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"She and Me Fall Together in Free Death" is probably the most approachable, largely "musical" album that NWW has released since Rock N' Roll Station . It's also one of his strangest concepts, a marriage of trance inducing Krautrock grooves with a traditional jazz standard and some jarringly atonal musique concrete. Side A is the 20- minute title track: a slow-motion jam reminiscent of of one of Can's sidelong tracks on Tago Mago or the more avant-garde grooves of Tony Conrad and Faust's Outside the Dream Syndicate. The propulsive Jaki Liebezeit drumbeat is the foundation for a long jam session with what sounds like a dijderidoo and layers of guitar feedback. It's a massive, heavy sound, the kind that Julian Cope would devote a whole chapter to in his "Kratrocksampler". Side B is one long piece with three distinct movements. Beginning with those familiar, World Serpent-trademark windchimes, the listener is quickly ushered into Staple- ton's singing debut (!) in a rendition of the oft- covered traditional jazz ballad " Black is the Color of My True Love's Hair " This was a favorite of the recently deceased Nina Simone, and also of the avant- jazz screamer Patty Waters. Nurse With Wound's version is backed by cello drones, repetitive guitar strums and tambourine, sounding very much like The Velvet Un- derground's " Venus in Furs ". It's such a treat to hear Steven Stapleton's multitracked vocals cover this classic song, and this eerie version rates as one of my favorites. This song and the title track prove to the naysayers that Nurse With Wound is equally adept at rock n' roll songcraft as he is at demented sound collages. The creepy jazz cover seques into "Chicken Con- cret (For Missy E)", a truly warped tape-edit job that juxtaposes chicken squawks and sythesized birdcalls with random bleeps, speaker hiccups and gongs.

Could this be Steven Stapleton 's tribute to Timbaland and Missy Elliott's incomparable use of musique concrete techniques on their major label hip- hop anthems? Hard to say, but I like to think so. Side B ends with the hyper-sexualized "Gusset Typing", in which a mutated woman's voice describes her masturbation and orgasm in in- timate, anatomical detail. Her monologue is set against an intense rhythmic throbbing that builds as she reaches her climax. At the end, she blows her load and the record ends. This certainly qualifies as an active listening experience, and it's also a great make-out rec

TRACK LISTING

1. She And Me Fall Together Like Free Death
2. Black Is The Color Of My True Loves Hair
3. Chicken Concret 
4. Gusset Typing
5.She And Me Fall Together Like Free Death (Phosphorous Mix) 
6. Chicken Korma
7. Fine Writin'
8. She And Me Fall Together In Free Death (Funereal Mix)
9. Yellowed
10. Seeting Red
11. Black

Classic Miami Soul album from the couple George & Gwen McCrae including hits as "The Rub" and "Mechanical Body".

TRACK LISTING

A1. I'll Do The Rockin'
A2. You And I Were Made For Each Other
A3. Mechanical Body
A4. I'm Comin' At You
A5. Let's Dance, Dance, Dance

B1. Winners Together Or Losers Apart
B2. Home Sick, Love Sick
B3. The Rub
B4. Let Your Love Do The Talkin'

• 4 CD box set celebrating the Madchester/baggy scene and the indie dance crossover.

• Featuring The Stone Roses, Happy Mondays, Inspiral Carpets, The Charlatans and more.

• With tracks presented in their extended mixes as played at clubs such as The Hacienda.

As the Berlin Wall came down and a new decade beckoned, indie and dance collided and bands like The Stone Roses, Happy Mondays, Inspiral Carpets and The Charlatans spearheaded a new music movement dubbed ‘baggy’ or ‘Madchester’. While the focus was on Manchester, it was an explosion that stretched from the Glasgow area with The Soup Dragons and Primal Scream to Liverpool with The Farm, Leeds with the Bridewell Taxis and Flowered Up in London.

The ‘Madchester’ sound incorporated elements of 60s psychedelia, 80s indie, 70s funk and contemporary house and hip hop; 808 State were an electronic dance act, The Stone Roses, a guitar band with a funky rhythm section, Inspiral Carpets used a Farfisa organ associated with 1960s garage punk and Happy Mondays played a truly unique blend of indie funk.

The Hacienda night club in Manchester co-owned by New Order was a catalyst and cultural centre for this music explosion, having played US house music from 1987. Another influence was the increasing availability of MDMA in the city.

Remixes were an important part of the indie dance crossover scene and 12” remixes here include Paul Oakenfold ’s pioneering ‘Think About The Future Mix’ of Happy Mondays’ ‘W.F.L.’, Terry Farley’s mixes of Primal Scream’s ‘Come Together’ and The Soup Dragons’ ‘I’m Free’ and Andy Weatherall’s reconstruction of James’ ‘Come Home’.

Also included are other indie bands who embraced dance music after discovering sampling and the new music technology including Aberdeen’s The Shamen who’d started out as a psychedelic guitar band before evolving into a dance act and Stourbridge’s self-styled grebos, Pop Will Eat Itself whose music metamorphosised from pop punk into a hybrid of rock, hip hop and dance.

Hits include The Stone Roses ‘Fool’s Gold’ (UK #9) and Happy Mondays ‘Step On’ (UK #5) plus there’s dancefloor favourites such as The Charlatans’ debut Hammond groove ‘Indian Rope’ and rarities including the excellent but forgotten ‘Perfect Person’ by Sinister Groove.

TRACK LISTING

DISC ONE:
1 Happy Mondays - W.F.L. ‘Think About The Future’ Mix (The Paul Oakenfold Mix)
2 Inspiral Carpets – Joe
3 808 State – Pacific State – Origin (12” Version)
4 James - Come Home (Weatherall Remix A.k.a. Skunk Weed Skank Mix)
5 The Farm - Stepping Stone (12” Ghost Dance Mix)
6 Hypnotone – Dream Beam (Ben Chapman Remix)
7 New Fast Automatic Daffodils – Big (Baka)
8 Paris Angels – All On You (Perfume) (12” Version)
9 The Bridewell Taxis – Spirit (LFO Decision Remix)
10 Electronic – Get The Message (DNA Groove Mix)
Future Sound Of London – Papua New Guinea (12” Original Mix AKA Dali Mix)
11 The Beloved – The Sun Rising (Danny’s Love Is… Remix)
12 The Times – Manchester (Single Version)
13 Candy Flip – Strawberry Fields Forever (Raspberry Ripple Remix)

DISC TWO:
1 The Stone Roses – Fools Gold 9.53
2 The Charlatans – Indian Rope
3 Moonflowers – Get Higher (Rather Large In The Bristol Area Mix)
4 Northside - Shall We Take A Trip (12” Version)
5 The Mock Turtles - Can You Dig It?
6 Spin – Scratches (In The Sand)
7 World Of Twist – She’s A Rainbow (12” Version)
8 Sinister Groove – Perfect Person
9 Spirea X – Re: Action
10 The Candy Skins – For What It’s Worth
11 Honey Smugglers – You Are The Sun
12 Airhead – Counting Sheep
13 The Telescopes – Celeste
14 The Hollow Men – Thrilled
15 Spacemen 3 – Big City (Everybody I Know Can Be Found Here) (12” Version)

DISC THREE:
1 Primal Scream – Come Together (Terry Farley
Extended 12” Mix)
2 Flowered Up – It’s On
3 Saint Etienne – Kiss And Make Up (Midsummer Madness Mix)
4 Inspiral Carpets – Commercial Reign
5 The Shamen – Pro>Gen (Land Of Oz Mix)
6 Intastella – Century (12” Version)
7 Happy Mondays – Step On (Twisting My Melon Mix)
8 The Primitives – You Are The Way (Re-Ravishing Mix)
9 The Wendys – The Sun's Going To Shine For Me Soon
10 Chapterhouse – Pearl (12” Version)
11 Raintree County – Mad Dog
12 King Of The Slums - Bear Wiv Me (Flourescent Mix)
13 A Certain Ratio – Twenty Seven Forever (12” Version)

DISC FOUR:
1 The Soup Dragons - I’m Free (Terry Farley Boys Own Remix)
2 Stereo MC’s – Connected
3 Ruthless Rap Assassins – And It Wasn’t A Dream (Dare To Be Aware Mix)
4 MC Tunes Versus 808 State – Tunes Splits The Atom (Original Rap)
5 That Petrol Emotion – Tingle (Hard Boppin’ Mix)
6 Julian Cope – Love L.U.V. (Beautiful Love Remix)
7 Jesus Jones - Real Real Real (Rhythm 3 - Ben Chapman "Spaced" 12” Mix)
8 The Charlatans – Opportunity Three
9 The Dylans – Lemon Afternoon
10 Pop Will Eat Itself – X,Y And Zee (Electric Sunshine Style)
11 Stan – My Delight (Extended Mix)
12 Cud – Magic (Extended Farsley Mix)
13 Blow-Up – World (Long Version)
14 The Popguns – Crazy
15 Carter The Unstoppable Sex Machine – After The Watershed (Early Learning The Hard Way)

"An expertly-researched, densely detailed, and likely definitive bio ... The book that finally tells the full story of the music and madness that was the relatively brief--but era-defining--lifespan of the Mamas and the Papas."--Houston Press

"Given the personal lives of these singers, Scott Shea's book might qualify for the horror genre rather than history or biography. But then there's the music--which was startling, distinctive, and unforgettable. For a generation, these songs have served as monuments to major moments in life. All the Leaves Are Brown is a hard read for its sorrow, but rewarding for its insights into the art of a unique and profoundly influential band."-- Mike Aquilina, songwriter, TV host, and co-author of Dion: The Wanderer Talks Truth

"Scott Shea takes us on the wild ride that was The Mamas & The Papas with terrific detail, refreshing honesty, and perhaps best of all, a true love of their music. All the Leaves Are Brown had me from page one."--Sheila Weller, author of New York Times bestseller Girls Like Us: Carole King, Joni Mitchell, Carly Simon and the Journey of a Generation

"The Mamas & The Papas' story is wilder than any work of fiction and Scott Shea is the first author to tell it objectively and in full. This is a book I could not put down."--Bill Flanagan, author of Fifty in Reverse: A Novel

Drawing on previously published memoirs of band members and new interviews with those who knew them, radio producer Shea crafts an impersonal but intriguing compilation of the accounts, song development, and relationship entanglements that led to the fast rise and extraordinary fall of the Mamas & the Papas. The book primarily focuses on John Phillips, from his troubled childhood as the son of an abusive, alcohol-addicted parent, to his complicated first marriage and his attempts to become a serious folk musician. Then Phillips met aspiring model Michelle Gilliam, and their relationship became the catalyst for his best-known songs, "California Dreamin'" and "Monday, Monday." Phillips soon brought Cass Elliot into the group, along with tenor Dennis Doherty. As a band, the Mamas & the Papas recorded five albums, with 10 hits, in the 1960s. Drugs, affairs, jealousies as Mama Cass becomes the breakout star, and an embarrassing set as the closing act for Phillips's Monterey International Pop Festival soon led to the band's demise. VERDICT Shea's matter-of-fact journalistic style prevents sensationalism from overtaking this study of the Mamas & the Papas' powerful influence and importance.

First time vinyl reissue of the second album (originally released in 1973) by one of the epoch-making groups in the history of Peruvian rock: We All Together. Their original compositions —all sung in English— betray their passion for McCartney, taking Beatle centrism to new heights in South America. While the Uruguayan Los Shakers could remind us of the first phase of the Fab 4, We All Together is like their seventies version. Amazing compositions, with nods to prog rock and the twilight imprint of singer-songwriters living the end of the hippy dream, that show both diversity and a defined identity. A must for any ‘70s rock collector.

The Royal Jesters were a household name in the 1960s in San Antonio, TX. Formed by Henry Hernandez and Oscar Lawson, the group performed at school dances and downtown clubs and eventually leased and managed their own venue, the legendary Patio Andaluz. The group also started their own label, Jester Records, and recorded various singles, including a take on Vanilla Fudge’s ‘Take Me For A Little While’, with the towering Louie Escalante on lead. The group also recorded ‘We Go Together’, a group harmony classic with 16 year old Luvine Elias, Jr on a Lowrey organ.

About time Ebbot and I have finally been able to make an album that is largely an extension of all the time we have spent together and all the concerts we have done. You could say it's a kind of fusion of the two of us in music form. A key ingredient was that Reine Fiske (Dungen) wanted to be part of this musical adventure and record with us. His tone and spontaneous playing were absolutely crucial in making this album. Also at the heart of this album, and which made our recording sessions so edgy and good, were the beautiful poppy bass playing by Marcus Holmberg (Komeda), the dynamic and responsive drumming by Nicklas Korsell and the funky piano playing by Daniel Kurba. And finally, working as both a musician and sound engineer, Ponus Torstensson, aka Tentakel, played a vital role in creating the psychedelic sound on the album.

TRACK LISTING

Line 1
Me And My Mojo
Travel In Time
Line 2
New Orleans (Taking Back)
Straight For Fun
Family
Line 3
Brave New World
Line 4
Under The Moon

With his now sold out, seated and socially distanced live show Together In Static set to take place at London’s recently restored Hackney Church on 29th May across two sittings, matinee and evening, Daniel Avery announces an 11-track album of the same name, comprised of music created exclusively for the performance.

The London-based artist and producer also announces a live stream from the church on 27th May, allowing more fans to experience the immersive performance of previously unheard music combined with the refined and creatively ambitious production Avery has become renowned for. ‘As with many things this past year, the project took on a power and a life of its own right in front of me,’ he explains. ‘The original idea was to simply play a couple of intimate gigs at Hackney Church during the last lockdown. I started to make music specifically for the shows yet, as plans continued to shift, I fell deeper into the waves. I considered a 12’ or an EP but by the time I came up for air, I realised I had a complete record I wanted to share. I feel it’s some of my best work and I’m gassed for you all to hear it.’

“Together in Static” comes almost a year to the day after Avery’s surprise third studio album “Love + Light”, released last June in the midst of the coronavirus crisis. Where his previous record was hailed by NME as ‘a heartfelt eulogy for the hedonism we’re missing this summer,’ hope and expectation course through the new album. There is joy in communion, and change is coming.

STAFF COMMENTS

Sil says: A live performance specially written and performed during the madness of the last 18 months gets a nice vinyl release for anyone who couldn't witness it live. I love Daniel Avery so this is a must-listen for me.

TRACK LISTING

Side A
Crystal Eyes
Yesterday Faded
Nowhere Sound
The Pursuit Of Joy
Fountain Of Peace

Side B
Together In Static
A Life That Is Your Own
Hazel And Gold
Endless Hours
The Midnight Sun

Time together (hues and intensities) is the debut album by Susannah Stark. Susannah has been active as a visual artist for some time and in recent years started working with sound as a central element of her art installation works. At the same time, she began feeling drawn to music and voice as a creative medium. Coming from a family of musically minded people, from a young age she was exposed to a mix of rock, folk and pop music, fiddle and piano lessons. 
These songs, formed out of vocal improvisation and exploration into different dimensions of softness in relation to the voice - a longstanding interest for the artist - focus on a heightened sensory experience of voice blended with keyboard synths, resonating trumpets, distorted percussion, guitar feedback, samples and field recordings. Composed between 2017 - 2020, these songs came to fruition over a period of time coinciding with an awakening spirituality in the artist. "Time Together" is an attempt at describing the beginning of a journey into self knowledge and spiritual awareness through music, creating something soothing and meditative that is also percussive and bass heavy to convey a diversity of spaces, places and emotional states navigated through voice and song.
Album opener "Saturn" reflects bittersweetly on past romantic encounters whilst giving an indication of what’s to come, as the understanding of what it is to love broadens and deepens, birthing new realisations and anticipating change. Soft voices resonate at a frequency that can soothe and aid in healing, but also at times be deceptive when considered along with what is being said. This is explored in "Dear Beloved Friend", a track which arose out of research into the favouring of Scottish accents in telesales, and also in phone scams. At times however, softness is integral to survival, particularly when faced with the heaviness of a world in which ego is allowed to dominate, a theme in "Unnatural Wealth".
"This Is For Us" responds to an ever changing living situation; impermanence, moments of dissonance, fragmentation and (re)connection with others, while "Remind You" is a timeless message of support and encouragement offered to a friend and younger sibling.
"Can Of Worms" was inspired by the teaching of selfless action through meditation and yoga contained in the Bhagavad Gita, a 700-verse Hindu scripture known in english as ‘the song of god’. Meanwhile the soundscape of "Reprise" was intended to evoke landscapes inhabited by early Christian mystics in the western isles of scotland. 

TRACK LISTING

A1. Saturn
A2. Dear Beloved Friend
A3. Reprise
A4. This Is For Us
B1. Remind You
B2. Can Of Worms
B3. Unnatural Wealth

Manchester songwriter Ryan Kennedy returns with his fourth album "The Unforgiving Current". Recorded in and around Tokyo hotel rooms, apartments and studios, the album is a badly lit stroll through Tokyo's winding streets, stopping in only the most questionable bars. Despite its seemingly overpopulated centres, there is often a strange isolation. This Isolation would be the fuel behind "the Unforgiving Current".

After moving to Tokyo early 2018 Kennedy began work on the album. Amidst language and work issues his rosey outlook soon dimmed and what follows is Kennedy's exploration and loneliness in this foreign land. Previous musical similarities may be unearthed but what runs through this record is a vein of (dare I say) mature introspection which sets it apart from previous works.

STAFF COMMENTS

Patrick says: As a man who’s only made it 14 miles in 33 years, I was suitably awestruck when Manchester’s favourite dreamer swapped the greyscale drizzle of his hometown for the 45° summer of Tokyo. Oppressive heat and impressive toilets weren’t the only cause for culture shock though, and despite an intermediate grasp of the language and a really good haircut, Ryan Kennedy quickly tasted the loneliness of a long distance runner. But it’s better to be Alone Together and the Horsebeach discography has always had a therapeutic angle; sonic salve for psychological bruising – take daily for the rest of your life.
So unpacking his mini studio and opening the notebook, the bedroom auteur embarked on his mid-career masterpiece, plunging into lyrical depths on existence, ennui, affection and introspection. His voice, still coloured with the disarming fragility of old, is more mature and confident and the music keeps getting higher and higher. Shades of psychedelia lend a paisley tint to opening volley “‘Net Café Refuge” and “The Unforgiving Current”, while “Dreaming” and “Mourning Thoughts” infuse chiming indie with baggy rhythms and Marvin Gaye grooves. Drum machines and dream pop take the lead at the midpoint, first on the lovestruck “Vanessa” and then in the coastal cool of Balearic combo “Yuuki” and “Trust”, the latter especially indulging in its own brand of louche funk. The final three tracks mark a triumphant return to the pensive jangle and C86 haze of the earliest Horsebeach work, an emphatic reminder that you have to go away before you can come home.

TRACK LISTING

1. Net Cafe Refuge
2. The Unforgiving Current
3. Dreaming
4. Mourning Thoughts
5. Vanessa
6. Yuuki
7. Trust
8. Unlucky Strike
9. Mother
10. Acting

PicaPica’s debut album ‘Together & Apart’ was recorded at the end of 2018 and is produced by Mobo / Mercury-nominated producer Sonny Johns, who also plays bass on the record. Together & Apart’ is about health and heartache, spring and shade, love and loss and life. PicaPica are able to balance life’s joys and sorrows beautifully, effortlessly and in continuous harmony, viewing life’s coloured photographs as imagined through their silvery negatives.

STAFF COMMENTS

Barry says: Beautiful rhythmic new folk sounds mix with quirky off-piste melodic tilts and smooth electronic accents. Like a more melody focused Tunng, PicaPica clearly take influence from all ends of the musical spectrum and pull them together into a cohesive and musically rich whole.

TRACK LISTING

Together & Apart
On The Wing
Cast In Stone
Family, Friends & Lovers
Sucker Punch
Teeth & Chin
Opposite Song
SeeSaw
Village Kids
To K(no)w One
Day To Day Parade
The Weather
Stones

Springing forth from the punk era of the late 70s, A Certain Ratio carved their own niche by marrying the gloom and gristle of the Manchester's Factory era with a whole load of groove. Hailed universally as pioneers of what became known as ‘punk funk’ thanks to the success of ‘Shack Up’ on both sides of the Atlantic, their sound is not easily pigeon holed and their influence can never be understated. The band introduced the avant-garde elements of funk, jazz, electronics, tape loops and technology to the pop song, wrapping it in a post punk aesthetic, adding great clothes and the coolest haircuts. 

Alive and well and on A&M after the Factory split, A Certain Ratio were in euphoric and emotive form for 1989’s Good Together. Bursting with the boundless positivity of the acid house era, the LP sees ACR divert their usual funk into the baggy sound of the time, exploiting conventional song structures to convey themes of togetherness and hope. Soulful, smooth and packed with proper anthems, including the saucy eyed serenade ‘The Big E’ and the wriggling acid pop of the title track, ‘Good Together’ remains the ACR of choice for ageing ravers everywhere.

TRACK LISTING

1 Your Blue Eyes
2 Your Little World
3 The Big E
4 God's Own Girl
5 Love Is The Way
6 Backs To The Wall
7 River's Edge
8 Every Pleasure
9 Coldest Days
10 Good Together
11 Repercussions
12 2000 A√:

There is no end to composer Peter Broderick’s creative output, and so we present to you his new album titled All Together Again - available worldwide on November 17th 2017 via Erased Tapes.

They say music takes you on a journey, and this collection of commissioned work by Peter quite literally does that. From a ferry boat ride in Istanbul, to walking down the aisle at a wedding, these songs were created for particular situations, yet Peter found a way to work without any sort of limitations and on his own terms. The result is an assortment of works from the past ten years, coming together as one: Peter’s new album.

Words from Peter, October 2017:

Ever since I started releasing records in 2007 (10 years ago now!), people have contacted me periodically to ask if I’d be interested in making music to accompany their projects. Most of these projects have been things like films, dance pieces and theatre plays . . . but every so often I get the odd request for something a little different. Peter, would you write a song for my wedding? My one year anniversary? A ferry boat ride?

In early 2015 I was asked to perform 12 minutes of music during a runway show as part of New York Fashion Week. I agreed and began composing a 12-minute piece which I could perform on my own with a few different instruments and some looping pedals. I made a recording of the piece and sent it over to my contacts at the fashion show . . . but a few days before I was to fly out to New York, they wrote back and told me they actually just wanted me to play a few older songs that they were already familiar with. Feeling slightly disappointed, I shelved the other piece, giving it the title If I Were A Runway Model.

It is with great pleasure that I now present this piece in a collection of commissioned works spanning the last decade . . . it’s All Together Again. This group of oddball works does indeed include a couple pieces written for weddings (Our Future In Wedlock and The Walk), and a song someone asked me to write as a gift for his wife on their first year wedding anniversary (Emily). And indeed, there’s a 17-minute piece written to accompany a ferry boat ride in Istanbul (A Ride On The Bosphorus). A few of the pieces were written for films (Robbie’s Song, Atlantic and Seeing Things), and one for a kind of interactive installation (Unsung Heroes).

In my early days of recording, I took pride in playing all the different instruments myself and doing the recording myself as well. And then at some point I started branching out, working with other musicians and recording engineers. But this record is very dear to me in that it’s a return to that original approach . . . playing all the different instruments myself, working with my limits on each one, and my own limits in recording and mixing. I’ve always held a broad curiosity for all different instruments and all different styles of music, and if nothing else I hope this record will portray that curiosity, and my pure love for this thing we call music. Can you dig it?

The cover art was made by Peter himself in his hometown of Portland, Oregon, by cutting and sticking different coloured paper fragments to depict the individuality of each track. 

TRACK LISTING

1. If I Were A Runway Model
2. Robbie's Song
3. A Ride On The Bosphorus
4. Emily
5. Our Future In Wedlock
6. The Walk
7. Atlantic
8. Seeing Things
9. Unsung Heroes

‘Together, As One’ is the third album as a leader from British award-winning trumpet player, composer and band-leader Laura Jurd and her debut with newly named band Dinosaur. Featuring Laura’s regular collaborators, friends and creative cohort Elliot Galvin, Conor Chaplin and Corrie Dick, ‘Together, As One’ is a coherently powerful and bold album that not only confirms her promise as one of the most important young musicians to emerge but is a statement that will launch her music further into the wider international jazz world. Laura Jurd’s rise as been nothing short of meteoric since she first burst onto the highly creative London scene in 2010. Very quickly she made a bold statement, releasing two highly acclaimed albums, leading to her selection as a BBC New Generation Artist. With her undeniably unique, creative and joyous spirit and approach to music making, she has developed a formidable reputation as one of the most creative young improvising musicians to emerge from the UK in recent years.

Recorded by Wild Palms in the same self-built Manor House studio where they made their 2011 debut ‘Until Spring’, new album ‘Live Together, Eat Each Other’ is a lusciously layered offering of hazy experimentalism and off-kilter alt pop, that follows in the auspicious lineage of Beach House, Cocteau Twins and TV On The Radio.

Half a decade in the works, ‘Live Together, Eat Each Other’ packs a lifetime’s worth of experience into 13 tracks, alongside a painstaking approach to recording that beams out of its shimmering glitches and collaged soundscapes. “Because we redid the songs so many times, and sat with them so long and went through so many transformations in terms of layering, it was kind of like the songs had eaten themselves and been regurgitated as something else,” explains Lou of the album’s title. “It seemed like the whole thing was this weird process of consumption and reconstitution. The time it took seemed to allow for a kind of gestation, or fermentation, period. It gave time for influences to bond and stick to each other. Things were made, smashed up into fragments and reformed repeatedly until we couldn’t really remember what it’d been before and it was just what it was. Darrell [the band’s guitarist and Saatchi approved artist]’s artwork followed the same trail as well, collage, re-working, painting, and blotting.”

‘Live Together, Eat Each Other’ is released through One Little Indian Records. The album was produced by the band’s bassist Gareth Jones and Liam Howe (Lana Del Rey, FKA Twigs) who was drafted in to coproduce and fine tune the record.

TRACK LISTING

You Could Be Better (Intro)
Ennio
Again No
Rainmaking (Interlude)
A Is For Apple
100 Cymbals
Flowers (Interlude)
Lance And Candice
Hungry-Mouthed Hunting Dogs
Temper Gold
Open Window (Interlude)
Nothing
Feathers (Pts 1 & 2)

‘Keep It Together’, the third album in just over three years by Indianapolis-based sisters Lily & Madeleine, is set for release via esteemed New West Records.

The spellbinding ten-song statement is the dynamic product of two distinct musical personalities, bound by kinship, melding seamlessly into one ephemeral and dreamy collection.

The sisters have come a long way since they began making YouTube videos in 2012, releasing two critically acclaimed albums on Sufjan Stevens’ Asthmatic Kitty Records and selling out myriad shows both in the US and overseas.

STAFF COMMENTS

Barry says: Cheery jangly Summer-pop on the newest album from singer-songwriting sisters Lily & Madeleine. Upbeat but slightly introspective, minimal pop-pieces for hazy days and sunsets. Beautiful stuff.

TRACK LISTING

Not Gonna
For The Weak
Westfield
Chicago
Hourglass
Hotel Pool
Smoke Tricks
Midwest Kid
Small Talk
Nothing

Christopher Eatough writes and performs songs. His heartbreaking perspective on life has led people compare him to Ryan Adams, Rufus Wainwright, Neil Young and Sufjan Stevens. Over the past two years Christopher has played alongside Neal Casal, Lisa Mitchell, William Fitzsimmons, Rox, Starsailor and Mark Morriss, along with many others whilst attempting to recreate the tender atmosphere of his live performances on record. "A Creak in the Cold", his debut album, is the result of these efforts.

In a world of music lined with acoustic troubadours from basement to bar and venue to vault, it takes something truly inspirational to stand out from the crowds. "A Creak in the Cold" is proof of Christopher Eatough’s startling talent and vindication of a voice that has been stirring up so many words of acclaim around the North West for the past year. This is a record that will speak to you and sooth you. This is a record that will soften the edges. This is a record for anyone who has a heart, no matter if it is barely beating through the aching weight upon your chest.

Citay makes a joyous return on "Dream Get Together", the San Francisco cosmic wanderers' expansive third album. Many of the touchstones from Citay's previous work remain intact – flourishes of Led Zeppelin, Eno/Fripp, Thin Lizzy, Pink Floyd, Popul Vuh and ELO can be heard throughout – but a newfound swagger pushes "Dream Get Together" way over the top.

Seldom has there been a more obvious choice for an album-opener than "Careful With That Hat", a song propelled by a deep groove and swing that practically begs the listener to stand up and air-drum wildly. The vocals soar, the lead guitars catch fire and the mammoth solo (courtesy of guitarist Josh Pollock) builds to an ecstatic explosion. This is the shot across the bow. Citay have arrived on "Dream Get Together".

Led by songwriter Ezra Feinberg, Citay has made a career out of studio exploration, recalling a time when studio excess was the norm. Producer Tim Green, of the Fucking Champs, is no stranger to sonic indulgence, and together Feinberg and Green have woven together a musical tapestry that is both heavy and sweet. In Citay, the metal leanings of Green's band are replaced by an altogether different brand of fantasy rock. "Dream Get Together" has an embroidered and epic beauty that flies over the ocean while snuggling up to the ears. Joining Feinberg in Citay is drummer Warren Huegel, whose rhythmic sensibilities are best exemplified not only by his thunderous beats, but also his percussion decorations that lift the Citay sound from the ground up. Flanking Feinberg's acoustic six string live are the electric guitars of Sean Smith and Josh Pollock. Bassist Diego Gonzalez holds it all together throughout. Feinberg shares vocal duties on "Dream Get Together" with Tahlia Harbour and Meryl Press, whose sweet, soaring voices play the perfect foil to the bombast.

10 track CDR album from this Yorkshire trio, who play dark indie guitar songs with influences of Radiohead and Muse.

"BYO Split Series Vol.IV" links those biting socio-politico punksters Anti-Flag (on top form here) with the highly respected US punk band Bouncing Souls. Four brand new tracks each plus you get Bouncing Souls covering Anti-Flag's "That's Youth" and Cock Sparrer's "We're Coming Back", and Anti-Flag covering the Bouncing Souls "Freaks, Nerds and Romantic's" and the classic Buzzcock song "Ever Fallen In Love With Someone".