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The shamanistic sleaze psychallucisergic rock of The Diaphanoids. They got re-toxed again, and "Blessed poisons" is their answer to the cleansed and disinfected psychedelic scene around now, a punkier, snarlier take on the childish and harmless new cosmic sound. The third part of a trilogy regarding space travelers, inner and outer trips, this time seems that the strangest and more distant world is the daily reality, and the only way to escape ordinary madness and next-door resident aliens is staying disconnected and in an altered state. A bit of what you fancy... well, then some more more more! It's the sound of Visions, of scarves drenched in oils and blood and brutal Sunday mornings in the drunk tank. "Blessed Poisons" with its fractured rhythm, x-ray guitars, stoned vocals and pills salade. "My Friends Can Fly", the psychocandy pop hit BBC would never play. "Too Many Stars And Not Enough Night" : ecstatic floating guitars and crystal keyboards to shine infinitely. "Retoxed And Somehow Heavily Szymckzhycked": if the body is a temple let's wreck it with acidic grooves, switchblade guitars and toxic drones. "F(uck)Y(our)W(orld)" : mantra-like vocals for a velvety sweet hymn to modern spleen. "Iconize Yourself" : smacked-down drums and hashed-up guitar solos for the end of the world. "I Appeared To The Holy Virgin" : mystic and illuminated, some of the harmony left in the dark side of the spoon. "Jesus' Son", the last rebel waving his freak-unique flag high, a false prophet blazing like a crazy diamond, screeching guitars like holy worms, drums in a trance, freaky electronics. While they had roots in the nu-disco and electronic wars, they are miles above that crass commercial fracas, and really, below it as well. "Blessed Poisons" is a true howl from the gutter, a full-throated warcry from underground, slithery, dive-bar hallucinated sleaze-kings, altered stated junkies' royalty flailing wildly in a dead, empty reality. Candies from strangers... mmmhhhhh, want some

Limited "Pink Robots" and "Solid Cream" coloured vinyl repress with download code

Limited half and half "Cream" and "Orange Plus" with Pink splatter coloured vinyl repress with download code

Limited "Cream" with "Solid Orange" splatter coloured vinyl repress with download code

"I hit a wall," says Will Hoge. "I was doing the best touring of my career and I had a great, steady gig writing songs, but I was falling out of love with being in a band. I had to figure out what was next." For Hoge, what came next was a quest to reclaim the joy and the magic that had drawn him to music in the first place. He let his band go and hit the road for roughly a year of solo shows, crisscrossing the country by himself with just a guitar and a keyboard. He felt rejuvenated by the freedom and began writing material that reenergized him, that made him feel like a kid falling in love with rock and roll all over again. Those songs ignited a dormant flame somewhere deep within his soul, and now they form the bulk of Anchors, his strongest and most nuanced album to date. Recorded with an all-star band comprised of drummer Jerry Roe (Emmylou Harris & Rodney Crowell, Darius Rucker), bassist Dominic Davis (Jack White, Wanda Jackson), and guitarists Brad Rice (Son Volt, Ryan Adams) and Thom Donovan (Lapush, Ruby Amanfu), the album is a prime showcase for Hoge's soaring, gritty vocals, as well as his remarkable gift for crafting complex characters with real emotional depth and plainspoken profundity.

Features Sheryl Crow on track 3 'Little Bit of Rust'. Rolling Stone compared him to Bob Seger and John Mellencamp. Nominated for a Best Country Song Grammy award.

Debut album from bluesy indie-Americana three piece, William The Conqueror. Recorded in sessions that took the band from Cornwall right up to the Isle of Lewis and back again, the album features the multi-instrumental talents of Harry Harding, Naomi Holmes and Ruarri Joseph - a name many folk fans may remember from his acclaimed solo output.
William the Conqueror the alter ego of Ruarri Joseph who in a trio setting played stomping country rock at the end veering into stoner grunge reminiscent of Built to Spill.' - The Guardian (AmericanaFest 2016, Nashville TN) - added to the bill at Cambridge Folk Festival 2017 - UK tour in September opening for Danny & The Champions Of The World - "Tend To The Thorns" nominated for Song Of The Year at the UK Americana Awards 2017

Four voices tousle loudly as they leave the soft realm of the body, venturing out into the world. Reproduction and traditional instruments (guitars, drums, samplers, digital, voices) allow the human generation to play right now. Playing is intersubjective, we appeal to consciousness. Here in the human era we dialog, reference, and reproduce with traditional reference and frustration. Kissing lightly decided harmonies, Gen Pop plays in the human generation and is from the human era. Playing used in its most remedial sense, an occasion to slap together a narrative and generate trust between each other. Gen Pop produced a small run of tapes featuring 3 tracks from their debut 7' on Upset the Rhythm earlier this year.  This 7' brings to totality the sinews and olfactory system of the Gen Pop promo tape. The essence of what they are doing and not the end of it. The first track 'On Screen' whinges lackaday about screen oriented living. 'I'll be chained and beaten, in a motel room its our first time meeting' shoots the moon for the loneliness of access and an end to curiosity (good riddance). Honestly though, a screen can and will be held by all.
The product of exposure can be found in 'Easy', the ballad of confused ability. The lacing of MaryJane Dunphe's noise guitar, brought back to life from her days in Polly Darton, meld with David Strother and Theo Maughan's air tight rhythm section. Ian Corrigan, playing 2nd guitar, and Dunphe vocalise together in frustration, this all should be quicker, easier. Corrigan and Dunphe played together previously in Olympia, WA's maelstrom of punk and passion known as Vexx (also released through Upset The Rhythm).

'Teach Me How To' peaks in winding energy, standing tall as a pinnacle of frustration and excess. 'The poor need lessons, they're far too crude, but what about your life Have you known rot tooth' Dunphe cries in resistance to plutocracy and vapid hegemony. Access will be had by all, but not until the human era is over and the internet is a human right. In 'Dear Jackie' simple harmonies on the guitar lap lightly at the toes of a bulky thick rhythm section that is strolling late night on the beach. Each note that Dunphe and Corrigan hit are planned to harmonise, intention over expression. Strother's voice digs deep into choosing, choosing an ending, his pummelling drums and margin walking sense of genre helps the band approach a more lighter sound.
Finally, closer 'The Wall' can speak for itself. 'I know, we're guilty, these eyes so milky,' the powerless individual's eyes cataract while watching an indigenous land be divided by a white contingency. And if its called white supremacy they might as well ' take my head and turn it clockwise'. Needling guitar parts crescendo into a furious finale, reminding all that Gen Pop as one of the last human bands are trying twice as hard to keep ahead of the future.

Joyce Manor come correct. Two records deep into their career and it's clear that they're torchbearers of a style one could trace back to The Ergs or Jawbreaker, depending on what coast you favor. Theirs is a blend of poppy punk blast and highvoltage heartsore immediacy that always lands a hit. The songs are short, sweet and say their piece in step with lyrics that read like a tour diary exorcism hangover - no joke. It makes good sense that they would tackle Cody, their 2016 full-length, with producer Rob Schanpf at the helm. His work with Guided by Voices, Saves the Day and Elliott Smith is an ideal resume given the raw materials at hand. Their recording from the Blue Room, their rst of cial live release, features a sold-out crowd and full-bodied, frenetic live versions of Constant Nothing,' from their 2011 self-titled LP as well as Christmas Card' from their Pitchfork-approved 2014 LP Never Hungover Again. Simply put, one of the best crowds we've ever hosted at TMR.
About 30 seconds into Christmas Card,' there's a really special moment where vocalist Barry Johnson steps back from the mic and the hollering crowd jumps up to ll in the gaps and turn the chorus inside out. This moment is what live shows are all about and speaks to the greatest skill of the Torrence, CA, four-piece - connecting with their fans on a level other newcomers can only dream about.

Dirtnap hasn't released a 7-inch in a few years, but this one was worth breaking the dry streak! Patsy's Rats is Portland power (pop) couple Patsy Gelb and Christian Blunda (aka Billy Jeans from Mean Jeans). Rounding out the lineup is a revolving door of rhythm sections that compromises a who's-who of Portland bassplayers and drummers. (On these recordings it's Steve and Jon from Mope Grooves). Patsy's Rats have already accomplished a lot for a newish band that doesn't even have a full length out. They've toured Europe with Giant Sand (and another Euro tour planned for September 2017), had some songs on the Green Room soundtrack, and released four 7-inches (this is the fourth) on four different labels, with a fifth hot on this one's heels. These will be compiled on a singles-compilation on Burger, with an all-new record recorded and in the can. Two absolutely note-perfect guitar-pop rockers, with Gelb taking the vocal lead on side A, and a sweet duet on side B. Really, this epitomizes everything a 7-inch should stand for: two great songs that leave you wanting more. And there's more on the way...

Shit&ShineGODREC18Shit&ShineGODREC18Shit&Shine
is the polymorphous project lead by the Texan-born Craig Close.With more than a decade of activity between the USA and the UK, it has spawned one of the most fascinating and promiscuous saga of the latest years.Within its huge discography, definitely noteworthy is the 2014 "Powder Horn" released on Diagonal Records, which was considered by many to be one of the best electronic albums of that year.Lately Shit&Shine has released the great "Everybody's a Fucking Expert" LP on Editions Mego in 2015 and "Total Shit!", again on Powell's Diagonal on March 2017.
Shit&Shine and Gang of Ducks share an arguable good taste for naming and, most of all, a wide-range approach to the sonic palette, always exploring different sounds.Hamburger Ep brings the work Craig has developed so far to the next level, keeping his unique mix of sluggish EBM beat, drugged funk and futuristic proto-techno.RIYL G.O.D's previous releases like Traag, Sudden Infant, Datashock...
***300 copies, silk screen printed on special chrome bag***

"Silver Lake" erschien ursprünglich 2003 und ist das neunte Album von Vic Chesnut. Unter der Leitung von Mark Howard - der auch Künstler wie Marianne Faithfull, Emmylou Harris, U2, Peter Gabriel produziert - sind die Rock- und Soul-Arrangements großzügig angelegt. Diese 180g Vinyl-Wiederauflage enthält vier Bonustracks und verfügt über einen Bonus-Download-Code. Vic Chesnut ist 2009 im Alter von 45 Jahren gestorben. New West Records setzen mit diesen hochwertigen Vinyl-Re-Issues dem außergewöhnlichen Singer/Songwriter ein Denkmal und machen lange vergriffene LP-Versionen wieder erhältlich.

Announcing Dion Lunadon's (of A Place To Bury Strangers / The D4) debut solo album, on Agitated Records. The album was recorded over a three-month period in Brooklyn, NY and features Robi Gonzalez (APTBS) on drums and Blaze Bateh from Bambara on select tracks including 'Fire'. "With 'Fire' I wanted wild and heavy guitars with heavy sentiment in the first vocal line to match. Something that grabs you and demands attention. Not background music," Lunadon explains of the track. The album also features mixing by Chris Woodhouse (Mayyors, Ty Segall, The Intelligence, Thee Oh Sees) on select tracks including 'Com/Broke'. From cutting his teeth back home in New Zealand as a member of The D4 to his current role as bassist of Brooklyn-based A Place to Bury Strangers, Dion Lunadon has played in some form of a rock & roll band his entire life. During a short break in touring with APTBS, Lunadon had a rush of inspiration in the form of a Dion Lunadon creative spasm — a neurotic impulse to make a batch of songs and do it right then and right there. What resulted is quite a jump away from his work in APTBS and draws more influence from bands like Toy Love and The Gun Club, as well as New Zealand unknowns such as Gestalt and Supercar. 500 only pressed / black vinyl theres 200 for UK/EU only

Announcing Dion Lunadon's (of A Place To Bury Strangers / The D4) debut solo album, on Agitated Records. The album was recorded over a three-month period in Brooklyn, NY and features Robi Gonzalez (APTBS) on drums and Blaze Bateh from Bambara on select tracks including 'Fire'. "With 'Fire' I wanted wild and heavy guitars with heavy sentiment in the first vocal line to match. Something that grabs you and demands attention. Not background music," Lunadon explains of the track. The album also features mixing by Chris Woodhouse (Mayyors, Ty Segall, The Intelligence, Thee Oh Sees) on select tracks including 'Com/Broke'. From cutting his teeth back home in New Zealand as a member of The D4 to his current role as bassist of Brooklyn-based A Place to Bury Strangers, Dion Lunadon has played in some form of a rock & roll band his entire life. During a short break in touring with APTBS, Lunadon had a rush of inspiration in the form of a Dion Lunadon creative spasm — a neurotic impulse to make a batch of songs and do it right then and right there. What resulted is quite a jump away from his work in APTBS and draws more influence from bands like Toy Love and The Gun Club, as well as New Zealand unknowns such as Gestalt and Supercar. 500 only pressed / black vinyl theres 200 for UK/EU only

For fuck's 1996 sophomore release, the band got sophomoric:
the playing got more playful, and the lyrics got more nonsensical. Yet, from late-night confessional Swinger' to the bare-boned sigh of Whimper and Cry,' the band still embraces languor and melancholia.
Unlike the band's even-handed debut album, Pretty...
Slow, this batch of songs careens multi-directionally— toy piano and baby grand! Rococo' pops, Tired' rocks, Loosened Mind' ups the weird, and Talent, OR' goes full CinemaScope. From realizing I am almost like a girl' to the hope that black and white will soon be brown and gold' on their ode to Neil Young ( Ballet High'), thefuture of identity politics is nailed in 2:27. Think Jonathan Richman's whimsical sincerity battling the obfuscation
of Erik Satie: Baby Loves A Funny Bunny imbues both yin and yang. Schizo Maybe. Let's call it delightfully unpredictable.

Seit ihrem Debütalbum "Gluey Porch Treatments" von 1987 haben die Melvins einiges gewagt: musikalische Konzepte erweitert, ungewöhnliche Kollaborationen riskiert, Genre-Grenzen stets neu definiert. Aber an eines haben sie sich bis dato nicht herangetraut: das Format des Doppelalbums! Kein Wunder also, wenn Buzz Osborne, der Kopf der Melvins, hier von einem neuen Maßstab spricht. Das Werk wartet mit wunderbaren Gästen auf, so haben sich Joey Santiago (The Pixies), Teri Gender Bender (Le Butcherettes/Crystal Fairy) und Anna Waronker (That Dog) an den Aufnahmen beteiligt. Ist der erste Part noch Alternative-Rock Melvin'scher Prägung, widmet sich der zweite Teil weit experimentelleren Klangwelten, die gleichzeitig den Soundtrack zu "A Walk With Love And Death" von Jesse Nieminen bilden.

Universal Music are proud to announce the first ever vinyl release of the New Radical's 1988 album 'Maybe You've Been Brainwashed Too' as a 2-LP set. The album went platinum in America, and proved even more popular around the world, cracking the top 10 in the U.K. as well as many other territories. The first single, You Get What You Give,' was a smash hit on the Billboard Hot 100, topped the charts in Canada and New Zealand and was in the Top 5 in the U.K. In addition to its success on the Pop Radio charts, the song also crossed music genres and peaked in the top 10 of the Billboard Modern Rock chart. 180g Black Vinyl. Includes Download Card

Widely considered to be both The Smiths' finest work and one of the greatest albums ever made, 'The Queen Is Dead' has cast a significant influence over subsequent generations since it was first released in the summer of 1986.
 
This reissue represents the first time that The Smiths' back catalogue has been revisited in such a way. The album features several of the band's finest moments including the title track and 'There Is A Light That Never Goes Out', as well as the iconic singles 'The Boy With The Thorn In His Side' and 'Bigmouth Strikes Again'.
 
'The Queen Is Dead' will be released on digital and streaming formats as well as the following physical formats - all of which feature the 2017 master of the original album:

- 180 GRAM AUDIOPHILE VINYL
- PRINTED INNERSLEEVE
- INCLUDING THE HIT SINGLES
- LAVINIA', MORE HEAT THAN LIGHT' AND THE WILD SON'
- FIRST TIME ON VINYL!
- LIMITED EDITION OF 1000 COPIES

The Runaway Found is an excellent debut album from this popular New Zealand band. The sound of The Veils is overall lush, romantic & literate. Lead singer Finn Andrews, who was just 17 and 18 when he composed the songs of this album, is confident and sensitive, much like Richard Ashcroft and the late Jeff Buckley. Andrews' lyrics and The Veils' mature presentation complement one another.


From the majestic melodies of Guiding Light' and The Leavers Dance' to the thunderous clamour of More Heat Than Light,' The Runaway Found never loses its momentum.


Guitars chime on The Leavers Dance' before the electric sonic explosion with Andrews wailing the name Bernice' as if it were a magic incantation, Vicious Traditions' clangs and groans like a therapy session for post-war stress.


The single Lavinia' is washed with keyboards and a string section as Andrews' vocals seems like an extended emotional moan and carriers the whole album.


The Runaway Found is an incredibly focused first album, giving evidence of how serious the Veils are about composing a stylish, quality sound. Since it's official release in 2004 it is now available for the first time on vinyl.

- 180 GRAM AUDIOPHILE VINYL
- PRINTED INNERSLEEVE
- PRODUCED BY NICK LAUNAY (ARCADE FIRE/NICK CAVE)
- LIMITED EDITION OF 1.000 INDIVIDUALLY NUMBERED COPIES PRESSED ON COLOURED (WHITE AND BLACK MIXED) VINYL

Nux Vomica is the second album by The Veils, released on 18 September 2006. It was recorded in Laurel Canyon (Los Angeles) and produced by Nick Launay, during spring of 2006. Launay is responsible for work of Nick Cave and this influence is clearly visible on this album, as he was one of the inspirations.

After the success of the debut The Runaway Found (MOVLP1956) the second album by The Veils is still a very pleasant surprise. A far heavier and darker sound characterises the album, very different from the indie sound of the previous record.

Most notable tracks are Jesus for the Jugular', Not Yet', Pan' and the title track itself, while more accessible numbers are the singles Advice for Young Mothers to Be' and One Night on Earth'. A distinctive contribution to this new sound was given by the string arrangements of Jane Scarpantoni, ex member of The Lounge Lizards and long-time Lou Reed collaborator.

On Calliope!', in a move typical of the more famous band, guitars take a back seat to keyboards and the strings play a sharp marcato.

- 180 GRAM AUDIOPHILE VINYL
- PRINTED INNERSLEEVE
- LIMITED EDITION OF 1.000 INDIVIDUALLY NUMBERED COPIES PRESSED ON COLOURED (TRANSPARENT GREEN, SOLID WHITE AND A TOUCH OF BLACK MIXED) VINYL

The Veils are a London-based indie/alternative band. The band's heartbeat is that of Finn Andrews, a globetrotting goth troubadour from a rock 'n roll lineage (he is the spawn of XTC's Barry). Head of Rough Trade Records Geoff Travis has referred to Finn as a young but maturing real artist in the vein of Nick Cave and David Bowie'.

Sun Gangs is the third album by The Veils, released on 6 April
2009. The full-length album from this emotionally charged rock outfit finds frontman Finn Andrews fully realizing the expressive power of his voice.

Finn Andrews has described it as 'a very modern mixture of prayers, love letters and personal record keeping'. Sun Gangs was produced by Graham Sutton, with the exception of the opening track Sit Down by the Fire', produced by Bernard Butler. No official singles were released to promote the album though 1-track promos of Three Sisters' and The Letter' were sent out to radio stations before release.

Festival Records and Warner Music Australia are excited to release another exciting and unique new collection of Australian music, 'Closed Circuits: Australian Alternative Electronic Music Of The '70s & '80s, Volume 1.'

Compiled by noted Australian music writer and historian David Nichols, 'Closed Circuits' looks at what happened in Australia when the machines started taking over in the wake of punk in the late 70s. Synthesisers and other new technology accompanied a new DIY mentality and very quickly made their presence felt right across the pop spectrum. The collection looks at some of the underground innovators - the likes of Whirlywirld, Essendon Airport, Voigt/465 and Scattered Order - and also some of those who wedded the new sounds with more commercial instincts and created new styles of pop music, like the Dugites, Models, the Reels and the Machinations. It is a range of music that is sometimes fun, sometimes intensely serious, and always innovative.

Nichols puts it like this in his liner notes: "This collection brings together a wide range of recordings really only united by one thing: people using technology to produce something fresh. These were not necessarily artists wedded to the idea of the 'new wave' or even hoping to wipe out old rock music, but what these tracks do represent is forward-thinking, inventive, progress... Most (not all) of the people on this collection were in their early-to-mid 20s, their reference points growing up in the 70s might have been Bowie's Berlin period albums, or Roxy Music - particularly the Eno years - or Brian Eno's own solo material, perhaps groups like Suicide. Many tracks sound like their creators spent their formative years immersed in the fun experimental side of progressive rock (though few seem to remember that experience). Others were more into the shock element of the new wave/ post punk world - or the DIY nature of synthesisers and other new technology. It didn't hurt that between the late 70s and early 80s the hardware got cheaper, fast - though five or six hundred dollars for a synthesizer was still a major investment."

'Closed Circuits' features detailed liner notes and track-by-track commentary by Nichols as well as an original design by Michael Trudgeon, the graphic designer for the seminal Melbourne '80s cassette fanzine 'Fast Forward' (which was a vital outlet for this music back in the day), as well as numerous images.

'Closed Circuits' provides a unique and invaluable look at the specifically Australian beginnings of key elements of the music of the 80s: music that is more popular and examined more closely now than at any time since it was originally made.

Originally released in 1996, Electriclarryland' features the Surfers only top 40 hit with the song Pepper'. Although the sound on this album continues the more streamlined approach they started with Independent Worm Saloon', this record is by no means mainstream, even with the hit. With pile driving rockers, pop-punk raves, acid freakouts and their demented sense of humor and bizarre perspective intact - the Surfers take no prisoners! 3 sides of music with the 4th side featuring etchings by Gibby Haynes.

Auf seinem zweiten Album als Big French kombiniert der New Yorker Musiker Quentin Moore den Willen zum knappen, eingängigen Pop-Song mit der Ästhetik des Lo-Fi-Recordings. Mit einem Mehrspur-Rekorder aufgenommen, nimmt der Künstler Manipulationen an den Bändern vor und ändert die Soundästhetik der ursprünglichen Aufnahmen nachhaltig. Damit erreicht er einen Kontrast zwischen den melodiösen Songs und einer ungeschliffenen Sound-Kulisse.

As with their previous release, Ardor was recorded a the Hotel2Tango, this time by Radwan Ghazi Moumneh (of Jerusalem In My Heart). Jessica Moss (Thee Silver Mt Zion Memorial Orchestra), who was a special guest on Au De La, played violin on all of the three new tracks and Thierry Amar (Godspeed You! Black Emperor) played contrabass on two of the tracks.

'Montreal's genre-defying post-rock combo BIG|BRAVE could very well be the most noteworthy recent heavy curiosity to come out of the city in recent years.' - NOISEY

'...combines elements of Björk, Neurosis, The White Stripes, and Sunn O))) into a cohesive whole; but this whole is an ever evolving and challenging sonic mass. - THE QUIETUS
Montreal three-piece BIG|BRAVE have been simmering since their 2015 release 'Au De La,' but their relentlessly experimental sound and kinetic creative energy has finally—and thankfully—boiled over.

While the teaser barely tips one minute, it speaks volumes regarding what's to come in BIG|BRAVE's next endeavor; swirling static, booming guitars, powerful drums—all the hallmarks that have made them one of experimental rock's most exciting acts today.  With just three songs that clock in for a 40-minute-long LP, BIG|BRAVE have adopted a nearly unbearable level of urgency and intensity that weaves throughout Ardor.

Since their inception in 2012, BIG|BRAVE demonstrate the fluidity of experimental rock when elaborated into vast, abstract, and often hypnotic sounds, saturated in soulbaring emotion. The trio put everything into their music, until there's nothing left to give. Their particular art in musical refinement expands ever gradually, unfurling into a very heavy, strong, and elevating force. As comfortable as they are with tidal waves of sound, BIG|BRAVE is unafraid to experiment with silence, oscillating between sparse, gentle arrangements and deep swells of noise

Columbia Records release this new 21 track live album, recorded at intimate shows in 5 U.S. cities. Very stripped down performances, with string quartet & additional percussion. Featuring 18 songs curated from the bands 4 studio albums, plus 3 re-imagined versions of existing songs. Lead single "Whole Wide World" is being played across radio & MTV/Vevo. Press ads, features & reviews. Online & social media activity. UK promo trip around release. Vinyl format to follow later (date TBC).

Aufgenommen wurde "Universal High" im Sommer 2016 in den Maze Studios in Atlanta, wobei niemand Geringerer als der legendäre Ben H Allen (Gnarls Barkley, Animal Collective, Deerhunter) in die Produzentenrolle schlüpfte und mit Bandleader Ben Romans-Hopscraft eine kreative Allianz formte. Man könnte "Universal High" durchaus als eine Wiedergeburt sehen: Es setzt sich fast bis zur Unkenntlichkeit vom Dub-geladenen Psychedelic-Indie ihres Debüts ab. Der neue Sound ist dagegen viel mehr geprägt von den Straßen des Südens, auf denen er entstand, vermischt mit dem 70's Soul von The Isley Brothers, Curtis Mayfield und Shuggie Otis.

Coldplay have confirmed the final tracklisting for the 'Kaleidoscope EP', which will be available to download and stream from July 14, and released on CD and vinyl on August 4.

Produced by Rik Simpson with Daniel Green and Bill Rahko, the EP features brand new song 'All I Can Think About Is You' and a new live version of Coldplay's hit collaboration with The Chainsmokers, 'Something Just Like This', recorded in Tokyo in April. It also includes 'Miracles (Someone Special)', a collaboration with Detroit rapper Big Sean and another new song, 'A L I E N S', which was written with Brian Eno, and co-produced by Eno and Markus Dravs (Arcade Fire, Mumford & Sons, Kings Of Leon).

**13 VINYL BOX SET**

* Midnight Oil
* Head Injuries
* Bird Noises (EP)
* Place Without A Postcard
* 10,9,8,7,6,5,4,3,2,1
* Red Sails In The Sunset
* Species Deceases (EP)
* Diesel And Dust
* Blue Sky Mining
* Earth And Sun And Moon
* Breathe
* Redneck Wonderland
* Capricornia

Reissue of "In Silence" the gloomy 1981 debut lp from this Norwegian post-punk band. Released in an edition of 500.

Fra Lippo Lippi was a gothic post-punk band founded in Nesodden, Norway in 1978. Band members were Rune Kristoffersen (guitar, bass, keyboards, piano) Per Oystein Sorensen (vocals, synthesizer, keyboards), and Morten Sjoberg (drums, keyboards). Their sound was heavily influenced by bands such as Joy Division and The Cure.

In 1981 the band recorded and released "In Silence', a hard to grasp, dark album with ominous bass lines, death-march percussion, pensive keyboards, and sinister, indecipherable vocals. The band had installed a semi-professional 4-track recording studio in a small basement. The recording of the album started in June 1981 and was not completed until 4 months later. Rune Kristoffersen: "It took a long time. Our compositions were based on the drums and the bass, which we coloured with guitars, voices and keyboards. The sound was completely natural, both concrete and abstract."

On the record it was difficult to hear the vocals, as it was mixed far behind the instruments. So it was made impossible to understand the lyrics. Not unlike producer Martin Hannett did for Factory Records in the UK. Rune Kristoffersen: "It is made quite conscious: put the voices far back to create a mood music. I also look at 'In Silence' in a certain connection to what Brian Eno did with his ambient music."

In 1998, Rune started releasing experimental music on his very own label called Rune Grammofon, where he has highlighted many experimental Norwegian acts such as Arne Nordheim, Supersilent, and Motorpsycho.

Tiny Mix Tapes:
..In Silence has a more unrefined sound and should have any fan of Joy Division wishing they'd heard of this band sooner. If I were to review Closer or Unknown Pleasures today, they'd obviously receive 5/5. Therefore, since Fra Lippo Lippi is so strangely similar, and "In Silence" is almost like having a new Joy Division/New Order album, I'd be hard pressed to give it a anything less than a near perfect score. Find out for yourself what you've missed out on for the past twenty years. Wow!

2x 12" BOX !

2x 10" BOX !