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Nachdenkliche Sammlung neun musikalischer Vignetten mit geheimnisvollen Geschichten aus dem Alltag.

Terry Lee Hale wurde in Texas geboren, gilt als einer der Paten der Seattle-Szene und veröffentlicht seit über drei Jahrzehnten Musik. Die Songs auf "Bound, Chained, Fettered" sind Lektionen fürs Leben - wahre Geschichten, getragen von Hales emotionaler Stimme, die Hindernisse überwunden und Weisheit erworben hat. Es ist ein Album, das Bilanz zieht und die komplexen Zusammenhänge unserer Gegenwart zu erforschen versucht. Die spärliche, aber immer noch detaillierte Produktion verstärkt diese nachdenkliche Stimmung zusätzlich. Doch was in den Liedern offenbart wird, ist positiv und menschlich. Hale geht es um Tiefe, nicht um bloße Wiederholung oder leichte Unterhaltung. Für die Albumproduktion reiste Hale nach Norditalien, um dort mit Produzent Antonio Gramentieri (Hugo Race, Dan Stuart) zusammenzuarbeiten. Hale nahm alle Parts live mit Gramentieri in dessen Studio auf. So gelang es den beiden, eine freie, ungezwungene Stimmung zu erzeugen. Im Gegensatz zum Vorgängeralbum, "The Long Draw", hat sich auch am Sound einiges geändert. Vielen der Songs unterliegen leichte Percussions und atmosphärische Geräusche. Ein subtiler Mix aus Piano, Hammond, dezentem Synthesizer-Einsatz, Bassklarinette, Baritonsaxofon, Mellotron und Gramentieris 6-saitigen Texturen bildet die Grundlage für Hales nachdenkliche Geschichten.

John Bender recorded voraciously between 1978 and 1980 at his home in Cincinnati, Ohio. Not even song titles could slow down his creative pace, as he named all the tracks after their position on the original tapes. "36A2," for example, was cassette #36 side A, piece #2. To close the DIY aesthetic circle, Bender made sleeves by hand with no two covers alike and pressed the LPs in hyper-limited editions on his own Record Sluts imprint.

I Don't Remember Now / I Don't Want To Talk About It, Bender's first album from 1980, is the holy grail of minimal lo-fi electronics. Layers of fractured melodies, distorted synthesizers, hollowed-out rhythms and claustrophobic vocals unfold over the 40 minutes of this lost masterpiece. "It's A Rainy Day, Sunshine Girl," one of Faust's greatest songs, is perfectly deconstructed by a distinct punk-meets-experimentalist sensibility.

While I Don't Remember Now is impossibly rare and the man behind the music remains shrouded in self-imposed mystery, the real surprise is that it has taken 35+ years for listeners to discover Bender's warm, art-damaged immediacy.

This first-time standalone reissue is recommended for fans of Pere Ubu, Brian Eno and Robert Ashley. Limited to 1,000 numbered copies. Red vinyl with hand-stamped jackets, each one unique. Liner notes by John Bender.

"Woods have always been experts at distilling life epiphanies into compact chunks of psychedelic folk that exists just outside of any sort of tangible time or place. Maybe those epiphanies were buried under cassette manipulation or drum-and-drone freakouts, or maybe they were cloaked in Jeremy Earl's lilting falsetto, but over the course of an impressive eight albums, Woods refined and drilled down their sound into City Sun Eater in the River of Light, their ninth LP and second recorded in a proper studio. It's a dense record of rippling guitar, lush horns, and seductive, bustling anxiety about the state of the world. It's still the Woods you recognize, only now they're dabbling in zonked out Ethiopian jazz, pulling influence from the low key simmer of Brown Rice, and tapping into the weird dichotomy of making a home in a claustrophobic city that feels full of possibility even as it closes in on you. City Sun Eater in the River of Light is concise, powerful, anxious—barreling headlong into an uncertain, constantly shifting new world." -Sam Hockley-Smith

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

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

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

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

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

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

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

Outer Heaven is a massive leap forward for Toronto post-punks Greys. Delivering on the promises made on 2015's Repulsion EP, the band tempers their trademark onslaught of discordance with new textures and subtle dynamics, building a more spacious and melody-driven environment atop their noise rock foundation. They fearlessly explore every extreme, simultaneously delivering their most intense and accessible moments, often within the same song. We never want to do just one thing,' says frontman Shehzaad Jiwani. We want to incorporate as many disparate sounds as possible, yet still have it sound like the same band.' This bold approach saw them return to Montreal to record at the hallowed Hotel 2 Tango studio (Arcade Fire, Godspeed You! Black Emperor) with longtime producer Mike Rocha, giving the songs unprecedented atmospheric depth while never compromising the band's characteristic cacophony. Each song contains a sweet-and-sour earworm that brings singer-guitarist Jiwani's characteristically self-aware, often satirical lyrics to the forefront, and his serrated shout is almost entirely swapped for a more tuneful approach. Almost. Lyrically, his focus has sharpened, moving from inward to outward. This is best evident on first single No Star,' wherein Jiwani addresses the aftermath of the shootings at Bataclan in Paris by declaring, Don't shoot/I'm not the enemy.'Outer Heaven filters its subject matter through Jiwani's wryly incisive perception of those topics, from a news story about a group of teens barbarically murdering their classmate on album opener Cruelty,' to the advent of technological singularity on closer My Life As A Cloud.' Elsewhere, on Blown Out,' the frontman confronts his own mental health by painting it in the context of a relationship with a partner who doesn't fully understand the unrelenting complexities of depression. The climax of the song sees him wailing, I want you to see/There's something wrong with me,' which would be a harrowing moment if it wasn't the single catchiest song Greys have ever written.The young quartet stretches its limbs like never before on more delicate tracks like Erosion,' where Jiwani sings softly over Cam Graham's delicate guitar, recalling the dream pop qualities of early Deerhunter or late-period Unwound. Elsewhere, on Sorcerer,' bassist Colin Gillespie and drummer Braeden Craig launch an unrelenting yet hypnotic assault that falls somewhere between Swans and Portishead. With ten tracks at just under forty minutes, Greys raise the bar for what is expected of a punk band in the 21st century.

Outer Heaven is a massive leap forward for Toronto post-punks Greys. Delivering on the promises made on 2015's Repulsion EP, the band tempers their trademark onslaught of discordance with new textures and subtle dynamics, building a more spacious and melody-driven environment atop their noise rock foundation. They fearlessly explore every extreme, simultaneously delivering their most intense and accessible moments, often within the same song. We never want to do just one thing,' says frontman Shehzaad Jiwani. We want to incorporate as many disparate sounds as possible, yet still have it sound like the same band.' This bold approach saw them return to Montreal to record at the hallowed Hotel 2 Tango studio (Arcade Fire, Godspeed You! Black Emperor) with longtime producer Mike Rocha, giving the songs unprecedented atmospheric depth while never compromising the band's characteristic cacophony. Each song contains a sweet-and-sour earworm that brings singer-guitarist Jiwani's characteristically self-aware, often satirical lyrics to the forefront, and his serrated shout is almost entirely swapped for a more tuneful approach. Almost. Lyrically, his focus has sharpened, moving from inward to outward. This is best evident on first single No Star,' wherein Jiwani addresses the aftermath of the shootings at Bataclan in Paris by declaring, Don't shoot/I'm not the enemy.'Outer Heaven filters its subject matter through Jiwani's wryly incisive perception of those topics, from a news story about a group of teens barbarically murdering their classmate on album opener Cruelty,' to the advent of technological singularity on closer My Life As A Cloud.' Elsewhere, on Blown Out,' the frontman confronts his own mental health by painting it in the context of a relationship with a partner who doesn't fully understand the unrelenting complexities of depression. The climax of the song sees him wailing, I want you to see/There's something wrong with me,' which would be a harrowing moment if it wasn't the single catchiest song Greys have ever written.The young quartet stretches its limbs like never before on more delicate tracks like Erosion,' where Jiwani sings softly over Cam Graham's delicate guitar, recalling the dream pop qualities of early Deerhunter or late-period Unwound. Elsewhere, on Sorcerer,' bassist Colin Gillespie and drummer Braeden Craig launch an unrelenting yet hypnotic assault that falls somewhere between Swans and Portishead. With ten tracks at just under forty minutes, Greys raise the bar for what is expected of a punk band in the 21st century.

Outer Heaven is a massive leap forward for Toronto post-punks Greys. Delivering on the promises made on 2015's Repulsion EP, the band tempers their trademark onslaught of discordance with new textures and subtle dynamics, building a more spacious and melody-driven environment atop their noise rock foundation. They fearlessly explore every extreme, simultaneously delivering their most intense and accessible moments, often within the same song. We never want to do just one thing,' says frontman Shehzaad Jiwani. We want to incorporate as many disparate sounds as possible, yet still have it sound like the same band.' This bold approach saw them return to Montreal to record at the hallowed Hotel 2 Tango studio (Arcade Fire, Godspeed You! Black Emperor) with longtime producer Mike Rocha, giving the songs unprecedented atmospheric depth while never compromising the band's characteristic cacophony. Each song contains a sweet-and-sour earworm that brings singer-guitarist Jiwani's characteristically self-aware, often satirical lyrics to the forefront, and his serrated shout is almost entirely swapped for a more tuneful approach. Almost. Lyrically, his focus has sharpened, moving from inward to outward. This is best evident on first single No Star,' wherein Jiwani addresses the aftermath of the shootings at Bataclan in Paris by declaring, Don't shoot/I'm not the enemy.'Outer Heaven filters its subject matter through Jiwani's wryly incisive perception of those topics, from a news story about a group of teens barbarically murdering their classmate on album opener Cruelty,' to the advent of technological singularity on closer My Life As A Cloud.' Elsewhere, on Blown Out,' the frontman confronts his own mental health by painting it in the context of a relationship with a partner who doesn't fully understand the unrelenting complexities of depression. The climax of the song sees him wailing, I want you to see/There's something wrong with me,' which would be a harrowing moment if it wasn't the single catchiest song Greys have ever written.The young quartet stretches its limbs like never before on more delicate tracks like Erosion,' where Jiwani sings softly over Cam Graham's delicate guitar, recalling the dream pop qualities of early Deerhunter or late-period Unwound. Elsewhere, on Sorcerer,' bassist Colin Gillespie and drummer Braeden Craig launch an unrelenting yet hypnotic assault that falls somewhere between Swans and Portishead. With ten tracks at just under forty minutes, Greys raise the bar for what is expected of a punk band in the 21st century.

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

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

Erstmals auf LP Vinyl! Die beiden limitierten 12"/EPs der Battles aus 2004, die nur in den USA erschienen sind und später - kompiliert auf einer Doppel-CD - ihren ersten Warp-Release in 2005 bedeuteten, erscheinen nun erstmals als LP-Doppel-Vinyl inklusive Download-Card.

2LP+MP3/GATEFOLD/POSTER

LP-Reissue des offiziellen Debütalbums der Battles aus 2007, inklusive der massiven Clubhits "Atlas" und "Tonto". "Mirrored" entstand in einer kreativen Hochphase der New Yorker Szene, die uns 2007 weitere glanzvolle Alben-Klassiker von LCD Soundsystem, Grizzly Bear, Dirty Projectors, !!! (Chk Chk Chk), Animal Collective oder Liars bescherte. Die LP war seit Jahren nicht mehr verfügbar und erscheint in neuer Doppel-Vinyl-Auflage im Original-Deluxe-Gatefold-Cover inklusive Poster und Download-Card.

Edward Sharpe and the Magnetic Zeros, the 10-piece musical collective from California best known for their singles 'Man On Fire' and the platinum selling 'Home', is back with their fourth album PersonA. We've been on for a while now,' frontman Alex Ebert wrote on a Facebook post when they released first track 'Hot Coals'. But it's like we just turned on a new page in the old book with the inscription: serve your power and work beyond reason.' Recording the music almost entirely in one room together in New Orleans, their approach was a far cry from the come-one-come-all production of their previous albums.

This is the first where the band contributed on the majority of the song writing while they maintained their DIY mentality. The ever-evolving group also had to deal with the departure of vocalist Jade Castrinos in 2014. We had long been a social experiment first and musicians second. Over time, though, we were emerging, by virtue of hours spent, into a group of musicians who could really play together. When Jade left, that confirmed our new fate - music first. We seem to be done for now with distractions from the music itself, the bones of it,' says Ebert.

Edward Sharpe and the Magnetic Zeros, the 10-piece musical collective from California best known for their singles 'Man On Fire' and the platinum selling 'Home', is back with their fourth album PersonA. We've been on for a while now,' frontman Alex Ebert wrote on a Facebook post when they released first track 'Hot Coals'. But it's like we just turned on a new page in the old book with the inscription: serve your power and work beyond reason.' Recording the music almost entirely in one room together in New Orleans, their approach was a far cry from the come-one-come-all production of their previous albums.

This is the first where the band contributed on the majority of the song writing while they maintained their DIY mentality. The ever-evolving group also had to deal with the departure of vocalist Jade Castrinos in 2014. We had long been a social experiment first and musicians second. Over time, though, we were emerging, by virtue of hours spent, into a group of musicians who could really play together. When Jade left, that confirmed our new fate - music first. We seem to be done for now with distractions from the music itself, the bones of it,' says Ebert.

Following the acclaim for their 2014 self-titled debut album and recent tours with Jon Spencer's Blues Explosion and Palma Violets, on March 25th MING CITY R*CKERS will release their second album, 'LEMON'.

Recorded in summer 2015 and produced by Steve Albini (legendary producer of Nirvana's 'In Utero' and Pixies' 'Surfer Rosa'), at his Electrical Audio studios, in Chicago, 'LEMON' is an explosion of punk rock action, packed with fast tunes, monster riffs, and lyrical vitriol, chiefly inspired by the band's desperate background in the bleak Lincolnshire town of Immingham.

Kicking off with the raucous 'Sell Me A Lemon' (which may or not be a recessionary anthem, about the widening gulf between the haves and the have-nots), it's immediately clear Albini helped the band hone their sound, from the ramshackle excitement of their debut, into something punchier, heavier and more on-the-money. Tracks like 'All I Want To Do Is Waste My Time With You' showcase their pop smarts in a sleazily romantic, extra-melodic breed of punk reminiscent of Buzzcocks, whereas the yowling 'Christine', whose lyrics were inspired by the automotive heroine of the similarly titled Stephen King movie, skips through the annals of early rock & roll. 'Death Trap', a mean take on a Hawkwind nugget from '79, features oppressively dense guitar textures, doubtless reflecting the band's hometown of Immingham's hopelessness, different again, 'Trying To Find Pixies' is flat-out punky-reggae, influenced by Toots & The Maytals and The Clash.

The curious chemistry behind the Mings' central couple of Clancey Jones (vocals, guitar, harmonica) and Morley Adams (lead guitar, backing vocals) is typified by 'I Don't Mind If You Don't Mind': Morley was trying to write something frustrated and angry, whereas Clancey was adamant it needed to have a happy chorus. The result is one of several rampant pop triumphs aboard. Elsewhere, the pointedly titled 'Don't You Want To Make My Heart Beat' deals in a whole new realm of swingeing dynamics, bringing the album to a breathless close.

'LEMON' retains Ming City Rockers visceral, balls-to-wall primal rock 'n' roll and infectious ability to write a hook and pop melody. It's the sound of a band pushing themselves to new limits, and having a right old gas while doing so. Like its predecessor, it clocks in at under 30 minutes, but achieves a good deal more in that running time.

'LEMON' will be available on digital download, CD and vinyl. 'Sell Me A Lemon' will be the first single from the album. The band will tour extensively throughout late March and April - details to follow very soon.

Following the acclaim for their 2014 self-titled debut album and recent tours with Jon Spencer's Blues Explosion and Palma Violets, on March 25th MING CITY R*CKERS will release their second album, 'LEMON'.

Recorded in summer 2015 and produced by Steve Albini (legendary producer of Nirvana's 'In Utero' and Pixies' 'Surfer Rosa'), at his Electrical Audio studios, in Chicago, 'LEMON' is an explosion of punk rock action, packed with fast tunes, monster riffs, and lyrical vitriol, chiefly inspired by the band's desperate background in the bleak Lincolnshire town of Immingham.

Kicking off with the raucous 'Sell Me A Lemon' (which may or not be a recessionary anthem, about the widening gulf between the haves and the have-nots), it's immediately clear Albini helped the band hone their sound, from the ramshackle excitement of their debut, into something punchier, heavier and more on-the-money. Tracks like 'All I Want To Do Is Waste My Time With You' showcase their pop smarts in a sleazily romantic, extra-melodic breed of punk reminiscent of Buzzcocks, whereas the yowling 'Christine', whose lyrics were inspired by the automotive heroine of the similarly titled Stephen King movie, skips through the annals of early rock & roll. 'Death Trap', a mean take on a Hawkwind nugget from '79, features oppressively dense guitar textures, doubtless reflecting the band's hometown of Immingham's hopelessness, different again, 'Trying To Find Pixies' is flat-out punky-reggae, influenced by Toots & The Maytals and The Clash.

The curious chemistry behind the Mings' central couple of Clancey Jones (vocals, guitar, harmonica) and Morley Adams (lead guitar, backing vocals) is typified by 'I Don't Mind If You Don't Mind': Morley was trying to write something frustrated and angry, whereas Clancey was adamant it needed to have a happy chorus. The result is one of several rampant pop triumphs aboard. Elsewhere, the pointedly titled 'Don't You Want To Make My Heart Beat' deals in a whole new realm of swingeing dynamics, bringing the album to a breathless close.

'LEMON' retains Ming City Rockers visceral, balls-to-wall primal rock 'n' roll and infectious ability to write a hook and pop melody. It's the sound of a band pushing themselves to new limits, and having a right old gas while doing so. Like its predecessor, it clocks in at under 30 minutes, but achieves a good deal more in that running time.

'LEMON' will be available on digital download, CD and vinyl. 'Sell Me A Lemon' will be the first single from the album. The band will tour extensively throughout late March and April - details to follow very soon.

Having completed a preliminary round of work on their eponymous 2015 album at Rockfield Studios, Wire found themselves with 19 tracks. Among them, there was a critical mass of 11 aesthetically unified songs. In typical Wire fashion, however, the remaining material was something other: it had the sound of a band already moving in a different direction, beyond the album project in which they were engaged at that time. These tracks were the basis for Nocturnal Koreans. The difference between the two clusters of work birthed at Rockfield has its roots in discrete approaches to the studio process itself. Nocturnal Koreans emphasises studio construction over authentic performance, using the recording environment as an instrument, not just as a simple means of capturing Wire playing.

Although it's become de rigueur to talk about Wire's capacity for self-reinvention, that's never the whole story. Certainly, the impulse to pursue fresh ideas with each phase of work is buried deep in their artistic DNA, but they've balanced that commitment to the new with a core character and attitude that's always at some level recognisable as Wire—without being reducible to a formulaic sound. It's this enduring dialectic that gives Wire their unique status as a long-establisXhed band that continues to forge ahead with original music: always unmistakably Wire but always reimagined and reframed with each successive project.

The stunning debut album from 2005!

The Danish 3-piece band from Copenhagen founded in 2003 is playing a mix of no-wave, punk-funk and sneeky covers. Who Made Who are: Tomas Barfod (drums and electronic noodling), Tomas Hoffding (vocals) and Jeppe Kjellberg (guitar).

The second album from 2009 mastered by Christian Wright at Abbey Road studios. The Quotes: "Focused and brilliant" (i-D), and "WhoMadeWho return with all the dancefloor straddling guitar grooves of their debut" (MusicWeek)

The Danish 3-piece band from Copenhagen founded in 2003 is playing a mix of no-wave, punk-funk and sneeky covers. Since then the group supported Daft Punk, LCD Soundsystem, Soulwax and Justice! Who Made Who are: Tomas Barfod (drums and electronic noodling), Tomas Hoffding (vocals) and Jeppe Kjellberg (guitar).

"The band combines three completely different musical characters and merges them into a fresh new whole: Jeppe Kjellberg - the walrus bearded guitar player, has been part of the New Yorks experimental Rock and Jazz scene for years. He has even recorded a mini album with David Tronzo - guitar player of the legendary Lounge Lizards. Tomas Høffding - the bass man with the falsettovoice, has his roots in the Scandinavian Garage Rock scene (but always has been in love with fat discobasslines). And Tomas Barfod aka Tomboy is not only the drummer of the band but he's also known for producing some of the hottest Advanced Electro/ House music of the moment for labels such as Turbo, Kitsune and Get Physical. Now, here's the band's new album. 13 songs that are the perfect example for a band who uses a tiny production budget to widen, expand and multi-colorize their sound without losing their soul. There's a sexual and sensual authenticity to the breathed echoes of their first album. 13 songs which, when heard by Christian Wright - the legendary engineering-maestro at London's Abbey Road studios - lead to the point that he at all costs wanted to master this record by himself. The Danish guys created a brand new pop sound influenced by early 70ies Progrock as well as the complex side of disco music, with a very rough DIY pop approach and some well integrated electronic bits and drum sounds."

First Deep Distance release of the year sees the mighty debut full length from Rhododendron.



Last year saw their debut 10' sell out in 48 hours on the label and was -and remains- a favourite and staple of the more kraut themed sets of Andrew Weatherall's DJ stints. The band also headlined Phonica Records Record Store Day celebrations the year before. So to unleash the full length is timed immaculately and it does not disappoint...



Made on the South Coast entirely from wire, magnetic tape, glass and electricity, Rhododendron make English electronic, psychedelic, industrial motorik music for a cosmic jokers party with Terry Riley, Dieter Moebius and Suicide in the room and all on the wrong drugs.



Assembled by Oliver Cherer (Dollboy, Silver Servants) and Darren Morris (David Holmes, Steve Mason) in St Leonards' North Street Studios 1 and 2 (The Assistant, Wrestler, Dollboy) Rhododendron give you instrumental autobahn anthems ('New Europe', 'Car Crash - Lights Off'), electro-psych wig-out ('Church of T'), paranoid technopunk rant ('Brute Blaster', featuring Eyes In The Heat's Zizi Kanaan), Silver Apples style disto-disco ('Little Rocks') and misfit radiophonic nerd-pop ('A Foreign Language'; described recently as being 'like Sleaford Mods if they'd gone to art school'!)



Turning mindless awkward riffs into mesmerising transcendental trips and genre-hopping work-outs like the updated 'Paris Rendezvous' which features Wooden Spoon's Owen Hills on harmonica sounding like Lee Brilleux jamming with Can.



Analogue synthesizers, tape machines, tape echoes, fuzz tone guitars, test oscillators and broken machines from car boot sales.



A great album in a ltd pressing of 300 only available early to mid March. y

Her new album "Keys" shows Berlin-based musician Masha Qrella elegantly fusing disco-pop and songwriting. Written and produced by Qrella in her studio within one year, the album's eleven songs feature well-known elements of fragility, perfection and understatement, while walking a fine line between laconic coolness and passionate uptempo melancholia.

There is a new straightforwardness in how Qrella sings about break-ups, new beginnings, rescue pills and keys: "Please don't give me your keys / cause I don't wanna have to give them back again," goes the refrain of the title track, whose deliberately sparse instrumentation is unexpectedly interrupted by the noise of traffic and construction sites. It's one of those little irritating and surprising twists that have always been crucial to Qrella's music.

While her earlier solo records relied on more electronic elements, stumbling beats and sonic textures, Masha Qrella now puts emphasis on her voice and songwriting. Finally, every sort of shyness seems to have vanished.

"Every night another day, every day another night, every street leads to a new place than the one I used to find." This is the opening line of the album, and you get the feeling that Masha Qrella is breaking new personal ground on this record, which marks her fourth full length for Morr Music. Every single song on "Keys" shows an immediate and open-hearted quality that Qrella did not quite reveal before.

With this record, Masha Qrella creates a very distinct version of pop music, subtly reminding you of her love for Elliott Smith, Neil Young, Air or Metronomy, but always staying true to herself. Join her on this emotional dance floor.

Skeletons, still »one of the few contemporary bands who can legitimately be called ›original‹« (XLR8R) in 2016, present their ninth studio album and their premiere on Altin Village & Mine.

Skeletons is one of the names of the uctuating ensemble of musicians around composer and lmmaker Matthew Mehlan; on »Am I Home« accompanied by long-time Skeletons collaborator Jason McMahon as well as Greg Fox (Liturgy, Zs, Guardian Alien) and Mike Pride, Justin Frye (PC Worship), Sam Kulik, Sam Sowyrda (Cloud Becomes Your Hand), Nathaniel Morgan and Caley Monahan-Ward (Extra Life, Dead Western), among others.

»Am I Home« thus marks the felicitous encounter between some of the best instrumentalist of the independent music cosmos with one of its consistently most interesting forward thinkers. This musical summit shows in the extraordinary joy of playing and the technical quality displayed throughout the seven songs — most of all, however, it registers in the density and consistency with regards to the coherence of the performance and space of »Am I Home«. This is one of the striking qualities of this, in every way: remarkable album. With all of its displayed pro ciency, the music is a deeply human a air; in a way which can be claimed by very few albums. The question posed by »Am I Home« nds itself answered on the album. It is answered, however, in the form of a question — the »home« that the music inquires about is the music itself, is its quest. This eminent, honest openness that equally shows in the lyrics and the vocal delivery by Mehlan — which, by the way, is on the same extraordinary level — , does not, however, make a point of digression or lose itself in the accompanying virtuosity, but always nds its way back to itself. The result may be, in a sense, post rock — but anyone embarking on the journey that »Am I Home« o ers will only chuckle at this designation. At the same time it is free jazz, it is pop, it is chamber music; grandiose, experimental, at any moment deeply embedded into the space of the album. The connections produced by »Am I Home« thus are not in the form of genre or likenesses (even though Mehlan's recent relocation to his native Chicago may lend itself to assuming a certain proximity to projects of Jim O'Rourke's, particularly Gastr del Sol), but instead in a relation to the world, to the »Uumans« that the moniker of Mehlan's most recent solo work addresses.

»Am I Home« is the document of a singular musical voice that has reached a maturity which, even in the remarkable oeuvre of Skeletons, marks a milestone.

Produced by Portishead and Beak> man Geoff Barrow, and released on his very own Invada label.


- 'Of Desire' is The KVB's most fully formed record to date, taking in influences such as Death In Vegas, Scott Walker and Roxy Music to create something that is at once familiar and yet inventive and original.
- Steeped in musical history, 'Of Desire' is an album that hums with devotion and captures a band ready to emerge from the underground and embrace an ever-growing audience.
- This will be The KVB's second album on Geoff Barrow's Invada Records label, home to similarly experimental artists such as Anika, College and Barrow's own Beak>.
- The band were invited to Barrow's Invada Studios to record 'Of Desire' using his wonderful synthesisers' as they began to flesh out ideas from bedroom demos dating back to Wood's earliest recordings.
- The romantic undercurrent explored throughout 'Of Desire' is most clear in 'Never Enough', a minimal-wave glitter beat that captures The KVB's growing confidence perfectly. The demo of the song has picked up nearly one million views on YouTube.

Dais Records is proud to present a new vinyl engagement of "Rebellion is Over", limited to 500 black copies worldwide and containing three unique and singular electronic compositions.

Rebellion is Over was originally released on Heartworm as a limited cassette collaboration between Cold Cave, Genesis Breyer P-Orridge (of Throbbing Gristle/Psychic TV), and Black Rain (members of Death Comet Crew/Ike Yard) to commemorate the July 22nd live performance in NYC. Available only at the show and sold out immediately,

In autumn 2015, Swedish dream-pop duo Korallreven bid us all farewell by releasing the "round-the-world-in-a-day" sounding final single Here In Iowa, alongside memorable shows in New York City and Scandinavia. Now, they return for one last time with a disco dub dream remix of said song by the mighty Peaking Lights. This forms part of a 12" EP released by Be With Records. The record - limited to just 500 copies - will see its worldwide release for Record Store Day on 16th April 2016.

The 12" will also, for the first time on vinyl, include Korallreven's breathtaking cover of Guns & Roses' November Rain from 2014 as well as Shine On, the duo's rework of their own 2010 single Honey Mine, featuring Taken By Trees' Victoria Bergsman.

From the guys:

"Hard to say if Here In Iowa was an end or a start of something new. You'll see! Whether or not, we hold it as one of our highest heights and, after this beautiful season, we truly deeply madly felt that it was worth some extra limelight. And hey! Thanks for the remix, Peaking Lights! It's so wonderful! Life surely is."

(Part Of The April Cargo Collective) CD / digipak (blue foil) + poster insert. Standard black vinyl LP is jacket (blue foil) + full album download coupon. Very limited coloured vinyl LP is for Cargo Collective stores only, stock is limited and numbers may be cut back. Here's the deal. In 2012, people loved Silver Age (to a degree that surprised me, pleasantly), likewise Beauty & Ruin in 2014 (despite the heaviness of the subject matter, which I thought might be a bit alienating... apparently not. Another pleasant surprise.). But PATCH THE SKY is the darkest one. After the Letterman performance in February 2015 where 'dust fell from the rafters,' it would have seemed logical to go the punk rock route—an entire album of two minute songs—but that wasn't where my soul was at. I withdrew from everyday life. I wrote alone for six months. I love people, but I needed my solitude. The search for my own truth kept me alive. These songs are my salvation. I've had a solid stretch of hard emotional times, and thanks for the condolences in advance. I don't want to go into the details—more death, relationships ending, life getting shorter—because they're already in the songs. Just listen and see if you can fit yourself into my stories. The words make you remember. The music makes you forget. But PATCH THE SKY is also the catchiest one. I always aim for the perfect balance of bright melodies and dark stories. I've used this juxtaposition for years. This time, I've tuned it to high contrast. The first side of the album is generally simple and catchy. The second side is heavier in spirit and tone. Opposing forces and properties. I love both sides of PATCH THE SKY. At the core of these songs is what I call the chemical chorus—you hear it once and your brain starts tingling. The heart rate picks up. It gets worse—you know it's coming again and you can barely stand the anticipation. Then, the beautifully heartbreaking bridge appears, and you're all set up—hooked for life. Music is an incredibly powerful drug. I want to be your drug dealer. I have what you need. --Bob Mould // UK tour in February; full EU tour follows later in 2016

The Austin-made singer-songwriter duo dwell in the spaces left between contradictions and opposing forces. In fact, it's where they're most at home. As the title of their latest album suggests, they know intimately the ideas of using pain as a barometer of passion and giving as a means of gaining.
Their gorgeous, almost luminescent harmonies paired with cutting, contemplative songs, inspired by a musical grab bag of Simon and Garfunkel, Slim Whitman, The Swell Season, Bon Iver, even Broadway composer Stephen Sondheim, earned the duo a nationwide legion of fans; many bordering on, if not, obsessed. Just ask their wives who tour manage them.
But until recently, Kyle and Andy thought of their respective talents, words and melody, as elements on 'separate continents' that they fit together—Andy's voice and lyrics an audible sunbeam appearing in a dark and dusty room; Kyle's lean, yet lush arrangements following unpredictable paths with acrobatic flourishes layered over grounded grooves.
But it was in writing and recording they let those roles bleed into each other. With the help of producers John Paul White (The Civil Wars) and Ben Tanner (Alabama Shakes), they slashed unnecessary phrasing and stripped their songs down to their core.

The Austin-made singer-songwriter duo dwell in the spaces left between contradictions and opposing forces. In fact, it's where they're most at home. As the title of their latest album suggests, they know intimately the ideas of using pain as a barometer of passion and giving as a means of gaining.
Their gorgeous, almost luminescent harmonies paired with cutting, contemplative songs, inspired by a musical grab bag of Simon and Garfunkel, Slim Whitman, The Swell Season, Bon Iver, even Broadway composer Stephen Sondheim, earned the duo a nationwide legion of fans; many bordering on, if not, obsessed. Just ask their wives who tour manage them.
But until recently, Kyle and Andy thought of their respective talents, words and melody, as elements on 'separate continents' that they fit together—Andy's voice and lyrics an audible sunbeam appearing in a dark and dusty room; Kyle's lean, yet lush arrangements following unpredictable paths with acrobatic flourishes layered over grounded grooves.
But it was in writing and recording they let those roles bleed into each other. With the help of producers John Paul White (The Civil Wars) and Ben Tanner (Alabama Shakes), they slashed unnecessary phrasing and stripped their songs down to their core.

Bridging the gap between their childhood love of Heavy Metal with the 90's American Indie music of their formative years, Puppy is the brainchild of Jock Norton (vocals, guitars), Billy Howard Price (drums) and Matthew Rickelton (bass).
Puppy formed in 2014 and following a few months of writing and recording released two tracks Forever and The Great Beyond, gaining them early attention from the likes of Noisey, NME, DIY and Consequence Of Sound, as well as support dates with the likes of Gengahr and Pity Sex.
"A heavy metal spin on melodic college rock in a way that sounds like Weezer covering Pearl Jam" - Noisey
"By all accounts, Puppy should be your new favourite band. They've got riffs. They've got a sick video. And my god, they've got songs...All slamming guitars, pounding drums, and sweeter-than-sugar vocals, the track's a delightful insight into the beginning of one of the most exciting new bands on our radar." - Vice
Playing live at The Moth Club, London Feb 26th

Following the departure of Tanya Donelly, the breakup of The Pixies, and the return of Kelley Deal to the fold, The Breeders' hit the alternative big time with their second record, and its hit singles "Cannonball," "Divine Hammer," and "Saints." The last Breeders album of the 1990s, as Kelley suffered and recovered from drug addiction and Kim found a new outlet in The Amps, Last Splash went platinum and brought Kim Deal's massive song writing talents out from behind the shadow of Black Francis. On red vinyl!

Afer last year's loving success of Record Store Day's 'Sensible Record Labels' Alcopop! has got together
with some of their pals at some of the best forward-thinking indie labels again around the country, and have put together something a litle special for RSD '16 - The Sensible Record Labels compilaton:
Volume 2.
Crafed with critcisms of high-priced reissues and major label dominance of RSD top of mind, this special vinyl will be priced at just £10 across all stores on the day - meaning that amidst all the high price reissues and inordinately expensive 7's, people will be able to try a stack of new music for just one note.
As well as the record itself, which boasts 11 hand-picked tracks (1 from each label) - the package comes with a download card containing 150MB from every label too, containing songs, videos, docu-ments, photos and more.
This vinyl is not just a reasonably priced compilaton. It's a genuine gateway for interested listeners to
discover what lies behind the UK's indie labels.

A fabulous debut 45 up next on The GPS here, following the quick fire sell out of January's 'Dean and Britta' 45 and 'Saddar Bazaar' LPs.

Lake Ruth, the new group formed by vocalist Allison Brice (The Eighteenth Day Of May), instrumentalist Hewson Chen (The New Lines) and drummer Matt Schulz (Holy Fuck, SAVAK, Enon) have announced the release of their debut single 'The Inconsolable Jean-Claude / The Prisoner's Dilemma' on the esteemed UK label 'The Great Pop Supplement'.

Mixed by Greg Hughes of Still Corners, the 7' single will be released on February 22nd, 2016.

Lake Ruth's sound is rooted in 1960's sonic experimentation, and skillfully blends elements of chamber pop, psych, kraut, jazz and electronic music. Cinematic A-side 'The Inconsolable Jean-Claude', an imagined portrait of French composer Jean-Claude Vannier, may appeal to fans of his work, along with those of Serge Gainsbourg and Margo Guryan. B-side 'The Prisoner's Dilemma' evokes Pentangle and The Left Banke, with its baroque instrumentation and atmospheric vocals.

The stereo 45 (cat: GPS130) will be released and distributed direct from the label The Great Pop Supplement via all usual outlets; in a limited edition pressing of 300, and will be available for download and streaming via all major digital distributors. Both tracks will be exclusive to the single, and will not be featured on the forthcoming debut album, also to be released on The Great Pop Supplement for the Spring of 2016.

"One of the finest outings to have appeared in recent times on the illustrious GPS imprint... simply exquisite." — The Sunday Experience

Having recorded five albums in 10 years and toured extensively in support of all of them, Nada Surf opted to follow 2012's cracking The Stars Are Indifferent To Astronomy with a brief but well-earned hiatus. So in January 2015, when Caws informed Nada Surf's vociferous Facebook following that a new record was just about done, the news was greeted with explosive enthusiasm. The music was in the can, he announced, and all that remained was to finish up a few lyrics and sing a few vocals, something he planned to do on off-days off during an upcoming solo acoustic tour. Caws even included a photo of the recording set-up he was bringing in the car. I was so eager to have an album done that I believed in it as it was,' Caws recalls. But the great thing about being 'finished' is that you can take a breath and evaluate, because the pressure to 'do it' is gone. The more I listened and thought about it, the more I realized that I might want to keep working.' Caws continues. There were already a bunch of songs in the can that we all liked, so I could think more expansively about what the album could be." And lo and behold, what would have been another really good Nada Surf album (their seventh since getting signed to a major in the go-go 90's and scoring a worldwide alterna-hit with Popular') became what could well be the most representative collection of the group's two-decade career, all while pushing towards whatever comes next.