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U2 - The Joshua Tree - 2 CD Deluxe
Deluxe 2CD - 00602557482621

28 tracks / new artwork - colour version of original album
- The Joshua Tree 2007
- Live from Madison Square Garden 1987

'Find Me Finding You', the new album from the new organization called the Laetitia Sadier Source Ensemble, manages to strike new chords while touching familiar keys in the song of life.
From its percolating opening beat, 'Find Me Finding You' locates new systems within the sound-universe of Laetitia Sadier. This in itself isn't a surprise - Laetitia has relentlessly followed her music through different dynamics and into a variety of dimensions over the course of four solo albums since 2010 (not to forget her three albums with Monade and the long era of Stereolab) - but the nature of the construction here stands distinctly apart from her recent albums. Laetitia was inspired by a mind's-eye envisaging of geometric forms and their possible permutations. As she sought to replicate the shapes in music, this guided the process of assembly for the album.
Part of the freshness of 'Find Me Finding You' comes from working and playing within the Source Ensemble and exploring new sound combinations via a set of youthful and evolving musical relationships. Laetitia recognized the energy of the tracks in their initial form and sought to preserve their vitality by not retaking too many performances - instead, the rawness in the tracks was retained and refined at the mixing stage, maintaining an edge throughout. When we hear synth lines diving, lifting and drifting, unusual guitar textures, the plucked sound of flat wound bass strings or the bottomless pulsing of bass pedals stepping out of the mix with an exquisite vibrancy, this is the sound of the Source Ensemble.
A key to Laetitia's music is her use of vocal arrangements. Throughout 'Finding Me Finding You' the shifting accompaniment creates space to bring this element gloriously forward. Arranged by Laetitia with Joe Watson and Jeff Parker making string charts that were subsequently transposed to vocal parts for several songs, richly arranged choirs of voices provide depth along with the thrilling presence of extra breath in the sound. Laetitia's community-politic is well-served by the groups of voices lending support to the machining of the song craft, providing additional uplift to her quintessentially forward-facing viewpoint - as well as massed voices from three different countries sharing space in harmony.
Working in collaboration is Laetita's tradition and a key to this album's view on being free together. The designation of Source Collective implies a new togetherness phase, alongside long time collaborators Emmanuel Mario and Xavi Munoz, keyboard and flutes parts played by David Thayer (Little Tornados) were essential contributions, as well as further keys, synths and electronics from Phil M FU and several intense guitar sequences from Mason le Long. Chris A Cummings (aka Marker Starling, Laetitia's favourite composer) graciously wrote 'Deep Background' for her. The duet with Hot Chip's Alexis Taylor on 'Love Captive' (not to mention Rob Mazurek's distinctive coronet playing) gives voice to an ideological cornerstone of 'Find Me Finding You'

In collaboration with Oneohtrix Point Never and Hudson Mohawke, on PARADISE,' ANOHNI seeks to support activist conversations and disrupt assumptions about popular music through the collision of electronic sound and highly politicized lyrics.
PARADISE' includes new songs as well as material recently debuted live. On the title track, Paradise,' Anohni voices ecstatic alienation, describing a dystopian life filled with horror, awe, comfort and threat. She expresses a sense of disembodiment: "Myself, I'm here... not here, as a point of consciousness." The music is wild and invigorating with a heavy beat conceived by Hudson Mohawke and twisting vocal treatments by Daniel Lopatin.
10' LP format includes a copy of the album on CD.

In collaboration with Oneohtrix Point Never and Hudson Mohawke, on PARADISE,' ANOHNI seeks to support activist conversations and disrupt assumptions about popular music through the collision of electronic sound and highly politicized lyrics.
PARADISE' includes new songs as well as material recently debuted live. On the title track, Paradise,' Anohni voices ecstatic alienation, describing a dystopian life filled with horror, awe, comfort and threat. She expresses a sense of disembodiment: "Myself, I'm here... not here, as a point of consciousness." The music is wild and invigorating with a heavy beat conceived by Hudson Mohawke and twisting vocal treatments by Daniel Lopatin.
10' LP format includes a copy of the album on CD.

Phobophobes rise into 2017 nestled atop a wave of attention focused towards the revitalized South London scene with new single 'The Never Never', due for release March 17th via Ra-Ra Rok Records.

Following previous single 'Human Baby', an elegy to their late guitarist George Russell that was played every day for a week on BBC 6Music, 'The Never Never' arrives an ode to the precarious survivalism of society's most disenfranchised. Swirling through repetitive slogans, rubbishing the adverts that promise a life we can't really afford as pastiche, and asking earnestly, what separates those treading water to survive from the religious idols who struggled so similarly'

The Never Never is a critique of today's excessive consumerism. The repetitive and slogan-esque nature of the track evokes the reductive nature of advertising.' explains frontman Jamie Taylor.

In the wake of a tumultuous 2016, Phobophobes continue to forge their own path, taking whatever's thrown at them and squeezing every ounce of inspiration from it. It's the only way they know. Frontman Jamie Taylor has built studio space wherever he's roamed, from Paris to Peckham to Primrose Hill. Even Pittsburgh, Iowa, Palm Beach and New York whilst working on a touring art exhibition across America, setting up a studio in each hotel room to work on new tracks. Even when invited to Abbey Road Studios to record with Ken Scott (Bowie, Lennon, the list goes on), bass player at the time, Elliot, took swabs of their oldest microphone and grew bacteria in petri dishes, the results of which are immortalised in Phobophobes' artwork and in the centre of their 7's.

This boundless DIY mentality echoes through Phobophobes' every move. Having now found home in the basement of The Brixton Windmill, the nucleus of South London's gig circuit where Phobophobes record, rehearse and also put on their own shows, playing alongside Shame, Goat Girl, Meatraffle, The Fat White Family, Childhood and countless others, they remain progenitors of the scene.

The Joy Formidable have never been one to shy away from a challenge. Proving that time and again by holding their own as support for legendary artists and acts from Sir Paul McCartney to The Foo Fighters and The Black Keys.
'Hitch', though definitely not short of The Joy Formidable's quintessential energy, is the product of the band adopting a more minimal approach in production style. Dubbed by Ritzy as one of the most rhythmical and driving records we've made but also the saddest. This album takes you to places that we might not have taken you before".

Horsebeach is the Manchester-based project masterminded by multi-instrumentalist and producer Ryan Kennedy. Two years on from the chiming majesty of II, he returns with Beauty And Sadness - ten rain-soaked vignettes touching on love, loss, regret and remorse. Conceptual, confessional and boldly melodic, it's a deeply textured LP fusing the familiar C86 jangle with chirping synths, grooving rhythms and expansive ambience whilst meditating on break ups and fuck ups with striking lyrical honesty.

Melancholic, but never miserable, Beauty And Sadness is a celebration in the exquisite pain of longing. Named after Yasunari Kawabata's 1964 novel of the same name - a book which helped Kennedy through a difficult breakup - the source of the album's title gives a clue as to what lies within, as Ryan explains, It's about regret and an overlaying sense of loss but also a realisation of the beauty of starting again. I found some beauty in sadness, as it forced me to re-evaluate everything.'

Although the sound may be a departure from Horsebeach's norm, the recording process remains the same with Kennedy overseeing all aspects of production. Taking full control of his melodic output, Beauty And Sadness is the third record to be released on Horsebeach's own Alone Together imprint.

Drawing on inspiration from either side of the Atlantic, both new and old, Horsebeach's music retains a certain appreciation to classic British guitar bands - The Smiths, Felt and groups from the C86 era are all indebted here. But Kennedy gives it a unique twist by delving into ambient electronics inspired by the likes of William Basinski and Jefre Cantu-Ledesma. From the album's dream-like intro - soft with velveteen pads and the delicate romanticism from a speech sample of Japanese author, Yukio Mishima - hazy synths give way to propulsive percussion, rippling guitars and soaring chord progressions as the band's bittersweet signature sound evolves with newfound poise and purpose.

Horsebeach is the Manchester-based project masterminded by multi-instrumentalist and producer Ryan Kennedy. Two years on from the chiming majesty of II, he returns with Beauty And Sadness - ten rain-soaked vignettes touching on love, loss, regret and remorse. Conceptual, confessional and boldly melodic, it's a deeply textured LP fusing the familiar C86 jangle with chirping synths, grooving rhythms and expansive ambience whilst meditating on break ups and fuck ups with striking lyrical honesty.

Melancholic, but never miserable, Beauty And Sadness is a celebration in the exquisite pain of longing. Named after Yasunari Kawabata's 1964 novel of the same name - a book which helped Kennedy through a difficult breakup - the source of the album's title gives a clue as to what lies within, as Ryan explains, It's about regret and an overlaying sense of loss but also a realisation of the beauty of starting again. I found some beauty in sadness, as it forced me to re-evaluate everything.'

Although the sound may be a departure from Horsebeach's norm, the recording process remains the same with Kennedy overseeing all aspects of production. Taking full control of his melodic output, Beauty And Sadness is the third record to be released on Horsebeach's own Alone Together imprint.

Drawing on inspiration from either side of the Atlantic, both new and old, Horsebeach's music retains a certain appreciation to classic British guitar bands - The Smiths, Felt and groups from the C86 era are all indebted here. But Kennedy gives it a unique twist by delving into ambient electronics inspired by the likes of William Basinski and Jefre Cantu-Ledesma. From the album's dream-like intro - soft with velveteen pads and the delicate romanticism from a speech sample of Japanese author, Yukio Mishima - hazy synths give way to propulsive percussion, rippling guitars and soaring chord progressions as the band's bittersweet signature sound evolves with newfound poise and purpose.

Horsebeach is the Manchester-based project masterminded by multi-instrumentalist and producer Ryan Kennedy. Two years on from the chiming majesty of II, he returns with Beauty And Sadness - ten rain-soaked vignettes touching on love, loss, regret and remorse. Conceptual, confessional and boldly melodic, it's a deeply textured LP fusing the familiar C86 jangle with chirping synths, grooving rhythms and expansive ambience whilst meditating on break ups and fuck ups with striking lyrical honesty.

Melancholic, but never miserable, Beauty And Sadness is a celebration in the exquisite pain of longing. Named after Yasunari Kawabata's 1964 novel of the same name - a book which helped Kennedy through a difficult breakup - the source of the album's title gives a clue as to what lies within, as Ryan explains, It's about regret and an overlaying sense of loss but also a realisation of the beauty of starting again. I found some beauty in sadness, as it forced me to re-evaluate everything.'

Although the sound may be a departure from Horsebeach's norm, the recording process remains the same with Kennedy overseeing all aspects of production. Taking full control of his melodic output, Beauty And Sadness is the third record to be released on Horsebeach's own Alone Together imprint.

Drawing on inspiration from either side of the Atlantic, both new and old, Horsebeach's music retains a certain appreciation to classic British guitar bands - The Smiths, Felt and groups from the C86 era are all indebted here. But Kennedy gives it a unique twist by delving into ambient electronics inspired by the likes of William Basinski and Jefre Cantu-Ledesma. From the album's dream-like intro - soft with velveteen pads and the delicate romanticism from a speech sample of Japanese author, Yukio Mishima - hazy synths give way to propulsive percussion, rippling guitars and soaring chord progressions as the band's bittersweet signature sound evolves with newfound poise and purpose.

Australian gothic synth-pop quartet The Jezabels have released the haunting animated video for 'Come Alive', the first taste of the band's third album Synthia released on February 12th through Caroline Distribution. 'Come Alive' is a dark industrial encounter, its brooding bass-led synths making way for cathartic, breathy vocals that build into a gargantuan crescendo from The Jezabels. Kerrang have confirmed an album review to run the week ahead of release and The Jezabels will be completing a Playlist and a Photo Diary for Notion to run online to be published around the album release. The Jezabels are set to play a special one-off performance at The Dome, London on March 10th in support of Synthia. Having previously playing sold out shows at Shepherds Bush Empire, KOKO, Brixton Electric, Heaven and many more in support of their extensive back catalogue. This will be a rare opportunity to catch the band in one of their most intimate appearances in the capital yet.

After releasing his SAYS HI' EP in June, swedish producer 'sir Was' put finishing touches on his debut album DIGGING A TUNNEL'. Out via City Slang on March 10th 2017.

It took me 15 years to feel brave enough to do this!' confesses Gothenburg native Joel Wästberg, the guy behind the 'sir Was' alias. To reach the point where I could let myself do this was a long struggle. But once I felt less scared, it was kind of easy. It just came out, like: 'This is the sound!'' The sir Was sound' is built around supple grooves, is strangely haunting and yet inexplicably exhilarating, voices ricocheting off one another as they address loneliness, its solution and the requisite compromises. A jam session of Beck, David Crosby, J Dilla and D'Angelo might not sound much different to this yet unheard style. The unorthodox and exceptional approach of the recluse Swedish producer delivers one of the most exciting debut records of the spring.

King Of The Nighttime World was the tune that should have been a blockbuster hit for THE HOLLYWOOD STARS in 1974 but the record was shelved by CBS and covered by KISS when pitched to them by co writer Kim Fowley two years later.THE HOLLYWOOD STARS would eventually put out their debut album in 1977 on another label and another set of tunes, but that's a story for another day.

The fve-piece Britsh band fronted by Jamie Campbell Bower issue their hard-hitng debut album 'Together We Are Stronger' on March 17th 2017. Driven by Jamie Campbell Bower's raw and honest vocals, it was produced by Thomas Mitchener (Frank Carter & The Ratlesnakes, Dead!) and recorded at Broadfelds Studio. The album features 'Addicton', ' For The Thrill Of It' and 'Lost Everything', all of which are fan favourites at the bands' incendiary live shows 2016 was a busy year for Counterfeit, seeing the fve-piece play their frst UK headline tour, which included a sell out show at London's Electric Ballroom. They then toured mainland Europe, and played festvals including Rockcamp in Germany and 2000 Trees in Cheltenham in the Summer. They capped it of with a nominaton for Best Britsh Newcomer at the Kerrang! Awards.Following the release of 'Together We Are Stronger' Counterfeit kick their tour of in Hamburg on 24th March, and work their way through cites including Berlin, Rome and Amsterdam, before hitng the UK. The band will then head to Leeds on 18th April and wrap things up in Brighton on 29th April.

The fve-piece Britsh band fronted by Jamie Campbell Bower issue their hard-hitng debut album 'Together We Are Stronger' on March 17th 2017. Driven by Jamie Campbell Bower's raw and honest vocals, it was produced by Thomas Mitchener (Frank Carter & The Ratlesnakes, Dead!) and recorded at Broadfelds Studio. The album features 'Addicton', ' For The Thrill Of It' and 'Lost Everything', all of which are fan favourites at the bands' incendiary live shows.

2016 was a busy year for Counterfeit, seeing the fve-piece play their frst UK headline tour, which included a sell out show at London's Electric Ballroom. They then toured mainland Europe, and played festvals including Rockcamp in Germany and 2000 Trees in Cheltenham in the Summer. They capped it of with a nominaton for Best Britsh Newcomer at the Kerrang! Awards.

Following the release of 'Together We Are Stronger' Counterfeit kick their tour of in Hamburg on 24th March, and work their way through cites including Berlin, Rome and Amsterdam, before hitng the UK. The band will then head to Leeds on 18th April and wrap things up in Brighton on 29th April.

RIYL THE CURE /KILLING JOKE/CHAMELEONS; Drab Majesty began as a warbled transmission received via 4-track cassette in a dim, Los Angeles bedroom in 2012. The entity known as Deb Demure, an interdimensional muse of sorts, lent an otherworldly vision to a human contact; one to be realized through meticulously composed lo-fi recordings. Focusing on the aesthetics of cult ritual and the devastating power of music, Deb sought an alternative way to share the cosmic agenda. Culminating in a cassette titled Unarian Dances, Drab Majesty's manifesto to humanity was revealed: revel in the power of artistic influences that reside beyond the self. The tape circulated through Los Angeles, catching the attention of local tastemakers like the heads at Lollipop Records in Echo Park. It quickly found a place on the shelves of LA's underground musical seekers. After a gauntlet of performances and late night manifestations, Drab Majesty came on the radar of DAIS Records.In 2015, Drab Majesty released Careless, the first LP which was received and recorded solely by Demure on living room floors and in cluttered spaces across the city. After three pressings and an imminent fourth, Careless remains a fixture in LA's somber yet sublime nightlife and a noted contribution to the murkier subcultures abroad. Wielding a left-handed guitar, Deb employs a unique style of arpeggiated finger picking, producing vast and organic musical textures reminiscent of Vinny Reilly (Durutti Column) with the anthemic power of Sisters of Mercy and Cocteau Twins. In the past two years Deb has been invited to support bands such as Cold Cave, Psychic TV, Clan of Xymox, The Frozen Autumn, Prayers, and label mates Youth Code and King Dude. From its incarnation, Drab Majesty was a solo act; an interplay between guitar and triggered machines. In 2016, with growing audiences and heightened interest, Drab expanded into a duo, employing the keyboard accompaniment of far-out twin, Mona D - filling out frequencies and upping the spectacle of the live performance.

- After Stanley Road came the more 'rootsy', stripped-down style of Heavy Soul, once again the influence of British 'blues-rock' - Free, Spooky Tooth, Cat Stevens shone through (perhaps no coincidence that the album appeared on Island Records label!). The album included hit singles - Brushed, Friday Street, the jaunty 60s-inspired Mermaids and the riotous, Jam-like Peacock Suit.
- Gatefold LP sleeve
- Colour inner sleeve with photos and lyrics
- 12 x 12' double sided colour insert with photos

Munich Fuck yeah. Rock Fuck yeah. Fuck Yeah Fuck yeah.

Four men, sweaty rooms and well-loved instruments. Hunter S Thompson would've loved them. Lou Reed would have shouted fuck yeah!

They might just be your new favourite Munich-based fortysomething German four-piece. And in a time where most people proudly proclaim they believe in nothing, Fuck Yeah believe in something: music. They don't hold back. They swear. They whistle. They keep it simple. They rock out a room.

Are they too old for rock and roll Fuck yeah. Of course they are. One of their songs bangs on about BCR. At least two of them probably have bad backs. Who cares. The spirit of rock says do it anyway, but do it well. Fuck yeah. - Danny Wallace, author and moderator "Fuck Yeah blast out of the speakers and sweep away all the Kraut Rock cliches in a torrent of tuneful guitar riffs.

Caroline True Records are proud and very excited to present the extraordinary debut album from Berlin based act HEKLA. in a limited (300) Vinyl Edition ( & Unlimited download)

A truly multi-faceted set that blends intricate song structures, bold key changes, shifting baroque moves and a nod to 60s girl bands into something quite indefinable. The fuzzy guitars, swelling synth sounds

and dramatic drums of Dover Calais set the tone for an album Inspired by everything from Swedish folk music to 60's garage psychedelica and 80's synthwave adventures.

Already championed by Gideon Coe of BBC6 Music , HEKLA have created a scarily compulsive record filled with colour and mood.

Plants and Animals are a Montreal-based trio that began playing together as kids, emerged on the international scene in 2008 and have developed a varied cult following ever since, built this on the shoulders of their self-produced records, their intense live show, or both—depending on who you ask. They have been on many tours on their own around North America and Europe. In 2013, they decided to slow down. By slow down, they meant make music the way they used to. It was the beginning of what would be an on-and-off recording process stretched out over two years. It was a time of rest, as the story often goes, for a band that had seen plenty of touring and not enough home. They slept in their own beds and made their new album through nine seasons and the thick of life. Through births and deaths, most notably—magnificent sunrises, shattering sunsets and the days between. Their new LP is called Waltzed in from the Rumbling. It is a dance of days.
By make music the way they used to, they meant to follow threads to their frayed ends. They recorded any ideas that popped up and edited impulsively. Lyrics were often streams of consciousness, bent into shape. They left mistakes in place where they had their charms, looking to expose rather than conceal. The lead singer doubled as engineer, the lead guitar player as baroque pianist, the drummer as inside-outside eye. They called in friends to sing, to play bass, keys, strings and horns. They found an antique guiro next to an obsolete VCR on the curbside and recorded both. They made an empty fridge sound like a timpani drum. They covertly recorded girls' brash gossip on a city bus. They discovered the guy who always hung around in the kitchen was a cabasa wizard. It all found a place. They took the path of big production. They pulled down the curtains and showed their hearts and bones. It felt like the time that they quit their day jobs, holed up in a crooked apartment on Parc Avenue and made their first record. "It was more like an art studio than a recording studio," says Warren Spicer. "A mess, pieces of songs all over the place. We had this big canvas and were constantly filling in corners here, erasing there, repainting that part, standing back and looking at the whole picture to see what we had."
The influences are far and wide: the broken soul of Van Morrison; the off-kilter geometry of J Dilla; the dark, French funk of Serge Gainsbourg; the fire of John Coltrane's quartet; Messiaen's synaesthesia; the quirk of Angelo Badalamenti. It sounds like P&A, wide open with room to move.
"We wanted to push the songs in less obvious directions to keep it interesting," says Matthew Woodley. "To keep each other on our toes but also imagining that people listening to it would appreciate the same. But if it ever felt like cleverness was taking precedence over feeling, we'd drop what we were doing and move onto something else."
"We pushed each other and we listened to each other more than ever before,' says Nic Basque. "It was fun and much easier than in the past. You just work—that's how people develop their language in whatever they do. That's what we did."

This is Plants and Animals' most soulful and inventive collection of music yet. Eleven soundtracks for leaps taken, ships sailed, dark water and pink skies.

"No Problemo" is Jonny Teardrop's first physical album release. Inspired by Native American peyote songs, using his Jaguar as a bass, drum samples from obscure Japanese crust punk songs, Jonny Teardrop charges through 13 brief songs snapping audible polaroids and conjuring fragments of memories. A short movie made of 13 scenes, written by himself and directed by Louis Vignat will be presented alongside the album. The 13 videos will be your introduction to Jonny's weird and complex universe; a door that won't be easily closed once opened.

Repress!

Leif Vollebekk, the Montreal singer songwriter and multi instrumentalist had hit a wall. In the midst of endless touring Leif found himself retreating to his lonely hotel rooms after shows and listening to Nick Drake's 'Pink Moon' alone in the dark. His own songs didn't sound right and he felt the bright spots in his sets were the covers he'd end with: songs by Ray Charles or Townes Van Zandt. In this deep blue mood he booked a secret show at a Montreal dive bar, only playing covers with a band that rehearsed once.  The experience led Leif to change his approach to songwriting: explore the ideas that came spontaneously to him, and let the songs shape themselves. Soon the songs came pouring out of him. This approach is what created the lush, freewheeling and often devastating 'Twin Solitude,' out February 24 on Secret City Records.

"By the time the last notes die away, all that's left should be you," Leif says. "And I'll be somewhere else. And that's Twin Solitude.' 

Leif's third album, features 10 delicate and expansive original songs, with lyrics that pour out of this singer songwriter that are often compared to Jeff Buckley.  Leif's words lay on a bed of elastic instrumentation full of piano, synthesizer, guitar, rich electric bass and strings.

Several songs on the album came to Leif and were written in one sitting. 'Into the Ether' came to be while he was exploring a Moog synthesizer. 'Elegy' is a bedside soliloquy, of love slipping through fingers and came to Leif while he was riding his bike through Montreal.  The meditative 'Michigan' was written on a half-tuned guitar and fully written as he was about to go to sleep.  Other songs on the album capture the countless hours Leif has spent on the road, crisscrossing North America. 'Big Sky Country' recalls a trip to Vancouver with his family when he was young, never forgetting the expanse of Montana and listening to Ian Tyson's song 'The Gift' in the car over and over again.
'Twin Solitude' features Olivier Fairfield from Timber Timbre (drums), Sarah Page from the Barr Brothers (harp) on 'Rest' Shahzad Ismaily of Marc Ribot's Ceramic Dog and SecretCheifs3 (bass) on several tracks and the string duo Chargaux throughout the album as well.  It was engineered by Dave Smith and recorded at his Breakglass Studios in Canada.  Produced by Leif Vollebekk.

Vollebekk made his album debut in 2010 - and since then has performed at the Newport Folk Festival, and shared stages with Daniel Lanois, Beth Orton, Sinéad O'Connor, Patrick Watson, Coeur de Pirate, William Fitzsimmons and Sam Amidon. His debut 'Inland' was described as  beautiful, memorable and moving' by NPR and  timeless and monumental'  by The Independent.

Leif Vollebekk, the Montreal singer songwriter and multi instrumentalist had hit a wall. In the midst of endless touring Leif found himself retreating to his lonely hotel rooms after shows and listening to Nick Drake's 'Pink Moon' alone in the dark. His own songs didn't sound right and he felt the bright spots in his sets were the covers he'd end with: songs by Ray Charles or Townes Van Zandt. In this deep blue mood he booked a secret show at a Montreal dive bar, only playing covers with a band that rehearsed once.  The experience led Leif to change his approach to songwriting: explore the ideas that came spontaneously to him, and let the songs shape themselves. Soon the songs came pouring out of him. This approach is what created the lush, freewheeling and often devastating 'Twin Solitude,' out February 24 on Secret City Records.

"By the time the last notes die away, all that's left should be you," Leif says. "And I'll be somewhere else. And that's Twin Solitude.' 

Leif's third album, features 10 delicate and expansive original songs, with lyrics that pour out of this singer songwriter that are often compared to Jeff Buckley.  Leif's words lay on a bed of elastic instrumentation full of piano, synthesizer, guitar, rich electric bass and strings.

Several songs on the album came to Leif and were written in one sitting. 'Into the Ether' came to be while he was exploring a Moog synthesizer. 'Elegy' is a bedside soliloquy, of love slipping through fingers and came to Leif while he was riding his bike through Montreal.  The meditative 'Michigan' was written on a half-tuned guitar and fully written as he was about to go to sleep.  Other songs on the album capture the countless hours Leif has spent on the road, crisscrossing North America. 'Big Sky Country' recalls a trip to Vancouver with his family when he was young, never forgetting the expanse of Montana and listening to Ian Tyson's song 'The Gift' in the car over and over again.
'Twin Solitude' features Olivier Fairfield from Timber Timbre (drums), Sarah Page from the Barr Brothers (harp) on 'Rest' Shahzad Ismaily of Marc Ribot's Ceramic Dog and SecretCheifs3 (bass) on several tracks and the string duo Chargaux throughout the album as well.  It was engineered by Dave Smith and recorded at his Breakglass Studios in Canada.  Produced by Leif Vollebekk.

Vollebekk made his album debut in 2010 - and since then has performed at the Newport Folk Festival, and shared stages with Daniel Lanois, Beth Orton, Sinéad O'Connor, Patrick Watson, Coeur de Pirate, William Fitzsimmons and Sam Amidon. His debut 'Inland' was described as  beautiful, memorable and moving' by NPR and  timeless and monumental'  by The Independent.

The Luyas are a band from Montreal, Quebec. They have been playing music together since 2006. What began as a collaboration between Jessie Stein, Pietro Amato, and Stefan Schneider shifted over the years to include Mathieu Charbonneau, Bucky Wheaton and Michael Feuerstack. Through many tours and personnel adjustments, no love has been lost between these friends. The band's new album, Human Voicing is a leap of faith taken together by all 6 musicians.

Given the state of modern music and its fabricated pop icons, what Chaz Bundick Meets The Mattson 2 achieves is a collective music victory in a new era of progressive soundscapes. World-renowned composer/producer extraordinaire Chaz Bundick (Toro Y Moi, Les Sins) has teamed up with the psychedelic-jazz grooves of The Mattson 2 for an album that unifies a trio's creativity into a refreshing project of unhinged sonic originality.

Oddly enough, this collaboration may not have happened if The Mattson 2 hadn't forgotten a drum throne at an Oakland performance in 2014. The twin's longtime friend and photographer, Andrew Paynter, came to the rescue and called his friend Chaz to ask about borrowing the throne. Jonathan, the Mattson drummer (who'd also never met Chaz), accompanied Andrew to Chaz's home in Berkeley where they were greeted by Chaz with a warm smile, a drum stool in hand, and Michael, Chaz's dog (which his Les Sins record Michael is named after).

The next day Andrew and the twins met Chaz at a cafe in Berkeley to return the gear. Over coffee they waxed about music, design, furniture, and skateboarding. After a series of hangs with Chaz in the Bay Area, the crew decided to join forces and schedule studio time for their newfound trio. And the rest, as they say, is intergalactic, mega-creative history.

In February of 2016 the relationship was officially christened the night they finished tracking their new record. And to tie the knot with flare, they scheduled a secret show at the Battery and a historical public show at the Starline Social Club in Oakland, where the trio performed all new music from the project for the first time live.

The group and the album, Chaz Bundick Meets Mattson 2, explores psychedelic, jazz, and improvisatory influences ranging from Afrofuturistic Sun Ra, to electric Miles Davis, to groove-fueled Serge Gainsbourg and The Zombies. Grounding the album are break-beats, synthesizers, acoustic strums, and guitar fuzz reminiscent of David Axelrod and Arthur Verocai. With cosmic structures, timeless influences, rich harmonies, and melodic interplays, the trio brings an intergalactic edge to both their live shows and an album worthy of repeated visits.

-Clear vinyl w/ download code.
-For fans of Dungen, Toro Y Moi, Tame Impala, Mattson 2, Vinyl Williams.

R. Stevie Moore and Jason Falkner are both brilliant solo artists but, as Make It Be loudly announces, their voices, performances, and arrangements make for a match made in heaven that's been realised here on earth.

What happens when R. Stevie Moore and Jason Falkner get together to record, arrange, and mix R. Stevie's songs We get to hear an audacious realization of the tracks full potential in an epic collaboration no one saw coming. Moore and Falkner burst through your door with "I H8 Ppl" and take you on a journey through rock, pop, and experimental textures. Anchors such as "Play My Self Some Music" and "Sincero Amore," keep the effort focused, while guitar-only interludes and spoken word pieces push boundaries. Before they met up, both artists had long and storied careers, but their paths to cult status take completely opposite routes. Moore is widely considered to be the godfather of the DIY recording aesthetic. Dubbed a 'lo-fi legend' by the New York Times, he started his career in the late 60's, gaining widespread underground recognition during the 70's punk explosion. Anticipating the viral internet era, Moore made innumerable cheap but brilliant videos. Luckily, many of them eventually found their way to YouTube where a whole new generation of fans discovered his work including the likes of MGMT, Mac DeMarco, The Vaccines and collaborator Ariel Pink.Falkner was involved in various major label deals as a group member and solo artist. He started with Paisley Underground pioneers The Three O Clock, joined supergroups Jellyfish with Andy Sturmer and Roger Manning, and the Grays with Jon Brion, finally scoring a solo deal with Elektra. He's gone on to release numerous solo records and has worked with a wide range of artists, including Beck, Air, Brendan Benson and Paul McCartney.

Recorded by Jason Falkner at his Rhetoric Studio in Hollywood with the majority of songs composed by Moore, with one by Falkner, one co-written by the pair, one co-written by Roger Ferguson. There's a wonderful rendition of Huey Smith & The Clowns "Don't You Just Know It."

- Vinyl comes with a digital download code including bonus tracks.
- Full press campaign from In House Press

*Not on LP, but appear on DL Card

A 01. I H8 Ppl [3:51]
[B] 02. Another Day Slips Away [4:30]
[C] 03. I Love Us, We Love Me [3:52]
[D] 04. Gower (Theme From A Scene) [1:39] *
[E] 05. Prohibited Permissions [0:31] *
[F] 06. Stamps [2:30] 07. Horror Show [4:07]
[H] 08. Guitar Interple´ [1:30]
[I] 09. Sincero Amore [3:20]

[K] 11. If You See Kay / Run For Your Lives! [3:50] **
[L] 12. Guitar Interplay Dos [2:45] *
[M] 13. That's Fine, What Time [4:03]
[N] 14. Play Myself Some Music [3:41]
[O] 15. Passed Away Today [5:41] *
[P] 16. Album Drop [1:15] *
[Q] 17. I Am The Best For You [4:49]
[R] 18. Falkner Walk [0:57] *

R. Stevie Moore and Jason Falkner are both brilliant solo artists but, as Make It Be loudly announces, their voices, performances, and arrangements make for a match made in heaven that's been realised here on earth.

What happens when R. Stevie Moore and Jason Falkner get together to record, arrange, and mix R. Stevie's songs We get to hear an audacious realization of the tracks full potential in an epic collaboration no one saw coming. Moore and Falkner burst through your door with "I H8 Ppl" and take you on a journey through rock, pop, and experimental textures. Anchors such as "Play My Self Some Music" and "Sincero Amore," keep the effort focused, while guitar-only interludes and spoken word pieces push boundaries. Before they met up, both artists had long and storied careers, but their paths to cult status take completely opposite routes. Moore is widely considered to be the godfather of the DIY recording aesthetic. Dubbed a 'lo-fi legend' by the New York Times, he started his career in the late 60's, gaining widespread underground recognition during the 70's punk explosion. Anticipating the viral internet era, Moore made innumerable cheap but brilliant videos. Luckily, many of them eventually found their way to YouTube where a whole new generation of fans discovered his work including the likes of MGMT, Mac DeMarco, The Vaccines and collaborator Ariel Pink.Falkner was involved in various major label deals as a group member and solo artist. He started with Paisley Underground pioneers The Three O Clock, joined supergroups Jellyfish with Andy Sturmer and Roger Manning, and the Grays with Jon Brion, finally scoring a solo deal with Elektra. He's gone on to release numerous solo records and has worked with a wide range of artists, including Beck, Air, Brendan Benson and Paul McCartney.

Recorded by Jason Falkner at his Rhetoric Studio in Hollywood with the majority of songs composed by Moore, with one by Falkner, one co-written by the pair, one co-written by Roger Ferguson. There's a wonderful rendition of Huey Smith & The Clowns "Don't You Just Know It."

- CD comes housed in a digi flle
- Full press campaign from In House Press

[A] 01. I H8 Ppl [3:51]
[B] 02. Another Day Slips Away [4:30]
[C] 03. I Love Us, We Love Me [3:52]
[D] 04. Gower (Theme From A Scene) [1:39]
[E] 05. Prohibited Permissions [0:31]
[F] 06. Stamps [2:30] 07. Horror Show [4:07]
[H] 08. Guitar Interple´ [1:30]
[I] 09. Sincero Amore [3:20]

[K] 11. If You See Kay / Run For Your Lives! [3:50]
[L] 12. Guitar Interplay Dos [2:45]
[M] 13. That's Fine, What Time [4:03]
[N] 14. Play Myself Some Music [3:41]
[O] 15. Passed Away Today [5:41]
[P] 16. Album Drop [1:15]
[Q] 17. I Am The Best For You [4:49]
[R] 18. Falkner Walk [0:57]

Rat Columns is the mutable musical project of David West, an artist as prolific as he is diverse in his output. West is the driving force behind the groups Rank/Xerox, Liberation and Lace Curtain, he was also a member of Total Control, and most recently debuted a solo album proper.


Whether its forward-facing punk or turning his hand to crafting sleek prisms of pop, West's credentials check out. Rat Columns is no exception, always central to his vision and returned to many times since its inception in Perth almost a decade ago. Over the years the band has morphed and continued with an array of different friends from the USA and Australia, always finding David West dancing through the long shadows at its core. Working with many distinguished underground imprints including Blackest Ever Black, Adagio 830, Smart Guy Records and RIP Society, Rat Columns have left in their wake a trail of 7's, EPs and two full length albums. Now a third album, entitled 'Candle Power' is cued for release through Upset The Rhythm.Recorded in Guildford, Western Australia, with the Perth crew of West, Amber Gempton, Louis Hooper and Chris Cobilis, 'Candle Power' sees the band's universe of chiming guitar pop explode into new worlds of colour and shade. It's an album as happy to walk home in the rain as it is to reel dizzily through daylight. It's melancholic lilt tempered by a quietly-sung optimism. 'Candle Power' tunnels further than ever before down the pop mainline, cutting in with moments of soul, disco and experimental plots. West is a magpie-like musician, unafraid to assemble songs from a motley collection of influences and ideas. He weaves songs together with a deft hand and an acute grasp for the memorable yet momentary.


A drumroll sputters to life kicking off the album with first track 'Someone Else's Dream', a bittersweet remonstrance of bounding brightness underscored by West and Gempton's shared vocals. It's a song about an inability to let go of the past, sounding defiantly sunny amidst the vivid keyboards, guitar jangle and resolute beat. This knack of teaming up decidedly heartrending subject matter with some of the most affirming music imaginable is a trait well understood by fans of 80's independent music and it's safe to say that whilst being a fan himself West can still breathe new life into this approach. I trail off like Sunday bells, unwanted' sings West on the equally introspective 'She Loves The Rain' whilst xylophones and shimmering patterns of guitar interlock in blithe harmony. 'Time's No Vessel' also plays a part in reinforcing this method. Against a dreamy guitar refrain that's pure Johnny Marr, West laments that he knows time is no vessel for our love, it's a dark cloud that rains down from above'.

'Blinded By The Shadow' marks an about turn for the album, seeing the record start to flex its motorik muscles with a sequenced bassline and rock-solid drumbeat. The song's title is sung in a call and response manner that drifts over the dance floor hypnotically. Handclaps, violin and tambourine join a host of percussion to further enhance the captivated groove. 'Is This Really What You're Like' takes on a similar focused shuffle only with a more minimal demeanour. Whilst, 'Candle Power II' takes the disco to the other side of the tracks with its shimmering synths, violin drones and uniform beat. It's at once mesmeric and meandering, zoning in on the ephemeral theme of the album, acknowledging its sense of transience. The difference between letting go and moving on.That is what 'Candle Power' as an album is reaching for, it is enamoured to the fleeting. That flicker of recognition between one choice and another. 'Northern Soul' chases its own heartbeat through lush, sweeping synths and hushed refrains, it's a heartfelt song in hot pursuit. 'Dream Tonight' concludes the album with its propulsive drum machine, searching keyboard lines and effusive bassline. It's a tour de force of pristine pop akin to New Order in its ability to capture this mercurial feeling, to listen through the music. You could dream tonight, try to keep an ember alight' West sings repeatedly through the song, before it dissolves into something once there. There's an elusive beauty in the most short-lived moment and with 'Candle Power' Rat Columns breathe warmth across the coals to live in their glow a moment longer.

Leeds singles club Come Play With Me's latest single featuring tracks by Team Picture and Laminate Pet Animal looks set to continue the precedent it has set of highlighting the awesome diversity of great music coming out of the area following the likes of Cinerama (The Wedding Present), Harkin (Sleater Kinney, Sky Larkin), Her Name Is Calla, Fizzy Blood, Deadwall, OFFICERS, ZoZo, Esper Scout, Ceiling Demons & Maggie8.

One-part post-punk, two parts fuzz, Team Picture are a group of polite individuals from Leeds who have demanded attention with a series of self-released singles in 2016. Quickly gaining fans, Team Picture have been championed by the likes of DIY, Dork and BBC Introducing West Yorkshire, playing a set at the latter's hugely successful Introducing West Yorkshire event at Leeds' Brudenell Social Club, where Team Picture played to a capacity crowd. DIY said of the band Team Picture's fuzzrock feels like it could batter its way through brickwork' and their new single on CPWM, 'Back to Bay Six' doesn't let up. Josh from the band explains 'Back to Bay Six' is a sprawling brainsplosion of lo-fi genre-touring fuzzpop. It's also the first song of ours to enter the material plane as a physical release.'

"We find ourselves in an artistic renaissance. We have sharpened our expression."

In February 2017 "Dear Bigotry", a new album by Norwegian indie band Einar Stray Orchestra will be released. The new record of the band around singer and pianist Einar Stray was created last winter on an island in the north-west-coast of Norway. While winter storms were roaring outside the studio windows the five band members and producers Marius Hagen (frontman of Team Me) as well as Rumble In Rhodos guitarist Øyvind Røsrud recorded the ten songs on their third album. "We write about double moral, a love-hate relationship to Oslo, as well as new aspects of our religious upbringing. The record's maximalistic soundscape is inspired by everything from arabic folk music to Lana Del Rey," explains the band.

This Belgian rock band from Antwerp formed in the mid-1990s. The band's core members are siblings Sarah Bettens (lead vocals, guitar) and Gert Bettens (guitar, keyboard, vocals).
Winter' and What the Hell Is Love' tug at the heartstrings, while more upbeat rockers Breakfast' and I Smoke a Lot' add variety to the album's many moods.

The title of this album The Great Subconscious Club is taken from the lyrics of Try To Get Some Sleep', the B-side of I Smoke a Lot', which also appeared on the compilation Extra Cocoon. Me Happy', Breakfast', I Smoke a Lot' and The Ballad of Lea & Paul' were all released as singles.

As part of the Brewed In Belgium campaign, The Great Subconscious Club is available on vinyl for the first time.
The first limited 750 copies will be numbered & pressed on yellow
vinyl.

On her 3rd album Berlin's GOLDEN DISKÓ SHIP enlargens her pop / experimental sound cosmos for a new component: BASS. In consequence, "Imaginary Boys" was mixed by SCHNEIDER TM and RASHAD BECKER took care of mastering and the vinyl cut.

"Imaginary Boys" sets a new landmark in the work of THERESA STROETGES alias GOLDEN DISKÓ SHIP. The album was conceived during her stay in Lisbon in the summer of 2015 where the multi-instrumentalist found plenty of inspiration in traditional and experimental music. These elements left their traces not only as field recordings but also led the classically trained musician to re-consider the use of her former main instrument viola which is more present than before. One dominant compositional element of "Imaginary Boys" is a deliberate use of time, influenced by the perception of electronic music and techno. While songs like the euphoric "Pacific Trash Vortex" or "Swarm Of Bees" come to the point without any deviation, tracks like "Sundrunk" and "Lifelike Showdown" take their time to develop tense atmospheres of psychedelic intensity. A second characteristic that is accentuated more than on her previous albums "Prehistoric Ghost Party" (Klangbad, 2012) and "Invisible Bonfire" (Spezialmaterial, 2014) is BASS as an aesthetic constant that connects the individual songs / tracks. This way GOLDEN DISKÓ SHIP's sound cosmos, right from the beginning an open and broadly framed matter ignoring boundaries between pop and experimentation, gains a clearly audible additional depth. The choice of electronic artist SCHNEIDER TM for mixing and D&M's studio wizard RASHAD BECKER for mastering / vinyl cut is not only a highly coherent and consequent decision but gives the seven tracks on "Imaginary Boys" the best possible finishing.

- First Time On Picture Disc
- Includes the entire KAOS-FM broadcast
- Digitally Remastered Sound
- Background notes and rare pictures

The visceral power of one of the most iconic bands in rock and roll first emerged in Aberdeen WA in the mid-1980s.

In amongst the now revered and widely recognised band scene in Seattle during this period, were Kurt Cobain, Krist Novoselik and Aaron Burckhard jointly known as Skid Row. Close friends of The Melvins, they were about to embark on a journey that would take Cobain and Novoselik to world stardom two years later.

Their session for KAOS FM at Evergreen State College in 1987 was also their first demo tape and as such, Nirvana's first ever recording session. How pivotal these recordings are in terms of rock history is not really open to question, it's evidently obvious, but it's also a priceless opportunity to witness a time and place in rock and roll that can never be repeated.

Interference very proudly presents the entire original KAOS-FM broadcast of Skid Row (Nirvana) live in session from Evergreen State College, Olympia WA on 17th April 1987.

Professionally re-mastered original FM broadcast with background liners, interviews and rare archival photos.

Peaceville re-issue the 10th anniversary double vinyl version of Katatonia's 2006 classic 'The Great Cold Distance'. Double 180g black vinyl edition in gatefold including b-sides from the original album singles plus unreleased bonus songs.

Hailed as one of the leaders of the death-doom genre alongside My Dying Bride and Paradise Lost, Sweden's Katatonia have spent 25 years constantly evolving into the much-loved purveyor of dark progressive rock/metal they are today. 2016 marks the band's 25th anniversary.

Founding guitarist Anders Nystrom comments: "Looking back at our set lists from a historic perspective, it dawned on us that there's been no other album from which we've played more songs than 'The Great Cold Distance', so in the light of its 10th anniversary, it's with much pride and joy that we announce the ultimate edition featuring all the scattered bits and pieces related to this album."

The multi-platinum album The Trinity Session by Cowboy Junkies is the prove it's possible to create a fantastic album overnight, it was recorded in the night of 27th November 1987 using just one microphone, a DAT recorder and the wonderful acoustics of the Holy Trinity in Toronto.

The album includes a mixture of original material by the band and covers of classic folk, rock and country songs, including the band's most famous single, a cover of The Velvet Underground's Sweet Jane'.

The Trinity Session is completely remastered and includes 2 tracks that were previously not included on the album, Blue Moon Revisited' and Working On A Building'. The records are packed in a newly designed gatefold with additional photos and features new liner notes written by author and music editor Jason Schneider.

The first pressing is an exclusive limited edition of 1.000 numbered copies on transparent red vinyl.