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Nach Kollaborationen mit den DIRTY PROJECTORS in der Vergangenheit oder zuletzt als DECISIVE PINK für ihr gefeiertes Gemeinschaftsalbum mit KATE NV im letzten Jahr, stehen die Zeichen für DERADOORIAN jetzt wieder auf solo. Es ist bemerkenswert, dass "Ready For Heaven" von einer einzigen Person gemacht wurde. Das wiederholte Überarbeiten der Songs bis zu ihrer Fertigstellung ist ein mühsamer Prozess, der eine Energie und einen Raum geschaffen hat, in dem DERADOORIAN voll eintauchen konnte. "I love the production more than the songwriting. ... In fact, I don't even feel like a songwriter at times, I feel like someone who is just inspired by so much music. And I want to try it all out! Like Lizzy MercierDescloux, Mingus, or ESG and Silver Apples, or making weird krautrock and industrial music. I love dub, and Sly and Robbie. I love the productions of those records and the collective energies released by their creators in the studio. It's just a weird thing to do it by yourself!" "Ready For Heaven" handelt von der Gegenwart und beschäftigt sich mit der schrecklichen Natur der Welt um uns herum. DERADOORIAN dazu: "This album is partly about watching humanity erode. It's about mental struggle, and it's avowedly anti-capitalist. I mean; would we have all these identity labels we have to live by, if we didn't live in a capitalist world?" "Ready For Heaven" ist DERADOORIANs kühne und offenherzige Antwort auf die Welt, in der wir uns befinden, und die Musikerin nutzt jedes Quäntchen ihrer Reserven an Witz und Wissen, um eine Quelle des Trostes und der Erleichterung für den Hörer zu schaffen. Verpackt wird dies in wissbegierige Popsongs, die mit einer Leichtigkeit und einem scharfen Fokus gesegnet sind, und den Zuhörer in ihren Bann ziehen.

Nach Kollaborationen mit den DIRTY PROJECTORS in der Vergangenheit oder zuletzt als DECISIVE PINK für ihr gefeiertes Gemeinschaftsalbum mit KATE NV im letzten Jahr, stehen die Zeichen für DERADOORIAN jetzt wieder auf solo. Es ist bemerkenswert, dass "Ready For Heaven" von einer einzigen Person gemacht wurde. Das wiederholte Überarbeiten der Songs bis zu ihrer Fertigstellung ist ein mühsamer Prozess, der eine Energie und einen Raum geschaffen hat, in dem DERADOORIAN voll eintauchen konnte. "I love the production more than the songwriting. ... In fact, I don't even feel like a songwriter at times, I feel like someone who is just inspired by so much music. And I want to try it all out! Like Lizzy MercierDescloux, Mingus, or ESG and Silver Apples, or making weird krautrock and industrial music. I love dub, and Sly and Robbie. I love the productions of those records and the collective energies released by their creators in the studio. It's just a weird thing to do it by yourself!" "Ready For Heaven" handelt von der Gegenwart und beschäftigt sich mit der schrecklichen Natur der Welt um uns herum. DERADOORIAN dazu: "This album is partly about watching humanity erode. It's about mental struggle, and it's avowedly anti-capitalist. I mean; would we have all these identity labels we have to live by, if we didn't live in a capitalist world?" "Ready For Heaven" ist DERADOORIANs kühne und offenherzige Antwort auf die Welt, in der wir uns befinden, und die Musikerin nutzt jedes Quäntchen ihrer Reserven an Witz und Wissen, um eine Quelle des Trostes und der Erleichterung für den Hörer zu schaffen. Verpackt wird dies in wissbegierige Popsongs, die mit einer Leichtigkeit und einem scharfen Fokus gesegnet sind, und den Zuhörer in ihren Bann ziehen.

Emerging from the Minneapolis underground and heading straight towards the sky, IE arrive on Quindi with a full-length album of sparkling, sophisticated wonder. Touching on kosmische grandeur, Riley-esque cyclical patterns, lounge pop and dubbed out psychedelia, the five-piece allow their songs to unfurl with a natural, hypnotic elegance which can take many different forms.
There's a loose, live quality to the recordings IE's members commit to record, which reflects their steady presence gigging in Minneapolis and the surrounding area. Since putting out their first release in 2016, they've glided from drone and synth-led jam band ambience (2018's Pome) to strung out, stoner-tinted slowcore (on 2023's outstanding Junk Body). For Reverse Earth they strike a smoky note that wraps itself around your skull across extended run times that evolve with a meditative poise.
From the deceptively driving 4/4 thrum of the opening title track through 'Divination Bag's snaking tryptamine mantras on to 'Simplify's slow and smouldering indie-soul, IE's sound is bathed in a sumptuous warm glow that rounds out the lows and the mids, creating a nocturnal shroud in which their nebulous song structures can feel deliciously endless.
Meredith Gill's drums provide rolling and tumbling undercurrents for the slowly shifting phases of the instrumental players, as Michael Gallope and Travis Workman trade keyboard parts and Workman and Sam Molstad chop and pick at their six-strings. Atop the thrum of her bass, Mariel Oliviera's vocal adapts to the scenery, from a distant, dreamlike siren song on 'Reverse Earth' to a spoken word meditation on 'Babel'.
There's space in each track for every instrument to cut through and have its moment, from a spiralling key vamp to a chicken-scratch guitar flex. The gently twisting, head-feeding groove exercises of the first four tracks give way to a slow and powerful march on 'Dark Rome', closing the record on a noirish anti-ballad fit to peal out in the closing slot at Twin Peaks' Roadhouse (circa season three).
As much as the tracks teem with composition, musicianship, and production to savor, a sound like IE's has a soporific quality that soaks in unconsciously. It's an evocative portal where the band feel as if they could just play on each piece ad infinitum - where the time itself seems to dislodge from its moorings.

Five Five is the second studio album from the Miami-born underground rap pioneer, Pouya. Marking a slight transition into a more mature sound, Five Five showcases Pouya’s evolution as an artist while maintaining the raw authenticity that has endeared him to his fans. With tracks like "Suicidal Thoughts in the Back of the Cadillac Pt. 2" and "Handshakes," Pouya delves into themes of struggle, resilience, and personal growth, offering listeners a glimpse into his journey. In what became truly a solo effort, Five Five is limited to one feature in Night Lovell, with production primarily handled by Mikey The Magician (Track 4 produced by Chevali). The album draws from elements of Bone Thugs-N-Harmony, yet remains uniquely rooted in Pouya’s own style. Over the years, Pouya has developed a long lasting core fanbase, first bubbling up in Miami alongside artists such as Denzel Curry, and then becoming a nationally celebrated artist. Back in print for the first time since originally released in 2018. Pressed on Wire Wheel Picture Disc Vinyl and cut at 45 RPM.

Keith Hudson’s Nuh Skin Up Dub is a deep, heavyweight dub album that stands as one of the most potent statements in the genre’s history. Released in 1979, this sonic masterpiece showcases Hudson’s signature dark, almost mystical production style, where heavy basslines, echo-drenched drums, and ghostly fragments of vocals swirl together in a hypnotic haze. Unlike the more polished, accessible dub records of the time, Nuh Skin Up Dub is raw, unfiltered, and experimental, pushing the boundaries of rhythm and space. Tracks like "Nuh Skin Up" and "Felt We Felt the Strain" pulse with an eerie, almost menacing energy, while Hudson’s masterful use of reverb and delay creates a soundscape that feels simultaneously expansive and claustrophobic. Often referred to as the “Dark Prince of Reggae,” Hudson had an uncanny ability to craft music that was both deeply meditative and unsettling, and Nuh Skin Up Dub is a prime example of his genius. It's a record that rewards deep listening—every spin reveals new layers of sonic detail, hidden textures, and dub wizardry. For fans of heavy, atmospheric dub, Nuh Skin Up Dub is an essential listen, a landmark recording that solidifies Keith Hudson’s status as one of the most visionary figures in reggae history.

Izil Recordings, founded by Moroccan electronic music pioneer Amine K, is a platform dedicated to showcasing the depth and diversity of Morocco's underground scene. Named after the Berber word for "pure," the label stays true to its name embodying unfiltered artistic expression, blending rich cultural heritage with contemporary electronic innovation. Izil's debut release sets the tone for this vision, featuring a collaboration between Amine K and WAHM, alongside remixes from Rodriguez Jr. and Denis Horvat.
"Kill the Anger" introduces the label with a deep, pulsating energy, merging hypnotic rhythms with raw intensity to create a bold statement for Izil's sonic identity. Rodriguez Jr. elevates the track with a melodic, atmospheric touch, adding layers of emotive synths that transform it into an expansive and immersive experience. On the B-side, "Sundance" unfolds as a warm, flowing journey of organic textures and deep, rhythmic movement, capturing the essence of Moroccan influences within a contemporary electronic framework. Denis Horvat then reshapes it into a darker, driving rework, injecting moody synths and crisp percussion to craft a club-ready, high-energy take.
This release marks Izil Recordings' first venture, laying the groundwork for more forward-thinking, African centric music to come.



A1. WAHM X Amine K - Kill the Anger
"Kill the Anger" marks the launch of Izil Recordings, Amine K's new platform for Moroccan electronic music. A collaboration with WAHM, the track delivers deep, pulsating energy with an emotive intensity, setting the foundation for the label's sonic identity. It merges North African influences with forward-thinking underground sounds, offering a raw yet refined record.



A2. WAHM X Amine K - Kill the Anger Rodriguez Jr. Remix
Rodriguez Jr. takes on the "Kill the Anger" remix with his signature melodic approach, enriching the original with layered synths and atmospheric textures. His remix takes a more expansive, emotionally charged direction, transforming the track into a fluid, immersive soundscape. This fresh interpretation highlights Izil Recordings' commitment to artistic evolution and depth in electronic music.



B1. Amine K X WAHM - Sundance (Izil Recordings)
"Sundance" serves as the B-side, offering a deep, flowing rhythm infused with organic textures. The track's warm, evolving groove reflects Izil Recordings' vision-blending Moroccan heritage with contemporary electronic exploration. With its dynamic movement and rich tonal layers, "Sundance" delivers a hypnotic and transportive listening experience.



B2. Amine K X WAHM - Sundance Denis Horvat Remix
Denis Horvat reworks "Sundance" into a darker, more driving rendition, intensifying its momentum with crisp percussion and moody synth layers. His remix injects a brooding, high-energy edge, reshaping the track into a club-driven powerhouse. This take further showcases Izil Recordings' fusion of global electronic innovation with deep-rooted cultural influences.
Originals Written and produced by Amine K & WAHM
Vocals by Hicham Belahmer
Guitar by Walid De La Morsaliere
Additional Production and Mixing by Julian Ganzer at Studio Kreuzberg Berlin
Remixes written and produced by Rodriguez Junior & Denis Horvat
PIcture by Sandra Levigne
Artwork by Mose

Beyond the Bridge proudly presents the latest EP from Dutch sonic architect Spekki Webu, titled "Neural Network," set to release on April 15, 2025. As the founder of Mirror Zone, Webu masterfully conjures a spectral world where time collapses and frequencies bend, inviting listeners on a mind-expanding journey through sound. His ritualistic compositions transcend conventional boundaries, merging past, present, and future into a singular, fluid moment. The eight-track EP delves into an abstract landscape of high-intensity frequencies and textural flux. Webu's sonic manipulations challenge linearity, evoking cyclical movements that oscillate between chaos and order. Each track serves as a kinetic force, pulsating with raw energy and enveloping the listener in immersive sonic architecture. The release also features two transformative remixes from Beyond the Bridge label head K.O.P. 32 and acclaimed producer Feral, each expanding the boundaries of interpretation into new dimensions. credits releases April 15, 2025 All tracks written, produced, and mixed by Spekki Webu at Into The Unknown in The Hague. Additional production by Feral and K.O.P. 32. Mastering by K.O.P. 32 at Pacific Sound Network in Seoul. Visuals by Anton Braun. ? Beyond the Bridge 2025.

'Atmospheric death metal'. Three simple words to describe one's music, chosen by JADE mainman J. himself, although they don't seem to quite pay justice to the gigantic scope of their music. Because ever since the release of their debut demo back in 2018 they've proven again and again to be more. Much more. Historically speaking, the word 'jade' referred to a rare but valuable mineral in ancient times all over the world. From Mesoamerican cultures to Chinese and Southern Asian ones, the greenstone was conferred with deep spiritual symbolism and used to connect the earthly level to the unknown. The history of countless traditions, legends and cults remain as an endless source of topics in terms of lyrics for the band, with a rich historical narrative also poetized. JADE's music is described by J. as "a tribute to the timeless obscure metal language, from early death/doom manifestations to later atmospheric black acts, in a really heavy, intense and epic form which transcends ages, as the greenstone cult has endured." The sophomore album, and second full-length after last year split LP with SANCTUARIUM, Mysteries Of A Flowery Dream carries an ominous wave of darkness, redefining heaviness with new levels of musical production and arrangements, compared by J. to "a journey into the dialogue between conscious and subconscious dreaming states and the mysteries around." The album's lyrics are in direct line of those themes, echoing the celestial world and how it can help us overcoming ominous times ("The Stars' Shelter"), how dreams can be interpreted as omens ("Light's Blood") and how they allow us to travel the Mayan cosmovision and its various worlds for guidance, healing and messages ("Shores Of Otherness"), among others. You can even find on the cover artwork elements of the ancient Mesoamerican cosmovision, mainly the powerful moon goddess Ixchel, a creative yet destructive entity, portrayed here as the Spider and threading human fate like an umbilical cord, determined to give life but also to destroy it if needed. A frightening, fragile yet utterly fascinating balance perfectly illustrated by Mysteries Of A Flowery Dream.

All tracks written, recorded and produced by AVAWAVES (Aisling Brouwer & Anna Phoebe). Imogen Williams - vocals on Heartbeat, Bones, Escape, Sleep Tight, Raindrop, Crush. Klara Schumann - cello on Bones, Sleep Tight, Raindrop. Ben Wright - guitar on Escape. Phillipp Johann Thimm - cello & electronics on Crush. Steinway grand recorded at Sender 49 by Dan White and assisted by Dani Evans on Heartbeat, Bones, Rumour, Sleep Tight.

TJ Allen - additional production and mix, plus co-producer on Earth, Nightdrive, Rumour and Sleep Tight.

Mastered by Guy Davie at Electric Mastering.

All tracks written, recorded and produced by AVAWAVES (Aisling Brouwer & Anna Phoebe). Imogen Williams - vocals on Heartbeat, Bones, Escape, Sleep Tight, Raindrop, Crush. Klara Schumann - cello on Bones, Sleep Tight, Raindrop. Ben Wright - guitar on Escape. Phillipp Johann Thimm - cello & electronics on Crush. Steinway grand recorded at Sender 49 by Dan White and assisted by Dani Evans on Heartbeat, Bones, Rumour, Sleep Tight.

TJ Allen - additional production and mix, plus co-producer on Earth, Nightdrive, Rumour and Sleep Tight.

Mastered by Guy Davie at Electric Mastering.

Detroit’s Apollo Brown and Rochester’s Hassaan Mackey operate in a world where every drum slap lands like a timeworn truth and every bar drips with lived-in wisdom. Brown’s production is rich with that signature crackle—soul loops stretched and repurposed into something both hauntingly nostalgic and unmistakably fresh. Mackey’s delivery is sharp yet unhurried, weaving Northern NY grit with effortless poise. It’s the kind of record that doesn’t beg for attention but demands respect. Now available on Black & Yellow Starburst Vinyl. Sounds Beautiful Like The Truth.

Provoker return with Mausoleum. Refined, ornate and bigger than ever, Mausoleum takes Provoker's shadowy sound to new heights, aided by executive producer Kenny Beats. "Pop on the outside, dark on the inside". Embodied by the garish arcade machine on the cover, the songs on Mausoleum lure listeners in with addictive melodies and slick production, but hold them tight with the tales of heartbreak, loss and revelation within.

Bob Moog’s invention of the analog Moog synthesizer ignited an explosion of creativity across the music spectrum. On the classical side, there was Isao Tomita and Wendy Carlos; on the more avant-garde side, such artists as Mort Garson and Craig Leon used the new technology to explore the limits of sound production while rockers like Keith Emerson incorporated the technology into their music. And, of course, there was also a silly pop side to the synth mania, or “moogsploitation” as some wags put it; albums by The Moog Machine, The Happy Moog, and other similarly-entitled acts provide good examples of that. But the one man straddling all these camps was Gershon Kingsley. Kingsley studied with John Cage before making a pair of groundbreaking albums with fellow electronic music pioneer Jean-Jacques Perry (their “Baroque Hoedown” was the theme for the Main Street Electrical Parade attractions in Walt Disney theme parks). Kingsley then embarked on a solo career and scored an instant hit with this album, 1968’s Music to Moog By, and its signature track, “Pop Corn.” “Popcorn” (one word) became an international smash for Hot Butter four years later, but Music to Moog By also caught consumer ears with its blend of originals, classical, and especially versions of Beatles tunes (though you will have to excuse the egregious misspelling of “Paperback Writer” as “Paperback Rider”)! Ever in pursuit of pop music’s most eccentric manifestations, we at Real Gone are proud to reissue Music to Moog By for the first time in the U.S., complete with the 8-page “The Book of Moog” that was inside some original copies. Strawberry with black swirl pressing limited to 900 copies!

FABRICLIVE’s new incarnation as an artist-focussed label continues, with a stunning two-track 12” by the Hong Kong-born, Netherlands-based rising star Kiana Li, aka gyrofield.

Rooted in drum & bass but distinctly the sound of now, this single sparkles with freshness, and stands-out with an exquisite verve for detail and craft. Balmy and comforting, atmospheric and melodic, the cloudsurfing breakbeats and celestial propulsion of ‘Akin’ is pure friendly pressure, whilst on ‘Mother’ big vocals, low-end precision and techno swathes soar even higher.

“'Akin' and 'Mother' remind me of my earliest days writing dance music. These are two free-spirited, transportive pieces that feel like spreading my wings and letting the air take me. Brought skyward in the hand of fate, nurturing yet weathered by my very own ideals. We all wish for better days. And toil to heal.” gyrofield

gyrofield has released music on prominent labels including Critical, Overview and Noisia's Vision. Last year she released the album A Faint Glow of Bravery on Metalheadz, and the EP These Heavens for XL’s prestigious house bag series, which has previously showcased music by Blawan, Joy Orbison and Overmono.

gyrofield is a regular on NTS and an in-demand DJ, whilst radio/club support has come from Mary Anne Hobbs, Objekt, Special Request and DJ Flight. Press fans include Rolling Stone, Crack, The Quietus, The Fader, DJ Mag and Resident Advisor.

“Scintillating - a sonic portrait of heaven that takes drum & bass and imbues it with the divine” Resident Advisor

“An artist whose journey and sound are quite unlike those of anyone else” The FADER

“Her vivid productions are a breath of fresh air in the scene” DJ Mag

“Merging the atmospheric and experimental with the melodic and emotional” Crack

“Packed with shapeshifting sounds that examine the universe and beauty of nature. Fusing atmospheric and spaced-out sounds with danceable sonics” Dummy

"She will never sit comfortably in any one genre or play to expectations or rely on any standard production formulae” UKF

Back with a bang for 2025, FABRICLIVE re-enters the fabric Records fold, which also incorporates Houndstooth and fabric Originals.

Full throttle from Vancouver, BC to wherever the open road takes them The Vicious Cycles are BACK with their new LP Get Wrecked on Pirates Press Records! Before you even get the shrink wrap off the gatefold jacket, you can guess what kind of party you're in for. "Our pal Shakey Deal is the cover model," says Cycles head honcho Billy Bones. "A tuff looking scrub on a minibike says a lot about who we are." And who is that exactly? "We play garage/punk rock and roll songs about motorcycles. We like to have a good time." The promise of debauchery carries over into song titles like "Naked On a Beach," and "On Fire in the Hot Tub." As rip-roaring, danceable party music goes, it's second to none, and rest assured there's plenty of bike enthusiast inside baseball, but the lyrics often go deeper than a superficial glance might indicate. For example, the lead single, "Hold On Tight," is about, as Billy puts it, "the physical feeling of riding with your favorite person on the back of your motorcycle - easily one of the best feelings a human can have." So, a classic biker anthem? "But also," he's quick to add, "a metaphor for life and relationships. We're gonna make it." Waxing philosophical with motorcycles as allegory over chrome-plated punk rock 'n roll? That's The Vicious Cycles' songwriting in a nutshell. Another album highlight, "Daddy Was a Gambler" references Billy's father - an ex-preacher who regularly hauled his kids to Circus Circus in his '57 Chevy - and his mother, a nurse and, as Billy puts it, "as close to an actual saint as anyone in the world. The song is an appreciation for the two of them, and how their differences made me who I am." "Naked On A Beach" sounds like a party, but Billy explains it's "a critique of capitalism and the tiny lives we're expected - and sometimes content - to live." Even the title track, "Get Wrecked," is more than just a statement of defiance; it's a message to Billy's son about dealing with the conformist naysayers of the world. Longtime fans & newcomers alike will be stoked for the straightaways, but stick around for the twists and turns, just like any good ride. The band brings in pals on strings & saxophone for a 60s Wall of Sound-inspired production on "Black Boots, Black Leather Jacket," and try their hands at their first murder ballad on "Pretty Hands." There's an instrumental tune ("Blowing Smoke") and hell, there's even a deep cut cover of "Trouble Again" - originally performed by Stewart Copeland of The Police - which only the biggest nerds of a certain age will recall as the theme song to the 80s Star Wars animated series Droids! In the end, no matter the detours, the band - along with Jesse Gander (Territories, Comeback Kid), & Mariessa McLeod at Rain City Recorders - kept their eyes on the prize: sing-along choruses, handclaps, and short songs that get the job done and don't overstay their welcome. "I didn't want us to write a record that you could dance to." quips Billy. "I wanted us to write a record that you couldn't not dance to."

Philadelphia's THE WONDER YEARS are set to release Burst & Decay Vol. III on May 9 via Hopeless Records. This third installment of their stripped-back series introduces a new track, "Junebug," written by vocalist Dan Campbell about his younger son and produced by Steve Evetts (SAVES THE DAY, LIFETIME). On the record, Campbell's personal narrative continues with "Wyatt's Song (Your Name)," a piece crafted for his older son that employs the actual recording of Wyatt's in-utero heartbeat as its metronome. Closing the album, "Doors I Painted Shut" delivers cinematic intensity through vibrant vocals and production led by guitarist Nick Steinborn, signaling a confident exploration into new sonic territory. Burst & Decay Vol. III also features collaborative reinterpretations of signature tracks. On "Came Out Swinging," Joe Taylor of KNUCKLE PUCK lends dynamic vocals, while Zayna Youssef of SWEET PILL amplifies the raw vulnerability on "Oldest Daughter." Ryland Heagy of ORIGAMI ANGEL offers a tender performance on "I Don't Like Who I Was Then." Over a career spanning more than a decade, THE WONDER YEARS have toured extensively_sharing stages with MY CHEMICAL ROMANCE, PARAMORE, DESCENDANTS, THURSDAY, BLEACHERS, and others_and built a community through their own label and the annual Loneliest Place On Earth festival, which has showcased acts such as HOT MULLIGAN, ORIGAMI ANGEL, and LAURA STEVENSON. Their previous album, The Hum Goes On Forever, debuted at #3 on the US Alternative Album Chart and earned recognition from Paste Magazine as one of the best records of the 2020s, while the track "Year of The Vulture" was chosen as the theme for WWE NXT's Stand and Deliver event.

Die griechischen Progressive Rocker King Garcia präsentieren ihr Debütalbum 'Hamelin'. Wenn Ennio Morricone eine Band mit Russian Circles gründen würde, würde sie wahrscheinlich genauso klingen! Eine Empfehlung für Fans von Bands wie Russian Circles, V.I.C. und Mogwai.

The Scream, Siouxsie & the Banshees' first album, was released late enough in the punk era to bear some claim as the first post-punk album, with only a minor traces of 'punk' (one lingering early song, "Carcass" comes to mind) and enough hints of what had come even earlier, Andy MacKay-like saxophone flourishes - to feel utterly new. Not to mention the effort producer Steve Lillywhite must have put into the album, his first fully-credited major label production. Siouxsie was clearly the focus of the band, with her unique vocal style and lyrics, but the real star, we've always known, was John McKay, who wrote most of the album's music (as well as singles like "Hong Kong Garden"), creating a wholly new guitar sound - harsh and brittle, yet melodically intoxicating . . . best articulated by a somewhat confounded Steve Albini years later ". . . only now people are trying to copy it, and even now nobody understands how that guitar player got all that pointless noise to stick together as songs". McKay's influence lives on; many of the most influential guitarists of the past four decades credit him as a major influence - Geordie from Killing Joke, Jim Reid of The Jesus And Mary Chain, U2's The Edge, Thurston Moore, Johnny Marr and even the two guitarists - The Cure's Robert Smith and Magazine's John McGeoch - who followed him in The Banshees. McKay's burgeoning status as the anti-guitar hero was halted when he and Banshees drummer Kenny Morris - at odds with Siouxsie and bassist Steve Severin - fled the band just after the start of a tour supporting the group's second album, Join Hands. It was a weekly music paper scandal, later the subject of a BBC documentary, and Siouxsie's vitriol working its way into the lyrics of a later Banshees b-side, "Drop Dead / Celebration". Aside from a solitary single on Marc Riley's In Tape label nearly a decade later, no music was heard from McKay again. So it comes as a major surprise to learn of a pile of excellent recordings made in the years just after he left The Banshees, unheard by all but a very few, some of which feature drummer Kenny Morris, plus Mick Allen from Rema Rema, Matthew Seligman of the Soft Boys and longer-term collaborator Graham Dowdall and John's wife Linda . . . the latter three of whom now all sadly deceased. Sixes And Sevens is an historic lost album. Brazenly genius and bearing fair claim as the lost treasure of the post-punk era, the album collects eleven studio tracks, carefully mastered from original tapes. It's a masterpiece which best speaks for itself.

D R E A M S I C L E marks the highly anticipated 4th studio album from Grammy-winning singer-songwriter Maren Morris, via Columbia Records. Featuring songs written by Morris with Julia Michaels and Tobias Jesso Jr, plus production by Jack Antonoff and Greg Kurstin, this album is a deeply personal exploration of transformation, resilience, and self-discovery. As Morris describes it, “D R E A M S I C L E takes place in the aftermath of loosening my grip on my personal and professional life. Sweeping through the pits of grief, but never staying too long, and finding the joy in knowing that at my core, I’m still who I am – and that’s pretty f-ing great..." TRanslucent Orange LP Vinyl & standard CD. Promo & marketing activity.

The Scream, Siouxsie & the Banshees' first album, was released late enough in the punk era to bear some claim as the first post-punk album, with only a minor traces of 'punk' (one lingering early song, "Carcass" comes to mind) and enough hints of what had come even earlier, Andy MacKay-like saxophone flourishes - to feel utterly new. Not to mention the effort producer Steve Lillywhite must have put into the album, his first fully-credited major label production.
Siouxsie was clearly the focus of the band, with her unique vocal style and lyrics, but the real star, we've always known, was John McKay, who wrote most of the album's music (as well as singles like "Hong Kong Garden"), creating a wholly new guitar sound - harsh and brittle, yet melodically intoxicating . . . best articulated by a somewhat confounded Steve Albini years later ". . . only now people are trying to copy it, and even now nobody understands how that guitar player got all that pointless noise to stick together as songs". McKay's influence lives on; many of the most influential guitarists of the past four decades credit him as a major influence - Geordie from Killing Joke, Jim Reid of The Jesus And Mary Chain, U2's The Edge, Thurston Moore, Johnny Marr and even the two guitarists - The Cure's Robert Smith and Magazine's John McGeoch - who followed him in The Banshees.
McKay's burgeoning status as the anti-guitar hero was halted when he and Banshees drummer Kenny Morris - at odds with Siouxsie and bassist Steve Severin - fled the band just after the start of a tour supporting the group's second album, Join Hands. It was a weekly music paper scandal, later the subject of a BBC documentary, and Siouxsie's vitriol working its way into the lyrics of a later Banshees b-side, "Drop Dead / Celebration". Aside from a solitary single on Marc Riley's In Tape label nearly a decade later, no music was heard from McKay again. So it comes as a major surprise to learn of a pile of excellent recordings made in the years just after he left The Banshees, unheard by all but a very few, some of which feature drummer Kenny Morris, plus Mick Allen from Rema Rema, Matthew Seligman of the Soft Boys and longer-term collaborator Graham Dowdall and John's wife Linda . . . the latter three of whom now all sadly deceased.
Sixes And Sevens is an historic lost album. Brazenly genius and bearing fair claim as the lost treasure of the post-punk era, the album collects eleven studio tracks, carefully mastered from original tapes. It's a masterpiece which best speaks for itself. John McKay will be made available for a limited number of interviews . . . and yes, there are surprises in store.