                        Co-produced and mixed by Antoine Gaillet (M83, Zombie Zombie, The Berg Sans Nipple).

                        Artwork by Jean-Philippe Talaga, founder of the Gooom Disques label.

                        For fans of Kraftwerk, My Bloody Valentine, Broadcast, Stereolab, Can, Pavement and LCD Soundsystem.

                        STAFF COMMENTS

                        Andy says: Grandaddy gone Krautrock. Heavenly.

                        Darryl says: Superb psyche-kosmische indie-pop mantras from this Parisian duo on the Sonic Cathedral label.

                        FORMAT INFORMATION

                        LP Info: Limited edition white vinyl.

                        LP includes MP3 Download Code.

                        Fairewell is the new project of Sheffield-born, North London-based Johnny White, formerly of The Rollercoaster Project.

                        The debut album ‘Poor, Poor Grendel’ features ‘Born Under A Bad Sign’, which was featured on Lauren Laverne’s BBC 6 Music show.

                        ‘Born Under A Bad Sign’, with its video featuring a boy unwittingly leading a sheep to its untimely demise, became a blog hit.

                        Musically veers from elegiac post-rock to saturnine synth-pop. Radio Dept-style indie makes way for lengthy instrumentals which bring to mind M83 covering ‘Songs From The Big Chair’-era Tears For Fears.

                        Brand new four-track EP from Younghusband, following the success of their debut single, the double A-side single ‘Carousel’ and ‘Nothing, Nothing’, which was named Zane Lowe’s New Hype and is still being played on BBC 6 Music now.

                        The debut also received glowing reviews in The Guardian Guide, NME, Uncut and Artrocker.

                        The EP is available as a very limited double 7” pack (200 copies).

                        Sarabeth Tucek’s stunning second album is inspired by the death of her father; she calls it 'an impressionistic rendering of a time ruled by grief'.

                        'Miami-born and New York-bred, Sarabeth Tucek has come some way along the road of indie dues-paying, having sung back-ups on Smog’s album Supper and appeared in notorious rock-doc DiG!. And it looked like she could cross over into a relative state of superstardom when she released her eponymous debut album in 2007, especially when a certain Bob Dylan popped up to express his admiration of the singer. Said Ethan Johns-produced set also found a fan in Laura Marling, who subsequently recruited the Brit Award nominee to work on her acclaimed "I Speak Because I Can". However, things started to go awry, Tucek’s life taking a turn for the worse.

                        For her second album Tucek elucidates these tribulations, chiefly those connected to her father’s death, and explores related themes throughout the collection. It features moments of true beguilement, and referencing the greats – a bit of Feist here, Throwing Muses there, along with touches of Karen Dalton, Cat Power and Linda Perhacs – together with a musical menu of Neil Young, The Velvet Underground and even a dash of Big Star, helps to make Get Well Soon a marvel. It proves that through the hard times comes sweetness of a kind, a resolving of the personal Hell that is the loss of a parent. Despite its sombre influences, though, this is an earthy and oddly life-enhancing listen.'
                        - BBC.

                        STAFF COMMENTS

                        Andy says: Beautiful voice and musical accompaniment which sometimes sounds just like Neil Young and Crazy Horse. Excellent.

                        Team Ghost

                        You Never Did Anything Wrong To Me EP

                          The release of this EP was announced on Pitchfork, who are big supporters of Team Ghost, and "Colors In Time", the first track to be made available from the
                          EP, was premiered on the NME website. Team Ghost have done high-profile remixes for UNKLE and Yeti Lane. Musically, they take the M83 blueprint of electronica, shoegaze and cinematic, Eno-esque soundscapes, and add krautrock rhythms, the sleazy Suicide-like postpunk of JJ Burnel’s "Euroman Cometh" and the stark synth-pop of the French coldwave.

                          FORMAT INFORMATION

                          10" Info: Available on 10” black and white marbled vinyl - 100 copies only.

                          The debut album from Parisian trio Yeti Lane. Featuring ex-members of Cyann & Ben, they describe their sound as 'tribal beats, krautrock synths and hypnotic guitars', which is about right I reckon. They've already had a Piccadilly ROTW award for their debut single and if you liked that, then this 10 track album doesn't disappoint. If you like anything from Can to New Order to Flaming Lips then give this a listen.

                          Various Artists

                          Cathedral Classics Volume One

                            Wow! This is really nice! The first 11 Sonic Cathedral 7", a set of 12 badges featuring the psychedelic designs from each of the labels (and the cover of the CD comp!), and a 7" square art print, all housed in a black box with gold embossed text. A real collectors item!

                            Daniel Land And The Modern Painters

                            Within The Boundaries

                            The 11th release on Sonic Cathedral Recordings is the debut single from the wonderful Daniel Land & The Modern Painters. The Manchester-based band was formed last year by songwriter and 4AD obsessive Daniel Land, after witnessing a DJ set by German electronica genius Ulrich Schnauss. 'He played probably 15 of the best shoegaze records I'd never heard,' recalls Daniel, who began an email relationship with Ulrich, who in turn recommended him to Sonic Cathedral as a support for his now legendary church show in Manchester earlier this year. Fast-forward six months and Ulrich, alongside former Engineers man Mark Peters, has reworked two tracks exclusively for this single release. The A-side, "Within The Boundaries", originally featured on Daniel Land & The Modern Painters' self-released "Voss" EP late last year, but has grown into something magical and monolithic. Over on the AA-side, the stunningly beautiful "Benjamin's Room" allows much more space for the vocals and also provides a tantalising glimpse behind Daniel Land & The Modern Painters' wall of sound.

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