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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

        Mikal Cronin

        Mikal Cronin

          His 2011 debut album - BACK IN PRINT! Produced by Ty Segall. RIYL: Ty Segall, Elliot Smith, Del Shannon, Beach Boys, Everly Brothers, Nilsson. Conceived and recorded as a sort of therapy to help cope with adjusting to life post-college, an insuing 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 LP. Fans can take heart, this isn’t a “vanity project” or half-baked endeavor - Mikal’s 2011 solo debut is fully realized, cohesive and beautiful, with themes that are as personal as they are universal; questioning your future, accepting your past and living in the moment. Taking influences such as late sixties Del Shannon and The Everly Brothers and filtering them through his own mutant California fuzz, Mikal deftly explores his singer/songwriter side that at moments feels like a punk Harry Nilsson or Curt Boettcher that balances sweet melodies & chords with chunky, psychedelic guitar freak-outs. Don’t let the opening Beach Boys-ian harmonies of “Is It 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 guests like John Dwyer of The Oh-Sees, you can be positive you’re in for something special. Once those guitars kick in, and you hit that first transcendent chorus, you’ll be hooked and anxiously awaiting what comes next. “...an album of wistful, psychedelic pop that pits lush and layered arrangements against needle-pinning power chords.” 

          FORMAT INFORMATION

          Coloured LP Info: Limited Green & Red Haze vinyl version

          The Hecks

          My Star

            Chicago trio The Hecks have been at it since 2012, starting out as the duo of guitarist Andy Mosiman & Zach Hebert. The band drafted guitarist Dave Vettraino into the fold, a recording engineer who was recording the band's s/t debut (Trouble In Mind, 2016) & ended up joining the band In 2017. The band's journey to the end result of "My Star" - their second album - has taken them three years. After recording an initial version of the album in 2017, The Hecks started gigging with new fourth member & keyboardist Jeff Graupner, whose synthesized squiggles added some welcome heft & swagger to the band's tunes. After reworking & rearranging much of the new material to accommodate Graupner, the band scrapped the recordings & rebuilt them from the ground up, incorporating Graupner's skills at the keys.

            The results speak for themselves, as "My Star" is a gigantic leap forward for the band, absorbing everything from "Manscape"-era Wire to Paisley Park nu-funk to abstract new wave & art rock plucked straight from the Cold Storage playbook. Much of "My Star"s ten tracks are designed to bewilder; the production is intentionally disorienting, with the mix tipped toward the treble, alternating from sparse to confoundingly dense at times, but never at a disservice to the songs themselves. Opener "Zipper"s intertwining guitar jabs & synth lines herk & jerk so rapidly it's liable to break your neck, while lead track "So 4 Real"s neon-laced dayglo soul ratchets up the mutant funk throb so tightly that the lilting, melodic guitar break at the chorus is a welcome dose of ear-candy. "Heat Wave" dials it back, reveling in romantic washes of synth and flange & it's yearning refrain of "It's tearing me apart, ripping out my heart again"; a captivating, slow burning ballad unlike anything the band has done before. Meanwhile album closer (and title track) "My Star" is so cinematic, it feels like the lost end credits scene to a heartfelt teen drama, with its end coda taking up the bulk of the song's near-eight minute run time. "My Star" is designed to make you move, you just have to let it. 

            FORMAT INFORMATION

            Coloured LP Info: Limited indies-only light blue vinyl.

            Parsnip

            When The Tree Bears Fruit

              Undeniably, Australia has been a fertile crescent of quality music for the past few decades. Its relative geographical isolation has allowed for a microcosm of innovation and communal inspiration that seemingly knows no bounds. Like the root vegetable from which their name comes, Melbourne quartet Parsnip flourished and flowered within that scene. Since their formation in 2016, after releasing two 7-inch EPs on local label Anti-Fade (plus one side of a split LP with fellow Melbourne band The Shifters on Future Folklore), they are ready to unveil their debut full-length "When The Tree Bears The Fruit". "When The Tree Bears The Fruit" is chock full of jangle and spirit; A irresistible mix of garage, surf, girl-group gang vocals and bizarro funk, with a carefree attitude that revels in its idiosyncrasies (crazed wah-wah, warped harmonies, unexpected rhythmic shifts, ambient sounds of the sea) without sacrificing any ounce of melodic fervor. Bassist Paris Reichen's explains the album's title; "I was attending a meditation centre based on the teachings of the guru Sri Chinmoy... When the Tree Bears Fruit stems from his wisdom on the divine quality of humility.

              When the branches are laden with fruit, they are offered to the world. The tree bows down and shares its gifts with all regardless of social status, wealth, age, gender, race, etc". Many of the tunes are symbolic of life's journey & whatever means used to get thru it (see first single "Lift Off", the addictive "Taking Me For A Ride", or the jaunty "Seafarer"), as well as celebrating the vast, weird & wonderful beauty of nature & the world. Look no further than "Sprouts" or "My Window" for evidence. Despite their admitted influences (Maurice Sendak, Beach Boys, Daniel Johnston, William Blake, 'Back From The Grave' comps, Sesame Street, 'Duck Soup'), Parsnip sounds like no one else; this is music that could only be made by close friends & family and the underlying positivity, jubilance and wonder within "When The Tree Bears Fruit" evokes a musical celebration, inviting the listener along to delight in its merry making

              Possible Humans

              Everybody Split

                The debut album from Melbourne, Australia quintet Possible Humans has been a long-time coming. Since forming in 2013, the band (comprised of Samuel Tapper, Leon Cranswick, and the three Hewitt brothers; Steven, Adam, and Mark) have self-released a "live improv" cassette & a two-song 7-inch on Sydney's Strange Pursuits label while periodically teasing a forthcoming full-length and burning up live venues across Australia. Everybody Split was announced to arrive on April Fool's Day of 2019 on ex-Twerps drummer Alex MacFarlane's excellent Hobbies Galore label. Thankfully, it wasn't a prank & the edition of 200 LPs sold out in a week. Trouble In Mind is proud to re-release Everybody Split worldwide in a more substantial pressing in hopes of getting this amazing album into everyone's ears.

                All five members shared songwriting duties on Everybody Split, & the album's nine tracks jangle and clang with that urgent, nervous energy felt in some of the best DIY/underground rock from the past three decades, R.E.M., GBV, Feelies et al, but also absolutely of the NOW, swooning with a smoothed, amber patina of melancholy and longing (see opener "Lung of the City", or "Nomenclature Airspace"). There's a palpable crackle emanating from the tunes on Everybody Split, throwing sparks thru a myriad of interesting melodic/lyrical twists & turns, like the earworm riffage on "The Thumps", that hotwire solo on "Aspiring To Be A Bloke" or the stutter stops / breakdown in the raging "Stinger". Stick around for "Born Stoned", the album's undeniable highlight, packing its near-12 minutes with nods not only to the aforementioned R.E.M. & Feelies dark jangle, but also the smoke & velvet solos of Heyday-era Church or Blue Oyster Cult. Yes, it's really that good. Everybody Split was recorded by MacFarlane himself & mastered by Oz-legend Mikey Young for maximum oomph. 

                FORMAT INFORMATION

                Coloured LP Info: Limited red vinyl.

                Olden Yolk

                Living Theatre

                  The musical duo of Shane Butler & Caity Shaffer released their debut album as Olden Yolk last year, an alluring concoction of hypnagogic folk & kosmiche rhythms, expanding & refining Butler's work in his former band Quilt toward a more focused direction. "Living Theatre" is the follow up to that eponymous debut & more than lives up to its promise. The songs on "Living Theatre" were written & recorded during a heavy time of transition & upheaval for the duo, with personal tragedies and a big move from their NYC home to a warmer climate in Los Angeles coloring the album's inception.

                  Thematically "Living Theatre" tunes seem to be about how humans react to the ways life is colored by both fate and the consequences of the conscious & unconscious decisions we make. Musically, the duo's songwriting has gelled into a unified front, relying more on the subtle shifts of melody & rhythm than a barrage of chord changes; "Living Theatre"s hooks lap at your feet like a babbling brook, rather than bowl you over like violent waves. The refinement in tunes like "Castor & Pollux", "Grand Palais" & first single "Cotton & Cain" points to a new frontier for the group; soaring skyward toward the emotionally textural plateaus of trailblazers like The Go-Betweens or Yo La Tengo. There's a discernible romantic feel to tunes like "Violent Days" or "Distant Episode"'s lush arrangements with Shaffer in particular finding her own voice here; poetic, abstract & expressive. "Living Theatre" showcases a band breaking free from its chrysalis, and embracing its next phase of evolution

                  The Resonars

                  No Exit

                    Tucson, Arizona's Matt Rendon has certainly done his homework. Over the course of 22 years and six albums as The Resonars (seven if you count the Butterscotch Cathedral album; a one-ff psychedelic magnum opus released in 2015) for labels like Get Hip & Burger, Rendon's musical vision has remained unwavering; a paean to a lost-era of analog recording, whip-smart, dynamic songwriting, and soul-stirring anthems to ignite generations. "No Exit" is his latest album as The Resonars.

                    "No Exit" kicks off with the epic clang of "Louise Tonight", which merges dive-bombing guitar licks and bombastic drumming, hinting at the controlled chaos of a modern day Townshend/Moon. Elsewhere, "The Man Who Does Nothing" evokes the shimmering harmonies of The Hollies atop a persistent backbeat, and tunes like "Before You're Gone" "Beagle Theory" sidle up to a dreamy kiwi-jangle strong enough to make Martin Phillips jealous. Conversely, tunes like side two's "All Those Hats" rages with an amphetamine-laced melodic tension reminiscent of The Buzzcocks or The Undertones. Rendon has consistently proven to have a knack for an everyman style of songwriting that doesn't seem rote or tired, lacing his melodic vocal harmonies with that melancholic joy omnipresent in the best numbers by bands like The Beach Boys, Big Star or even Simon & Garfunkel's pop hits.

                    Rendon typically handles all aspects of Resonars albums from the recording & engineering (at his own Midtown Island Studios) to the performance of every instrument, but for "No Exit" he employs the help of some friends & colleagues; Resonars live drummer Johnnie Rinehart plays on half the tunes, while sometimes live members Ricky Shimo & Travis Spillers play bass & sing (respectively) on two numbers. Despite being the first Resonars album in 5 years, Rendon shows no signs of stopping; He's a rock & roll lifer, having been raised in a musical environment & osmosis thru older sibling's rock fandom. Once it's inside you there's no escape. "No Exit", if you will.

                    RIYL: The Who, The Chills, The Hollies, Lemon Twigs, Tame Impala, Big Star, Buzzcocks, Soft Boys, Guided By Voices.

                    Sunwatchers

                    Illegal Moves

                      RIYL: Guerilla Toss, Albert Ayler, Horse Lords, Sun City Girls, John Zorn. NYC quartet ’s third album, former mbrs of NYMPH, Dark Meat, Arthur Doyle’s New Quiest Screamers… "New York quartet Sunwatchers drew a line in the sand with their last album "II", a powerful statement of the band's unique brand of spiritual, free-rock, gonzo attitude and a progressive socio-political worldview. "Illegal Moves" is their second album for Trouble In Mind. "Illegal Moves" is the band's most potent blend yet; a heady potion of free-jazz, psychedelia, punk & noise rock that is both tender and ferocious; the perfect soundtrack to smash capitalism and fix our broken system thru sonic catharsis and revolution.

                      Songs like "Everybody Play" and "Beautiful Crystals" insinuate themselves into your brain with the rubbery synchronicity of bassist Peter Kerlin and drummer Jason Robira. Elsewhere "New Dad Blues" and "Greeneyed Pigmen (Get The Blade)" sting with a righteous fury beyond the piercing scree of guitarist Jim McHugh's electric phin or Jeff Tobias' saxophone skronks, and the band's cover of Alice Coltrane's "Ptah, the El Daoud" transforms her meditative elegy into a fiery protest march. The songs crackle with an energy informed by passionate disgust of the status quo realized on the album cover's illustration of the Kool-Aid Man battling the personifications of evil from across the world. A psychedelicized avatar for the general wrath and action that they believe in."

                      Writhing Squares

                      Out Of The Ether

                        RIYL: Suicide, Hawkwind, The Stooges, The Contortions, King Crimson. Philadelphia band’s second album, following their debut on Siltbreeze. Kevin Nickles also plays in Relapse Records band Ecstatic Vision. Writhing Squares have been conjuring up cosmic slop from the Philadelphia underground for a few years now, mixing growling bass, motorik synthesis, and skronking sax into a heady brew of punk-laced progressive R’n’R. The duo of Daniel Provenzano (Purling Hiss, Spacin, Rosali & the Middlemen) & Kevin Nickles (Ecstatic Vision, Taiwan Housing Project) emerged in 2015 with their self-released “Gemini Blues” 7-inch, following it up the next year with their debut album “In The Void Above” for the renowned Siltbreeze imprint. “Out of The Ether ” is their sophomore effort, & first for Trouble In Mind. “Out of the Ether ” kicks off with the metronomic throb of “Dirt In My Mind’s Eye”, setting the stage for the album’s 5 tracks of minimal, droning ambience, overtaken at times by Nickles’ wailing, saxophone skronk; a mixture of the soulful runs of The Stooges’ Steve McKay & the no-wave stabs of James Chance.

                        “Steely Eyed Missile Man” picks up the pace, with a four-on-the-floor drive underneath Provenzano’s guttural basslines. “Bloodborne Hate and Black Book Mass” and side one closer “I Turned To The Mirror ” add the industrial menace of Cabaret Voltaire to a locked-in groove and lysergicly introspective lyrics. Album closer “A Whole New Jupiter ” takes up all of the LP version’s side two, slingshotting the listener over the event horizon and thru the center of a sonically sculpted black hole, it ’s relentless motorik dirge evolving over the course of the track’s 19-minute run time into an abstract pulse before lurching back into the groove, riding it into the sun.

                        FORMAT INFORMATION

                        Coloured LP Info: Limited indies-only red LP.

                        Rays

                        You Can Get There From Here

                          Oakland band Rays return with their second album, You Can Get There From Here, their first release since their eponymous Trouble In Mind debut in 2016. You Can Get There From Here represents a turning point for the band, angling their scrappy, post-punk fury into a more refined & melodic pop sensibility, drawing inspiration from UK DIY pop & punk like Dolly Mixture, Cleaners From Venus & Television Personalities. Songs like "Fallen Stars" & "The Garden" temper their sonic crunch ever so slightly, relying more on the harmonic wallop of a solid hook than the sheer volume of guitars.

                          This is urgent, chiming guitar pop that clangs with a sonorous melancholy & a ramshackle grace. Rays can still lay it down with the rest of 'em; tunes like "Subway" & "Work of Art" shuffle & stumble forward, skirting chaos in a flurry of strums, recalling antipodean groups like UV Race or Dick Diver who cull inspiration from idiosyncratic UK greats like Mark E. Smith or Robyn Hitchcock. The new album finds the core group of Stanley Martinez, Eva Hannan, Troy Hewitt & Alexa Pantalone augmented by new member & keyboardist Britta Leijonflycht, whose synth flourishes add melodic embellishments, sonic heft or psychedelic swirl where needed. 

                          FORMAT INFORMATION

                          Coloured LP Info: Limited red vinyl version

                          Swiss group Klaus Johann Grobe have been at it since 2012, and as they prepare to release their third album "Du Bist So Symmetrisch" (and third on Trouble In Mind), the group continues to defy description & blur the lines between electronic pop, dance music, synthesis & kosmische. "Du Bist So Symmetrisch" follows the inevitable path laid out by their previous album (the Basel Prize-winning "Spagat der Liebe"), incorporating the slinky, jazz-fusion-laced grooves populating late night clubs and braiding them together with the band's own blend of mutant electro-funk.

                          Driven by an organic, metronomic beat aligned with synth, chant-like vocals, and a monstrous funky bass, the music aims towards a certain kind of hypnosis, particularly as the sleeping pill echo-heavy vocals cycle over the locked grooves the pair throw down. "Du Bist..." begins with the cascading arpeggio of a synth, edging into view, before lurching into the placid dancefloor groove of the first single "Discogedanken". While the band invariably feels more at home in the club, Klaus Johann Grobe certainly aim towards the more dance-orientated arena of German music (see "Der König" or "Von Gestern"), aligning the metro pulse of Klaus Dinger and Kraftwerk's later techno work to more biological factors - like moss growing on the mainframe. 

                          Mountain Movers

                          Pink Skies

                            "Freeway" kicks off "Pink Skies", the seventh album from New Haven quartet Mountain Movers in mid-jam, head down in a motorik, kosmiche choogle. It's a disorienting way to begin, like stumbling into the wrong practice space while a band is rehearsing, but The Movers pull it off, quickly shrugging off any worries with the soft sting of guitarist Kryssi Battalene's fluttering leads. The band settles into the groove immediately and rides it until almost imperceptibly ratcheting up the intensity toward a feedback-drenched ending seven minutes later."Pink Skies", comes closest to capturing what makes The Movers such a thrilling live band, padding the instrumental passages of their primordial psychedelia with lumbering numbers like "Snow Drift" or "My Eyes Are Always Heavy", that stumble forward lead-footed, soaked in a cacophonous clamor with songwriter/guitarist Dan Greene's lyrics floating atop like couplets of magical realism.

                            "Pink Skies" coalesces midway through with long-form jammer "The Other Side of Today", an epic near-twelve minute masterclass in modern, improvised guitar music; the rhythm section of drummer Ross Menze & bassist Rick Omonte sizzles like an acid-fried sunset, and lead guitarist Kryssi Battalene showcases what makes her one of the most enchanting guitarists in the game right now (ask a "head", they'll tell ya). A player able to vacillate between low-key solos that crackle to head-splitting, ear-piercing noise, riding that ever-so-thin line between expertly controlled feedback & chaotic discord. The album's final two tracks "This City" and "Heavenly Forest" blend so seamlessly into one another that all of "Pink Skies" second side feels like one long piece of elemental sonic alchemy. 

                            FORMAT INFORMATION

                            Coloured LP Info: Indies-only Pink vinyl.

                            Matchess

                            Sacracorpa

                              Experimental musician Whitney Johnson has, over the course of her previous two albums as Matchess, considered the sound of sight from different points of view. 2013’s Seraphastra searched for the other side of the visible, 2015’s Somnaphoria filtered that sight thru dream vision. Sacracorpa completes the trilogy, and grapples with the hidden inner realities only ever uncovered during a crisis. The music that comprises Sacracorpa was written after a time of personal crisis for Johnson, who used the following months as a time of healing, recording the music at locations in Chicago, New York (while working on an installation at La Monte Young and Marian Zazeela’s Dream House) and an earth ship outside Abiquiú, New Mexico.

                              Johnson’s extraterrestrial soundscapes pulse and writhe, at times sounding like funeral hymns (opener “Of The Living”) or spiritual invocations, summoning forth the circuit-fried ghosts in the machine that dwell just beyond. (”Of Freedom”, or the mournful “The Misty Realm”) Johnson approaches composition from a shamanic perspective, applying not only a set of spiritual principles, but a set of technical principles as well.

                              Rest, fasting, meditiation all factor into the creation of Matchess compositions, as well as consistent instrumentation; her Ace Tone organ, viola, a Rhythm Ace drum machine, magnetic tape all run thru effects and augmented by field recordings (recordings of a tributary of the Susquehanna River, a dog barking across the Allegheny Mountains, and an alien radio station in a New Mexican Arroyo, among others.), and Johnson’s own voice (sung using a vocal technique she coins the “sigil mantra”, a hybrid of a Buddhist mantra and Austin Osman Spare’s sigil). Sacracorpa is an album of songs of healing, and the truths it reveals. 

                              FORMAT INFORMATION

                              Coloured LP Info: Limited tumeric coloured indies only vinyl.

                              Second self-recorded album from this Chicago punk quartet. Chicago punk band Negative Scanner return to the fray with their second long-player, the cheekily titled Nose Picker. Once again recorded by the band themselves in their Chicago practice space, Nose Picker opens with a question; “Is there anybody there?”, which acts as both a legitimate query as well as a rallying cry. Negative Scanner make it clear that they want your attention, as opening tune “T.V.”s stutter step guitar riff leans into an lean and mean, 4-on-the-floor churn. The rest of the album follows suit, either with raging punk snarl (”History Lesson”, “First Blood”, “Let it Die”), or angular, emotive jagged guitar riffage (”A Cross”, “10 Million Kids”, “The Only One”), punctuated by vocalist/guitarist Rebecca Valeriano- Flores’ voice, teetering between a full throated roar and a plaintive monotone.

                              Her lyrics are insular, spitting accusatory and inquisitory barbs inward, talking to anyone who listen. Is there anybody there? Despite the darkness on the surface, Nose Picker has an unmistakable air of whimsy, and a sense of humor, punctuated by the very literal album cover, and by the sound of a toilet flushing at the album‘s closing. The past two years have seen the band step out of the Midwest DIY spaces and basement shows and tour the USA and Europe, support UK band Sleaford Mods on select dates in the UK and the USA and standing toe-to-toe with the underground’s finest acts, including Sheer Mag, Protomartyr and more. 

                              STAFF COMMENTS

                              Barry says: Hi-octane punk and roll, snarling vox, screaming guitars and fuzzed-out overdrive mix brilliantly into a dynamic, exciting force to be reckoned with. Negative scanner have hit the nail on the head with this one, just what you need to brighten up these hazy summer days.

                              FORMAT INFORMATION

                              Indies Exclusive LP Info: Snot Green Coloured Vinyl.

                              Connections

                              Foreign Affairs

                                Fifth album from the beloved Columbus, OH band and first for TiM, after four albums on Columbus label Anyway Records. Features former members of 84 Nash. Since 2013, Columbus, Ohio's Connections have made four nearperfect albums of lo-fi pop majesty for the seminal Midwest label Anyway Records, and "Foreign Affairs" - their latest album (and first for Trouble In Mind), continues that winning streak with fifteen songs packed with sardonic tunefulness and Buckeye bombast, firmly planting them in the canon of the Ohio Sound.

                                Connections sprung forth from the ashes of Nineties pop band 84 Nash, infamous for being the only non-GBV related band released on Robert Pollard's own Rockathon Records and comparisons to the Indie Rock underdogs seem inevitable, if not a little shortsighted. Connections' brand of indie rock definitely has one foot in The Nineties but maintains a classicist's penchant for nuanced & timeless rock'n'roll. Many songs use
                                classic pop structures (see "Love Me Still"s quiet/loud/quiet power ballad-isms) but subvert them with a clever melodic twist, a bonkers twinguitar solo or unexpected synth squiggle underneath.

                                These guys have done their homework, but nothing feels studied - they've drunk from the waters of the Ohio Underground and the tunes flow forth naturally, with nods to their Nineties brethren (GBV, Breeders, Gaunt) as well as idiosyncratic Midwest legends like Mike Rep and The Quotas or Thomas Jefferson Slave Apartments. For every obvious, life-affirming hit on 'Foreign Affairs' (the bouncy "Good Cop" or bombastic "Low Low Low") there are equal numbers of stealthy earworms like the chiming "Short Line" (with it's humming anti-chorus), or the yearning, organ-drenched "Downtown" to name
                                a few. The sixteen songs ooze familiarity and an instant lyrical relatability, with singer Kevin Elliot's lyrics reveling in the everyday's little details; good friends, love and rock 'n' roll with restlessness and desire in a harsh, unforgiving but still beautiful world. 

                                FORMAT INFORMATION

                                Coloured LP Info: Limited red vinyl version.

                                The Love-Birds

                                The Lover's Corner

                                   RIYL: Twin Peaks, Teenage Fanclub, dBs, Game Theory, R.E.M., Replacements. Mastered by Norman Blake (Teenage Fanclub). San Francisco’s The Love-Birds have been tearing up their local scene, breaking hearts and making fans across the city ’s disappearing DIY spaces and proper venues alike since 2016. After releasing a 7-inch EP in early 2017 via local label Empty Cellar Records, they ’re ready to unveil In The Lover ’s Corner, their debut album & first release on their new home, Trouble In Mind.

                                  The album eases into view with the first track, “Again”; it ’s gentle acoustic strum augmented by guitarist Eli Wald’s chiming electric twelve-string. From there the listener is treated to dynamic, life-affirming power-pop; bell-ringing, fuzz stompers (”River Jordan”), warm, carefully crafted fragile pop (”Clear The Air ”, “Failure and Disgrace”), and urgent, cr ystalline rockers (”Hit My Head”, “Weak Riff ”). The Love-Birds approach their craft with a classicist ’s ear; with nods to their Seventies originators as well as Nineties torchbearers, composing near-perfect future classics that ooze with subtle, interesting melodic twists and hummable, finger-pricking hooks that are instantly memorable.

                                  Aside from mastering by Norman Blake (Teenage Fanclub), In The Lover ’s Corner is a decidedly local affair, with album art by Shayde Sartin (Fresh & Onlys, Sonny and the Sunsets) and recorded in two sessions, one with engineer Glenn Donaldson (Art Museums, Skygreen Leopards) and another with Kelley Stoltz. “ In The Lover ’s Corner ” is issued on CD and Black vinyl (and a limited, yellow vinyl version for direct accounts) and will be available via all digital retailers and streaming services. 

                                  En Attendant Ana

                                  Lost And Found

                                    Debut full length following a limited 12”EP. Parisian quintet En Attendant Ana has been nonchalantly crafting perfect pop songs in their homeland since 2014. Their debut "Songs From The Cave" was released on cassette and LP by Buddy Records / Nominal Records in April of 2017, garnering rave reviews and making fans of discerning reviewers like Dusted and Social & Fuckin' Record Reviews for their refreshing blend of nouveau French pop, C86 indie and foggy Flying Nun in¬uenced jangle. Their new album "Lost and Found" hones in on that EPs strengths & shines the hooks 'til they shimmer. Recorded in the Paris suburb of Montreuil in October of 2017 by engineers Nicolas Pommé and Guillaume Siracusa, "Lost and Found" begins with the ominous clanging of guitars, before launching into a churning whirl of sound; guitars slash, keyboards drone, trumpets (yes trumpets) wail and drums crash.

                                    What follows are nine more songs of urgent and thrilling pop dazzle.; from the adrenaline-soaked anthem "This Could Be", to the driving "Ré" (re-recorded from the EP) with it's rapturous "oohs" & Camille Fréchou's uplifting trumpet fanfare, echoing Entwistle's French horn lines from "Sell Out"-era Who. The hooks on "Lost and Found" dig deep, as each song worms its way into the listener's subconscious via a memorable melody, a chiming guitar line, or a trumpet trill, alternating between hip-shaking swagger and head-bopping sway. Vocalist / multi instrumentalist Margaux Bouchaudon's a yearning, tuneful register can't help but recall the indie cool of Laetitia Sadier or Nico, but still boasts a style of her own.

                                    Bouchaudon says her lyrics "talk about our everyday life, about the di¬culty of being a young adult now and how we deal with this metamorphosis, trying to give sense to our future, considering our family, our friends and the society we live in. They talk about us, about the individual and the collective. They talk about our fears and our doubts. But most of the time they talk about hope." The clarity and timelessness of Bouchaudon and guitarist Romain Meaulard's songwriting, combined with a thrilling live show proves them to be a band lled with craft and promise. 

                                    FACS

                                    Negative Houses

                                      FACS sprung forth in early 2017 , Brian Case, Jonathan van Herik & Noah Leger were formerly of Chicago band Disappears. "Negative Houses" is their debut recording; an abstraction of their former outfit, even more minimal and bare than what came before. "Negative Houses" approaches the stark, gothy post-punk previously perfected more rhythmically and abstract than in Disappears, with Leger's motorik, machine-like drumming taking the forefront (see the tunes 'Skylarking' and 'Others') and van Herik's guitar alternating between slashes of dissonant ambience and percussive accent. Case switches from guitar to bass in FACS, adding an economical throb to the band's drive on songs like 'Just A Mirror' & the album's centerpiece, the near nine-minute, sax-soaked tour-de-force 'Houses Breathing', whose electric heartbeat lumbers forward, sounding like an outtake from Cold Storage Studios circa 1979. 

                                      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. 

                                        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. 

                                          STAFF COMMENTS

                                          Barry says: The familia, often-tread middle ground between folk and psychedelia is a dangerous one. On one hand, you have bands which sound like they could have come from any era in the past 30 years, and could slip away a mere month later. On the other hand, you have the undiluted hypnotic beauty and filmic soaring majesty of Olden Yolk, perfectly marrying the mind-melting chemical meltdown of the 70's with the pristine production and thematic purity of todays folk. Superb.

                                          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.

                                          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.




                                            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. 

                                            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. 

                                            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.

                                            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.

                                            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.

                                              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.


                                                Latest Pre-Sales

                                                192 NEW ITEMS

                                                Congratulations to Dave @Santandave1 who won this years @mercuryprize with his album ‘Psychodrama’.… https://t.co/opUjTas2Lh
                                                Sat 21st - 10:33
                                                We have FIVE pairs of tickets for @lifebanduk who are playing @yes_mcr on Sunday October 27 stashed inside five ran… https://t.co/MAiqKQKDnb
                                                Fri 20th - 1:21
                                                Happy new music Friday everyone. Check out the beautiful new banners on our walls today to celebrate three great ne… https://t.co/jjALV0moWu
                                                Fri 20th - 8:28
                                                Two copies found! First come first served! Macintosh Plus 'Floral Shoppe' https://t.co/LnCszvsT8M https://t.co/yAPQF5DHDc
                                                Thu 19th - 12:13
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