Search:d pac

The wheels rattle into the thrilling unknown on The Coral’s first new music since 2018, finding the unsurpassed, metamorphic gonzo-pop five-piece in the company of crooks, sell-by-date candyfloss and plastic skeletons as they release Faceless Angel. Of misplaced memories from a place and time that might never have been, the track precedes a new and vividly evocative body of work from the legendary Merseyside band in the form of their TENTH and first, ever double-album: Coral Island.

Squinting into the neon-lit penny arcades and draining an after hours glass with the displaced and dispossessed once the power is pulled, The Coral’s latest caper concerns listeners with the light, shade, thrills and profound melancholy of coastal palaces packed with fun and fright. Both now and then, or perhaps never as fiction encroaches on reality, the feverous anticipation of a night amongst the screams, fights and romance of the fair become part of life on the newly-built Coral Island.

Welcoming travellers one trepidous step at a time, Faceless Angel sits amongst a series of promised audio visual portraits of and inspired by the Island’s inhabitants. Conceived and created by artist, Edwin Burdis, the single’s video was filmed ‘on’ Coral Island itself, a sprawling diorama purpose-built inside a deserted Chinese restaurant in Cardiff. It’s the band and fans’ first venture onto the surreal land mass, populated by surreal sculptural forms, charity shop-finds, looming mountains and gathering storm clouds. Filmed in debt to the traditional model-based filmmaking methods of greats like George Lucas or Ray Harryhausen, Burdis navigated Coral Island at waist-height and via camera-friendly pathways to gather 360 degree footage from inside and outside his and The Coral’s fascinating, fabricated world. The expansive and ambitious installation also provides the album artwork for Coral Island as well as designs for Faceless Angel and future singles.

Indebted in part to the classic pre-Beatles rock and roll era of Duane Eddy and Chuck Berry alongside the clattering of a weary ghost train’s rusted wheels on worn steel, Faceless Angel’s title evokes DC Comics ominous occult detective series, Hellblazer and the broken character of the strip’s protagonist, John Constantine.

As songwriters we spend a lot of our lives trying to bottle up a feeling into a song, and often, the biggest feelings, the best ones... the complicated, detailed, messy, incredible ones... just aren’t going to fit. Line by Line is our recognition of that... of how one song just isn’t enough to capture it all, but how we’re just going to keep writing, futilely and lovingly, anyway". - JP Saxe ABOUT JP SAXE Toronto-born, Los Angeles-based singer-songwriter, JP Saxe always finds a way to cut beyond the surface, tapping into a deep connectivity with universal emotion and human experience. His powerful duet with Julia Michaels titled “If The World Was Ending,” led to his late-night TV debut on The Tonight Show Starring Jimmy Fallon last November. JP and Julia also performed the song while quarantined for The Late Late Show With James Corden. Idolator proclaimed the song ‘packs a strong emotional punch,’ and PEOPLE Magazine praised the song as a “beautifully stripped back piano ballad.” JP has also amassed fans at The FADER, following his single “Women Who Look Like You”, featuring rapper Guapdad 4000. In February, JP released his anticipated six-track debut EP, Hold It Together. TIME Magazine praised the project for “exploring the weird – sometimes lovely – sometimes painful – emotions that bubble up in relationships” and included “3 Minutes” off the EP in their ‘5 Best Songs of the Week’ roundup. Over the last year, JP completed a nationwide summer/fall tour with Noah Kahan and joined Lennon Stella on her European tour.

For the past 20 years, Jason Boland & the Stragglers have dazzled audiences all over as one of the leading ambassadors of the Oklahoma and Texas music movement. Millions of fans cheering him on, over 500,000 records sold independently and 10 albums later, Boland is a career musician whose legacy continues to grow. From his early days touring in cramped vans and playing in front of tiny bar crowds to the packed venues he performs in today, Boland’s uncompromising approach has grown his profile dramatically, especially in the past handful of years. Add to that the legions of musicians who are influenced by Boland, and his impact on the scene is undeniable.

Vega Records presents the first Tony Touch / Louie Vega collaboration, the summer anthem “Sacude” now on a special vinyl double pack with remixes by Vega, Manoo, Oscar G, & Touch. If you had one latin house track to play during your set, this surely is the one with the universal appeal. Tony Touch delivers with the infectious hook “Sacude” and the remixes compliment his vocal with powerful drive. Whether the Afro House sounds of Manoo, to the latin underground house of Vega, the hard latin house sounds of Oscar G, or with latin hip-house vibes of Tony Touch, any one of the remixes will have people stomping’ their feet and singing the hooky “Sacudeeeeeee”.

"Reissue on vinyl of the eighth PJ Harvey studio album Let England Shake. The album was produced by PJ Harvey, Flood and John Parish and originally released in Feburary 2011. Let England Shake features the singles ‘The Words That Maketh Murder’ and 'The Glorious Land' and was the second album in the catalogue to win the UK’s Mercury Music Prize. Reissue is faithful to the original recording and package, cutting by Jason Mitchell at Loud Mastering under the guidance of original co-producer John Parish.
LP Info
• 1LP, 180gsm black vinyl
• Full colour outer sleeve, with printed inner sleeve
• Download card"

EELS release their fourteenth studio album, ‘Extreme
Witchcraft’, via PIAS and the band’s own E Works
Records.
 EELS leader Mark Oliver Everett, aka E, co-produced the
record with PJ Harvey producer and guitarist John Parish,
marking the first time the two have recorded together since
2001’s ‘Souljacker’ album.
 EELS have had one of the most consistently acclaimed
careers in music. The ever-changing project of principal
singer / songwriter E (Mark Oliver Everett), EELS have
released 13 studio albums since their 1996 debut,
‘Beautiful Freak’. In 2008, E published his highly acclaimed
book ‘Things the Grandchildren Should Know’ and starred
in the award-winning ‘Parallel Worlds, Parallel Lives’
documentary about the search to understand his quantum
physicist father, Hugh Everett III. 2020’s ‘Earth To Dora’
album, received extensive critical praise, and was
described as “their sweetest natured album ever” by The
Independent and awarded four stars in MOJO and NME.
 Deluxe box set features 45rpm 180g translucent yellow
double vinyl LP in heavy cardboard packaging, lenticular
print, custom EELS Ouija board, CD with booklet and an
A5 sticker sheet.
 Single LP format pressed on 180g vinyl with screen printed
poster and digital download.
 Tourdates - March 11 Telegraph Building Belfast, 12 Olympia
Theatre Dublin, 14 Roundhouse London, 15 Albert Hall
Manchester, 16 Barrowland Glasgow, 17 Rock City Nottingham,
18 O2 Guildhall Southampton.

A musical journey with Emile Parisien is an adventure, something way out of the
ordinary. The soprano saxophonist’s sound is instantly recognisable - as is the way
with the greats - and you know that you are in the best possible company to set off
for a destination shrouded in uncertainty.
 For the past twenty years, the one-time child prodigy of Marciac has found ways to
astonish, to shake up and to enchant listeners with colourful and productive
experiments. His driving force is a passion which seems physically to take hold of
him as he plays.
 Anyone who has seen his development as a performer knows what he’s about; there
is an element of the dance but also the tension of a coiled spring. And among the
musicians who seek him out are not only the very best of his own generation but also
the jazz masters, such is his reputation both as a leader and as an inspirational
partner.
 As a musician he is one of a kind, with a power to be evocative and to bring
convincing shape to the unpredictable. His musical language can express sudden
frenzy, keeping the listener completely on tenterhooks, but there are also outbursts of
tenderness and a palpable emotional honesty.
 ‘Louise’ takes its title from Louise Bourgeois and more specifically her sculpture of a
spider, ‘Maman’. Her monumental work has motherhood as its theme, also conveyed
through the metaphor of weaving, an underlying thread that runs through Emile
Parisien’s creation.
 He has assembled a group of musicians who bridge the two sides of the Atlantic. The
saxophonist has set out to combine the essence of jazz with his own purposes; so,
what shines through here are both his kaleidoscopic imagination and his appetite for
breaking down barriers. Three American musicians are in the group, all of them
friends whom he has got to know over time.
 Their eagerness to engage in fruitful conversations with a trio consisting of Parisien
himself and two of his closest colleagues from France is miraculous. All kinds of
nuances and a confluence of influences are to be heard here. We find variations of
pace from skittering syncopations to the softly majestic.
 Textures are meticulously calibrated, with a broad palette of instrumental colours
both in the original compositions and in a burning cover of Joe Zawinul’s
‘Madagascar’. This collective endeavour leaves plenty of room for individual
inventiveness, yet there is a happy balance between the different personalities as
well. Emile Parisien, always hyperalert, knows when to step back and to leave the
initiative to his partners, but will then re-enter authoritatively and be the catalyst who
completely re-energise them.
 ‘Louise’ is just magnificent in its twists and turns, and in the way it celebrates the
sheer joy of the groove. ACT have taken a path towards intoxicating freedom with a
team of artists in complete balance both individually and collectively. Through its
subtle amalgamation of diffidence and affirmation, this pellucid music tells us the
truth about life.

Hamburg-based sludge metal act High Fighter are
gearing up for release of their first live album ever.
 Soon after their sophomore album, the critically
acclaimed ‘Champain’ in 2019, the band were
forced to stop promoting the record live due to
obvious reasons, when they got invited by German
tv and iconic live format WDR Rockpalast to be
part of a special Offstage series.
 Filmed in August 2020 at an industrial, breathtaking setting of the Landschaftspark DuisburgNord, Germany, High Fighter’s only show since the
beginning of the pandemic, without a crowd, was
aired on national television.
 This live album was recorded by Dominik Schenke
with a pre-mix by Christoph Scheidel at 79 Sound
Studio, while Jan Oberg (Earth Ship / Grin) added
the final mix and mastering at Hidden Planet
Studio in Berlin.
 With their vibrant blend of sludge metal, doom and
stoner blues, High Fighter‘s ‘Live At WDR
Rockpalast’ features a heavy set and collection of
songs taken from the band’s first three records: the
rough and raw 2014-debut EP ‘The Goat Ritual’,
their first full-length album ‘Scars & Crosses’
(2016, Svart Records) and the latest, fast-paced
and brutal sludge juggernaut ‘Champain’, released
in 2019, also on Argonauta Records.
 White coloured vinyl.

‘In Free Fall’ is composer and electronic musician Maya
Shendfeld’s debut album. Guests include James Ginzburg
(Emptyset), Kelly Odonighue and The Bethenian youth
Choir.
 Berlin composer Maya Shenfeld’s music is as powerfully
evocative as it is strikingly intimate. Through a mastery of
sound sculpting and visionary approach to composition,
Shenfeld has established herself as one of the most vital
voices in Berlin’s New Music scene. Her work exists in
liminal spaces, collapsing the boundaries between
electronic synthesis and organic sound as it draws equally
from classical tradition and underground experimentalism.
 Shenfeld is also in demand for her technical knowledge,
working with electronic music innovators Ableton in music
education and research.
 Shenfeld is a rising star in the active Berlin music scene.
Her numerous commissions range from largescale
orchestral to site-specific sound installations, performing in
venues such as the KW Berlin, in collaboration with Berlinbased artist Richard Frater, leading a performance of
Julius Eastman’s ‘Gay Guerrila’ by an ensemble of sixteen
women playing bass and guitar for the opening event of
the Disappearing Berlin festival or writing for the Bethanien
youth choir, who performed at Baerwald bad, an
abandoned 1902 swimming pool in the heart of Berlin.
 Deluxe LP package artwork is designed by fashion
designer, and Maya’s sister, Gal Shenfeld. LP includes
digital download card.
 Mastered by Rashad Becker (Matmos, Laurie Spiegel,
Black To Comm, Clipping., Alvin Lucier, Félicia Atkinson).

Acclaimed Los Angeles indie songwriter Alex Brown Church has announced the release of Sea Wolf - “Through A Dark Wood (Deluxe)” on November 19 via Dangerbird Records. “Having it come out now feels kind of fitting,” Church remarked. “‘Through a Dark Wood’ originally came out in March 2020 at the beginning of the pandemic, when we were all entering into a new ‘dark wood’ together. We’re beginning to figure it out, though we’re still not sure what’s next. Just like the story of the album.” “Through A Dark Wood (Deluxe)” includes 5 new songs from the original sessions where Church, coming out of a bruising divorce, wrote, recorded and scrapped a full album's worth of material before starting anew. Deluxe Tracklist: 1. Witchknife 2. Reflections On A Grey Dawn (feat. Dustin O'Halloran) 3. Two Figures 4. Here For You 5. Animal Mind

CELESTE have been breaking the outer boundaries of heavy music for over fifteen years. When they first evolved from the Lyon hardcore punk scene, they were absolutely brutal and entirely unique, delivering extremity on their own terms that they pushed further and further with each successive album. “We just wanted to get darker and more violent,” says drummer Antoine Royer, until 2017’s Infidèle(s) saw the incorporation of a more melodic streak. Their most focussed record yet, it was tremendously received, critically adored, and backed with the band’s biggest shows to date.

Its follow-up was always going to be something radical. Even by their own inordinately high standards, however, new record Assassine(s) is one hell of a step forward. Even if this album still contains cyclonic walls of guitar, of battering rhythm, and passages of blissful, rushing release. it’s unlike anything the band have ever released; embracing a modern and forward-thinking production, they're just as complex but more direct, diverse and accessible than before. “Our leitmotif here was to open our minds,” says guitarist Sébastien Ducotté. “We made a real effort to think outside of our box.”

During lockdown CELESTE’s members were forced to each write individually. “We each went further into our personal, inner views of what the songs were,” says bassist and vocalist Johan Girardeau. When eventually they began sessions under producer Chris Edrich, it was gruelling. “We ended up exhausted, physically and mentally” says Johan. “There was no break in two weeks. We didn’t see the sun at all during that time. Every night we were so tired that we didn’t enjoy being together as much as we’re used to.” Nevertheless, in the same way the hardships of isolation led to richer and more complex songwriting, it’s that relentlessness that led to the record’s razor-sharp edges.

Above all else, CELESTE are innovators. Whether by pioneering French avant-garde metal when they formed at the turn of the millennium, by making their boldest leaps despite being seven albums deep into their career, or using two years away from live shows to tightly finetune their stagecraft, they refuse at all costs to rest on their laurels. There can be consequences to this instinct – fans of the band’s older work might be thrown off by their constant shifts of pace – but they’re throwing caution to the wind. A bit of backlash “would be a good thing, because it would mean that we’ve really changed,” says Guillaume . “It's not disrespectful, it's just that we never made music to please people, but just to enjoy what we're doing.” In the end, CELESTE are a band so forward-thinking that they can only be judged on the strength of their latest work. And when it comes to a record as bold as Assassine(s), they’ve hit a whole new peak entirely.

On his 2000 debut, Da Abtomatic Meisterzinger Mambo Chic, Megira channels the optimism of post-war America, narcoleptic surf, and the Twin Peaks soundtrack into a lo-fi masterpiece all his own. Sung in both Hebrew and English, Mambo Chic moves at a deliberate pace, unconcerned by the traffic of the modern world and wrapped in a blanket of Tascam 4-track hiss. On “Tomorrow’s Gone” Megira
achieves the feat of being so far back in time that he’s somehow living in the future and waiting for the rest of us to arrive.

On his 2000 debut, Da Abtomatic Meisterzinger Mambo Chic, Megira channels the optimism of post-war America, narcoleptic surf, and the Twin Peaks soundtrack into a lo-fi masterpiece all his own. Sung in both Hebrew and English, Mambo Chic moves at a deliberate pace, unconcerned by the traffic of the modern world and wrapped in a blanket of Tascam 4-track hiss. On “Tomorrow’s Gone” Megira
achieves the feat of being so far back in time that he’s somehow living in the future and waiting for the rest of us to arrive.

When the world shut down in March 2020, Charlotte Cornfeld was in the
middle of an artist residency in the Rocky Mountains, hunkered down in a
hut with a baby grand piano, sketching ideas for a followup album to her
Polaris-Longlisted 2019 LP The Shape of Your Name - In a matter of
hours, she found herself back home in Toronto with months of touring
cancelled and a wide swath of time ahead of her
She began to write feverishly, mining her memories and dreams and recounting
them with vivid detail. When the songs were fnished, she headed to Montreal to
record with producer/ engineer Howard Bilerman (Arcade Fire, Leonard Cohen),
drummer Liam O'Neill (Suuns), bassist Alexandra Levy (Ada Lea), and guitarist
Sam Gleason (Tim Baker). The group tracked the album in 5 days, mostly live off
the foor, seeking to capture the raw emotion of the songs. The result is Highs in
the Minuses, a memoir in fragments. Here Cornfeld fully embraces the role of
narrator, moving from one vignette to another in a colourful collage. We see her at
21, heartbroken and lost, carrying a friend's 3-legged cat back to her apartment in
a box; then as a teenager, playing a new song for a group of friends on a
trampoline. She sings of a magical frst date, an ex with a mean streak, two
skateboarders gliding in a lakeside parking lot. The brutal honesty in her lyrics
brings to mind writers like David Berman and Adrianne Lenker, while musically
she conjures a Zuma-era Neil Young, leaping from crunchy guitar rock to piano
ballads with effortless grace. Highs in the Minuses is Charlotte Cornfeld's
strongest offering to date, each song a gem in and of itself.

Emerging like and ornate relic, Austin-based power trio Grivo combine
slow, methodical hooks and warm tube amplifers to artfully re-establish
the line between heavy guitars and downtempo pop
Grivo's tones and effects are utilised as active compositional elements, crafting
and pacing their infectious riffs to allow the saturated guitars and bruising lowend to fully bloom. Within the tidal sound waves and bleak timbre, Grivo forges a
distinctive personal connection that challenges the modern defnitions of doom
metal and shoegaze.Shipping on or around 28th January 2022.

The wheels rattle into the thrilling unknown on The Coral’s first new music since 2018, finding the unsurpassed, metamorphic gonzo-pop five-piece in the company of crooks, sell-by-date candyfloss and plastic skeletons as they release Faceless Angel. Of misplaced memories from a place and time that might never have been, the track precedes a new and vividly evocative body of work from the legendary Merseyside band in the form of their TENTH and first, ever double-album: Coral Island.

Squinting into the neon-lit penny arcades and draining an after hours glass with the displaced and dispossessed once the power is pulled, The Coral’s latest caper concerns listeners with the light, shade, thrills and profound melancholy of coastal palaces packed with fun and fright. Both now and then, or perhaps never as fiction encroaches on reality, the feverous anticipation of a night amongst the screams, fights and romance of the fair become part of life on the newly-built Coral Island.

Welcoming travellers one trepidous step at a time, Faceless Angel sits amongst a series of promised audio visual portraits of and inspired by the Island’s inhabitants. Conceived and created by artist, Edwin Burdis, the single’s video was filmed ‘on’ Coral Island itself, a sprawling diorama purpose-built inside a deserted Chinese restaurant in Cardiff. It’s the band and fans’ first venture onto the surreal land mass, populated by surreal sculptural forms, charity shop-finds, looming mountains and gathering storm clouds. Filmed in debt to the traditional model-based filmmaking methods of greats like George Lucas or Ray Harryhausen, Burdis navigated Coral Island at waist-height and via camera-friendly pathways to gather 360 degree footage from inside and outside his and The Coral’s fascinating, fabricated world. The expansive and ambitious installation also provides the album artwork for Coral Island as well as designs for Faceless Angel and future singles.

Indebted in part to the classic pre-Beatles rock and roll era of Duane Eddy and Chuck Berry alongside the clattering of a weary ghost train’s rusted wheels on worn steel, Faceless Angel’s title evokes DC Comics ominous occult detective series, Hellblazer and the broken character of the strip’s protagonist, John Constantine.

Take the freaked-out punked up soul of The Stooges and MC5 mix that with 60s garage trash, blend in Sabbath, AC/DC and heavy rock n roll and then hot wire that sound to a handful of freaks located in Fredericton, New Brunswick. Here it is that The Angered Wrecks were located - in an old Victorian style house in downtown Fredericton. It was here they set up a permanent rehearsal space on the main floor taking up the dining room and living room area with a full P.A. system and the long parties would begin as the Angered Wrecks cranked out an unholy primal serving of mind-numbing, eyeball-popping guttural pure rock and roll.

Lucky for us the Angered Wrecks had a primitive DIY recording set up as they recorded live off the floor with one cardioid mic taped to the ceiling to capture the entire room sound and straight into a cheap Alpine cassette deck. The results of these previously unheard recordings capture the essence of trashy rock’n roll at it’s finest, delivered with pure dereliction, and always a side of extra sleaze.
Keeping warm in the winter at another old salt box style house they would later rehearse and play gigs in, a large circle was cut in the floor so that the rising heat from the pottery kiln downstairs would (along with the right mixture of beer and ‘Purple Jesus’, weed and often speed and hot dogs) keep these boys fuelled long enough in sub zero temperatures to keep pumping out the rock’n roll savagery.
The last show they played was in the fall of ’81 at the Bug Shack after the household was served an eviction noticed with the house to be entirely demolished (just like Stooge Manor aka The Fun House).

They got a gig together the weekend before demolition, packed the bottom floor and played a blazing set. At the very end, walls were kicked apart, old cans of paint strewn about, general wanton destruction to furniture, doors, windows etc…insane. The bug shack had come to an end and shortly thereafter, The Angered Wrecks.
That these tapes have survived to this day is all thanks to John Westhaver’s archival hoarding (even though the loss of a 90 minute session of the Angered Wrecks still haunts John to this day).
So CRANK these tracks as loud as you can – these audio tapes are not for the faint of heart

Francis Ford Coppola’s coming-of-age drama The Outsiders (1983) adapted S.E. Hinton’s successful 1967 novel of the same name, using a young cast of rising stars (C. Thomas Howell, Tom Cruise, Matt Dillon, Rob Lowe, Emilio Estevez, Patrick Swayze, Ralph Macchio and Diane Lane) many of whom came to be known as the Brat Pack, defining a genre of 80’s films. The plot focuses on the rivalry between two gangs of teenagers in Tulsa, Oklahoma, one poor (Greasers), the other wealthier (Socs).

Coppola’s ambition was to achieve the widescreen scope ‘of a teen Gone with the Wind’, and he asked his father, Carmine Coppola, to score the soundtrack. The result is epic and romantic, a return to a golden age of Hollywood film composing which suits the stylised and epic cinematography, becoming darker as the characters fulfil their tragic destinies. Stevie Wonder co-wrote and performed the song that plays over the credits, ‘Stay Gold’, which is included on this release.

The inner sleeves feature extensive notes by Daniel Schweiger on the history of the film, the soundtrack and an insight into the Coppola father and son partnership.

“Sunlight to blue … Blue to blackness” - This was one of the more upbeat title suggestions for the very bare, back to basics, reflective album from The Durutti Column. Originally released in June 2008, Sunlight to Blue… was a conscious response to the previous two polished and ‘studio-based’ releases. Here he created some sparse, simply beautiful 'sketches' as he once called them, more reminiscent of his work from the early eighties. Many of the pieces are instrumentals played on his Juan Montero flamenco guitar, and he returns to 'Without Mercy' for the last track 'Grief' whilst reinventing 'Never Known' from LC. Now, for the first time, the LP is available remastered and re-packaged as a gatefold double 12” 180gram vinyl release.

This album also saw the debut of the then talented young pianist and singer, Poppy Morgan, who co-wrote the melancholy Ananda as a duet with what Reilly dryly called 'intrusive guitar'. For the uninitiated, Vini was the first artist signed to Manchester’s influential Factory Records, co-wrote and played on Morrissey’s first solo album ‘Viva Hate’, and was heavily featured in the Manchester music culture film, ’24 Hour Party People’. Vini Reilly has recorded under the name The Durutti Column since 1978 and has a rich portfolio of work, releasing over twenty albums in this time. Ever critical of Vini’s voice, but ever a fierce champion of his talent, the late Tony Wilson would surely appreciate this return of The Durutti Column.