Pop & Rock Vinyl New Releases - News

By early 1992, the success of Ten had established Pearl Jam as absolute superstars of grunge. This show at Chicago's Cabaret Metro, recorded live by Q101 FM, features stunning live versions of almost the entire album, along with a killer performance of "State Of Love And Trust" from the Singles soundtrack. Essential live broadcasts from one of the biggest bands of the 90s.

Lost for years, and then found. A recently re-discovered seminal 1976 synth/electronic work from the Buzzcocks vocalist and synthpop pioneer. From the period before 'Homosapien' this album is at the root of Pete Shelley's journey toward his later solo electronic works.

Unearthed by writer, critic and cultural commentator Jon Savage, the album is disseminated in the release sleeve notes. As he suggests 'It contains nods towards muzak, the modulations of electronic disco ('I Feel Love')'. This recording actually pre-dates the Donna Summer disco touchstone.

Foreseeing the future

Of the years immediately after 1977 Savage continues 'There was a riot of different music styles and youth subcultures competing for attention'.

Few would doubt that Post-Punk created a musical template for the future and far beyond . This musically incendiary era has fuelled the the dreams and schema of many contemporary acts during the last 10-15 years .

However , as Savage concludes : 'There was also a quieter shift: artists who were exploring the outer limits of synthesiser and primitive programmed technology in an attempt to extend their range and to please themselves'.

The 37 minutes of Cinema Music's Proto Drone/ Ambience were never released at the time, destined for this time-shifted appraisal.

After all the accolades from press and peers, what's a legendary band left to do Rent out an abandoned office space in the middle of the desert in New Mexico in lieu of a regular recording studio, go in with little or no preconceived notions of what would happen, set up, plug in and get loud! After seven days Deerhoof had found (you guessed it) The Magic, a raw and refreshing wallop of an album about leaving your comfort zone and finding a pineapple.

With The Magic, Deerhoof dreamed up an alchemy of '77 punk, pop, glam, hair metal, doo-wop, hip hop, and R&B, late-night car rides, long days, spandex, shadows, and attitude. Poetry into noise, volume knobs into pleasure, friendship into rock band.

"Maybe it came from the music we liked when we were kids, when music was like magic—before we knew about the industry and before there were rules—sometimes hair metal is the right choice. We all showed up in the mood to sing. says drummer Greg Saunier.

For singer and bassist Satomi Matsuzaki, the making The Magic was the latest episode of an ongoing gamble. "I joined this band a week after I arrived in San Francisco from Japan. I hopped on a MUNI bus to have a first meeting with Deerhoof. I got off at a wrong stop. I was lost and confused. They found me on a dark street corner after I called for help from a pay phone. Since then my adventure expanded. Deerhoof is a vehicle with four powered wheels that takes me through forest, desert and buildings. My life is adventure!

The Magic is a mixtape imbued with Deerhoof's sorcery—boldness, wonder, technical know-how, risk. It is a mixtape by the kid with the biggest music collection you've ever seen, who will take you camping and show you how to pull a rabbit out of a hat.

The Magic comes out on June 24, and will be supported by an extensive tour.

"It's been scarcely 20 months since the appearance of the debut EP Wannado' (Lebensfreude Records) from the three affable Berliners-by-choice: Stereofysh. Those months saw brilliant concerts in Berlin, Munich, Leipzig, Bochum, and elsewhere. Last summer included memorable performances at the 3000 Grad Festival and the Tag am Meer Open Air Festival. Remixes from the likes of Lake People, SiS, and Robag Wruhme further established credibility, and with two successful subsequent EPs, Stereofysh firmly secured their position as a band to be remembered. And now it's here: the band's debut full-length album.

The Race will hit stores in May on vinyl and CD. Once again, Stereofysh have netted high profile remixers, including Ruede Hagelstein, Mathias Kaden, and Daniel Stefanik. And once they play the ISLE 9 Festival in Hawaii this summer, they'll be looking back on half of a year of lasting impressions.

Bubbling and brimming with joie de vivre, the Fysh have long been happily swimming together in life's currents—since infancy, in fact, for singer Lysann Zander and producer Gunnar Zander. Their efforts with their first band Goodbye Wavers eventually developed into the band Send More Cats, whose 2011 album Please contributed music heard by German cinemagoers in the film Miss Sixty.

Along with their acoustic songwriting, the siblings have also been intimately involved with electronic club music since 2004, performing both together and individually as DJs. The two also enjoy collaborations both national and far abroad: Lysann has released tracks with New York artist Nicholas Sauser, Istanbul artist Tufan Demir, and Indian producer Pawas. Gunnar has worked with Robag Wruhme on a remix for Paul Kalkbrenner's smash hit Sky and Sand.'
Stereofysh began to take shape in 2011 when jazz musician Lars Dieterich joined the band. Since his saxophone studies at the UdK Berlin, the multi-instrumentalist Dieterich has appeared in projects such as The Ruffcats, Soap, and Trondheym at festivals around the world, including Jazzbaltica, Music Biennale Zagreb, Sydney Mardi Grass, Jazzfest Berlin, and the ElbJazz Festival. As a live-performance and studio musician, he has been active with internationally known artists like Jazzanova, The Boss Hoss, Bobby McFerrin, and Mousee-T. Dieterich's intense interest in the electronic modification of various woodwind instruments has proven to be the pivotal third ingredient in pushing Stereofysh toward a new dimension of sound.

Since the start of 2013 has been on the artist roster of the Lebensfreude label. The Wannado EP was released in tandem with the new partnership and promptly scored heavy-rotation on the radio station Flux.FM. A remix EP followed, along with the next EP of original songs named Zanderdome. On Record Store Day 2014, the Robag Wruhme remix of the title There Yet' was released on Pampa Records as a split EP with Tocotronic, which sold out in short order. 2014 continued with the release of the especially popular track Cellphone' which came in the form of a remix EP, entitled Cellphysh. Breaking convention, the remixes here were not produced by artists from the electronic music scene, but rather in acoustic form by Gunnar, Lysann, and Lars themselves. Among the supporting players on the EP were Lars' band The Ruffcats who, though officially touring as the backing band for Flo Mega, managed a clandestine cloak and dagger session to conjure up a sparkling little soul number for the Fysh.

Navigating constant changes of direction yet pressing forward, all the while keeping an assured, measured pace—this is Stereofysh's specialty and the guiding principle throughout their debut album. The Race is, at its core, a multi-facetted wealth of elements, all combining and reconfiguring to provide moments of magic and happiness, as well as a few goosebumps.

The title track and album opener The Race' invites the listener into its relaxed flow, soon pouring into to the steadily pulsing beat construct of The Ease,' in which the clubgoer becomes as helplessly entangled as a fish in a net. And there is simply no turning back after the Grace Jones' fantastically re-imagined Slave to the Rhythm,' during which the listener becomes just that, and is delivered—heart and soul—over to the Fysh. The album's most 'Berlinish' track may be Igor,' whose relaxed, swaying, golden swing elegantly expresses a nocturnal, transfigurative Zeitgeist. Things get deep on Johanna,' with sighing, sawing sax tones, sad keyboards, and Lysann's smoky voice, plaintively weaving ever downward.

The tides are ever changing, with the vibe of the Stereofysh now more concentrated on performing live. They're working with an expanded band outfit that they enjoy taking on tour. Stereofysh could change their name and their colors, but whatever emerges will result in a journey forward. Only one thing is certain: it'll sound good. Wherever things lead, there won't likely be another band that has so impressively mastered the art of bridging electronic and club together with live music."

Vancouver-based rock band Hot Hot Heat is proud to present details on its forthcoming, and final overall, self-titled LP. Set to be released via Kaw-Liga Records on Friday, June 24, Hot Hot Heat is the sort of final album you'd expect from the band - one that is as pop hook-heavy as it is edgy and unpredictable. Today, Noisey premiered the first single from the album, "Kid Who Stays in the Picture," a song frontman Steve Bays penned about parting ways with a best friend as well as the importance of fighting to stay young at heart and holding on to your innocence for as long as you can.
Hot Hot Heat is a celebration of the fans who have supported the band throughout their successful career. It's the final release from a band that has innovated the indie rock scene since 2002, when they shook dance floors with the release of their explosive debut album Make Up The Breakdown via legendary Seattle-based label Sub Pop Records.

"To be able to tour from 1999 to 2014 and play hundreds of shows a year was amazing," Bays says. "It changed all of our lives. It was the greatest experience I could ever imagine. I can relate to our fans and I respect our fans. They are the kind of people I'd hang out with. I'm proud of every single record, and of finding the ground between making it challenging and fresh, but also not being afraid to be entertaining and put on a crazy show. Every show we ever did was just a total high energy spectacle and that's a great legacy to have."

Written between 2011 and 2014, Hot Hot Heat moves away from the experimental sensibility of 2010's Future Breeds and looks back to their first two albums for inspiration. The idea was to be as natural as possible and get in touch with their inherent skill for songwriting. After penning a batch of songs, the band gathered in 2014 to record the 10 best with Canadian musician and producer Ryan Dahle, who worked on Future Breeds.

"We wanted it to feel cohesive and representative of the aesthetic we were into at that point," says Bays, who co-produced the album with Dahle in their adjoining studios. "We wanted it to feel like it was all the same album even though it had been written over several years. The songs are the 10 songs we were the most excited about in the moment. The idea behind the album was: If you want to try and do something great, it can only be when the inspiration hits."

Near the icy waters and snow-covered shores of Brighton Beach in Brooklyn, New York, Jeff Klein locked himself in a rental house and did nothing but write for a month. A few blocks away, in the Midwood area, sits the home in which his mother grew up. A prolonged illness had claimed her life a few years earlier.

That was me coming to terms with the whole situation,' the My Jerusalem frontman explains of his attempt to embed himself within his family history after many years of being on the road, touring. I kept walking by this house my grandparents used to live in on Avenue H. I've never been very connected to family. I've romanticized the idea of family, but I think I was just trying to connect with something.'

Klein, who normally resides in Austin, felt an immediate inspiration there and was prolific during these winter weeks near his mother's childhood neighborhood, producing 14 songs, 12 of which would come to be the band's forthcoming album, A Little Death.

The little death,' or la petite mort' in French, refers to, well, an orgasm, and somewhere between the literal definition and the slang is where Klein situated the album. Like any kid, I was obsessed with death and obsessed with sex. Some people grow out of it and start families and become normal people and some of us just stay the same,' he laughs. I'm still obsessing about the psychology behind death and sex.'

Near the icy waters and snow-covered shores of Brighton Beach in Brooklyn, New York, Jeff Klein locked himself in a rental house and did nothing but write for a month. A few blocks away, in the Midwood area, sits the home in which his mother grew up. A prolonged illness had claimed her life a few years earlier.

That was me coming to terms with the whole situation,' the My Jerusalem frontman explains of his attempt to embed himself within his family history after many years of being on the road, touring. I kept walking by this house my grandparents used to live in on Avenue H. I've never been very connected to family. I've romanticized the idea of family, but I think I was just trying to connect with something.'

Klein, who normally resides in Austin, felt an immediate inspiration there and was prolific during these winter weeks near his mother's childhood neighborhood, producing 14 songs, 12 of which would come to be the band's forthcoming album, A Little Death.

The little death,' or la petite mort' in French, refers to, well, an orgasm, and somewhere between the literal definition and the slang is where Klein situated the album. Like any kid, I was obsessed with death and obsessed with sex. Some people grow out of it and start families and become normal people and some of us just stay the same,' he laughs. I'm still obsessing about the psychology behind death and sex.'

London indie-punk trio Happy Accidents have got a rather big summer planned, announcing their signing
to Alcopop! Records and the forthcoming release of their debut album You Might Be Right, which will be
revealed to the world on 1 st July. This accompanies a rather enviable string of tour dates in mainland
Europe and a run of UK festvals. Drawing infuence from The Thermals, The Pixies, as well as their peers
in the UK's thriving DIY scene, they kick of with a video from the album's frst cut, Leaving Partes Early -
which will be released in early April.
If there was one song on the record that could truly defne Happy Accidents, latest single 'Leaving Partes
Early' would be the one. With sugar-coated choruses and 'four to the foor' disco drums, the band's sonic
urgency may speak volumes on its own; but the disparity between the music and the lyrics showcases
the great dichotomy of Happy Accidents. Dealing with maters such as anxiety and societal pressures,
the song raises questons of identty within the context of atending partes where you don't quite know
if you ft in. This contrast runs throughout the record, with the band pairing introspectve lyrics with the
biggest hooks they can muster.
Formed by brothers Rich and Neil Mandell and Phoebe Cross back in 2014, Happy Accidents craf the kind
of earworms that will be ratling round your head for months to come - fusing their deep-seated love of
90s punk and indie, whilst stll managing to sound as fresh as any of their contemporaries. Quickly making
a name for themselves in DIY punk circles, they've shared stages with the likes of The Front Botoms,
Martha, Muncie Girls, and countless others.

johnny foreigner are back with their long awaited 5th album sounding more visceral and vital than ever
before - it's unmistakably johnny foreigner, but there's a deep subtlety imbued within that twin barrel
vocal barrage and something defantly delicate within those churning rifs... This is tragic pop. But tragic
pop that zips and fzzes as if EVERYTHING depends upon it. Who knows It probably fucking does.
'a powerful message put to a signature style that's beginning to seem defantly tmeless' - The Line of
Best Fit
'How they top this is beyond me.' - Drowned In Sound
'You Can Do Beter is a perfect executon of a well thought out plan.' - DIY

Standard vinyl version is GREEN!Indie stores exclusive is BRONZE coloured vinyl - Strictly limited to 200 copies!This release has been in the works for over 3 years. We won't bore you with the specifics, but the fact that this release is finally seeing the light of day in the wake of the bands stunning 4th album 'Grievances' -their first full-length on Holy Roar - and coinciding with Holy Roar's ten year celebrations, seems somewhat fitting.
It was worth the effort though: this is an incredible documentation of both Rolo Tomassi's ongoing evolution and the continuing support of the BBC for such an innovative, daring band. Working in reverse-chronological order, the first four tracks (Howl, Old Mystics, Empiresk and Illuminare) are taken from the Radio 1 Rock Show, presented by Daniel P Carter, recorded early 2013. Three of these tracks were drawn from 2012's Astraea, along with the standalone, lesser known single 'Old Mystics'.
The latter five tracks are drawn from a session recorded for Huw Stephens back at the beginning of 2008. Drawing mostly upon material from early EPs and 7's, this session also includes an early version of 'I Love Turbulence', a full seven months prior to the release of 'Hysterics'.
All nine tracks were recorded live and mixed at the legendary BBC Maida Vale studios and mastered for this release by Brad Boatright (Converge, Sunn O)))). This is probably as pure and raw a representation of the many faces of Rolo Tomassi that you will hear.

Standard vinyl version is GREEN!Indie stores exclusive is BRONZE coloured vinyl - Strictly limited to 200 copies!This release has been in the works for over 3 years. We won't bore you with the specifics, but the fact that this release is finally seeing the light of day in the wake of the bands stunning 4th album 'Grievances' -their first full-length on Holy Roar - and coinciding with Holy Roar's ten year celebrations, seems somewhat fitting.
It was worth the effort though: this is an incredible documentation of both Rolo Tomassi's ongoing evolution and the continuing support of the BBC for such an innovative, daring band. Working in reverse-chronological order, the first four tracks (Howl, Old Mystics, Empiresk and Illuminare) are taken from the Radio 1 Rock Show, presented by Daniel P Carter, recorded early 2013. Three of these tracks were drawn from 2012's Astraea, along with the standalone, lesser known single 'Old Mystics'.
The latter five tracks are drawn from a session recorded for Huw Stephens back at the beginning of 2008. Drawing mostly upon material from early EPs and 7's, this session also includes an early version of 'I Love Turbulence', a full seven months prior to the release of 'Hysterics'.
All nine tracks were recorded live and mixed at the legendary BBC Maida Vale studios and mastered for this release by Brad Boatright (Converge, Sunn O)))). This is probably as pure and raw a representation of the many faces of Rolo Tomassi that you will hear.

When you hear a band with something different about them, something unique, that rare and precious quality, the shock of the new, you just know.

Barcelona's Seward are extraordinary. A four-piece that don't go in for typical song structures that captivate one minute with a heart-tugging melody, before collapsing into thrilling noise the next. They ascend from delicate acoustic beauty to dissonant chaos, from atmospheric samples to scrunching wreckage.

Second Two: Chapter Home for Naim Records (home of the Mercury Prize-nominated Eska) is a stunning work of art. A record to get lost in. These are unconventional, original songs that ditch the tired verse-chorus-verse structure but trigger the same addiction cravings that the best pop music can.

It's the follow-up and third part of a trilogy of albums that began with 2011's Home: Chapter One and continued with 2014's Home Was a Chapter Twenty Six. Mixed and mastered by regular collaborator Matt Pence (Midlake, American Music Club, John Grant) at his Denton, Texas studio The Echo Lab, it's their definitive album. Second Two: Chapter Home encompasses so much and demands to be heard in its entirety.

They call their music 'free song'. It's a new appellation for a new musical age, a determination to avoid using those same genre names that haven't changed for decades.

They're a band borne from live performance. They thrive upon it. Their recordings always aim to capture the feeling of playing live. You can hear the room, the air. The sense of space; the tension and electricity.

Seward have picked up plaudits from music sites Line of Best Fit and A New Band A Day, performed for John Kennedy's XFM show and picked up a growing host of fans from stellar live performances at SXSW in the States, the UK's Great Escape festival, Vive Latino in Mexico, Exit in Serbia, Sziget in Hungary, Pohoda in Slovakia and Spain's Primavera Sound. Seward prefer to let their music breathe. They haven't opted for the usual online portals to get their music out there. To hear their album, you need to buy it.

Seward are your new favorite group. And they're about to begin their most momentous chapter yet. Time to turn the page and make your own discovery.

their purpose may not be defined, but it is rational. The band is lost in the beauty of noise-making, and the path it beats into human consciousness. Part experience, part music, all brilliant.

In a cramped studio deep in Bushwick, New York City, You Am I hunkered down to make a start on their tenth studio album. In over two decades this band has gone from a (sometimes misspelled) name at the bottom of the bill at rock 'n' roll haunts in Sydney and Melbourne to being internationally renowned and locally influential standard bearers for rock 'n' roll as, to quote Lester Bangs, 'a raw wail from the bottom of the guts'.

Transcending the Australian music scene's trend-driven nature, You Am I have remained a steadfast component of the live scene and their ability to conjure excitement on-stage, whether playing in front of five or five thousand, is the stuff of legend.

Of course You Am I's early albums are much revered and regarded as important pieces of Australian rock 'n' roll culture, something their triumphant and spectacular two album show on the massive 'Hi Fi Daily Double' tour paid testament to.

So here we find the lads at Daptone Records in Brooklyn, standing in the hallowed, sweaty space known as the 'House of Soul', busting out tunes to 1inch tape just like they did over twenty years ago down the road on Greene St, SoHo where 'Hi Fi Way' came to life. Not a lot has changed since then, (except three are now four and have been for over fifteen years) there's still a lot of laughs, some drinks and a dedication to making music that rocks and rolls.

Bitter Earth is the much anticipated, long-in-the-making new album from John Duncan joined by a broad cast of adroit collaborators; Oren Ambarchi, Jim O'Rourke, Smegma, Chris Abrahams, Joe Talia, CM Von Hausswolff, Eiko Ishibashi, France Jobin - all written in dedication to Mika Vainio (who, for avoidance of doubt, is not dead!). It's a remarkable suite of cover versions - from The Gun Club to Nina Simone and Iggy Pop - and original material by an arch experimenter who continues to explore unfamiliar territory..
Sometimes important records are released. This is one of them, no doubt. John Duncan is expanding his universe on 'Bitter Earth', his new album and the first one where he performs songs, singing songs. And he does is brilliantly.
This record flips our previous assumptions on their fleshy bonce, taking in a sweltering, almost cinematic psych version of The Gun Club's The House On Highland Avenue along with his own original, gospel-like spiritual Red Sky and capped off with an achingly intimate solo piano twist on The Four Tops' Reach Out.
The effect is most often shocking in the sweetest way, especially if you're more familiar with his esoteric work mapping the Nazca Lines for Planam or the indescibable breadth of his First Recordings 1978-85 V.1.2 box set, for example.
Perhaps it's an exercise in catharsis after so many years of heavy drones and outsider experimentation, or perhaps it's intended to draw a perpendicular connection between that work and pop/folk/jazz idioms. But, either way, his cracked, naked voice is utterly captivating, whether accompanied by shivering tambourine in a take on Pere Ubu's Dark or transporting Jefferson Airplane's Comin' Back To Me to a scene of cicadas and lilting, metallic drums and electronics somewhere between Tel Aviv and Bologna.

(Includes high-quality download in MP3, FLAC and more) The Drain dissects in grandeur the human void, for which only codeine is the appropriate remedy. We are lucky that Ignatz' version of The Great Void is soothingly synonymous with The Essence.

You probably know that Ignatz is the moniker of Bram Devens. He stole it from the mouse in the legendary Krazy Kat comics by George Herriman. After several releases on Fonal Records, Ultra Eczema and Goaty Tapes, he releases his 4th album on KRAAK, co-joined by the great Feeding Tube records.

Ignatz' new album consists of a hypnotic and mystical song cycle that centre around leitmotifs as despair, sobriety and the drain on his backyard. The Drain is a master piece, on which the Landen based troubadour weaves echos of South American folk music into a complex of harsh folk, shallow blues and loner psych. He flushed the crappy electronics from his early records through the drain and created room for sparse fingerpicking and mumbled singing. In the 11 songs Devens finally reveals himself as the master guitar player and song writer that he always has been.

The Drain dissects in grandeur the human void, for which only codeine is the appropriate remedy. We are lucky that Ignatz' version of The Great Void is soothingly synonymous with The Essence.

Vielschichtig und subtil: Künstler-Trio zelebriert seine Liebe zu Electronica und New
Wave.
D.A.R.K. ist eine Kollaboration von Dolores O'Riordan, Andy Rourke und Olé Koretsky. O'Riordan kennt man
als Sängerin der Cranberries, aber sie arbeitete auch schon mit Angelo Badalamenti und Jah Wobble
zusammen. Rourke spielte bei The Smiths den Bass und kollaborierte mit den Pretenders, Ian Brown, Sinead
O'Connor und Badly Drawn Boy. Koretsky ist Songwriter, Produzent und DJ. Die Wurzeln ihrer Formation
D.A.R.K. reichen bereits einige Jahre in die Vergangenheit zurück. Obwohl die Drei nie ein spezifisches
Bandprojekt geplant hatten, entwickelte sich die Zusammenarbeit über Zufälle, Experimente, Ideen und
Demos fügungsgleich zum Debüt "Science Agrees" hin. Das subtil arrangierte Album fängt die Essenz dreier
unterschiedlicher Persönlichkeiten und deren gemeinsamer Liebe zu Electronica und New Wave harmonisch
ein. Quer durch das Album lässt sich ein breites Spektrum an Einflüssen entdecken. Die reichen von
Künstlern wie Angelo Badalamenti, The Cure und Depeche Mode über David Bowie, New Order und REM bis
zu den Pet Shop Boys. Produktionstechnische Inspiration erhielt "Science Agrees" von den Großmeistern
Brian Eno und RZA sowie den Genres Post-Punk, Post-Disco und Hip-Hop.

"Medicine can be different things to different people; it can be good, bad, drugs, a cure, the answer or the problem." Says Chris Bainbridge, one half of Edinburgh-based Mon of Moon when discussing the title of the band's debut EP. Mikey Reid makes up the other half of the group who, at 19 years old, decided to quit college and pursue music, such was the deep-set sonic bond the two had made when fusing their ideas and talents.

In 2015 they released their debut single, led by the A-side of 'The Road', it was a gliding, motortik-driven piece of neo pop psychedlia, produced by Frightened Rabbit's Andy Monaghan. Picking up a healthy dose of critical and fan acclaim along the way, the band had also pricked ears of other fellow Scottish groups, such as The Phantom Band and the Twighlight Sad, the latter of whom invited the duo on tour, twice. On this EP they return to working with Monaghan, 'It was a lot easier getting takes down on this EP, we went into the studio more confident and ready to record again. After having worked with Andy before, it was easier to work with him for a second time.' Says Bainbridge

It's a confidence that shines throughout the EP's four tracks. The shimmering psych glow of their previous material being developed into more structured, multifaceted, textured and slightly more aggressive songs, 'We had been listening to a lot more heavier stuff before we went into the studio. It wasn't intentional to make it heavier, we are still writing songs with atmospheric elements. This EP just represents the louder side of our music.' Whilst there are unquestionably louder moments there too are more sombre, quieter moments too, songs that reside in states of tranquillity and reflection, allowing gentle guitar lines to linger amongst the thick ambience of the production. Given some of the themes of the EP, such pace, space and occasional pathos is understandable, 'The EP is about my family, my pals and loss. The sea is a running theme throughout music.' Says Bainbridge who grew up in a small coastal dwelling on Scotland's East Coast. In the same way the moon influences our tides, the ebb and flow of the North Sea is a constant inspiration for the group.

Man of Moon are still in a formative state as a band but they already feel like they have slipped seamlessly into the rich lineage of British guitar music that precedes them, Medicine feels like the next step up the mountain, which only adds to the brimming sense of excitement and anticipation as to where this band will go next.

PRE-ORDER !!! Item ships around JUNE 3rd 2016!

Clouds Clouds Clouds. With a weightiness the color of amethyst. Light on the horizon. A sun. No point, no pane, no space, no rainbow. A stripe. A circular course. A bee loop. Honey-colored amber. Words. Our glistening white glider jumps through with ease. Capers. Barrel rolls. Heartbeat. A rain of petals, a crystalline scraping, a crackling submersion. A washed-out font, aquamarine words, blurred. An ongoing-life. Streaked paper stripes fluttering in the mild spring sky, lucid brushstrokes form a language, a dream, a consolation, a lullaby: Guliagava - Guli... A matter of the heart.

Guliagava, by Natalie Beridze, TBA, Tusia Beridze. Like her previous albums, it was recorded in Tbilisi, south-easternmost Europe. The Georgian metropolis is far from pop-cultural arteries, nevertheless its youth observes precisely what is happening outside, and installs that otherness in their own world with a delicate hand. Yet they never run the risk of piddly writing a diary, on the contrary, they again make this now expanded own, this enriched own available for the outside world.

Natalie Beridze's cooperation with Monika Enterprise began in 2005 - she was one of four artists on the compilation 4 Women No Cry Vol.1. Her album Forgetfulness followed in 2010. Over the last two years Beridze produced Guliagava. Three pieces - "Museum On Your Back", "Those Things", "Opening Night" - were created with Gacha Bakradze (Apollo/R&S), with whom Beridze has collaborated since 2014. "Opening Night" is also part of the soundtrack to the award-winning film "When the Earth Seems to Be Light" by Salome Machaidze / David Meskhi / Tamuna Karumidze. The song "Hello" Beridze wrote with Gio Koridze, a student at Tbilisi's media university CES, where she teaches composition. The words to "Fishermen 2015" come from the farewell letter of a Syrian refugee who drowned in the Mediterranean.

Guliagava is a fantasy word that Natalie Beridze's little daughter Lea once seemed to hear in a Russian lullaby. She speaks the word Guliagava when she needs comfort, when she needs a hand to cling to.

Natalie Beridze's music is of a rare, bewitching beauty - even when her beats are shredded or when she rocks with an abrasive four-to-the-floor. She moves within her own characteristic tonality of diminished chords that frequently extends into the minor harmony - a tonality within which an unsettling, questioning undertone often resonates alongside the sense of melancholic longing. Beridze rises to the highest of spheres on Guliagava. While in her older releases lines could be drawn to IDM and Broken Beats or Detroit Techno, and an admiration for musicians such as Autechre, Aphex Twin or the Cocteau Twins could be detected, here there is a suggestion of R&B over Dubstep. But its a kind R&B over Dubstep based on the bold assumption that both styles clearly trace their lineage to Kate Bush. Of course, that's not to suggest that Natalie has any need to imitate. She is well-versed and looks back on 15 years of musical production, including several film scores, on the setting of poems (Tsvetajeva, Brodski, Breton, ...), on collaborations with Ryuichi Sakamoto, Antye Greie/AGF, John Beltran, or Thomas Brinkmann. Where previously it was often enough for Natalie Beridze to suggest, to persevere, to imply the breaks, here she formulates. Her vocals have never been so animated, her songwriting has never sounded so complete, and her arrangements, for all their complexity, have never been so round. Guliagava is Beridze's tenth album and it is nothing less than her masterpiece.

Andreas Reihse (Cafétéria, Cité Internationale Universitaire de Paris, February 2016)

Trementina raised from the south of Chile with infectious noise and dreamy melodic sounds that gets you in a string of deep and epic feelings, a snappy mellow dirty hit. Many references such as Lush and Slowdive just for giving some names, makes this shoegaze coming from south-america in the vibe we love the music for, an urgent call that makes move out of your chair and encourage you to do something worthy. To drive far far away with extra boost on your side. The band begun on 2012 in Valdivia, one of the most beautiful cities in Chile, 800 km south from Santiago.

They met each other in Fine Arts School at Universidad Austral. As a couple, Cristóbal Gratz-Ortiz and Vanessa Cea started making sound experiments with his guitar noise and her vocals, using a country house near the city. With their friend Lucas Martinic from the skate scene joining on bass guitar, they moved forward to the song structure, landing ideas of the music they all were inspired by, mostly shoegaze from UK: The Boo Radleys, Ride, My Bloody Valentine, Lush, Chapterhouse and Slowdive among others, founding a savage sound and fueling their teenage anxiety, that would later burn' on stage on every gig. With the final addition of Simon Basement' on drums, they became the soundtrack of a lot of people interested in punk rock, grunge and noise-pop in Valdivia and Osorno audiences and bands, who arrived to Santiago in the previous years. With an LP going out 2016 and one more to come, the guys already went to Japan thanks to a large fan base formed around White Noise Superstar Fest and label-record store Vinyl Junkie, who also edited their first work on CD Brilliant Noise' on 2013.

Similar to modern gazers Ringo Deathstarr and Russian dream poppers Pinkshinyultrablast, Trementina marry the colossal walls of guitar warps and amp feedback with hushed female vocals, a sublime simplicity of two polar opposites. Gorgeous track after gorgeous track await your ears'

In den Sphären der Musik.Die frühlingshafte, kollektive Lichtwerdung der Menschheit: "In the wake of a new dream"
Ein alter Traum wird Wirklichkeit.Dabei klingen St.Michael Front auf ihrer Debüt-EP wie junge Ultravox, die gemeinsame Sache mit den
Walker Brothers machen. Die Mitglieder der St.Michael Front selbst sind mit spirituellen starken
Gruppen wie The Who und Throbbing Gristle groß geworden. Ausschließlich Bands also, um die sich
noch heute sektenartig JüngerInnen um sich herum scharen.
Die prophetischen Lieder der St.Michael Front sind ihnen, Sie ahnten es sicher bereits, in besonderen
Nächten so erschienen.Das erzkatholische Volk glaubt übrigens noch heute daran, dass Michael ein Verzeichnis der guten
und schlechten Taten eines jeden Menschen erstellt und am Tage des jüngsten Gerichts Gott
höchstpersönlich vorlegt.

'The shimmering shoegazing majesty of Wintergreen's Magic Road will no doubt still be treasured in several years' time'

- Sounds XP

'Simply wonderful stuff... rushing pop that charismatically engages toy electronics, melodicas and strumming guitars'

- Losing Today

Wintergreen are a London-based avant pop band. Formed by founder members Andy Keen and Gareth Jones (also of The Leaf Library) in Manchester in 1999. They evolved over the next decade through the electronic-tinged indie pop of early singles The Magic Road and Clockwork Mice/Autumn Leaves, via a constantly shifting live set involving laptops, drones, layered vocal samples, autoharps, accordions and assorted other noise-generating devices.

This phase of Wintergreen's history culminated in a headline slot on the church stage at the inaugural Indietracks festival in 2007, before a temporary retreat from live performance to build their own studio (Studio Klank in Wood Green, North London) where they recorded their debut album The Rule of Small Things.

The Magic Road is Wintergreen's debut single, released by SQUIRL Recordings in 2003.

After bursting to the American heavy rock forefront with their 2014 debut album, Sateen, Cincinnati four-piece Electric Citizen are ready for a Higher Time. Their second album for RidingEasy, it is a breakout moment for the band as a whole and for vocalist Laura Dolan, who stands tall in the spotlight throughout 'Evil,' 'Misery Keeper' and the rest of Higher Time, rising to the occasion of a fuller, bigger sound and meeting the memorable riffing of husband/guitarist Ross Dolan head on with already-stuck-in-your-head hooks and a fiery, passionate delivery.

Like its predecessor, Higher Time was recorded at The Diamonds studio in Cincinnati by Brian Olive (The Greenhornes, Dan Auerbach, Dr. John, etc.), and in search of an even more expansive feel, Laura, Ross and Brian traveled to mix the album alongside Black Keys engineer Collin Dupuis at Easy Eye in Nashville, TN. The results speak for themselves. In Laura's performance and in the multi-faceted approach of Ross alongside bassist Randy Proctor and drummer Nate Wagner, Electric Citizen branch out with stage-born assurance across a collection of definitive rock 'n' roll. It is a bold, complete sound that sacrifices nothing of the band's on-stage energy and clearly demonstrates that while their progression has been quick, it's been hard won the traditional way: They worked their collective ass off.

'We chose producer Brian Olive because he's an excellent musician with a great ear for rock 'n' roll, and a good friend that we trust,' notes Laura. The dividends of that trust can be heard in 'Ghost of Me,' the rolling 'Natural Law' or 'Devils in the Passing Time,' as Electric Citizen brazenly refuse to be pigeonholed and craft a style that, like every stage they step onto, is completely their own.

Electric Citizen spread their name far and wide on tours with Fu Manchu, Wolfmother, Budos Band and Pentagram for Sateen. Look for them to support Higher Time on the road in North America and Europe throughout 2016 and beyond.

TOM CHRISTIE started the recording project FRATERNAL TWIN in 2013 in New Paltz, New York, as an umbrella to finally place over years of songs. Produced by CHRISTOPHER DALY of Salvation Recording Co., Skin Gets Hot is his first studio release under the name, and features an all-star cast of performers including LESLIE BEAR, SILAS REIDY and AARON MAINE. What started as a solo venture became a collaboration of friends from the New York, New Jersey, and Hudson Valley scenes. Skin Gets Hot is both intensely personal and faithfully shared. Christie lives in New Brunswick, New Jersey, dividing his time between bass duties in New Paltz-based QUARTERBACKS and interpreting Fraternal Twin live with drummer MAX RESTAINO and BASSIST DAVID GRIMALDI. Skin Gets Hot was originally released on CD by Apollonian Sound in May of 2015.

Limited to 500 copies !!

Polar white colored vinyl

THE GROUP: Wintergreen are a London-based avant pop band. Formed by founder members Andy Keen and Gareth Jones (also of The Leaf Library) in Manchester in 1999, they evolved over the next decade through the electronic-tinged indie pop of early singles The Magic Road and Clockwork Mice/Autumn Leaves, via a constantly shifting live set involving laptops, drones, layered vocal samples, autoharps, accordions and assorted other noise-generating devices.

THE SOUND: Recorded at their self-built Studio Klank in Wood Green, North London, the band describes The Rule of Small Things as 'pop music that occupies itself with fragility, incompleteness, and the provisional, contingent nature of things'.

The album was mastered by Lawrence English and cut to vinyl at Dubplates & Mastering. The artwork is by Matt Ashton of The Leaf Library.

Super Deluxe Edition including:
- 2x CD
- 1x Golden Vinyl!
- 1 DVD
- 36 Page Booklet (memorabilia)

Disc One
1. Dog Eat Dog
2. Antmusic
3. Feed Me To The Lions
4. Los Rancheros
5. Ants Invasion
6. Killer In The Home
7. Kings Of The Wild Frontier
8. The Magnificent Five
9. Don't Be Square Be There
10. Jolly Roger
11. Making History
12. The Human Beings
13. Press Darlings (B Side)
14. Physical (You're So) (B Side)
15. Fall In (B Side)
16. Don't Be Square (Be There) (KPM Studio Demo)*
17. The Human Beings (KPM Studio Demo)*
18. Los Rancheros (KPM Studio Demo)*
19. Making History (KPM Studio Demo)*
All tracks fully remastered by Adam Ant & Walter Coelho
*tracks 16-19 previously unreleased


Disc Two
Adam & The Ants Live in Chicago 1981*
1. The Human Beings [live]
2. Dog Eat Dog [live]
3. The Magnificent Five [live]
4. Don't Be Square Be There [live]
5. Los Rancheros
6. Ants Invasion [live]
7. Killer In The Home [live]
8. Cleopatra [live]
9. Press Darlings [live]
10. Kick! [live]
11. Antmusic [live]
12. Beat My Guest [live]
13. Jolly Roger [live]
14. Zerox [live]
15. Car Trouble [live]
16. Kings Of The Wild Frontier [live]
17. Physical (You're So) [live]
18. A.N.T.S.
19. Antmusic (Rough Cut)**
20. Don't Be Square Be There (Rough Cut)**
*tracks 1-17 previously unissued on CD
**tracks 19 and 20 previously unreleased

Son of Dave releases his SEVENTH studio album. This tme it's a collecton of cover tunes, packaged up
like the old K-Tel Super Hits compilatons from the 1970's. It's a mad selecton of songs to cover, span-
ning a century of music. All sorts of genres are jammed through Son of Dave's funky sausage machine,
all coming out sounding naturally like his own. Daf Punk, Leadbelly, AC/DC, and Rudimental all get
given his tough harmonica and beatbox treatment, and are subject to his growling and loving vocals.
It's an album to give the people what they want- popular songs they know already, belted out from the
old cult bluesman's gut.
Connoisseurs of the cover song will rejoice with tunes by Paloma Faith, War, The Bar-Keys and John
Lee Hooker. Even Pump Up The Jam is dragged onto the dance foor again. Only two of these tunes
have appeared on previous albums. Fans have heard many of these tunes at shows and have been long
awaitng the chance to spin 'em at home.
A U.K. Tour to accompany the album is of course the traditon, and his ever-growing all-ages eclectc
fanbase will be there THIS SMASHING MONTH OF MAY, rowdy and willing to partcipate. It's certainly
the best and most energetc one-man show you'll fnd, with hardcore fans regularly travelling long
distances to see him many tmes.

Exploded View is a new collaborative project helmed by the UK-born, Berlin-based political-journalist-turned-musician Anika (Invada Records / Stones Throw). After playing a string of 2014 solo shows in Mexico with a backing line up composed of local producers Martin Thulin, Hugo Quezada and Amon Melgarejo, Anika and her new bandmates discovered a chemistry that they simply had to capture on tape.

Formed by guitarist/vocalist Noel Redding while he was still playing bass in a little group called The Jimi Hendrix Experience, Fat Mattress released their debut in late 1969 on Polydor. Though Noel's more famous group was known for its hard edged psychedelic rock, Fat Mattress instead opted for the breezier side of things, with a distinct West Coast folk-rock bent. Drawing comparisons to Love, The Buffalo Springfield, and The Byrds, Fat Mattress is harmony heavy and tuneful psychedelia. Though it was well received by critics at the time, sales were slow and Redding soon left the group. In the intervening years though, Fat Mattress' fantastic debut has come to be known as a lost classic of psychedelic rock and this high quality gatefold 180 gram LP reissue is a welcome relief from high priced originals. Essential for both fans of Jimi Hendrix and psychedelic folk-rock.

In just a few short years, Modern Baseball have gone from college freshman self-recording their first record to a worldwide phenomenon. Somehow, it feels like just the beginning. In 2016, Modern Baseball will release their new album Holy Ghost. The first album recorded by someone other than the band themselves, Modern Baseball enlisted Joe Reinhart (Hop Along, Joyce Manor) at Headroom Studios in Philadelphia to help refine their sound. Holy Ghost shows off the band's sonic growth, adding in new influences ranging from The Killers to Pedro The Lion.
In a tight 28 minutes, Holy Ghost covers an impressive emotional range. Throughout the process, co-songwriters Jacob Ewald and Brendan Lukens found themselves in different places writing different songs; so they split the record in half. The record kicks off with six songs from Ewald and ends with five from Lukens. What they ended up with was a complete record of the past two years - the highs alongside the lows, tales from the road and glorious days at home alongside songs of heartbreak and personal struggle.
The highly anticipated album brings a newfound weight to the band, as they continue to grow emotionally and musically with each new release. 2016 looks to launch the band into even greater things, bringing their fans along as they become a slightly older, slightly more profound version of Modern Baseball. The band has toured across the US, the UK and Europe with bands like The Wonder Years, Into It. Over It., The Menzingers, and even their high school heroes, Say Anything.

The Rattler Proxy present the prelude to their upcoming album, three new tracks produced by Thomas Bullock. "Follow" is a ten-minute acid storm brewing with distorted vocals and jangling art rock guitar - it was previewed by Tim Sweeney on his Beats In Space radio show and voted one of the best tracks of 2015. "Ex Cop" is an edgy three minute punk stomper with sharp guitars and an incessant driving beat. "Mother Goose", like "Follow", showcases more of the band's techno influences with thundering drums and twangy synths emanating from the deep.

Union and Return is the third album from Luke Wyatt's Torn Hawk. It was composed and recorded entirely by Wyatt at his home in Berlin and is inspired by painters like Karl Friedrich Schinkel and Caspar David Friedrich. Here. Wyatt parts the gauze that shrouded his former work to reveal a lush and ornate set of compositions -- elegantly orchestrated, awash in unguarded emotion.
Having spent years working with gritty production techniques, Wyatt seems refreshed and restored by the possibilities of definition and detail. Many tracks were initially composed on piano and then painstakingly fleshed out into final form. The feel is spontaneous, rather than labored, and the pieces possess an organic and grid-less grace. On album opener 'The Romantic,' the flow of ideas is natural, seamlessly transferring melodies and themes from voice to voice, instrument to instrument. Orchestral arrangements give way to layered guitars, smeared pads and collaged digital detritus.
While the record luxuriates in subtle, delicate dynamics, Union and Return is just as disruptive as anything in his back catalog. Tracks like 'Feeling is Law' and 'Die Swimming in the Sea Here' supply a full-bore tenderness that can be uncomfortable, especially for those projecting a policed gruff or 'masculine' image. This disruption is key to the music's intent - gentle music as a tough gesture.
"He's Sexy & He Doesn't Steal" will be a vinyl download code bonus track only
PW: HAWKNOTES
Features / Reviews on: FACT, Resident Advisor, The Drone, Pitchfork, Stereogum, Impose, Tiny Mix Tapes, Thump, Marcel's Music Journal & more

Es ist eine Platte geworden, deren Grundlagen in zahlreichen Hamburger und Berliner Nächten entstanden, auf endlosen Reisen von einem Konzert zum anderen, nach Festivalauftritten, After-Show-Partys und Preisverleihungen. Trümmer haben ihr Repertoire auf eine deutlich breitere Basis gestellt. Die Band hat auf "Interzone" viel zugelassen, sich bewusst nicht eingeschränkt, wo sie früher sofort die Stopptaste gedrückt hätte. Zwar immer noch eindeutig im Post-Punk verhaftet, ist das Album von einer nach allen Seiten schielenden Musikalität getragen, die sich nicht zuletzt der Hinzunahme von Helge Hasselberg verdankt. Der "Interzone"-Produzent hatte bereits das Trümmer-Debüt betreut, inzwischen ist er als viertes Mitglied ein fester Teil der Band - und öffnet mit seinem melodiösen Spiel große Räume für Sänger Paul bei dessen Ausflügen durch die "Interzone".

Fast Moving Cars: the debut solo single from Carla dal Forno (F ingers, Tarcar). Poignant, alluring, happy/sad art-pop...Both a song of devotion and a dream of leaving. Languid, dubwise, stoned-immaculate, but with a heartbreaking clarity and economy of expression. The arrangement is stark, if not austere: rooted bassline, dry snare hits, noirish synth-drift and whispers of reverb that conspire to open space rather than fill it. It's the perfect staging for CDF's voice, a floating understated alto at once coolly detached and disarmingly close, human, relatable. "Don't be so daft, do something exciting..." The lyrics are frank; fluent in the feelings that underpin the beginning, middle and end of a relationship. Is this music of loss or of gain Resignation or resolve Escape or escapism Song and singer remain a mystery, the truth just out of reach. (Can I dance to it)

Ezra swears it is not meant for entertainment but he doesn't mind if listeners find pleasure in the grooves. This cycle of ten songs designated for the months of the year (Jan and Feb are missing) aim for the self-professed "lofty goal of real protest."

Ezra Furman is a young singer-song writer with a punky spirit who is not afraid to cram a lot of words in among the hooks and jabs. While taking one for Team Earth he is determined to remain standing in the ring at the center microphone bloody but unbowed.