Pop & Rock Vinyl New Releases - News

180g vinyl + picture disc !
Second studio album by the infuential music band Tangerine Dream, Alpha Centauri' is the milestone of the psychedelic era. Originally recorded in 1970 at Stommeln's sound-lab Studio
Dierks and released via the Ralf-Ulrich Kaiser's Ohr imprint, this album is an extraordinary trip into a dark sonic universe, where the overall quality has little in common with the luminescence recalled by its title.
Organ acoustics and fute lean on mesmerising textures, created by employing the new VCS3 synthesiser. Deluxe 2LP edition with 'Big Hole' Jacket containing the original LP in black vinyl 180gr
and a picture disc with bonus tracks from the same recording sessions.

Limited edition double album pressed on colour vinyl. Gatefold sleeve, printed inners. Original album plus 12 track bonus LP including all tracks from their first three EP's.

The 14 Iced Bears were formed within a vibrant indie scene in Brighton in 1985 by Robert Sekula and drummer Nick Emery, with a punky, DIY pop ethic that held melody as key and technical expertise as less of an issue . They wrote catchy pop songs, recorded with a ramshackle charm that reflected their passion for sixties garage and psychedelia. Inspired by bands like The Byrds, and Velvet Underground this set them apart from their C86 contemporaries.

They were spotted at their first gig by-ex Television Personalities bassist Mark Flunder, he decided that he wanted to put out a 14 Iced Bears single on the fledgling Frank Records and Inside, was released in late 1986. On hearing it, legendary BBC 1 Radio 1 DJ John Peel booked them in for a session. His enthusiasm was evident. He made it one of his sessions of the year and praised each track in turn after playing it. Balloon Song was featured in the session and the single version which fronted the bands second single, The Importance of Being Frank EP further consolidated their following.

The band toured England and Europe and the press was ecstatic. The late 80s revival of classic guitar- based pop was kind to the 'Bears, and Sekula's talent at penning catchy, twisted melodies earned them a coveted spot as one of the best of the lot. A third single sealed the deal, the raucous Come Get Me on the seminal indie label Sarah Records.

The band went on the release their self-titled debut album in 1988; it was a masterpiece of psychedelic pop that turned a lot of heads with it's ambition and skilled songcraft. The album betrayed the influence of sixties psychedelia on the group and became a hit on US college radio














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The debut album from legendary Sheffield band Faerground Accidents sees a brilliant collection of late night songs, a missive from bohemia laced with perfect melodies and a bright and thrilling rush of neon melodies and great acidic lyrics from a band that Adam Ant calls the best new band in the UK and are also tipped for success by the likes of Richard Hawley and Jarvis Cocker.

'With witty vignettes comparable with the bedsit psycho-sexual melodrama of the likes of old Moz himself, witty kiss offs ('I went to the supermarket after every one of those/And I spent my last pennies on a value meal for one') capturing the futility, fumblings and fragility of affairs of the heart, it's a rather smart tune indeed..' GODISINTHETV

'An eclectic group that merges the fey eroticism of Pulp with the solid chops of a machismo rock band. Faerground Accidents have managed to forge a distinctive style that's both enigmatic and direct. And, quite frankly, that I can't get enough of!'Lee Adcock (Dandelion Radio)

The debut album from legendary Sheffield band Faerground Accidents sees a brilliant collection of late night songs, a missive from bohemia laced with perfect melodies and a bright and thrilling rush of neon melodies and great acidic lyrics from a band that Adam Ant calls the best new band in the UK and are also tipped for success by the likes of Richard Hawley and Jarvis Cocker.

'With witty vignettes comparable with the bedsit psycho-sexual melodrama of the likes of old Moz himself, witty kiss offs ('I went to the supermarket after every one of those/And I spent my last pennies on a value meal for one') capturing the futility, fumblings and fragility of affairs of the heart, it's a rather smart tune indeed..' GODISINTHETV

'An eclectic group that merges the fey eroticism of Pulp with the solid chops of a machismo rock band. Faerground Accidents have managed to forge a distinctive style that's both enigmatic and direct. And, quite frankly, that I can't get enough of!'Lee Adcock (Dandelion Radio)

An absolute must for all fans of the most extreme rock and roll figure of the past century this 'singles' compilation includes the entire Bored To Death' 7´´ E.P. (1979), 1980´s Rock´n´Roll' 7´´ (1979), Gimme Some Head' 7´´ (1981), You Hate Me + I Hate You' 7´´ E.P. (1982), No Rules' 7´´ E.P. (1982) plus the relevant tracks from the posthumously released Out For Blood' 7´´ E.P. (1997) an Occupation' 7´´ E.P. (2000).

Legendary Japanese noise band, Hijokaidan, team up with electronic avant-pop pioneer Togawa.

Hijokaidan was formed in Kyoto in 1979 by Jojo Hiroshige and Naoki Zushi, and are undisputed leaders of the Japanese noise scene.

Jun Togawa's first recordings as writer producer and singer were in the early 80s, sometimes working with Haruomi Hosono among others. This new and cataclysmic collaboration is produced by Hiroshige and Togawa.

Pressed on translucent red wax, 180g audiophile record, with 48x72cm fold-out poster and full English lyrics. Includes high-quality digital download code with exclusive bonus tracks - Made in Japan.

Includes a fold-out poster with full English lyrics and a download code for bonus tracks.

180g Vinyl, Mini Album 1 LP +MP3 Download

...It is making my blood boil. Man, my jaw is hanging down listening to this stuff.' Read the email from Butthole Surfers man and producer, Paul Leary, when he heard the demo for what would become the debut Philipp Gorbachev & The Naked Man album. Philipp Gorbachev, the Russian musician and DJ, has been throwing killer parties and making some of the most innovative and exciting electronic music to come out of Moscow in years. In 2014 he released his debut album Silver Album but when invited to perform a live Boiler Room he had something else in mind: a band scenario. The resulting concoction was not something locked into a 4/4 beat but rather a much more organic, groove-based sound with funk-strutting bass lines and live drums that rolled and flurried around the beats that jumped around leading the charge of the songs along with Gorbachev's Damo Suzuki-like vocals. Taking that experiment into the studio, 'I Don't Give A Snare' is a wild ride that jumps genres, switches paces and alters tones frequently. The opening 'Goodman' exploding in intense rhythms and heavy, spiralling riffs that at times recall Sabbath but the ever-shifting drums and gargling electronics give a wonky freshness that feels impossible to place into genre. Whilst Gorbachev cites a range of influences from Beck to Blind Willie Johnson as being core to him, the primary motivation is the live nature of the project itself. 'The main influence is the constant live experience we have as music players and performers. I want to get the most out of every party, every jam, and every dancefloor.'

The Numero Group's dive into the deep end of America's private press continues. Having battled the witches and wizards of Darkscorch, the outlaws of Cosmic Americana, and traveled alongside Ladies From the Canyon and their Lonesome Heroes, it's time to take it easy.With pop music's volume knob adjusted for deflation in the early '70s, softness begat smoothness. Crewmen arrived from the worlds of jazz, folk, rock, and soul, all peddling a product that was sincere, leisurely, and lofty. A sound that was buoyant, crisp, defined. Sometimes classified as West Coast—and, later, Yacht Rock—the compass points of our Private Yacht expedition are the blue-eyed harmonies of Hall and Oates, the cocaine-dusted Fender Rhodes of Michael McDonald, and the combover strums of James Taylor. Here, at the glassy apex of rock's softer side, 20 strong swimmers are gathered together. An album for both relaxation and reflection, where listeners can enjoy the present, a cool breeze, and a taste of the good life.

Taking influence from the foot stomping soul of early Stax records, Yellow Magic Orchestra's warbling synthesisers and classic English pop songwriting akin to XTC, the album's latest offering 'Exhibition Song' is both indulgent and soulful. It details days derailed, stalled by trivialities and an overriding urgency to stay home with the person you love - a hand that's held with no thought at all, it takes so long just to get one'. Exhibition Song's decisive and inventive arrangement is a testament to Gonzalez's skills as a songwriter.

'Exhibition Song' follows the rousing AA side Come Through and See Me / I Spoke to Euan', released last year during a summer which also saw Gonzalez perform a series of animated and theatrical live shows, including sets at Glastonbury, Green Man, The Great Escape, Visions, Port Eliot, and Festival No.6.

Gonzalez made a name for himself at an early age as the petulant frontman and creative force behind guitar-shredding pop-punk band Let's Wrestle. The band, formed in 2005 when Gonzalez was only 15, was lauded for their no-fi DIY sound. In 2015, after ten years and three records together, culminating in a chaotic sold-out final show at The 100 Club, as reported by The Guardian, the group disbanded and Gonzalez set his sights on an entirely different approach to songwriting - I wanted to completely indulge myself with the experimentation that I had previously kept to my bedroom demos.'

Without letting go of his fascination with 'Beatlesesque' melodies, Gonzalez taught himself piano by learning to play Stevie Wonder and Al Green songs, which all have chord structures I'd not paid much attention to previously. There's also a lot of emphasis on the bass notes and rhythm of the bass'. He began writing songs harking back to mid 70's singer-songwriters such as Emmitt Rhodes, whilst maintaining those elements of soul and funk via Sly And The Family Stone and Donny Hathaway. A summer revisiting early electronic music (White Noise, Mort Garson) encouraged Gonzalez to invest in analogue Korg synthesizers, on which he wrote Excellent Musician. Although he made a conscious retreat from punk music, Gonzalez maintains his work is still defined as angry music, anger is still an energy' but contends that whilst I'm proud of what I did with Let's Wrestle, I hate bands that regurgitate the same sound over various LPs - I knew something had to change for me to want to try music again.'

For the unplanned and partly improvised recording sessions, which took place in 4 days spread out over a few months, Joe Chilton and Euan Hinshelwood (Younghusband) played driving rhythmic bass and saxophone respectively. They were joined in the Lightship45 studio by drummer extraordinaire Bobby Voltaire (Proper Ornaments, Charles Howl) and, with the help of co-producer Rory Atwell, the songs began to advance into a distinctively modern sound. I found a new way of working in the 'First Thought, Best Thought' manner' says Gonzalez, I purposefully didn't allow any of the musicians playing on the record to hear much of the songs prior to the recording sessions, and instead asked them to just turn up on the day, forcing creativity to meet financial deadlines. I was terrified of starting another band, of rehearsing, and of allowing myself to fall back on what I was used to'. 

The live setup was completed by musician Rose Elinor Dougall who was enlisted to play synthesizer and piano, leaving Gonzalez free to perform unencumbered and ostentatiously as frontman.

Taking influence from the foot stomping soul of early Stax records, Yellow Magic Orchestra's warbling synthesisers and classic English pop songwriting akin to XTC, the album's latest offering 'Exhibition Song' is both indulgent and soulful. It details days derailed, stalled by trivialities and an overriding urgency to stay home with the person you love - a hand that's held with no thought at all, it takes so long just to get one'. Exhibition Song's decisive and inventive arrangement is a testament to Gonzalez's skills as a songwriter.

'Exhibition Song' follows the rousing AA side Come Through and See Me / I Spoke to Euan', released last year during a summer which also saw Gonzalez perform a series of animated and theatrical live shows, including sets at Glastonbury, Green Man, The Great Escape, Visions, Port Eliot, and Festival No.6.

Gonzalez made a name for himself at an early age as the petulant frontman and creative force behind guitar-shredding pop-punk band Let's Wrestle. The band, formed in 2005 when Gonzalez was only 15, was lauded for their no-fi DIY sound. In 2015, after ten years and three records together, culminating in a chaotic sold-out final show at The 100 Club, as reported by The Guardian, the group disbanded and Gonzalez set his sights on an entirely different approach to songwriting - I wanted to completely indulge myself with the experimentation that I had previously kept to my bedroom demos.'

Without letting go of his fascination with 'Beatlesesque' melodies, Gonzalez taught himself piano by learning to play Stevie Wonder and Al Green songs, which all have chord structures I'd not paid much attention to previously. There's also a lot of emphasis on the bass notes and rhythm of the bass'. He began writing songs harking back to mid 70's singer-songwriters such as Emmitt Rhodes, whilst maintaining those elements of soul and funk via Sly And The Family Stone and Donny Hathaway. A summer revisiting early electronic music (White Noise, Mort Garson) encouraged Gonzalez to invest in analogue Korg synthesizers, on which he wrote Excellent Musician. Although he made a conscious retreat from punk music, Gonzalez maintains his work is still defined as angry music, anger is still an energy' but contends that whilst I'm proud of what I did with Let's Wrestle, I hate bands that regurgitate the same sound over various LPs - I knew something had to change for me to want to try music again.'

For the unplanned and partly improvised recording sessions, which took place in 4 days spread out over a few months, Joe Chilton and Euan Hinshelwood (Younghusband) played driving rhythmic bass and saxophone respectively. They were joined in the Lightship45 studio by drummer extraordinaire Bobby Voltaire (Proper Ornaments, Charles Howl) and, with the help of co-producer Rory Atwell, the songs began to advance into a distinctively modern sound. I found a new way of working in the 'First Thought, Best Thought' manner' says Gonzalez, I purposefully didn't allow any of the musicians playing on the record to hear much of the songs prior to the recording sessions, and instead asked them to just turn up on the day, forcing creativity to meet financial deadlines. I was terrified of starting another band, of rehearsing, and of allowing myself to fall back on what I was used to'. 

The live setup was completed by musician Rose Elinor Dougall who was enlisted to play synthesizer and piano, leaving Gonzalez free to perform unencumbered and ostentatiously as frontman.

Taking influence from the foot stomping soul of early Stax records, Yellow Magic Orchestra's warbling synthesisers and classic English pop songwriting akin to XTC, the album's latest offering 'Exhibition Song' is both indulgent and soulful. It details days derailed, stalled by trivialities and an overriding urgency to stay home with the person you love - a hand that's held with no thought at all, it takes so long just to get one'. Exhibition Song's decisive and inventive arrangement is a testament to Gonzalez's skills as a songwriter.

'Exhibition Song' follows the rousing AA side Come Through and See Me / I Spoke to Euan', released last year during a summer which also saw Gonzalez perform a series of animated and theatrical live shows, including sets at Glastonbury, Green Man, The Great Escape, Visions, Port Eliot, and Festival No.6.

Gonzalez made a name for himself at an early age as the petulant frontman and creative force behind guitar-shredding pop-punk band Let's Wrestle. The band, formed in 2005 when Gonzalez was only 15, was lauded for their no-fi DIY sound. In 2015, after ten years and three records together, culminating in a chaotic sold-out final show at The 100 Club, as reported by The Guardian, the group disbanded and Gonzalez set his sights on an entirely different approach to songwriting - I wanted to completely indulge myself with the experimentation that I had previously kept to my bedroom demos.'

Without letting go of his fascination with 'Beatlesesque' melodies, Gonzalez taught himself piano by learning to play Stevie Wonder and Al Green songs, which all have chord structures I'd not paid much attention to previously. There's also a lot of emphasis on the bass notes and rhythm of the bass'. He began writing songs harking back to mid 70's singer-songwriters such as Emmitt Rhodes, whilst maintaining those elements of soul and funk via Sly And The Family Stone and Donny Hathaway. A summer revisiting early electronic music (White Noise, Mort Garson) encouraged Gonzalez to invest in analogue Korg synthesizers, on which he wrote Excellent Musician. Although he made a conscious retreat from punk music, Gonzalez maintains his work is still defined as angry music, anger is still an energy' but contends that whilst I'm proud of what I did with Let's Wrestle, I hate bands that regurgitate the same sound over various LPs - I knew something had to change for me to want to try music again.'

For the unplanned and partly improvised recording sessions, which took place in 4 days spread out over a few months, Joe Chilton and Euan Hinshelwood (Younghusband) played driving rhythmic bass and saxophone respectively. They were joined in the Lightship45 studio by drummer extraordinaire Bobby Voltaire (Proper Ornaments, Charles Howl) and, with the help of co-producer Rory Atwell, the songs began to advance into a distinctively modern sound. I found a new way of working in the 'First Thought, Best Thought' manner' says Gonzalez, I purposefully didn't allow any of the musicians playing on the record to hear much of the songs prior to the recording sessions, and instead asked them to just turn up on the day, forcing creativity to meet financial deadlines. I was terrified of starting another band, of rehearsing, and of allowing myself to fall back on what I was used to'. 

The live setup was completed by musician Rose Elinor Dougall who was enlisted to play synthesizer and piano, leaving Gonzalez free to perform unencumbered and ostentatiously as frontman.

Third full length album by Circa Tapes (solo project of Adam Killing of Kill Memory Crash). Following excellent previous releases on Romance Moderne and DKA, this third album displays the evolution of Killing's spot on ability to masterfully blend dark early 80s synth, industrial and cold wave into a completely new entity. Much heavier and wonderfully darker, this LP will appeal to fans of classics like Skinny Puppy, as well as cutting edge EBM contemporaries such as Broken English Club, Boy Harsher and other cold wave / industrial hybrids.

On his debut full-length album as Marker, New Orleans artist Mike Wilkinson eschews traditional pop catharsis for total submersion into a blue, luminous tunnel. Guitar, bass, and Wilkinson's voice are all treated through a variety of outboard and software effects, gently blurring into one another. Written and recorded between 2012 and 2015, the songs distill themes of isolation and connection, unreliable memory, identity, and the problem of infinite introspection and its relationship with reality. Filled with surprise melodic turns and evocative, vaporous production, "Marker" is an immersive work of otherworldly pop, encouraging its listeners to retreat inside themselves.

Hand-picked selection of tracks by UK's Negative Response in this initial limited run of 300 discs. Negative Response is a DIY minimal synth project that formed in 1980. They self-released 3 cassettes from 1981-1983 as well as playing a number of gigs from 82-85. The tracks embody a very melancholy atmosphere reinforced by their arsenal of early electronic analogue equipment. This collection will certainly appeal to fans of early bedroom synth artists such as John Bender and other DIY home recording moguls of the era. All tracks remastered from cassette by Martin Bowes at the Cage, UK.

Debut album, released in 1977, by one by one of Anatolian Rock's most sheerly talented vocalists. Turkish psych-rock with some amazing funk drums and fuzzed out guitars. Ersen spent time in Mogollar, 3 Hür-El, and Cem Karaca's Kardaslar before cementing his reputation as the frontman of Dadaslar. His voice can range from one that has a soft edge (where he swallows his notes a bit, like a muezzin would), to growling belt-outs that could have fronted any 80s metal act.

Ersen and his ever-changing backup band wore Slade haircuts and loud jackets with rainbow pants or silver platform shoes, and they grew their moustaches just as long as the Beatle bangs of their Western counterparts.

Get the synth-wizz, funk breaks and fuzzed-out prog riffage behind one of Anatolian Rock's best vocalists!

Original gatefold artwork, insert with liner notes by Angela Sawyer (Weirdo Records), remastered sound.

Continuing the successful Demon Records Deluxe range, the next title is the 28th album by Status Quo. Often derided for using the same three chords on all their songs, this tongue in cheek album title addresses the issue. The cover depicts an Indiana Jones style quest searching for the ever elusive fourth chord. This Top 20 album sees Pip Williams recruited as producer for the first time since their 1996 album Don't Stop.

Packaged as a double-LP gatefold with printed inner sleeves with
lyrics, on orange coloured heavyweight vinyl. This premium
edition is a limited run and numbered. This double LP contains the
classic album along with 2 bonus tracks originally from the CD
only version of the album.

On 16th June 1972 Marc Bolan & T.Rex played Manchester Bellevue as part of a short Summer tour which took in Cardiff , Birmingham, Newcastle. Metal Guru was No.1 In the singles chart (the second single of the year and the second No.1) and the classic album The Slider was scheduled for release the following month. They had recently sold out 2 shows at Wembley Empire Pool and Marc Bolan was working with ex-Beatle Ringo Starr on his own Movie Project Born to Boogie. Here was a band at the very top of their game .... 45 years on from that very concert in Manchester we are releasing a double Live album from some of the best performances from that and the previous year captured on Marc's very own reels of tape. - 2x LP set in deluxe mirror board cover with printed inner sleeves all audio has been cleaned and re mastered for vinyl - Captures the band at the very pinnacle of their fame - Features the hits Ride A White Swan, Jeepster, Hot Love , Get It On , Debora - All tracks taken from Marc's own ¼' reels - Part of our celebration of Marc's 70th Birthday this year !

(...)Starting with a heavy piano-drums groove like John Cale and Terry Riley's The Protégé' from their classic LP Church of Anthrax, The Cosmic Jokers return to their trip with an un-cosmic dub beginning, melodicas and guitars spinning off all over the place Gille Letmann says a couple of words before the breakdown into Clangerland, a place where goofy synthesizers call to each other over exquisite mellotrons and tinkling spacey grand piano. Again, it's just two huge tracks - this time the ever shifting Kinder Des Als' and the title track Galactic Supermarket'. The female voices take a while to assimilate after the austerity of the first Cosmic Jokers LP, and the opening track wanders around for a while before ascending to its righteous groove. The women scream Schnell Schnell!' and the helicopter drums of Harald Grosskopf propel us once more into a hectic frantic major-chord trance out. It's the sheer unbalance that makes this recod such a delight. At times, Klaus Schultze's synthesizer is so loud that it swamps everything in its path.

The title track Galactic Supermarket' begins like one of Van Der Graaf Generator's greatest and most drawn out riffs. A slow 6/4 bass licks over ominous Pawn Hearts style shifting chords. Again, the piece is slow to begin, as though they are searching for harmony but each musician is confused and solitary. Manuel Gottsching freaks out in a fury of wa-guitar madness, forcing the others awake, but this really is a down-in-the-mouth scene and the whole Trip descends further and further until...an inevitable slow burning groove gets itself together and the scene whips itself up into a Shake Appeal Flip Out. The LP takes a little longer to get into than The Cosmic Jokers, but give it time and it's in your head forever. Those piercingly loud Klaus Schultze snythesizers which sound so bizarre the first time You'll be waking up with them in your head, whistling them in the street, people will think you've lost your fucking mind. Right On.(...)'
(from Julian Cope's review)

The acclaimed debut of the dutch band the father and the sun is finally pressed on vinyl. compared by many to future islands or the national, the young band has shacked the indie scene on the center of europe with 'remember', a perfect blend of synthpop and indie rock / post-punk surrounded with classic pop vocals , mindblowing guitar and bass lines and evocative synth touches. no doubt about we are in front of one of the most interesting records of the year. all tracks remastered specially for vinyl by eric van wonterghem at prodam studio (berlin).

Curtains up for a new power trio: bass player MASSIMO PUPILLO (ZU, LANIAKEA), drummer ALEXANDRE BABEL (SUDDEN INFANT) and CASPAR BRÖTZMANN on guitar.

As the title "Live At The Candy Bomber Studios, Vol.1" indicates, this album is the first cut from an inspired recording meeting. Raw energy, full focus and three instrumentalists at the peak of their skills who blend noise rock, drone and improvisation into 2 relentless epic pieces. The line-up consists of MASSIMO PUPILLO, bass player in ZU, LANIAKEAand countless other constellations anddrummer ALEXANDRE BABEL who is a prolific player in the experimental / contemporary field (artistic director of Swiss percussion group EKLEKTO, member ofKAMMERENSEMBLE NEUE MUSIK BERLIN, soloist and has performed a.o. with OTOMO YOSHIHIDE and KEIJI HAINO) and a steady member of the noise band SUDDEN INFANT. And last but not least there's CASPAR BRÖTZMANN on guitar who gainedhigh reputation as one of the most radical guitarists around, admired by acclaimed artists like THURSTON MOORE ("probably one of the best guitarists I've ever met!")and STEPHEN O'MALLEY. A powerful unit, recorded live in the studio by INGO KRAUSS who had already worked with BRÖTZMANN on the CASPAR BRÖTZMANN MASSAKER albums "Der Abend Der Schwarzen Folklore" and "Koksofen".

David Bowie returns with a brand new track - recorded especially for the new "Best of" album "Nothing Has Changed" with long-time collaborator Tony Visconti. B-side is ''Tis A Pity She Was A Whore'

Sonor Music Editions is thrilled to release another terrific jam and a very obscure Italian Library record originally released in 1969 on RRC label (Droga, Traffico, Viaggio Attraverso I Problemi Dell'Uomo series etc.). Music is signed by the great guitar players and composers Angelo Baroncini and Bruno Battisti D'Amario, unmissable guitar man of Maestro Ennio Morricone. CRAZY early Fuzz beats with fast Western swings, Experimental Rock distractions, musical rhythmic movements with totally insane acid guitar & sitar riffs and a huge Underground Psychedelic mood. A truly inspired and deep session recorded for some impossible TV synchronisation purpose. Holy grail alert and original sleazy STEREO recording restored sound.

Limited edition of 500 copies.

Superb new 7 song album from legendary music icon David Bowie. His 28th studio album is available on standard CD & stunning die cut single LP vinyl format. The follow up to 2013's "The Next Day", (Blackstar) is receiving critical acclaim across all media. National TV ad campaign across all networks. Cinema ad campaign. Ads, features & reviews across all press. Radio support across R2, 6Music, Radio X, Absolute, ILR. Video plays at Vevo & MTV. Online/social media activity. Poster campaign.

en new slugs in the chest from this melodic skuzz-pop trio.

"Matt, Mark and Adam, aka Male Gaze, return quickly from the brainy roar of their previous album King Leer with their six heels hanging even further over the edge of the abyss. Good bands often pull punches but the great ones don't and these charismatically scarred veterans of romance, gear singed from all too real firefights in the dark world of adulthood, lodge ten new slugs into your vest. Your life was spared but you'll feel every second of the thirtyfive- plus minutes, grateful that all you got was a bruising. Imagine what it did to them! Have you ever flung yourself out there to such a degree that you risked total humiliation if it all went south, to where the next step would be self deportation to some distant island of annihilation in your mind How did that work out for you Don't worry, Male Gaze knows and they wrote some songs about it. Look out your window, down at the glittering metropolis below and listen to this album." —Henry Rollins

After sharing countless stages and touring together over the last two years, like minded noisemakers Housewives and Massicot put together two brand new songs for this limited edition split 7'.

Housewives track Exc. 281016 perfectly captures the mechanical repetition of their live sound with austere precision and jarring No Wave stutters, their regimented chaos is punctuated with throat shredding manipulated vocals brining to mind James Chance or the harsh repetition of Swans.

Massicot's Kokteilis shows off their ease at genre hopping between their recognisable Tropical No Wave and uncharacteristic hip hop beats whilst showcasing their perfect marriage of pop and noise. Monotone vocals merge with saccharine chants whilst sharp riffs mesh with oscillating percussion to create a perfect bewildering dance track.

This release has gained the support of five labels as collaboration between Blank Editions / Hands In The Dark / Red Wig / Et Mon Cul C'est Du Tofu And Harbinger Sound.

Artwork by Housewives own Joseph Rafferty which comes in a reverse-board sleeve with spot UV Varnish.

Rich La Bonte is a musician, writer and editor from upstate New York born in 1946. At age 11 he figured out how to record a piano backwards with his first tape deck and discovered Monk, Mingus and Art Blakey. In 1965 Rich moved to Ithaca, bought an electric guitar and started singing in garage rock band the huns. After the band dissolved, he moved to NYC and played bass and sang in the original cast production of the musical Godspell. In the late 70s La Bonte moved to Hollywood with Shari Famous, released a a few 7' singles as Dada2, and started fLAtDiSk Records, a vinyl subsidiary of Dave Gibson's Moxie Record Company.

Rich released his debut solo album 'Mayan Canals' in 1981. The seven songs were recorded between 1973 and 1980 while living in New York, Pennsylvania and Hollywood. Influenced by everything from Apple Records to Zappa, the album veers from oozy psychedelia to synthesized breezy folk. Vocally Rich sounds like a cross between Tom Verlaine and Lou Reed. Some tracks feature an EMS Synthi A synthesizer, known to generate the sci-fi sounds from Dr. Who. Other songs utilize feedback from a Maestro Fuzztone box into a TEAC 4-track SimulSync tape recorder. Lyrically La Bonte tackles themes of dying celestial bodies, the birth of his daughter, and a critique of Bowie's character in The Man Who Fell To Earth. Included on this reissue are two bonus tracks originally released on the double A side 7' single Chance Circumstance/Drums Along The Maple Wood, a tribute to Irwin Chusid, the eminent WFMU DJ, with vocals by Shari Famous.

All songs have been remastered from original tapes by George Horn at Fantasy Studios in Berkeley. The jacket features a replica of the original jacket with a Mayan figure screen printed using the original rubber stamps from Rich's archives. Each copy includes a 6-page xeroxed booklet with lyrics, never before seen photos, and liner notes by Rich La Bonte.

It's been over a decade since Roy Montgomery's last album, and R M H Q is a hell of a return.

M: Darkmotif Dancehall is the most experimental of the four albums. Montgomery explores new guitar tones and song construction, allowing thick distorted murk and overdriven sharpness to guide the melodies' paths. It's a playful montage of differing masks with discovered sounds laying the groundwork for each track to develop a mind of its own. Six Guitar Salute For Peter Gutteridge,' is a standout upbeat number providing a personalized roadmap to the beyond, honoring the innovative original member of The Clean who could cook up melodies from the most bizarre ingredients, and who passed away last year.

Montgomery was in his rock band period in the eighties, when the dark, minimalist post-punk of The Pin Group lead into the gloriously open-ended freedoms of Dadamah. After a quiet spell, he returned in the late nineties, producing towering spires of guitar lines that exposed fragility between the strums. With his solo releases and in collaboration with Flying Saucer Attack, Bardo Pond (Hash Jar Tempo), and Chris Heaphy (Dissolve), his focus shifted from the truth-mining of rock music to epic celestialism. His ambitious yet humble tracks outstrip their origins, and Montgomery toured the world sitting crosslegged on the floor, playing twenty-plus-minute compositions.

A long period of silence followed, marked only with a split album with Grouper (who lists Montgomery as a primary influence), involvement in Torlesse Super Group, and a couple thematic variations serving as soundtracks for films. Instead, he focused on his personal and professional commitments. Unfortunately, two horrific events precededhis return: the Christchurch earthquakes of 2011 condemned Montgomery's entire neighborhood save for his home, stripping his street of a community, and, as a volunteer firefighter, he saw first-hand the destruction and loss of life in the city center. Additionally, since 2014, illness in the family has dominated his life. Self-expression once again demanded an outlet. R M H Q is four albums conceived and recorded over a very short period, each of them carrying a distinct focus and mood.

Do Simon Joyner and David Nance love or hate the Rolling Stones' Jamaican vacation themed 1973 follow-up to Exile On Main Street You'll have to listen and decide for yourself. It might depend on how sacrosanct you feel about classic rock masterpieces'! One thing's for certain, the Grimmer Twins version is a bit more raw and experimental than the original Glimmer Twins record. Some of the songs had decent lyrics but terrible music, like Keith had just conceded the band to Mick at this point, so we wrote our own music. At least one song had to be totally re-written with new words and music because it was so awful that neither of us could think of how to save it. We kept the title. But the others just needed to be played by people who give a shit.'

Pressed on coloured vinyl and presented in a special cardboard cover, this is a limited edition (500 copies) reissue of Al Simones' 1993 album.

Long revered as a trade secret amongst record dealers and collectors, Simones' music is among the great secrets of the home recording revolution that took root in the late 1980s. Ohio born Al Simones combined his love of '60s and '70s psychedelic rock music with vintage instruments, and produced four highly collectable handmade albums between 1992 and 2009. All of them are filled with intense psychedelic guitar music that invokes the energy and passion of his influences -including Jimi Hendrix and Phil Keaggy of The Glass Harp- whilst also possessing the mystery and spiritual intensity that surrounds '70s US private press legends such as Jeffrey Liberman and Mystic Siva.

Pressed on coloured vinyl and presented in a special cardboard cover, this is a limited edition (500 copies) reissue of Al Simones' 1994 album.

Long revered as a trade secret amongst record dealers and collectors, Simones' music is among the great secrets of the home recording revolution that took root in the late 1980s.
Ohio born Al Simones combined his love of '60s and '70s psychedelic rock music with vintage instruments, and produced
four highly collectable handmade albums between 1992 and 2009. All of them are filled with intense psychedelic guitar
music that invokes the energy and passion of his influences -including Jimi Hendrix and Phil Keaggy of The Glass Harp- whilst
also possessing the mystery and spiritual intensity that surrounds '70s US private press legends such as Jeffrey Liberman and Mystic Siva.

Squadra Omega is one of the bands which best represents the vast spectrum of the Italian underground. Psychedelic, avant-garde, jazz-rock, improvisation, kraut-rock, rock in opposition and ethno-tribalism blend seamlessly into the work of a collective that moves and expands depending on the urgency of the moment, focused around a core that rotates around the two members OmegaMatt and OmegaG8. In the band's wide discography we find compositional freedom, improvised jam-sessions in and a amplitude of references, all of which move between different spaces and times.

Materia Oscura (Dark matter) offers a glimpse at the same time the soil of the "rock" matter as well as the alien, seen from multiple points of view, neighbors and materials distant and mysterious. Three tracks that stretch their eyes at Orient or Africa as well as into the depths of the cosmos, landing on the side of the art-rock of the '70s and towards some psychedelic, visionary, cinematic drives then explode into a real ecstatic trip. Inputs from Coltrane, Canterburian jazz-rock, Grateful Dead and Synthy-Space views are melted into free-form landings until they discover their own personal form of prog. Different Universes collide and coexist in the band in a constant mutation, maintaining faith in one single ideal: "music for the third eye'.

The album comes in a thick carton cover and with a central hole.

The latest release from the mysterious, experimental garage rock / art punk duo comprised of Zach Hill and Andy Morin of Death Grips, Bodyguard also features guitar work from Tristan Tozer (Yah Mos, Drug Apts).

...with Bodyguard, they've given us, I would argue, an album a whole lot more bracing and immediate and fun and welcoming than anything Death Grips will ever allow themselves to make.' - Tom Breihan, Stereogum

Limited Edition CAROLINE PINK 2x7 Inch Vinyl > Intense Pink
Gloss Laminated Gatefold Outer Sleeve and 2 x Inner Sleeves
Picture Postcard
Celebrating 35 years since it's original release, FUTURISMO present a tribute to one of the most iconic pop songs of all time; THE PSYCHEDELIC FURS Pretty In Pink. As a heartfelt tribute to its enduring appeal this double 7' gatefold release comes on limited colour vinyl and contains not only the Original version but also the 86 Version that was re-recorded for, and inspired, the classic John Hughes movie of the same name, as well as the hard to find and never before reissued Berlin Mix and Dub Versions.

THE PSYCHEDELIC FURS' were not the pithy end of pop music, but the cerebral end of the wedge, which is one of the many reasons Pretty in Pink transends fleeting appeal. The song was originally taken from their second album 'Talk TalkTalk' yet later re-recorded as the soundtrack for the aforementioned 1985 John Hughes film, scoring them a second hit for the song. Follow up albums 'Forever Now' and 'Mirror Moves' each continued to instil the bands trans-atlantic importance and US hit 'Midnight To Midnight', although sighted as a creative disappointment for the band, also contained the re-recorded 86 version of Pretty In Pink, securing it's position in the hearts of lovelorn, cynical and acerbic teenage romantics the world over.

Coming 14th July 2017, ahead of the bands upcoming 'Singles' Tour, FUTURISMO present THE PSYCHEDELIC FURS Pretty In Pink 2x7' on Limited Edition 'Caroline Pink' Coloured Vinyl. Contained within the laminated gatefold sleeve with redux artwork are liner notes, colour inner sleeves and a photographic art postcard.

Pretty In Pink ranks as one of the greatest songs of all time, a definitive work that has transcended the era it so clearly defined to become simply an exhilarating and pop classic. This release is an unmissable tribute to that song.