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MARIAH CAREY's diva vocal gets a proper retro revamp over a synth heavy classic on "HUMAN EMOTIONS." It'll be hard not to smirk when this comes on. A totally recontextualized Fab 4 deep cut gets reworked on the B-Side. McCARTNEY vs. a very spaced out HALL & OATES classic.1

Cristy C Road has built a reputation in punk circles for her heavily political
visual art, showcasing her skills through zines, books, tarot cards, and
album art for bands such as the Muslims
Focusing on her identity as a queer latinx woman, these projects represent an
important part of her creative expression, but to her, they are just one part of a
larger whole. While her visual work thrived, Road was sharing another part of
herself with the world through music, most recently with her band Choked Up.
While her illustration allows her the opportunity to express frustration with an
unjust status quo, her music captures the parts of life that happen in between
politics. Feeling pigeon holed into the themes of her visual art, Road explains - its
an annoying task to be expected to be a certain way because you're a woman or
you're latina or you're queer. Choked Up pushes against that expectation by
making simple, catchy pop- punk rooted in everyday feelings. Pressed on Pink
color vinyl.

New one by Montreal singer-songwriter Deb Edison, working once again as The Submissives and willfully unchanged from 2016's Do You Really Love Me? cassette (Fixture). Six years into the most tumultuous period in global history since WWII – a pandemic, right-wing infiltration, attempts at government overthrow, climate catastrophe looming, a near-complete loss of the moral compass, conspiracies lording over facts natural resources running out – and Deb's still here, staring a hole through the floor/your head. "No one ever changes," she coos on "In a Pinch," and these songs are a textbook example of that sentiment, and her artistic embodiment of psychosexual desire, ready to shatter some lives and walk away looking for the next one. "I'm waiting for your signal/I'm several years older," she drones on "Sick Kinda Love," further reinforcing a long-held stance that the obsession, internalization of feelings, and the human power dynamic of The Submissives are on the menu once again. You'll find whatever it is you want to find in here, just dig in. Deb might even be talking about you, though there's a good chance she's not, and if you don't have the goods you can be sure she's gonna be doing all she can to passively drive you away. "Chirp Like a Bird" reads as Deb's bottom-looking-up retort to Whitehouse's "Wriggle Like a Fucking Eel," and might even be more severe, because she doesn't need microphonic feedback and screaming to intimidate. If you're in for surface thrills, scrape up the Shaggs-esque rock stumble, swooping viola, and behind-the-beat bash tapping out each of these eleven tracks. This is how it is; you get what you get, and you might be upset, but that's all on you. You'll never get to the bottom of this sketch. TRACKLIST: A1 Wanna be your thing A2 When it was all new A3 In a pinch A4 Sick kinda love A5 Chirp like a bird A6 I'm a mirror B1 Goodbye Betty B2 Four five B3 Isn't you B4 Think of me B5 Sweetly

Here’s artist Max Kuhn on hearing the new Ralph White recordings for the first time: “I was driving a familiar round trip across the high desert when I first put it on. It immediately spoke to me. In the lyrics there's a familiar geography for me, a familiar emotional landscape for all of us. And maybe it was driving an almost 40 year old truck on sun baked & cracked asphalt in July, but it's like you can hear his songs coming apart- the cadence, the rhymes stumbling & defying expectations, consistency but they just keep moving. You have no choice but to go with it. Probably a good lesson for how to live in this era we're in, cracking up but keeping it all running somehow, trying to make something pretty with the time.” Recorded in Austin, Texas in March of 2020, just days before the city and the rest of the world shut down, Ralph White spent two days with producer, Jerry David DeCicca (Will Beeley, Ed Askew) and recording engineer, Don Cento, capturing a raw and wild set of performances. Ralph, having recently converted his van into a mobile living and touring quarters equipped with a wood-burning stove, left Austin, the city where he was born 70 years ago, and retreated to an Arizona commune where he began building a new house in the desert hills to escape the virus and insanity of daily living. Ralph takes us on a journey through his myriad of travels: from Dock Boggs to Syd Barrett to William Faulkner to Stella Chiweshe to Blind Uncle Gaspard…scratching banjo, rasping train whistle hollers, rolling kalimba, rousing accordion, taut shimmers of guitar, caustic fiddle and lyrics - that could have been hidden amongst the dusty inner groove of a lost Harry Smith 78 - weaving in and out of streams of consciousness, time and place. In addition to his solo work, White has recorded or performed with a diverse group of folk and avant-garde musicians: Thurston Moore of Sonic Youth, Jandek, Jack Rose, Eugene Chadbourne, Michelle Shocked, Sir Richard Bishop, and Michael Hurley. “This is what Ralph White really sounds like. It’s what time passing really sounds like. It’s what a look really feels like. This record is someone touching you all over!” --Bill Callahan “Striking, electrifying acoustic music from an underappreciated legend of the American Southwest. Here, tight song structures meet open, unadorned instrumentation: guitar, banjo, kalimba, accordion, fiddle, and White's elastic voice, unspooling pitches and syllables. White draws listeners in on his terms. Lyrics wind and twist and pull back: "Motel 6, Motel 6, Altoona, Altoona; missing you, missing you so, great big hole in my--..." Brave, beautiful, a high point in White's long career. And this is just Volume 1!” - Eli Winter. "What Ralph White puts on albums and onstage is so mind-boggling and vast, it forces those of us in the description business down a treacherous path." --Darcie Stevens, Austin Chronicle. “White was a member of well-loved punk bluegrass outfit Bad Livers, but his solo work is possessed of a much more lonesome spark, exaggerating the implied drone at the heart of the music of Dock Boggs and The Stanley Brothers…White plays wooden six-string banjo, violin, button accordion and kalimba and his voice has a high, eerie quality to it…extremely psychedelic.” --David Keenan, The Wire Tracklisting: 1. Gun Barrel Polka 2. Misinformation Shuffle 3. El Golfo 4. Something About Dreaming 5. Rye Straw 6. The Stovepipe Blues 7. No Stranger 8. Morning Sickness 9. Lord Franklin

"Tommy Womack has been a revered and fearless leader among his
generation of fellow artists and kindred spirits for a long time now
Even the stories he makes up are true" — Todd Snider."Tommy Womack is a multihyphenated treasure: what you get when you put Keith Richards, Billy Graham,
and Hunter S. Thompson in a blender and turn it on high." — Marshall Chapman,
author of Goodbye, Little Rock and Roller and They Came to Nashville"One of
Nashville's finest singer-songwriters. For round pegs in square holes everywhere."
- John Hiatt

Deeply ingrained into the fabric of the British electronic music landscape, Luke Vibert shows no sign of slowing down, after an illustrious career spanning three decades (to date!). Vibert returns to Hypercolour after 2020’s hugely successful trilogy series (Amen Andrews/Modern Rave/Rave Hop) with his 18th album (not counting albums released under his other monikers Kerrier District, Plug, Wagon Christ et al).

‘GRIT.’ finds Vibert in playful mode (and, let’s face it, whenever isn’t he!), as twelve tracks of acidic and squelching drum machine tracks come rolling out to play. Bouncy and hypnotising 303 jams of the highest order are served up here, with rhythms pulled from the electro, garage and house pools, all delivered in Vibert’s inimitable style.

..Zeit für ein neues gurD Album!
Nach 8 Jahren seit dem letzten regulären Studioalbum war es wieder an der Zeit, die Gitarren sprechen zu lassen!
Vollgepackt mit rasanten Thrashern wie "Merry Go Round", "Devil's Bread" oder "Taste For More" ist auch Platz für groovige Riff-Monster, für die die Band bekannt ist.

Tracks wie "FEAR" oder "I Like The Pain" beweisen, dass sie es immer noch verstehen, ein solides Fundament aus schweren Riffs und stampfenden Drums zu legen.

Der letztgenannte Song kann als Hommage an die vergangenen Touren mit ihren guten Kumpels von Pro-Pain verstanden werden und beschreibt die Freude und den Schmerz des Unterwegsseins.
Auf dem Album gibt es mehrere Gastauftritte der ehemaligen gurD-Gitarristen Tommy B. (er spielte auf den ersten beiden Alben) und Bruno Spring (er war von 1999-2004 in der Band). Es war ein großes Vergnügen, sie erneut im Studio zu haben.

"Hallucinations" wurde wieder in V.O.s eigenem Little Creek Studio aufgenommen, wo auch Bands wie Destruction, Burning Witches, Pro-Pain und natürlich Poltergeist einen Großteil ihrer Alben aufgenommen haben.

..Zeit für ein neues gurD Album!
Nach 8 Jahren seit dem letzten regulären Studioalbum war es wieder an der Zeit, die Gitarren sprechen zu lassen!
Vollgepackt mit rasanten Thrashern wie "Merry Go Round", "Devil's Bread" oder "Taste For More" ist auch Platz für groovige Riff-Monster, für die die Band bekannt ist.

Tracks wie "FEAR" oder "I Like The Pain" beweisen, dass sie es immer noch verstehen, ein solides Fundament aus schweren Riffs und stampfenden Drums zu legen.

Der letztgenannte Song kann als Hommage an die vergangenen Touren mit ihren guten Kumpels von Pro-Pain verstanden werden und beschreibt die Freude und den Schmerz des Unterwegsseins.
Auf dem Album gibt es mehrere Gastauftritte der ehemaligen gurD-Gitarristen Tommy B. (er spielte auf den ersten beiden Alben) und Bruno Spring (er war von 1999-2004 in der Band). Es war ein großes Vergnügen, sie erneut im Studio zu haben.

"Hallucinations" wurde wieder in V.O.s eigenem Little Creek Studio aufgenommen, wo auch Bands wie Destruction, Burning Witches, Pro-Pain und natürlich Poltergeist einen Großteil ihrer Alben aufgenommen haben.

Jackie Cohen decided the only way forward was to succumb to crisis, to
relax into it instead of fighting, to find beauty even in the flame an
approach that fuels her sublime new album, Pratfall
Because of the record's pandemic origins, Cohen was only aided in studio by two
collaborators: her husband, Foxygen's Jonathan Rado, and engineer Rias Reed.
"We were a tight pod," she laughs. The three musicians holed up at Sonora
Recorders in Los Angeles, tapping into the studio's vaulted ceilings and haunted
feeling to amplify Cohen's widescreen songwriting. "Elliott Smith recorded some
stuff there, and it always seemed like there was a ghost banging around in there,
turning lights on and off," she says, before adding a cheery followup: "Shakira
recorded there too, can't forget another 5'2" icon." On Pratfall, Cohen renders both
extremes of that range of experience in warm, inviting indie pop. "I didn't want to
write a dirge inspired by the darkest moments of my life, I wanted a cathartic
moment, to experience the emotion and build from it," Cohen says. "This record is
a climax where everything becomes explosive and you can just close your eyes,
give in, and dance it off."
LP Tracks: Two Days / Coup De Grace / The Valley / Pratfall / Ghost Story /
Moonstruck / Dire Love / Lost Without Fear / Some Days / Extra Credit / Scraps
Of Love

Billy & The Loins reunite for a tribute 7” to founding Loins member Chris Broderick. Billy recorded the first two Singing Loins LPs with Chris Broderick and Arf' Alan in his bathroom at May Road, Rochester in 1991 and 1993. The lads then decided to record an LP of folk variations of Billy’s own tunes, called At The Bridge. The Singing Loins then went their own way recording many LPs. Fast forward to late 2021 and the singer Chris was diagnosed with blood cancer. Before his passing in January 2022, he let Arf (and later Loin Rob), know that he wished them to carry on the group. That said Billy proposed a memorial 45 (and an LP to follow). The tracks: ‘The Song of the Medway’ is about their hometowns of Rochester, Chatham, Strood and Gillingham, all on the banks of the River Medway. Chatham's ancient Dockyard was where Nelson’s Victory was built. The Broken and the Lost of the Old Long Bar celebrates a drinking hole on Chatham High Street (which once boasted more pubs and brothels in a single mile than anywhere in the world). Especially written by Billy for this return of The Singing Loins, the songs are at once brand new and ancient. TRACKLISTING 1 - Song of The Medway 2 - The Broken and the Lost of the Old Long Bar

The master of all things creepy, Widow slithers back with his sophomore DDD release. 'Spooky Stories' will take you down the dark rabbit hole into a world of scares, spirits and suspense.

Widow's sound is characterised by a brilliant use of negative space, it's often what's not there as much as what is. Haunting atmospherics, deep bass, minimal drums and cheeky samples complete the picture.

Any fan of Deep, Dark & Dangerous will know many of these tracks from livestreams and shows. We see you hiding under the bed covers.

Brighton sextet Opus Kink share their debut EP ‘‘Til The Stream Runs Dry’,
via Nice Swan Records (Sports Team, Pip Blom, FUR, English Teacher).
• Partnering up with the cult indie label for their first extended release, the
enigmatic collective - comprised of Angus Rogers, Sam Abbo, Fin Abbo, Jed
Morgans, Jazz Pope and Jack Banjo Courtney - lend a blend a dizzying
array of influences in their ever-evolving enigmatic style, producing an
experimental patchwork of explosive material that’s consistently earned
widespread plaudits since bursting onto the scene.
• With EP lead singles ‘I Love You, Baby’, ‘The Unrepentant Soldier’ and ‘Dog
Stay Down’ attracting praise from all corners of the press landscape (NME,
DIY, So Young, Dork, Clash, Gigwise), not to mention countless BBC 6
Music (Steve Lamacq, Lauran Laverne) spins, the six-piece are clearly
primed for a busy summer.
• Having already ticked off live dates alongside labelmates Malady and
Mandrake Handshake, in addition to a sold-out headliner at London’s
legendary 100 Club last month, the band have a slew of festival appearances
lined up in the months to come, as well as shows with FEET and Bull.
• Detailing their EP, Opus Kink stated: “You may begin by dipping one stained
and rancid toe, but you know that once those waters have been tasted
there’s only one way to go - into the stream, away down the valley like
flotsam and windfall. Here lie six songs of bad love, ill winds, possession,
stagnation and earthly delights.”
• “Horn-fuelled filth-funk, where punk & jazz combine in grimy circumstances” -
NME
• “A land where growled-jazz meets the blues in a showdown to end all
perceptions of genre… Opus Kink have succeeded in turning listeners on
their head” - So Young
• “A frenetic groove-filled glimpse of what’s to come” - DIY
• “Intense blast of guitar pop” - Clash
• “There is a sense that they are still only just beginning to hit their stride” - M
Magazine
 Tourdates - August 20 Beautiful Days, September 28 Oslo London, 29 Record
Junkee Sheffield, 30 YES (Pink Room), Manchester.

repress

Two seminal classics get reissued for this debut release on the very stylish NY label Brooklyn Highs.
7 inch Black Vinyl with Red Orange & Yellow Splatter, in a Manilla sleeve. Large centre hole.

Highlights: Limey and the Yanks' A-side 'Love Can't Be A One Way Deal' is a garage song with a sound pitched somewhere between the Beau Brummels and the Beach Boys. 'Guaranteed Love', on the flipside, is an outstanding bluesy number with a stinging fuzz guitar, a concise harp solo and a rousing Bo Diddley-fied groove that has made its way to various compilations since the early 80s and now gets reissued for the first time on a 7" single. This release includes notes by Mike Stax (Ugly Things Magazine) Details: In California in the mid-sixties, with the British Invasion raging, having an authentic Englishman as the lead singer of your band was an ace in the hole that gave you an edge over the competition. Such was the case with Limey & the Yanks a quintet from Buena Park in Southern California's Orange County. Limey was young Steve Cook, and his Yanks by 1965 were guitarists Gregg DeLorto and Tim Gunne, bass player Bob Batman and drummer Wes Hunsinger. With his blonde Keith Relf-style hair, Steve was a striking front man who fortunately also possessed a decent voice, and with his father managing the group they were soon making waves throughout the area. A victory at a Battle of the Bands at the Hollywood Palladium put them on the map in Los Angeles, attracting the attention of producer Gary Paxton. By this time Wally Downing had joined on lead guitar, replacing Gregg DeLorto who had defected to the Spats. Paxton produced their debut single in late 1965, and it was released in January of the following year on his Starburst label. Paxton's business partner in Starburst was Lloyd Johnson, and the single's A-side was written by Lloyd's son Ken, who also recorded for Starburst with his group Ken & the Forth sic Dimension. Paxton had already produced a version of 'Love Can't Be A One Way Deal,' a couple of years earlier with the Rev-Lons, a girl group from Bakersfield, but the version by Limey & the Yanks took a completely different approach, turning it into a lovelorn garage number with a sound pitched somewhere between the Beau Brummels and the Beach Boys, with bright harmonies, mournful harmonica and a melodic twangy guitar solo. Swinging on a guitar hook based on Bobby Parker's 'Watch Your Step,' 'Guaranteed Love,' took a bluesier approach with a confident Limey vocal, stinging fuzz guitar, a concise harp solo and a rousing Bo Diddley-fied groove. The single was not a hit, but it added heft to the group's growing reputation. A second single, 'Out of Sight, Out of Mind,' was released in October, but it would be the group's last, although they did continue, through several lineup changes, into 1967. Limey's legacy lives on_

BLACK VINYL REPRESS

ITS 25 YEARS Since the first Heads album was released.. .so.. for 2021..Rooster has decided to get the album back in print on vinyl.. but changing the artwork. With some silver foiling and bordering, the single sleeve has been boosted to a sweet gatefold, Rooster also got the Radio 1 sessions from the time remastered, and re-cut along with the huge b-side to their Television 7” “Jellystoned Park”.
So there you have it, a double vinyl silver jubilee reissue of a fantastic debut album!

From the original reissue sales notes:
“The Heads had self-released a couple of 7"', and then Cargo Uk's inhouse label Headhunter UK got to release a further 7", and then the Debut album in 1996. Amidst a world suffocating in Britpop smarm, the Heads cut a timely swathe with their unkempt rock psychedelique. The album contained 10 tracks of guitar driven, amp destroying rock, with cues taken straight from the US underground, Stooges, MC5, Mudhoney, Pussy Galore, early Monster Magnet too but with a disitinctly British stamp, some of the drone and fuzz from Loop / Spacemen 3, some of the attitude of the Fall, Pink Fairies and Walking Seeds and overlaid with the spaced rock of early Hawkwind. It was obvious that the four members of the Heads were music obsessives. The debut album was recorded at Foel studios (owned by Dave Anderson from Hawkwind) and engineered by Corin Dingley, it was mastered by John Dent at LOUD.”


We’ve asked for some new appraisal of the Heads for the Silver Jubilee edition from good friends....

Stewart Lee February 2021
“The Halley's Comet victory orbits of historic heavy artefacts from Detroit, like The Stooges or The MC5, leave grateful onlookers aghast. But, hidden away in Bristol, The Heads are still with us now, our homegrown acid-garage godfathers, an ongoing thirty-two year old concern with a back catalogue arguably more consistent than the super-dense psyche-rock groups that inspired them. The Heads arrived fully formed and have spent three decades becoming more like themselves, a musical black hole that sucks in all surrounding matter. I love The Heads “

Phil Alexander February 2021
“The Heads make music for freaks in the know. If you were there in 1996, you’ll know just what that means…

Back then, they were gloriously out of step with the pop-cheese of the time and geezerly lumpiness of Britpop. Theirs was an altogether different take on music – a take inspired by the glorious burn-out of the ‘60s, the sonic overdrive of the ‘70s and the axis of joy created by the combination of excess volume and repetition.

We could name-check some inspirations and kindred spirits: The Stooges, Hawkwind, Floyd, Loop, Sabbath, Amon Düül II, Spacemen 3, Walking Seeds, Mudhoney, Monster Magnet among them... But in all honesty, The Heads have always existed in a world of their own, surfacing as and when the mood takes them, before returning to their subterranean rehearsal room to jam their way through yet more mind-altering riffs and mood-altering rhythms.

Relaxing With The Heads is their first defining statement. It is also possibly their most straight-forward release, the sound of a band attempting to find structure in their playing rather than abandoning themselves to their wildest impulses. That would come later…

And yet, 25 years on, this album blasts forth like few records from that time, its slacker charm welded to super-fuzzed riffs that propel its 10 tracks ever onwards. Righteous is probably the only word for it…”

From colossal opening track 'A Cleaved Head No Longer Plots', CONAN’s upcoming magnum opus will overrun you like a steamroller. The British kings of brutally heavy slowness put their down-tuned pedals to the limit, crushing ears and minds when huge, rumbling chords and riff beasts muscle their way in over lances of infinite distortion. On tracks such as 'Levitation Hoax', CONAN showcases their trademark sound combined with uptempo, fierce riffage, and a pounding, impulsive groove in epic Caveman battle doom grandeur, before the song drags you into a safe, deep black hole. Second album single, 'Righteous Alliance', emphasizes that CONAN are the masters of their craft, while Jon Davis spits his lyrics over the uber-synchronized power chord changes and tempo shifts of the anti-holy trio of bass, drums and guitar. Evidence of Immortality was recorded and mixed by Chris Fielding, was mastered by James Plotkin, and also sees former band member Dave Perry performing on 'Grief Sequence'. Bow down and hail CONAN, as their sound will live immortal on the battlefield of doom, and their new album will be the ultimate Evidence of Immortality! 1. SINGLE - EN On first single 'Levitation Hoax' off of Evidence of Immortality, CONAN showcases their trademark sound combined with fast-paced riffage and a pounding groove in epic doom metal grandeur, before dragging you into a safe, deep black hole. The British trio is one of the leading and most heavily touring doom metal bands of modern times, with millions of streams on Spotify alone. This further proves that their sound will live immortal! 2. SINGLE - EN Evidence of Immortality single 'Righteous Alliance' emphasizes that CONAN are the masters of their craft, while frontman Jon Davis spits his lyrics over the uber-synchronized power chord changes and tempo shifts of the anti-holy trio. Boasting sold-out international headline tours, frenetically acclaimed appearances at Hellfest, Desertfest and more, and millions of streams on Spotify alone, England’s doom metal masters strike back again on their new album. Hail Conan!

Nothing goes quite like you plan it, and the same could be said for oso oso’s fourth full-length, sore thumb. The album is an unexpected and unintentional return-to-form; a capsule of early 2021 when oso’s Jade Lilitri (he/him; vocals/guitar/bass/drums) and his late cousin Tavish Maloney (he/him) holed themselves up at producer Billy Mannino’s (Bigger Better Sun) Two Worlds Recordings. For a solid month, the three of them practically lived at the studio, crafting this entire album together in between nerf gun fights and psychedelic trips. The idea was to spend that month writing and demoing, then take a month off to decide where and who to work with to bring it to life––but everything happens for a reason. Less than a month later, when Tavish suddenly passed away, Jade knew immediately that he was not going to be touching these songs. Almost nothing has changed since; aside from a brilliant mix by Mike Sappone, sore thumb was nearly complete the day the two cousins left the studio. Every quirk, and every conceptual song born out of a month spent stoned with your cousin recording whatever came to mind; sore thumb exists as a living memorial for Maloney. It's a celebration of life and chaos and art, a glimpse into a moment that will never happen again. One month in Long Island, preserved for eternity.