Pop & Rock Vinyl New Releases - News

New and 4th album feat. 14 brilliant originals recorded on a hot rainy day. English and French, straight guitar and organ sounds: hits only. Not only garage punk and moody beat, but also exotica and weirdo surprises on vinyl. Available on all main download platforms too. A must have in your record collection.

"The Franco-German combo Curlee Wurlee! have been together for ages but unlike you, they're still as young and fresh as ever, and their sound is as juvenile as a teenager's bedroom: a heated mixture of joy, anger, sadness, love, hate, acne, organ, guitars and confidence. If you know Curlee Wurlee!, you need this album because it is gigantic. If for some reason you don't know them yet, then the more reason'. (Kai Becker - The Wrong Society)

'This album is good and brilliant, the songs show diversity and have integrity, no other "neo-garage" band has this sound. I love the vocals and believe me, it's way cool to sing in English and French. Be proud!' What happens if you give Cécile, Ralph, Holger and Michael (1) a screaming organ, (2) a twangy guitar, (3) an electric brontosaurus bass and (4) a Stone Age tom-tom drum kit Well the answer is 14 brilliant, sizzling garage songs that give YOUR ears and mind a roller-coaster ride of the best up to date pop and garage sounds I've come across for a long time on this little grain of sand of planet called Tellus. It's been said before, but lower the stylus, crank up the volume and spread the good music of Curlee Wurlee! to yourself and your neighbours! (Jens Lindberg - The Maharajas) Artworks by Kai Becker!

Hank Robot's début album - Powersolo's awesome side project - a heavy punch in your face. Bombastic chilli tunes for your feet, incl. moustache instructions for your head. 12 original killers, smashing punkrock on vinyl only, and also available on all main download portals. Long live Hank. Homba ueber alles. Gotta get it, it's a blast.

A couple of months ago, I had the honour of DJ-ing at a Powersolo show and heard, saw and understood (I guess) that night their wonderful ability of going beyond borders, underlined by their huge sense of absurdity. I loved these guys. A short while later, Sir Kim Kix sent me some recordings of another of his bands, HANK ROBOT & THE ETHNICS, and for the first time ever since I heard Destruction Unit (that album you listen to when being seriously hopeless), I had the feeling I could destroy walls and felt frankly relieved. On first listening, you will get a little hint of the Dead Kennedys - especially with their bombastic hit 'Homba' -, but don't get fooled: that's only a "trompe l'oreille" and it soon disappears. There was something more, way much more, something making me feel like 'I'm in love and I feel fine'. Some might call it punk. Well, I guess that's punk, yes! But punk with some nice surprises too... (don't ask, these are surprises). 'Lightning Bolt' has this typical fantasy which doesn't readily fit any musical genre, and which I love with Kim Kix. While the opener "Where Are You Gonna Go" might sound modern, well, it is aaaaactually constructed like a wonderful repetitive 60s garage fuzzy tune. It just had to become a Moody Monkey thingy! Thank you Hank & The Ethnics! The really cool artwork is designed by Martin Thorsen of The Courettes.

Bobby McBride once referred to Hank's set as 'a bad nightmare in human musical form', adding that it is still true today. 'Hank Robot of course is Kim Kix of Powersolo. They are dirty, nasty desperate men, hell bent on destruction. They kind of breach a gap between psychobilly, punk, surf, garage and trashy French pop. Hank Robot is not by a long-shot the only band Kim Kix has aside from Powersolo, but it's my favourite and I'm sticking to it. Robot has been teasing an album for a few months now - he's been getting drunk and laying down tracks. He's been sleeping on stairs, he's that unwelcome house guest or that uncle you had who gave you your first cigarette, a sip of beer and an Iggy Pop tape. You dig him. You get him. After recruiting Anders Birkekær from Drön and Per Silkjær of Fossils, Hank and his juiced up crew headed into the studio and recorded 12 punk songs - the first of which is 'Homba' - which according to Robot: 'it's a true story'. It's a frenetic old school hardcore punk song, not too far away from vintage Dead Kennedys and Dead Milkmen - the good old shit. If 'Homba' is any indication of what's to come - I'm stoked. What a fucking slice of authentic trash this is. The whole world is looking at Aarhus for 'punk' music - we might as well keep dishing it up with Hank Robot to shit it out to the masses with his new band: The Ethnics.' Bobby McBride

Future of the left are a rock band from Cardiff, wales. They were formed in 2005 as part of a plea agreement following their involvement in an arms deal which left an actor playing tony blair dead, or at least pretending really well. They are made up of Andrew Falkous, jack Egglestone and Julia Ruziicka and have also included keelson Mathias and jimmy Watkins in their history. The forthcoming record will be their fifth studio album and the second to be released on their own label, prescriptions.
Recorded by Anthony Chapman at Monnow Valley studios in Monmouth it contains thirteen songs (you are welcome to call them 'tracks', only not near the band) and is, once again, their best one yet, obeying the universal law that the new album is always the best one, otherwise it wouldn't be released in the first place.

Future of the left are a rock band from Cardiff, wales. They were formed in 2005 as part of a plea agreement following their involvement in an arms deal which left an actor playing tony blair dead, or at least pretending really well. They are made up of Andrew Falkous, jack Egglestone and Julia Ruziicka and have also included keelson Mathias and jimmy Watkins in their history. The forthcoming record will be their fifth studio album and the second to be released on their own label, prescriptions.
Recorded by Anthony Chapman at Monnow Valley studios in Monmouth it contains thirteen songs (you are welcome to call them 'tracks', only not near the band) and is, once again, their best one yet, obeying the universal law that the new album is always the best one, otherwise it wouldn't be released in the first place.

Future of the left are a rock band from Cardiff, wales. They were formed in 2005 as part of a plea agreement following their involvement in an arms deal which left an actor playing tony blair dead, or at least pretending really well. They are made up of Andrew Falkous, jack Egglestone and Julia Ruziicka and have also included keelson Mathias and jimmy Watkins in their history. The forthcoming record will be their fifth studio album and the second to be released on their own label, prescriptions.
Recorded by Anthony Chapman at Monnow Valley studios in Monmouth it contains thirteen songs (you are welcome to call them 'tracks', only not near the band) and is, once again, their best one yet, obeying the universal law that the new album is always the best one, otherwise it wouldn't be released in the first place.

Get Well Soon just released their new studio album called 'Love' (via Caroline).

Sensationell! Liebe, Verlust und Sehnsucht, verpackt in Mariachi, Cumbia und Bolero.

In Mexiko gilt Morrissey als ehrenvoller Prophet. Seine mit kraftvollen Bildern und Metaphern aufgeladenen Lieder über Liebe, Verlust und Sehnsucht haben dort ein großes Publikum gefunden. Und furchtlose Apologeten, die sich nicht scheuen, stilistische Grenzen zu überschreiten. Womit wir bei Mexrissey wären. Einer Bläser- und Streicher-Combo, die sich in Mexico City zusammengetan hat, um dem Meister zu huldigen. In anderen Worten: Morrissey-Songs mit blutendem Herzen neu zu erfinden. Angeführt wird das Projekt von Camilo Lara (Mexican Institute of Sound) und Sergio Mendoza (Orkesta Mendoza, Calexico), die im Frühjahr 2015 eine Handvoll musikalischer Revolverhelden aus namhaften einheimischen Bands um sich geschart haben. Schon nach wenigen, triumphalen Auftritten in Mexiko, London, New York und Los Angeles war klar: ein Album muss her. Dieses hört auf den Titel "No Manchester" und nimmt den Hörer mit auf eine Reise zu den - wie sollte es auch anders sein - Morrissey'schen Themen Liebe, Verlust und Sehnsucht. Nur eben auf der Basis von Mariachi, Cumbia und Bolero, also mit Trompete, Akkordeon und Schmalz. Womit geklärt wäre, wie Manchester mit mexikanischem Flair klingt. Nämlich sensationell!

Primal Scream release their 11th studio album, 'Chaosmosis', on the band's own First International label through Ignition Records. Recorded in London, New York and Stockholm and written and produced by Bobby Gillespie and Andrew Innes, 'Chaosmosis' is the freshest sounding album the band have ever made.

The exhilarating first single, 'Where The Light Gets In' (produced by Bobby, Andrew and Bjorn Yttling), features a duet with Sky Ferreira.

Between 1978 and 1983,The Lines released 5 singles, 1 EP and 2 LPs to mixed reviews and little sales. One reviewer at the time noted: "The stumbling block for instant accolades seems to be the puzzling paradox that these are lasting pieces of work which require several listens before they finally take root in your soul." Sure enough, anybody who's spent enough time with these records has developed a cult like devotion to The Lines.

Acute Records is excited to present our latest and final release, the 'lost' third album by The Lines. After the release of their cult­classic singles, EPs and LPs (compiled on Acute's Memory Span and Flood Bank releases,) The Lines continued to record, first in a series of home experiments and then in William Orbit's Guerilla Studios. Unfortunately these recordings were never finalized as band mem0bers began to drift apart.

Although they played shows with bands like The Cure, Bauhaus and Birthday Party, and featured members of prag Vec and AlternativeTV, they were never part of any scene. They never toured and rarely spoke to the press. For 5 years they rehearsed, performed and recorded to little acclaim, leaving only 8 releases on vinyl. While unappreciated in their time, they perfectly encapsulate the best qualities of the era: angst ridden Angularity, danceable catchiness, sublime dub­influenced atmospherics, sonic experimentation and killer hooks, with an unrivalled consistency.

Singer and multi­instrumentalist Rico Conning continued working at Guerilla, spending the better part of the 80s engineering and remixing such artists as Wire, Coil, Swans,Renegade Soundwave, Depeche Mode and many others of your favourite bands, often in collaboration with Mute's Daniel Miller.

Some of the skills utilized on those era­defining records are prefigured in the more dance oriented selections on hull down, such as the new wave grooves of 'Single Engine Duster' and 'Raffle' or the vocoder electro­funk of 'Where in the World,' These tracks marry drum machine programming with classic post­punk textures in a way not dissimilar to other artists making the post­punk to dance­floor transition circa 1983. Songs like Flat Feet' and 'Archway' recall the atmospheric post­punk dub of their prior LPs, but with a decidedly more electronic sheen. Other compositions include instrumental experiments exploring cross­sections between home­recorded DIY post-
punk and sequencer rhythms.

Over 20 years after these sessions, the original cassette tapes were dusted off and different incarnations have been blended or cross­faded to create a version of what might've been a third LP, an alternate 80s where The Lines continued developing and exploring.

Der aus Bristol stammende und derzeit in Bern lebende Solokünstler Joe Volk war einer der ersten Musiker,
der bei Geoff Barrows (Portishead) Label Invada unter Vertrag genommen wurde. Einem größeren Publikum
ist er jedoch als Sänger, Gitarrist und (Co)-Songschreiber von Crippled Black Phoenix bekannt, wo er
zwischen 2006 und 2013 neben Justin Greaves einziges permanentes Mitglied war. Daneben trat Joe Volk
immer wieder als Songwriter für Soundtracks, Kurzfilme und Dokumentationen in Erscheinung, unter
anderem für die Oscar-nominierte Dokumentation "Exit Through The Gift Shop" über den britischen Street-Art-
Künstler Banksy. Mit "Happenings And Killings" auf Glitterhouse erscheint Volks erstes Soloalbum seit
seinem Abschied von Crippled Black Phoenix. Dafür arbeitete er eng mit den Emmy-nominierten Songwritern
und Produzenten Ben Salisbury und Geoff Barrow zusammen. Gemischt wurde das Album von Volk selbst,
allerdings in Zusammenarbeit mit Jim Barr (Portishead, Get The Blessing) und dem Musiker und Künstler
Leafcutter John. Als Gastmusiker treten Billy Fuller, Adrian Utley, Mark Ophidian, Guy Metcalfe und Luke
Harney in Erscheinung. Die Bandbreite des Albums reicht von akustischen Songs, die von analogen
elektronischen Elementen unterstützt werden, bis zu Stücken, die von Volks typischen Gesangsharmonien
und der ausgeklügelten Gitarrenarbeit geprägt sind.

30 minute soundtrack housed in sleeve designed by Mark Leckey himself. Mastered & Cut by Matt Colton @ Alchemy. Vinyl-only edition of 500 copies.

Mannequin Records proudly presents the rare dark italo 12'' 'Robespierre' by the italo wave trio Effetto Joule.Originally released in 1989 on Top Sound Records, the reissue comes with extra demo tape material from their 'Ultraviolet' tapes and with a killer Flemming Dalum remix of the title track. Effetto Joule formed in Modena during the second part of the 80's. The pulsating heart of the band were the brothers Flavio and Valerio Biagi with the collaboration of Valerio Tassinari. Deeply influenced by the British synth pop heroes like Tubeway Army and Depeche Mode, the Biagi brothers were able to merge that kind of epic sounds with the more romantic Italian vision of the electronic dark wave.

Silk Degrees, released on Columbia Records in 1976, is Boz Scaggs' seventh album.
A massive success, peaking at #2 & spending 115 weeks on the Billboard 200.
It has been certified five times platinum by the RIAA and remains Scaggs's best selling album.

"Freedom '90" (auch bekannt als "Freedom") wurde 1990 aus dem preisgekrönten Album "Listen Without Prejudice Vol. 1" als dritte Single ausgekoppelt. Erstmalig wollte George Michael nicht mehr selbst in seinem Video zu sehen sei. Inspiriert vom Cover der aktuellen britischen VOGUE, welches die populärsten Models der Welt zeigte, gewann er genau diese, um im Video den Song zu "performen": Naomi Campbell, Linda Evangelista, Tatjana Patitz, Christy Turlington, und Cindy Crawford.

Zum 25-jährigen Jubiläum erscheint die Single nun als limitierte 12" Picture Disc.

Live In Japan presents audio from an electrifying set recorded live at the Zepp in Tokyo 2002, which takes in some of their biggest hits such as Movin' On Up, Rocks and Higher Than The Sun amongst many more presented for the very first time on heavyweight vinyl across two LPs.
Stunning live stills across the gatefold sleeve plus a large double-sided poster commemorate one of the band's most iconic shows, and a secret message from Bobby Gillespie is etched into each side of the vinyl.

"Here Today! The Songs Of Brian Wilson" was Ace Records' top-selling release of 2015. To celebrate that fact, we're releasing this gorgeously packaged vinyl edition featuring a dozen of the best tracks from the CD.

The collection opens with Darian Sahanaja of the Wondermints' recording of 'Do You Have Any Regrets', a rare composition from Wilson's unissued Sweet Insanity' album of the early 90s. While Wilson's version was a rather frantic latin-styled piece, Sahanaja's is a homage to the 1965-era Beach Boys.

Other highlights include superb recordings of songs from Pet Sounds' by Kirsty MacColl, Carmen McRae, Nick DeCaro, Betty Everett, Bobby Vee and Louis Philippe, which prove Wilson's compositions easily lend themselves to interpretation by artists from all genres of music. Those who own a copy of MacColl's harmony-drenched 'You Still Believe In Me' single might have noticed a message etched into the run-off groove: God Bless Brian - a sentiment echoed by all lovers of great music.

Pressed on 180g snow white vinyl with fully illustrated inner bag.

Mit "Born Into The Waves" veröffentlicht die einflussreiche britische Kultband And Also The Trees ihr
dreizehntes Studioalbum. Es zeigt, dass die Gruppe auch im 35. Jahr ihres Bestehens noch immer dazu
bereit ist, sich wieder einmal neu zu erfinden und ungekannte Wege zu beschreiten. Angeregt durch
letztjährige Konzertreisen nach Litauen, Rumänien, Japan und in die Ukraine, erwuchs das Albummaterial
aus vier Kompositionen des Gitarristen Justin Jones, die wiederum von Liebesliedern aus aller Welt inspiriert
wurden. Dennoch enthält das Album keine traditionellen Liebeslieder, wie Sänger Simon Huw Jones zu
Protokoll gab. "Aber das Thema Liebe steht als kraftvolles Gefühl im Zentrum und zieht sich wie ein roter
Faden durch die Songs - strahlend und düster, belebend und zerstörerisch. Unsere Reisen und die
Begegnungen vor Ort trugen dazu bei, den Reichtum dessen, was 'Liebe' ausmacht, insbesondere als
Gegenkraft zu einem Gefühl wie Hass, besser zu verstehen." Damit versprüht "Born Into The Waves" einen
für die Band ungewohnt optimistischen Geist. Als Gastsänger ist Adam Sherry zu hören, der mit seiner Band
A Dead Forest Index bereits gemeinsam mit den Savages und Chelsea Wolfe auf Tour war.

Causa Sui are back with a new studio record, the successor to 2013's Euporie Tide, which consolidated the band as a crucial underground force in the European psych scene and spread their unique brand of warm-toned stoner rock to a wider audience. Return To Sky is a condensed piece of acutely experimental, yet immensely engaging, instrumental rock. Each of the album's five epics unfolds as a microcosm of the band's genre-transcending psychedelia at large, yet adds something different to the whole. There's a kind of musical metamorphosis taking place that's deeply ingrained in the band's natural flux by now: heavy, detuned riffs are transformed into wide, pastoral soundscapes, and fluid minimalism warped into swirling crescendos and back again. Occasionally the band even manages to sound turbulent, fuzzed-out yet strangely peaceful at the very same time. Whereas so much of today's psychedelic scene comes off as merely a tribute to a certain period of the past, Causa Sui seem to be on a different mission. More than any other record in their catalog Return To Sky declares their roots in the avant rock of the late 1990s - where different eras and genres merged into something that resonated as much with the present as it celebrated the past. It also reveals the fact that members of the band has had their hands in many different projects since the band's debut album in 2005: solo excursions into synthesizer music, collaborations with members of Sunburned Hand Of The Man and Tortoise as well as film soundtracks, guest spots with krautrock legends Faust and Damo Suzuki and various improv sessions. It has all worked a subtle influence on the kind of band they have become. Causa Sui's music is now more earthy and heavy than ever before, but it's ability to absorb everything from shoegaze and vintage Italian film music to spiritual jazz, afrobeat and minimalism into its fabric has matured as well. Never before has Causa Sui sounded as deep and mesmerizing as on this set. Jonas Munk: Guitars & electronics Jess Kahr: Bass Jakob Skøtt: Drums & Percussion Rasmus Rasmussen: Keys and electronics

Paul Murphy (CLAREMONT 56) Simon Purnell (LENG/ZEDD) and Danny from Psychemagik are starting a new label called SPACETALK. The first release is a 12" re-release of a super rare and sought after private press 45 by Morrison Kincannon called 'To See One Eagle Fly' plus an extended remix by MUDD.

Nach Alben bei Tomlab, Crammed Discs und Ghostly International sind die Skeletons beim Label Altin Village
& Mine gelandet. Dort veröffentlicht die 2001 in Ohio gegründete Artrock-Band mit "Am I Home" ihr neuntes
Album. Dabei handelt es sich um einen gewohnt gewöhnungsbedürftigen Langspieler, der konventionelle
Hörerfahrungen strapaziert. Scheinbar willkürlich zusammengestellte, steil nach vorne preschende Elemente
aus Free Jazz, Kammermusik, Avantgarde Pop und eine Menge anderer Stilrichtungen, die sich keinesfalls
klar zuordnen lassen, bescheren einen irritierenden Klangkosmos, den man entweder liebt oder verdammt.
Mit der Materie nicht vertraute Hörer mag es daher überraschen, dass für diese kruden Kompositionen einige
der renommiertesten Independent-Musiker verantwortlich sind, allen voran der Bandgründer, MultiInstrumentalist, Komponist und Filmemacher Matthew Mehlan und der Langzeit-Skeletons-Mitarbeiter Jason
McMahon. An deren Seite: Greg Fox (Liturgie, Zs, Guardian Alien), Mike Stolz, Justin Frye (PC Worship),
Sam Kulik, Sam Sowyrda (Cloud Becomes Your Hand), Nathaniel Morgan und Caley Monahan-Ward (Extra
Life, Dead Western). Mit außergewöhnlicher Spielfreude und höchster technischer Finesse machen sie "Am I
Home" zu einem bemerkenswerten Album.

The Dandy Warhols spent 2015 writing new music and the band closed out the year with a packed-to-capacity tour of the U.S. West Coast and South including a three-night stint at Los Angeles' Teregram Ballroom. Signing to Dine Alone was another highlight of the year, not only for the band, but for label owner/founder, Joel Carriere. "My first introduction to The Dandy Warhols goes back to when I was 21, and working at a record store. Good Will Hunting blew up and we were selling a ton of copies of the soundtrack. Not having a full appreciation for Elliott Smith yet, I didn't bother putting the soundtrack on when at work. When I saw the movie in the theatre, I had to know what song was playing in the background during the legendary scene when Will helps Chuckie with an arrogant MIT student.
Since we didn't have access to the Internet, let alone Shazam back then, I had to wait to scan the tracklist.
Boom! It was The Dandy Warhols and the song also happened to be on their LP The Dandy Warhols Come Down. I couldn't be more thrilled that this record store clerk is now working with a band that had such an impact.'

The Dandy Warhols spent 2015 writing new music and the band closed out the year with a packed-to-capacity tour of the U.S. West Coast and South including a three-night stint at Los Angeles' Teregram Ballroom. Signing to Dine Alone was another highlight of the year, not only for the band, but for label owner/founder, Joel Carriere. "My first introduction to The Dandy Warhols goes back to when I was 21, and working at a record store. Good Will Hunting blew up and we were selling a ton of copies of the soundtrack. Not having a full appreciation for Elliott Smith yet, I didn't bother putting the soundtrack on when at work. When I saw the movie in the theatre, I had to know what song was playing in the background during the legendary scene when Will helps Chuckie with an arrogant MIT student.
Since we didn't have access to the Internet, let alone Shazam back then, I had to wait to scan the tracklist.
Boom! It was The Dandy Warhols and the song also happened to be on their LP The Dandy Warhols Come Down. I couldn't be more thrilled that this record store clerk is now working with a band that had such an impact.'

Limited to 300 copies
Anything but another psych-by-numbers record.' Drowned In Sound
'Krautrock, no-wave, psych, dub...terrific 2nd album. 8/10.' Uncut Magazine
'they're The Lucid Dream, and I love them.' Stuart Maconie, BBC 6 Music
'A resolute triumph. 5/5' Artrocker
'An early contender for those sought-after end of year best lists. 8/10'. Louder Than War
'stirring, epic material designed to expand minds and shatter the consciousness' Clash
'a tremolo-powered, Sonic Youth submarine voyage to Joe Meek's fabulous undersea kingdom' The Quietus
'Bad Texan' is the first work from the 'in-progress' 3rd album from The Lucid Dream. It follows on from last year's critically acclaimed 2nd album, which gained plaudits from Drowned In Sound (who named the album #7 album of the year), Uncut, Clash, Louder Than War, The Skinny, and major radio support from BBC Radio 1 (Huw Stephens), BBC Radio 2 (Huey Morgan), and BBC 6 Music (Lauren Laverne, Marc Riley (inc. 2 sessions), Steve Lamacq, Gideon Coe, Stuart Maconie, Tom Robinson).
The Lucid Dream formed in Carlisle, Cumbria, in 2008. A string of sold-out 7"s was followed by the debut longer player, 'Songs Of Lies and Deceit', in August 2013. The album gained critical acclaim from Uncut, Q, Rocksound, Clash, Classic Rock Magazine, and leading French culture magazine, 'Les Inrocks', to name a few. The initial vinyl pressing of the debut album (500 copies) sold out within 2 days, and was backed by a main stage slot at Kendal Calling, 3 consecutive appearances at the Liverpool International Festival Of Psychedelia, and supports to Death In Vegas and A Place To Bury Strangers (full UK tour).
Alongside lead track 'Bad Texan' the EP also includes BBC 6 Music session versions of 2nd album tracks 'Unchained Dub' and 'Morning Breeze'

Benefiz-Sampler gegen Gewalt von Rechts und für Flüchtlinge: Mit vielen exklusiv
produzierten Stücken.

Benefiz-Sampler gegen Gewalt von Rechts und für Flüchtlinge: Mit vielen exklusiv
produzierten Stücken.

When VHOL's self-titled debut album was released in 2013 its sound came as a great surprise to many. No one could've expected the group's resulting style when the project was founded by two ex-Ludicra members (John Cobbett, also of Hammers Of Misfortune and Aesop Dekker, also of Agalloch) alongside Mike Scheidt of YOB, and Sigrid Sheie of Hammers of Misfortune (and ex-Amber Asylum).

VHOL was born as an entirely new entity, where each member would explore new
songwriting territory while at the same time re-discovering their old school metal roots.

With their 2015 full-length, Deeper Than Sky, VHOL have fully ascended to the next level of their musical progression. Their unique style is imbued with furious
precision, enveloping the listener in a shroud of total sonic power. And as the compositions reach further into the outer-realms, they do so with the torch of old school speed metal firmly in hand. With VHOL, there is no weak link.

The vinyl edition of Deeper Than Sky is presented as a single LP in a thick gatefold jacket with a high gloss finish. The layout features stunning artwork by Brandon Duncan and John Cobbett.

"You Can Feel It" is the first single from "West End Coast", the album by Young Gun Silver Fox. Riding along Ventura Highway into Laurel Canyon, Andy Platts and Shawn Lee paint a melodic soundscape with an irresistible groove inspired by the timeless California pop music of the late Seventies.

"You Can Feel It" is also available as a limited edition 7inch vinyl single, backed by the ultra cool California blue-eyed disco soul of "In My Pocket". "West End Coast" will be released on Legère Recordings as LP, CD and digital download.

Blossoms will release their brand new EP 'Blown Rose' on Friday 2nd October through Virgin EMI.

Produced by James Skelly and Rich Turvey at Parr St, with the lead track mixed by David Wrench (Caribou/Jungle/FKA Twigs/JamieXX)' the EP sees Blossoms expand on their first two releases, channeling their signature style - a hybrid of psych pop and rock ' n ' roll, a sound that has seen their fan base rapidly grow.

Blossoms are a five-piece band from Stockport - who in a relatively short space of time (forming in late 2013) - have performed at festivals including SXSW, The Great Escape, Liverpool Sound City, T in the Park, Latitude as well playing two shows in Tokyo. The band will be appearing at several other UK festivals this summer including Reading and Leeds and Kendal Calling,

'Blown Rose' will be released on a standard vinyl 10" in a black sleeve.

creative force - is something of a pop confectioner who thinks up impossible sounds and makes them a reality. His self-titled debut as Future Elevators expertly mixes whimsy and gravity, the fantastical with the everyday. Even as he grounds his lyrics in real-world issues, Shackelford fills his songs with new and improbable combinations of familiar sounds: the jagged pastoral folk of "Alabama Song", the Rube Goldberg blues riffs of "Machine Maker", the retro-futuristic r&b of "Modern World", the warm drone of the ten-minute instrumental closer "Aphrodite".

Michael Shackelford first wrote down the words FUTURE' and ELEVATORS' a few years ago on a rough instrumental demo. Recorded at his home studio outside of Birmingham, Alabama, the music never grew into a finished song, but that simple, surprisingly evocative phrase stuck with the multi-instrumentalist. I liked the phrase so much that I thought I would name the band that,' Shackelford explains. It's about trying to rise above and be the best possible version of yourself, and for some reason I kept thinking about the glass elevator in Willy Wonka as a visual metaphor for this band I was putting together. We try to achieve this feeling of elevation.'

It's an apt phrase for one of Birmingham's most original musical acts. Like Roald Dahl's fictional creation, Shackelford—the group's founder, mainstay, and guiding creative force—is something of a pop confectioner who thinks up impossible sounds and makes them a reality. His self-titled debut as Future Elevators expertly mixes whimsy and gravity, the fantastical with the everyday. Even as he grounds his lyrics in real-world issues, Shackelford fills his songs with new and improbable combinations of familiar sounds: the jagged pastoral folk of Alabama Song,' the Rube Goldberg blues riffs of Machine Maker,' the retro-futuristic r&b of Modern World,' the warm drone of the ten-minute instrumental closer Aphrodite.'

This diverse and adventurous musicality is coded in Shackelford's DNA. His entire family plays music, either professionally or recreationally. His grandfather ran a music school in Birmingham, his uncle plays guitar for the Temptations, and his mother performed on a local variety television show in the 1970s and '80s. Surrounded by music his entire life, Shackelford didn't start making noise himself until he was nine years old. During a freak blizzard, the clan was snowed in with no power. He remembers his aunt and uncle entertaining the family by singing and playing guitar. I went into the kitchen to get some pots and pans and started banging on them. They told me I had a good beat.'

Shackelford turned out to be a quick learner. By the time he was ten years old, he was playing drums in his grandfather's country & western band, touring VFWs around the state. The kid was barely visible behind the drumkit, but he still made his presence known. People complained that I played too loud!' He took classes at his grandfather's school, then started giving lessons to other kids. That was a really good experience for me—to be conducting classes at that age. It definitely helped later when I had to do that with bands.' As a teenager, Shackelford started writing his own songs in his bedroom and experimenting with sonic textures on a four-track recorder. Soon he joined a band. Then another. And another. He spent the 2000s playing in the power-pop quartet the Rewinds (named Artist of the Week by Spin) and the dream-rock act the Grenadines. He toured and recorded with Birmingham-born singersongwriter Maria Taylor (of Azure Ray) as well as local faves Through the Sparks and Dead Fingers. Those experiences were formative, schooling him in a range of musical genres while putting him at the center of the city's lively music scene.

Between production gigs and touring jobs, Shackelford spent a year piecing his debut album together at the local studios owned and operated by Communicating Vessels (a label that is revitalizing Birmingham's music scene and releasing Future Elevators). Recording with him was Lynn Bridges, who has worked with Devendra Banhart and fellow Alabamans the Dexateens, and the album was mixed by Darrell Thorp, best known for Radiohead's Hail to the Thief and Beck's Grammy-winning Morning Phase.

Shackelford played all the instruments himself, which was less about maintaining control and more about getting ideas down as quickly as possible. Sometimes I feel like there's a radio station playing in my head, and if I can tune in to it, I can hear all these arrangements. If I don't act on the idea when it comes to me, I can lose it forever.'

Translating those phantom radio waves into real music lends Future Elevators a sense of urgency and spontaneity, yet for all its ambitious arrangements, the music operates on a distinctly human scale. The impression of a real person comes through on these songs: the undying wonder of an enthusiastic musician, the fears and joys of a new father, the worries of a normal guy living in a world that seems beyond his control.

Nowhere is that more evident than on Alabama Song,' the emotional centerpiece of the album. A musical diptych, the song opens with a breezy folk melody, like a long-lost Neil Young classic. Halfway through, it morphs fluidly into a melancholy fanfare complete with setting-sun guitars and Beach Boy harmonies. Think I'll dig my toes in to the ground and close my eyes,' he sings. I know that nothing's wrong right now.'

As Shackelford explains, That first part sounded like a song on its own, but I had this other piece of music that seemed like it fit perfectly. I wanted to deviate from a traditional arrangement, but I didn't want to do it just for the sake of shifting gears.'

Instead, Alabama Song' is all the more poignant for taking such a risk. I was thinking about being a dad now and having a baby girl. I have to remind myself to like in the moment and enjoy where I am, to take a minute to realize that
everything is okay for this moment. That's why I named it 'Alabama Song.' It felt like home to me.'

creative force - is something of a pop confectioner who thinks up impossible sounds and makes them a reality. His self-titled debut as Future Elevators expertly mixes whimsy and gravity, the fantastical with the everyday. Even as he grounds his lyrics in real-world issues, Shackelford fills his songs with new and improbable combinations of familiar sounds: the jagged pastoral folk of "Alabama Song", the Rube Goldberg blues riffs of "Machine Maker", the retro-futuristic r&b of "Modern World", the warm drone of the ten-minute instrumental closer "Aphrodite".

Michael Shackelford first wrote down the words FUTURE' and ELEVATORS' a few years ago on a rough instrumental demo. Recorded at his home studio outside of Birmingham, Alabama, the music never grew into a finished song, but that simple, surprisingly evocative phrase stuck with the multi-instrumentalist. I liked the phrase so much that I thought I would name the band that,' Shackelford explains. It's about trying to rise above and be the best possible version of yourself, and for some reason I kept thinking about the glass elevator in Willy Wonka as a visual metaphor for this band I was putting together. We try to achieve this feeling of elevation.'

It's an apt phrase for one of Birmingham's most original musical acts. Like Roald Dahl's fictional creation, Shackelford—the group's founder, mainstay, and guiding creative force—is something of a pop confectioner who thinks up impossible sounds and makes them a reality. His self-titled debut as Future Elevators expertly mixes whimsy and gravity, the fantastical with the everyday. Even as he grounds his lyrics in real-world issues, Shackelford fills his songs with new and improbable combinations of familiar sounds: the jagged pastoral folk of Alabama Song,' the Rube Goldberg blues riffs of Machine Maker,' the retro-futuristic r&b of Modern World,' the warm drone of the ten-minute instrumental closer Aphrodite.'

This diverse and adventurous musicality is coded in Shackelford's DNA. His entire family plays music, either professionally or recreationally. His grandfather ran a music school in Birmingham, his uncle plays guitar for the Temptations, and his mother performed on a local variety television show in the 1970s and '80s. Surrounded by music his entire life, Shackelford didn't start making noise himself until he was nine years old. During a freak blizzard, the clan was snowed in with no power. He remembers his aunt and uncle entertaining the family by singing and playing guitar. I went into the kitchen to get some pots and pans and started banging on them. They told me I had a good beat.'

Shackelford turned out to be a quick learner. By the time he was ten years old, he was playing drums in his grandfather's country & western band, touring VFWs around the state. The kid was barely visible behind the drumkit, but he still made his presence known. People complained that I played too loud!' He took classes at his grandfather's school, then started giving lessons to other kids. That was a really good experience for me—to be conducting classes at that age. It definitely helped later when I had to do that with bands.' As a teenager, Shackelford started writing his own songs in his bedroom and experimenting with sonic textures on a four-track recorder. Soon he joined a band. Then another. And another. He spent the 2000s playing in the power-pop quartet the Rewinds (named Artist of the Week by Spin) and the dream-rock act the Grenadines. He toured and recorded with Birmingham-born singersongwriter Maria Taylor (of Azure Ray) as well as local faves Through the Sparks and Dead Fingers. Those experiences were formative, schooling him in a range of musical genres while putting him at the center of the city's lively music scene.

Between production gigs and touring jobs, Shackelford spent a year piecing his debut album together at the local studios owned and operated by Communicating Vessels (a label that is revitalizing Birmingham's music scene and releasing Future Elevators). Recording with him was Lynn Bridges, who has worked with Devendra Banhart and fellow Alabamans the Dexateens, and the album was mixed by Darrell Thorp, best known for Radiohead's Hail to the Thief and Beck's Grammy-winning Morning Phase.

Shackelford played all the instruments himself, which was less about maintaining control and more about getting ideas down as quickly as possible. Sometimes I feel like there's a radio station playing in my head, and if I can tune in to it, I can hear all these arrangements. If I don't act on the idea when it comes to me, I can lose it forever.'

Translating those phantom radio waves into real music lends Future Elevators a sense of urgency and spontaneity, yet for all its ambitious arrangements, the music operates on a distinctly human scale. The impression of a real person comes through on these songs: the undying wonder of an enthusiastic musician, the fears and joys of a new father, the worries of a normal guy living in a world that seems beyond his control.

Nowhere is that more evident than on Alabama Song,' the emotional centerpiece of the album. A musical diptych, the song opens with a breezy folk melody, like a long-lost Neil Young classic. Halfway through, it morphs fluidly into a melancholy fanfare complete with setting-sun guitars and Beach Boy harmonies. Think I'll dig my toes in to the ground and close my eyes,' he sings. I know that nothing's wrong right now.'

As Shackelford explains, That first part sounded like a song on its own, but I had this other piece of music that seemed like it fit perfectly. I wanted to deviate from a traditional arrangement, but I didn't want to do it just for the sake of shifting gears.'

Instead, Alabama Song' is all the more poignant for taking such a risk. I was thinking about being a dad now and having a baby girl. I have to remind myself to like in the moment and enjoy where I am, to take a minute to realize that
everything is okay for this moment. That's why I named it 'Alabama Song.' It felt like home to me.

Greasy Bear formed in Manchester in 1969 as a folk/rock outfit and were christened Manchester's answer to The Grateful Dead .' Managed by Roger Eagle, the band soon gained a reputation as a tight and eccentric live act due to the on stage antics of C.P. Lee (vocals) and Bruce Mitchell (Drums). Other band members were Ian Wilson (vocals/guitar), Steve Whalley (Guitar) and John Gibson (Bass).

In1970,with a collection of songs penned by Lee and Wilson, Greasy Bear recorded 9 tracks, hoping to secure a deal with the now highly collectable Philips/Vertigo label. They worked with producer Terry Brown, who had recently produced the work of Martin Carthy and Dave Swarbrick.

The deal with Philips fell through and the band soon went their separate ways. C.P. Lee and Bruce Mitchell formed Manchester anarchic-satirical rock band Alberto Y Los Trios Paranoias. Bruce was also the other half of Factory records duo The Durutti Column.

Ian Wilson went on to form Sad Cafe with the late Paul Young and Steve Whalley also played in Sad Cafe and joined Slade for 14 years in 1992 whilst Noddy was in Toyland.

46 years later and Is Adrian There finally gets the release it deserves. This previously unreleased gem will not disappoint.

A1. Windy Day
A2. Five Black Horses
A3. Betcha Gonna Need
A4. Autumn Fair
B1. Geordie
B2. Brown Eyed Boy
B3. Country Brown
B4. Tallawaya

Wilco bassist John Stirratt and multi-instrumentalist Pat Sansone create timeless orchestral pop. Inspired by The Beach Boys and Love, their lush debut album glows with fertile songs about long forgotten loves, endless summers and electric moons. The LP gently swings from Gene Clark country to Big Star pop via XTC psych, and even includes a masterful Mermaid Avenue-esque collaboration with the ghost of Woody Guthrie.

For RSD 16, Be With Records presents the limited first vinyl edition, lovingly remastered with upgraded artwork throughout. Preferred Summerteeth to Yankee Hotel Foxtrot Here's your follow-up.

The Spitfires release their new single 'So Long' on April 1st. The Watford 4 piece burst onto the scene in Sept 2012 with a run of powerful and energetic live shows. Comparisons were immediately made to The Jam and The Clash, and while The Spitfires boast a similar energy to punk's trailblazers, the style is all their own. Debut 7' single 'Stand Down' sold out in just 2 days, followed in August 2015 by the 13-track debut album 'Response', which reached number 6 in both the Indie & Vinyl Albums top 40 charts. In the past 12 months the band have supported Paul Weller, The Specials and The Ordinary Boys. They're currently in the studio working on their second LP and head back out on the road across the UK and Europe in early 2016. Dates below.

Mogwai today announce the release of their new album Atomic on 1 April via Rock Action in CD and double gatefold LP formats. The album is composed of reworked versions of the music recorded for the soundtrack to director Mark Cousin's acclaimed documentary Atomic: Living In Dread and Promise, which first aired on BBC Four last summer. The band today premiere U-235, a new track lifted from the album.
Constructed entirely of archive film, Atomic is an impressionistic kaleidoscope of the horrors of our nuclear times - protest marches, Cold War sabre-rattling, Chernobyl and Fukishima - but also the sublime beauty of the atomic world, and how x-rays and MRI scans have improved human lives. Mogwai's soundtrack encapsulates the nightmare of the nuclear age, but its dreamlike qualities too. It is the latest in the band's series of impressive soundtracks and scores, following acclaimed albums Les Revenants (The Returned) and Zidane: A 21st Century Portrait.
Cousins says of Atomic, the film: I'm a child of the nuclear age, and in my teens I had nightmares about the bomb. But physics was my favourite subject in school, and I nearly studied it at university. Learning about the atomic world excited me. It was like abstract Star Wars.'
Mogwai's Stuart Braithwaite says: The Atomic soundtrack is one of the most intense and fulfilling projects we've taken on as a band. Ever since we went to Hiroshima to play and visited the peace park this has been a subject very close to us. The end results, both the film score and the record are pieces I'm extremely proud of.'

Mogwai today announce the release of their new album Atomic on 1 April via Rock Action in CD and double gatefold LP formats. The album is composed of reworked versions of the music recorded for the soundtrack to director Mark Cousin's acclaimed documentary Atomic: Living In Dread and Promise, which first aired on BBC Four last summer. The band today premiere U-235, a new track lifted from the album.
Constructed entirely of archive film, Atomic is an impressionistic kaleidoscope of the horrors of our nuclear times - protest marches, Cold War sabre-rattling, Chernobyl and Fukishima - but also the sublime beauty of the atomic world, and how x-rays and MRI scans have improved human lives. Mogwai's soundtrack encapsulates the nightmare of the nuclear age, but its dreamlike qualities too. It is the latest in the band's series of impressive soundtracks and scores, following acclaimed albums Les Revenants (The Returned) and Zidane: A 21st Century Portrait.
Cousins says of Atomic, the film: I'm a child of the nuclear age, and in my teens I had nightmares about the bomb. But physics was my favourite subject in school, and I nearly studied it at university. Learning about the atomic world excited me. It was like abstract Star Wars.'
Mogwai's Stuart Braithwaite says: The Atomic soundtrack is one of the most intense and fulfilling projects we've taken on as a band. Ever since we went to Hiroshima to play and visited the peace park this has been a subject very close to us. The end results, both the film score and the record are pieces I'm extremely proud of.'

A follow up / companion piece to 2015's well received Out To Sea opus released on Agitated Records.
5 tracks of magick-karpet wreck'd psychedelic morass. The raft ran aground, you have to get your ears on and wander the deserted shores of this desolate isle (metaphorically speaking, but you get the "drift" right)
Aim for the high ground, build a fire, look to the horizons and let it all flow. These tracks were from the same sessions that spawned "Out To Sea", theres a natural flow, a cohesion that makes the whole trip worth taking.
Recorded / Engineered by Phil Manly / Lucky Cat studios.

5 tacks, cut at 45 rpm, lush transparent green vinyl in an edition of 600 COPIES ONLY