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Ride

Nowhere - 2022 Reissue

    Ahead of their ‘Nowhere’ 30th anniversary UK tour starting 20th April, shoegaze legends Ride have announced the details of the reissues of their early classic albums via Wichita Recordings.

    Back in the early 90s, before indie bands made the tabloids, Ride were one of our great white hopes. Fusing the sonic headrush of My Bloody Valentine with the Byrds' jingle-jangle immediacy, they seemed destined to shine. Debut album "Nowhere" captured them at their adolescent peak and "Vapour Trail" is effectively their signature tune; FX pedal-enhanced guitar assaults and nascent teenage vocals tempered by a love of all things pop.

    TRACK LISTING

    Seagull
    Kaleidoscope
    In A Different Place
    Polar Bear
    Dreams Burn Down
    Decay
    Paralysed
    Vapour Trail

    Ride

    Going Blank Again - 2022 Reissue

      Ahead of their ‘Nowhere’ 30th anniversary UK tour starting 20th April, shoegaze legends Ride have announced the details of the reissues of their early classic albums via Wichita Recordings.

      The follow-up to "Nowhere", "Going Blank Again" saw the Oxford quartet embrace their prog side. Lead single "Leave Them All Behind" was an eight minute FX-pedal onslaught that somehow managed to crack the top twenty and get them on TOTP. On the other hand, "Twisterella" and "Mouse Trap" proved they could strip away the noise in favour of concise three minute pop melodies. A career best.

      TRACK LISTING

      1. Leave Them All Behind
      2. Twisterella
      3. Not Fazed
      4. Chrome Waves
      5. Mouse Trap
      6. Time Of Her Time
      7. Cool Your Boots
      8. Making Judy Smile
      9. Time Machine
      10. OX4
      11. Going Blank Again
      12. Howard Hughes
      13. Stampede
      14. Grasshopper

      Ride

      4 EPs - 2022 Reissue

        Ahead of their ‘Nowhere’ 30th anniversary UK tour starting 20th April, shoegaze legends Ride have announced the details of the reissues of their early classic albums via Wichita Recordings.

        TRACK LISTING

        Chelsea Girl
        Drive Blind
        All I Can See
        Close My Eyes
        Like A Daydream
        Silver
        Furthest Sense
        Perfect Time
        Dreams Burn Down
        Taste
        Here And Now
        Nowhere
        Unfamiliar
        Sennen
        Beneath
        Today

        Carrtoons

        Homegrown

          A year and a half after releasing his self-produced, independent full-length LP Saturday Morning to critical acclaim, producer and multi-instrumentalist CARRTOONS plans his return to music with his next album, Homegrown. Evolving his trademark Modern Motown sound, CARRTOONS continues to expand his already diverse musical repertoire in jazz, soul, hip-hop, and more. 

          The youngest son of jazz violinist Richard Carr (Bill Laswell, Bootsy Collins), Ben received his college degree in Jazz Performance, made his debut with Mad Satta, and opened for artists like Thundercat, Nick Hakim, Gabriel Garzon Montano, and Mac Ayres. Over the last few years, he has become one of the most sought-after producers in music through his eye-catching Instagram videos, powerful bass lines, and memorable melodies. His unique fills, phrases, and compositions made him an instant favorite, leading to recent collaborations with Robert Glasper, Alex Isley, Kiefer, and Butcher Brown.

          The success of Saturday Morning was the first sign of evolution in CARRTOONS career, with the album surpassing 2 million streams on Spotify in mid-February. The ad placement of his track "Give It Up" with Green Mountain Coffee gave him exposure to a whole new audience, while his guest feature on the Tiny Desk series rearranging the NPR theme songs for their 50th anniversary was also a hit. Starting 2022 off strong, CARRTOONS' recent work with The KOUNT led to the release of their ultra-viral video "On My Way" and the organic growth of over 100,000 followers in 4 weeks on Instagram.

          His continued strides in music, along with astonishing growth across several platforms is clear indication of Ben Carr's promise and potential. More than just an album; Homegrown characterizes the hard work, seeds sown, and natural growth of a gifted musician. An artist you will want to watch!

          TRACK LISTING

          1. Homegrown
          2. Toons
          3. Groceries (feat Nigel Hall)
          4. Be There For You
          5. Lighta (feat Rae Khalil)
          6. Vamp
          7. Read My Lips (feat Floyd Fuji)
          8. Cadillac (feat Richard Carr,Pierce Allen)
          9. Hollywood
          10. Flamingos (feat Tennishu)
          11. Young Buck (feat DJ Harrison)
          12. Northern Lights (feat Fonville)
          13. Pressure Over Pleasure (feat Lo Artiz,Julia Zivic)
          14. White Widow

          Julia Bardo

          Bauhaus, L'Appartamento

            Debut album from Manchester-via-Italy singer, songwriter and guitarist Julia Bardo.

            Produced and mixed by Younghusband’s Euan Hinshelwood, the record firmly establishes Bardo’s musical adventurousness and prowess, and marks a cathartic and self-affirming moment for an artist who found her voice by realizing it's been there all along.

            The album is best summed up by the woman who wrote it all: “Bauhaus, L’Appartamento is about loneliness, solitude, separation...but also unconditional love,” Bardo reveals of the record’s overarching themes. “Family, emotional dependency, mental health issues, feelings of emptiness and numbness, feelings of not being enough, inability to be in control of my own emotions, self-doubt, self-reflection, past traumas and dealing with them.”

            Named after the apartment complex she lived in when demoing the album’s recordings, but with an Italian twist.

            Follows the release of two EPs, Phase and The Raw EP, which saw her experiment further with her wistful and mysterious sound to become the alternative pop artist she is today.

            Her musical journey began in Brescia in Northern Italy, where she sang and wrote lyrics for a local band between shifts at her father’s bar. A free spirit craving new inspiration, she relocated to Manchester and it was here she developed her striking style as a solo musician before also meeting and joining post-punk band Working Men’s Club. Never losing her strong desire to have full creative control over her music, she returned to become a solo artist again.

            STAFF COMMENTS

            Emily says: Julia Bardo: Local talent alert!! Gorgeous, off kilter pop songs which have more bite to them than you might expect. Sonorous vocals and deft melodic interplay met with moments of jangling dissonance. FFO Cate Le Bon and Aldous Harding!

            Ride

            Clouds In The Mirror : This Is Not A Safe Place Reimagined By Pêtr Aleksänder

              Ride handed the entirety of their highly acclaimed 6th studio album, ‘This Is Not A Safe Place’, to mysterious London act Pêtr Aleksänder, who stripped the songs back to just the vocals and added their customarily beautiful string arrangements, keys and synth textures beneath them.

              The results take Ride deep into the neo-classical / ambient territory that a couple of the remixes of their previous album hinted at.

              TRACK LISTING

              R.I.D.E.
              Future Love
              Repetition
              Kill Switch
              Clouds Of Saint Marie
              Eternal Recurrence
              Fifteen Minutes
              Jump Jet
              Dial Up
              End Game
              Shadows Behind The Sun
              In This Room

              Julia Bardo

              Phase

                Debut EP from the Italian-born Manchester based Julia Bardo. ‘Phase’ represents the artist’s quest to make music that is entirely her own. While studying in Manchester, Bardo met members of Working Men’s Club, the chugging post-punk English band she would join. Yet she still itched to have full creative control over her music, which she uses as a means to understand herself better. “For me, music is about healing what is hurt inside of me. I heal by writing and talking about what troubles me. I’ve always been very lonely, and I’ve always been very emotional - these things inform my music quite a bit.”

                Bardo’s first-written, debut solo single ‘Desire’ earned attention from The Line of Best Fit and BBC Radio and saw her enchant audiences at UK festivals like Neighbourhood, Liverpool Sound City and The Great Escape. Yet ‘Phase’ marks a defining moment for a forward-facing young artist and comes with a stark warning: don’t get too comfortable. “‘Phase’ is a wave, you know; I get inspired and each time I write, it’s an evolution of what I wrote before.”

                Bardo’s music illustrates her constantly changing world through journal-like observations that log each trauma and triumph, influenced by the music she grew up with (Italian musicians from the 60s such as Mina, Lucio Battisti, Patty Pravo and other icons of that era like Nancy Sinatra) as well as her modern day heroines (Cate Le Bon, Angel Olsen, Aldous Harding, Lucy Dacus, Sharon Van Etten, Jessica Pratt and Weyes Blood, to name a few). She co-produced ‘Phase’ alongside The Orielles’ Henry Carlyle Wade at Stockport’s Eve Studios. “It was exciting,” Bardo recalls. “For the first time these songs feel like me.”

                TRACK LISTING

                Into Your Eyes
                Please Don’t Tell Me
                Lonely Morning
                I Wanna Feel Love

                Will Samson

                Paralanguage

                  Will Samson still remembers his first - and only - experiments with psilocybin. For some time, following the death of his father in 2012, the British musician had suffered from mild PTSD, unable to process the grief provoked by the sudden nature of his passing. It took him several years, however, before he felt confident enough to explore the possibilities this popular compound was said to offer. Finally, he and his girlfriend retreated to the countryside for a day. Samson’s fifth album, ‘Paralanguage’ - his first for Wichita Recordings - was in many ways inspired by his subsequent experiences and seeks to emulate them too. Indeed, vocals for two tracks, ‘Ochre Alps’ and ‘Flowerbed’, which he’d been struggling to finish for a number of months, were written and recorded over two subsequent afternoons spent micro-dosing.

                  Perhaps not surprisingly, ‘Paralanguage’ - the title chosen because the album’s central themes address the way “our bodies, not just our minds, hold memories and emotions” - is Samson’s most cohesive album to date. There’s a conspicuously tender thread running through its eight songs, from ‘Calescent’, its eloquently poignant opener, to ‘Lacuna’’s fuzzy nostalgia, from ‘Beyond The Dust’’s sweet serenity to ‘The Smallest Sliver’’s redemptive fragility. Samson’s voice, too, has never sounded more moving, committed or confident, his yearning falsetto as touching as his gentle tenor - comparisons to Sufjan Stevens and Patrick Watson are not inappropriate - while his arrangements are intricate yet never ostentatious, with precisely detailed programming inseparable from the warmth of his analogue instrumentation. “Perhaps,” Samson observes, “it's a reflection of feeling more centred and grounded.”

                  Recorded largely in his home studio in Brussels - the first time he’s had a space exclusively devoted to his music - ‘Paralanguage’ finds Samson reunited with regular collaborator Beatrijs De Klerck, a violinist who also plays with A Winged Victory For The Sullen and Christina Vantzou. Ben Lester, who’s worked with S. Carey and Sufjan Stevens, added pedal steel to ‘Beyond The Dust’ and Jeremy Boettcher (who also performs with S. Carey) added double bass to ‘The Human Mosaic’, while Canadian songwriter Michael Feuerstack added backing vocals to ‘The Smallest Sliver’.

                  Otherwise, the album is all Samson’s own work, a testament to his desire to seek peace not just on record but in his life. A tribute to his inquisitive nature, ‘Paralanguage’ is also, ultimately, a memorial to his father, whose life shaped Samson’s own and whose tragic passing has now inadvertently yielded a source of magical consolation for us all. As the 30-year-old sings on ‘The Smallest Sliver’, “Sometimes my love feels too big for my body / So I have to let it go.” In doing so, Will Samson has allowed us all to share it.

                  TRACK LISTING

                  Calescent
                  Beyond The Dust
                  Flowerbed
                  Triplet
                  Lacuna
                  The Human Mosaic
                  Ochre Alps
                  The Smallest Sliver

                  Oscar Scheller

                  HTTP404

                    We dare you not to smile ear-to-ear when listening to Oscar Scheller’s newest single, Interstellar Disco. Despite its cheerful disposition on the surface, the song’s cosmic alignment into existence actually occurred from a darker place. Oscar explains “The day I wrote it was probably one of the hardest days of my life and it means something very special to me. Luckily I was writing with Lucy (PAWWS) who is a musical soulmate and the perfect dance partner. We found a bittersweet escape. It’s there when you need it”.

                    “It’s a song about a two friends meeting at a fantasy location called the Interstellar Disco. It’s a place you go when the sky feels too low and the universe feels too big and you just wanna forget about everything and dance like Napoleon Dynamite”.

                    Oscar’s forthcoming HTTP404 project boasts a series of noteworthy collaborations with the likes of Lily Allen, Ashnikko, Havelock, and Kero Kero Bonito’s Sarah Midori Perri. The set of songs focuses on the importance of searching for something that no longer exists, not finding what you’re looking for. It’s philosophical & existential in places, but there’s an underlying message across the board to stop thinking about things so much & just start living!

                    Speaking about the project Oscar Scheller had to say “I’ve been gone for a minute, trying to find myself, and I think I did. I also found a lot of friends along the way. What you’re looking for may not exist how you think it does. It may not even be what you thought it was either. HTTP404 is where I’ve been. But now I’m back online with good enough WiFi and a heart full of love”.


                    TRACK LISTING

                    1 1Up
                    2 Picture Perfect
                    3 Interstellar Disco
                    4 1%
                    5 Confidence
                    6 Estate Of Mind
                    7 Runaway
                    8 Go
                    9 Happy Meals
                    10 Tidal Waves
                    11 Young

                    Ride are back with their second album since reforming — it’s titled This is Not a Safe Place and is out via Wichita. They once again teamed with producer Erol Alkan and mixer Alan Moulder, both of whom worked on 2017’s Weather Diaries, which came together quickly at the end of 2018. The first single is the sparkling “Future Love” which feature Ride’s lush, signature harmonies. They’ve always had a Byrds side to them and that plays out nicely here in a “Twisterella” kind of way. “Future Love is a song about the beginning of a relationship, when everything feels possible,” says the band’s Andy Bell. 

                    STAFF COMMENTS

                    Barry says: Ride were obviously one of the most influential bands in the shoegaze scene in the early 90's but since their reformation for 2017's ' Weather Diaries' have veered a little more towards the more stargazing end of the indie spectrum. Big rock choruses and catchy riffs work their way beautifully beneath the ever-hypnotic vocals of Gardner & Bell. A huge leap from their already brilliant 2017 offering, and another sign of Ride's essential place in our musical landscape.

                    TRACK LISTING

                    R.I.D.E.
                    Future Love
                    Repetition
                    Kill Switch
                    Clouds Of Saint Marie
                    Eternal Recurrence
                    15 Minutes
                    Jump Jet
                    Dial Up
                    End Game
                    Shadows Behind The Sun
                    In This Room

                    After a two-year hiatus, Los Angeles’ noise-rock trio Froth is back with their most fully realized work to date. A band of impeccable musicianship and an elevated sense of humor, the lead single is a twisted love song underlined with blown out guitars. “This song is about a guy who listened to the Yanny/Laurel thing and he can only hear Laurel,” shares the band. “He’s really passionate about Laurel being the correct pronunciation to the point where he will die before admitting otherwise. In the end, he reveals that he loves his girlfriend more than he loves the correct pronunciation of “Laurel/Yanny”.

                    Froth has never been a band content with the status quo. After three records, scoring the Saint Laurent Men's Fall 2014 line fashion show (with frontman Joo Joo walking in the show), and forays into shoegaze, psychedelia and post-punk, the band of Joo-Joo Ashworth, Jeremy Katz and Cameron Allen have stepped outside the shadow of their influences and into something wholly their own. Co-produced with longtime friend and collaborator Tomas Dolas (Oh Sees/Mr. Elevator), the record is unapologetically experimental yet undeniably accessible. It’s an impressive and self-assured statement from a group only just entering their prime.

                    With Duress, Froth has finally been able to realize their vision without compromise. Mirroring their open-minded studio approach, Froth’s live show is equally enthralling in its incorporation of analog synthesizers, overdubs and drum machines.


                    STAFF COMMENTS

                    Barry says: Trading in the sort of head-nodding eyes-closed psychedelic fuzz that King Gizz *could* do if they tried (sorry), Froth are immediately satisfying but brilliantly deep, revealing more charm to their angular and surprising melodic turns the more you listen to them. Brittle in points, but perfectly measured throughout, 'Duress' is an exciting and exhilarating ride.

                    TRACK LISTING

                    Laurel
                    Catalog
                    Dialogue
                    A2
                    Department Head
                    77
                    John Peel Slowly
                    Xvaños
                    Slow Chamber
                    Syndrome

                    Indoor Pets (formerly known as Get Inuit) formed straight after leaving school in Sittingbourne, Kent, it wasn’t long before their effortless songs were attracting attention, with one of them making Record Of The Week on BBC Introducing and within two weeks Huw Stephens had picked up on the track.

                    For the next few years Indoor Pets wrote and gigged incessantly, building up a batch of killer tunes and a devoted fanbase across the country. They did, and still do, everything themselves. From making the artwork to organising their own tours on the road, producing music, building their own stage monitoring system and even running their own finances (Simpson: “if anyone wants to spend any money they have to ask me,”). It’s a fiercely DIY ethic born less from punk principle as it was from necessity. “It was either do it yourself or don’t have it done,” notes Glass, “and we decided to do it ourselves.”

                    Signing to Wichita Recordings, the band set about recording their debut album, a record seemingly full of a bottomless pool of great tunes. Familiar feelings of not fitting in or wanting to play the hand life’s dealt you are delivered with self-deprecating wit and Glass’ trademark use of double-bluffing word play. Think Rivers Cuomo and a pre-sandpit Brian Wilson bunking off school to play records and snigger at the cool kids. They’re smart, life-affirming and all contained within a thumping primary-coloured pop wallop.


                    STAFF COMMENTS

                    Barry says: Brilliantly encompassing the lo-fi aesthetic that's become so popular nowadays, Indoor Pets have a penchant for snappy percussion and mid-heavy fuzzy guitars, all topped with the snarling vocals of Jamie Glass. It's an intoxicating combination, and one sure to have you bobbing your head with the best of 'em. Awesome.

                    TRACK LISTING

                    1. Hi
                    2. Teriyaki
                    3. Thick
                    4. Spill (My Guts)
                    5. Pro Procrastinator
                    6. Couch
                    7. Heavy Thoughts
                    8. The Mapping Of Dandruff
                    9. Being Strange
                    10. Mean Heart
                    11. Good Enough
                    12. Barbiturates
                    13. Cutie Pie, I’m Bloated
                    14. My Amnesiac

                    Feels

                    Post Earth

                      Second full-length album from Los Angeles’ melodic noise punk quartet Feels

                      The follow up to their Ty Segal-produced debut for Castle Face debut – which earned the band press attention from outlets including The Fader, Spin and The Los Angeles Times - sees them capture their incendiary live show on record. This time they teamed up with legendary producer Tim Green (Bikini Kill, Sleater-Kinney) to record at Louder Studios.

                      The album features a range of sounds, from driving basslines reminiscent of the Breeders on tracks like "Find A Way", to swirling vocal harmonies on "Awful Need" subtly nodding to Warpaint, and the crushing title track "Post Earth“, an accumulation of grunge rawness and towering Queens of the Stone Age riffs

                      TRACK LISTING

                      1. Car
                      2. Awful Need
                      3. Deconstructed
                      4. Find A Way
                      5. W.F.L.
                      6. Sour
                      7. Last Chance
                      8. Post Earth
                      9. Toll Booth
                      10. Anyways
                      11. Flowers

                      Cleveland, OH’s Cloud Nothings return with their loudest record to date. Undeniably one of the finest and most captivating live acts on the face of the planet, this record goes further towards capturing that power and intensity than any of their previous releases.

                      The album was produced by legend of heavy music Randall Dunn (Sunn O))), Earth, Oren Ambarchi, Marissa Nadler, Black Mountain) at Sonic Ranch in El Paso, TX.

                      Weighing in at just over thirty minutes it’s a singular listen that reflects the band’s live tenacity - one that sees them surge through the tracks at a speed hitherto unseen on previous outings - the perfect antidote to 2017’s ‘Life Without Sound’.

                      STAFF COMMENTS

                      Barry says: Brilliantly dynamic thrashing punky riffs, angular math-rocky riffing and snarling vox, all brought together into Cloud Nothings' newest outing. Richly melodic but filled with unexpected twists and turns, forging an interesting and rewarding listen. Definitely one for blasting out at the skate park.

                      TRACK LISTING

                      On An Edge
                      Leave Him Now
                      In Shame
                      Offer An End
                      The Echo Of The World
                      Dissolution
                      So Right So Clean
                      Another Way Of Life

                      The Goon Sax

                      We're Not Talking

                        The Goon Sax are James Harrison, Louis Forster and Riley Jones from Brisbane, Australia. Still in high school when they made their first album Up To Anything in 2016, their brand of awkwardly transcendent teenage guitar pop took earned them wide-spread critical acclaim.

                        For album number two, they flew to Melbourne to record with James Cecil and Cameron Bird, respectively former/current members of Architecture In Helsinki, and 'We're Not Talking' shows how much can change between the ages of 17 and 19. It's a record that takes the enthusiasms of youth and twists them into darker, more sophisticated shapes. Relationships are now laced with hesitation, remorse, misunderstanding and ultimately compassion.

                        Drummer Riley Jones really comes to the fore here, joining Louis and James in singing lead and writing songs for the first time, making the band the musical equivalent of an equilateral triangle (the strongest shape in physics).

                        Delivering brilliantly human and brutally honest vignettes of adolescent angst, The Goon Sax brim with personality, charm and heart-wrenching honesty. 'We’re Not Talking' is a record made by restless artists, defying expectations as if hardly noticing, and its complexity makes 'We're Not Talking' even more of a marvel.




                        STAFF COMMENTS

                        Barry says: 'Up To Anything' was a revelation when it came in, brilliantly clever and melodic, but gritty and poetic at the same time. 'Were Not Talking' continues that legacy but with a bit more of a world-wise tilt, swapping out some of the major key melodies and psychedelic progressions for more solemn interludes, focused more on the nuances of songmanship than the youthful power of the debut. A brilliant progression from this Australian trio, and yet another reason why we'll continue to love The Goon Sax.

                        TRACK LISTING

                        1. Make Time 4 Love
                        2. Love Lost
                        3. She Knows
                        4. Losing Myself
                        5. Somewhere In Between
                        6. Strange Light
                        7. Sleep EZ
                        8. We Can't Win
                        9. A Few Times Too Many
                        10. Now You Pretend
                        11. Get Out
                        12. Til The End

                        Simian Mobile Disco

                        Murmurations

                        Simian Mobile Disco's fifth full length album, "Murmurations", features vocals from celebrated Hackney-based collective The Deep Throat Choir and sees the established dance duo further bolster their already impressive sonic portfolio with another thrilling nine songs done in their inimitable, stadium-pleasing electronic style.

                        As perfectly pitched for headphones as it is for clubs, and named after giant cloud formations of starlings and themed around the stunning emergent behaviors that appear within them. To mirror these movements in the sonic landscape and visuals of "Murmurations", SMD’s James Ford and Jas Shaw also collaborated with creative directors Kazim Rashid of ENDLESSLOVESHOW (Aphex Twin, Flying Lotus, Hudson Mohawk) and Carri Munden. Together with The Deep Throad Choir, they have created a sprawling, dramatic and expansive piece of work. The delicate and evocative vocal parts ride SMD's textured electronic structures and rhythms in ethereal and enchanted ways, while the long duration of the tracks truly absorbs the listener in their magic. This is some of the strongest work we've seen from the pair and a brilliant introduction to TDTC should they require the exposure. A truly accomplished album which finds Simian Mobile Disco in fine form. 


                        STAFF COMMENTS

                        Matt says: Simian surprise me endlessly by actually making a record I really like! The ethereal mix of haunting choir and SMD's shimmering soundscapes is evocative and cinenmatic indeed. Ace.

                        TRACK LISTING

                        1. Boids
                        2. Caught In A Wave
                        3. We Go
                        4. Gliders
                        5. Hey Sister
                        6. A Perfect Swarm
                        7. Defender
                        8. V Formation
                        9. Murmuration

                        Scent

                        KIM EP

                          Scent are...

                          Three mammals in a basement lounge taking turns to look hungrily at white-socked feet through a lopsided crack in the ceiling.

                          A neutral/nocturnal pop group happiest when fed and cleaned by forces from above, half-lit by the sounds of a vacuum choir in the ether.

                          Hot, sick and fragile, they do what they can with their nubile instruments, though sometimes it doesn’t produce the results they want.

                          The latest signing to Wichita Recordings, and one of only two acts ever signed to the label as the result of an unsolicited demo email (theirs is available for viewing upon request).

                          The band said the following:

                          "He hung skinny in the basement for a week or two. Didn’t go outside. Blindsided by vacuous jump cuts, i guess. I dunno, i didn’t ask him. He had a nice face and slow hair. You know, the kind that gradually primps itself upon exiting the folds of a dirty pillow. Great body too. Huh. Played guitar a bit, probably better at bass. Not a bad drummer. Wore old t shirts and a selection of European tracksuit bottoms. Yeah, yeah. Don’t shoot. There were two other kids too, I mean, they could have been older. Some chick, no, uh, guy. Sung a lot. Probably sung more than spoke. Recorded thousands of hours of this stuff in a loft. Something about “the great leveller”. Pretty spurious. That other guy, though? Nice and tan. Power in his wrists. Good record collection, if that matters. Sugar-moulded face before he hit the showers with the rest of them."

                          STAFF COMMENTS

                          Laura says: Gorgeous ethereal pop. I love this.

                          Simian Mobile Disco

                          Attack Decay Sustain Release - Remastered Edition

                          Formed from the ashes of psychedelic pop experimentalists, Simian, James Ford and Jas Shaw have been recording and performing as Simian Mobile Disco / SMD for over ten years and five studio albums. Over the course of their career, their sound has continuously evolved from record to record. Their continual re-invention can sometimes seem, from the outside, like a series of jumps, but that’s an effect of the process of releasing an album every couple of years. For the band, the process has been smooth and gradual, naturally following shifts in their own tastes and the musical landscape in which they found themselves. The sound however is distinctive enough to hold their body of work in a coherent whole.

                          From almost accidentally surfing the blog house wave, with their much loved debut, Attack Decay Sustain Release; through their electronic pop productions on Temporary Pleasure; and what could perhaps be regarded as their magnum opus, the distillation of multiple influences and strands of UK dance and electronic music on the critically acclaimed Unpatterns; or their analogue/desert excursions on the more experimental Whorl and even the two sets of purely functional techno gear on Delicacies and Welcome To Sideways – all have what can only be described as SMD’s signature sonic aesthetics.

                          TRACK LISTING

                          SIDE A
                          A1. Sleep Deprivation (Club Mix)
                          A2. I Got This Down

                          SIDE B
                          B1. It’s The Beat
                          B2. Hustler (Club Mix)

                          SIDE C
                          C1. Tits & Acid
                          C2. I Believe
                          C3. Hotdog

                          SIDE D
                          D1. Wooden (Uncut)
                          D2. Love
                          D3. Scott

                          Cloud Nothings

                          Life Without Sound

                            Cloud Nothings are back with ‘Life Without Sound’, the follow up to 2014’s ‘Here And Nowhere Else’, on Wichita Recordings.

                            Lead singer and guitarist Dylan Baldi maintains simple, admirable standards in quality. “A thing I like to do with all of my records is drive around with them,” the 25-year-old Cloud Nothings frontman says. “In high school, I would listen to music for hours like that: just driving through the suburbs of Cleveland. And if it sounds good to me in that context and I can think of high school me listening to it and saying, ‘That’s okay,’ I feel good about the record. This is the one that’s felt best.”

                            ‘Life Without Sound’ is the radiant fourth full length Cloud Nothings have recorded since Baldi began writing and releasing songs on his own under the Cloud Nothings alias in 2008. While its highly acclaimed predecessor, 2014’s ‘Here And Nowhere Else’, came together spontaneously in the little time that touring allowed, ‘Life Without Sound’ took shape under far less frenetic circumstances.

                            For more than a year, Baldi was able to write these songs and flesh out them out with his bandmates - drummer Jayson Gerycz and bassist TJ Duke - before they finally joined producer John Goodmanson (Sleater Kinney, Death Cab For Cutie) at Sonic Ranch in El Paso, Texas for three weeks in March of 2016. The result is Baldi’s most polished and considered work to date, an album that speaks to his evolving gift with melody while also betraying the sort of perspective that time provides.

                            STAFF COMMENTS

                            Barry says: I used to listen to quite a lot of skate-punk and hardcore in my youth, whilst this is definitely not that, it has a similar sort of Loud-less loud-loud vibe going on. 'Modern Act' is a perfectly balanced slice of anthemic punky rock, inc. semi-snarled vocals and youthful exhuberance, punctuated with almost clean-cut interludes before breaking forth into another bombastic energetic exaltation. Peppered with moments of pure energetic brilliance, and bulked out with even more moments of bracing and dynamic expertise.

                            Not long after Polyvinyl Records released American Football’s self-titled debut album in 1999, the band called it quits, having only played a smattering of Champaign-Urbana college house parties and sets at small clubs like Chicago’s legendary Fireside Bowl before taking their own divergent post-undergrad paths. Such an inauspicious turn of events made what followed all the more incredible. Over time, the record went on to become one of Polyvinyl’s best selling releases to date, and ended up serving as “one of the single most influential rock records of its time” according to Noisey and many others. “No other flash-in-the-pan band seems to have connected so strongly and with as many people as American Football did,” wrote Stereogum. To most everyone that found them after the fact, the band was no more than an apparition. The record the only artefact left behind as a timeless snapshot of a group of individuals in transition, newly discovered each year by a fresh crop of music fans reaching a similar inflection point in their own lives.

                            When American Football announced in 2014 that they would play live for the first time in 15 years, the built up appreciation for that eponymous LP physically manifested itself as they sold out 3 nights at Webster Hall in New York City in a matter of hours, and then went on to do the same at venues around the world. A quarter of a lifetime removed, and at times thousands of miles away from the house on the sleepy street in the middle of Illinois depicted on their debut album’s iconic cover, they found themselves playing to sold out crowds that numbered in the thousands in London, Tokyo, Barcelona and beyond.

                            The forthcoming album American Football finds the band with new material that takes them on a serendipitous detour down a familiar road. It is replete with the swelling emotions that might be spurred on by locked away memories unearthed by a familiar scent or crack in the concrete, or the rush of warm apprehension when coming face to face with a lover left before the fire was close to going out. “The past still present tense”sings Mike Kinsella on 'Home Is Where The Haunt Is', but while the house on the cover and the title of the album are the same, they are made strange by time and new found perspective. “We’ve been here before,” he declares on album opener 'Where Are We Now?', “but I don’t remember a lock on the door.”

                            At a time when reunions have become rote, American Football is decidedly an anomaly. There is no past glory to relive or reignite, nor the burden to branch out and break from a well worn formula. Seventeen years later everything still feels brand new, because for them it is. They are a band that for one reason or another closed the lid on their creative output just as they were beginning an unforeseeable upswing, and are just now after a stasis returning to uncork it with the benefit of greater maturity and better musicianship. The sound is even more expansive, the lyrics less naive and more world weary, the songs with greater depths to explore and layers to peel back throughout. “You can’t just forget all the other lives you’ve lived,” Kinsella sings, and every single one of the nearly two decades worth of experiences since they last put pen to paper as American Football seem to bleed through on this record.

                            TRACK LISTING

                            Where Are We Now?
                            My Instincts Are The Enemy
                            Home Is Where The Haunt It
                            Born To Lose
                            I’ve Been So Lost For So Long
                            Give Me The Gun
                            I Need A Drink (or Two Or Three)
                            Desire Get’s In The Way
                            Everyone Is Dressed Up

                            Owen, the acclaimed solo musical guise of singer / songwriter / multi-instrumentalist Mike Kinsella, has made an astonishing leap forward with ‘The King Of Whys’, the first work in his two decade-plus career to be made entirely outside of the greater Chicagoland area.

                            Produced by S. Carey over 18 days last winter at April Base Studios in Eau Claire, WI, the album is Owen’s most inspired and evocative thus far, interpolating a group dynamic into what has long been an intensely intimate sound.

                            Songs like ‘The Desperate Act’ and ‘Sleep Is A Myth’ remain spare but with a distinctly outward shift in scope, their open-armed sonic range a perfect foil to Kinsella’s evocative explorations of marriage, melancholia and modern middle age.

                            Fraught with hurt and wry humour, ‘The King Of Whys’ is a portrait of a restless artist grappling with doubt and ghosts of the past but searching for meaning through candour, creativity and an ardent need for emotional release.

                            TRACK LISTING

                            Empty Bottle
                            The Desperate Act
                            Settled Down
                            Lovers Come And Go
                            Tourniquet
                            A Burning Soul
                            Saltwater
                            An Island
                            Sleep Is A Myth
                            Lost

                            Mothers

                            When You Walk A Long Distance You Are Tired

                              Produced by Drew Vandenberg - who has worked on albums by Of Montreal, Deerhunter and Porcelain Raft - at Chase Park Transduction in Athens, Georgia in December 2014, ‘When You Walk A Long Distance You Are Tired’ features collaborations with Josh McKay of Deerhunter on vibraphone as well as McKendrick Bearden of Grand Vapids, who played bass and provided string arrangements throughout. Comprised of eight songs - the majority of which were written while Leschper was finishing art school in early 2014 - Mothers’ debut LP is an introduction to the foundations of the young band, a snapshot of a particular period of their genesis that maps both where they began and where they are heading.

                              The album’s bookends perhaps most explicitly display this musical chronology. The gorgeous “Too Small For Eyes” was the only one of a few solo songs Leschper had written on the mandolin that made it onto the album, its use of space, piano, strings, and her voice entwining and undulating to elegantly set the stage for what unfolds afterward; closer “Hold Your Own Hand” blooms from its plaintive opening bars to an ascendant, spirally waltz to an uproarious math-y breakdown, hinting at the louder, more post-rock and math rock-influenced sound for which their live show is fast becoming known for.

                              Across the album, Leschper meditates on the human condition: what anyone’s place is in the universe; what is our value; mortality; and what it means to have relationships in consideration of all these things. And while the songs are filtered through her frequently difficult, personal microcosmic experiences, she relates them in a manner that is at once highly intimate and readily universal.

                              At heart, ‘When You Walk A Long Distance You Are Tired’ is about being alive, and just how surprisingly unmooring - and exhausting - this fundamental thing can be. The album is a window into the long path Leschper traveled while creating it: breathtakingly honest and rooted in the subconscious of one’s journey.

                              STAFF COMMENTS

                              Millie says: This album plucks at your heartstrings, quite literally. The soft, gentle riffs and the sounds of innocent trembling vocals create a humble and sombre tone. The music is authentic and honest. Don’t let this record pass you by; it’s too good to miss.

                              The band continue to ignore the lure of lucre and bright lights and remain steadfastly in Sunderland, opening their own record store in the city’s redundant Tourist Office bringing much heralded impetus to the creative heart of Sunderland and it’s many like-minded souls. Amongst the artist who have supported their venture and played recently are The Vaccines, Franz Ferdinand and James Bay.

                              ‘Decency’ follows 2013’s ‘The Days Run Away’ and sees the band continue their uncanny knack for conjuring up moments of introspective beauty whilst encapsulating the band’s ideals, both socially and politically. The pop suss that flowed through previous releases still reigns but ‘Decency’ embellishes those hooks and melodies creating some of the band’s best work to date.

                              Recorded at the tail end of last summer at Leeds’ Suburban Homes studio with MJ (Hookworms) at the controls, ‘Decency ‘ also sees Futurehead Ross Millard on extra-curricular duty with guitar and vocal artistry making his recording debut as a fully-fledged Heartstring.

                              TRACK LISTING

                              Peterborough Dogs
                              Decency
                              Think Yourself Lucky
                              Save It For Tonight
                              Money
                              Hate Me Like You Used To
                              Berlin Calls
                              Balconette
                              Someday Anna
                              Just Not In Love
                              Not For Pleasure
                              Knife In My Back

                              Girlpool

                              Before The World Was Big

                                Born and raised in Los Angeles, Girlpool are a Philadelphia based two piece made up of Cleo Tucker (guitar) and Harmony Tividad (bass). The two met at Los Angeles DIY venue The Smell and quickly grew very close.

                                Their sound is raw, comprised only of a guitar, bass and vocal harmonies. Cleo and Harmony use this stripped-down instrumentation to accentuate their vulnerable and powerful lyrics.

                                For fans of Waxahatchee, First Aid Kit, Breeders, Pixies, Sleater Kinney.

                                “If rebellion had a sound, I imagine it would end up sounding a lot like Girlpool... It’s punk in the best sense of the word: fresh, raw, and uncompromising.” - Stereogum

                                “It’s brilliant.” - The Line Of Best Fit · “Fever-pitch vocals, lo-fidelity guitar, and endless cool” - Pitchfork

                                “A minimalist approach to writing urgent, non-conformist and catchy tunes” - The Independent

                                “An arresting combination” - The Guardian

                                “Armed with just two guitars, the duo reel you in with seriously catchy hooks and achieve more depth with these songs than any drum kit ever could.” - NME

                                TRACK LISTING

                                Ideal World
                                Dear Nora
                                Before The World Was Big
                                Chinatown
                                Cherry Picking
                                Magnifying Glass
                                Crowded Stranger
                                Pretty
                                Emily
                                I Like That You Can See It

                                The bouncy, surf-esque qualities pitch Total Babes a million miles from their Cloud Nothings connections (the bands share the octopus-onamphetamine drumming of Jayson Gerycz), with ‘Heydays’ instantly presenting itself as a beachcombing ode to sweaty summers.

                                Lead by the undulating basslines of Nathan Ward (Smooth Brain / Cruelster) and fleshed out by warped synth work John Elliot (Emeralds / Outer Space), the choruses are a masterclass in indie rock’s ability to shift perceptions - “I only want to be beautiful,” frontman Christopher Brown cries but it’s in their rough edges that Total Babes really shine.

                                For fans of Cloud Nothings, FIDLAR, Wavves and Eagulls.

                                TRACK LISTING

                                Blurred Time
                                Heydays
                                Bone Dry Eyes
                                Circling
                                We’ll Come Around
                                Sunny Side
                                Repeat Gold
                                Can I Turn You On

                                Cloud Nothings

                                Here And Nowhere Else

                                  Produced by John Congleton (Baroness, St Vincent, Anna Calvi), ‘Here And Nowhere Else’ sees Cloud Nothings retain the power and intensity of their highly acclaimed previous album, ‘Attack On Memory’, whilst also bringing back more of the tunefulness familiar from their earlier work.

                                  As mainman Dylan Baldi says himself, “It’s more subtle. It’s not just an in-your-face rock record. There’s more going on. You can listen to a song 20 times and still hear different little things in there that you didn’t notice before. Every time I listen I notice something that I didn’t even realise we did.”

                                  This album is Cloud Nothings refined: impossibly melodic, white knuckle noise rock that shimmers with sumptuous detail, from Baldi’s lone, corkscrewing guitar to his dramatically improved singing to bassist TJ Duke’s piledriving basslines and drummer Jayson Gerycz’s volcanic fills.

                                  Following two acclaimed EPs - ‘Coared’ and ‘SANS’ - as well as a double A-sided single, Wichita are very excited to present the highly anticipated self-titled debut album from Cheatahs.

                                  An exploration of the possibilities of modern guitar music. A blend of ecstatic noise, ambient drone and visceral, earsplitting alt rock. Lyrics that touch on the complexities of relationships, nature, the city, memory, dislocation and self-identity. Altogether, their self-titled record displays a giant creative leap from the lo fi fuzz of their first two EPs.

                                  Call it shoegaze, call it grunge, call it indie rock, but know that Cheatahs stand head and shoulders above all the other pretenders in terms of both tunes and intensity.

                                  The band have been on the road with their friends Metz and more dates will be announced soon. They have previously played with Dinosaur Jr, Fidlar, Wavves, Best Coast, The Cribs, King Tuff and Cloud Nothings, amongst others.

                                  For fans of Deerhunter, Swervedriver, My Bloody Valentine, Dinosaur Jr, Teenage Fanclub, Sugar, The Boo Radleys.

                                  TRACK LISTING

                                  I
                                  Geographic
                                  Northern Exposure
                                  Mission Creep
                                  Get Tight
                                  The Swan
                                  IV
                                  Leave To Remain
                                  Kenworth
                                  Fall
                                  Cut The Grass
                                  Loon Calls

                                  Peggy Sue are far from your average post-folk band; they carefully craft together beautiful harmonies that glide over a sea of delicate guitars and piercing drums to create a coming together of sounds whose power is unlike any other. The songs possess an immense intricacy in their layers and details ensuring the listeners respond to their cinematic quality.

                                  In their own words, “‘Choir Of Echoes’ is an album about singing. About losing your voice and finding it again. Voices keeping each other company and voices competing for space. The call and response of the kindest and the cruelest words. Choruses. Duets. Whispers and shouts.”

                                  This, the band’s third album for Wichita Recordings, was recorded by Jimmy Robertson (the man who made the ‘Peggy Sue Play The Songs Of Scorpio Rising’ collection), and mixed by John Askew (who also worked with the band on their debut full length, ‘Fossils And Other Phantoms’).

                                  TRACK LISTING

                                  (Come Back Around)
                                  Esme
                                  Substitute
                                  Figure Of Eight
                                  Always Going
                                  Just The Night
                                  How Heavy The Quiet That Grew Between Your Mouth And Mine
                                  Electric Light
                                  Longest Day Of The Year Blues
                                  Idle
                                  And Always Is
                                  Two Shots
                                  The Errors Of Your Ways

                                  ‘Motto’ is the third album by Leeds trio Sky Larkin on Wichita Recordings.

                                  Recorded with long-term collaborator, producer John Goodmanson (Girls, Sleater Kinney, Los Campesinos!) in Seattle, ‘Motto’ showcases Sky Larkin’s unshakable ability to conjure immediately satisfying, vibrant indie rock.

                                  The album was written for the most part whilst Sky Larkin singer and guitarist Katie Harkin was on the road as a touring member of Wild Beasts, and it captures a typically varied set of themes as its inspiration.

                                  TRACK LISTING

                                  Motto
                                  Newsworthy
                                  The Loyal Beat
                                  Treasury
                                  Loom
                                  Carve It Out
                                  Tarn
                                  Frozen Summer
                                  Bravo Dodo
                                  Overgrown
                                  Italics
                                  Que Linda (Wake To Applause)

                                  ‘Sob Story’ is the second album from Heckmondwike, Yorkshire residing brothers Louis and Will Jones aka Spectrals. The record finds the band back with more confidence than ever.

                                  The album was produced at Decibelle in San Francisco by JR White, producer and bassplayer of the band Girls. JR had this to say of the recording sessions and resulting record: “With ‘Sob Story’ Spectrals have come of age. Our sessions found Louis and his writing at its most honest and direct. Our mantra while recording was always ‘make it exciting and cut the fat’. ‘Sob Story’ is the outcome of that and personally I could not be happier with the results.”

                                  The album’s songs draw on influences from Louis’ favourite musicians such as Elvis Costello, Nick Lowe, and Dave Edmunds, as well as Galaxie 500, Big Star and Slade.

                                  Since the release of their debut album, ‘Bad Penny’, Spectrals have toured Europe with Best Coast, Girls, The Cribs, and Real Estate, amongst others.

                                  TRACK LISTING

                                  Let Me Cave In
                                  A Heartbeat Behind
                                  Karaoke
                                  Sob Story
                                  Milky Way
                                  Friend Zone
                                  Limousine
                                  Something To Cry About
                                  Blue Whatever
                                  Keep Your Magic Out Of My House
                                  Gentle
                                  In A Bad Way

                                  The Cribs

                                  Payola

                                    "Payola" collects together 22 tracks spanning The Cribs career - including unreleased track "Leather Jacket Love Song", the final song the band recorded with Johnny Marr.

                                    First Aid Kit

                                    The Lion's Roar

                                      Swedish sisters First Aid Kit have gone from faraway teenage fans covering Fleet Foxes for fun to recording a blue series 7” of Buffy Sainte-Marie’s ‘Universal Soldier’ with Jack White in his Nashville, TN Third Man studios.

                                      This, their second album, was recorded in Spring 2011 in Omaha, Nebraska by Mike Mogis (Bright Eyes, Jenny Lewis, Monsters Of Folk). From the dynamic title track onwards, the sophomore album is a rich and stirring affair that expands upon the keen and sophisticated country tinged pop of their critically acclaimed debut.

                                      ‘The Lion’s Roar’ is a full band record, the Girls’ Father Benkt takes the bass, Mattias Bergqvist drums, while Mogis and Nate Walcott of Bright Eyes, and a cast of Omaha-based musicians round out the sound.

                                      Album closer ‘King Of The World’ features the Felice Brothers, just passing through town during the session, and local hero Conor Oberst, who sings the last verse.

                                      TRACK LISTING

                                      1. The Lion’s Roar
                                      2. Emmylou
                                      3. In The Hearts Of Men
                                      4. Blue
                                      5. This Old Routine
                                      6. To A Poet
                                      7. I Found A Way
                                      8. Dance To Another Tune
                                      9. New Year’s Eve
                                      10. King Of The World

                                      CD Bonus Track:
                                      11. Wolf

                                      ‘Bad Penny’ is the debut album from Spectrals aka 21 year old Louis Jones. Mixing ingredients of pop, soul, doo wop, and a garage rock ballad, it sounds vintage but current, while the Yorkshire lilt in his voice (a result of his hometown, Heckmondwike) places him firmly in the UK, rather than Detroit.

                                      Inspired by the music he grew up listening to as a child, from the Rolling Stones (the only CD’s his mum ever has in her car) to The Style Council, Elvis Costello and The Ronettes, it’s all “just about love really”.

                                      In eleven original songs, not heard on any of Spectrals previous tapes, 7″s or E.P’s, he documents his relationship with his girlfriend, who he has known since school, from the great to the not-so-good. “Love songs are the kind of songs I like” says the guy who once turned Beyonce’s Single Ladies upside down (‘Peppermint’) “‘not all of them are nice, but they’re all feelings I’ve had”. As if he wasn’t attached to these songs enough, Louis recorded nearly all of the instruments on Bad Penny, with his brother, Will Jones, the only other musician on the album, on drums.

                                      Recorded with Richard Formby (Wild Beasts, Hood, Telescopes, Spectrum) in early 2011, on Bad Penny, Spectrals’ knack for writing a great tune is more obvious than ever. “I just love these songs” he says “all I’d hope is for people to come away saying, ‘they were 11 ace songs’ or if there’s a a guy or girl getting messed about, that it makes sense to them. I’m not wanting to make out I’m a genius, I hate it when groups do that. People don’t like being talked down to, y’know? This is just songs”.

                                      TRACK LISTING

                                      1. Get A Grip
                                      2. Lockjaw
                                      3. You Don't Have To Tell Me
                                      4. Big Baby
                                      5. Many Happy Returns
                                      6. You Can't Live On Love Alone
                                      7. Doing Time
                                      8. Confetti
                                      9. Luck Is There To Be Pushed
                                      10. Brain Freeze
                                      11. If I Think About The Magic Will It Go Away?

                                      First Aid Kit

                                      The Big Black & The Blue

                                      Prodigious Swedish teenagers Klara (16) and Johanna Söderberg (19), AKA First Aid Kit, have been gathering fans apace throughout 2009 since the release of their “Drunken Trees” EP in February.
                                      Spending their formative years drinking from the fountain of American classics – everything from Buffy Sainte-Marie, to the likes of Conor Oberst – it shaped their way with song writing, arrangements and even the use of a second language. Audiences have been falling at their feet, enraptured by their pure, shimmering voices in harmony. Until now they have been rightfully praised for their astonishing cover versions, such as their infamous YouTube phenomenon of Fleet Foxes’ “Tiger Mountain Peasant Song”, but First Aid Kit are now unveiling some remarkable songs of their own. The first flourishes can be heard on this masterly debut album, built around the sweeping majesty and almost telekinetic, intricate weaving of their voices. Sounding like the dreamy and spectral nieces of the Indigo Girls or Michelle Shocked coming in from the campfire to settle at the Stockholm kitchen table, the Söderberg’s distil all of their collective influences and make them their own.

                                      TRACK LISTING

                                      01. In The Morning
                                      02. Hard Believer
                                      03. Sailor Song
                                      04. Waltz For Richard
                                      05. Heavy Storm
                                      06. Ghost Town
                                      07. Josefin
                                      08. A Window Opens
                                      09. Winter Is All Over You
                                      10. I Met Up With The King
                                      11. Wills Of The River

                                      A native of Washington, DC and now calling New York City home Lissy Trullie is both the name of the front woman and the band she sings in. In a year being characterised by female fronted electro-pop (with more than a passing eye on the 1980s), Lissy stands out from the crowd with timeless, fuzzy guitar pop that evokes the sound of new-wave, New York in the late 70s and early 80s and has seen her compared to such artists as Chrissie Hynde, Blondie and Television. What also makes Lissy stand out is her unique voice: a rich tenor with a distinct drawl, Lissy's voice is a remarkably arresting instrument and her vocal styling add another dimension to the songs. The band is knitted together by the water tight rhythm section of Josh Elrod's drumming, Ian Fenger's melodic bass lines and Lissy's stabs of rhythm guitar, with lead guitarist Eben D'Amico providing the flourishes. Tracks like "Boy Boy", "She Said" and "Money" are all nuggets of spiky, new wave brilliance, but it's the EP's title track that really marks Lissy out as a song writer par excellence. At the two minute mark "Self-Taught Learner" makes a quite extraordinary turn, breaking into a rousing two minute crescendo of piano and Motown bass with Lissy repeating the lyric 'Oh, I want to die with you'. When the band play the song live, it's a real raised hairs on the back of your neck moment. The EP closes with the band's much revered cover of Hot Chip's "Ready For The Floor", with Lissy's voice sounding at its most beautiful and adding new layers of warmth to the track.

                                      As you've probably guessed from the title, this is the second release in the excellent Shred Yr Face singles series, released to coincide with the tour of the same name. This time around, The Bronx give you their take on a classic by another hard-living LA-based group, The Gun Club. Anyone that has heard The Bronx's versions of Neil Young's "Needle And The Damage Done" or Warren Zevon's "Carmelita" knows that a cover from these dudes is always a hot prospect, and they do not disappoint with "She's Like Heroin To Me". Fucked Up present a raw blast through a little known US punk-rock classic from 1977, "Son Of Sam" by Chain Gang. And Rolo Tomassi deliver a typically intense blast or Melt Banana-esque noise in the form "Apocalypso '09".

                                      Greg's words on the album: 'Frustrated with new methods and mindset in recording technology I threw up my hands and built my own analog recording studio. My last album, Blood Is Trouble (as well as the first Espers record) was recorded on a 1⁄2" 8 track machine. Eventually I was able to upgrade to an MCI 2" machine and professional recording console which have allowed for better sound quality and greater experimentation. Having a home studio has allowed me to record and produce albums at a comfortable pace consistent with my own levels of inspiration. Key to the album's sound was the acquisition of a vintage Mellotron keyboard. The Mellotron is doubtless my spirit animal in instrument form and is certainly one of the main inspirations behind "The Hive". No other instrument conveys the characteristics of hive insects as well as this legendarily warbley tape based sampler. "The Hive" is primarily a response to the atmosphere of apocalypse that permeates the lives of those who are open and receptive to their environment (not to mention the general global condition). That's not to say the album's entirely about misery and despair. Quite the contrary; I have a good amount of fun trolling through the backwaters of my own dank grey matter (often darkly comical), and each of these songs have multiple meanings, so glean from them what you will. It also contains a cover of Madonna's "Borderline", my first recorded cover since tackling Cat Power's "King Rides By" on "Fire In The Arms Of The Sun". This was meant to be a future Espers release but I got antsy waiting for the next covers record to come about so here it is (after three years of simmering on my mental back burner).'

                                      Simian Mobile Disco

                                      Sample And Hold (Attack Decay Sustain Release Remixed)

                                        After they released the brilliant debut album "Attack Decay Sustain Release" to rave reviews in 2007 we've been eagerly waiting for new nuggets of golden goodness from SMD. Now they're back with "Sample and Hold", the remix album of the debut long player, guaranteed to make sure our summer selection includes at least one SMD track – in either original or remix form! Hand picked by Jas and James, the remixes on the album come courtesy of some of the finest DJs and producers that SMD have encountered on their worldwide travels. Long time avid music followers, the boys saw the opportunity to make contact with some of the people they'd been fans of for a while, like DFA's Shit Robot and Simon Baker - who's version of Sleep Deprivation is now a regular feature in SMD's DJ set. Featuring friends Beyond The Wizard's Sleeve (Erol Alkan and Richard Norris) and French producer Joakim the boys got to finally hook up with mates they had long admired. Other remixers includes Cosmo Vitelli, Invisible Conga People (from Italians Do It Better) and DC Recordings' psyche-master Oscillation. The set brings together tracks that chop up minimalist techno, decadent disco, dark dubstep and wonky electronic beats - the album is bound to start any party and end it with an almighty bang.

                                        Peter, Bjorn & John

                                        Peter, Bjorn & John

                                          Everyone's current favourite Swedes, Peter, Bjorn & John, issue this album in the UK for the very first time, complete with sleeve notes written by the band and five bonus tracks.


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