Young Liars is the first major release by the New York City band TV on the Radio. Released in 2003 on Touch & Go Records, the EP helped establish the band's distinctive blending of electronica, doo wop, post-rock, and avant-garde styles. The release featured the single "Staring at the Sun," which would later be remixed and reissued in their full-length album Desperate Youth, Blood Thirsty Babes. It contains an a cappella version of "Mr. Grieves," which was originally a rock song by Pixies, from the album Doolittle.

TRACK LISTING

A1. Satellite
A2. Staring At The Sun
A3. Blind
B1. Young Liars
B2. Mister Grieves

About The Album: 9 songs about (in no particular order) discordant living, misrepresentation, how nothing nothing can be, life, afterlife, love and love “after hours.” These are pop songs. These are rock songs. These are art songs. Desperate Youth, Blood Thirsty Babes began right where TVOTR’s 2003 debut EP Young Liars left off, propelled into uncharted sonic territory. Undeniably catchy songs with incredible production, arrangements, champion crooning (including stunning a cappella perfomances) and a host of extras that makes this a seriously solid album.

Praise From The Press: … their songs politicize emotion in stinging turns of phrase, over a beat that makes you want to get up and dance. Interview Magazine.

The experience is baptismal. XLR8R Magazine.

What’s most frightening is that, mighty as Desperate Youth… is, their real stone killer is probably yet to come. Uncut.

It’s an arty, impressionistic and sometimes oddly beautiful album steeped in the fear, paranoia and pain of a post-Sept. 11 world, a quite catharsis couched in an utterly novel yet strangely simple musical language. Washington Post.

TRACK LISTING

1. The Wrong Way
2. Staring At The Sun
3. Dreams
4. King Eternal
5. Ambulance
6. Poppy
7. Don’t Love You
8. Bomb Yourself
9. Wear You Out
10. You Could Be Love (vinyl Only Bonus Track)

Evoking Fear of Music (Talking Heads), Station to Station (David Bowie), and Sign 'O" the Times (Prince), the resulting disc might be the most oddly beautiful, psychedelic, and ambitious of the year… Consider your mind blown. (4.5/5 stars) Rolling Stone, 2006.

This was the album that established once and for all that TV on the Radio were more than just a great idea for a band; they were a great band, period - Stereogum, 2016 // TV On The Radio's story is one of synchronicity, of serendipity, of epiphany. TVOTR began with Tunde Adebimpe (vocals) and David Sitek (multi-instrumentalist and production kingpin) being roommates, drinking way too much coffee, making art: comics, movies, paintings. They started trading tapes of each other's four track recordings and thought it'd be fun to try to make "a real record" out of all that stuff.

Touch And Go released TV On The Radio’s stunning EP "Young Liars" in July 2003, and it immediately marked them out as one of the most musically innovative bands to have emerged in years. Their debut full-length "Desperate Youth, Bloodthirsty Babes" set 2004 off to a dramatically positive start. With new member Kyp Malone sharing songwriting, guitar and vocal duties, TVOTR was quickly on the path to the being one of the most talked-about new groups in America. After touring as a trio, Jaleel Bunton (drums) and Gerard Smith (bass) joined the band to create the official TVOTR line up. The band's second studio album, Return to Cookie Mountain, leaked in early 2006 and garnered pre-release praise from such outlets as Pitchfork before its official release in July. Return to Cookie Mountain is filled with guest appearances from David Bowie, Celebration, Antibalas, Blonde Redhead, and Yeah Yeah Yeahs' Nick Zinner.

TRACK LISTING

1. I Was A Lover
2. Hours
3. Province
4. Playhouses
5. Wolf Like Me
6. A Method
7. Let The Devil In
8. Dirtywhirl
9. Blues From Down Here
10. Tonight
11. Wash The Day

With platinum and gold selling accolades across their catalogue of 5 albums The Pigeon Detectives return with album 6, an album influenced by their biggest hits but matured beyond them.

Feeling like a band reborn The Pigeon Detectives have never really gone away, having quietly built a resurgent following at headline gigs and festivals across the UK with their high octane live show, the set is peppered with sing-a-long hits that have passed the test of time with flying colours attracting a younger audience to shows alongside a contingent of Pigeon ‘die hards’.

Produced by Rich Turvey (Blossoms / The Courteeners / The Coral / Vistas / Oscar Lang / Jamie Webster) the album holds onto the infectious energy that drove the band to huge audiences on their early records, but has a contemporary feel to the production, arrangements and lyrics reflecting a band that have honed their craft and grown as a band and people.

TRACK LISTING

SIDE A

1. Falling To Pieces
2. Summer Girl
3. Lovers Come And Lovers Go
4. The Warning

SIDE B

1. Dreaming Of A Song
2. I Can't Stop
3. TV Show
4. Would It Be So Bad?
5. Purple Skies

Hard on the heels of their critically-acclaimed singles “Don’t Panic England” and “A DFFRNT WRLD”. TV Smith, frontman of The Adverts and Richard Strange, frontman of Doctors of Madness release “A DFFRNT WRLD”, a DOUBLE CD set of songs for the Digital Age. A collection of fist-pumping, toe-tapping rants by two of Britain’s finest songwriters. The two met in 1976 and were firm fans of each other’s bands. They started writing together in 1977, and Record Store Day 2021 saw the release of their sell-out vinyl album 1978, a collection of songs written by the two when their respective bands hit the buffers in that year. Encouraged by the success of the vinyl release, the two discussed the possibility of re-imagining and re-recording the songs in a world that has changed beyond recognition since 1978. When the two musicians first met in 1977, there was no internet, no mobile phones, no wi-fi, no samplers, no digital recording, no Instagram, no Facebook, no TikTok, no Starbucks, no Covid …it is, and was, A DFFRNT WRLD.

Produced by Strange and with some tracks mixed by Martyn Ware and Tom Gillieron, A DFFRNT WRLD flexes its musical and lyrical muscles like a digital-age superhero, and speaks loud and clear to all generations. The Adverts and Doctors of Madness were two seminal bands of the mid 70s.TV Smith wrote three of the most iconic songs of the punk era…One Chord Wonders, Bored Teenagers and the hit single Gary Gilmore’s Eyes, and has released 14 albums to date. His live shows are legendary for the fervour and the almost religious zeal of his fans. Richard “Kid” Strange went on to work with artists as varied as Tom Waits, Frank Zappa, The Nightingales and Marianne Faithfull, as well as working as an actor in the films Batman, Robin Hood, Gangs of New York and Harry Potter. Their friendship dates back 45 years, through the unique journeys their lives have taken them on. 

TRACK LISTING

Disc 1:
1. The Big Break
2. Kings Of The Wreckage
3. Making Machines
4. Last Human Being In The World
5. Summer Fun
6. Some Kind Of War
7. Torpedo
8. Dance Of Death
Disc 2:
1. A Dffrnt Wrld
2. The Big Break
3. Making Machines
4. Some Kind Of War
5. Torpedo
6. Last Human Being In The World
7. Kings Of The Wreckage
8. Dance Of Death
9. Don’t Panic England 

First ever release of the scariest, most inappropriate and possibly most influential kids TV music of ALL TIME.

ONE SIDED BLACK VINYL.

There is only 17 minutes of music throughout the series, so we have fitted it all onto a one sided LP. Artwork is by Julian House – legendary hauntologist (Belbury Poly etc) and the man behind some of the greatest spooky band artwork of all time- Stereolab, Broadcast, Primal Scream etc etc.

Sleevenotes by Stewart Lee and inner sleeve notes by Alan Gubby of Buried Treasure Records.

It all looks and sounds superb. Of course it does because it’s a Trunk Records release. 

When Children Of The Stones (AKA COTS) was first shown on kids TV back in 1977, just about anyone who watched was scared shitless. The 7 part drama centred around disturbing happenings in a strange pagan village of very weird and unusually happy people, all set in the midst of the stone circle at Avebury – known as Milbury for the show.

The series shown across British TV (and USA TV in 1980) would scar, disturb and influence an entire generation. Without COTS it’s unlikely we’d have hauntology, spooky folk stuff, stone circle clubs, weird walks and a hunger for such pagan oddities everywhere. And COTS really is the key TV series in many of these modern movements, way before The Wicker Man. Even though The Wicker Man was released in 1973 it was an adult film only released to a few cinemas.

Very few people saw it and its influence really started in the late 1990s with the first release of the music. Whereas COTS on the other hand was shown at 5pm, on schooldays, to a whole nation of impressionable kids, who had never seen or heard anything quite like it. The power of COTS runs deep. So much so Stewart Lee made a whole documentary about it. The release of this long-awaited album will be a “Happy Day” for many.

According to rumour the director of the show was listening to Penderecki as he first approached Avebury to scope out locations before filming. The director thought this was a good way for the music to go, and so Sidney Sager and The Ambrosian Singers produced an avant-garde and often quite oddly terrifying sequence of vocal drones and dramatic peaks based on ancient Icelandic singular word “Hadave” for the show. And they still terrify today.

30 years ago, the fourth Young Gods album, ‘T.V. Sky’, was released. A timeless record, surely the most accessible and the most effective and certainly the most successful.

This cathedral of sounds, of which ‘Skinflowers’ constituted the vault, allowed this avant-garde group and creators of a new style to conquer a very large audience.

The primordial shadow of The Doors floated throughout this record, which ended with a sort of hypnotic road trip that announced the rest of their more atmospheric career.

With Roli Mosimann (the fourth member of the group) once again at the helm of production, ‘T.V. Sky’ entered the very closed club of rock masterpiece albums.

When asked about the most influential groups in the early 1990s, Mike Patton (Faith No More), Devin Townsend, Maynard James Keenan (Tool), Al Jurgensen (Ministry), Trent Treznor (Nine Inch Nails) and The Edge (U2), among many others, all quote The Young Gods. All connoisseurs will tell you that they have their place in any ultimate discotheque.

TRACK LISTING

Gasoline Man
T.V. Sky
Skinflowers
Dame Chance
The Night Dance
She Rains
Summer Eyes
Skinflowers (Brain Forest Remix)
Skinflowers (Courtney Speed Love Mix)
Gasoline Man (Megadrive Mix)
Gasoline Man (Diesel Mix)

2LP
Our House
Gasoline Man
T.V. Sky
Skinflowers
Dame Chance
The Night Dance
She Rains
Summer Eyes
Skinflowers (Brain Forest Remix)
Skinflowers (Courtney Speed Love Mix)
Gasoline Man (Megadrive Mix)
Gasoline Man (Diesel Mix)
T.V. Sky (Live Sky Tour)
Skinflowers (Live Sky Tour)
She Rains (Live Sky Tour)
Summer Eyes (Live Sky Tour)

Without a brutal evaluation of their own becoming, TV Priest might have never made their second album. Heralded as the next big thing in post-punk, they were established as a bolshy, sharp-witted outfit, the kind that starts movements with their political ire. There was of course truth in that, but it was a suit that quickly felt heavy on its wearer’s shoulders, leaving little room for true vulnerability. “A lot of it did feel like I was being really careful and a bit at arm's length,” says vocalist Charlie Drinkwater. “I think maybe I was not fully aware of the role I was taking. I had to take a step back and realize that what we were presenting was quite far away from the opinion of myself that I had. Now, I just want to be honest.”

Having made music together since their teenage years, the London four-piece piqued press attention in late 2019 with their first gig as a newly solidified group, a raucous outing in the warehouse district of Hackney Wick. Debut single “House of York” followed with a blistering critique of monarchist patriotism, and they were signed to Sub Pop for their debut album. When Uppers arrived in the height of a global pandemic, it reaped praise from critics and fans alike for its “dystopian doublespeak,” but the band — Drinkwater, guitarist Alex Sprogis, producer, bass and keys player Nic Bueth and drummer Ed Kelland – were at home like the rest of us, drinking cups of tea and marking time via government-sanctioned daily exercise. As such, the personal and professional landmark of its release felt “both colossal and minuscule” dampened by the inability to share it live.

“It was a real gratification and really cathartic, but on the other hand, it was really strange, and not great for my mental health” admits Drinkwater. “I wasn’t prepared, and I hadn't necessarily expected it to reach as many people as it did.” As such, My Other People maintains a strong sense of earth-rooted emotion, taking advantage of the opportunity to physically connect. Using “Saintless” (the closing song from Uppers) as something of a starting point, Drinkwater set about crafting lyrics that allowed him to articulate a deeper sense of personal truth, using music as a vessel to communicate with his bandmates about his depleting mental health. “Speaking very candidly, it was written at a time and a place where I was not, I would say, particularly well,” he says.

“There was a lot of things that had happened to myself and my family that were quite troubling moments.Despite that I do think the record has our most hopeful moments too; a lot of me trying to set myself reminders for living, just everyday sentiments to try and get myself out of the space I was in.” “It was a bit of a moment for all of us where we realised that we can make something that, to us at least, feels truly beautiful,” agrees Bueth. “Brutality and frustration are only a part of that puzzle, and despite a lot of us feeling quite disconnected at the time, overwhelmingly beautiful things were also still happening.”

This tension between existential fear born from the constant uncertainties of life, and an affirmative, cathartic urge to seize the moment, is central to My Other People, a record that heals by providing space for recognition, a ground zero in which you’re welcome to stay awhile but which ultimately only leads up and out. For TV Priest, it is a follow-up that feels truly, properly them; free of bravado, unnecessary bluster or any audience pressure to commit solely to their original sound.

TRACK LISTING

1. One Easy Thing
2. Bury Me In My Shoes
3. Limehouse Cut
4. I Have Learnt Nothing
5. It Was Beautiful
6. The Happiest Place On Earth
7. My Other People
8. The Breakers
9. Unravelling
10. It Was A Gift
11. I Am Safe Here
12. Sunland

Raw, speedy punk songs with the edges softened out by bright melodic sensibilities.

4 SONG EP of female fronted crash-pop. Raw, speedy punk songs with the edges softened out by bright melodic sensibilities and faint hints of jangle hiding just beneath the surface RIYL The Shop Assistants, The Primitives, C86 fuzz pop, etc.

TRACK LISTING

1. Go Away
2. It's Dead
3. Violent Days
4. Really Stupid

First ever reissue of Alternative TV's "Action Time Vision", compiled in 1980 and featuring the group's 7"’s from 1977 to 1979. Including bonus track "You Bastard" and new liner notes by ATV singer Mark Perry, the founding editor of punk fanzine Sniffin' Glue.

What Mark Perry says:
"In July 1976, after hearing and seeing the Ramones, I went from just another music fan, avid reader of the NME and Melody Maker, to become editor of punk's premier fanzine, Sniffin' Glue. It was almost an instant success and by December 1976, through our no nonsense approach, our position as the 'punk Bible' was assured. But it was never enough for me. As I saw the initial punk explosion subside into a succession of third-rate copycats, I wanted to have a go myself.

My first attempt at forming a band was in late '76. We called ourselves the 'New Beatles' and it ended after a couple of rehearsals. It wasn't until I met guitarist Alex Fergusson, a mate of Sounds writer Sandy Robertson, in early 1977, that I started putting together some more interesting ideas for a band. I worked on a bunch of lyrics and, pretty quickly, Alex had put tunes to them. Eventually calling ourselves Alternative TV, we had our first rehearsals at Throbbing Gristle's Industrial Studios in March '77.

That initial line-up was just me singing and Alex on guitar, with Genesis P-Orridge helping out on some bass and drums. We did ask Gen to join fulltime, but he decided against it and stuck with Throbbing Gristle. After more rehearsals, we played our first gig at the Nottingham Punk Festival in May 1977, joined by Mick Smith on bass and John Towe (ex-Generation X) on drums.

I started thinking about doing a record almost from the start because, by this time, I was running the Step Forward record label with Miles Copeland, who was also to become the band's manager. It seemed like a natural move to put out my own record, but it instead ended up on Deptford Fun City, another of Miles' labels. Before that actually happened, we made a slight detour by recording a demo for EMI. They didn't want to sign us, but we did end up with the tapes…"

TRACK LISTING

A
1. Action Time Vision
2. Another Coke
3. Life After Life
4. Life
5. Love Lies Limp
6. How Much Longer
7. You Bastard
8. Life After Dub

B
1. The Good Missionary
2. The Force Is Blind
3. Facing Up To The Facts
4. Lost In Room
5. Vibing

Blackaby - aka London songwriter and multi-instrumentalist William Blackaby - offers-up his first two EPs - 'What's On The TV?' and 'Everything's Delicious' - on limited edition, random coloured recycled 12" vinyl, out 21st May 2021. Blackaby’s 2020 debut EP ‘What’s On The TV?’, released via Hand In Hive, served as a look back at the songwriter’s childhood, recounting hazy playground memories and his messy, formative teenage years. His second collection, ‘Everything’s Delicious’, is described by Blackaby as “another brief flirt with memory lane - not walking down it as much as peering from a safe distance”. In a poem written to accompany the new EP, William writes: “All grown up and what now? Let Time-Out decide. Is that a thin patch? Another day done and dinner’s on. What have I done? Left a mark or a stain?”

TRACK LISTING

1. What's On The TV?
2. Stevenson
3. Warm And Sweet
4. Semolina
5. Sweet Lemonade
6. My Paula
7. No Long Grass
8. Bubblegum
9. Lee

Du Blonde is back with new album ‘Homecoming’ and with it, her own record label, clothing brand and all-round art house Daemon T.V. Written, recorded and produced by Du Blonde (aka Beth Jeans Houghton), ‘Homecoming’ is a refreshing taste of pop-grunge finery, featuring guests including Shirley Manson, Ezra Furman, Andy Bell (Ride/Oasis), The Farting Suffragettes, and members of Girl Ray and Tunng among others. The album began as a few songs hashed out on a porch in LA in early 2020, and as Houghton’s desire to create something self-made and self-released merged with the then incoming pandemic. Admirers of Du Blonde’s previous two studio albums (2015’s ‘Welcome Back to Milk’ and 2019’s ‘Lung Bread for Daddy’) might be surprised to find that ‘Homecoming’ takes on the form of a pop record. The garage rock, grunge and metal guitar licks that have come to define Du Blonde are still there in spades, but as a whole the direction of the album is pop through and through.Houghton’s freak flag is still flying high however, a fact that’s no more apparent than on ‘Smoking Me Out’, a bizarre mash up of 80’s shock rock, metal and 60’s pop group harmonies. This defiant and energetic attitude can be heard throughout ‘Homecoming’, whether writing about her medication (30mg of citalopram, once a day), her queerness on 'I Can’t Help You There' (“I’ve been a queen, I’ve been a king, and still I don’t fit in”), to the joyous and manic explosion of 'Pull The Plug' (“say that I’m deranged, but I’ve been feeling more myself than ever”), Houghton is nothing if not herself, full force and unapologetic in her approach to writing, playing and recording her music.

TRACK LISTING

1. Pull The Plug
2. Smoking Me Out
3. I Can't Help You There
4. Ducky Daffy
5. Medicated
6. I'm Glad That We Broke Up
7. All The Way
8. Undertaker
9. Take One For The Team
10.Take Me Away

It’s tempting to think that you have all the answers, screaming your gospel every day with certainty and anger. Life isn’t quite like that though, and the debut album from London four-piece TV Priest instead embraces the beautiful and terrifying unknowns that exist personally, politically, and culturally.

Posing as many questions as it answers, Uppers is a thunderous opening statement that continues the UK’s recent resurgence of grubby, furious post-punk music. It says something very different though – something completely its own.

Four childhood friends who made music together as teenagers before drifting apart and then, somewhat inevitably, back together late in 2019, TV Priest was borne out of a need to create together once again, and brings with it a wealth of experience and exhaustion picked up in the band’s years of pursuing ‘real life’ and ‘real jobs’, something those teenagers never had.

Last November, the band – vocalist Charlie Drinkwater, guitarist Alex Sprogis, bass and keys player Nic Smith and drummer Ed Kelland – played their first show, to a smattering of friends in what they describe as an “industrial freezer” in the warehouse district of Hackney Wick. “It was like the pub in Peep Show with a washing machine just in the middle…” Charlie laughs, remembering how they dodged Star Wars memorabilia and deep fat fryers while making their first statement as a band.

Unsurprisingly, there isn’t a precedent for launching a band during a global pandemic, but among the general sense of anxiety and unease pervading everything at the moment, TV Priest’s entrance in April with the release of debut single “House Of York” - a searing examination of the Monarchy set over wiry post-punk and fronted by a Mark E. Smith-like mouthpiece - served as a breath of fresh air among the chaos, its anger and confusion making some kind of twisted sense to the nation’s fried brains.

It’s the same continued global sense of anxiety that will greet the release of Uppers, and it’s an album that has a lot to say right now. Taking musical cues from post-punk stalwarts The Fall and Protomartyr as well as the mechanical, pulsating grooves of krautrock, it’s a record that moves with an untamed energy. Over the top of this rumbling musical machine is vocalist Charlie, a cuttingly funny, angry, confused, real frontman. Uppers sees TV Priest explicitly and outwardly trying to avoid narrowmindedness. Uppers sees TV Priest taking musical and personal risks, reaching outside of themselves and trying to make sense of this increasingly messy world. It's a band and a record that couldn’t arrive at a more perfect time.

STAFF COMMENTS

Barry says: The latest in a long run of bands riding the new punk revival, TV Priest mix the breathy off-kilter vocal musings of idles with the machinated percussion of the Sleaford Mods and add a healthy dash of grungy dissonance. A heady concoction indeed.

TRACK LISTING

The Big Curve
Press Gang
Leg Room
Journal Of A Plague Year
History Week
Decoration
Slideshow
Fathers And Sons
The Ref
Powers Of Ten
This Island
Saintless

From the cosmic creative musical mind of Swiss/Catalan studio whizz, Zeleste Nightclub engineer, video nasty film composer, occasional Jaume Sisa (Música Dispersa) collaborator and future electronic music therapy pioneer J. M. Pagán comes the synth-ridden, vocoder-loaded 1984 sci-funk soundtrack to Barcelona’s daytime TV response to the universal E.T. phenomena. Get ready to meet your new alienígena amic and the unidentified flying object of thousands of Catalonian kids’ affections through the 1980s as Finders Keepers present Pagán’s lost lunar modular synth score to ‘Kiu I Els Seus Amics’ (Kiu And Friends aka Kiu Is Your Friend).

From the same intergalactic phenomenon that brought such delights as Turkey’s exploito cash-in ‘Badi’ or South Africa’s lo-rent homage ‘Nukie’ to our unregulated small screens and the same craze which filled international airwaves with the likes of Extra T’S electro smash single ‘E.T. Boogie’ or the million selling Columbian ‘Cumbia De E.T. El Extraterrestre’ smash hit... not to mention a wide range of unofficial theme-tune cover versions from Holland, Austria, France and Germany (lest we forget an inspired late period Lee Scratch Perry Album).

In 1982 the diaspora from Steven Spielberg’s small fictional mid-American neighbourhood that played host to everyone’s favourite torch fingered, three toed, Skittle-scoffing space goblin touched virtually every family home in every major city resulting in one of the biggest cinematic merchandise phenomenas of the 21st Century, resulting in an unexpected high-demand / short-supply play-off in which bootleggers, copyists and counterfeiters rose to the challenge like never before.

When Spielberg regrettably told interviewers that he had no intention of making a sequel to ‘E.T. The Extra Terrestria’ it instantly became open-season for the imitators... but way before somebody squeezed-out ‘Mac & Me’, ‘ALF’ and ‘The Purple People Eater’, a team of kid’s TV executives in Catalunya were ready to fill the widening gap in the market without haste. Created in 1983 by Luna Films and Televisió de Catalunya (TV3) and screened exclusively in Catalunya, ‘Kiu I Els Seus Amics’ was one of the first E.T. ‘tributes’ to make it out of the gate and with a crew of five individual directors and writers to ensure that the five episode, one-off series hit the wave of phone-home-fever, Kiu has since remained a short but sweet micromemory in the hearts of an entire generation of Catalonian cosmonauts.

This special Finders Keepers edition comes complete with all of Pagán’s cosmic synthesiser soundscapes fully intact (barring striking comparisons with the likes of Tangerine Dream, John Carpenter, Vangelis and the soundtrack music of Suzanne Ciani), as well as some rare, unreleased, incidental TV edits. The bulk of this LP is made up of tracks taken from the rare full-length album, which was released after the TV programme had already been aired and coincided with sales of jigsaws and rubberised play figures in an attempt to catch-up with the unexpected mega-success of the show, needless to say, with a short promotional window, the LP (and cassette edition) did not benefit a re-press and with most copies sold to children, few vinyl pressings have escaped repeat needle scratches and decorated sleeves.

TRACK LISTING

Intro
Tema De Kiu
Un Dia Especial
Quan Jo Sigui Una Estrella (short)
Tema De La Lluno
Ball De Beth
El M¢n De Kiu
Un Dia Boig
Beat De Beth
Outro

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

Out of print since 2001, a classic trunk records release gets a rare repress. Naïve and pastoral space music at its very best!

As a TV obsessed child, the Clangers was my favourite programme on the box, so you can imagine how excited I was when this came in!

What an unbelievable recording. The entire unreleased score for the entire Clangers TV series - that's music for all 26 episodes. It grows organically (as does the series) from small and simple phrases to complex passages of pure pastoral space music. It all climaxes with the awesome "Harmony Of The Spheres". The running order is exactly as it ran with all 26 episodes and includes some SFX, Tiny Clanger and Oliver Postgate's timeless introduction. This CD also comes with the unique and sweet "Clangers Opera" compiled by Oliver Postgate, an adventure on the Clangers planet starring the Iron Chicken. The CD booklet includes rare photos, early Clangers Sketches and a Libretto for the Clangers Opera written by Oliver Postgate. 

Produced by Ray Man and mixed by Nick Launay (Kate Bush, Lou Reed, Arcade Fire), it was recorded at the trio's shared house over a year and a half. Every time they gigged and the songs changed, they'd re-record them. The record to them, after all, is meant to be "the menu of the live experience." "[The songs change every night] and that depends on the audience, the room and the atmosphere," Nile explains. "It shouldn't be 'we have an album, let us play it for you'. It's 'we are a band and we have recorded us playing for you'."

TV Broke My Brain certainly captures the energy and passion that goes into the band, and presents it with its American alt-rock influences (you can hear everything from Sonic Youth to The Shins in its 11 tracks) firmly on its sleeve. Unplug yourself from the matrix of gadgets in your life and connect with Man Made instead.

STAFF COMMENTS

Andy says: Excellent, energetic, melodic guitar pop from these up and coming Mancunians. Recommended.

TRACK LISTING

Carsick Cars
Hi Tech Low Life
You Never Know How It Feels
Raining In My Head
Plastic Key To Living
Everything We Miss
Bring Some
Nobody's Dreaming
All Mine
TV Broke My Brain
Slowdance

Having moved all around Canada and settling nowhere, Walter TV are contemporary nomads. They formed their band in the basements and cottage-like houses of a beach town outside Vancouver. After Joe McMurray and Pierce McGarry moved to Montreal, they shared an apartment with a constant revolving cast of characters. In a space often overpopulated and reeking of cigarettes, they began recording Blessed. Simon Ankenman would come by periodically, and with him they would finish most of the recordings between there and LA. The band's two members, Joe and Pierce, were also busy touring with Mac DeMarco, acting as his backing band. Mixing and recording turned into a thing to do on the road. Although the group prefers tape recordings to digital, they have never been militant. Always trying to uphold their DIY sensibilities, Walter TV believes the music should speak for itself. It should come from wherever and whatever is available.

“Surf Metal drops that punchy kind of rock you know and love from DeMarco’s band, but they also throw in elements that suggest it’s different While the song bounces and punches along to its punky riffs, some good ol’ fashioned black metal like shrieks sneak their way into the background of the song. It’s everything you could ever want from a song that can probably be described as Varg’s Day at The Beach.” – Noisey.

TRACK LISTING

01. Candles
02. Neighbour
03. Paranormal Witness
04. Walter’s Kaya
05. Punk Song
06. Surf Metal
07. Fan
08. Thanksgiving (Looper)
09. C’mon Now
10. Tall Mountains

The band’s first full-length in three years.
Through triumph and tragedy TV On The Radio remain one of the most influential and compelling American rock and roll stories of the modern age. 

The new long player was recorded in New York City over the last year with producer Chris Coady (Smith Westerns, Beach House, Gang Gang Dance, Blonde Redhead), and lands in the middle of the band’s 5 month tour of Europe, America & Australia. A summer of festivals will follow.

Asked to comment on the unusual title, bassist Chris Cain explains, “It’s in French, I think. At least some of the words.”

Singer and guitarist Keith Murray elaborates: “We wanted to get at the seemingly inevitable parallax that happens between two people in a relationship, that sense that you get the gist of what the other person needs and wants and how they feel about you, but only the gist — you’re relying on these broad cues a lot of the time to tell you what the hell’s going on.”

We Are Scientists exploded onto the U.K. scene with one of 2005’s iconic indie dance rock records, ‘With Love & Squalor’. Years of touring followed, as did a second album, ‘Brain Thrust Mastery’, that spawned now-classic nightlife anthem ‘After Hours’ (a #11 charting single). Main stage slots at Reading & Leeds, Glastonbury, T In The Park, and festivals all over Europe, as well as appearances on Later with Jools Holland, and their own series of comedic MTV shorts (‘Steve Wants His Money’), followed by third album ‘Barbara’… all served to cement and increase their legacy.

Now, after releasing a 7-inch and a 5-song EP in 2013, the band prepare to share their finest collection of songs to date.

According to Cain, “The guy who was producing everything looked different from the one who did those other three records.”

Murray further enthuses, “Yeah, working for the first time with Chris Coady as producer had a huge effect — he has such a distinct and well-developed sense of what’s cool and what sounds good, but he’s also emphatic about keeping the rawness of the performances in there.”

Drummer Andy Burrows, who also recorded ‘Barbara’ with W.A.S., relocated to New York for a year to work on the new album, and lends his world-class efforts behind the kit and elsewhere.

TRACK LISTING

1: What You Do Best
2: Dumb Luck
3: Make It Easy
4: Sprinkles
5: Courage
6: Overreacting
7: Return The Favor
8: Slow Down
9: Don't Blow It
10: Take An Arrow

TV Ghost’s third full-length for In The Red, Disconnect is a journey to the center of dreams. The Lafayette, Indiana, band displays a newfound maturity, incorporating churning rhythms and psychedelic drone into a lush torrent of gaseous keys, sprawling guitars and eerie melody. Think Porcupine-era Echo and the Bunnymen and Tago Mago-era Can run through a Cure Pornography blender.

“TV Ghost’s 2009 debut LP, Cold Fish, is a maelstrom—10 hectic songs ripped out in 25 minutes. Stuffed to the seams with wiry guitars, trembling keyboards, crashing beats, and Tim Gick’s mad-man warble, it has the creepy tension of a post-punk haunted house where the Cramps, the Scientists, or Pere Ubu might leap out from the shadows at any moment. The band deftly balances precision and abandon—every moment sounds lunatic and unhinged, yet no track collapses into complete anarchy. “That abandon has subsided a bit on Mass Dream, which doubles the length of its predecessor despite having only one more track. That’s by design—Gick says that his intent was to “space things out more, let the songs breathe.” And while I miss Cold Fish’s farther-flung moments, the band has countered that loss with songs that are deeper and more open. Now, along with all the post-punk echoes rattling around, unexpected reference points pop up. At times I hear the enervated drama of Echo & the Bunnymen’s Ian McCulloch, or the stridency of Ian Svenonius during his Nation of Ulysses days. And TV Ghost prove as adept at stark dread as they are at fevered bedlam....” —Pitchfork.

TRACK LISTING

1. Five Colors Blind
2. Veils
3. Placid Deep
4. Stranger
5. Dread Park
6. Elevator
7. A Maze Of Death
8. Cloud Blue Moments
9. Others Will Be Born
10. Siren

Taking their name from the phenomenon of analog television frequency disturbances, Lafayette, Indiana’s "TV Ghost" conjures an especially sludgy and punishing brand of art-punk. They began making a name for themselves in 2007, when their first 7-inch, "Atomic Rain", was released by Die Stasi Records, also home to the noisy likes of Pink Reason and Zola Jesus. TV Ghost's sinister sound - which echoes the Scientists, Suicide and The Cramps’ ’70s output - and frantic live show won them an underground following; a 12-inch EP on Die Stasi, a single on Columbus Discount Records and their debut album, "Cold Fish", followed in 2009 with several rounds of touring the US in support. The band’s trek across Europe in 2010 left a trail of busted gear, annoyed booking agents and new fans behind them.

TV Ghost’s sophomore full-length was recorded by Greg Ashley (Gris Gris), and "Mass Dream" is by far their clearest and most coherent release to date. While sacrificing none of the band’s scuzz-punk dementia, this album is far less dense and impenetrable than its predecessor; Ghost frontman Tim Gick’s lyrics are clearer and his complex song structure a bit easier to get a handle on. That said, this is still blood-boiling, spastic and down right evil music by anyone’s standards. Live, there are few who can match them. Their sets are explosive, destructive and out of control. Gick howls as if his bowels are being extracted through his gluteus, while his eyes roll back in his head and the rest of the band pummels away in noisy ecstasy. Every show they play is psychotic and chaotic perfection. "Mass Dream" is the first time it’s been captured on wax to perfection.

TRACK LISTING

1. Wired Trap
2. Sleep Composite
3. The Winding Stair
4. Cancor
5. An Absurd Laceration
6. The Inheritors
7. Doppleganger
8. Subterfuge
9. The Degradation Of Film
10. Tropes
11. Mass Dream

Intoducing The TV Club from Brooklyn, NY. Featuring Max Kagan on vocals, guitar, bass and keyboards, with Derek Brown on drums, percussion, vocals and keyboards. "Crush On You" is the debut 7" 45, self released single in an initial run of 290 copies. Recorded and produced in their studio in Downtown Brooklyn. The single has been described like this: "Crush On You" is a lo-fi gem that sounds like a mix of the Modern Lovers and early Television Personalities. The track shuffles, oozes cool, has a fantastic layer of lo-fi fuzz and vocal hooks at each turn.