Suche:domin

4LP & 2CD Genesis Hits package to coincide with the bands UK tour in September 2021 with 3 sold out shows at London’s 02 Arena. This will be Genesis’s first tour in over 13 years with the classic line up of Mike Rutherford, Tony Banks & Phil Collins. They have sold around 100 million albums worldwide with over 20 top 40 UK hits with songs such as Follow You Follow Me, Turn It On Again, Mama, I Can’t Dance and many more. Genesis have won awards over the years at the American Music Awards, Grammy Awards, Ivor Novello Awards and a Lifetime Achievement at the Progressive Music Awards. The track list is made up of the songs the band have been performing in rehearsals and will make up the majority of the setlist during the gigs, the title of the release is the same as the tour. 4LP set is to be housed in a hardback gatefold book-style package, this will include classic images of the band, rare and unseen images from their archive & images of the rehearsal and the stage used for the gigs.

‘K Bay’, out on Domino Recordings, is the first new solo
material from Matthew E. White in six years.
Matthew E. White describes the album as a “love affair
with music.” It’s a record thrillingly engaged with an
eclectic range of contemporary and 20th Century popular
music. The daring production mines and foregrounds longsimmering but previously veiled influences from the realms
of hip-hop, electronic pop and dancehall but all filtered
through White’s self-described outsider perspective.
‘K Bay’ is an homage to Kensington Bay, his home studio
where he records his personal projects and is his
sanctuary of creativity (White’s second studio,
Spacebomb, is where he works on collaborative projects
and has recorded and produced records by Foxygen,
Natalie Prass and Flo Morrissey).
More than love, romance, or self-reliance, this is the
animating ideal of ‘K Bay’ - that we can forever strive for
something better, no matter how flawed or blessed we
have already been. A decade ago, Matthew E. White made
a classic beauty no one expected; on ‘K Bay’, he has
made a masterpiece by harnessing what he’s learned from
that community and life itself in entirely unexpected,
electrifying, and reaffirming ways.

Debut solo album from leader of legendary psych band Föllakzoid, Available on white color vinyl! RIYL: Föllakzoid, Beatrice Dillon, Huerco S., Arca, Amnesia Scanner, SOPHIE, Kaitlyn Aurelia Smith. Musician and filmmaker Domingæ is probably best known as the founder of experimental psych band Föllakzoid. Written whilst stranded in Mexico and Tokyo on her way to a world tour with Föllakzoid, her new debut solo album Æ has taken the decompositional system she devised for the band and added the depth of inner exploration and a symbiotic relationship with musical craft. The resulting sound is as groovy and hypnotic as the best Föllakzoid tracks but with a seductive and darkening electronic texture. She has become a channel in which the shadows inhabit. Domingæ's sounds and formats are articulated via depuration, expanding in time and space via the subtraction of shifting elements. The process of unlearning and uninstalling previously established creative softwares in order to achieve dissolution has always been a central focus in her creative pursuit. Æ is a result of said experimentation, the dissolution of preconceived notions to create a minimal sound yet rich in textures.

MIEKO SHIMIZU is a London based Japanese singer, songwriter, composer
and producer. She first erupted onto the scene as Apache 61, fusing layers
of cross-woven breaks and battling shards of sub-bass within stateless
melodies drawn from the fringes of the avant-garde.
Mieko has produced scores for contemporary dance company Phoenix Dance
Theatre as well as the Ballet ‘The Red Balloon’ at the Royal Opera House’s
Linbury Theatre. She was made an ‘Emerging Artist in Residence’ at London’s
Southbank Centre where she collaborated with the London Philharmonic Orchestra on her own compositions.
ROAD OF SHELLS was originally released back in 1990 and now being released
for the very first time on vinyl. Recored at Wold Studios in London, the record
features an array of talented musicians from Claude Deppa on trumpet and
guitar from Dominique Brethes. ‘Blue Dancer’ and ‘In The Garden’ features
Mieko’s brother Yasuaki Shimizu on saxophone.
20 years on from Road Of Shells original release date the record has now has
be released for the very first time on Vinyl in Japan and available in the UK
and worldwide.
Mieko has worked with David Cunningham from The Flying Lizards, Robert
Lippok of To Rococo Rot and re-mixed the likes of Coldcut. Haruomi Hosono
of the cult electro-pop act ‘Yellow Magic Orchestra’, signed Mieko to his label
‘Daisy World’.
Mieko has performed at Sonar, alongside Kraftwerk and supported Massive
Attack at their Melt Down Festival.

DOMINA TRXXX welocmes Lello Di Franco & Javonntte to the label family! We are very happy to present you on out 10th edition "Tales From The Space". This superb release will be out mid. of June. Well done, Boys!

THE NIGHT FLIGHT ORCHESTRA is back! The band that formed as an idea of friends from several well known rock/metal bands (SOILWORK, ARCH ENEMY, MEAN STREAK) back almost a decade ago and has been dropping jaws ever since. With 5 albums already under their belt, 2 nominations for the Swedish Grammies, countless live shows and praises from fans and media alike, TNFO have steadily upped their game when it comes to paying tribute to a decade that influences all sorts of people and even industries to this day - the 80s. With hits like ‘Domino’, ‘Lovers In The Rain’, ‘West Ruth Ave’, ‘Divinyls’ or ‘This Time’, the band manages to maintain a variety of vibes and emotions within every album. From hard rockers, poppy digressions to progressive epics, disco-esque songs and almost cheesy yet loveable ballads.

Enter 2020, TNFO had just released their recent record, ‘Aeromantic’, and kicked off their European tour in support of it, when the Covid-19 pandemic hit. Björn Strid, the AOR dictator helming this exceptional collective called NFO, recalls “We made it one week into the tour after some absolutely amazing shows and then it all went south and we had to go home. Just about everyone on the tour got sick when they came home, with varied conditions.”
The band didn’t step back and accept the situation but decided to do what they do best instead: “It was pretty clear after some months into the Covid madness, that it was here to stay and that we weren’t gonna be able to tour for quite some time. So we made the best out of it. The remedy was simply to hit the studio again as soon as everybody was well again. It ended up being an incredibly creative 1,5 years and so many amazing songs came out of it.”

That being said, the second part of the ‘Aeromantic’ saga really captures what this band is all about: being in motion and romanticizing traveling, sometimes even with a broken heart - accompanied by the good things in life. Namely with songs like ‘White Jeans’, yet another jaw dropping classic rock gem about hot young love, cramped with nostalgia, or ‘Change’, which encompasses all the vibes you know from your favorite decade: Urgency, emotion, warmth and excitement. But also groovy danceable songs like ‘Chardonnay Nights’, a groovy, dreamy, yet uplifting homage to parties and hot love, or ‘Burn For Me’, a true feel good anthem for the summer - driving people to dance in the streets, all worries aside, to a brighter future.

On the other hand there are tracks like the almost progressive ‘Amber Through A Window’. A little throwback (at least titular) to the NFO’s epic 2017 album ‘Amber Galactic’: “Amber is with us wherever we go and I think she’ll keep coming back. She’s our mascot of escapism. The song was very interesting to compose. It takes you on quite a journey with key changes and goes from minor to major when you least expect it and throws you between different set of emotions. At the same time it feels pretty direct and operates like a mini epos. Really happy with how it turned out“, cites Strid.

Besides all this, the band has also stepped up their game when it comes to music videos for their timeless anthems. “White Jeans” for instance features Swedish TV personality Fredrik Lexfors and is a sweet little homage to the LGBTQIA+ community. “Fredrik is a good friend of mine and has loads of experience in the musical/theatre world and is super creative. He created this character called ”Kantorn” (The Cantor) some years ago and became a hit on YouTube. He has a very twisted and unique way of singing and acting, which is very funny. He was a part of Sweden’s Got Talent TV Show and went really far and became a crowd favorite. Fredrik has a lot of friends in the LGBTQIA+ community and I also have quite a few. We saw it as a joyful tribute and we’ve only gotten really good response. It’s of course also humorous but has a very nice balance and a very positive message.”

The bold and jovial video for “Burn For Me” on the other hand maybe among the biggest and best productions, the NFO ever recorded for the depths of the internet: “I’ve had this idea to film a ”Dancing in the Streets” video, where curious people come out of the woodworks and join the party in the streets. It’s a very classic 80’s scenario and very common in videos back then. Sort of the video to IRENE CARA’s ”Fame”. You don’t see it very often these days. We felt that it was needed and after “Burn For Me” was done I immediately envisoned it being the perfect ”post corona dancing celebration in the streets-song”.”

Those two videos are by far not everything the band will have to offer visually, but we won’t tell any more just for now. To be continued…

With all that new greatness up their sleeves, NFO are ready to take the world by storm – again! Even though coming up with a setlist for their scheduled tour starting in September may prove to become problematic according to the AOR Dictator: “Making a setlist might end up being a nightmare haha… I would be up for doing only songs off »Aeromantic I« and »Aeromantic II« since that’s really where we’re at right now, but I think most of our the Midnight Flyers would like to hear some old stuff, too. Maybe we could get away with it as long as we play “West Ruth Ave” as the ending song and create the good old conga train?”

Martin Scorsese’s Motion Picture "Goodfellas" needs little introduction. It is widely regarded as one of the greatest films ever made, and the ultimate mob movie. The soundtrack features artists Tony Bennett, Aretha Franklin, The Shangri-las and many more. It is a very rare find on vinyl, having only being pressed in a couple of small runs in the early 1990s. This 1LP release will be the first global pressing and will be available on blue vinyl.

What’s Amore? Amore is a lifestyle, it’s a feeling, it’s an attitude. Amore is cruising down sunset boulevard in a pink Cadillac. Amore is drinking Long Island ice tea at a baby shower. Amore is high octane. High risk. High reward. That’s Amore!

Ephat Mujuru exemplifies a unique generation of traditional musicians in Zimbabwe. Born under an oppressive colonial regime in Southern Rhodesia, his generation witnessed the brutality of the 1970s liberation struggle, and then the dawn of independent Zimbabwe, a time in which African music culture - long stigmatized by Rhodesian educators and religious authorities - experienced a thrilling renaissance. Under the tutelage of his grandfather, who was a respected spirit mediumand mbira master, Ephat showed an early talent for the rigors of mbiratraining, playing his first possession ceremony when he was just ten years old. By then, guerilla war was engulfing the country and his grandfather Muchatera tragically became a victim of the violence, a devastating blow to the young musician. In the midst of the liberation struggle, mbira music became political. Eventually, the Rhodesians were defeated, but rather than return to the past, the nation of Zimbabwe was born and a new future unfolded. Ephat threw himself into the spirit of independence, singing of brotherhood, healing, and unity: crucial themes during a time when the nation's two dominant ethnic groups, the Shona and the Ndebele, were struggling to reconcile differences. Ephat's band would eventually follow the popular trend and add electric instruments. But before that, he and Spirit of the People released two all-acoustic albums, and they may well be the most exciting and beautiful recordings he made in his career. Mbavaira, the second of these albums, was released in 1983. As the independence years moved on, there would be fewer and fewer commercial mbira releases. But for the moment, Ephat had the required stature and reputation. Also, with the energy and drive we hear in these recordings, the album could easily rival the pop music of its day. Within a few years after the release of Mbavaira, it and albums like it became harder to find in Zimbabwean record stores. Ephat adapted to the times and formed an electric band. They recorded more albums over the years but none of them have the particularly delicious energy of Spirit of the People in the first years of Zimbabwe's independence.

Vanguard captures the iconic Bristol Sound.

The early days of the iconic Bristol Sound are captured in a new album including an exclusive re-release of the very first track from Massive Attack and tracks from Smith & Mighty, Purple Penguin and more.

The curated tracks are also linked in that all were originally released with bespoke original covers from legendary Bristol street artists, including Banksy and Will Barras, tying its release toVanguard’s current exhibition Bristol Street Art: The Evolution of a Global Movement at M Shed, Bristol, running until October.
Compiled by DJ Boca 45 (Scott Hendy), Vanguard brings together the seminal tracks that defined the rebellious era which saw the birth of the Bristol Sound for the first time. Featured tracks include an exclusive re-release of Any Love - the first ever track by Massive Attack released on Massive Attack Records in 1988, Smith & Mighty’s breakout hit Walk On, Purple Penguin’s downtempo classic Memphis and other trip hop classics.

The LP celebrates the globally recognised Bristol Sound whose experimental breakbeat rhythms and influence still dominate the scene today. Along with classic tracks from the ‘90’s into the ‘00’s and beyond, the album uncovers lesser known cuts by some of Bristol’s pioneering musicians such as One Cut and West Country hip hop’s finest Aspects.

The explosion of the Bristol Sound coincided with the boom in UK street art which led to fruitful collaborations between artists and musicians. Finding inspiration in each other’s work, street artists frequently designed rave posters, logos and cover art while DJs provided the beats to accompany street artists’ clandestine painting.
Vanguard The Album pays homage to these relationships with a beautifully put together gatefold LP featuring iconic cover art designed by some of the biggest names in street art such as Inkie, Dicy, Will Barras and Nick Walker. These early works capture the boisterous energy of the era and confirm Bristol’s status as an extraordinary cultural melting pot.

The double vinyl record also features extensive sleeve notes written by Bristolian writer and curator Jamie Hombre as he reflects on these ground breaking cover art collaborations.

ADAM’S APPLES – hailed, rather appropriately, from Brunswick, New Jersey, and cut two singles for Brunswick Records in the late Sixties. “Don’t Take It Out On This World” was released in 1967 and despite positive reviews in Cash Box it failed to hit Stateside. But, almost a decade on, it was reborn in the UK where it dominated the Northern Soul scene in 1976. It was almost purpose-made for Wigan Casino where it echoed around the cavenous ballroom with its chugging beat and haunting harmonies. It is the perfect spine-tingling, All-Nighter sound that has never diminshed in popularity.
THE COOPERETTES – were a girl group from Philadelphia comprising of the four Cooper sisters. They signed a contract with Brunswick Records in 1966 and scored a local hit with their first single “Goodbye School”. Their second disc “Everything’s Wrong” was also a strong seller in Philly and, as is so often the case, their final 45 for Brunswick – the Northern Soul anthem – “Shing-A-Ling” failed Stateside. It was perfect for the adrenalin-fueled all-nighter scene and was adopted by The Torch in Stoke-on-Trent. It became so popular that Brunswick reissued the track in 1975 to fulfill UK demand!

Over the last 3 years, original 90’s D&B imprint Odysee has been steadily building its profile, both through its ‘Remix/Remaster’ series as well as a growing number of new releases. Label Partner Andy Odysee continues to develop his own unique sound with this third solo E.P. All three tracks work together as a triptych, whilst simultaneously maintaining their own unique identity.

Ruthless (In Purpose): Insidious (In Design) immediately establishes an ominous mood of brooding menace with its creeping bass stabs. As the drums enter, the track builds towards a drop of deep subs and driving breakbeat fury, punctuated by the ripped synth basses and curling drum edits that are fast becoming characteristic of Andy’s productions. There are subtle nods to the later Hokusai releases such as Sculptures Hide and even Black Domina; with eerie chiff-flute phrases, and those signature Mirage-style film-noire and dark avant-garde Jazz sounds nestling amongst the tapestry of beats and basslines.

As a contrast, Provocateur has a sweeter, almost sexier feel. A dreamy oscillating pad soon gives way to razor-sharp curling Jazz breaks and deep subs. The vocals border on the ‘saucy’ with their tantalising suggestions of ‘who thinks the technique is to make love to me’ and ‘the sexiest thing about me is my a**!’ There is a subtle darkness nonetheless to this track, with its plethora of dark film-noire samples. Although the framework of breaks & bass is strident enough for the dance floor, it is also the kind of track that is loaded with all those little production details that will reveal something fresh with each hearing.

The third track Status Anxiety is a frenetic, tense piece of music. Underpinned by a relentless bass synth stab that slips and slides throughout the track, the drum patterns are more elaborate, cutting between several different breaks, with abrupt stops to expose dark string sweeps, hammered Rhodes strikes and shimmering china cymbals. Again there is a subtle reference to the Hokusai releases, but with a fresh twist on that darker Jazz-infused style of Breakbeat D&B.

DJ Support
Source Direct, Law & Ben Repertoire, Mister Shifter, Basic Rhythm, Voodoo & Sensenet

Following “La Contra Ola” (BJR015), Bongo Joe presents 'La Ola Interior', a compilation exploring the ambient side of the Spanish electronic music produced in the 80’s, bringing together 19 little-known and innovative pieces from the golden age of Spanish electronic music !

It gathers musicians from various horizons and of many generations, who shared the desire to create an immersive soundscape and to combine electronic music with non-Western musical traditions. As a general rule, the Anglo-Saxon tropism did relate the spanish peninsula’s ambient music to the Balearic Sound, that is to say to the relaxing music played in Ibiza’s nightclubs. But this music takes place in the productive territory of experimental musics, and particularly in its two main breeding grounds: the tape recording underground and the independent musicians-producers scene.

Inseparable from the processes of self-publishing, distribution and exchange of music that were then taking place in Spain in an artisanal way, the vast underground movement of cassettes was divided between an "ethno-trance" combining industrial beats and oriental sounds on the one hand (Esplendor Geométrico, Miguel A. Ruiz / Orfeón Gagarin) and unclassifiable low-fi tinkerers on the other hand (Camino al desván, Eli Gras, Mataparda, Victor Nubla). Hyperactive, this scene is radical and strongly dominated by the hardest musical styles, but the ambient, influenced by the German Kosmische Musik and "krautrock", also develops here.

The second vein of Spanish ambient comes from some of the independent labels of the peninsula (DRO, GASA, El Cometa de Madrid, EGK) whose activity will mark the return of some of the most adventurous musicians-producers of the 70s. Some were influenced by American minimalism (Luis Delgado / Mecánica Popular, Suso Saiz, Javier Segura), others by Fourth-World Music conceived by Jon Hassell and Brian Eno (Finis Africae, Jabir). Having passed through folk, ancient, traditional or contemporary music, and being familiar with improvisation and studio techniques, these artists come from a mutant hippie culture, capable of phagocyting many musical styles from electronic ambient to ethnic improvisation and modal jazz.

These two scenes and generations that make up LA OLA INTERIOR intersect around a common interest in non-Western musical traditions. Their exploration may be that of the tribal origins of electronic rhythms or the Arab heritage of Spain. Above all, it is a dreamy exoticism, an immobile journey as the sounds, rhythms or instruments of these traditions are scrutinized by Western practices (avant-garde music, electronic technology). The result is a hybrid music, filtered and reinvented, neither Western nor extra-Western, with a pronounced taste for the fusion of opposites, which we have called "Acid Exoticism" because of its permanent search for trance or contemplation. Atmospheric, contemplative and serial, these musics still plunge us today into a sensorial journey, at the same time interior and distant, organic and technological, between exotic reminiscences and interior visions.

Since kicking off their production partnership during lockdown last year, UK duo Mia Mendi and musical polymath Thomas Gandey (aka Cagedbaby) have enjoyed a fruitful link up; a Beatport no.1 with ‘Cultum’ released on Mia Mendi’s new imprint hydera, a stunning cut on Stil Vor Talent’s Schneeweiß compilation followed by an impressive debut EP on Los Suruba’s Nazca Records titled ‘Paracas’.
Now they’ve stepped up for a maiden label offering on Watergate. ‘Ubi’ is a trio of aces that reinforces why this musical union is turning all the right heads. The title track is seductive and punchy, driven by a
snaking groove and an intriguing top-line melody, complimented by Gandey’s on-point vocals. ‘
Gatekeeper’ brings atmosphere in spades as an underbelly of acid and crisp rolling beats keep tempo, before the forest clears and Gandey’s yearning vox comes into focus as luscious pads swirl in the mist. ‘
Nightliner’ is the sexy closer and distinctly ‘80s in spirit, as racey synths and a plump bottom end dominate the show.

“The album is a celebration of the natural world, an attempt at immortalising the deep, transcendent feelings I have when I’m outdoors. In times of heartache, grief, deep love, or confusion, I look to the natural world for answers. I’ve learnt to breathe out, and tune in. This is what came through.”

One can’t overstate the size of the Fear Factory boot print on the neck of heavy metal. Unleashing influential albums with devastating anthems for over 30 years, Fear Factory is widely recognized as both crucial and innovative in extreme metal circles. Fear Factory manufactured, demanufactured, and remanufactured a sound that reverberates across several subgenres. They perfected an explosive blend of staccato paint-stripping riffs, industrial-tinged drums, electronic flourishes, and a scream/sing dichotomy, all of which became staples in heavy music, ever since the group first emerged in L.A.

Fear Factory headline major festivals; earned several awards from the international sales charts; toured with Black Sabbath, Slayer, Iron Maiden, and Metallica; and influenced generations of bands. But it’s the group’s commitment to unrelenting extremity and creative authenticity which ensured its place in heavy metal history, from the highly-revered Demanufacture to the similarly dominating Genexus. Songs like “Zero Signal,” “Shock,” and “Fear Campaign” are instantly recognizable anthems, as much a part of the musical DNA of modern metal subculture as the riffs and scream/sing style within them.

Fear Factory records are cinematic in scope; sonic landscapes, echoing the dystopian post-apocalyptic futures found in classic sci-fi literature and films, from Ray Bradbury to Blade Runner. Aggression Continuum, the tenth studio album, is the culmination of three decades of unforgettable songs, performances, and forward-thinking storytelling concepts, while simultaneously rebooting Fear Factory onto a brilliant and excitingly unpredictable new path. Like the liquid metal T-1000 in the Terminator franchise or the Academy-Award winning reboot of Mad Max, Aggression Continuum is a turning point where what “was” transforms into what will be. It’s Fear Factory’s own Fury Road.

Aggression Continuum boasts the definitive attack of songs like “Recode,” “Distruptor,” and “Purity.” The riffs, concepts, and passion remain strong, as Fear Factory celebrates its past, present, and future. Whatever may come, Fear Factory will be there, a soundtrack to humankind’s uncertain times ahead.

You have never heard of Janet Beat. She has been making beautiful electro acoustic work since the early 1960s. Loads of people tried to stop her making music, people like her parents and male musicians who probably felt threatened by a talented woman in their post war male dominated electronic field. Her music has not been issued before. It’s here now, you lucky people. And no, I have not made her up.

Janet Beat does not make beats. She makes sublime electro acoustic music, much of it sounds like the music from Forbidden Planet, or maybe music just beamed in from another planet. Her early 1960s tape work was all destroyed by her father when he used her tapes to hang up his tomato plants. What a bastard. Anyway, her late 1970s and 1980s work has survived, and here it is for the very first time. And before you start asking questions about the title of this LP, I asked Janet Beat if it was OK. I spent ages trying to think of a good title, but then looked at the superb photo of her in her front room (the one on the LP front) and my mind was made up.

Kolektif Istanbul verbindet traditionelle anatolische und thrakische Melodien mit Funk, World und Jazz zu einem treibenden Sound, der ebenso Schmelztiegel ist wie ihre Heimat Istanbul. Türkische Rhythmen und westliche Einflüsse verschmelzen zu einer immer tanzbaren Melange, die man mit einem Augenzwinkern als progressive Hochzeitsmusik bezeichnen könnte und für ausgelassene Stimmung unter den Zuschauern sorgt. Das dabei entstehende kreative Chaos lässt einen dabei zu keinem Zeitpunkt vergessen, dass die einzelnen Bandmitglieder ausgezeichnete Instrumentalisten sind, die eine enorme Bandbreite an musikalischen Genres zu bieten haben - vom Jazz über Balkanmusik bis zu türkischen Standards. Gayda (Dudelsack), Klarinette, Tarogato, Saxofon, Akkordeon, Sousafon (ähnlich der Bass-Tuba), Zurna (eine Art türkischer Oboe), Perkussion und Schlagzeug dominieren die Klangästhetik, die durch Asli Dogans klare Stimme eine ganz besondere Ausdruckskraft erhält und die Sensibilität der Songs perfekt einfängt.

Café Society opened the 69th annual Cannes Film Festival to rave reviews. Woody Allen became the first and only director to have three opening night films selected for the Cannes Film Festival.

It’s New York in the 1930s. As he has more and more trouble putting up with his bickering parents, his gangster brother and the family jewelry store, Bobby Dorfman feels like he needs a change of scenery. He decides to go and try his luck in Hollywood where his high-powered agent uncle Phil hires him as an errand boy.

In Hollywood he soon falls in love, but unfortunately the girl has a boyfriend. Bobby settles for friendship - up until the day the girl knocks at his door, telling him her boyfriend just broke up with her. All of a sudden Bobby’s life takes a new turn, and a very romantic one at that. The soundtrack features a great collection of the music from the 1930’s. The music is featured prominently in the movie and has been chosen by Woody Allen himself and features newly recorded jazz standards by Grammy Award winners Vince Giordano & The Nighthawks and classic recordings from Ben Selvin, Benny Goodman and Count Basie.

Woody Allen says about the soundtrack: “The soundtrack consists of music from the 1930s since that’s when the picture takes place. Most of the material is Rodgers and Hart who is very dominant in those year and Lorenz Heart have that bitter sweet romantic quality that defines the spirit of the movie itself.”

This is a limited edition of 500 individually numbered copies on blue coloured vinyl. A 4-page booklet with pictures from the film and credits is included.

If your brain has a shortlist of bands that instantly evoke New Wave, Suburban Lawns deserve a slot right next to the likes of Devo, Talking Heads and the B-52's. After putting out two singles on their own Suburban Industrial imprint, the Lawns signed to I.R.S. Records and released their debut LP in 1981. While the band gained cult status thanks in part to a Jonathan Demme-produced music video which aired on Saturday Night Live, their self-titled album would sadly be the five-piece's only full-length statement.

Suburban Lawns' asymmetrical aesthetic is personified by co-vocalist Su Tissue, whose mesmerizing stage persona was at once childlike and terrifying. Her unique style embodies the awkward/arty female singer of the Reagan era, while the group's male vocals – courtesy of Frankie Ennui, Vex Billingsgate and John McBurney – maintain the satirical themes of Southern California's postwar mirage of limitless sprawl.

Suburban Lawns' catchiness can be attributed to their drum-tight performance and taut songwriting. Listen to the vocal trade-offs on "Anything," which could have easily come out on any purely Punk label from LA at the time, while Tissue's deadpan delivery on "Janitor" glides into the best art-warble this side of Lene Lovich, broaching the possibility of nuclear annihilation with a murmured "Boom, Boom, Boom, Boom."

From a West Coast scene dominated by 7-inch singles and EPs, the Suburban Lawns' lone LP remains in a class with precious few. It's not surprising that they found acceptance in the Hollywood punk scene, despite their Long Beach roots, and would influence other bands such as Minutemen. This is not a disc that will get parked in your collection hoping to get pulled once in a while; this is a record you will play.