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TROUBLE IN MIND

Woollen Kits

Four Girls

    Australia is in a full-on rock & roll renaissance right now & charging to the front of the pack is Melbourne's Woollen Kits! "Four Girls" is the follow up to their self-titled debut LP on RIP Society & a continuation of the greatness of their TiM debut 7-inch from summer 2012. The new album finds the band in tip-top form; confident & assured, with a suite of their best tunes to date.

    Songs herein deal with underlying longing or fantasy with individual truths & being fed up with people's phoney concepts and ideals (which, guitarist Tom H says: "in an effort to make themselves feel more deep and interesting to people, are actually creating a barrier between themselves and everyone else by only relating to others on a very one dimensional level"). But despite this frustration or sense of loss, there's usually (usually) a positive spin on these themes. 'Cheryl' is a definite standout on the album and offers listeners some of the truest lyrics ever put to song with "When you look good, you know you feel good, and when you feel good, you get shit done." 'Susannah' is another instant head-bopper with its happy-tappy VU guitar strum and horn interplay. Tom, Tom and Leon have taken the two disparate voices of their debut album and forged a united delivery emphasizing the best of both song writer's strengths. It's got the swagger and jangle of classic Flying Nun and the simplicity and directness of Beat Happening with a dash of late-80's underground rock.

    The U.S. edition on Trouble In Mind is pressed on black vinyl, includes an insert & download code!

    Hiiragi Fukuda

    Seacide

      Hiiragi Fukuda turned a lot of “heads” with his 2013 album “My Turntable Is Slow ” - released on NY label Selection Records. For many outside of his hometown of Tokyo, Japan it was their first introduction to the guitarist & experimental musician. TiM hopes to carr y his name into 2015 with the release of “Seacide” - Fukuda’s first foray into synthesizer music.

      Orginally released as a criminally limited cassette on Sloow Tapes, “Seacide” is entirely instrumental & improvised, with Side A (the “synth” side) executed on a Yamaha monophonic synth, it ’s hypnotic drones & pulses echoing out of his practice amplifier and carving out sonic territor y akin to NY pioneers Suicide as well as UK Industrial godfathers Throbbing Gristle. ‘Trochos’s metallic heartbeat radiates a meditative spirituality while the back & forth sway of “Sharpener ” conjures up images of 8-bit generated waves cascading over a computer-coded sea side.

      Side B (the “guitar side”) features Fukuda’s stratocaster, with opener “Seashells” easing out a fragile, mechanical lullaby, while album closer “Breeze” features more of Fukuda’s soulful finger-picking atop a jaunty bossa beat. The album was recorded in just two days by Fukuda himself in his Tokyo bedroom, with a Boss DD-6 (as a Loop machine - it can record only 5.2 seconds) & captured sonically by a Sony TCM-400 onto a cheap cassette tape (made in indonesia).

      Headroom

      Head In The Clouds

        Debut album from Mountain Movers guitarist Kryssi Battalene. All compositions are improvised with New Haven music’s finest. Mastered by Mikey Young (Total Control / Eddy Current). Headroom first took flight in 2016 as the solo outlet for New Haven musician Kryssi Battalene, née of regarded noise project Colorguard & guitarist for psychedelic voyagers, Mountain Movers. Headroom sprung forth from the fertile and underrated New Haven scene - a musical patchwork of punk, hardcore, noise & experimental music all sharing the same stages & DIY spots and creating a musical identity all their own. Battalene talent flourished & soon enough, her signature style of guitar was infiltrating & influencing a new crop of New Haven musicians; part Twisted Village / PSF Recordsinfluenced white noise maelstrom, part nuanced, beautiful six-stringed draperies.

        Battalene’s talents have graced recordings & stages with Estrogen Highs, Medication, Secret Treaties & Stefan Christiansen & Friends, but “Head In the Clouds” marks the first long-player for this, her current solo project (after a well regarded cassette EP on the C/Site imprint). Across the album’s alternatingly harsh & beautiful five tracks, Battalene masterfully coaxes her guitar into a myriad of tastes and textures, from lumbering opener “How To Grow Evil Flowers” psychedelic squall to more placid tracks like “Millers Pond” or “Flower of Light ”, where she tempers her feedback to guide the tunes to new horizons.

        The title track’s pulsing guitar/synth interplay offers an eight minute respite before swan diving back into a fog of feedback. “Head In the Clouds” could be seen as the companion piece to Mountain Movers’ ‘s/t’ 2017 album, but with Battalene at the helm, Headroom eschews that band’s (slightly) more traditional take in favor of a dizzyingly creative experimentalism. “Head In the Clouds” is an album meant to get lost in. Headroom’s “Head in the Clouds” is released across all digital retailers and physically in vinyl-only, with a limited blue vinyl available for direct accounts

        Salad Boys

        This Is Glue

          New Zealand’s Salad Boys are back with “This Is Glue”, the follow up to their critically acclaimed 2015 debut album “Metalmania”. Recorded once again by bandleader/guitarist Joe Sampson at his home studio, “This Is Glue”s twelve songs dig deeper, with sharper hooks embedded deep within a more mature musicality. This Is Glue” hones Sampson’s songwriting chops to a razor edge, with many of the album’s songs sounding utterly timeless. The ri¬s and melodies seem all too familiar, perhaps recalling greats that came before them (The Chills, R.E.M., The Bats), but Sampson has a voice all his own and “This Is Glue”s tunes tread upon a singular path of measured melancholy.

          The themes are darker, the lyrics more claustrophobic and yearning with Sampson confronting anxiety, mortality, and fear through the his abstract lyrical lens; a cracked world view, to be sure. Songs like “Exaltation”, “Dogged Out” and “Divided” convey a world-weariness of a man twice his age. That’s not to say that “This Is Glue” is all doom and gloom; album opener “Blown Up” kickstarts with motoric drumming that crescendos into a thrilling guitar ri¬ that could crack mountains. “Psych Slasher” crashes forward frenetically awash in phaser before easing into a melodic denouement buoyed by a bubbling synthesizer before a tidal wave of guitar crashes down again. Existential angst has never felt so exhilarating. 

          FORMAT INFORMATION

          Indies Exclusive LP Info: Indies Only Powder Pink vinyl.

          Olden Yolk

          Olden Yolk

            Olden Yolk is a New York-based group whose penchant for dystopian folk, abstract poeticism, and motorik rhythms have enveloped them in a sound uniquely of-the-moment yet simultaneously time-tested. The project is currently led by songwriters, vocalists, and multiinstrumentalists Shane Butler and Caity Shaffer, whose interlaced vocals are found guiding each composition on their enlivening self-titled debut. The project was initially conceived in 2012 by Butler as an outlet for one-off songs and visual art while touring and releasing albums with the band Quilt (Mexican Summer).

            Following the release of a split-record with Weyes Blood in 2014, Olden Yolk became a collaborative entity. Olden Yolk’s debut ruminates on questions surrounding love, self-doubt, and locating autonomy amidst burgeoning unrest. Wrought with hazy melancholy and halcyon joy, Butler and Shaffer’s lilting vocals play off one another through a devotional dialogue, taking form in haunting choral melodies and candid rock n' roll. These songs are ecstatic odes to the life of the city; to the subway platforms, kiosks, and monuments which enliven and encompass our collectivity, elevating into an urban-psychedelia.

            On the album, Butler and Shaffer are joined by drummer Dan Drohan (Tei Shi, Uni Ika Ai) and guitarist Jesse DeFrancesco who round out the studio sessions and live-band. Drohan’s deep passion for jazz, hip-hop, and experimental percussion come to fore while Defrancesco’s minimal yet powerful guitar ambiences are heard swelling in the peripheries of each song. The album was recorded at Gary’s Electric in NYC by Jarvis Taveniere (Woods) with co-production, electronics, and mixing by Jon Nellen (Ginla, Terrible Records). Other guests, such as multi-instrumentalist John Andrews (Woods, Quilt, The Yawns) and violinist Jake Falby (Mutual Benefit, Julie Byrne), add to the mercurial nature of the record, creating a landscape tinged with beatific songwriting and transgressive underpinnings. 

            Brooklyn ensemble Sunwatchers return with the incendiary follow up to their 2016 eponymous debut, the appropriately titled “II”. The quartet continues to defy adequate description, incorporating elements of free jazz, psychedelia, punk, Ethiopian and Thai music and funk into a dizzy, invigorating sound. “II” kicks off with the click of sticks and launches into “Nosebeers”, a righteous burner that writhes and squawks with heady desert vibes and white hot saxophone, sounding not unlike something akin to Group Doueh jamming with John Zorn. “The Hot Eye” is next, and the band doesn’t let up revving up an anxious marching beat into a raging squall that ebbs & flows with tidal waves of horn and guitar.

            The band has more in store for listeners, easing into the third track “There Are Weapons You Can Bring To School”. With it ’s contemplative tone, the song sets a mood for the album, righteous, socially conscious messaging, no more evident than the message embriodered onto the tapestry that graces the front cover artwork: “SUNWATCHERS STAND IN SOLIDARITY WITH THE DISPOSSESSED, IMPOVERISHED AND EMBATTLED PEOPLE OF THE WORLD”. The band considers it both a mission statement & a battle cry: “We are musicians, and we will leave political specifics to those more qualified than we are. All the time and energy and passion we can muster we dedicate to writing, performing, recording and releasing music: instrumental music, released from the tyranny of semantics into the freedom and hopefulness of universality-ofconnection. We thusly realize the need to become overt about our own intentions and our own mores; without the ease and accessibility of direct language, the onus is on us to express our principles in other ways.”

            STAFF COMMENTS

            Barry says: A completely indescribable cataclysm of modern-jazz, experimental psychedelia and soaring, majestic post-rock. Mind-blowingly clever and brilliantly immersive freakouts tempered by slow-burning hypnotic grooves. Outstanding.

            FORMAT INFORMATION

            Coloured LP Info: Limited Rainbow Splatter vinyl.

            Atlanta, GA trio Omni charges out of the gate in 2016, stunning everyone within earshot with their debut longplayer, “Deluxe”; a dizzyingly refreshing amalgam of wiry post-punk jitters & a dash of zen cool. “Multi-task” is their latest off­ering & all signs point to the coveted goal of “next level” Guitarist Frankie Broyles (ex-Balkans/Deerhunter) & bassist/vocalist Philip Frobos (Carnivores) crafted “Deluxe”s eleven tracks in their practice space with friend & engineer Nathaniel Higgins “Nathaniel truly knows us, what we like and what we should sound like” says Frobos.

            They returned to Higgins for “Multi-task”, recording basic drum tracks at Higgins’ home studio & overdubbing bass, guitar, vocals & more during two separate trips to a remote cabin in the woods near Vienna, Georgia. “It gave a true peace/piece of mind away from the city” Frobos says, “We could work with no distractions or limitations at our own pace.”

            “Multi-task” is a more musically adventurous step forward for the band, keeping the frantic, fleet-fingered fingerpicking of Broyles’ guitar work & Frobos’ dead-cool delivery while expanding their musical palette & to include whispers of post-Roxy glam &

            Postcard Records pop. “Multi-task” balances the band’s trademark off­-kilter & unconventional jams (Southbound Station”, “Supermoon”) with an elegance not found in many of their contemporaries, songs like “Tuxedo Blues” & “Type”, with their underlying seductive sophistication create an aura of romance that many post-punk bands dare not tread. Omni pulls it o­ with grace & style, still whirring on their minimalist funk-fused agit-pop while creating an album that is awash in the excitement of new love, or fleeting attraction - a journey from that dizzying buzz of first date pheromones found twirling on the dance floor to the cab ride cool-down to home (or wherever.)

            STAFF COMMENTS

            Barry says: Following on from their storming debut 'Deluxe', this is as much of a development of their sound as you could ever hope for. Rhythmic, rawkous at points but fully conceptualised, and brilliantly crafted.

            Jack Cooper of Ultimate Painting’s fi­rst solo record is 9 concisely beautiful songs inspired by his hometown of Blackpool and his upbringing on England’s Fylde Coast. “Everyone’s from somewhere,” says Jack. “I don’t think it’s particularly important people know this album is about Blackpool, but I think everyone can empathise with the themes on the record.” Evoking the delicate but often widescreen musicality of Bill Fay and the abstract lyricism of the late 60s Scott Walker records, as well as the more experimental sounds of John Cale and Robert Wyatt, Sandgrown is a collection of tranquil ballads that evoke feelings of nostalgia and re-evaluation about where you come from, wherever that may be.

            Jack spent the fi­rst 13 years of his life living in the rural village of Poulton-le- Fylde, about ­ve miles outside Blackpool. On moving into town, he spent his summers as a deckchair attendant. “There were just a lot of interesting people around all the time… weirdos who were drawn to the seaside in the summer. Winter would come and you had this huge community of people who didn’t really know what to do.” By the time Jack was 15, Blackpool’s role as a holiday destination was dwindling due to the introduction of cheap air travel to Europe. Stacks of deckchairs were increasingly left unused, and in the winter months it became a place of drugs, seedy bars and people struggling to get by without the tourist trade. As the Blackpool he knew slipped away, 20-year- old Jack moved to Manchester where he began playing in bands and recording. Sandgrown is about those formative years and the creation of it – “I’ve been trying to do this record since I was about 18… I bought my ­rst 4-track with the proceeds of a summer working on the promenade and I guess I got sidetracked along the way. I’ve been listening to Terry Allen’s ‘Lubbock (On Everything)’ a lot and I wanted to make something that painted a picture of a place as vividly as that. I love how Frank Sinatra’s ‘Watertown’ feels so cinematic.”

            Uninhibited by band members for the fi­rst time was a freeing experience for Cooper. “Recording on my own liberated me to sing more like I actually sing. I think I‘ve spent a long time in loud bands singing in a way that can be heard through music,” Jack says. “The songs that I wrote for Sandgrown suit my voice more than anything I’ve done before.” “I love the physicality of working on tape. I’ve always had a 4-track but I sought out a particular machine. I’m not a huge Bruce Springsteen fan but I love the sound of Nebraska… I needed that speci­c machine.

            FORMAT INFORMATION

            Coloured LP Info: Limited TANGERINE ORANGE colour vinyl is for Indie stores only.

            Ultimate Painting

            Dust On My Eyes

              US mail order 7” now available to UK stores. Last few copies for the UK. This 7” features two exclusive tracks unavailable anywhere else. 

              Greg Ashley

              Pictures Of Saint Paul Street

                Greg Ashley has been a ¬fixture on the underground music scene since the late 90’s while stra¬ng eardrums as a teenager in Houston in garagepunk band The Strate-Coats. Since then he’s proven himself not only as a songwriter, singer and guitar player in bands like The Mirrors & The Gris-Gris, but also as a producer / sound engineer.

                His career as a solo artist is vast & varied, spanning the gamut between fried & beautiful psychedelia, gorgeous & cathartic symphonic suites & gentle, damaged folk music, beginning with 2003’s “Medicine Fuck Dream” & last leaving us with 2014’s “Another Generation of Slaves”. His latest, “Pictures of Saint Paul Street” carries forward that album’s musical palette (a rootsy amalgam of tortured, Cohen-esque folk tinged with the beer soaked recklessness of a West Texas honky-tonk).

                The songs on “Pictures of Saint Paul Street” are lush & beautiful autopsies of society’s underbelly, with stark and brutally honest ruminations on humanity. Songs like “A Sea of Suckers” & “Pursue The Nightlife” pull no punches, while “Jailbirds & Vagabonds” and “Blues For A Pecan Tree” carouse on a more abstract, human (almost romantic) level. By the time you’ve hit the album’s centerpiece; “Bullshit Society”, Ashley’s songs move from ballads of hopeless misery to rallying anthems for the dispossessed.




                Third full-length solo album from the former MMOSS front-man Massachusetts songwriter Doug Tuttle returns with his third solo album, “Peace Potato”, once again on Chicago label Trouble In Mind Records. His 2013 solo debut (after fronting his longtime psychedlic band, MMOSS) was an insular and foggy psychedelic masterpiece punctuated by Tuttle’s stinging guitar leads, accented by flashes of bedroom Fairport /Crazy Horse brilliance, towing the line nibly between elegance and ragged assurance. We last saw Tuttle on “It Calls On Me”, his 2015 sophomore album, which pushed his songwriting towards further clarity and melody; “Peace Potato” shakes it all down with Tuttle’s strongest batch of songs yet.

                “Peace Potato” introduces itself with the horn-laden, honeydripper,“Bait The Sun”, a classic Tuttle tune; downer pop melodies coloring a hypnagogic landscape. It is indeed that state of lucid dreaming, somewhere between the onset of sleep is where Tuttle firmly plants the seeds of “Peace Potato”. Songs like the addictive Harrison-esque acoustic strummer “Can It Be” and majestic “Only In A Dream” kick in and fade out like the lurching of the mind’s dream state, with the listener ’s only guide being Tuttle’s fragmented sensory narrative. (see the undulating, utterly-effected “Life Boat” floating near the end of the first side.) Songs stutter to life and grind to a halt, to calculated effect, stiched together into a patchwork of full tunes, song fragments and waves of melodic euphoria.

                Mountain Movers

                Mountain Movers

                  The Mountain Movers have, over the course of five albums and a decade’s worth of LPs, CDs, 7s, CDrs, and cassettes steadily become New Haven’s best kept secret; a band capable of lurching between melancholic indie rock, strident garage/psych and pummeling guitar freak-fuckery. Their earliest beginnings saw the band documenting bandleader Dan Greene’s vast catalog of songs, while displaying a rotating cast of New Haven musicians’ unique skills. Shortly after the bands fourth album (2011‘s “Apple Mountain”) constant members Greene and bassist Rick Omonte were joined by drummer Ross Menze and guitarist Kryssi Battelene, forming what is now the Mountain Mover ’s longest running lineup. The band’s eponymous sixth album takes cues from everything before and coalesces the bands vision so succinctly and perfectly, it makes you wonder where they ’re been your whole life. “Mountain Movers” starts off with the dark, stormy fourteen minute track “I Could Really See Things”.

                  Fading into view with a scree of feedback, the drums and bass start to pound and pummel until the song lurches forward, lumbering purposefully toward slashes of guitar improvisation (courtesy of lead guitarist Battalene of Colorguard and Headroom whose playing evokes the lava soaked fingers of Mizutani and Keiji Heino). Then, in a flash, the jangling, melodic strum of “Everyone Cares” floats along, it ’s dreamy chorus like a salve to the six-stringed burns that preceded it. After, a brief “Intro”, “Angels Don’t Worry ” is next up, finding that sweet spot between murky krauttinged psychedelia and acid-fried guitar-noise exploration. “Vision Television” pounds out succinct garage stomp, with poetic Sixties snot and heavy VU-inflected swagger, straight outta “The Matrix Tapes” (disc two). The album is bookended by another long-form improvised jam, appropriately titled “Jam 2” that fades into a fullbore, head-down krautrock slow burn that somehow sounds like the most melodic of Can’s repertoire and Sonic Youth at their most effective improv stages (Bad Moon Rising/EVOL/Sister era), “Mountain Movers” is a tour de force. Greene’s songwriting hits home when it needs to, but leaves pockets open for the band to stretch out and really find a way inside the songs themselves. 

                  FORMAT INFORMATION

                  Ltd LP Info: Vinyl-only release, pressed on black vinyl, limited run of 500 copies with insert.

                  Ltd LP includes MP3 Download Code.

                  On RAYS' debut album the band spins eleven tunes of wiry, urgent post-punk, one foot planted firmly in the nihilistic apathy of 70 & 80's punk (Wire, Electric Eels, Pere Ubu, Eno, Television The Fall), Australian punk past & present (UV Race, Terry, Victims, Babeez), and the addictive strum of 80's & 90's New Zealand/Flying Nun pop; all of whom have found their own way to meld the ferocity & thuggery of punk with a singular melodic voice. RAYS are no different; the swirling jangle of "Attic" starts the album off, sardonically extolling the joy of 'attic life' with Hannan's monotone conveying an underlying sense of dread & isolation. "Dead Man's Curve", with it's hook-filled, organ-laden chorus plays like a lost teenage tragedy song, celebrating the desperation & angst of reckless youth. Elsewhere, tunes like "Theatre of Lunacy", "Made of Shadows" & "Drop Dead" rage with a desperate fire, speaking to the absurdities of everyday life, but with a wry smile.

                  Shit is f ucked, but the members of RAYS seem intent on finding humor within the world's everyday desperation, because sometimes that's the only way to stay sane. "Pain & Sorrow", "Back Downtown" all speak to these truths. The album ends with Hannon's "Over and Over", it's sweet melody belying a derisive outlook on the necessity of modern life & the repetition it requires. Throughout it all, RAYS' debut never feels angry, Recorded by Bay-area stalwart Kelley Stoltz & mastered by Australian tone-genius Mikey Young (Total Control/Eddy Current Suppression Ring) RAYS is a joyous album packed with weird new-wave swirls and sugar-sticky hooks.

                  The Paperhead have been Nashville's best-kept secret for years now. The trio have crafted three albums of psych-pop perfection, last leaving us with 2014's "Africa Avenue". They return in fine form with their fourth magnum opus, entitled "Chew". Having been lifelong fans of psychedelia & prog rock, They've found a way to straddle four decades of music. Rather than committing the cardinal sin of many modern acts by drenching everything in reverb, "Chew" revels in clarity & melody - the listener finds themselves disoriented by the jarring juxtaposition of styles, rather than gimmicky studio trickery. This was purposeful, as the band wanted "Chew" to seem like criss-crossing AM radio broadcasts. Melodic psych-pop drifts up against crunchy, progressive riffs and good ol' steel-guitar driven country rock, but it all works. The album's centerpiece "Dama de Lavanda" is perhaps their most accomplished composition to date, with it's breezy latin rhythms - it swings with an assuredness unseen from the band as yet. Horns & flutes pepper the mix, but it's the Bacharach-meets-Pretty Things outro that really hits a home run. The obvious peak of an album crackling with ideas & creativity. "Chew" was recorded by the band in bassist Peter Stringer-Hye's garage studio in Nashville & mixed by Cooper Crain (Bitchin' Bajas, Cave) at Chicago's Minbal Studios. 

                  FORMAT INFORMATION

                  Coloured LP includes MP3 Download Code.

                  Dusk is the third album from London-based duo Ultimate Painting, a ten song set that expands the group’s sound from their self-titled debut and their critically acclaimed sophomore effort Green Lanes, about whose tunes Pitchfork raved their “deceptively simple interplay slowly worms into your synapses...” Dusk heads along the same path, albeit in a slightly different direction, forging to new territory by heading inward. Most groups would kill to have one talented songwriter in their ranks, but Ultimate Painting are lucky enough to be comprised of two singular voices in Jack Cooper and James Hoare.

                  The pair's distinctive songwriting styles began to blur a bit with Green Lanes, but on Dusk it ’s hard to tell where Cooper ends & Hoare begins. Their tunes weave in & out of each other like the duo’s respective six-strings, spiralling around each other in a laconic dance. Album opener ‘Bills’ dives head-first into a crystalline pool of jangle, furthering the duo’s rep as purveyors of the Verlaine/Lloyd legacy, but despite the evident influence of American guitar pop both past & present, the group’s recorded an album that feels decidedly English. Cooper’s abstract poeticism balanced perfectly alongside Hoare’s alluring & universal pop leanings. The group’s discovered a simple lushness in Dusk’s arrangements, sometimes only with subtle additions like Hoare’s recently acquired Wurlitzer piano that drives tunes like ‘Lead The Way’ or washes underneath others like ‘Monday Morning, Somewhere Central’. They've tapped into the subtle grace that infects the mood and emotions experienced at times like sunrise & dusk. Hopefullness. Resignation. Ennui. A breathing in. A breathing out.

                  Dusk was once again recorded to tape by guitarist James Hoare in his London flat. The casual setting allowed the sessions & songs to unfold naturally, with the two of them accompanied by recent live drummer Melissa Rigby, who drums on the entirety of Dusk. Her skills lend a rhythmic elasticity to songs like ‘A Portrait of Jason’ and ‘I Can’t Run Anymore’, with jazzy undertones that break from the band’s previously unadorned 4/4 leanings. Dusk feels different and cements the group’s presence in the modern world guitar pop, finding voice in the allure of quietude.

                  RIYL: Nap Eyes, Luna, Yo La Tengo, Gene Clark, Grateful Dead, White Fence.

                  STAFF COMMENTS

                  Barry says: An equal mix of pastoral English countryside melodies and jangly San-Franciscan flower power vibes, Dusk is a meticulously crafted and impeccably accomplished slice of indie-pop. Sweet, silken vocals and woozy melodic lines are brought together gracefully, and accomplished with such confidence that they make it sound easy. At once a perfect representation of now, and a scintillating herald of days gone by.

                  Melbourne, Australia band Chook Race formed in 2010, starting out as a scrappy, garage/surf band, but soon developed a greater pop sensibility, born of their love of the Flying Nun bands and other bedroom favorites. After a string of of tapes and 7"s Chook Race return with new album 'Around The House', due for release on September 2nd through Chicago's Trouble in Mind Records.

                  The ten songs on "Around The House" are oddly withdrawn yet highly personal tunes, but performed by the band with a desperate urgency. Songs like the immediate & catchy "Hard To Clean" & "Sometimes" clang & clatter like chrome-plated pop earworms, while others like the somber "Pink & Grey" and album-closer "Start Anew" hum pensively, quietly insinuating themselves into your subconscious.

                  Captured in a single day by Tom Hardisty (NUN, Woollen Kits) and mastered by Mikey Young (Total Control, Eddy Current Suppression Ring) the album has a compelling sound defined by jangly guitars, boy-girl harmonies and lyrical observations of the everyday. 

                  FORMAT INFORMATION

                  Coloured LP includes MP3 Download Code.

                  RIYL: Go-Betweens, Courtney Barnett, Twerps, The Clean, Feelies, Yo La Tengo. One year after releasing Dick Diver's third album,"Melbourne, Florida" Trouble In Mind is pleased as punch to make the revered Melbourne, Florida band's first two albums 2011's "New Start Again" & 2013's critically acclaimed (and The Age-nominated Best Album) "Calendar Days" FINALLY available domestically for eager & discerning listeners. "New Start Again" was the band's first full-length offering after their debut single, surprising many & no one with it's sprawling range of melodic twists & turns. From opener "Through The D" - which starts with a patient drum pulse before launching into the infectious jangle of guitarists Rupert Edwards and Alistair McKay's chiming chords - to casual anthem & album closer "Head Back" (penned by bassist Al Montfort), the band holds the listener's attention steady and true with inventive and memorable songs.

                  Chris Forsyth & Koen Holtkamp

                  The Island

                  RIYL: Solar Motel Band, Mountains, Brian Eno, Steve Gunn, Cluster. Chris Forsyth & Koen Holtkamp have earned reputations as fierce, creative artists and respected masters of their instruments (guitar & synthesizers, respectively).

                  They first came together for “Early Astral” in 2012 (released in the UK by Blackest Rainbow), and that album’s two side-long tracks showed Forsyth & Holtkamp upping their game in new & exciting ways. Neither are strangers to collaborative work (Holtkamp with Mountains and Forsyth with Peeesseye and his Solar Motel Band), and something clicked between them. Forsyth stretched his guitar’s sounds into simultaneously weirder & more Kosmische psychedelic directions, while Holtkamp seemed to loosen up a bit, shrugging off the stately minimalism he’s primarily known for. “The Island” is the second collaborative album from these Philadelphia and Brooklyn-based musicians and unlike “Early Astral,” which was developed over the course of a year’s worth of rehearsals, “The Island” was recorded far more spontaneously.

                  Rehearsals for the sessions amounted to a couple of days drinking wine, cooking, and hanging out on the beach at the Jersey Shore, and the rhythm and motion of the water seems to have had an undeniable effect on the sessions. Both brought sketches or patches of ideas to the sessions, but the album was essentially conceived in the studio over the course of two days in Philadelphia with engineer Jeff Zeigler (The War on Drugs, Kurt Vile, Purling Hiss, Nothing, etc.), constructed from the ground up, piece by piece and layer by layer. Forsyth describes what you hear as “the birth of these compositions”.

                  The result is an album that despite the freewheeling nature of it's origins, sounds thoroughly composed & song-oriented. Songs like "Long Beach Idyll" and "Cosmic Richard" fuse Forsyth's desert-dusted guitar & Holtkamp's cascading electronics into airy, blissful meditations afloat on an endless ocean, while "Sun Blind" and "Alternator" crackle with intensity, with both musicians seemingly coaxing each other towards something new and primal. 

                  The Butterscotch Cathedral

                  The Butterscotch Cathedral

                    The Butterscotch Cathedral is the new psychedelic studio project from Matt Rendon (The Resonars, Lenguas Largas) with Chris Ayers & Jim Waters. Featuring three tracks total (side one is one 18-min sidelong track, & side two contains "Loud Heavy Sun" & the 17-minute suite "Lisa's Dream") the project is Rendon's homage to the great Sixties & Seventies concept records from bands like The Who & The Beach Boys, both of whom Rendon cite as an influence. Art & design by Jason Willis. Plenty of great music has been the byproduct of a singular vision; that "man-alone" in the studio producing genius works (Brian Wilson, Curt Boettcher, Pete Townshend).

                    Tuscon, AZ's Matt Rendon know plenty about being the "man-alone" in the studio. Ever since he debuted The Resonars in the early Nineties he's produced six albums of Sixties mod-inflected power pop all by himself in his home studio. The Butterscotch Cathedral is the latest album from Rendon & his first project outside of The Resonars since 2004. The Butterscotch Cathedral "s/t" debut is comprised of only three tracks total; one shorter song "Loud Heavy Sun", & two longer suites both nearing the 18 minute mark ("Side A" and "Lisa's Dream").

                    In this day & age, sidelong tracks in the context of a "rock & roll band" are scarce, and 'The Butterscotch Cathedral' hearkens back to an era that could produce albums like 'Smile' & 'Quadrophenia' without batting an eye. Rendon's had two decades to familiarize himself with his home studio & on this album he's never sounded more at home. Rendon attacks the tunes here with renewed vigor, with every song crackling with shimmering melodic intensity & the sharpest hooks this side of The Brill Building. The tunes embedded within the albums sides ebb & flow from fiery rockers to emotive ballads, woven together in a psychedelic tapestry by Rendon & studio-mate Jim Waters. They fold & unfold onto each other like the rolling ocean tides. Songs like "Waterfall Parasol" & "Uncle Tommy's Song" are snappy power pop numbers, utilizing the Resonars model as a springboard into new territory along with the upliftingly melancholic dirge of "Saxifrage Drive" & the 17-minute "Lisa's Dream" suite on Side Two which bounces to & fro between sparkling pop, acoustic balladry, psychedelic mindfuckery & gorgeous, layered vocal harmonies. 

                    RIYL: Parquet Courts, Hookworms, Swell Maps, Blur, Wire, Eddy Current. Parts Primitive is the debut album from London-based band Primitive Parts. The band consists of Sauna Youth, Monotony and Male Bonding alumni / hit-makers Lindsay Corstorphine (guitar / voice) Kevin Hendrick (guitar) and Robin Christian (drums). They first practiced in 2012 after working together in a record shop in Crouch End with the goal to make something 'without fuss', that might sound like 'Stiff Records in the 60s'. They count The Deep Freeze Mice, Mick Jagger and Swell Maps among their many influences. After signing to Trouble in Mind (Dick Diver, Jacco Gardner, The Soft Walls, Ultimate Painting) in 2015 they immediately bought a Tascam 388 multitrack tape device. The resulting recording process was executed succinctly over the next 3 working days across 2 locations - the bands practice room in Homerton and Corstorphine's home, a former furniture factor y in Hackney Wick.

                    Parts Primitive consists of 10 close-knit and succinct songs that aim to evoke a sonic space that could be an imagined 1970s. ‘Miracle Skin’, ‘Signal’,‘Rented Housing’ and ‘Troubles’ are influenced equally by the dynamic Australian garage rock of The UV Race, Eddy Current Suppression Ring and Total Control as they are by the pop sensibilities and British charm of early Eno, The Kinks and Blur. First single, ‘Being There’ is a homage to the 1979 Peter Sellers film about a simple, sheltered gardener. Album closer, ‘Ever Outward’, features an improvised outro played by all 3 members on drum machine and cassette loops. Parts Primitive was recorded by the band directly onto two 7" reels of quarter inch tape, mixed by Mark Jasper at Soundsavers and mastered by Mikey Young overseas. The artwork makes a nod to 1970s photo books 'British Image 1 and 2' and Euan Duff's 'How We Are', old council and librar y letter heads and the painfully thin paper picture sleeves of records by bands like Vain Aims and Protex.

                    The album follows 2 sold-out singles on the SEXBEAT and Faux Discx labels, both of which received heavy air-play from BBC 6's Marc Riley and Jenn Long and were acclaimed by critics including Stereogum and NME. Primitive Parts have shared stages w/Twerps, Franz Ferdinand, The Homosexuals and Juan Wauters. Having recently bought a car, they plan to embark on a full UK tour in Autumn. 

                    FORMAT INFORMATION

                    LP includes MP3 Download Code.

                    RIYL: Tame Impala, Dungen, Goat, Jacco Gardner, Blonde Redhead . Pridjevi is the recording project of Dino Santaleza , Ivana Picek & Nina Romic; a trio of Croatian songwriters who formed the band on a lark, trading ideas & songs over email until birthing what would become Pridjevi's debut album. After releasing it via Bandcamp in the spring of 2014 as a digital-only release, the album caught the ears of Trouble In Mind who present it here in the vinyl & compact disc format.

                    Pridjevi's s/t debut is a dizzyingly psychedelic magnum-opus & a stunning debut, stitching together a seemingly disparate range of inspirations such as psychedelia, acid rock, baroque pop, Tropicalia, and Eastern ragas into an addictivel listenable whole. The band sings entirely in Croation, but the melodies & songs carry the entire weight of the album, holding the listener's attention until the last note is struck. Pridjevi's tunes feel almost like rock devotionals to a higher spirit; heavy, hypnotic & wholly unique. The band has evolved into a fully functional live unit, playing shows & festivals in Europe, building a solid fanbase, particularly in their native country, where the band has already been featured in Rolling Stone & beyond. 

                    “Green Lanes” is the second album from London-based band Ultimate Painting. Formed as a loose collaboration by Jack Cooper (Mazes) & James Hoare (Veronica Falls) the project quickly turned into a full-fledged band in 2014 with the release of their s/t debut album on Trouble In Mind. That album received praise worldwide from NME, Pitchfork, Consequence of Sound & more & with “Green Lanes” the band is poised for more accolades. The album is focused & cohesive, the result of two voices becoming one and each member’s songs complimenting the other, carving out a distinct & unified voice as Ultimate Painting.

                    Slinking out of the gate, the first song “Kodiak” is an hummable future-classic with Cooper & Hoare’s guitars dancing around each other with ease. The licks & lyrics conjuring up images of Sixties California & Seventies New York; a picture of dark clouds on a sunny day. The rest of the album follows suit with the airy, lush harmonies of “Sweet Chris” & “Two From The Vault ” and even kicks up some dust with the chooglin’ “(I’ve Got The) Sanctioned Blues” and the manic ”Woken By Noises”. While their s/t debut was all Cooper & Hoare, this time out, they are augmented by the addition of their live drummer Neil Robinson who provides propulsion on all but one of “Green Lanes”s tracks.

                    The album artwork was once again provided by Portland artist Bradley Kerl, who portrayed Hoare’s London flat & recording space chock full of the equipment used to record both the band’s albums casually tumbling toward the viewer.

                    2015 sees the band hitting the road again, with appearances at UK & European Festivals as well as a full US Tour in the fall in support of “Green Lanes”

                    FORMAT INFORMATION

                    Ltd LP Info: Limited edition coloured vinyl edition.

                    LP includes MP3 Download Code.

                    RIYL: The Wipers, Siouxsie & the Banshees, The Fall, Eddy Current Supression Ring.

                    Debut album from Chicago band formed from the ashes of Tyler Jon Tyler. Furious & snarling post-punk. Negative Scanner have been destroying rooms in Chicago’s vibrant DIY since 2012, earning well-deserved accolades as one of the cities best live bands. Their electrifying debut album finds the band taking on all comers; guitarist / vocalist Rebecca Valeriano-Flores’ gutteral howl & lyrics have gained confidence over the course of the band‘s previous two singles in 2014 (their debut on Trouble In Mind & it ’s follow-up on Tall Pat Records). The band (guitarist Matt Revers, bassist Nathan Beaudoin & drummer Tom Cassling) have evolved into a lurching, post-punk tornado furiously spinning into near-chaos but never leaving the band’s capable control.

                    The album’s opener “Ivy League Asshole” sets the tone - feral & ragged guitars chug over the rhythm section & Flores’ manic yelp spits out lyrics borne out of confusion, agression, domination & submission to life, living, lovers & beyond. The album‘s eleven tracks in 28 minutes fly by the lsitener, threatening whiplash but begging to be replayed. Negative Scanner ’s s/t debut was recorded by the band themselves in their practice space, mixed by Mike Lust ’s Phantom Mobile Unit & mastered by Australian legend Mikey Young (Total Control/Eddy Current Suppression Ring). 

                    Dick Diver managed to avoid the sophomore slump with their 2013 album "Calendar Days" (Chapter Music) & look to perfect a three-peat with their 3rd album "Melbourne, Florida", which hums with a strident assurance, buoyed by the benefit of the band's 4 talented songwriters whose singular voices sit comfortably beside each other in the albums 12 tracks. If Dick Diver weren't already leading the pack of new-school Australian pop (as their ranks include members of TOTAL CONTROL, UV RACE, LOWER PLENTY, & BOOMGATES) then "Melbourne, Florida" is sure to put them in the pole-position.

                    Espectrostatic

                    Escape From Witchtropolis

                      Austin, TX resident Alex Cuervo turned a few heads last year with his new project Espectrostatic; his synth-based electronic project. Cuervo has been knocking around in garage & punk bands since the Nineties, playing in killer acts like the Hex Dispensers, Blacktop, This Damn Town and more, but Espectrostatic showed a different side. Espectrostatic’s s/t debut all but abandoned guitars in favor of spooky electronic pulses & synth drones a’la John Carpenter & Tangeringe Dream. Cuervo is back at it with the follow up album “Escape From Witchtropolis”.

                      “Escape From Witchtropolis” uses elements & themes laid out in the debut, but upping the anté with more sophisticated & subtle arrangements, letting the songs unfold organically, still inferring the presence of a soundtrack to an as-yet-unmade horror flick. Opening with the brooding “Removing The Bandages”, the tone is set as the credits roll, before lurching into the title track “Escape From Witchtropolis”, whose motorik pulse hearkens back to the heyday of industrial dance music (Skinny Puppy, Cabaret Voltaire, Nitzer Ebb). Cuervo has a knack for keeping things taut & intersting, tunes like “The Feral Kids” with it ’s tribal drums & synth squall tumble forward into more orchestrated tunes like “The Obelisk” before retreating inward into the cosmic headspace of “Sinking Into The Microverse” a head-turning drone masterpiece.

                      “Escape From Witchtropolis” conjures visions of musical ghosts past & present; Fabio Frizzi, John Carpenter, Umberto, Skinny Puppy, SPK, Zombi, Goblin & more all are imprinted on Espectrostatic, but Cuervo manages to maintain his own voice among the imfluences, concocting a cohesive & menacing sophomore album. The vinyl edition of “Escape From Witchtropolis” is released on black vinyl with spectacular artwork by reknowned illustrator Drazen Kozjan. RIYL: John Carpenter, Umberto, Fabio Frizzi, Skinny Puppy, Death Waltz, Nitzer Ebb

                      Much has changed for the members of The Paperhead since the release of their TiM debut back in 2011 - tours both domestically & abroad, more releases, college, life, work, love, tragedy. The span of time & growth (both personally & musically) are reflected in the ten tunes on the band’s third album “Africa Avenue”.

                      Recorded by the band themselves in bassist Peter Stringer-Hye’s Nasville garage & mixed by Cooper Crain (Cave, Bitchin’ Bajas), “Africa Avenue” finds its groove in its unabashed melodicism and pop hooks. The title of the album is an homage to a street the band hung out on as children, and the experiences & memories created there drift in & out of lyrics that are appealingly abstract, but hint at an unspoken narrative. The jaunty opener “Africa” sets the scene with guitarist Ryan Jennings’ acoustic strum & sly synth squiggles, before unloading a crunchy guitar hook unlike anything the band has done previously, letting listeners know that something new is happening here; a step towards a full & comfortable immersion in the sounds they love. The band makes no bones of it’s affection for Sixties & Seventies psychedelia, but “Africa Avenue” quietly tiptoes around easy comparisons, mutating itself into something more textured & intricate, leaning more towards avant-pop.

                      The rest of the album has it’s fair share of stunners like the cosmic country of “Mother May”, the folk-raga of “In A Corner, or the harpsichord-sprinkled majesty of “Old Fashioned Kind” all fight for ear-space in an album full of highlights. The true key to the album’s success lies in the band’s synergy that comes from playing together since they were teenagers; the “hive-mind” that enables each to anticipate & play off each other, achieving an effortless grace in their arrangements & performance. “Africa Avenue” feels more organic, sounding like the work of a cracking live band in action rather than a heady, studio construction. A breath of fresh air & without a doubt, the band’s most accomplished effort to date.

                      Jack Cooper (Mazes) & James Hoare (Veronica Falls) are Ultimate Painting. The two formed a fast friendship when Jack’s band Mazes were on tour supporting James’ band Veronica Falls, sharing similar tastes in music, art & films. It wasn’t until after returning home that a musical synergy was formed. After numerous demos were exchanged, a few casual jam sessions turned into something more; a partnership. Christening themselves after a piece of art by the Southern Colorado desert community (and fanciful geodesic dome-builders) “Drop City ”, the lads set to work recording their debut proper.

                      “Ultimate Painting”s ten songs are the fruits of that labor; a collaboration in the truest sense, with each member compsing five songs each creating a seamless journey that is both pastoral & cosmopolitan. Starting off with the breezy “Ultimate Painting”, the tone is set; a woozy & deliberate tune whose simple melody is complimented by two intertwining guitar lines that ride off into the sunset. The album catches fire after that, from the melodically mellow “Can’t You See?” & the yearing, gothic romance of “Riverside” to the bouyant “Rolling In The Deep End” & “Jane” whose sunny melodies belie the workings of the classic “Femme Fatale” who will “bring destruction to you...” “Ten Street ” is the centerpiece of the record, a shuffling head-bopper with hook after hook that ends in two blazing, interlocking guitar solos. The album closes on with “ Winter In Your Heart ”, a song about embracing new paths that life presents - awash in a fog of fond melancholy for chapters past. Ultimate Painting is a new chapter for both of these fellas & the future looks ver y exciting.

                      RIYL: Mazes, Veronica Falls, Velvet Underground, Feelies, Parquet Courts, Television

                      Germ House

                      Showing Symptoms

                        VINYL ONLY RELEASE LIMITED TO 300.

                        Dividing time between Las Cruces, NM & Boston, Justin Hubbard & Tara McManus (MR. AIRPLANE MAN & TURPENTINE BROTHERS) recorded "Germ House" w/Matt Rendon (RESONARS), providing a deranged amalgam of candidly direct & distinctive melodies drizzled atop ragged, lo-fi punk testimonials. Herein lies the uncomfortable duality of Germ House's album - a fascinating suite of tunes that are balancing with equal measure both the melodic & discordant.

                        FORMAT INFORMATION

                        Ltd LP includes MP3 Download Code.

                        Brighton's Dan Reeves is a busy guy. In addition to running his own label, Faux Discx Records & playing in the band Cold Pumas, he also records under the moniker "Soft Walls". These 10 songs are meditations on the passing of time itself & the pre-conceived notions (both external & internal) of what you can & should be doing with it. Filled with avant-leaning psych drones, dreamy guitar ragas, motorik head-boppers, & pop tunes that shimmer enticingly, these are songs to get lost in; to discover & re-discover. Don't worry - there's plenty of time.

                        JC Satan

                        Italian Summer / I Don't Feel Like Dancing

                        Limited edition of 500 on mixed colour vinyl.

                        Already a cult sensation in their hometown of Bordeaux, French band J.C. Satan have been doling out their brain-busting, caffeine-soaked, death rattle since 2009 coaxing 3 albums and numerous singles onto our unsuspecting turntables. This single marks their debut for Trouble In Mind, and picks up right where their 2012 album "Faraway Land" left off, enveloping the listener in the band's black-robed, denim-decked coven of noise.

                        Hailing from London, England, Tyler Zypreska has been crafting shiny pop gems all by his lonesome, building up an impressive backlog of tunes that hit all the sweet spots from O.M.D. to La Dusseldorf, to Trio & the pining ennui of the teenage angst-anthems littering your 'Pretty In Pink' & 'Breakfast Club' soundtracks. Although his influences may lie in the discarded neon bones of the 80's & 90's there's an infectious spark of melodic tune-smithing permeating the album's 10 tunes.

                        Greg Ashley has been melting minds since he was a teenager growing up in central Texas; first in his paint-peeling garagepunk band The Strate-Coats, then in lysergic psych band The Mirrors, and finally to great acclaim in his highly influential quartet The Gris Gris. If that weren’t enough, Ashley has peppered multiple solo albums in between all of these releases tracing along a path that veers to & fro from heady psychedelic freakouts to sensitive, folky tunesmithing. “Another Generation of Slaves” is a bold step off that acid-soaked artery, the nine tunes herein are Ashley ’s most directly poetic suite of songs both melodically & lyrically. “Another Generation...” FEELS different. Recorded in 2013 with a cadre of jazz musicians, the malleablity of his players belies dizzying results, allowing Ashley to focus on communicating the feeling of the tunes in addition to playing them. Lyrically, Ashley has never been one to mince words, but the songs are almost joyously direct.

                        Songs like “Brother Raymond” & “Prisoner #1131267” are character studies, while somber cuts like the folky opener “East Texas Plain” & the sultr y “Patterns Of Days” are extremely insular tunes, unquestionably personal & beautifully unfolded. Ashley ’s grown so comfortable in his ability to craft songs, that even the breezy “Awkward Affections”s brazenly honest lyrics don’t feels forced, but like another piece of the puzzle here. The stories fit together like Ashley ’s own version of “Songs Of Love & Hate” or “Trouble Is A Lonesome Town”. A collection that doesn’t work unless the listener is fully immersed in it ’s world, shackled to it ’s narrative.

                        The first vinyl edition is pressed on randomly mixed 150-gm vinyl, includes a printed inner sleeve with lyrics & a download code. All other pressings will be on basic black.

                        RIYL: Kurt Vile, Lee Hazlewood, Leonard Cohen, Nick Cave, Bill Fay, Mikal Cronin.

                        "Psychic Death Hole”, the ultra limited 6 song cassette released early in 2013 introduced the world to Morgan Delt’s self-produced, genre-bending flavor of brown acid-dosed flowerdelia. Equal parts 'Odyssey & Oracle’ and ‘Parable of Arable Land’ Morgan Delt ’s debut self titled album expands on those initial tracks and brings forth one a fully realized glimpse into the California native’s twisted brain.

                        Morgan cites influences from Curt Boettcher to West Coast Pop Art Experimental Band and rounds it out with golden age Sunset Strip heavies like The Byrds and Love. It’s all in there; obsessively studied, mastered and then mutated. Side one opens with the one/two punch of ‘Make My Grey Brain Green’ and ‘Barbarian Kings’ blasting apart 40 years of pop-psych and stitching it back together in a way that is both familiar but also refreshingly new. ‘Beneath the Black and Purple’ soars with a chiming guitar grumble right out of "8 Miles High" & “Chakra Sharks” squirms it’s way out of the speakers like a snake - oiled up with the stink of not only what came before, but what’s happening NOW. The drums pound hard and heavy, while the backups “la-la-la” all over your noggin like a Frankenstein version of The Flaming Lips & Thee Oh Sees. Each track worms it’s way into your brain and takes hold.

                        The finale ‘Main Title Sequence’, is all Stu Phillips-worship, right out of the soundtrack to your favorite 60’s cult classic with it ’s angelic backing vocals and lilting tremolo lead but somehow still buzzes with a modern current. As Morgan so keenly described his notion on the current state of genre bending music “I think we’ve become unstuck in time and everything is going to happen all at once from now on.”

                        RIYL: Flaming Lips, Thee Oh Sees, Curt Boettcher, Red Krayola, Byrds, Love, White Fence.

                        Wrong Words

                        Everything Is Free

                          This time out, The Wrong Words have enlisted a string section, horns, & woodwinds to carefully guide them through the pop landscape. Songwriter Josh Miller still burns with the fiery restlessness that peppered his tunes on their 2011 s/t debut, but rather than bash & crash their way thru a 2 & a half minute pop ditty, they ease their way from verse to chorus without sacrificing any of their token pop smarts. For most pop bands, "maturing" comes at a cost; sacrificing hooks, watering down the sound, or altering their look - The Wrong Words have dodged that bullet by acknowledging these new elements as pre-existing in the nature of song, ready to be plucked from the tree from which they sprung at no cost whatsoever. "Everything Is Free", man.

                          The sun-soaked hills of Southern California have inspired many a studio autéur - from Brian WIlson to Phil Spector to Harry Nilsson, each having paid tribute to California in song & craft. Frank Maston knows a little bit about craft (and Southern Cali to boot), having spent his youth in The Valley, absorbing the meticulously crafted discography of Msrs. Spector, Wilson, Bacharach, & Morricone, all the while mentally re-scoring the music to old Prisoner episodes & other filmography from the sixties & seventies.

                          "Shadows" is his first proper offering, having produced two solo cassette EPs since 2011 & coalesces the ideas sketched out in those releases with stunning results. Imagine if David Lynch had set Twin Peaks in Malibu instead of the Northwest, & you'll start to peek inside the world of Maston. Brass, woodwinds, organs and piano mix with haunting melodies and eerie guitar lines that seem to spring forth from the very fingers of Alessandro Alessandroni himself. There are no artificial sounds on this record, and Maston plays them all himself (save the harp, played by Ana Caravelle), capturing the sounds naturally thru the warm embrace of true analog gear.

                          From the sauntering "Young Hearts", to slinky instrumentals like "King Conrad" & "Strange Rituals", to urgent pop clatter of "Mirror" the album works as a whole because Frank Maston appreciates the historical musical tradition of 1960's Los Angeles and the music succeeds without irony or pastiche. These songs are not reflections, but shadows. The first pressing of "Shadows" is pressed on 150gm, randomly mixed vinyl, includes a full-color insert & download code. All songs written, produced, recorded and mixed by Frank Maston. All instruments by Frank Mastob except harp by Ana Caravelle Mastered by Mikey Young.

                          RIYL: Brian Wilson, Harry Nilsson, Animal Collective, Van Dyke Parks, Jon Brion.

                          Australia is in a full-on rock & roll renaissance right now, and charging to the front of the pack are Melbourne’s Woollen Kits.

                          ‘Four Girls’ is the follow up to their self-titled debut LP on RIP Society and a continuation of the greatness of their Trouble In Mind debut 7” from summer 2012.

                          The new album finds the band in tip top form - confident and assured, with a suite of their best tunes to date. Songs herein deal with underlying longing or fantasy with individual truths and being fed up with people’s phoney concepts and ideals (which, guitarist Tom Hardisty says: “… in an effort to make themselves feel more deep and interesting to people, are actually creating a barrier between themselves and everyone else by only relating to others on a very one dimensional level”).

                          However, despite this frustration or sense of loss, there’s usually a positive spin on these themes. ‘Cheryl’ is a definite standout on the album, and offers listeners some of the truest lyrics ever put to song with “When you look good, you know you feel good, and when you feel good, you get sh*t done.”

                          ‘Susannah’ is another instant head-bopper with its happy-tappy VU guitar strum and horn interplay. Tom, Tom and Leon have taken the two disparate voices of their debut album and forged a united delivery emphasizing the best of both songwriters’ strengths. It’s got the swagger and jangle of classic Flying Nun and the simplicity and directness of Beat Happening with a dash of late-80s underground rock.

                          For fans of Eddy Current Suppression Ring, Velvet Underground, Tronics, Beat Happening.

                          FORMAT INFORMATION

                          CD Info: CD in slipcase packaging.

                          Hollows have taken the girl group influence of their debut & time warped 20 years, creating a sound that has more in common with Kate Bush than Ronnie Spector & more Go-Go's than Shangri-La's. "Vulture" finds them mining more sophisticated & nuanced sonic territories. Full of yearning throbs, swelling into a symphony of strings (literally!), Caribbean rhythms, plus the crashing drums & organ trills Hollows are known for, "Vulture" is a razor sharp musical talon.


                          FORMAT INFORMATION

                          LP Info: 1st edition comes on randomly mixed colour vinyl.

                          LP includes MP3 Download Code.

                          Mikal Cronin

                          Mikal Cronin

                            Conceived and recorded as a sort of therapy to help cope with adjusting to post-college life, an ensuing break-up and geographic isolation Mikal Cronin steps momentarily away from the rhythm section of Orange County surf-punk bashers, The Moonhearts with his debut solo album. Fans can take heart, this isn't a 'vanity project' or half-baked endeavour - Mikal's solo debut is fully realized, cohesive and beautiful. With themes that are personal as they are universal; questioning the future, accepting the past and living in the moment. Taking influences such as the late sixties Del Shannon and The Everly Brothers and filtering them through his own mutant Californian fuzz, Mikal deftly explores his singer-songwriter side that at moments feel like a punk Harry Nilsson or Curt Boettcher - balancing sweet melodies and chords with chunky, psychedelic guitar freakouts. Don't let the opening Beach Boys harmonies of 'It's Alright?' fool you into thinking this record can be easily pinned down. With long time friend and collaborator, Ty Segall producing, Eric Bauer (Ty Segall, Royal Baths) running the tape machine and guest like John Dwyer of Thee Oh Sees, you can be sure you're in for something special. Once those guitars kick in, and you hit the first transcendent chorus, you'll be hooked....



                            Latest Pre-Sales

                            208 NEW ITEMS

                            PREORDER: Mr. Fingers 'Cerebral Hemispheres' https://t.co/7vorF2MqxF Larry Heard follows up that spectacular 12" w… https://t.co/iX5u0MECij
                            Sat 17th - 2:56
                            A definite hit here @PiccadillyRecs Gonna be on the shop player for some time to come I think..... https://t.co/z203CuoY0F
                            Fri 16th - 1:54
                            We also got this today, what a lovely surprise with our 7's, thanks @courtneymelba, and @Milk_Records xox https://t.co/Ue6K7DLMVQ
                            Thu 15th - 2:42
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