Eighteen months on from the runaway success of 'The Only Place I Know', Lake Macquarie's Surf Trash are back, and they're not watering it down. Their sophomore album 'No Chaser' lands neat, on the rocks, no apologies: ten tracks of melodic surf-pop-punk hammered out by a band that has clearly spent the last year sharpening every edge.

It's a record you can hear the kilometres in. Between 'The Only Place I Know' and now, Andrew Scott, Lachlan Jackson, Patrick Russell and Nick Scott have torn through a sold-out national run, criss-crossed the UK and Europe, and made a habit of leaving rooms louder than they found them. 'No Chaser' carries the dust from all of it — bigger choruses, leaner production, a touch more bruise underneath the gloss. There's still that windows-down, salt-on-the-windscreen feel that made the debut impossible to ignore, but it's wired into songs that swing harder and cut deeper. Less wistful afternoon, more last-light drive home with the volume creeping up.

The four-piece make melodic surf-pop-punk that sounds great turned up loud — driving in your mate's car on the way back to the beach. Their debut, The Fire Note wrote, "delivers a dynamic debut… blending raw energy, introspective depth, and timeless indie rock flair." Manchester World called their first show on UK soil "epic… high energy and great song after great song," and the live reputation has only grown since: a band that's earned every inch of the ceiling it now hits.

'No Chaser' is the sound of them no longer waiting for permission. Singalong harmonies, fast tempo changes, good old-fashioned rock 'n' roll with a sense of urgency.

TRACK LISTING

1. Ricochet
2. Golden Plain
3. Do It All Again
4. Mr Speers
5. Burning Tide
6. Sumatran Tiger
7. Piss Away
8. Bring the Limes
9. Like a Friday
10. Pacifico
11. No Chaser

Originally released in August 1996, ‘Trash’ was the first missive from a reenergised Suede, the first, in fact, of five Top Ten hits that would come from the new album. With new members Richard Oakes on guitar and Neil Codling on keyboards, ‘Trash’ was an instant hit, roaring onto radio A-lists and rising to No. 3 in the UK singles chart. 30 years on, still fizzing with excitement and swagger, it’s rightly remembered as one of the defining anthems of the 90s.

As was customary for Suede fans, there were treats in store too on the single’s incredible extra tracks – ‘Europe Is Our Playground’, ‘Another No One’, ‘Every Monday Morning Comes’… among the band’s fiercely loyal fans all of ‘Trash’’s “other sides” came to be seen as important as the ’A’!

Where all of Suede’s previous singles had been issued as 12” singles, ‘Trash’ was the first to pass over the format in favour of two separate CD singles, both featuring unique B-sides. For the single’s 30th anniversary this release pulls together both of those original CD1 / CD2 packages into one strictly limited 45 r.p.m. 12” E.P. on lilac vinyl.

For this unique release, ‘Coming Up’ graphic designer Howard Wakefield has come on board 30 years on to restore Nick Knight and Peter Saville’s iconic photography and artwork and reconfigure the visuals for full 12” glory.

TRACK LISTING

1. Trash
2. Every Monday Morning Comes
3. Europe Is Our Playground
4. Another No One
5. Have You Ever Been This Low?

In 2025, Frankie and the Witch Fingers unleashed Trash Classic; a snarling, feral mutation of their earlier sound, packed with proto-punk venom, angular melodies, and decaying electro textures. The album charted in Billboard’s Top 10 Alternative Album Sales and the UK Official Charts’ Top 10 Rock Album Sales. Now, 2026’s expanded Trash Classic Deluxe crawls deeper into the pile. LP 1 features the full original album, while LP 2 digs through the trash heap of unreleased demos, outtakes, experiments, and fragments from the album’s creation. Remixed and sequenced by the band as a standalone listening experience, LP 2 documents the band’s process and includes liner notes detailing the record’s evolution. Expanded artwork by Jordan Warren includes a new cover, gatefold, inner sleeves, obi strip, and foil-numbered jackets, all containing two limited-edition “Smog City” dual-color vinyl LPs.

TRACK LISTING

Disc: 1
1. Total Reset
2. Channel Rot
3. T.V. Baby
4. Conducting Experiments
5. Gutter Priestess
6. Dead Silence
7. Trash Classic
8. Fucksake
9. Economy
10. Eggs Laid Brain
11. Out of the Flesh

Disc: 2
1. Trash Classic (Demo)
2. T.V. Baby (Demo)
3. Trash Classic (Original Jam)
4. Dead Silence (Demo)
5. Fucksake (Demo)
6. Eggs Laid Brain (Drum Machine Demo)
7. Eye Candy (Drum Machine Demo)

Having surprise announced their return after four years away with a standalone single, legendary Scottish five-piece, Trashcan Sinatras return with their first album in 10 years.

Espousing the “less careerist and more careering” definition of a life inside Trashcan Sinatras over the last forty years, the unchanged line up of Reader, Paul Livingston (guitars), John Douglas (guitars), Stephen Douglas (drums) and Davy Hughes (bass) has slowly shaped eleven new songs via writing sessions scattered between mountain cabins, late-night poker sessions and quiet everyday routines.

Celebrating a four-decade journey as a band this year, Trashcan Sinatras’ story began in 1986, signing to Go! Discs two years later. Their formation in Irvine on Scotland’s west coast. blew a fresh breeze into observational, literary and frequently romantic British guitar music. Initially supercharged by their 1990 debut album 'Cake' and the standout single 'Obscurity Knocks', a further five albums followed, including 1993’s 'I’ve Seen Everything', featuring hit track, 'Hayfever', and their third record, 'A Happy Pocket', originally released in 1996 and rediscovered by a new generation in 2023 when its reissue returned the band to the UK Official Albums Chart. 

STAFF COMMENTS

Barry says: As if the surprise release of 'Melodramatic' after a decade wasn't enough of an indication that Trashcan Sinatras haven't lost any of their creative va-va-voom, we're treated to a whole new LP of rippling melodies and soaring, feel-good intensity.

TRACK LISTING

1. Ever The Optimist
2. Games For The ZX Spectrum
3. Bad Husband (ft. Traceyanne Campbell)
4. The Bitter End
5. A View From Nowhere
6. Hold On To Today (ft. Green Gartside)
7. The Associated Funk
8. Rome
9. Melodramatic
10. Birds I Couldn't Identify
11. Learning To Love Your Ghost 

Los Angeles psych-punk shapeshifters Frankie and the Witch Fingers have spent the last decade mutating their sound into bold, electrifying new forms. Their latest release, ‘Trash Classic’ (via Greenway Records and The Reverberation Appreciation Society), plunges into a sewer-slick fusion of proto-punk venom, fractured new wave, and industrial grime. Brimming with wiry synths, angular melodies, and grooves that squirm and bite, it’s all delivered with a sly, playful wink. Fueled by relentless global touring and a fierce DIY ethos, the band has shared stages with OFF!, Ty Segall, Oh Sees, Cheap Trick, and ZZ Top, cementing their place as one of the most unforgettable live acts around. Frankie and the Witch Fingers continue to morph, dragging listeners into whatever warped direction their experimental journey takes next.

STAFF COMMENTS

Barry says: A snapping blast of acerbic mid-heavy guitars and grimy distortion atop insistent percussion and syncopated garage-rock groove. Moving from scattered instrumental shards and atonal weirdness into a dynamic burst of momentous rock riffage in the blink of an eye. Ace.

TRACK LISTING

1. Channel Rot
2. T.V. Bab
3. Dead Silence
4. Fucksake
5. Economy
6. Eggs Laid Brain
7. Out Of The Flesh
8. Total Reset
9. Conducting Experiments
10. Gutter Priestess
11. Trash Classic

Exact replica picture sleeve seven-inch reissue of this hidden super-catchy punk/power pop 45 from the very short-lived punk group Trash. The music is raw, naive three-chord genius.

Trash were from Weybridge, Surrey, and they found little success at the time. They released just two singles to absolutely no fanfare at all in 1977 and 1978, despite being signed to Polydor Records.

Trash’s ‘Priorities’, the group’s debut single, is now available to independent retailers once again for the first time in nearly 50 years, on Soul Jazz Records in a very special edition one-off pressing.

TRACK LISTING

Priorities
Look

‘The Long Way Home sees the band setting the controls for more varied destinations with a mix of shorter and punchier tracks alongside expansive ambient experimentation. Alongside band members David Little and Dave Clarkson, the title track of the album was remixed by Faust and Ulan Bator’s Amaury Cambuzat. The CD has recently attracted praise from Stuart Maconie Freak Zone and Gideon Coe on BBC 6music and a glowing review in Electronic Sound magazine’.

TRACK LISTING

1. The Long Way Home (La Route Des Choux Mix) 05:51
2. Tzip Tzap! 03:38
3. Phantom Galaxy 07:18
4. Coastliner 04:38
5. A Stranger Shore 04:30
6. Withens Clough 21:13
7. Back Home 01:17

With the new acido 038, Budde & Osti from 100 Records present almost a small sample library, which they have called their "experimental playground" - in order to offer listeners an additional listening perspective that allows an insight into their work. A jazz and house-heavy six-track with the experimental highlights of the Trash Archives - a collection of 99 pieces that can be freely downloaded from Bandcamp. All pieces were recorded live in the studio using largely analogue equipment and masterfully mastered here by Mike Grinser.

TRACK LISTING

A1. 40
A2. 13
A3. 36
B1 74
B2. 30
B3. 57

THIS IS A RECORD STORE DAY 2024 EXCLUSIVE AND WILL BE AVAILABLE INSTORE ON SATURDAY APRIL 20TH ON A FIRST COME FIRST SERVED BASIS, LIMITED TO ONE PER PERSON.

IF THERE ARE ANY REMAINING COPIES THEY WILL BE MADE AVAILABLE ONLINE AT 8PM ON MONDAY APRIL 22ND.

Lawrence Hayward knew that he wanted to be a pop star as a teen, and he devised a plan to release ten albums and ten singles over ten years to make that dream come true. A particular and determined individual, he would only be known as Lawrence from that day forward. His hopes for stardom would be pinned on his newly formed band, the succinctly named Felt. Soon signed to Cherry Red Records, Lawrence’s achingly cool vocals and the group’s way with walking melodies were evident on their debut for the label, “Something Sends Me To Sleep.” This compilation collects material from Felt’s Cherry Red period of 1981 to 1985, kicking off with that confident start, assembling numerous high points, and closing with their biggest hit, “Primitive Painters.” This phase of the band is defined by the songwriting partnership and unique interplay of Lawrence and guitarist Maurice Deebank, with Deebank’s stylish and confident playing the envy of many of their counterparts. He delivers a constant string of shimmering hooks that wrap themselves around and over top of Lawrence’s more traditional beat combo song structures, as if trying to fit four songs worth of ideas into a pre-set radio friendly cutoff time. It works wonderfully as Lawrence always counters with a solid bedrock. In one of many brushes with the brass ring, in 1984 Felt recorded versions of “Dismantled King Is Off The Throne” and “Sunlight Bathed The Golden Glow,” for the newly formed and Warners-backed label Blanco y Negro, in hopes that the band would follow their A+R man Mike Alway to the executive suite. Despite putting forward two of their finest songs, it was not to be. While major label dreams had to remain on the shelf, fans were delighted to be able to hear these beautifully stripped down and more direct versions when this compilation was released a few years later. By 1985 the Felt roller coaster was something Maurice Deebank was constantly getting on and off of. As Gary Ainge always kept the beat, and Lawrence never lost focus, they were joined by local teen prodigy Martin Duffy on keyboards, filling out the arrangements, and following Deebank’s racing six-string cascades in “The Day The Rain Came Down” you can even hear a tiny hint of the next phase of the band in Duffy’s organ before Maurice swoops to the finish. The newly expanded Felt would then put everything they had into making one of the defining releases of the 80s: “Primitive Painters.”

TRACK LISTING

1. Something Sends Me To Sleep
2. Trails Of Colour Dissolve
3. Dismantled King Is Off The Throne
4. Penelope Tree
5. Sunlight Bathed The Golden Glow
6. Crystal Ball
7. The Day The Rain Came Down
8. Fortune
9. Vasco Da Gama
10. Primitive Painters

Ghost Car, the London-based international punk quartet, have announced their debut album ‘Truly Trash’ following their signing to One Little Independent Records. A riotous, quick-witted collection of 11 garage-rock bangers.

The album provides Ghost Car with a platform to rage against political injustices, as their unified battle cries attack patriarchal inequality, homophobia, racism and toxic relationships. ‘Truly Trash’ is a call to reclaim autonomy and to revolt against the powers that uphold an archaic nationalist system.

Right out the gate ‘Truly Trash’ makes its intentions clear. Riff-heavy ballad ‘Terrible Feelings’ rises in raw intensity as group harmonies build toward a shoegaze noise-out, while follow-up ‘Selfish, Spoiled’ uses frenzied synth to drag the sound in a 60’s psych direction. Call-and-response gang vocals permeate the entire record as back-to-back choruses keep energy levels at maximum, evident on ‘Mechanical Soul’ which boasts huge glam guitars and caustic drums of pure fury.

Of the eruptive ‘Basta’ singer/guitarist Maeve Henry tells us “It was written from the perspective of someone commenting on being a queer woman being happy with her sexuality. We’ve had a lot of men at our gigs in the past sexualising or infantilising us, so this is a massive f*ck you to them”. Singer/bassist Cece Corapi expands “It felt important to reiterate the fact that your sexuality doesn’t define the type of person you are. There is still a lot of biphobia around, even in certain queer scenes, and a perception that it’s not a valid sexual identity. It’s important to call this out”.

The LP continues with the punchy Riot grrrl of ‘Embleton Road’ and ‘Clown Town’ which show the band at their sarcastic best, oozing B52s and Delta 5 swagger with jaunty B-movie melodies. The latter of which makes comment on the circus of errors by the Conservative government, with particular focus on Boris Johnson, following Brexit. With band members hailing from England, Ireland, Italy and Spain, Ghost Car are keen advocators for freedom of movement, a belief only strengthened following the events in Ukraine. Cece explains that this “opened our eyes to the consequences of borders even more, when considering a country caught between two opposing powers (Russia and the EU/Nato) and the devastation this leads to. I think it’s important that we become more aware of these issues, but we need to make sure that we don’t stop there and always look at it from a more internationalist point of view. And to consider what that means for everyone.”

Grungy pop-punk anthem and lead single ‘Sex’ channels the likes of Stiff Little Fingers and The Undertones, mixing with the bands amalgamated influences from 60's girl groups like The Ronettes and The Shangri Las to the explosive rock n’ roll of The Runaways. ‘Conch Pearl’ and ‘Sushi Addict’ deal in distorted, jumped-up chaos, and ‘No History’ is about our reliance on digital technology and a reminder to try to live life spontaneously. Album finale ‘Truly Trash’ is a defiant message seeped in ethereal, doomy layers of ferocity. Singer/keyboardist/thereminist Clara Bleda’s closing comment; “F*ck Trump, f*ck Boris, f*ck the right wing”, while Maeve adds; “F*ck the DUP too”.

“This album is our way to express what bothers us, from personal interactions to international politics. We wanted to explore different themes in a simple way so that they could be accessible to everyone.”

Originally the album was due to be released by Burger Records, however as accounts of sexual assault and exploitation of women by associates of the label came to light the band pulled out of the planned release. As activists for feminism and members of the LGBTQ+ community, Ghost Car practice what they preach, and aim to spread their mantra of inclusivity and equal rights as loud as possible.

Ghost Car aim to utilize their diversity to explore different writing styles, while expressing themes of openness and empowerment. They’ve been championed by the likes of Mickey Bradley (Undertones), Skin and Du Blonde, and were deeply inspired by the late Lyndell Mansfield. They’ve also grown as performers supporting the likes of Shonen Knife, Amyl and The Sniffers and Beth Ditto, while remaining a London headline mainstay. 

TRACK LISTING

1. Terrible Feelings
2. Selfish, Spoiled
3. Mechanical Soul
4. Basta
5. Embleton Road
6. Clown Town
7. Sex
8. Conch Pearl
9. Sushi Addict
10. No History
11. Truly Trash 

TRASH KIT are Rachel Aggs (guitar, vocals), Rachel Horwood (drums, vocals) and Gill Partington (bass). Three deeply creative individuals who play in a multitude of other groups including Bas Jan, Sacred Paws, Shopping and Bamboo, united by a shared decade of spry musicality that surges through their bodies, hearts and heads with Trash Kit. Their songs once succinct, patchwork post-punk numbers of an honest diary-like nature now tussle more with long-form songwriting, expeditious polyphony and cascades of sung-spoke vocals. This new focus began with their last album ‘Confidence’ (2014) and has now grown into something exhilarating and rapturous. New songs like ‘Disco’ have had their very fabric stretched into smart new shapes, allowing the band to run away with refrains and unlock the dancefloor. Although Trash Kit have their forebears in bands like Sleater Kinney, The Ex and The Raincoats, their sound is still very much their own take on facing forwards and relies as much on the naturalism of an internalised folk music as on their sincerity of vision.

Since forming in 2009, Trash Kit have released two albums for Upset The Rhythm and a selection of singles, this July however they make their most majestic move yet with their resoundingly huge Horizon album. For this album, carefully crafted through years of playing out live, the band have chased down the distance between what they wanted the record to sound like and its realisation. They’ve augmented these songs with choral arrangements, piano, saxophone, harp, viola and cello. Pulling ideas from everywhere between the earth and sky, to push themselves further, to go beyond. Aggs' guitar playing for this album was informed by her love of guitar music from Zimbabwe, her cyclical motifs billow with lean Mbira rhythms. Horwood has similarly approached her drumkit with an untamable freedom, allowing it to breathe as a vivid lead instrument. Trash Kit's music is woven with silence and punctuation, and this is where the resonant, driving bass of Partington fits in. The bass has become now central to shaping the melody of this new collection of songs.

Lyrically the album has edged into an exemplary construct of the personal politic and the profound, quiet, almost unnoticed observations that we all make through each day without realising their true significance. Horizon finds itself abrim with themes, especially the notion of looking to the future, “personally as well as to the future of the band, the future of marginalised people making music, political futures, trying to imagine and re-imagine our world, thinking about what possibility and change sound like” attests Aggs. ‘Coasting’ which opens the album is concerned with “the end of the world and also the afterlife” and was written after Aggs read ‘The Parable of the Sower’ by the Afro futurist sci-fi writer Octavia Butler, a novel set in an apocalyptic California and featuring a protagonist in search of change and renewal. “When all this ends, without warning, where will we be?” sing Horwood and Aggs in robust unison. ‘Sunset’ draws on similar themes of ending and salvation, and proves equally ruminative. ‘Dislocate’ on the other hand is an upbeat sprint of spinning guitar and piano riffs showcasing both Rachels’ overlapping vocal magnetism.

Pivotal to this new album, ‘Horizon’ is sleeping giant of a title track, forever reaching out and intensifying throughout its lively five-minute lesson in reinforcement. “‘Horizon’ is quite literal I think, I was thinking about the edge of the earth - how people interpret the planet, how you can sometimes forget the enormity of the world and the universe and how small that can make you feel” Aggs continues. ‘Every Second’ was written in the aftershock of Trash Kit’s tour with The Ex on their big convoy anniversary tour (with Thurston Moore, Fendika, Peter Brötzmann and Han Bennink). Aggs sheds further light on the songs’ significance: “We played some really big venues on this trip and whilst it was challenging we learnt lots about improvising on stage, how to hold your own in that kind of environment. ‘Every Second’ is about how you never get to actually see yourself play live and how you have to not think about that in order to really embody it? The ‘chorus’ is also about feeling accepted into a scene of ‘serious’ improv music and how that affected our confidence as musicians who get tokenised a lot.”

‘See Through’ sounds pointed and surly, urging us to “transcend, break down” outdated categories and patterns of thought that only restrict. Partington’s bassline plummets heavily to hammer this home, making it one of the most affecting songs from the album. Meanwhile ‘Get Out of Bed’ deals with “being an overachiever and the struggle to overcome self doubt, get motivated, never feeling like you’ve done enough” Aggs admits. Whilst “the chorus is the flip side looks at how creating something beautiful, cathartic or fun can be an end in itself.” A strong undercurrent throughout Horizon concerns itself with the freeing up of power to make our own definitions, in this case how we can decide what truly makes us feel like we’ve achieved something.

Some of the final lyrics for the album were composed by Horwood for the choral parts on ‘Traffic Lights’. Those include the lines "we play in tune not touching, we play in time not listening, your music inside my body in my heart and my head!" Horwood wanted these lines to highlight her understanding of the musical friendship that she shares with Aggs and Partington, and to draw on “how powerful and good it feels to make something with other people, to sing with other people.” With this album Trash Kit have become intoxicated with collaboration and with Emma Smith and Serafina Steer contributing viola and harp to certain songs, and Dan Leavers adding his saxophone touches to ‘Every Second’, ‘Horizon’, ‘Sunset’, ‘Disco’ and ‘Traffic Lights’ that proves an triumphant decision. It goes further than that though as the band collaborate with their audience too, stepping in time to each other’s impulse, giving and taking cues, building things up from new foundations. Trash Kit’s approach to life as with music is one of openness, inclusion and potential and Horizon is an album with that in dutiful abundance. It is an album that forever listens for the next moment and will meet you once more at the vanishing point.

STAFF COMMENTS

Barry says: While this definitely has echoes of the bands whose members it's made up of (sacred paws were immediately obvious), it is clearly more than the sum of its parts. Oscillating between flickering indie-rock, off-piste angular mathy stuff and soaring anthemic orchestral. It's a heady and rich affair, and one that only improves with every listen.

TRACK LISTING

01. Coasting
02. Every Second
03. Dislocate
04. Horizon
05. Sunset
06. Bed
07. Disco
08. See Through
09. Traffic Lights
10. Bed (reprise)
11. Window

Sometimes, a disparate crowd of random influences and a handful of scene-makers coalesce out of nothing, and before you know it a movement is happening. So it was in the UK in the early-to-mid-‘80s, when an unlikely set of bands resurrected the spirit of mid-‘60s Garage Rock. Fusing that sound with elements of the pre-Fab Four, Psych, Mod, Rockabilly and Psychobilly, and greasing the wheels of this new machine with a thick slab of post—punk sensibility, bands across the UK began to shout and holler like they hadn’t in years, capturing their work on often rough and ready recordings, issued on Big Beat, Hangman, Hit Records, Media Burn, Creation and other equally fried labels. From London, Medway and the South East to Edinburgh and beyond, the Trash movement spread, quickly reaching out into mainland Europe and beyond.

Here in the UK, Trash finally enjoyed its moment in the sunshine in 1984, when four of the scene’s key bands appeared on Channel 4’s flagship music show The Tube. Spiky, brash, loud and unfettered by delusions of grandeur, this is the sound of the post punk UK music scene looking backwards whilst moving forwards. Not for the faint-hearted, sure, and always likely to tell you where you can stick it, but this is a sound that has stuck. The garage and trash scene, albeit under different names and sprinkled with a layer of post-Millennial self-awareness, continues to thrive around the world. Wherever one finds guitars, amplifiers and the primal spirit, one finds Trash. Packed full of rarities and collectibles – the Medway Valley and Billy Childish related material is currently particularly sought after – ‘Just A Bad Dream’ will appeal to fans of ‘80s Psychedelia, Mod Revival, Indie, Psychobilly and, of course, the ‘60s Garage Rock that influenced so many of these artists.

STAFF COMMENTS

Barry says: Clearly influenced by the flood of post-punk and rockabilly acts around the same time, Trash is a scuzzed-up version of garage, often recorded with little to no equipment and with more than an abundance of energy. Here we get the choicest nuggets, all collected on three jam-packed discs for your listening pleasure. Top collection.

TRACK LISTING

DISC ONE:
1. LITTLE BY LITTLE – Thee Mighty Caesars
2. SUBMARINE SONG – The Cannibals
3. NEXT TIME AROUND – The Barracudas
4. JUNE RHYME - The Sting-Rays
5. HUP TWO THREE FOUR – Sid Presley Experience
6. WHAT I WANT – The Prisoners
7. JUST A BAD DREAM – The Bugs
8. A GLIMPSE - The Green Telescope
9. WRITHING ON THE SHAGPILE – The Dentists
10. GO GORILLA – Ug And The Cavemen
11. I HEAR NOISES – The Vibes
12. THE WHOLE WORLD IS TURNING BROUCHARD! – Biff Bang Pow!
13. DRIVE ME WILD – The Aardvarks
14. GET WHAT I CAN –
The Margin Of Sanity
15. LITTLE MISS MISFIT – The Discords
16. DIRTY JEAN – The Mild Mannered Janitors
17. 125 - Blow-Up
18. STROLL ON - Auntie Vegetable
19. MR UNRELIABLE – The Inmates
20. JUST CALL ME SKY – Naz Nomad And The Nightmares

DISC TWO:
1. YOU CAN'T POLISH A TURD – Sexton Ming
2. MUNSTERS THEME – The Escalators
3. VEGETABLE MAN – The Jesus And Mary Chain
4. RIDE THIS TORPEDO – The Tall Boys
5. DON'T LET HER DARK YOUR DOOR – The Thanes
6. THE CRUSHER - Bananamen
7. TALK - The X-Men
8. I WANT THAT GIRL - Emptifish
9. I DON'T CARE – The Morticians
10. SWAMP THING – The Meteors 11. WHAT'S HAPPENING –Jasmine Minks
12. AND IN ENGLAND THEY'RE GOING MENTAL - Nutmeg
13. LIVIN' IN MY OWN NIGHTMARE – Prime Movers
14. FEVER IN MY POCKET – The Mindreaders
15. NERVOUS BREAKDOWN – King Kurt
16. I KNOW YOU LIED – The Stayrcase
17. ONE MORE LETTER – The Daggermen
18. WAITING NATION – The Psylons 19. THE DEAD – The Wigs
20. YOUNG BLOOD (LIVE) – Thee Headcoats

DISC THREE:
1. YOU WEREN'T BORN YOU WERE CREATED (LIVE) – The Playn Jayn
2. BRAND NEW CADILLAC – Thee Milkshakes
3. DON'T BE SORRY – The Surfadelics
4. TOO FAR GONE - Marionette
5. NO GREAT SHAKES – The Beatpack
6. ROCK AND ROLL TRAITOR – The Unholy Trinity
7. HE TELLS ME HE LOVES ME – The Delmonas
8. LA JUICE – The Wolfhounds
9. GARBAGEBRAIN – Revolving Paint Dream
10. LEAVE ME ALONE –Clapham South Escalators
11. MY EMANCIPATION – The Primevals
12. SHELTER FROM THE RAIN – Change Lings
13. PLUTONIUM MIND SHOCK – The Surf Rats
14. THE CURSE - The Golden Horde
15. SO IT'S NOT TO BE – The Delmontes
16. FARMER JOHN – The Gruff Men
17. THE HELL TRAIN – The Krewmen
18. HELLHAG SHUFFLE - Sunglasses After Dark
19. RINGING IN MY EARS - The Jackals Of Fresh Kid
20. THIS IS THE END OF THE WORLD (DEMO) – The Screaming Dead

Wild Evel brings his fuzz-guitar-meets-Screaming-Lord-Sutch brilliance out of the garage and into your living room. Being a savage kid lost in an era of uninspiring music the Staggers’ frontman, Wild Evel, teamed up in 2009 with part of former teenbeaters the Roadrunners to form a supergroup, providing serious garage punk at it’s best! Take some of Billy Childish’s trashy guitar solos, some of the Miracle Workers’ and The Stomachmouths’ catching melodies, add the “three-finger organ”, invisible monsters and cavemen and you know what these guys are up to! For sure the Trashbones have their roots in the 1960s U.S. garage punk, when teenagers started playing their own music, delivering their own ideas and ideals through tight and catchy lyrics telling the conservative society, “here we are”!

The sound, that these proto-punks produced is the same sound of the four Austrian freaks – succinct fuzz-guitars, farfisa organ, furious drumming and wild, howling vocals that represent a 100% hi-octane Rock’n’Roll attitude. Besides the sound, Wild Evel & the Trashbones also stand out with their untamed live performance for which each member pushes his plan through! On the drums you might be tempted to have found Keith Moon’s reincarnation, while Wild Evel shoulders his organ to start a solo! Since their formation in February 2009, the Trashbones have been touring from all over Europe to Russia, where they were delighted to present their distinctive sound and furious live performance at numerous club gigs and remarkable festivals. Their new album, "Digging My Grave" is 13 slices of the most fuzztasic garage punk you're ever gonna hear. 

TRACK LISTING

1. Der Bucklige
2. Digging My Grave
3. Bugs On My Back
4. The Mess I'm In
5. 300 Pounds Of Joy
6. Ain't It Hard
7. Why Can't We Be?
8. Coyote
9. Telling Lies
10. Gotta Leave Town
11. Fried Chicken Legs
12. I Lost My Mind
13. T-R-A-S-H-B-O-N-E-S

With ‘Althaea’, Trailer Trash Tracys follow-up to 2012’s critically acclaimed debut album ‘Ester’, the band continue their investigations into the farther flung reaches of pop music, with stunning results.

Spanning 10 deeply esoteric tracks, ‘Althaea’ sees the band drift further afield from traditional song structures to create a new aural lexicon of their own, one as influenced by Filipino carnival music and Latin rhythms as it was by Japanese tropical music from the 80s. Even at their most outwardly pop - the pristine ‘Eden Machine’, for instance, or the swooning ‘Kalesa’ - there is a baroque splendour and heightened sensuality. The interplay of light and dark - the foreign and the familiar - brings forth an album with manifold pleasures, one which rewards repeated listening and further exploration.

The album is also a soundtrack to Filipino filmmakers Raya Martin and Charles Salazar’s forthcoming film with the same name. On their collaboration Raya says, “‘Althaea’ is a narrative about being stuck in a strange mystical island. It’s a landscape that’s at once familiar, aggressive, drifting, odd and unexpected. The music by Trailer Trash Tracys perfectly transports us to this place hidden in all of us.”

STAFF COMMENTS

Barry says: From tropical rhythms and silken marimba hits, through to grooving summery numbers, and more full-force rhythmic rock 'Althaea' is packed with moments of pure perfection. A brilliant outing, and just a hint of what's to come.

TRACK LISTING

Smoked River
Eden Machine
Going Gardens
Siebenkas
Money For Moondogs
Betty’s Cavatina
Casadora
Singdrome
Kalesa
100 Aspects Of The Moon

Purveyors of “Upminster Soul” they single handedly put paid to the myth that there are no working class bands left in the UK. Creating their world in the upper floors of a neighbour-less Upminster charity shop with no one else around to complain about the noise, they have been a close part of the Trashmouth family from the start and a regular feature at The Fat White Family’s legendary “Slide In” nights. Fronted by the larger than life Euan Hartley, who stands 6 foot 6 inches tall and has a turn of phrase and delivery to match his stature, they have a directness, honesty and simplicity that seems absent from so much of today’s music…In their own words “The name Pit Ponies comes from the tradition of taking ponies down coal mines and using them as working animals. A bit like us really, all hard working English folk! We got the idea from a work mate of Albert’s – a former coal miner and trade union leader from the Newcastle collieries called John Fire, absolute legend of a man.”

Pit Ponies - started out mining for coal but came up with diamonds. . .” Pat Lyons PH7 Radio

TRACK LISTING

1.Mountains
2.Life Part II
3.Country Song
4.Welcome To The Unhappy Bit
5.Furies
6.Take A Shower
7.Quality Goods
8.Life Part I
9.Becoming
10.Chasing Skirt

TAMAN SHUD Made their debut on a split 10” EP with The Fat White Family and are now set to release their first LP of, as they describe it, Blackened psychedelic motorcycle punk from hell. Taman Shud are a young band whose primary interests include paraphilia, vivisepulture, scaphism, Crom Cruach, Mokèlé-mbèmbé, cannibalism and the Marianas Trench.

“Taman Shud's heavy, gothic riff monsters are a wild, orgiastic release from day job existence, an inverted productivity chart over a blazing pyre as blunted melodies are swiftly pitchforked off the nearest cliff by the twin bass guitar assault of Tasha and deadpan Liverpudlian Derry. It's an unholy fusion of post-punk, no wave and psychedelic metal, like the Butthole Surfers of 'Sweat Loaf', the Sonic Youth of 'Death Valley 69' and the Chrome of 'TV As Eyes' being mugged by Les Rallizes Dénudés and bundled off to a Walpurgisnacht convention of satanic biker gangs. Or as the band themselves put it, somewhat more succinctly: "DNA meets Mainliner. Meets Red Stripe."

TRACK LISTING

1. The Hissing Priest’s Remains
2. The Ziggurat, A Mirage
3. The Hex Inverted
4. I Tego Arcana Dei
5. Viper Smoke
6.Summon The Cursed, Curse The Summoner
7. Book Of Lies
8. Crime Cycle
9. Moonstruck Psychic Violence
10. By The Smoke From Below The Lamp Is Kindled Above

Jon Spencer and Matt Verta-Ray continue to ransack 50s, 60s, and 70s, punk, blues and rock'n'roll on this their third album, "Midnight Soul Serenade", which is already being cited as Jon Spencer's best work since "Orange". With Heavy Trash, the full throttle rollercoaster ride of Spencer\'s Blues Explosion, has slowed a little, but there\'s still plenty of the swagger and charm that hooked us all in from the start. The album sees Spencer croon and holler his way through a collection of blues, rockabilly and punk-rock\'n\'roll, with Verta-Ray\'s guitar licks, organ and rattling snare providing the backdrop. There\'s even a spoken word track too: Although it doesn\'t quite fit with the rest of the album somehow, the dark, surreal "The Pill" is Spencer at his storytelling best and one of my favourite tracks on the album. The Blues man is still No 1!!!

After three albums, critical recognition of the post-Pavement career of Stephen Malkmus has suffered; such was that bands legacy on alternative rock music. Of late, a vocal appearance on the "I'm Not There" soundtrack album has helped underline his unique lyrical style and bring his ever boyish vocal to a fresh audience. Refining the scattergun approach to acid rock, folk, prog and bubblegum that characterized the Pavement sound and subsequent three as Stephen Malkmus & The Jicks, "Real Emotional Trash" ranks alongside "Wowee Zowee" and "Terror Twilight" as a wonky, woozy 'heads' record. "Hopscotch Willy" and "Baltimore" touch musically and lyrically on the 60s folk-rock tradition. Over ten minutes, the title track jumps from Fairport Convention, Television and Grateful Dead. No doubt taking a cue from Tony McPhee of the Groundhogs, Malkmus indulges his penchant for guitars of all description; electric, acoustic, delayed, distorted, doubled, detuned and often wailing simultaneously in all directions. As much as the songs are undoubtedly from the pen of Malkmus, this is definitely a proper band effort. The bottom end crunch supplied by Janet Weiss (formerly Sleater Kinney) and bassist Joanna Bolme provide ballast and direction, ensuring the album will rock you to the soles of your battered Converse.

Anglo-Germanic four-piece The Trashmonkeys, return with a a new three track single "Nobody" which features two brand new tracks, "Wrong Education" and "Gone". Brash, rock'n'roll,combining 60s garage snarl and '77 punk derangement.