Виниловые новинки и релизы Pop & Rock - Новости

The Art of Rebellion is the sixth studio album by American crossover thrash band Suicidal Tendencies, originally released in 1992. The album maintains its position as the band's most commercially successful studio album to date, and the songs Nobody Hears' and I'll Hate You Better' have the distinction of being the only top 40 hits in Suicidal Tendencies' career.The songs on The Art of Rebellion show the band's continuing experimentation with funk that had begun on this album's predecessor, Lights...Camera...Revolution! (MOVLP749), as well as more progressive song structures, a somewhat more alternative atmosphere, and even pop- oriented sounds. This helped the band not only outride the explosion of alternative in the early 90s, it also helped them gain a fan base within that community. Nonetheless, the album still stays true to the band's thrash and punk roots on many of the songs. The Art of Rebellion has achieved gold status and peaked at number 52 on the Billboard 200.

Also available:
CONTROLLED BY HATRED / FEEL LIKE SHIT..DEJA-VU
(MOVLP1653)
LIGHTS CAMERA REVOLUTION (MOVLP749
STILL CYCO AFTER ALL THESE YEARS (MOVLP 812)

The multi-talented singer songwriters, composers and instrumentalists featuring Paul Wright on cello/vocals and Tim Harrington on acoustic guitar/vocals got their start busking on the streets of Boston, growing up in a neighboring town in Massachusetts.Neptune is a far lusher construct than those early acoustic days — along with pristine and emotive vocal harmonies, there's subtly chugging electric guitar and a spare descending bassline on Iron in the Fire,' ethereal synthesizers and a spacious drum part on Spirit Cold,' a brittle splash of percussion to open Backwards and Forwards' and feedback created by two cellphones on Cross My Mind.'

The first single of Neptune, Spirit Cold,' has already received rave reviews and 5.5 million streams on Spotify.

NPR and The Wall Street Journal compared their emotive harmonies and poignant lyrics to the likes of Simon & Garfunkel, Sigur Ros and Bon Iver.

Tall Heights is on tour all summer through autumn including an opening slot for José González.

Amazing sessions by the cream of underground French prog and psych bands, first released in 1971 on Thélème, a boutique label owned by Magma bassist and Barclay Records manager Laurent Thibault. When Thibault founded Thélème, he wanted to set up a prestige outfit. He had this in mind when he set out to fulfill his ambition of presenting a panorama of the French rock scene by gathering the best groups in France together on one double-album, to be recorded at the legendary Chateau d'Hérouville studio, live in the courtyard with no overdubs. Thibault had hoped that labels would allow their best acts to appear. Philips offered Magma (the version of 'Mekanik Kommando' appearing on Puissance is the first ever conceived or recorded by the band) and Catherine Ribeiro, Barclay allowed Alain Markusfeld to participate, Le Chant du Monde let Voyage appear. The band Catharsis said yes, so did Contrepoint, discovered by Magma's René Garber. Thélème artists included Ergo Sum, MOR, Zabu, and Solitude. Two guests from America were recommended by Le Chant du Monde: folk-singers Roger Mason and Steve Waring. And happily Spectre, a band featuring legendary Hérouville engineer Dominique Blanc-Francart, brought the monster prog jazz funk synth madness of 'Arkham'. Brilliant!

Darla Records is proud to present a new record from everyone's favorite showman/surfer Corky Carroll and the Piranha - a distinguished group of old friends and stars in their own right who've been Corky's band through many incarnations. This is the true, core, classic, California sound. Key tracks: Surf Zombie, Blue Mango Bar, Social Segregation, Suicide Chicken, Tourist Season. CORKY CARROLL AND THE PIRANHA Corky Carroll: Vocals and guitar This is Corky's 11th solo album. He also has two singles and he has performed on over 20 albums. His musical career began in the early 1970s as his professional competitive surfing career was ending. A singer/songwriter and multi-instrumentalist as well as full time surfer who, in his own words, "got away". Living on a tropical beach in Mexico with his beautiful wife, writing crazy songs and surfing every day. His music reflects his lifestyle. Chris Darrow: W.M.I. (Weird Mexican Instrument) and slide guitar Chris began playing with Corky in the late 1970s and has been a major influence on his music ever since. Chris is a veteran recording artist and producer/music publisher. As a member of Kaleidoscope, he played on the debut Leonard Cohen album. He was a member of Nitty Gritty Dirt Band and worked and recorded with Linda Ronstadt, James Taylor, Gene Vincent and many others. He has played on over 350 recordings in his half-century career. Richard Stekol: Guitar and lap steel Richard is well known as the lead guitar player in Honk, which is Corky's favorite band. He also has played with the Funky Kings as well as numerous other bands and has a dozen solo albums to his credit. He is also responsible for coining the Piranhas motto, "Everybody's gotta eat!" One of the greatest musicians on the planet and beyond. Brad Fiedel: Keyboards, harmonica and guitar Brad Fiedel started out as a singer/songwriter. He was signed to Paul Simon's publishing company and did a stint playing keyboards for Hall and Oates. He went on to write many original scores for film and television including the Terminator, T2, True Lies, Fright Night and The Accused. He is happy to get back to playing keyboards for his good friend and surf mentor, Corky Carroll. Matt Magiera: Drums Surfer/Drummer. At 16 years old he was picked up by Corky Carroll and The Funk Dog Surf Band. Since then he went on to do session work and play for many great artists including Kenny Loggins, Bill Medley, Honk, hit songwriter Jack Tempchin, Richard Stekol, Bobby Cochran, The Mersh Brothers and many others. These days he doesn't leave the house unless the waves are over 3 feet or there's a gig within walking distance. Doug Miller: Violin Douglas Miller has been playing violin since he was 9 and is a master. He played in the original Corky Carroll Band and with Corky as a duo in the mid 1970s. He's a super photographer who has taken pics of nearly everyone in the city of Laguna beach and has painted more than 16,000 paintings - showing them at the Sawdust Festival since 1971. There is also a documentary about him shown at the Newport Film Festival and The Laguna Art Museum. He is currently living in Laguna with his wife Becky and has two adult sons, Jesse and Josiah. Matt Marshall: Bass Long time Newport Beach-Hawaii based session bassist and surfer. The "go to" guy for many of the best. Marshall plays with the likes of Mike Hamilton, John Heussenstamm, John Ferraro and the members of Honk. With brother Phil Marshall, The Mersh Brothers have hundreds of film scores and one album to their credit. As bassist and musical director for Hawaiian artist Henry Kapono, Matt did the Same World rim of fire tour. Tracklist: 1. Suicide Chicken 2. Bad Dog Boogie Woogie Blues 3. Voodoo Mary 4. Blue Mango Bar 5. They Call the Wind Mariah (Lerner & Lowe) 6. Surf Zombie 7. Willie and the Hand Jive (Johnny Otis) 8. Tropical Depression 9. Goin' up the Country (Alan Wilson (Canned Heat) adapted from a song by Henry Thomas) 10. Social Segregation 11. Tourist Season 12. Mexican Home (John Prine) All songs by Corky Carroll with administration via Siestas y Olas Music, BMI except tracks 5, 7, 9, 12. Best mastering job ever by Nate Wood, Kerseboom Mastering. http://www.kerseboommastering.com/home/4574709148 Cover art by Marc Jackson, Gold Rush Tattoo, Newport Beach, CA.

DELUXE VINYL EDITION!!!
For the first time ever the groundbreaking performance by Einstürzende Neubauten on Rockpalast (The legendary German TV rock show) in 1990 is available on deluxe vinyl format.

The brand new studio album "Music Must Destroy" by the legendary RUTS D.C. Ruts D.C.'s glorious punk anthems and chart toppers Staring at the Rude Boys, Something That I Said, West One (Shine on Me) and Babylon's Burning still sound to this day livid with indignation, and the sonic needle is revved back into the red with the new single "Psychic Attack" that was released earlier this year to much critical acclaim, a pile driving three minutes and six seconds of unrelenting fury which is a mere snippet of this colossal new album. This, the first studio album since "Animal now" which was released in 1981 over 35 years ago is a varied collection of material that sends the istener through an outstanding journey that will not disappoint fans of the band. The title track 'Music Must Destroy', a healing and positive anthem which is sure to be a fist pumping classic at live shows. 'Golden Boy' which is the closest thing the Ruts will ever get to a ballad is a fitting and emotional tribute to the late Malcolm Owen. The Ruts D.C are back with a classic record, its been a long time coming and its been worth the wait.

Super limited 10' (400 only worldwide) of selected tracks taken from the recent Moby compilation Music From Porcelain', released in conjunction with Moby's new book Porcelain'.

The limited vinyl features 4 of Moby's biggest tracks from the Rave anthems Go' and Feeling So real' through to the Chilled beats of Porcelain' and Natural Blues' from his multi million selling album Play'.

Regularly hailed as one the most important composers of the late 20th century, John Zorn is comfortable at the helm of an ensemble, as improviser on an array of instruments, and as a bold theorist of collaboration. Throughout the 1970s and 1980s, the New York artist and operator of the esteemed Tzadik label became known for assembling hardcore-inflected jazz ensembles and for devising 'game systems,' or intricate musical conditions intended to force players into new territory. Partnering with Nonesuch in mid-1980s, he released The Big Gundown, which radically reimagines Ennio Morricone scores; and Spillane, which fuses improv and Zorn's 'file-card' system. Such titles brought Zorn critical accolades and the reputation of a provocateur, but none of them prepared audiences for the cataclysm of Naked City.

Released in 1990 on Nonesuch, Naked City bears a stark cover photograph by Weegee—noted for his unsparing images of New York crime scenes—and features one of the more staggering 'rock' lineups ever assembled: Zorn on alto saxophone, guitarist Bill Frisell, bassist Fred Frith, drummer Joey Baron, keyboardist Wayne Horvitz, and vocalist Yamatsuka Eye.

Naked City is a maelstrom of styles, veering recklessly between country, noise, New Orleans R&B, polka, and grindcore, with overtures from detective shows and film noir. In other words, it's a daring maelstrom of American musical vernacular. It also explodes the rock format's supposed limitation and retains a wildly intersectional listenership: devotees of punk, free jazz, and harsh noise celebrate Naked City. In short, as one writer put it, Naked City remains a 'pinnacle of avant coolness.'

· On 28th October, PiL will reissue the seminal albums 'Metal Box' and 'Album'. 'Metal Box' was the band's second album, originally released on 23rd November 1979 and 'Album' was their 5th studio album and was originally released on 3rd February 1986, marking 2016 as its 30th anniversary.

· The album's will both be issued as 4 CD and 4 vinyl LP super-deluxe box sets, as well as digitally. The editions will include rare and previously unreleased material along with a live disc. The CD version's feature additional tracks to the vinyl editions due to running time restrictions, however, the vinyl edition will include a download card for all tracks on the CD version's. 'Metal Box' will be issued in a square metal tin (CD & LP) (the 1979 original was issued in a round metal film canister) with an embossed PiL logo. 'Album' will be issued in a square card box with de-bossed artwork. Both super-deluxe editions will include a 72 page booklet together with an exclusive poster, art-prints (LP version) and postcards (CD version).

· With all lyrics written by John Lydon 'Metal Box' was recorded with original PiL members Keith Levene and Jah Wobble. Original drummer Jim Walker had left, to be replaced by a succession of drummers. 'Metal Box' came out less than a year after PiL's debut 'Public Image: First Issue' yet it was nothing like its predecessor. Things had changed, and so had PiL. While outside pressures mounted PiL channeled their energies (negative and positive) into a record that would set them apart back in 1979, and indeed today in 2016. Whether it be John's powerful and passionate vocals; Keith's wailing guitar and melodic synths; Wobble's sub-disco reggae basslines; or the crashing rhythm that holds it all together, 'Metal Box' has many strengths. The album was originally released as 3 x 45rpm 12' singles, housed in a metal 'film' canister. As made by 'The Metal Box Company' in London's East End; hence the name. The deluxe edition includes rare and unreleased mixes from the recording sessions, along with B-sides and BBC sessions, plus a live recording from a now legendary unplanned show at Factory Records Russell Club in Manchester arranged on the day of a Granada TV appearance.

· With its striking minimalist generic style artwork, 'Album' arrived in February 1986. Written by John Lydon and produced with Bill Laswell (with music for some tracks co-written with Jebin Bruni and Mark Schulz from the 1984-85 PiL live band) the album was recorded in Autumn 1985 in New York with prolific session players such as Steve Vai, Ryuichi Sakamoto, Tony Williams and the legendary Cream drummer Ginger Baker. The album only took three weeks to record, followed by a week of mixing. John Lydon later remarked that 'Album' was, "almost like a solo album" as he was working on his own with several hired musicians. Jazz saxophonist Ornette Coleman came into the studio while the album was being recorded and commented that Lydon sang like he played the saxophone. Lydon said it was, "still the best thing anyone's ever said to me." 'Album' peaked at No.14 in the UK charts and features perhaps the most famous PiL track 'Rise', which peaked at No.11. As well as rare and unreleased mixes from the album and single's the deluxe edition includes the original demos recorded pre-Laswell with the 1984-85 PiL live band all of which are previously unheard. Two 12' mixes of John Lydon's groundbreaking collaboration with hip hop pioneer Afrika Bambaataa are also included as bonus tracks.

· PiL will shortly set out on a string of UK & European tour dates
























s

· On 28th October, PiL will reissue the seminal albums 'Metal Box' and 'Album'. 'Metal Box' was the band's second album, originally released on 23rd November 1979 and 'Album' was their 5th studio album and was originally released on 3rd February 1986, marking 2016 as its 30th anniversary.

· The album's will both be issued as 4 CD and 4 vinyl LP super-deluxe box sets, as well as digitally. The editions will include rare and previously unreleased material along with a live disc. The CD version's feature additional tracks to the vinyl editions due to running time restrictions, however, the vinyl edition will include a download card for all tracks on the CD version's. 'Metal Box' will be issued in a square metal tin (CD & LP) (the 1979 original was issued in a round metal film canister) with an embossed PiL logo. 'Album' will be issued in a square card box with de-bossed artwork. Both super-deluxe editions will include a 72 page booklet together with an exclusive poster, art-prints (LP version) and postcards (CD version).

· With all lyrics written by John Lydon 'Metal Box' was recorded with original PiL members Keith Levene and Jah Wobble. Original drummer Jim Walker had left, to be replaced by a succession of drummers. 'Metal Box' came out less than a year after PiL's debut 'Public Image: First Issue' yet it was nothing like its predecessor. Things had changed, and so had PiL. While outside pressures mounted PiL channeled their energies (negative and positive) into a record that would set them apart back in 1979, and indeed today in 2016. Whether it be John's powerful and passionate vocals; Keith's wailing guitar and melodic synths; Wobble's sub-disco reggae basslines; or the crashing rhythm that holds it all together, 'Metal Box' has many strengths. The album was originally released as 3 x 45rpm 12' singles, housed in a metal 'film' canister. As made by 'The Metal Box Company' in London's East End; hence the name. The deluxe edition includes rare and unreleased mixes from the recording sessions, along with B-sides and BBC sessions, plus a live recording from a now legendary unplanned show at Factory Records Russell Club in Manchester arranged on the day of a Granada TV appearance.

· With its striking minimalist generic style artwork, 'Album' arrived in February 1986. Written by John Lydon and produced with Bill Laswell (with music for some tracks co-written with Jebin Bruni and Mark Schulz from the 1984-85 PiL live band) the album was recorded in Autumn 1985 in New York with prolific session players such as Steve Vai, Ryuichi Sakamoto, Tony Williams and the legendary Cream drummer Ginger Baker. The album only took three weeks to record, followed by a week of mixing. John Lydon later remarked that 'Album' was, "almost like a solo album" as he was working on his own with several hired musicians. Jazz saxophonist Ornette Coleman came into the studio while the album was being recorded and commented that Lydon sang like he played the saxophone. Lydon said it was, "still the best thing anyone's ever said to me." 'Album' peaked at No.14 in the UK charts and features perhaps the most famous PiL track 'Rise', which peaked at No.11. As well as rare and unreleased mixes from the album and single's the deluxe edition includes the original demos recorded pre-Laswell with the 1984-85 PiL live band all of which are previously unheard. Two 12' mixes of John Lydon's groundbreaking collaboration with hip hop pioneer Afrika Bambaataa are also included as bonus tracks.

· PiL will shortly set out on a string of UK & European tour dates

Remastered Double 180g vinyl album set featuring the original album plus a bonus disc of 6 tracks originally only available on the 1984 Cassette Edition of the album. Tom Bailey has provided exclusive sleeve notes for this Limited Edition two album set. This is the fourth studio album by the band and originally released in February 1984. This remastered edition comes with heavyweight wide spined sleeve and newly designed inner bags.



The second disc contains the 12inch Extended Versions of 'Doctor Doctor', 'Hold Me Now' and 'Sister Of Mercy' and remixes of 'Day After Day' and 'You Take Me Up' under the guise of 'Panic Station' and 'Down Tools' respectively. There is also the intrumental 'Leopard Ray'.



Produced by Alex Sadkin and Tom Bailey, this set of recordings really shows the band progression into one of the big pop acts of the 80's. Tom Bailey's dynamic writing and use of the synthesizer heralded massive success Worldwide, cementing the bands mass appeal both here and in the United States where the album proved to be the break- through they wanted, reaching no10 in USA Billboard 200.



Far more than an outpouring of commercially driven material, there was huge diversity in its content; much to Tom Baileys credit, and the album was was littered with singles too. From the more simplistic 'You Take Me Up' and the more intricate 'Doctor Doctor' through to the an- themic 'Hold Me Now' and the moving intensity of 'Sister Of Mercy'.

All tracks composed, recorded and mixed in the VIV

"Lässt Los, Jeder Immer" is the remix of the Jung An Tagen soundtrack for "Embargo" a video by Johann Lurf

Artwork & layout by Milica Balubdzic & J. Fröhnel Mastering by Brian Pyle Bust by Hanno Schnegg

Please direct all inquiries to S. Juster, Sekretariat Berggasse, Virtual Institute Vienna

Jung An Tagen is the primary music act operating inside the Virtual Institute Vienna. 'By using substractive synthesis and sampling techniques Jung An Tagen builds aleatoric arrays, repetitive figures & polyrhythmic moires circulating around distinctive timbres and haptic fragments, resulting in a vision of morphing movements between high energy and zero gravity states. 'Due to the synaesthesian nature of the VIV, Jung An Tagen is bound very closely to a specific visual grammar and is intertwined with video art, even though the performative settings are usually reduced to music only. Previously, Stefan Juster was mainly present with different bands & monikers on labels like NotNotFun, Blackest Rainbow, 100% Silk or his own imprint SF Broadcasts.

"All I need is a million monikers to cover myself from the world. ...glad he's back to flush out my woes, making music as Jung An Tagen ...ready to become one with your psyche." TinyMixTapes

"Jung An Tagen sees energetic looped illusions play with an overwhelming array of fantastical beats and manic patterns. It all cultivates into an extraordinary color wheel of acid drenched avan­kraut­pop brilliance. A minimal electronic rabbit hole that dabbles in clap­track danceable workouts. This is something to get excited about"' AdHoc

Industrial space rock recorded in a bedroom in Beckenham one weekend in the winter of 1981 on a hired Tascam Portastudio and Korg synth with borrowed guitar, bass and FX pedals. Cut by Jason Goz, London, February 2016. Cover image and text by Paul H Williams.

Paul H Williams writes: "A December weekend in 1981 was approaching; the first time that a mate and I would make our own recordings on cheap hired equipment in his bedroom...;

I'd been talking to Damon Edge of the San Francisco-based acid punk band Chrome over the phone, late at night from the kitchen in my parents' flat, since the release of "Alien Soundtracks" in the late 70s. He was a glimpse of another magnificent alien world.

I was bathed in the Industrial culture of the time: Throbbing Gristle, SPK, William S Burroughs and JG Ballard. Making my own cut-ups and finding meaning in the collision of medical and science texts with newspapers and magazines; photographing Thamesmead, Heathrow Airport and Dungeness Power Station on Saturday afternoon explorations.

The weekend was a thrill. We each took turns to create our own music. There were four tracks on the Tascam Portastudio to play with and - after tweaking a Korg synth I had no idea how to use, re-wiring my mate's electric guitar with multiple versions of the same string because I'd read somewhere that Glenn Branca had done it and discovering the joy of turning the cassette over so you could record in reverse - I'd produced four chunks of sound. It felt like a glorious creative haemorrhage of emotion and noise.

Clutching a cassette master of the weekend's work I went home to my bedroom to listen to what I'd done wondering where it had all come from. And then at 10.15pm on BBC2 that Sunday evening I watched Nic Roeg's "The Man Who Fell To Earth" for the very first time. I was transfixed by David Bowie's performance and completely identified with the alien Thomas Jerome Newton trying to navigate his way on planet Earth. Right then I knew that I had to call the music on that cassette "Fallen To Earth".

Written and produced by El Perro Del Mar & Jacob Haage, the 10 original songs of 'KoKoro' are her most ambitious and musically adventurous to date, yet no less emotionally direct, covering themes that speak to both big and small matters of the heart.
With the state of the planet - musically, politically, environmentally - on her mind since the birth of her son, Assbring sees 'KoKoro' as not only an album but also as an aesthetic and political movement of sorts. She explains: 'KoKoro' is about the vulnerability and the strength of the heart. What the heart is exposed to, both internally and externally. The heart cannot be protected. Not from pain, not from happiness. Not from love, not from corruption. I've been thinking a lot about issues such as 'who am I if the social norms, expectations and pressures I carry were to be stripped away Hard Soft Or maybe both In a time that seems to go backwards humanistically and morally, seeking to put up walls rather than tearing them down, I realized I wanted to make a borderless album that belongs nowhere but has a universal voice and a universal heart.'

With soundscapes that echo of Thailand, Sumatra, India, Ethiopia, and China, the orchestration of 'KoKoro' is unlike any of El Perro Del Mar's previous releases, a direction only hinted briefly on the 'Pale Fire' LP highlight I Was A Boy.' It features the Chinese string instrument Guzheng, the Japanese Shakuhachi flute, various other Asian flutes, Arabic strings, Dulcimer, and rhythms influenced by Ethiopian music. Assbring explained, One of my absolute clearest aims was to distance myself from the kind of common Western sound of today' in an effort to find a new way to write relevant pop music with references and influences that feel fresh.' 'KoKoro' was inspired by legendary singers like Pakistan's great Sufi exponent Abida Parveen and Nahid Akhtar, India's Asha Bhosle, Ethiopia's Yeshimebet Dubale, Cambodia's Sinn Sisamouth, and South Korea's Kim Jung Mi, as well as Ethiopian musician Enimut Kindie, Javanese gamelan music, and Chinese guzheng music. The album was recorded with multi-instrumentalist Andreas Söderström, bassist Johan Berthling, drummer Mattias Bergqvist, who has collaborated with First Aid Kit, and wind multi-instrumentalist Per Ruskträsk' Johansson, who has collaborated with Robyn, José González, among many others.

The first single Breadandbutter' is about finding a means to communicate and find solidarity among people, while other songs on 'KoKoro' implore for self-reflection and self-improvement across friendships, relationships, and life at large in an effort to reach enlightenment. Capitalism's arguably toxic effect on the human spirit is addressed on Ding Sum,' where El Perro Del Mar sings, Pics of girls and ads of boys / Hit you, hit you as you go / There's a notice for your heart / To want a bit of what they got (Gimme it, gimme all!) / Listen, you got robbed / But it's not your fault.'

Last year, El Perro Del Mar reissued her self-titled, critically acclaimed debut album in celebration of its 10 year anniversary, earning praise from Pitchfork for the way it stripped girl-group pop songs down to their barest essentials and used them to express immense inner sadness.' HBO's 'Girls' featured its single God Only Knows (You Gotta Give To Get)' in the closing credits of an episode in Season 4. More recently, El Perro Del Mar released covers of the Red Hot Chili Peppers' Breaking The Girl,' which was recorded for her 2012 album 'Pale Fire' but not included, and Prince's I Would Die 4 U' in honor of what would have been the late legend's 58th birthday. For the former, she partnered with Fred Armisen to direct its music video, who praised her romantic and dreamy music' in an interview with Rolling Stone.

Written and produced by El Perro Del Mar & Jacob Haage, the 10 original songs of 'KoKoro' are her most ambitious and musically adventurous to date, yet no less emotionally direct, covering themes that speak to both big and small matters of the heart. With the state of the planet - musically, politically, environmentally - on her mind since the birth of her son, Assbring sees 'KoKoro' as not only an album but also as an aesthetic and political movement of sorts. She explains: ''KoKoro' is about the vulnerability and the strength of the heart. What the heart is exposed to, both internally and externally. The heart cannot be protected. Not from pain, not from happiness. Not from love, not from corruption. I've been thinking a lot about issues such as 'who am I if the social norms, expectations and pressures I carry were to be stripped away Hard Soft Or maybe both In a time that seems to go backwards humanistically and morally, seeking to put up walls rather than tearing them down, I realized I wanted to make a borderless album that belongs nowhere but has a universal voice and a universal heart.'

With soundscapes that echo of Thailand, Sumatra, India, Ethiopia, and China, the orchestration of 'KoKoro' is unlike any of El Perro Del Mar's previous releases, a direction only hinted briefly on the 'Pale Fire' LP highlight 'I Was A Boy.' It features the Chinese string instrument Guzheng, the Japanese Shakuhachi flute, various other Asian flutes, Arabic strings, Dulcimer, and rhythms influenced by Ethiopian music. Assbring explained, 'One of my absolute clearest aims was to distance myself from the kind of common Western sound of today' in an effort to 'find a new way to write relevant pop music with references and influences that feel fresh.' 'KoKoro' was inspired by legendary singers like Pakistan's great Sufi exponent Abida Parveen and Nahid Akhtar, India's Asha Bhosle, Ethiopia's Yeshimebet Dubale, Cambodia's Sinn Sisamouth, and South Korea's Kim Jung Mi, as well as Ethiopian musician Enimut Kindie, Javanese gamelan music, and Chinese guzheng music. The album was recorded with multi-instrumentalist Andreas Söderström, bassist Johan Berthling, drummer Mattias Bergqvist, who has collaborated with First Aid Kit, and wind multi-instrumentalist Per 'Ruskträsk' Johansson, who has collaborated with Robyn, José González, among many others.

The first single 'Breadandbutter' is about finding a means to communicate and find solidarity among people, while other songs on 'KoKoro' implore for self-reflection and self-improvement across friendships, relationships, and life at large in an effort to reach enlightenment. Capitalism's arguably toxic effect on the human spirit is addressed on 'Ding Sum,' where El Perro Del Mar sings, 'Pics of girls and ads of boys / Hit you, hit you as you go / There's a notice for your heart / To want a bit of what they got (Gimme it, gimme all!) / Listen, you got robbed / But it's not your fault.'

Last year, El Perro Del Mar reissued her self-titled, critically acclaimed debut album in celebration of its 10 year anniversary, earning praise from Pitchfork for 'the way it stripped girl-group pop songs down to their barest essentials and used them to express immense inner sadness.' HBO's 'Girls' featured its single 'God Only Knows (You Gotta Give To Get)' in the closing credits of an episode in Season 4. More recently, El Perro Del Mar released covers of the Red Hot Chili Peppers' 'Breaking The Girl,' which was recorded for her 2012 album 'Pale Fire' but not included, and Prince's 'I Would Die 4 U' in honor of what would have been the late legend's 58th birthday. For the former, she partnered with Fred Armisen to direct its music video, who praised her 'romantic and dreamy music' in an interview with Rolling Stone.

Written and produced by El Perro Del Mar & Jacob Haage, the 10 original songs of 'KoKoro' are her most ambitious and musically adventurous to date, yet no less emotionally direct, covering themes that speak to both big and small matters of the heart. With the state of the planet - musically, politically, environmentally - on her mind since the birth of her son, Assbring sees 'KoKoro' as not only an album but also as an aesthetic and political movement of sorts. She explains: 'KoKoro' is about the vulnerability and the strength of the heart. What the heart is exposed to, both internally and externally. The heart cannot be protected. Not from pain, not from happiness. Not from love, not from corruption. I've been thinking a lot about issues such as 'who am I if the social norms, expectations and pressures I carry were to be stripped away Hard Soft Or maybe both In a time that seems to go backwards humanistically and morally, seeking to put up walls rather than tearing them down, I realized I wanted to make a borderless album that belongs nowhere but has a universal voice and a universal heart.'

With soundscapes that echo of Thailand, Sumatra, India, Ethiopia, and China, the orchestration of 'KoKoro' is unlike any of El Perro Del Mar's previous releases, a direction only hinted briefly on the 'Pale Fire' LP highlight I Was A Boy.' It features the Chinese string instrument Guzheng, the Japanese Shakuhachi flute, various other Asian flutes, Arabic strings, Dulcimer, and rhythms influenced by Ethiopian music. Assbring explained, One of my absolute clearest aims was to distance myself from the kind of common Western sound of today' in an effort to find a new way to write relevant pop music with references and influences that feel fresh.' 'KoKoro' was inspired by legendary singers like Pakistan's great Sufi exponent Abida Parveen and Nahid Akhtar, India's Asha Bhosle, Ethiopia's Yeshimebet Dubale, Cambodia's Sinn Sisamouth, and South Korea's Kim Jung Mi, as well as Ethiopian musician Enimut Kindie, Javanese gamelan music, and Chinese guzheng music. The album was recorded with multi-instrumentalist Andreas Söderström, bassist Johan Berthling, drummer Mattias Bergqvist, who has collaborated with First Aid Kit, and wind multi-instrumentalist Per Ruskträsk' Johansson, who has collaborated with Robyn, José González, among many others.

The first single Breadandbutter' is about finding a means to communicate and find solidarity among people, while other songs on 'KoKoro' implore for self-reflection and self-improvement across friendships, relationships, and life at large in an effort to reach enlightenment. Capitalism's arguably toxic effect on the human spirit is addressed on Ding Sum,' where El Perro Del Mar sings, Pics of girls and ads of boys / Hit you, hit you as you go / There's a notice for your heart / To want a bit of what they got (Gimme it, gimme all!) / Listen, you got robbed / But it's not your fault.'

Last year, El Perro Del Mar reissued her self-titled, critically acclaimed debut album in celebration of its 10 year anniversary, earning praise from Pitchfork for the way it stripped girl-group pop songs down to their barest essentials and used them to express immense inner sadness.' HBO's 'Girls' featured its single God Only Knows (You Gotta Give To Get)' in the closing credits of an episode in Season 4. More recently, El Perro Del Mar released covers of the Red Hot Chili Peppers' Breaking The Girl,' which was recorded for her 2012 album 'Pale Fire' but not included, and Prince's I Would Die 4 U' in honor of what would have been the late legend's 58th birthday. For the former, she partnered with Fred Armisen to direct its music video, who praised her romantic and dreamy music' in an interview with Rolling Stone.

The original album has been lovingly remastered from original analogue tapes by Stephen Marcussen @ Marcussen Mastering with the LP products pressed to 180-gram black vinyl + download card for MP3 redemption of the audio.

· The booklet features a brand new essay including new comment from the band plus rare archive imagery from the R.E.M. HQ vaults who have been central to the curation and creation of the product suite offering unprecedented insight into the creative process & development of the album.

· One of the most revered bands to emerge from the American underground in the post-punk Eighties, R.E.M. singer Michael Stipe, guitarist Peter Buck, bassist Mike Mills and drummer Bill Berry, helped originate college rock, went on to global success and inspired generations of artists and fans along the way. The Athens, GA based band toured relentlessly for the first decade, refining their idiosyncratic blend of brash tunefulness, poetic lyrics, chiming guitars and Stipe's evocative vocals. R.E.M.'s extraordinary 30+ year run of creative vitality established a powerful legacy as one of the most enduring and essential rock and roll bands in popular music history.

Hazel is the 5th record from this group of eclectic travelers, who bring their considerable pedigrees together in unexpected and original ways. Looking at the people involved, it would be reasonable to expect a massive blowout of sound, but everyone plays with remarkable and effective restraint. The music is atmospheric and layered, with bits and pieces of identifiable rock moves peeking out from under a thick blanket of hard-to-identify drift.

Based on live recordings made on a lengthy tour of Italy in 2010, the recordings have been extensively edited and supplemented, but without losing the elemental sound of a group playing live together. While there's plenty of weird ambient sound to be heard, this isn't a sound-effects/'pedalboard' record. Like the preceding 'En Form for Bla' album, Noble's drums anchor the music. The drumming is spare and considered, sometimes lashing out with abstract punctuation, and other times laying out a Can-like groove. O'Malley's guitar is also restrained, providing a bed for O'Sullivan's constantly morphing Rhodes, synths and electronic effects. Kristoffer Rygg contributes a rousing vocal incantation to 'Ermanna' and peppers the mix with ghostly modular details. Like their other records, this is not really like anything else out there right now. Sleeve designed by Stephen O'Malley.

CD is in card folio printed by Stumptown Printers. LP is in Stoughton Tip-On Jacket, pressed at RTI, and includes download card.

For the first time ever on vinyl! "Full Fathom Five" was wayback the first ever CD (cat# WM001) and DVD (cat#WM002) on Cluch's own label Weathermaker Music. Now is the time for the double LP-set (in gatefold sleeve) with a total playtime of 77:51.

"... This live album has been recorded in 3 different places, being Sydney in Australia, Pittsburgh and two times in Sayreville in the US. Out of these recordings they made a great best of setlist. This setlist includes a lot of songs from the 1995-2007 period of the band. Unfortunately they forgot to play some songs of their debut album and the great second album. I can't complain though, because the setlist is great, with loads of songs from their best albums like The Elephant Riders ('98) and Blast Tyrant ('04)!

This Maryland boogie groove-machine proves once again to be one of the best groove-rock bands out there! This band can be heavy and groovy at the same time as being easy-listening, bluesy and full with soul. There is no other band in the world with such a sound and that makes Clutch a unique band, which is best to be witnessed in a smokey and sweaty club. On almost all the songs their singer Neil Fallon has a crystal clear voice and the band boogies on in full gear!
The setlist is full with highlights, but especially the songs from Blast Tyrant are excellent. In 'Cypress Grove' the band goes wild on a long and raw jam, that ends in an explosive groovy end! In 'The Yeti' we hear a long drum solo, that goes on in some awesome freestyle jamming with loads of bluesy boogie groove. I can go on and on about some more highlights, but it's best you check this band out yourself. Preferably live on stage, where they are at their best!" - Metalrage

A treasure trove of previously unreleased West Coast guitar psychedelia, 1966-1975

'Uther Pendragon was more than just a band, it was a family. Closer than brothers, they lived together, made music together, worked, played, laughed, cried and dreamed together'. - Mike Stax (Ugly Things)

This is the incredible story of Uther Pendragon: a lost psychedelic band from San Francisco whose music has remained buried until now.

Formed in the Bay Area in 1966 as a teen garage group called Blue Fever, Uther Pendragon lasted from 1966 until 1978. During that time, the band went through different names and phases, as their music evolved from garage to psychedelia to hard-rock: they were known as Blue Fever, Timne, Hodological Mandala, Mandala, Kodiac, Justus, Pendragon...but the core of the band remained always the same: Mark Lightcap (rhythm guitar, vocals), Bruce Marelich (lead guitar, vocals) and Martin Espinosa (bass, vocals) who after finding their ultimate drummer on Mike Beers, finally settled on the Uther Pendragon name in the early 70s.

But despite being in active for all that time and recording lot of tapes and demos at different studios (including their own one in Palo Alto), Uther Pendragon never released any recording at the time. They're not even a footnote on the books about the San Francisco Sound or a small name at those psychedelic posters of the time. Nothing. It's as if they never existed. Until now.

Their complex and fascinating story, which involves winning a Bay Area Battle Of The Bands and playing with Country Joe & The Fish, recording a killer garage-psych 7' acetate in 1967, going to the legendary Pacific Sound Recording studios in 1969 to record a demo, living as a family in the same house for many years and rehearsing 7 days a week, building their own recording studio and music corporation, being managed by Craig Pedersen (Something Wild, Tripsichord Music Box), being involved in an occult-themed rock opera called Sabbat, and much more, is being told with all details by Mike Stax from Ugly Things in the expensive liner notes.

Culled from the band's vast archive of tapes, 'San Francisco Earthquake' includes their unknown until now 7' acetate from 1967 (fab garage-psych in the vein of Human Expression or Music Machine); never released '66-'69 tracks including a groundbreaking, moody psycher from 1966; a prev. unreleased demo tape from 1969 recorded at Pacific Recording - an incredible document for any lover of early SF garage-psych (think Oxford Circle, Savage Resurrection, Moby Grape...) and many tracks recorded at their home studio in Palo Alto. We're talking 100% unadulterated West Coast guitar psych and hard-rock which recall QMS and even Kurihara-era White Heaven.

*Purple / Gold Hotfoil Box-Set with 3 vinyl LPs
*8-page insert with detailed liner notes by Mike Stax (Ugly Things) and rare photos
*Poster
*Sourced from the original master tapes

Monster Treasure are from Stockton, California (not Tees) and are a punk inuenced power trio.
They're loud, heavy and fuzz-dipped with dreamy harmonies and cacophonous drums. Monster
Treasure also wield a sonic menace that will lay waste to everything in its path.

Having met in High School in Central California earlier this millennium, the three who make up
Monster Treasure formed a few years back with the common goal to craft songs inspired by
heartbreak, mortality and nancial struggle. The resulting record is mostly about being in love,
frustrated, bored and angry in life. Bittersweet melodies and unhinged guitars are the order of the
day.

Fully immersed in their local scene, Briana, Rachel and RJ forge visceral, melody-fuelled punk
nuggets using plenty of distortion and layering the instruments at their disposal to devastating
effect. Equal parts scuzzy and sweet, menacing and full of sunshine, 'Monster Treasure' is a record
that will both unsettle and delight.

Bobby Gillespie's departure from The Jesus & Mary Chain enabled the pioneering Scots bandleader to focus on Primal Scream full-time. The rewards arrived quickly: the early B-side 'Velocity Girl' ended up on NME's legendary C86 compilation (and later inspired the American indie-pop band of the same name), and Primal Scream connected with the crucial English indie label Creation.

For the band's debut, Primal Scream opted for producer Mayo Thompson—leader of left-field psych outfit Red Krayola and producer for Pere Ubu, Felt, and The Chills, among others—and completed Sonic Flower Groove for release on the newly set up Warner Bros. subsidiary Elevation Records in 1987.

It's the only album featuring Gillespie's wistful, almost fey vocal style, which makes impeccably balanced pop compositions like 'Aftermath' especially infectious. The influence of The Byrds is glaring. Glistening guitar melodies entwine and, yes, jangle, though the way they mingle with and complement Gillespie's voice distinguishes the tribute. It's also a prescient album, predicting the refined rock sensibility that would in a few years come to characterize Britpop, but by then Gillespie and Primal Scream would already be blazing new trails.

The ever-mercurial Bobby Gillespie wasn't content to bridge techno and indie with the wildly popular acid-house foray Screamadelica. No, he carried on as if it didn't happen. As suggested by the album cover, which features a photo (titled Troubled Waters) by seminal Southern photographer William Eggleston depicting a confederate flag, 1994's Give Out But Don't Give Up finds Primal Scream drawing upon rock forms baked in the American South, the nationalistic Britpop climate be damned.

A debt to The Rolling Stones held over from Primal Scream inflects the tender balladry on '(I'm Gonna) Cry Myself Blind,' while 'Funky Jam' is self-explanatory and the hit single 'Rocks' trades, not surprisingly, in roadhouse rock 'n' roll bravado. On the title track, George Clinton himself arrives to trade verses with the unflappable soul vocalist Denise Johnson atop a dour and hard funk groove.

Like Primal Scream's broader discography, Give Out But Don't Give Up is an assortment of freewheeling exercises—all of which deftly connect.

Following the Byrds-indebted bliss of Primal Scream's debut, Sonic Flower Groove, bandleader Bobby Gillespie reassembled a lineup and literally grew his hair long to prepare for the uninhibited riffs and leather-laden swagger of the group's eponymous sophomore album in 1989. Fans were surprised—just like when Gillespie's old group The Jesus & Mary Chain swapped noisy gauze for high-production sheen—but time has shown thrilling reinvention to be Gillespie's greatest asset.

The shift is told by the cover art: instead of Sonic Flower Groove's nod to 1960s collegiate artist chic, Primal Scream's cover depicts little more than wild manes in motion—the visual analog to both the blues-spew thump of 'Ivy Ivy Ivy' and the incredible, Beggars Banquet-era Rolling Stones homage, 'I'm Losing More Than I'll Ever Have' (which made history again as the basis for Primal Scream's crossover hit, 'Loaded'). But Primal Scream also slays with softness: 'You're Just Dead Skin to Me' features emotive keys from Felt's Martin Duffy, and 'You're Just Too Dark to Care' movingly evokes Alex Chilton's hushed despair on Big Star's 3rd. Soon after, Screamadelica christened the band with a new identity, but Primal Scream established a mode to which Gillespie would return on 1994's excellent Give Out But Don't Give Up.

USM are excited to announce the first release of the soundtrack to David Bowie's 1976 cult film 'The Man Who Fell To Earth' which is coming to 2CD, 2LP & a Super Deluxe collectors boxset in late 2016.

· To celebrate Studiocanal's 40th Anniversary 4K release of Nic Roeg's cult classic 'The Man Who Fell To Earth', starring David Bowie, Universal will be releasing the complete soundtrack, available for the very first time, containing seminal pieces written for the film by John Phillips and Stomu Yamash'ta.

· The film itself reached cult status due to Bowie's outstanding performance, and confirmed the film's director Nic Roeg, and book's author Walter Tevis, as champions of their respective fields. The music, highly celebrated but until now unavailable as a body of work, can now finally be acknowledged in its own light.

· Little is known, and much has been asked, as to why the soundtrack was never originally released, but due to lost tapes recently being uncovered it is now possible to present the original recordings, remastered on CD, Vinyl and in a dual format Deluxe Box.

· The Deluxe boxset features the 2CD & 2LP Vinyl components as well as poster, production stills and a coffee table book containing the story of the soundtrack.

· John Phillips of the Mamas and Papas composed and recorded much of the music for the film. The majority of Phillips' compositions have been unavailable for 40 years, until now.

· The 2CD format will be released in September, earlier than the vinyl & boxset formats to coincide with the UK cinema re-release, also planned to be released in the US and Germany, more information to follow.

* 180 gram audiophile vinyl
* Insert
* Gatefold sleeve
* Limited Edition of 2000 numbered copies on light blue vinyl

The first official live album of Dream Theater, Once In A LIVEtime, was released to great critical acclaim in 1998 after recording an intense live show in Paris earlier that year. Their musical skills guarantee a legendary performance, at times resembling Yes' or Emerson, Lake & Palmer's prog prowess.

Highlights include their instrumental tour de force "Ytse Jam" as well as the fan favorites "Pull Me Under", "Lie", "Metropolis" and certain portions of their lengthy "A Change of Seasons" composition. Combined, this recording takes 2,5 hours to experience from front to back, and so this release deserves all 4 LP's the grooves are pressed on.

1970 Italian obscure psychedelic jazz-rock masterpiece composed by Sandro Brugnolini and recorded in Rome at Dirmaphon Studio. Performed by SILVANO CHIMENTI (Guitar), GIORGIO CARNINI (Organ), GIOVANNI TOMMASO (Bass) and ENZO RESTUCCIA (Drums).


STRICTLY LIMITED EDITION of 300 NUMBERED COPIES on multicolor vinyl with Mp3 download card.

"Sway", a beautiful and groovy instrumental jazz-rock record, is the debut album by Sante Palumbo, a pianist who grew up musically in the Northern Italy jazz scene. His 'bandmates' - Hugo Heredia, Sergio Farina, Marco Ratti and Lino Liguori - make Palumbo and his Orchestra a real supergroup! Never reissued on vinyl since its first release in 1973, its unique sound makes it a cult LP, deeply sought after by collectors all over the world.

Having languished in obscurity for many years, '60s US duo Silver Apples are now being widely recognised as pioneers of electronic music, thanks to their ground-breaking work in melding psychedelic rock with primitive oscillators!
This brand new album, the first in 19 years, features 11 new songs and was recorded at the ChickenCoop studios in Fairhope, Alabama, USA and was produced by Graham Sutton in London, UK. These new songs carry on the tradition begun in 1967 by Silver Apples of merging pure, raw electronic sounds with melodic poetic content and represents 40 years of polishing and refining this experiment. The result, as usual, is surprisingly original. ChickenCoop Recordings is Silver Apples own imprint, the same name given to the backyard studio in Alabama by Simeon Coxe, founder and surviving member of Silver Apples.

Having languished in obscurity for many years, '60s US duo Silver Apples are now being widely recognised as pioneers of electronic music, thanks to their ground-breaking work in melding psychedelic rock with primitive oscillators!
This brand new album, the first in 19 years, features 11 new songs and was recorded at the ChickenCoop studios in Fairhope, Alabama, USA and was produced by Graham Sutton in London, UK. These new songs carry on the tradition begun in 1967 by Silver Apples of merging pure, raw electronic sounds with melodic poetic content and represents 40 years of polishing and refining this experiment. The result, as usual, is surprisingly original. ChickenCoop Recordings is Silver Apples own imprint, the same name given to the backyard studio in Alabama by Simeon Coxe, founder and surviving member of Silver Apples.

Fresh on the heels of the release of their beloved fifth studio album Lights...Camera...Revolution!. California thrash metal punk group Suicidal Tendencies hit the road for a final tour with their classic lineup. Playing some jams from that latest release as well as a bunch of classics from legendary albums like Controlled by Hatred/Feel Like Shit...Déjà Vu and Join The Army, the band rolled into Cleveland and played a monster show. Unbelievably great live radio broadcast recordings from the kings of Southern California thrash.

'More Early Pakistani Dance Music From Original 7" Vinyl 1965-1978' - The music on this compilation is quite different from the filmy music that was featured on the Karachi airwaves at the time. Bands like The Bugs, The Thunders, The Fore Thoughts, The Panthers, The Drifters, Incrowd, The Talisman, etc. played at parties, local hotels, dancehalls or wherever they were invited. They made the hip crowds take the dancefloor and move to the groove. Those were exciting days like we may never see them again.

Der besessene Prediger ist zurück.
Intensiver kann American Gothic nie mehr sein.

Subtle, elliptcal and ambiguous, 'Suppose' is the debut full-length from London based duo Blue House.
Released on August 27th 2016 via Whipped Cream Records (Loose Meat, Super Best Friends Club, Bas
Jan,) the album presents us with a world of haunted pop — songs about people just departed, places
just lef, and events just witnessed. It is a world in which an under-the-surface quotdian terror might
make strange all sorts of objects: playstaton games, postcards, grasshoppers, euphoniums all fnd their
way on to the record.

The band in earnest probably began with a drunken duet of Patsy Cline's 'Walking In The Moonlight',
sang on top of a rickety table at a house party in 2015. Something of that country sensibility remains
in songs like 'Ear To The Door', that has Ursula and James harmonise a song about domestcity and
wandering, a theme that resurfaces throughout the record ('John the Unready / had a litle baby girl
last night / now he's halfway across the countryside / saying something's calling me.')

'Suppose' is rarely an obvious beast, the fragile balance of atmospherics and presence permeatng the
record with an understated and endearing numinousness throughout. Leaving no stone unturned, the
duo wilfully explores the intricacies of pop, with an emphasis on def poetcs and quality songwritng.
Whilst debut single 'Hot Air Balloons' brims with jangling 90's chords, its follow up 'Simple Song' is a
delicate afair — a 70's folk-revival lullaby, radiatng with simplistc charm. The newly founded Whipped
Cream's philosophy of unifying an emerging generaton of English musicians with the means to remain
independently-minded makes their label a ftng home for 'Suppose'.
'A gorgeous debut' The Line of Best Fit
'Intriguing and forlorn' Loud & Quiet
'The understated delivery enhances the power of the songwritng' Clash

Live in Europe is the first vinyl-Double-LP live album by American band Creedence Clearwater Revival, released in 1973 documenting the Mardi Gras tour. The album is notable because it was performed as a trio following Tom Fogerty's departure.

Reef are probably one of the more underrated bands of the late 90s/early 00s. Composed of equal parts Aerosmith and AC/DC and Alice in Chains, the band wrote excellent songs while singer Gary Stringer shouted his lungs out with a moderate amount of subtlety.

Together is a greatest hits album by Reef, originally released in 2003. It contains most of the band's hit-singles like "Good Feeling" and "Naked" from the debut Replenish, and "Place Your Hands" and "Come Back Brighter" from Glow [MOVLP1608].

The Together compilation also features some non-LP tracks, including a cover of Mickey Newbury's "Just Dropped In (To See What Condition My Condition Was In)".

Oblique pop ensemble Vanishing Twin formed in 2015 over a love of unusual instruments, freaky
records and the irresistble seducton of A Good Groove. Founder Orlando, afer releasing a string of
conceptual cassetes on her own RAM* label, put a band together and named it for her other self, a
twin absorbed and internalised in utero when they were both stll a cluster of cells. She is joined by
drummer Valentna Magalet (Tomaga, Shit and Shine, Raime, Neon Neon), bassist Susumu Mukai
(A.K.A. primitve electronic producer Zongamin), library music head Phil M.F.U. (Man From Uranus) on
strange sounds, and flm-maker and visual artst Elliot Arndt on fute and percussion.
Last year the band teamed up with producer Malcolm Cato (Heliocentrics, Gaslamp Killer) and
wrapped their songs in layers of otherness and sub-aquatc obscurity. The resultng debut LP will be
released on Soundway in September 2016.
Championed by Gilles Peterson, The Quietus and Wire, the band played widely in 2015, conjuring
otherworldly grooves and esoteric euphony in a show that is equal parts crafed sound and improvised
delirium.

Two albums in, with the link between each moment of slurring spoken word, piano ballad, and dischordant 'fuck you' song becoming less and less clear, we all ought to be asking how, in 2016, Dunedin is still spewing out bands as strange as Opposite Sex. Is it all the native psilocybin The isolation The musical 'legacy'

Strange feelings come out in strange ways, as tends to happen in a city of misera- ble winter, depression, and a uni populace crawling with the sorts of fucking jocks about whom the songs basically write themselves. Lucy, in 'Supermarket': "Make me cute, make me sweet, make me fragile and petite / So I can be pushed around by some dickhead who likes rugby, beer and meat". Swipe right. Tim's standout moment, 'Tasman's Puke', spells out in no polite terms his take on NZ's colonial past. And with Reggie's voice drifting away with his guitar in 'Regicide', it makes it abundantly clear that Opposite Sex have as many ways to do songs as they have songs.

That's because, in spite of the patented 'sound' of their city, the real Dunedin influence on Opposite Sex is an ideology. There's punk, of course, as usual, but the bizarro lens of Xpressway -- 'the Dunedin label' -- what with its Marxist dues and DIY purism, is the band's heftiest inheritance thanks to how many of their peers come from this older, noisy school. It only helped their underground repu- tation that certain big-name ex-members of the Fall and the Pastels wound up being big fans of this obscure New Zealand band.

Whichever way you have 'em Opposite Sex have already left a permanent impres- sion within today's younger underground generation. Besides that one fact, there aren't many unifying features of a band so scattered, but so brilliantly chaotic, and by no means confused. But that's just what you get from a band with so much uncontrollable inspiration, with imagination that's like not unlike mashing one's hands against the keyboard of existence and expecting Shakespeare to come out. Judging by HAMLET, it's just funny when it sort of does.