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What on earth has happened to gothic rock? This was the thought burning in Joakim Knutsson’s mind, and he felt that something needed to be done to save the much-loved genre from going down the drain. He embarked on this mission with the aim to create something special but also something faithful to the original ideals of the 80’s gothic genre. “I wanted a band that would be an occult mix of The Lords Of The New Church, Adam and the Ants, John Carpenter and Billy Idol”, says Knutsson, “The end result turned out heavier, bloodier and darker than that, but that was probably our destiny anyway.” With a little help from prominent members of the Swedish metal and punk community the idea recently took a solid form. Today the band together sums more than 250 years of knowledge in music and pop culture - knowledge they shamelessly put to use in their own creation. Here they are: die Oberherren. The Gothic rock band the world has been waiting for since the golden age of the 80s. Kept strictly under wraps until now, die Oberherren feature members of the rock and metal royalty in Sweden, with past or current membership in bands such as The Coffinshakers, Ghost, The Mobile Mob Freakshow, Gehennah and many more. The band snatched their ominous-sounding moniker from the intellectual group that operated at the turn of the 20th century, by whom their lyrics are also heavily influenced. “Anarchistic, occult and apocalyptic imagery with prophets of war, armageddon, decadence and love – these themes and ideas are even more actual today than the original ‘overlords’ could ever dream of over a hundred years ago”, comments Knutsson. The debut album Die By My Hand, set for release on January 27th 2023 on Svart Records, is a collection of eight songs that are adorned with infectious hooks and laced with vintage darkness. The apocalyptic celebration will commence this Friday, Sept 7th, with the release of the first single off the album titled The Horned One Stabs.

What on earth has happened to gothic rock? This was the thought burning in Joakim Knutsson’s mind, and he felt that something needed to be done to save the much-loved genre from going down the drain. He embarked on this mission with the aim to create something special but also something faithful to the original ideals of the 80’s gothic genre. “I wanted a band that would be an occult mix of The Lords Of The New Church, Adam and the Ants, John Carpenter and Billy Idol”, says Knutsson, “The end result turned out heavier, bloodier and darker than that, but that was probably our destiny anyway.” With a little help from prominent members of the Swedish metal and punk community the idea recently took a solid form. Today the band together sums more than 250 years of knowledge in music and pop culture - knowledge they shamelessly put to use in their own creation. Here they are: die Oberherren. The Gothic rock band the world has been waiting for since the golden age of the 80s. Kept strictly under wraps until now, die Oberherren feature members of the rock and metal royalty in Sweden, with past or current membership in bands such as The Coffinshakers, Ghost, The Mobile Mob Freakshow, Gehennah and many more. The band snatched their ominous-sounding moniker from the intellectual group that operated at the turn of the 20th century, by whom their lyrics are also heavily influenced. “Anarchistic, occult and apocalyptic imagery with prophets of war, armageddon, decadence and love – these themes and ideas are even more actual today than the original ‘overlords’ could ever dream of over a hundred years ago”, comments Knutsson. The debut album Die By My Hand, set for release on January 27th 2023 on Svart Records, is a collection of eight songs that are adorned with infectious hooks and laced with vintage darkness. The apocalyptic celebration will commence this Friday, Sept 7th, with the release of the first single off the album titled The Horned One Stabs.

Barely heard in his lifetime (1961-2002) but hailed as an outsider hero of ur-punk since 2009’s ‘Cosmic Lightning’ compilation, J.T. IV strikes back!

15 unheard-of tracks found on an obscure cassette tape make the schizo split in his music - rabid rock & roll fantasy and cold-eyed acoustic introspection - an epic. ‘The Future’ is J.T. IV’s mad magnum opus.

The 2009 comp LP, ‘Cosmic Lightning’, cast his tragic silhouette up on the big screen
for all to see: the lost boy, alone in the world, standing before the mic and releasing
his inner star with glee and vengeance, his antisocial visions flying high atop a raging
funnel of distorted guitars and blunt rhythms. Or couched, childlike, within a heart
breaking billow of acoustic guitars - a schizophrenic split that only magnifies the
display of his deep emotions.
‘The Future’ goes even further, excavating fifteen recordings from a previously
unheard-of cassette entitled ‘The Best Of Johnny Zhivago Retrospective 1979–1993’,
and adding four more uncollected tracks from his slim (and impossible to find
anyway) discography.
Of these nineteen tracks, eight are covers - and J.T. IV’s picks, from Velvets to Mott
the Hoople, Roxy Music, Lee Hazlewood, The Kinks, Eno and Stephen Sondheim,
sharpen our image of the misfit adrift; on the outside looking in, but maybe just a few
steps away from his goal.
‘The Future’ unfolds like an epic, as both sides of J.T.’s persona - the street-smart,
damaged rocker and the heart struck poet of the scene - live on together in the best
performances of his short career.
A punk of the old order, John Henry Timmis IV was born in 1961 into a dysfunctional,
abusive and eventually broken family. By the mid-70s, he was desperate to get out,
running away from his mother’s home several times while still a teenager living in the
greater Chicagoland area. At wit’s end, she had him committed to the Menninger
Clinic for a year or so. Released on his own reconnaissance, he began his meteoric
ascent to the mythic level of self-aggrandizement in which he appears here. Inspired
by the underground, proto-punk sounds in the air (the likes of which any sharp-eyed
young thing might chance upon in the back pages of Creem, Crawdaddy, Trouser
Press, etc.) and desperate to be heard himself, J.T. presented like the scabby
younger brother of Bangs and Laughner: born only to rock, his musical conception a
rabid personality crisis of proselyte elitism and nihilist excess.
Now, 20 years on from his passing, ‘The Future’ is ever farther away from the world
in which he struggled so mightily - but his stinging iconoclasm, whether screamed
from Marshall amps or mic-ed up close, feels ever more powerfully infused with his
unique breadth of illness and essence.
These songs represent the two sides of J.T. - and while they emanate from the 80s,
they find themselves potently renewed in the polarized world of today, making ‘The
Future’ a worthwhile destination for everyone who ever had a heart touched by the
transgression and freedom promised by rock & roll.

Limited Edition 180g blue coloured vinyl pressing of this 1959 Chess
album, which collects 1951-1954 sessions by the great John Lee Hooker,
who influenced bands such as The Rolling Stones during the sixties'
rhythm and blues boom
Important titles here are the ominous 'Leave My Wife Alone,' the stark 'Sugar
Mama', 'Ramblin' by Myself'', 'Louise', and 'High Priced Woman', the latter two
featuring Eddie Kirkland on second guitar. 'House of the Blues' has the distinction
of having made it into the UK album chart at No.34 in 1967.

Limited Violet Vinyl repress for Indies only. Genre: alternative/punk/heavy/riot grrl. Debut album for legendary Tasmanian noise-punk band formed in the early 90s. Recordings span more than 20 years, including tracks thought lost on a corrupted hard drive from the late 90s. Legendary Australian punk band Little Ugly Girls formed in Hobart, Tasmania in the very early 90s, but have never released a record until now. This new self-titled set is officially their debut album, and features recordings spanning more than 20 years. The band formed around fiery vocalist Linda Johnston, whose high-kicking stage antics make her one of Australia's most electrifying frontpeople, and her guitar demon brother Dannie "Bean" Johnston. After moving to Melbourne in the mid 90s, the band settled on their classic lineup of Brent "Sloth" Punshon on drums, and rock-solid bassist Mindy Mapp (previously of another cult 90s band, Brisbane's much-loved Fur). Little Ugly Girls played with the likes of Bikini Kill, Fugazi, and once memorably headlined over the White Stripes in Melbourne. But their only recordings released to date include a handful of 90s cassettes. Now nearly 30 years since they formed, the debut album by Little Ugly Girls shows them at their towering best - fierce and inspiring, with Linda's scarifying lyrics and impassioned delivery set to a huge wall of taut punk noise. It has been a long time coming, but it's as good as you could have dreamed. Tracklist 1. Tractor 2. Slip 3. Jimmeh 4. Senseless 5. Baggage 6. The Pit 7. Storm After Storm 8. Dead C 9. Snap 10. Tardis 11. Vinegar 12. Boxen-Hooda-Hayda

Die neue VERVE BY REQUEST-LP-Serie präsentiert rare Kultalben, die von den Fans immer wieder
gefordert werden, gepresst in audiophilem 180-Gramm-Vinyl bei Third Man Pressing/Detroit.
JAMES BROWN - ”Soul On Top ”
“Im Herzen bin ich ein Jazz-Mann“ gesteht der der Godfather of Soul in den Linernotes zu diesem groovenden Album von 1969, mit einer Big Band unter der Leitung von Drummer Louis Bellson und arrangiert von
Impulse!-Star Oliver Nelson. Browns Partner in Crime, der Saxophonist Maceo Parker, ist ebenfalls daran
beteiligt, es zu einer swingenden, temperamentvollen Sammlung von Standards und James-Brown-Hits zu
machen.
(audiophiles 180-Gramm-Vinyl, Gatefold-Sleeve)
MEL BROWN - ”Chicken Fat”
Gitarrist Mel Browns Impulse!-Debüt von 1967 ist das möglicherweise funkigste als auch ungewöhnlichste Album, das je auf dem Label veröffentlicht wurde. Browns flüssiger Blues-Picking-Stil - den er sich
zulegte, als er in den Bands von John Lee Hooker und T-Bone Walker spielte - garniert mit der swingenden
Soul-Jazz-Orgel von Gerald Wiggins. Besondere Highlights sind der Titeltrack, „Greasy Spoon“ und das
blues-getränkte „I’m Goin’ to Jackson“.
(remastered von den analogen Originalbändern, audiophiles 180-Gramm-Vinyl)

Die neue VERVE BY REQUEST-LP-Serie präsentiert rare Kultalben, die von den Fans immer wieder
gefordert werden, gepresst in audiophilem 180-Gramm-Vinyl bei Third Man Pressing/Detroit.
JAMES BROWN - ”Soul On Top ”
“Im Herzen bin ich ein Jazz-Mann“ gesteht der der Godfather of Soul in den Linernotes zu diesem groovenden Album von 1969, mit einer Big Band unter der Leitung von Drummer Louis Bellson und arrangiert von
Impulse!-Star Oliver Nelson. Browns Partner in Crime, der Saxophonist Maceo Parker, ist ebenfalls daran
beteiligt, es zu einer swingenden, temperamentvollen Sammlung von Standards und James-Brown-Hits zu
machen.
(audiophiles 180-Gramm-Vinyl, Gatefold-Sleeve)
MEL BROWN - ”Chicken Fat”
Gitarrist Mel Browns Impulse!-Debüt von 1967 ist das möglicherweise funkigste als auch ungewöhnlichste Album, das je auf dem Label veröffentlicht wurde. Browns flüssiger Blues-Picking-Stil - den er sich
zulegte, als er in den Bands von John Lee Hooker und T-Bone Walker spielte - garniert mit der swingenden
Soul-Jazz-Orgel von Gerald Wiggins. Besondere Highlights sind der Titeltrack, „Greasy Spoon“ und das
blues-getränkte „I’m Goin’ to Jackson“.
(remastered von den analogen Originalbändern, audiophiles 180-Gramm-Vinyl)

‘Fuxsake, what a great ride this album is... …Somewhere John Lee Hooker is smiling and stampin' his foot to 'Runnin' Till I'm Done'! Love the 12 string riffing so much - You just don't hear that enough these days - Brings to mind Stevie Ray on killing it on acoustic. Ledfoot on the Goodfoot got some serious mojo'. - Winter Lazerus, mastering master This record was recorded and mixed in two days - live - straight to tape… no edits, no punching in…just me… honest for better or worse – honesty - What a precious thing ‘ - Ledfoot - In short: 10 tracks recorded analogue live to tape during two magic days at Studio Studio Nyhagen. No bullshit, just a unique artist spitting out his soul in the most naked and real setting possible. Gothic blues! Still, the sound, the lyrics and the performance are very much a product of today. Ledfoot aka Tim Scott McConnell is a 12-string guitarist who plays with fitted heavy strings,
a brass slide, steel fingerpicks and a stompbox. He has been touring and releasing music since the late 1970’s and written for artists as varied as Highasakite and TnT to Sheena Easton. In 2014, Bruce Springsteen recorded ‘High Hopes’ as the title track of his album, written by Tim Scott McConnell for the Havalinas debut album in 1990. It debuted as #1 in over 10 countries including the U.S. and the U.K.

• Fame collectors know how rare this 45 is to find in the wild; it hardly ever happens. ‘Go Away With Me’ is a fabulously, catchy dance number from 1963 when the little-known Dixon wandered into the Fame Studios in Muscle Shoals and laid these track down. It is one of Dan Penn’s very early compositions and the nascent talent of the writer is in evidence here.

• The tuneful self-penned ‘Time Will Tell’ flip reveals another accomplished musical bent to the singer who, though he only cut two 45s, was revered as a major Muscle Shoals influence by the likes of Jimmy Johnson, Donnie Fritts and David Hood.

A double treat for those who love timeless Southern Soul flavoured with some of those good ol’ down home blues. Memphis born, and Minneapolis based, Willie Walker can comfortably be included in the pantheon of grittiest soul singers along with Wilson Pickett, Syl Johnson, Lou Rawls, James Carr, Eddie Floyd, Tyrone Davis and L.V. Johnson, to name but a few, but there has always been speculation about other Willie Walkers. The recordings on Eutor and Hi in the 70’s are not by the same Willie as those on Goldwax and Checker in the 60’s. He did, however, also record as Wee Willie Walker.
 
He was a member of The Rhythm Harmonizers, The Val-Dons, The Exciters, The Bound Band, Willie & The Bumblebees (although that Willie is actually Willie Murphy of The Val-Dons), and Canoise, spanning a long and varied career before hooking up with the Minneapolis based band The Butanes in 2004, with whom he made the next three albums. The first of these was mainly cover versions, but "Right Where I Belong" (2004) and "Memphisapolis" (2006) are notable for each providing the tracks that make up this latest Jai Alai release, a label that differs from sister label Soul4Real by featuring 21st century tracks previously CD only but now released on 7” vinyl for the first time. It also has to be noted that all the tracks on both these albums were written and produced by Curtis Obeda, who managed to track down Willie after so many years.
 
“I Feel It” will have been missed by most as it was on the CD "Right Where I Belong" which was released in 2004 on the most unlikely of UK imprints, the Wirral based One On One Records run by Colin Dilnot. The album is a lavish display of real instruments from a band that once backed John Lee Hooker and Little Johnny Taylor and the perfect setting for Willie’s powerful vocals. 
 
Just tipping five glorious minutes, "Cry, Cry, Cry" is a perfect example of why soul music is inextricably linked to the blues, and when the gospel styled chorus joins in towards the end, you realise that this could, maybe should, have carried on for just a little bit longer. Perhaps a fuller length version exists? Sadly, Willie died peacefully in his sleep in November 2019, but to complete his story check out the two albums on Blue Dot as Wee Willie Walker & The Anthony Paule Soul Orchestra. To quote the great Quinton Claunch…”Willie was one of the best to come out of Memphis in the 60’s”.
 
Steve Hobbs
(Solar Radio, Totally Wired Radio)

John Lee Hooker ist die wohl markanteste Bluesfigur des 20. Jahrhunderts. Die Kraft und Originalität seiner Stimme in Verbindung mit seiner unverwechselbaren Gitarre zementierten seinen Ruf. In den 1960/1970ern wurde Hooker zu einem internationalem Bluesstar mit treuer Blues-, Jazz- und Rockanhängerschaft. Die 27 VeeJay-Titel dieser Werkschau sind das Herzstück des John Lee Hooker-Stils und jeder einzelne von ihnen ein blauer Diamant.

Tripper, the Fruit Bats' 2011 follow-up to The Ruminant Band, is more
pared down, with bandleader Eric Johnson doing most of the legwork
himself
Synthesizers and keyboard loops replace the knotted guitars. Atmospheric
washes of sound replace the sunny, straightforward hooks. On songs like € The
Fen, € instruments replace vocals entirely, sounding more like a clip from an
orchestral movie soundtrack than the work of a rock band. The majority of the
work was done by Johnson and producer Thom Monahan, resulting in a layered
sound that stacks overdubbed harmonies onto combinations of pump organ,
found sounds, acoustic guitar, and various bleeps and bloops. Whether he's
working alone or leading a full lineup, though, Johnson knows his way around a
good pop hook, and Tripper's best songs are rooted in catchy, sunny melodies
that shine through their heavy wrapping paper. Proof that Johnson knows how to
stretch his legs without losing his balance. Pressed with LP on White Color vinyl
and 7" on Seaglass Blue Color vinyl.

Matthew Doty didn't set out to write a solo album. His first batch of weightless and brightly lit material under the name Deserta began to take shape in 2017. Shortly after finding out he was going to be a father, Doty started working on a batch of songs inspired by the joy and the unknown of the world he was about to enter. That inspiration is the sonic and emotional backbone of debut album Black Aura My Sun.

Like a hot air balloon headed straight for the stratosphere, Deserta reveals yet another side of the songwriting Doty has spent decades refining. As experimental as it is enthralling, Black Aura My Sun applies the vapor-trailed production values and sublime dynamics of Doty's previous group projects (including post-rock band Saxon Shore and the synth-laced post-punk of Midnight Faces) to a shoegaze-y sound that splits the difference between Slowdive and Sigur Rós.

Doty began finding his own musical voice in the early '00s with the sky-piercing efforts of Saxon Shore. While it was initially a collaboration with Josh Tillman (a.k.a. Father John Misty), Doty was Saxon Shore's only consistent member over the course of five acclaimed records. His responsibility spilled over into everything from booking shows to the songs themselves. He was never completely alone in his pursuit of post-rock perfection, however, so Deserta is very much a new endeavor: a trial-by-fire that was written, recorded, and mixed in total solitude.

Deserta expands and contracts, with chords that drift like clouds, drums that drag and dissipate, and hooks that hang in the air for what feels like forever. That doesn't mean Black Aura My Sun is a subtle or soft record. It actually whips up quite a racket and is particularly heavy when piped through a pair of headphones.

Deserta is Doty's main creative outlet right now and a one-way ticket to another dimension entirely.

new pressing on red & black swirl vinyl. RIYL: New Order, Drab Majesty, The KVB, Black Marble, The Soft Moon. Layering synths, guitars, electronic percussion and live drums, Houses of Heaven fuses early industrial and techno rhythms with the melodicism of shoegaze and a heavy dose of dub-influenced effects on their first full-length album titled 'Silent Places.' Written against the backdrop of the Northern California wildfires, ever-growing tent cities and the continued rise of empty luxury housing in the Bay Area, the album explores the intimate experiences that transpire within the chaotic confines of modern living. Opener "Sleep" basks in the tension surrounding the album's inception with blown-out kick drums, claustrophobic verses, and deteriorating vocal effects. Sharp arpeggiated synths and woozy strings neutralize the track's subterranean anxiety with texture and sensuality. Produced by Matia Simovich (Inhalt) and with engineering credits that include Monte Vallier (Weekend) and John McEntire (Tortoise), it's a potent introduction to the muscular sound design underpinning the album. Booming taiko drums sound the beginning of "Dissolve the Floor," the album's most club-ready track. A pulsing arpeggio gives the song its industrial heartbeat while disintegrating tape delay throws menace into the hazy atmosphere. The undulating techno beat breaks and repairs itself with seductive and satisfying timing. "In Soft Confusion" doesn't stray from the album's obsidian narrative as it envisions and ponders the aftermath of human extinction. Sonically speaking, though, it's the album's most uptempo offering with Tecon's supremely infectious chorus vocal hook and Beck's dizzying guitar riffs. The intricate electronic drum programming is elevated by Ott's live drumming, which lends a refreshingly human touch to the potentially icy, and often mechanical, sonic territory of synthdriven music. Adding density to the album's shadowy allure are the unusual sounds and vintage outboard effects that Tecon and Simovich impressively maneuver into the album's tonal palette. Great care has been taken to finesse familiar pop structures with an inventive edge. It's this mindfulness of past and present that is sure to secure Silent Places as a standout album in the new decade. Also Available From Houses Of Heaven: Remnant 12" EP

500 Copies only on 180gm Heavyweight Classic black vinyl. Colour sleeve with printed disco bag/inner sleeve. Andy Crofts rounds up his Colorama artists on Volume 1 of this uber cool and eclectic compilation. The brainchild of Andy Crofts from the Paul Weller band the Colorama record label was set up initially as a vehicle to release records from Andy's own band The Moons but always with the ambition to champion the art of the songwriter and build an eclectic roster of like minded bands and musicians. Building on the critically acclaimed 'Pocket Melodies' from The Moons came the album 'Love & Chemicals' from Teenage Waitress and a new addition to Colorama Bristol DJ & Promoter John Britton joining Andy in the search for artists to join this burgeoning boutique label. The search culminated in the album you are now reading about 'THIS IS COLORAMA! VOL. 1' a collection of tracks from The Moons, Teenage Waitress, Sunzoom, Bliss Williams, Tiny Dyno, Duvet Daze, Pale Sabres, Wilderman, Chris Watson, Robi Mitch, Eloise, The Lunar Towers, Reid Anderson, Andy Crofts & Le SuperHomard which offers a diverse melting pot of genres with a common theme, to deliver memorable verses, hooks and choruses.

Pressed On Clear Vinyl! 1991 was the year that it all broke loose for producer Pete Rock and his rhyme partner, CL Smooth. But the duo was far from an overnight sensation. The two friends had been on the grind since high school in Mt. Vernon, NY in the mid-'80s, and Pete had been building up to his big moment since he first manned the decks on WBLS's hugely influential 'In Control With Marley Marl' radio show, starting in 1987. In '91, Pete's talent finally forced him from the studio shadows into the spotlight, and after remixes and co-productions for Heavy D (1989's Big Tyme album); Johnny Gill ('Rub You The Right Way,' 1990); and Elektra label-mates Brand Nubian ('Slow Down,' 1990); it was time for top billing. As Pete's rep skyrocketed with a revolutionary remix to Public Enemy's 'Shut 'Em Down' in 1991, the stage was set. The duo's debut EP, 'All Souled Out', was the perfect set-up - and bridge to - their flawless LP, Mecca & The Soul Brother, which appeared only one year later. Fans new (thanks to a recent revival, resulting from the song's use in a Google / Android commercial) and old are sure to know the EP's only single, 'The Creator.' The cut is a perfect slice of early '90s hip-hop - jumpy, funky and rolling along at a sprinter's pace, with killer horns that sew up the chorus. Interestingly, it's the only song on the EP where Pete Rock rhymes (and solo at that, with lines written by Brand Nubian's Grand Puba). The remaining five of the EP's songs, with CL Smooth in full charge of the mic, are no less impressive. The sleeper is perhaps 'Go With The Flow,' a kinetic groover with an egregiously thick, muted bassline, surgical cuts and never-endingly captivating lines by the liquid-tongued CL. 'All Souled Out' boasts all of the Pete Rock trademarks - a jumpy, filtered bassline; beautifully stitched horn samples on the hook; and this time with a faster tempo. CL has no issues with Pete's BPM challenge, proving he can drop knowledge at any speed. And of two different versions of 'Good Life' on the platter, the EP's final cut, the 'Group Home Mix,' is perhaps the winner, with an abundance of musical action to back up CL's lyrical musings on ways to achieve success and comfort in life. 25 years after its initial impact, 'All Souled Out' sounds as heavy and essential as ever, and will remind fans how important this duo was to the artform.

With or, the band's second full-length LP, Eyelids has created their most
emotional record yet
Produced by Peter Buck of R.E.M. and mixed by Thom Monahan (Peter, Bjorn and
John, Devandra Banhart, Fruit Bats), or is liberally sprinkled with the hooks,
melodies, and charming wordplay that make a certain kind of rock & roll fan fall
madly in love with an LP. It's all evident in the opening song, € Slow It Goes € €" is
that a play on Vonnegut or Nick Lowe? Somehow both feel appropriate €" the kind
of classic easily slotted between Superchunk and the Raspberries on a mixtape,
locked and loaded with a perfectly winsome expression of angst: € She says, € If I
can keep from sighing, why can't you?' € From there, the sequence dives deeper
and deeper into Slusarenko and Moen's love of underground pop: listen to those
sparkling € Starry Eyes € -worthy guitars on € Falling Eyes, € the psychedelic swirl
of € My Caved In Mind, € and the Dream Syndicate mysticism of € Tell Me You
Know. € Pressed on Limited Edition Sea Green Color vinyl.

Combining elements of indie-pop, punk, emo and just a little bit of 2009 vintage math-rock for good measure, adults are four pals trying to find their way in a disintegrating world. for everything, always reflects on how we look after ourselves, one another and people in our community; it’s a riotous collision reminiscent of Johnny Foreigner, The Beths or Trust Fund, bursting with crunching guitars, speedy drums and yelping dual vocals. The first single all we’ve got // all we need is a song about individual torments: “having a breakdown on the Megabus to Bristol", and about collective support: “mutual aid, building strong networks of community resistance to the hostile environment, to food insecurity, to the homophobia and transphobia by the state and about trying to look after one another”. the secret song to end side one deals with loss, guilt, rejection and anxiety, exploring the travails of a messy breakup and the masculine urge to bury everything deep down despite the fact that that only hurts people more. tfl has a lot to answer for is a “reflection of drinking way too much in yr mid 20s, staying up too late, burning yrself out and how it impacts on yr relationships and mental health”. Recorded and produced by Rich Mandell (Happy Accidents, ME REX) over a couple of weekends in the summer of 2021, for everything, always is the constantly naive, but optimistic, outlook: always striving for a better future in the face of modern society’s bullshit. lts are a noisy pop band desperately clinging on to the ghosts of 2009. Their songs are a silly, joyful, and occasionally sad, look back at the tail end of their 20s, a way to grapple with breakups, parties, alcohol and loneliness, and looking hopefully into the future. They’ve released singles with Art Is Hard and For The Sakes Of Tapes, and self released an EP (The Weekend Was Always Almost Over), which was subsequently released on vinyl by Caballito records. adults are based in south London. Faster, messier and sillier than they have any right to be, adults are hopeful and joyous, fighting through the existential angst of youth to try and find their place in a world on the brink, as grown ups, as adults. Like the octopus on the artwork says: “we're all we've got, we're all we need”. // “a cacophony of clattering drums and belt-it-out choruses Los Campesinos! or Martha would be proud of evidence that adults seem to have stumbled into something rather marvellous” For The Rabbits // “There’s an ample buoyancy from the vocal work, and the guitars are crunchy, though I like how they’re a bit tempered here; think of Martha having to play at your local library…hooks, but just a little more subdued. There’s just something about this that radiates joy” Austin Town Hall // Tracklist: A1) I Had A Little Snooze & Now I Will Probably Never Arrive At Yr House A2) Janine (JG Forever) A3) All We’ve Got // All We Need A4) Tfl Has A Lot To Answer For A5) 2 Sqs A6) The Secret Song To End Side One B1) Things We Achieve B2) The Nod B3) The Pitch And Yaw Of The 6.12 To Brighton (Plain Wrong) B4) Between Buildings B5) Killing & Dying & Something More Positive B6) The High Watermark (Thoughts Of U) B7) Wasn’t Like That

Now available in green marble vinyl. 'Gettin' by on Gettin' Down" is the
follow up to Sam Morrow's career-defining third record 'Concrete and
Mud', a staple of Americana radio on both sides of the Atlantic, with
outlets like Rolling Stone and NPR singing the album's praises
'Gettin' By on Gettin' Down' is a modern album that revisits and reshapes the
primordial sounds of hip- shaking rock & roll. These nine songs are rooted in
grease, grit, and groove, from the swampy soul of "Round 'N Round" to the funky
syncopation of "Rosarita" to the hook-laden rock of "Money Ain't a Thing". There's
hardly an acoustic guitar in sight; instead, amplifiers and guitar pedals rule the
roost, with everything driven forward by percussive rhythms that as much to R&B
as country music. Written and recorded in the wake of 'Concrete & Mud's'
acclaimed tour, 'Gettin' By on Gettin' Down' doubles down on the electrified fire
and fury of Sam Morrow's live shows, with a road-ready band joining him on every
song. Co- Produced with Grammy nominated producer Eric Corne. Musicians
include alumni from bands like Lucinda Williams, Dwight Yoakam, Merle Haggard,
Jacob Dylan and John Mayer. The album was recorded at The Doors' Robby
Krieger's studio.