Pop & Rock Vinyl New Releases - News

An air of restless individuality has surrounded almost every step in the hermitic history of Wonderfulsound's The Monks Kitchen (Luca Nieri's full band project) and their most industrious and versatile member, illustrator, tattooist, producer and multi-instrumentalist Luca Nieri is no exception.

This, his second solo album, is a humble collection of songs fittingly recorded entirely at home, with Nieri playing every instrument. The soundscape exists in a cosmos, textured and beautifully melancholy, switching effortlessly from self-penned Morricone-esque instrumentals to folk standards, with songs by Jackson C Frank and The Pentangle.

A 7" single containing new album track 'Milk and Honey' plus previous album track 'Hummingbird' will be released at the same time as the album.

In a previous life, La Féline was a trio. Three voices joined as one on a handful of EPs with diverse influences, trying to find their place between musical genres, languages, and experiences, guided by Ariane's writing and the luminous vocals of singer and guitarist Agnès Gayraud. Then came 'Adieu l'enfance' in 2014, the first album for which Agnès alone carried the feline fur, and made her mark. A unique voice emerged from the album, giving free reign to obsessions that had had only been hinted at previously. As cathartic as its title implies and entirely sung in French, 'Adieu l'enfance' was also a rebirth with hypnotic new wave sounds, urban climates and introspective lyrics, a place into which the outside world would sometimes crash, in an explosion of broken glass. While creating her second album, 'Triomphe', La Féline started a new fascinating metamorphosis. Guided by Dionysus, the god of ecstasy (while the minimal synthpop of 'Adieu l'enfance' had more Apollonian hints), Agnès started by imagining herself as a ruthless warrior or Miyazaki-like wildling. 'Senga', the first single passes on the flame: in mirror-calm waters, Agnès the feline becomes Senga who talks to wolves, Senga who climbs the trees and knows the secrets of the forest. As total and ambitious album, 'Triomphe' is like a place where La Féline transforms the forest into a refuge, the sea into a primordial swamp from which to emerge reborn, and projects herself into a city of Tokyo where nature has re-claimed its rights. In this place we talk of renaissances ('Samsara', 'Le Plongeur' — pulled down to the depths by the sound of an octobass), meet Greek gods and spirit animals ('Senga'), question the place of man in the community ('Le Royaume', 'Comité rouge')

Recorded in Auckland in 1984, these archival tracks capture seminal New Zealand band This Kind Of Punishment's unique alchemy of poignant melody and four-track claustrophobia. The previously unreleased Radio Silence' offers an astringent, phantasmagoric comment on - and perhaps retreat from - the contemporaneous NZ scene. Reaching An End' (from legendary compilation Killing Capitalism With Kindness) is a classic in the mold later perfected on Peter Jefferies' solo output: unadorned piano blanketed by rich, wistful vocals, plucked strings and muffled drum beat. Less, after all, can be so much more. Cover photography by Chris Knox.

'Convenanza' is the sound of Andrew Weatherall looking back at the clutter of a life thoroughly lived and realising it's too late to tidy it up in any meaningful way. It would be marvellous to throw out lines about the artist exploring the periphery of his musical vision or redrawing the boundary between confrontational electronica and a fondness for a decent melody. That would however indicate some kind of preconceived plan or, failing that, a musical objective which shaped the record. Even serendipity would suggest a more organised approach to the album than was actually the case. Many years of listening to music with a unique ear has resulted in the disordered cabinet of highlights, touchstones, revelations and half recalled good times that make up being Lord Sabre.
Frankfurt Advice's post funk punk rhythm takes a deep breath but soldiers on when the disquieting sound of the trumpet playing in the next room intrudes and remains firmly in control despite momentarily stumbling over an unruly guitar. The Confidence Man's self-assured top line collapses in on itself and the loosened beats enjoy a gentle unrestrained boogie atop the solid bassline before the vocal's final hymnic retreat.
The upside of Weatherall's promiscuous attitude to music is the sheer joy when it all comes into focus on We Count Our Sins... The trumpet returns but this time it's the soaring sprit of the song which strains against a deeply anchored bassline. The message of abandonment in the verse is thwarted by the obstinate optimism of the key refrain and there's a sense of resolution as the song ends and melds into the blissful Thirteenth Night.
That Andrew has grasped random thoughts, memories and life markers then assembled them so they become such a satisfying musical voyage is a testament to a mind that can draw pictures in the air but still has trouble finding the on-off button on his laptop.
Vinyl version limited to 1000 copies only

The xx today announce details of their highly anticipated third album. Titled I See You, the ten song album will be released on 13th January 2017 via Young Turks. I See You is the follow up to The xx's two previous albums - xx and Coexist - which have sold over 3 million copies between them, winning a host of accolades along the way.
I See You marks a new era for the London trio of Romy Madley Croft, Oliver Sim and Jamie Smith, both sonically and in terms of process. For while xx and Coexist were both made in relative isolation in London, I See You was recorded between March 2014 and August 2016 in New York, Marfa TX, Reykjavik, Los Angeles and London, and is characterised by a more outward-looking, open and expansive approach. Produced by Jamie Smith and Rodaidh McDonald, I See You is The xx at their boldest yet, performing with more clarity and ambition than ever before.
I See You will be available on CD and LP, with each physical format featuring a debossed mirri board sleeve.
Two vinyl versions of the album, with full product descriptions as follows:
- Standard Vinyl: 10 tracks, in a debossed mirror board sleeve with a download + CD copy of the album
- Deluxe Box Set: Silver mirri board debossed box containing the album on 180g heavyweight vinyl, with an extra 12' including 3 bonus tracks, album CD, enhanced CD featuring a live video of bonus track 'Brave For You (Marfa Demo)' and 3 exclusive prints by Alasdair McLellan.

Recently unearthed Peter Gordon & David Van Tieghem collaboration from 1978, featuring vocals from special guest Kathy Acker (author of post-modern classic Blood & Guts In High School).The artwork features two original, newly-created drawings by Laurie Anderson.
Foom is proud to present, from the archives of Peter Gordon, two recently unearthed, newly-restored and unreleased recordings:Fresh on the heels of Peter Gordon's recent album with Tim Burgess, the legendary New York composer and producer has unearthed two gems from his archive: his first ever sessions with his Love of Life Orchestra partner, and fellow Arthur Russell collaborator, David Van Tieghem, dating from 1978.Peter Gordon and David Van Tieghem's first record - Love of Life Orchestra's Extended Niceties - provided a fresh perspective on dance music when it was first released in 1979. More recently, it has had an ongoing presence on playlists around the world, influencing artists such as LCD Soundsystem, Blood Orange and others.

No Need To Argue' is the sophmore effort by Irish group The Cranberries that was originally released in 1994. Propelled by the hit song Zombie' about the Irish conflict, the album was a worldwide smash and helped make the band one of the biggest of the 90s. With a more mature approach to songs and subject matter the album features many highlights including "Ode To My Family", "Yeats' Grave" and "Ridiculous Thoughts" with a more lively rock sound than their much mellower debut album. Turquoise vinyl in a gatefold cover with printed inner sleeve that includes the lyrics.

Limited edition of 1,000 copies on 180 gram turquoise vinyl.

To coincide with the 20th Anniversary of their number one debut 1977, Ash have announced the release of a live album called Live On Mars: London Astoria 1997. Recorded over the band's record breaking five night run at the London Astoria from the 28th February to the 4th March. The album includes their hit singles 'Girl From Mars', 'Goldfinger' and 'Kung Fu', as well as a covers of Abba's 'Does Your Mother Know' and Dusty Springfield's 'I Only Want To Be With You'.

The set captures the raw energy of the band on their homecoming celebration to wrap up the epic year of touring for 1977, which was released the previous year.

The album will be released as a limited edition numbered and coloured vinyl, CD and download via the band's website, the live shows and select retailers.

The band said "The Ashtoria Five Night Stand was one of the most memorable run of shows for us. It really was the icing on the cake of a manic year since 1977 was released. We'd achieved a number one album followed by a world tour that came close to breaking us. These shows allowed us to look back and celebrate with everyone involved. And it was one hell of an aftershow!" 

These five nights at The Astoria, from February 28th to March 4th 1997, sound and feel like a party. An exuberant, irresistible celebration of a band who, transcending the faddishness of concurrent Britpop, succeeded on that rarest of commodities: raw talent.' - Ian Fortnam, Classic Roc

To commemorate the 20th Anniversary of 1977 the band announced a special run of shows where the album will be played in its entirety. Ash will kick-off the tour with an extensive US tour, followed by shows in the Ireland, mainland Europe and the UK.

To coincide with the 20th Anniversary of their number one debut 1977, Ash have announced the release of a live album called Live On Mars: London Astoria 1997. Recorded over the band's record breaking five night run at the London Astoria from the 28th February to the 4th March. The album includes their hit singles 'Girl From Mars', 'Goldfinger' and 'Kung Fu', as well as a covers of Abba's 'Does Your Mother Know' and Dusty Springfield's 'I Only Want To Be With You'.

The set captures the raw energy of the band on their homecoming celebration to wrap up the epic year of touring for 1977, which was released the previous year.

The album will be released as a limited edition numbered and coloured vinyl, CD and download via the band's website, the live shows and select retailers.

The band said "The Ashtoria Five Night Stand was one of the most memorable run of shows for us. It really was the icing on the cake of a manic year since 1977 was released. We'd achieved a number one album followed by a world tour that came close to breaking us. These shows allowed us to look back and celebrate with everyone involved. And it was one hell of an aftershow!" 

These five nights at The Astoria, from February 28th to March 4th 1997, sound and feel like a party. An exuberant, irresistible celebration of a band who, transcending the faddishness of concurrent Britpop, succeeded on that rarest of commodities: raw talent.' - Ian Fortnam, Classic Roc

To commemorate the 20th Anniversary of 1977 the band announced a special run of shows where the album will be played in its entirety. Ash will kick-off the tour with an extensive US tour, followed by shows in the Ireland, mainland Europe and the UK.

Career spanning release compiled and assembled by BABES IN TOYLAND. Redeux compiles tracks from four key releases in the BABES IN TOYLAND discography, Spanking Machine from 1990, To Mother from 1991, Fontanelle from 1992 and Nemisisters from 1995. All of which have been out of print for many years in their own right. increasingly hard to find and highly sought after. Redeux is the first band assembled compilation ever available.
BABES IN TOYLAND were an integral part of the 1990's "alternate rock" scene and now back for another round. Highly influential and inspirational back then and now. "Amazing, life-changing.

I'd never heard anything like them and haven't heard anything since like them" - Kathleen Hanna.

Career spanning release compiled and assembled by BABES IN TOYLAND. Redeux compiles tracks from four key releases in the BABES IN TOYLAND discography, Spanking Machine from 1990, To Mother from 1991, Fontanelle from 1992 and Nemisisters from 1995. All of which have been out of print for many years in their own right. increasingly hard to find and highly sought after. Redeux is the first band assembled compilation ever available.
BABES IN TOYLAND were an integral part of the 1990's "alternate rock" scene and now back for another round. Highly influential and inspirational back then and now. "Amazing, life-changing.

I'd never heard anything like them and haven't heard anything since like them" - Kathleen Hanna.

So. The cat is well and truly out of the bag now.
Asylums album Killer Brain Waves' out Check.
Said album has been BBC 6Music's album of the day Check.
Seven tracks from said album supported by BBC Radio 1 Check.
Critical acclaim, great reviews, high profile gigs Check, check, and check.

Aaaaaaaand...... relax. No Alright then. Because when Asylums aren't playing, recording, or running Cool Thing Records, they're at their day jobs. Rumour has it they sleep occasionally too. And not being the types to rest on their laurels, Asylums are back with a brand new previously unreleased track Alternative Occupations'. Taking brief holidays from the aforementioned dayjobs, Alternative Occupations' was written and recorded in the Summer after the post-album release frenzy, and in the aftermath of Brexit. It ruminates on harsh education and health service cuts, post-Brexit Britain, and the running battle of grafting at creative efforts vs. grafting to keep afloat.

And there's more... Asylums aren't alone. They've now been able to make good on their promise of using Cool Thing Records as a platform for underground regional talent. Appearing alongside Alternative Occupations' on a lovely limited 12' slab of white vinyl are three bands, who like Asylums, all graft at the day jobs and work in their own creative communities.

The short, sharp, shock of Petty Phase picks up where X Ray Spex and The Slits left off, riot girls antidote to the millennial ennui, all buzzsaw guitars and screeching group vocals. Thrasher skate culture collides with the edge and tenacity of early Dischord records, in the shape of Steve Lamacq favourites The Horse Heads, emerging from the same fresh and exciting Chelmo uprising scene as Freak, and Ratboy. And last but never least, BAIT leave you with a bloody nose but you'll see the funny side, as the static hum of an itching brain broods and snarls over visceral post-punk riffs and battering hypnotic rhythms.

Another Cool Thing.

South London's Phobophobes release latest single on clear 7" vinyl, with matt laminated sleeve and paper disco sleeve.
Features guest appearance from Will Self, reading 'The Ground Is Friend To All' a poem by George Bedford Russell.

HMLTD have been playing around London this summer, galvanising packs of glitter-clad followers and bewildered randoms with visceral and outlandish performances that inject London's DIY venues with the fey air of David Lynch's Club Silencio.

Debut double A side Stained / Is This What You Wanted proves that this thrilling sense of danger and unpredictability doesn't have to be seen to be felt. Moving with possessed purpose between the savage, hypnotic, learned and Avant garde - there is no sitting on the fence on this most confounding of new acts.

"A great degree of magnitude under its airs of sheer playfulness" LAETITIA SADIER (Stereolab)

LP comes with Download Card inside and is reverse board outer sleeve, printed inner sleeve and 180g vinyl.

Features an adaption of 'Let's Move To The Country' - Smog
'The Drifters' is the debut album from London based French duo ZOOEY (Matthieu Beck and Marie Merlet) that takes the listener on a trip between idleness and daydream. A classy collection of eleven electronic retro futuristic pop songs, underpinned by drum machines and synth arpeggios that meld fluently with flutes, pianos and percussion, creating a laid back yet evocative noir cinematic listening experience.Recorded in their London home studio, 'The Drifters' mixes the many influences and experiences of both musicians. Marie loves experimental pop and Sixties soul, she has been a long time collaborator of Laetitia Sadier in Monade and has just released her first solo album as Iko Chérie on Elefant Records. Matthieu was at the core of disco pop Parisian band Adam Kesher and is now involved in the London based indie group Oslo House as well as curating the ambient music podcast Love In The Afternoon. He's also the mystery French voice on the opening track of this years NZCA/Lines album.
The album invites the listener to action ('Realise Realise'), questions our relationship to the world ('A Good Night Sleep'), celebrates freedom and escape ('Time To Get Alone') but also acknowledges the difficulty of changing ('Marcher La Nuit'). Two instrumental tracks and one cover are at the heart of the record: 'Jóia' and 'Joya' are balearic soundtracks directly inspired by library music records. 'The Country Song' is an adaptation of 'Let's Move To The Country' by singer- songwriter Bill Callahan.Mixed mainly by producer Charlie Alex March (NZCA/Lines and Veronica Falls) and their long time friend Emmanuel Mario (Astrobal, Julien Gasc). 'The Drifters' will be released on the WONDERFULSOUND label, whose chief Miles Copeland recalls how they first met:"Many years ago Matthieu and Marie cheerfully came up to me after a gig I was playing in south London with my band The Superimposers. They had emailed me out of the blue one year earlier with a remix of one of our songs. They did it without stems and without our permission and I loved it! So I released it. When they moved from Bordeaux to London we built up a true friendship, so when I heard their album 'The Drifters' I knew it had to come out on Wonderfulsound."

"A great degree of magnitude under its airs of sheer playfulness" LAETITIA SADIER (Stereolab)

LP comes with Download Card inside and is reverse board outer sleeve, printed inner sleeve and 180g vinyl.

Features an adaption of 'Let's Move To The Country' - Smog
'The Drifters' is the debut album from London based French duo ZOOEY (Matthieu Beck and Marie Merlet) that takes the listener on a trip between idleness and daydream. A classy collection of eleven electronic retro futuristic pop songs, underpinned by drum machines and synth arpeggios that meld fluently with flutes, pianos and percussion, creating a laid back yet evocative noir cinematic listening experience.Recorded in their London home studio, 'The Drifters' mixes the many influences and experiences of both musicians. Marie loves experimental pop and Sixties soul, she has been a long time collaborator of Laetitia Sadier in Monade and has just released her first solo album as Iko Chérie on Elefant Records. Matthieu was at the core of disco pop Parisian band Adam Kesher and is now involved in the London based indie group Oslo House as well as curating the ambient music podcast Love In The Afternoon. He's also the mystery French voice on the opening track of this years NZCA/Lines album.
The album invites the listener to action ('Realise Realise'), questions our relationship to the world ('A Good Night Sleep'), celebrates freedom and escape ('Time To Get Alone') but also acknowledges the difficulty of changing ('Marcher La Nuit'). Two instrumental tracks and one cover are at the heart of the record: 'Jóia' and 'Joya' are balearic soundtracks directly inspired by library music records. 'The Country Song' is an adaptation of 'Let's Move To The Country' by singer- songwriter Bill Callahan.Mixed mainly by producer Charlie Alex March (NZCA/Lines and Veronica Falls) and their long time friend Emmanuel Mario (Astrobal, Julien Gasc). 'The Drifters' will be released on the WONDERFULSOUND label, whose chief Miles Copeland recalls how they first met:"Many years ago Matthieu and Marie cheerfully came up to me after a gig I was playing in south London with my band The Superimposers. They had emailed me out of the blue one year earlier with a remix of one of our songs. They did it without stems and without our permission and I loved it! So I released it. When they moved from Bordeaux to London we built up a true friendship, so when I heard their album 'The Drifters' I knew it had to come out on Wonderfulsound."

Not much introduction is needed here as far as band goes. Mainstays of the 1990's alternative rock / grunge movement. Now back in action after a long hiatus. Originally released in June 1991 as a limited edition single on Insipid Vinyl and subsequently sold out pretty much within the month on the back of gaining lauded U.K mag NME's single of the week and repeated spins by John Peel on the BBC (fun fact: he actually even reached out to request a copy of the record before it was released!) among other media traction.These are the original versions of both songs that were later redone on the Fontanelle album. These are also the last recordings to feature the original line up of Kat Bjelland, Lori Barbero and Michelle Leon.

Fronted by guitar virtuoso and YouTube star Rob Chapman - the internet guitar phenomenon whose channel dedicated to lessons, demonstrations and general guitar nerdery has over 445k subscribers - Dorje are a hard rock four piece fuelled by massive hooks and technical mastery. The line up of muso stars is completed with Dave Hollingworth (Bass), Ben Minal (Drums) and Rabea Massaad (Guitar) who also have a large YouTube following, with the band collectively receiving over 4 Million views per month.
Taking influence from blues, jazz, metal and everything in between, comparisons could be made to Audio Slave, Karnivool, Tool or even Queens of the Stone Age, but with a distinctly modern twist. Solid yet subtly complex drums and big bass grooves lay the foundation for the low-tuned blues inspired riff-wizardry that weave a tight web to support the huge hook-laden vocals. And of course, the occasional face-melting solo.

Hailing from Leeds, FEHM are a three piece making pissed off post punk influenced by the likes of The Sound, The Birthday Party, Flux of Pink Indians and Honey Bane.

Due for release 25th November 2016 on cream coloured 12', Circadian Life is their debut EP and takes the form of twenty one minutes of wailing guitars, driving drums and the ever-brooding dulcet tones of Paul Riddle. According to the band the EP as a whole tells a story from start to finish, it's about seeing the changes that occur in people around you and how we separate over time. More importantly, the EP reflects the monotony of everyday life and peoples' struggle to achieve what they really want.'

The EP was recorded, mixed and mastered with Matt Peel at the Nave recording studio in Leeds in June 2016 and its distinctive artwork was shot by the band's Amy Fishlock.

Described by Clash as 'fast becoming an imprint to watch' Leeds label Come Play With Me's latest single featuring tracks by Her Name Is Calla and Deadwall 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), Fizzy Blood, OFFICERS, ZoZo, Esper Scout, Ceiling Demons & Maggie8.

Leeds' Her Name Is Calla make up one half of this new single with their track 'Kaleidoscoping'. A self described old band now' Her Name Is Calla have been quietly creating what NME have described as massive, pastorally apocalyptic music" for over a decade, winning accolades and fans along the way with a cluster of acclaimed albums and tours with the likes of The Twilight Sad and I Like Trains.

Despite being somewhat nomadic, with members dotted around the country, the bands heart lies in Leeds, singer Tom Morris explains We have always been a band without much of a home city and living on the outsides of different music scenes, so it's incredibly humbling to be asked to be a part of such a great project for Leeds music.'

Explaining the way Kaleidoscoping was created and the way the band collaborate remotely and stitch their ideas Tom Morris said During one half term break at the school I work in, I sat down at one of the pianos and made a little demo which would become the song Kaleidoscoping. I sent it to the rest of the band and gradually we recorded the song properly in our usual fashion, remotely tossing stems back and forth between Leicester and Leeds. A bass line here, a Theremin there, Violins rolling out across the ether, until I could stich them together into something wholly us.'

Deadwall are an ambitious band, their music venturing from alternative indie to chamber pop via some knowing nods to 90's Shoegazey College rock. Clash said of the band wonderfully dreamy pop song writing, from a group blessed with enormous imagination' A huge part of Leeds' DIY scene, Deadwall's Chris Duffin is also one of half of Xam Duo alongside Hookworms' Matthew Benn.

The bands contribution to CPWM is the driving, focussed guitar pop of The Talk. Deadwalls Thomas Gourley explained the wide ranging inspiration for the song 'The song is roughly inspired by two things, Thomas Hardy's poem 'The Walk', and the Paris Climate accord. Two pretty disparate subjects, but I guess it's just a lament over something gone or lost. Not the coolest of subjects, I know but that's how I roll these days!'

Biting Tongues were formed in 1978 to improvise a soundtrack to the screening of a 16mm experimental film of the same name at Tony Wilson's original Factory Club in Manchester. A core membership was soon established that was to last until 1984: Howard Walmsley (sax) Ken Hollings (texts), Eddie Sherwood (drums,) Colin Seddon (bass) and Graham Massey (guitar & noise). Their performances, an unpredictable 'post-punk avant-funk' mix of spoken word, percussion, random tapes, films and freeform soloing, were mostly confined at this time to clubs in Manchester and London. The release of their first three albums 'Don't Heal', 'Live It' and 'Libreville' between 1981 and 1983 widened their audience, and Biting Tongues found themselves performing more and more in theatres, arts venues and galleries.

'Still On Hawaiian Time' captures two Biting Tongues performances from this later period. The Library Theatre in the centre of Manchester was a large seated venue with an even larger stage, meaning that the group members could spread out more and incorporate additional percussion, tapes and electronic devices. It also shows Biting Tongues cutting up and rearranging themes from different recordings, allowing for the free play of existing material - the performance also anticipates their work on 'Feverhouse': their full-length experimental feature film released in 1984 by Factory Records' video offshoot IKON, together with a soundtrack album as FAC 105.

'Feverhouse' had its first London screening at the Riverside Studios in Hammersmith as part of Factory's residency there in the summer of 1984. Biting Tongues had played the same venue three years previously at a time when they were beginning to expand and broaden their sound. The improved facilities available in a theatre venue, including greater space, better acoustics and more time for a sound check, meant that Biting Tongues could concentrate on the performance, producing some of their most aggressive and demanding work.

During the early 1980s Biting Tongues excelled as a live band, always seeking to challenge both themselves and their audiences. These two recordings are fascinating documents that conveysome of the immediacy and commitment of their performances - something that can still be felt in these old tapes some thirty years after they were first recorded.

Brighton folk punk band Levellers are celebrating the 25th anniversary of their timeless platinum-selling, second album Levelling The Land with a three-disc special edition package, which will be released on November 18th through their own label On The Fiddle Recordings.

Following the release, the band will be embarking on a mammoth UK tour including a performance at London's Brixton Academy for the 15th time in their career. They will be playing the classic album in full as well as other hits from their 28-year career and will be supported by Ferocious Dog and Gaz Brookfield.

The Levelling The Land special edition will be available as a 2CD & 1DVD set featuring the original album, plus a live version recorded at Brixton Academy and a DVD of that performance. There will also be a limited edition 2LP coloured vinyl set featuring the original album plus the live version.

Levelling The Land was originally released in 1991 and features the hit singles 'One Way', '15 Years' and 'Far From Home' plus 'The Game', 'Liberty Song', 'Another Man's Cause', 'Riverflow', 'Boatman' and the incendiary 'Battle Of The Beanfield'.

During that summer, Levelling The Land redefined the UK's musical landscape providing the soundtrack for a society fed up with the twin evils of Thatcherite politics, and the post-80's pre-grunge musical wasteland. Emerging victorious through the ups and downs of label deals, spats with the music press and the wear and tear of touring, the Levellers are still going strong after nearly 30 years in the game.

Formed of Mark Chadwick, Jeremy Cunningham, Charlie Heather, Jon Sevink, Simon Friend and Matt Savage, The Levellers run their own label and their own studio as well as their own festival, 'Beautiful Days'. Cherished and maligned in equal measure, they are one of Britain's finest musical exports as witnessed by the huge North American and Australian tours that precede this release and their victorious UK shows.

- Levelling The Land 2CD/DVD Album
- Levelling The Land 2LP (Exclusive Blue Vinyl)
- Police On My Back / Where The Hell Are We Going To Live 7-Inch Vinyl (2016 Mix)
- Levelling The Land Songbook
- The Difficult Second Album: How We Made Levelling The Land Booklet
- Original Tour Poster
- 1992 Levelling The Land USA Tour Lanyard and Laminate - See more at: https://levellers.tmstor.es/cart/product.phpid=30051#sthash.Qu04PilA.dpuf





















































[ZZA] C1. One Way (Live At Brixton Academy)
[ZZB] C2. The Game (Live At Brixton Academy)
[ZZC] C3. Fifteen Years (Live At Brixton Academy)
[ZZD] C4. The Boatman (Live At Brixton Academy)
[ZZE] C5. Liberty Song (Live At Brixton Academy)
[ZZF] C6. Far From Home (Live At Brixton Academy)
[ZZG] D1. Sell Out (Live At Brixton Academy)
[ZZH] D2. Another Man's Cause (Live At Brixton Academy)
[ZZI] D3. The Road (Live At Brixton Academy)
[ZZJ] D4. The Riverflow (Live At Brixton Academy)
[ZZK] D5. Battle Of The Beanfield (Live At Brixton Academy)n

Brighton folk punk band Levellers are celebrating the 25th anniversary of their timeless platinum-selling, second album Levelling The Land with a three-disc special edition package, which will be released on November 18th through their own label On The Fiddle Recordings.

Following the release, the band will be embarking on a mammoth UK tour including a performance at London's Brixton Academy for the 15th time in their career. They will be playing the classic album in full as well as other hits from their 28-year career and will be supported by Ferocious Dog and Gaz Brookfield.

The Levelling The Land special edition will be available as a 2CD & 1DVD set featuring the original album, plus a live version recorded at Brixton Academy and a DVD of that performance. There will also be a limited edition 2LP coloured vinyl set featuring the original album plus the live version.

Levelling The Land was originally released in 1991 and features the hit singles 'One Way', '15 Years' and 'Far From Home' plus 'The Game', 'Liberty Song', 'Another Man's Cause', 'Riverflow', 'Boatman' and the incendiary 'Battle Of The Beanfield'.

During that summer, Levelling The Land redefined the UK's musical landscape providing the soundtrack for a society fed up with the twin evils of Thatcherite politics, and the post-80's pre-grunge musical wasteland. Emerging victorious through the ups and downs of label deals, spats with the music press and the wear and tear of touring, the Levellers are still going strong after nearly 30 years in the game.

Formed of Mark Chadwick, Jeremy Cunningham, Charlie Heather, Jon Sevink, Simon Friend and Matt Savage, The Levellers run their own label and their own studio as well as their own festival, 'Beautiful Days'. Cherished and maligned in equal measure, they are one of Britain's finest musical exports as witnessed by the huge North American and Australian tours that precede this release and their victorious UK shows.

With 'Honeymooon On Mars' legendary post punk provocateurs The Pop Group open another chapter at a time when their iconoclastic contention is needed more than ever. It's a record that finds the band unwaveringly incensed and resolute in their mutative sense of innovation, as Stewart elaborates: 'it's a stand against manufactured hate, a hypersonic journey into a dystopian future full of alien encounters and sci-fi lullabies' Produced by dub titan Dennis Bovell, who worked on their seminal Y
album debut, and Public Enemy / Bombsquad legendary producer Hank Shocklee, Honeymoon On Mars represents the band's realisation of a dream twofold collaboration.
Talking about working with The Pop Group, Shocklee said: "The Pop Group sound has a level of freedom, fun and creative musicianship in their recordings that is a special and rare find in today's world. Their uncompromising spirit to be themselves and not worry about fitting into a musical box, sets them apart.' Long-time collaborator Bovell added: 'It's been a great pleasure to be working with the guys again. They are truly beyond good and evil.

Bert Jansch recorded his second album in 1965, just after his self-titled debut earlier that same year. The sessions were a step-up from the intimate, field-recording setting of his first album, although still not labored over too much in the studio.

Finally available on Vinyl! In the wake of the star-filled A Minute To Pray A Second To Die, The Flesh Eaters' frontman Chris D. assembled a leaner, meaner band to deliver his next unbound vision. Forever Came Today, the group's third full-length album, was originally released on Ruby Records in 1982 and features Don Kirk on guitar, Robyn Jameson on bass, Chris Wahl on drums, Steve Berlin on sax and Chris D.'s unmistakable voice.

CAPSULE:1999-2016 is a retrospective collection that represents a golden era for The Faint. The album includes 16 of their most beloved songs from five albums and is an excellent primer for new fans or a classic collection for those who've been nodding along since the Blank-Wave Arcade days. Noisey is running an exclusive premiere of "Skylab1979," one of two new tracks appearing on the album in addition to the recently released "Young & Realistic."

The Omaha-based band had been kicking around for four years prior to that period, but had a hard time hitting their stride. "We didn't make anything we really liked until 1999," frontman Todd Fink laughs. The Faint released some initial material that fit in with the times-reminiscent of the post-punk sounds of Fugazi and other Dischord Records bands-but wasn't anything spectacular, lacking the distinct personality that would eventually come to define them.

It was in writing "Worked Up So Sexual," the hit single from 1999's Blank-Wave Arcade, that the band struck their jackpot moment. They discovered an entirely original fusion of synth sounds over a blaring rock background, one that was as catchy as it was danceable. Just like that, the Faint captured lightning in a bottle.

"I felt lucky... like, blessed or something," Fink remembers. "By the time we'd actually recorded those songs, we were like, 'Yeah, this is where it's at.' We were excited to go play basement shows and little bars and halls and just bring the music that we hunted down, that felt like us."

Still reveling in the success of their newfound identity, the band added death metal guitarist Dapose and released their masterpiece, Danse Macabre, in 2001, one of Saddle Creek's all-time "big three" albums, right up there with Cursive's The Ugly Organ and Bright Eyes' Lifted. It was a dark and sinister work that could still be enjoyed on the dance floor. Songs like "Agenda Suicide" and "Glass Danse" forced blasts of disorienting techno beats into aggressive, almost industrial noise that leaned heavily on filthy bass lines. The album exploded, and their weirdo melange of genres brought them a sizeable audience dancing along.

Armed with their new, dynamic sound, the band released an onslaught onto unsuspecting crowds around the country-a bombastic audio/visual assault of strobe lights, keyboards, and dance-punk. At times, they were convinced that their esoteric style of punk with a fun twist was bound to turn people off, but to their surprise, the Faint began to catch on. Over the next few years, they continued to evolve on Wet from Birth in 2004 and Fasciinatiion in 2008, before taking a hiatus prior to returning for their anticipated 2014 album, Doom Abuse.

CAPSULE:1999-2016 serves to bookend this remarkable 17-year period for the Omaha vets, a time which saw them as imitable pioneers of electro-punk. In addition to highlighting songs from five of The Faint's most popular albums, CAPSULE:1999-2016 features three new songs. The recently released single, "Young & Realistic," and two bonus unreleased songs: "Skylab1979" and "ESP," all of which feature latest member Graham Ulicny (Reptar) on synth duties. The new songs give a glimpse of what's to come for The Faint, as they embark on a new chapter in their long, influential career.

is the debut album from Future of the Left's Julia Ruzicka. The album includes nine different vocalists, including Pixies' Black Francis, former Eighties Matchbox B-Line Disaster frontman Guy McKnight, Kristian Bell (The Wytches), Billy Mason Wood (Blacklisters), Chantal Lewis Brown (Vodun), Damien Sayell (The St. Pierre Snake Invasion) and more.

Each of the ten songs on This Becomes Us was written by Julia on bass guitar, before enlisting Ian Wilson (Art Brut) on guitar and Jack Eggleston (drums). A raw and wiry collection of songs, This Becomes Us rumbles with spontaneity while bending to the unique talents of each of the albums vocalists.

This Becomes Us is released on November 11th via Prescriptions Music. The warped lead track 'Painter Man Is Coming' featuring Black Francis can be streamed now:

Since 2000, Julia has recorded seven studio albums as a bassist, firstly as a member and co-founder of cult London based post-punk/hardcore band Million Dead before joining Welsh stalwarts Future of the Left in 2010. Sixteen years since coming to the UK from Australia (and fourteen years since her visa was meant to expire), This Becomes Us is Julia's first venture as the creative lead of a musical project. She says: I have loved and still love the role I play in my bands creatively, on bass, but as time passed throughout various writing periods for all kinds of records, I started to stockpile ideas on bass, and just wanted to see some of the embryonic ideas written on bass turn into fully realised songs.'

The vocalists who feature on This Becomes Us are largely connections Julia has made through touring or met via musical circles. Not only did the vocalists contribute vocals, but each wrote the lyrics to their songs, giving each a more personal and natural feel. Some of the singers she had in mind for certain tracks, including Black Francis, who she wanted to feature on the album's fourth song. Julia says: It was an incredible outcome. I wrote the song with him in mind, being someone who has been listening to his music for a long time. To actually have the person singing on your song that inspired that piece of music is quite an incredible event and feeling.'

Jess Williamson's Heart Song is a brave record. It explores the strength in vulnerability, the power in
silence and empty space. The recordings bristle with energy and confidence while maintaining the
intense intimacy Williamson is known for. Like the visceral desert landscape that inspires her, she
knows when to let her vocals drift across the song, light like a tumbleweed, and when to, like the
fiercest of Texas storms, unleash thunder and lightning with her band.
Williamson's sophomore album, Heart Song, questions the structures of support inherent in the
comforts of home and showcases the rare kind of artistry that is the hardest to achieve after early
success: change.
On the opener Say It', Heart Song eases the listener into a groove before the song cracks open and
floods the landscape with squall and noise and thunder, announcing that Heart Song is not the same
album as it's predecessor, that this work is not only the next logical step in Williamson's evolution, it is
also a leap forward for her as an artist.
On the album's centerpiece and title track Williamson wonders aloud, Will I grow into my body' but no
one listening to her music, her poetry, will doubt her growth.
Heart Song was recorded direct to tape in Austin, TX by Eric Wofford (The Black Angels, Bill Callahan)
at Cacophany Studios and by the band in Jess's house. It was mixed by Larry Crane (Elliott Smith,
Sleater-Kinney, Cat Power) at Jackpot Recording in Portland, OR.
For fans of: Laura Gibson, Alela Diane, Angel Olsen, Wovenhand, Jessica Pratt, Cat Power, Palace
Brothers

After locking themselves in studio for the month of March, the group's time and spirit lead to the collection of songs that make up TERRAFORM.  Roberts explains, Terraforming is the concept of going to another planet and making it viable and livable for humans. But in a sense, for this record it can be seen as planting the seeds for that sort of renewal in your own life - that regardless of how much you have broken the parts of your life along the way, there is always a chance to start over.' TERRAFORM is the sixth full-length album release since 2015's COUNTING THE DAYS EP and 2014's album LO-FANTASY. Roberts believes the key to the band's longevity is their steadfast enthusiasm to stick to their artistic guns and consistently work to make a better album each time.  Roberts emphasizes, I think the challenge for our band is to still deliver the music with a sense of spontaneity, a sense of urgency and I think that when we go into a new record, we sort of loosen the grips of other people's expectations and our own expectations.
 The lead single If You Want It' is already a chart-climbing success currently in the top 5 at Alternative radio and counting.  The tune captures what Sam Roberts Band does best, creative instrumental melodies and memorable lyrics that allow their listeners to interpret their own meanings from the songs.  And in Sam's own words: "It's about a trip to Hell... And hopefully back...' The acclaimed Montreal based five-piece band includes Sam Roberts (lead vocals, guitar), Dave Nugent (guitar), Eric Fares (keyboard, guitar), Josh Trager (drums), and James Hall (bass). 

!!Limited Edition 180g Colour Vinyl + Giant Poster + Download Card!!

With 'Honeymoon On Mars' legendary post punk provocateurs The Pop Group open another chapter at a time when their iconoclastic contention is needed more than ever. It's a record that finds the band unwaveringly incensed and resolute in their mutative sense of innovation, as Stewart elaborates: 'it's a stand against manufactured hate, a hypersonic journey into a dystopian future full of alien encounters and sci-fi lullabies'Produced by dub titan Dennis Bovell, who worked on their seminal Y album debut, and Public Enemy / Bombsquad legendary producer Hank Shocklee, Honeymoon On Mars represents the band's realisation of a dream twofold collaboration.Bovell produced the bulk of the sessions while Shocklee took the helm on City Of Eyes, War Inc. and Burn Your Flag.Talking about working with The Pop Group, Shocklee said: "The Pop Group sound has a level of freedom, fun and creative musicianship in their recordings that is a special and rare find in today's world. Their uncompromising spirit to be themselves and not worry about fitting into a musical box, sets them apart.Long-time collaborator Bovell added: It's been a great pleasure to be working with the guys again. They are truly beyond good and evil.

2 x CD BOXSET !!

With 'Honeymoon On Mars' legendary post punk provocateurs The Pop Group open another chapter at a time when their iconoclastic contention is needed more than ever. It's a record that finds the band unwaveringly incensed and resolute in their mutative sense of innovation, as Stewart elaborates: 'it's a stand against manufactured hate, a hypersonic journey into a dystopian future full of alien encounters and sci-fi lullabies'

Produced by dub titan Dennis Bovell, who worked on their seminal Y album debut, and Public Enemy / Bombsquad legendary producer Hank Shocklee, Honeymoon On Mars represents the band's realisation of a dream twofold collaboration.
Bovell produced the bulk of the sessions while Shocklee took the helm on City Of Eyes, War Inc. and Burn Your Flag.

Talking about working with The Pop Group, Shocklee said: "The Pop Group sound has a level of freedom, fun and creative musicianship in their recordings that is a special and rare find in today's world. Their uncompromising spirit to be themselves and not worry about fitting into a musical box, sets them apart.'

Long-time collaborator Bovell added: It's been a great pleasure to be working with the guys again. They are truly beyond good and evil.'

STANDARD CD !!
With 'Honeymoon On Mars' legendary post punk provocateurs The Pop Group open another chapter at a time when their iconoclastic contention is needed more than ever. It's a record that finds the band unwaveringly incensed and resolute in their mutative sense of innovation, as Stewart elaborates: 'it's a stand against manufactured hate, a hypersonic journey into a dystopian future full of alien encounters and sci-fi lullabies'

Produced by dub titan Dennis Bovell, who worked on their seminal Y album debut, and Public Enemy / Bombsquad legendary producer Hank Shocklee, Honeymoon On Mars represents the band's realisation of a dream twofold collaboration.
Bovell produced the bulk of the sessions while Shocklee took the helm on City Of Eyes, War Inc. and Burn Your Flag.

Talking about working with The Pop Group, Shocklee said: "The Pop Group sound has a level of freedom, fun and creative musicianship in their recordings that is a special and rare find in today's world. Their uncompromising spirit to be themselves and not worry about fitting into a musical box, sets them apart.'

Long-time collaborator Bovell added: It's been a great pleasure to be working with the guys again. They are truly beyond good and evil.'

Liset Alea has the name of chance. Chance that is tossed in the air like the roll of dice, following her footsteps like destiny brimming with surprises and unexpected possibilities. She has lived a thousand lives: born in Havana to an impulsive country man who was working in Fidel's kitchen and from whom he often stole the occasional piece of meat for the family and a literature major mother who has published some of her erotic poetry. At an early age, she already mastered the art of escape, the immigrant's task of learning how to leave behind one's home, family, friends, language, comforts and survive in an unfamiliar place.

At 15 she begins to study the voice with America Crespo, a Cuban opera legend known as the Callas of Cuba. In order to pay for her lessons, she cleans homes on the weekend with her mother. She also studies Musical Theater at Miami's New World School of the Arts. Then She moves to New York, a waitress by night, she enters the New School Jazz Conservatory for Vocal Jazz and buys her first guitar. She becomes the front woman of the electronic band Etro Anime, cowrites their first album which is released through V2. After witnessing the Trade Center fall before her eyes, she decides it's time to leave the United States and moves to Amsterdam with the band. They embark upon a tour supporting Kosheen and later Llorca where she meets Alexkid with whom she writes and records 'Come with Me' on his Mint' album. Come with Me' becomes an instant electro club and radio hit and she joins Alexkid's band for a 46 dates European tour.

Seduced by the European way of life, she settles in London for a while, travels to Milan, Athens, Madrid, Berlin for songwriting sessions, many of these collaborations entered the charts in their respective country.

London based newcomers M O S E S will release their debut single 'Leave Leave Leave' on September 16th via Cross Town Recordings. Comprised of front---man Victor (a Bucharest native), long haired South Korean guitarist Juno, bassist Zakk (a genuine East Londoner) and County Tyrone---born drummer Matt, the music of M O S E S is destined to become a crucial soundtrack for 2016's prescient indie generation, with 'Leave Leave Leave' being their first call to arms.

Recalling Kasabian at the boisterous, urgent, early best, 'Leave Leave Leave' is an effortlessly cathartic, instantly familiar anthem with which people will be singing along to for years to come.

Over the coming months you'll have every opportunity to see M O S E S in the environment in which the flourish most-in front of an audience. Lead by the angelic, charismatic Victor, they'll be playing support to The Enemy, Jimmy Eat World and Ash on their upcoming tours, as well as appearing at the Hackney Wonderland Festival and playing headline shows in London and Brighton.

Marching Church, the onetime solo project and now bona fide big band formed by singer Elias Bender Rønnenfelt, has followed its leader's muse everywhere from their early days of 4-track lo-fi tapes, to Sam Cooke-tinged soul on This World is Not Enough, to outré free jazz on their most recent Coming Down 12".

For Telling It Like It Is, Rønnenfelt and his bandmates have foregone much of their past proclivity for wild stylistic swings in favor of thematically unified, complicated, but fundamentally cohesive song arrangements, the studio itself at times acting as an auxiliary band member. The result is the most focused vision of Marching Church yet, but one that has lost none of its swagger, and none of its power to enthrall. We have here one world united under the sparks of one enormous disco ball hanging over us like the moon,' Rønnenfelt elaborates. In one fleeting moment in the light of its mirrored surface we see human endurance, in the next we see doom.' The light and shade he finds in this worldview permeate the songs on Telling It Like It Is. Rønnenfelt describes the new work an album which raises multiple flags,' and the sound of individualism stuck in the center of the modern world, swimming with and against the current.'

The band in 2016 comprises Rønnenfelt and his frequent collaborator and Iceage bandmate Johan S. Weith (on electric viola and guitar here), Lower's rhythm section of Kristian Emdal and Anton Rothstein, trumpet player Jakob Emil Lamdahl, and Hand of Dust's Bo Høyer Hansen. Augmenting these sessions are Maaike Van der Linde and Thora Sveinsdottir of the Stargaze Orchestraon flute and strings, and Sonja La Bianca of Choir of Young Believers on saxophone. The obvious chemistry among these players makes this the most cultivated Marching Church album to date, unveiling the full spectrum of capabilities and musical dexterity of each player. Telling It Like It Is taps into a debauched lunacy that teeters equally on the verge of exhaustion, and the charged sensuality rooted in our loins that keep us going.

This is a true pleasure: The new, the third album by Maurycy Zimmermann aka Mooryc is finally here and it is much more poppy than its predecessors, in places almost folky-dreamy, but one thing especially: delightfully and downright personal. Wiped Out' fits Sonar Kollektiv's repertoire just perfectly and will probably be one of the most respected releases of the Berlin based label this year. When the Pole's first two LPs were mainly electronic affairs and targeted straight at the dance floor, then we have to prepare ourselves now for a cozy listening deeply moving our souls. The blessed and academic trained musician cut eleven genuine, timeless pop jewels for Wiped Out'. You Will Go' is a sugar-sweet ode to goodbye recited in a delicate manner like a wisp of wind. Only on a few tracks (- One Day oder - Bad Luck ) a beat plays a part at all. In this case all the more sophisticated and smarty-pants, so you notice even after all that Mooryc has also released records on the state of the art Jena based techno and house label Freude am Tanzen.
Most of the time it's simply a guitar and the thirtysomething's wonderously magic voice though, which make these songs shine so bright. The title track is one of the many fine examples why this album should be always within easy reach during the imminent winter time. Songs like - Inconceivable or - Who Are You Now air this decent warmth and this tremendous comfort which are more than welcome in these days now when the nights get longer again than the days.