Pop & Rock Vinyl New Releases - News

TEEN's new album, Love Yes, explores the disharmony and empowerment that both sexuality and spirituality can create within the modern woman's psyche. Universal ideas of loyalty, pleasure, purity, power, aging, and love are confronted with a knowable specificity. There is a quality of wholesomeness, but also an edge—a kind of wise anger and electricity.

After extensive touring following their breakthrough release The Way and Color (2014), the band had to keep traveling to find Love Yes. The group first went to Woodstock in the dead of winter to write new material. Here, keyboardist and singer Lizzie Lieberson created the stunning, autobiographical Please.' But the band, and especially lead singer and multi-instrumentalist Teeny Lieberson, felt a crushing lack of creative energy. Recognizing the need to recharge, they took some time off. Teeny moved to a small lakeside cabin in Morehead, Kentucky. Surrounded by rolling hills, sparked with sudden thunderstorms, and inspired by the musical joy of uninhibited late-night bluegrass jams and barn parties, Teeny immediately began writing again. Here she felt a new freedom in her songwriting, drawing on themes important to her identity as a woman, and exploring love, sexuality, and the tension between desire and the construct of desire that can exist within oneself, in relationship, and within society.

After three weeks in Morehead, Teeny returned to New York to workshop with rest of the band, including drummer Katherine Lieberson and bassist Boshra Al-Saadi. Acknowledging the benefits of being creative in a cocoon like the lakeside Kentucky country, the band decided to record at the Old Confidence Lodge, in secluded Riverport, Nova Scotia. Leaving the noise and relentless energy of the city behind, TEEN retreated into the nurturing stillness of Nova Scotia, the Lieberson sisters' childhood home. Situated on the La Have River, the studio was hidden in a perpetual mist while the band recorded day and night. Fueled by new material, a change of place, and creative collaboration, the lull of the winter lifted and the band came together in a new way. Teaming up once again with producer Daniel Schlett, TEEN wanted to capture the energy of full band recording. Rather than multi-tracking, Schlett worked with the band as they played the songs relentlessly, waiting to achieve the right energy and take as a group.

The result is a beautiful, detailed album about womanhood and the embodiment of the sensual, played by a group fully in step with one another. Love Yes bursts into the static air
with a vibrancy recognized by its confidence and power.

On the album cover, the quartet is bejeweled in crystals and bathed in Venusian red. This red is the colour of vitality and pulsing life — unmistakable traits of Love Yes. It is the iconic red of Dorothy's slippers and Eve's apple — potent with society's tales and notions of innocence lost. In Love Yes, something else more mysterious and tender is gained.

Get ready for another shipload of fresh musical discoveries gathered by the renowned French imprint : the 17th issue of Kitsuné Maison lands October 23rd ! And as ever it's filled with the quirkiest pop you'll find this side of good taste. The World Wild Issue introduces you to the global cream of the moment: USA, UK, Australia, Brazil, Germany, France... 17 tracks courtesy of an exciting selection of gifted agitators combining immaculate choruses to a certain attitude: youthful, finger on the pulse, oftentimes edgy. World Wild It's not so much a sound than a vibe, an organic sensation that could be from anywhere. In a constantly evolving world, where digital reigns supreme, nature - wild and universal - brings us back to our roots and a certain authenticity. It's also about us Westerners embracing the rhythms and moods of other cultures and yet again pushing the envelope of creativity. Yes, the jungle is where the party's at!

Never keen on rehashing the same old, Kitsuné is forever morphing. More than ever, the Parisian imprint is geared at the future and moving on with the times helping giving birth to new musical directions, groundbreaking sound innovations, always tied to killermelodies - a constant on Kitsuné.  Rather feminine, at times introspective, often glorious, this latest chapter is also probably groovier than previous installments, digging deep in soulful territories. Make no mistake though, guitars are still loved - indie pop remains tattooed on Kitsuné's heart. It is character and personality, which above all prevail on the little fox's label

The Best of the B-52's: Dance This Mess Around is an excellent summation of the group's late-'70s/early-'80s heyday, featuring such staples as 'Wig', 'Give Me Back My Man', 'Song For A Future Generation', '52 Girls', 'Private Idaho', 'Strobe Light', 'Devil in My Car', 'Planet Claire' and 'Rock Lobster'.

It is arguably the best compilation of the group's work. Dance This Mess Around is a first-rate survey of the band's best (and most groundbreaking) years.

Seth Troxler continues to shed light on the frontiers of his musical interest and offers up the next record on Soft Touch - his imprint specialising in the more celestial strains of Indie, Rock, Electronica and everything in between.

Following releases from Lovecall and Clarian - this third instalment comes from a fresh nomadic trio: AOU who align their esoteric set up and a wide range of influences to present their 'Gordo Laika' EP.

Initially Brought together via a love of the culture surrounding skateboarding, and with one foot on each side of the English Channel, AOU combines the vocal aptitude of Guy Stevenson, multi-instrumentalIST flair and the production knowledge of William Moreau and Quentin Sarda.

Listing influences as polaric as Air and Joy Division and with a creative attitude anchored in a love of travel and exploration, AOU produce music that gives a nod to their inspirations in the creation of something entirely new.

With Futureboogie's Christophe bridging the gap between label and artist, an apt pairing is formed and, with the release of 'Gordo Laika', we get an enlivening insight into an auspicious new musical collective as well as the further strengthening of Soft Touch's evolving catalogue

Working for a Nuclear Free City have never been too concerned with genre. Since their debut release almost a decade ago they have danced around the constraints of genre, eschewing predictability and expectation in the process by creating a body of work dictated by invention and momentum.

Their latest release is no exception although, like much of their previous work, whilst it is difficult to pinpoint it is not lacking in stylistic coherence, 'When putting the record together I was trying make something cohesive in some way.' Says one of the group's founding members, Phil Kay.

The end result is an expansive, pop-tinged, experimental album that can be as propulsive as it can be restrained, bringing to mind artists as diverse and brilliant as Beck and Brian Eno to the Super Furry Animals.

The situations and inspiration around the record have been rather hodgepodge, 'I listen to the radio most of the time, stations that play pretty diverse things, or I put things on shuffle a lot - mainly just trying to take the decision making process out of what I choose to listen too' Kay says, whilst also stating that the environments in which the record were created were just as all over the place, 'I move around a lot so all the tracks are from different areas. Some from back in Manchester, a few from here in London, a couple I recorded in LA up in the Hollywood hills in Jennifer Anniston's old apartment.' This geographically vast record was also done over a period of time too, making it a continent-spanning record that has had years' worth of thoughts and ideas funnelled into it, 'It was recorded over such a long period of time that each track has its own distinct memories for me.' Kay says of the process.

The title of the album What Do People Do All Day Has a dual meaning, as Kay points out, 'I was writing a kids book at the time so had loads of Richard Scarry books lying around. I think we hit on the title as it of course reminds you of Scarry and puts you in that playful territory but the second meaning of it is about the mundanity and futility of life, so there's that juxtaposition. It was supposed to be this loose concept album about peoples lives or various snapshots of people lives. The songs also all seem to relate to these imagined characters and their lives - perhaps a days in their lives'

As a result the songs vary enormously and when discussing what some of the individual tracks are about, Kay paints a picture of a little universe of strange tales and stories, one song is about 'Media and politics and bullshit and living in a city and everyone wired up and concrete and adverts and too much noise' whilst others are about: 'A girl who dreams of killing her boss, quitting her mundane job and living in a magazine'; 'The heir to Blackpool Pleasure Beach who turns it into a Vegas-style resort, makes millions, moves to Venice beach and turns it into Blackpool' and 'Teenagers getting stoned in a park in suburbia and discovering a secret portal'. As illustrated by these unique and vast narrative situations, it's an album with huge scope and one that has set out to be as lyrically ambitious as it is sonically.

Flipside Amnesty International Report is a similarly audacious dispatch in which the torture of Irish prisoners by the British Army is directly quoted from Amnesty literature.
A timeless nerve-obliterating insurrection, We Are All Prostitutes was released in 1979 to a climate of political unrest. On hearing it for the first time Nick Cave commented, It's one of those moments when the cogs of your mind shift and your life is going to irreversibly change forever.' It was everything that I thought rock & roll should have...it was violent, paranoid music for a violent, paranoid time.'

A great demonstration of We Are All Prostitutes' enduring relevance was its recent pick for The Washington Post's 'Week In A Song' feature when bribery and corruption were hot topics of the week.

FOR HOW MUCH LONGER DO WE TOLERATE MASS MURDER IN THIS TIME OF PROXY WARS AND FALSE FLAG ATTACKS AS WORLDS COLLIDE NOW, MORE THAN EVER IS THE TIME TO SAY GAIN HOW MUCH LONGER DO WE TOLERATE MASS MURDER

Long out of print, this will be the first time the highly sought after album has been reissued, let alone made available digitally or on CD. Originally released in March 1980 on their own Y label through Rough Trade, For How Much Longer Do We Tolerate Mass Murder spent 20 weeks in the Indie charts, peaking at #1.
Produced and mixed by the band, For How Much Longer Do We Tolerate Mass Murder represents the quintessential independent Pop Group album -untethered, entrenched and completely committed to challenging the political orthodoxy of the day and savagely denunciating its failings.
The Pop Group singer and lyricist, Mark Stewart says: Context is crucial. At the time The Pop Group were playing multiple rallies and benefits across Europe from Scrap SUS to Aid for Cambodia to our final blow out at the 500,000 strong Campaign for Nuclear Disarmament rally in Trafalgar Square.'
Declared a revolutionary, anti-imperialist manifesto' by Mark Paytress(MOJO, Record Collector, Rolling Stone), the album has been celebrated by Uncut as one of the 50 Greatest Lost Albums.

Pop Noire Records are pleased to announce the release of a collaboration between Julian Casablancas (The Strokes/The Voidz) and Jehnny Beth (Savages). The two joined forces to duet on a cover of 'Boy-Girl', originally released by seminal Danish punk band, Sort Sol featuring Lydia Lunch. 'Sort Sol are cult in Denmark, and today very influential in the Copenhagen scene (Iceage etc...). I would be pleased to make their name known better', adds Jehnny Beth.

The collaboration stems from the pair's mutual admiration after meeting while on tour in South America, and having an interest in finding a way to work together. The idea to collaborate became to take shape when Johnny Hostile (Savages producer) suggested the song to Jehnny. 'It really made sense when I heard it for the first time. It was the perfect song for Julian and I' says Jehnny who recorded the bulk of the song with Johnny Hostile in Paris, before it was handed to Julian to perfect.

Casablancas notes: 'I had never heard the song before and still have no idea what the hell the words are talking about. It sounds like a Danish dude trying sound like he's saying English sounding words'. The video, that pays tribute to the original version released in
the 80's, was directed by long time visual collaborator and Cult Records' creative director, Warren Fu. Shots of Jehnny Beth were filmed in London by Giorgio Testi. Pop Noire is an independent record label based in Paris, established in September 2011 by duo of artists, Johnny Hostile and Jehnny Beth, along with French director and graphic designer, Antoine Carlier.

New single 'The Dying Of The Light' is taken from the album 'Chasing Yesterday' and released on December 11th. It includes B side 'The Girl With X-Ray Eyes (Demo)'.

'Chasing Yesterday' went straight to Number One in the Official UK Album Chart after its March 2nd release - and remains the highest selling album in its first week on sale in 2015.

Noel Gallagher's High Flying Birds were recently honoured with the reader voted Q Award for Best Album ... adding to Noel's long list of accolades including the Ivor Novello Award for Outstanding Song Collection in 2013, the NME Godlike Genius Award in 2012 and the Q Icon Award.

Following their first release on Darla, Eternal Horse is the ninth album of the Icelandic ambient rock band Stafraenn Hakon. On Eternal Horse, Stafraenn Hakon move away from the DIY experimental drony ambient and the lo-fi indie-rock sounds of their last albums, Prammi and Kælir Varðhund, and revisit the sound-spectrum of their previous Darla album, Sanitas (2010). Eternal Horse contains nine pop-oriented and vocally driven melodies. The album builds on certain elements heard on Gummi (2007) and Sanitas (2010), filled with soft and floating guitars mixed with heavier guitar sounds, layers of acoustic instruments and vocals. Vocals and lyrics on the album are in the hands of Magnús Freyr Gíslason and At The Close Of Everyday frontman, Minco Eggersman, who again collaborates with the band, providing his deep and soothing vocals to three songs on the album. As heard on the opening track Bræla, Stafrænn Hakon combines heavy sonic pallette of guitars mixed with airy melodic vocals. On Frigid/Bag a familiar tone is presented, heard on his highly acclaimed album from Ventill/Poki (2004). The journey continues with poppier elements and almost doomy sounds of the composition "Rene Russo". The band´s current line up consists of guitarists Ólafur Josephsson and Larus Siguðsson, bass guitarist Árni Þór Árnason, drummer Róbert Mar Runólfsson and singer Magnús Freyr Gíslason. Eternal Horse is the first Stafrænn Hakon album featuring the whole band collaborating on the songs in their studio, making the compositions more organic and fuller. Longtime and now previous member of the band, Samuel White contributes two songs. Recorded at Vogor Studios between 2011-2015. All songs by Stafrænn Hakon. Mixed by Daniel Lovegrove. Mastered by Finnur Hakonarson.Produced by Ólafur Josephsson and Daniel Lovegrove. Stafrænn Hakon: Árni Þór Árnason: Bass guitar Larus Sigurðsson: Electric Guitar, Acoustic instruments.. Magnús Freyr Gíslason: Vocals on Bræla, Kaos, Sót and Rene Russoi. backup vocals on Burning at both ends, I´m the beholder and Light. Ólafur Josephsson: Electric Guitars, Acoustic Guitar, Pianos, Organ, programming, percussion Róbert Runólfsson: Drums With.. Samuel White: Electric Guitar on Light and Falkor Minco Eggersman: Vocals on Burning at both ends, I´m the beholder and Light Additional Musicians: Frank Aarnink: Vibraphone Nói Steinn Einarsson: Drums on Falkor Tumi Árnason: saxaphone Þórður Hermannsson: Cello Þröstur Sigurðsson: Trombone Fredrik Robertsson Boulter: Additional piano on Burning at both ends Artwork by Árni Þór Árnason

Go March are an instrumental group based in Antwerp, Belgium and consist of Philipp Weies (guitars), Hans De Prins (synthesizers) and Antoni Foscez (drums). It is a new project born out of jam sessions that have resulted in their self-titled debut album, Go March, an electronic, Germanic-infused, post-rock screamer that is a sort of Mogwai meets Kraftwerk synthesis yet with all the futuristic propulsions of a new, fresh and hungry band making music not just for 2015 but for beyond. That said, while the group have landed on this irresistible blend of electronics, rock and more ambient passages, on Go March the initial conceptions for the record varied somewhat "My initial ideas for a possible sound were actually based around bands like Boris or Lightning Bolt, but the moments when we just improvised were simply far more interesting." Says Weies of the groups early evolutionary period. "When I first showed our demos to a friend of mine he said it reminded him of something between Trans Am and Maserati. My reply was: "Wow, we need to check them out!"

Whilst the group state that "It's quite difficult to pinpoint where inspiration actually comes from" Weies does concede that one particular inspiration holds especially strong for him, "I am vastly inspired by the movies of David Lynch, especially Lost Highway and even more specifically the sequence where a car is driving through the dark and all you see are the median strips passing by. The image has this distinct tunnel vision-feel to it that I am often looking for when making music." The beauty in repetition and hurtling down a pitch-black highway at midnight is an idea that runs through the record. "The first time I played demo versions of our tunes for somebody was in a car when we drove home around dusk. I can be a bit insecure about showing people what I do, but that situation seemed about perfect. I can totally dig a perfect 3:22" pop song, but I always had a weakness for seemingly endless repetition, mainly because it can put you in that state of trance. At a certain point you just get sucked in there and lose yourself completely"

Repetition, groove and minimalism are words that might spring to mind when describing Go March, but that's not to say the album is singular in it's vision. While the impact of Germanic proto-techno bands is a clear influence on the group, the freedom of contemporary electronic music, math rock and modern classical are all audible in the grooves of the album. "Personally I am diving into electronic music for some time now, which definitely had a big influence on how I produced the record" says Phillip ; "We didn't go for acoustically well sounding instruments. It was more important that every bit within a song served the other. And we took care that we didn't add more elements than necessary. It's something I'm looking for and I often find that kind of approach in electronic music (yes, I know there's a gazillion genres hidden in that term...) You often encounter more freedom there, especially in the way they process instruments.

Freedom from "gear heads", genre tropes and pre-conceived musical ideas is a rare thing, and Go March have managed to create a body of work through gut-instinct, intuition and feeling allowing the music to develop naturally to them. From debut single "Rise" which stretches a post-rock groove over the five minute mark, to 'Slow Horse' and 'White Lodge' which are smothered in glacial keys, synthesised throbs and shuffling poly-rhythms, Go March is a record that defies expectations and challenges the listener in equal measure. "The record obviously doesn't file under "summer hits of 2015" jokes Philipp, 'But even though the word "dark" slipped through my mind quite some times, I don't think it covers the intentions and how the album turned out to be. What we are looking for is more of an undistinct feeling somewhere in between melancholy and hopefulness", and you won't find that on a Now 54 compilation.

Beautiful Cover Versions Vol.II is a charmingly positive album, an antidote to weariness with tasteful samples. Will definitely be one of your favourites all day through everywhere; at home, at a café, in the car, while lounging, eating, partying... Just get the good vibes!

CD: 1
01. Youn Sun Nah - Avec Le Temps
02. Lisa Dillan & Asbjørn Lerheim - Love Me Tender (Ulf Holand & Quite Quiet Project)
03. Natalia Mateo - Take A Walk On The Wild Side
04. Heiko - Let's Stay Together
05. Pimpi Arroyo - I Can't Get No Satisfaction
06. The Bamboos - The Wilhelm Scream feat. Megan Washington
07. Pink Turtle - Breath You Take
08. Alaa Wardi - Aicha
09. Ahmad A. El Haggar - Rude
10. Nicolas Menheim - Commandante Ché Guevara
11. Blondie - The Tide Is High
12. Quantic & Anita Tijoux - Doo Wop (That Thing)
13. Busy Signal - Sweet Love (Night Shift)
14. Bosla - Somebody That I Used To Know (Bosla Arabic Cover)
15. Laurel Aitken - Perfidia
16. Antwerp Gipsyska Orkestra - Misirlou
17. Polkaholix - I Was Made For Lovin' You
CD: 2
01. Olivia Ruiz - My Baby Just Cares For Me
02. Dhany - Smooth Operator
03. Melania - Tu Vo' Fa' L'Americano
04. Ximena Herrera - La Vie En Rose
05. Imelda May - I'm Lookin' For Someone To Love (Album Version)
06. Marquess - El Porompompero
07. Skeewiff - Nitty Gritty
08. Smoove & Turrell - It's The Falling In Love
09. Zed Bias - Fairplay feat. Jenna G.
10. Dufunk feat. F.O.N. - Papa Was A Rolling Stone (Radio Edit
11. Fingathing - I Feel Love feat. Jesca Hoop
12. Santi & Tugçe Kurtis - Üsküdar (Original Mix)
13. Violina - Hava Nagila
14. Moon's Chameleon - Running Up That Hill
15. Raffunk feat. Gushi - Riders On The Storm
16. Belleruche - Mirror In The Bathroom
17. Nacho Sotomayor - Streets of Philadelphia (In love Mix/Francisco Sotomayor)
18. Gushi & Raffunk - Yellow (Original Mix)

Silver-tongued songsmith and true American treasure Kelley Stoltz presents a new collection of instant classics with just a hint more synthery than 2013's Double Exposure.

For those not yet in the fan club, Kelley's like a Ray Davies / Brian Wilson / Tom Petty power pop Cerebus from another dimension where well placed tambourines, handclaps, and wry observations are a universal language. Criminally under-appreciated, Kelley's face should be on Amoeba-bucks for his contributions to the pop canon—the black-lipstick-smeared stand-out and lead-off track 'Cut Me Baby' could be his walk-on music for the acceptance speech.

Each track here leaps off the table with Kelley's carefully considered wit and expertly layered arrangements. His innate way around a sticky hook and no shortage of tasty studio flourishes will bring out the listener's inner record nerd, guaranteed. It's got a little glam in it and it's out on Castle Face.

180g Vinyl Edition

Here we have a ONE OFF pressing of this classic album in SILVER GREY vinyl

Limited to 250 copies in UK, 1500 made - NUMBERED!!

IN STOCK NOW - ORDER NOW!!

Die drei Bigstyler sind zurück, um mit ihrem programmatischen Meisterwerk WELCOME TO THE INTERNET abermals die Tür zur Zukunft einzutreten. Wer glaubt, drei Elektro-Opas auf der
Wiederholspur zu erleben, bekommt von den Techno-Pionieren die rote Karte gezeigt. Schluss mit verlogener Zurückhaltung: HERE COMES THE REAL SHIT! Mit diesem Opus Maximus vereint FRAKTUS endgültig die Akzeptanz der Opinionleader mit der Kompatibilität am Massenmarkt. Heißt:
FRAKTUS gehen endgültig durch die Decke! Dickie Starshine (ehemalig Schubert), Bernd - Bernd' Wand und Torsten Bage (sprich Bäätsch), deren - Köpfe den gleichen Innenarchitekten' (O-Ton Wand) haben, beweisen mit ihrem Mach3-Kraftwerk, dass sie alles andere sind als ein Freak Accident, ein psychotischer Farbtupfer im globalen Musik-Schrott. Technisch auf Pole-Position, ausgerüstet mit den modernsten Tools, Apps und Gadgets, buchstabieren sie mit diesem Masterpiece die Zukunft der Musikgeschichte. Wie immer haben sie sich nichts geschenkt.

Snowflake 9 features two songs by Juniore, from Paris, France. Juniore is the brainchild of Anna Jean, a singer who lent her voice to songs of Parisian electro acts like Jackson, Jérôme ''Tacteel' Echenoz and Bot'Ox. Juniore, in which Anna Jean is joined by four other female musicians, is something competely different: surf, psychedelica, french female sixties pop and space age music are all blended together by producer Samy Osta (Rover, La Femme, Louis Chedid), while Anna Jean sings stories about being sleep deprived, restless or falling out of love. Anna's mysterious voice is reminiscent of 60s muses, think Nico meets Françoise Hardy. Juniore released three singles so far, and their Snowflakes Christmas Singles Club single is the fourth.

For their Christmas single, they have composed a reverb drenched dreamy original about the Christmas season. On the B-side, the band gave one of the biggest Christmas hits ever, Mariah Carey's 'All I Want For Christmas Is You' a total makeover- it now sounds like a psychedelic pop song from the sixties, sung Françoise Hardy in the small wee hours of the night. The single comes on snow white vinyl and is limited to 350 copies.

Revered by the music press and respected by his peers for his work as sound designer at the Pompidou Centre, Pierre Lefeuvre - the Parisian producer better know as Saycet - doesn't seem to have quenched his thirst for bright, dreamy, cleverly constructed melodies. Indeed, the extended version of Mirage is positive proof of his continued curiosity and creativity. Firstly, because it oscillates between abstract and orchestrated, animated tracks such as 'Météores' and 'Half Awake', one of the EP's high points recorded with Yan Wagner and Phoene Somsavath, now sporting its own music video. Secondly, because this new version - finally available on vinyl - contains a track from the Volcano EP ('True Love (Part.3)') and two new tracks taken from the Mirage B.Side EP, released on 16th October - the gentle 'Cherries & Memories' and a new acoustic version of 'Mirages' with vocals from Juliette Armanet, whose recent signing byUniversal and support tours for French pop deities (Sébastien Tellier, Brigitte, Julien Doré...) leave little doubt regarding her talents of seduction. All of which announces a host of exciting new directions for Saycet's music.

Snowflake 10 features two songs by Tele Novella, from Austin, Texas. Self-described as "psych-pop, indie-pop, macabre-pop, pop-pop. The pop kind", Tele Novella is Natalie Ribbons, Jason Chronis, Matt Simon and Sarah La Puerta and was formed in 2012, sometime after Natalie's previous band Agent Ribbons and Jason and Matt previous band Voxtrot broke up. Influenced by bands like Os Mutantes, Aislers Set, Velvet Underground, The Bachs and Belle and Sebastian, Tele Novella self-released their debut 7" 'Don't Be A Stranger' late 2013 - the record was met with raving reviews and sold out very quickly. Early 2014 saw their second 7", 'Trouble In Paradise', released on American Laundromat Records. That year, the band also contributed to the Wes Anderson tribute compilation on the same label, and they released a 5-song cassette EP on Lollipop Records.

Early 2016, Tele Novella will release their debut album. The A-side of their Snowflakes Christmas Singles Club single, 'Christmas Spirit', is a song that is a much a Halloween as a Christmas song - it's catchy, it's a bit silly, it's a perfect song to singalong too and it's over before you know it. On the B-side, Tele Novella cover Marvin Gaye's 'Purple Snowflakes', and make it sound as an authentic 1960s recording. The single comes on snow white vinyl and is limited to 350 copies.

Snowflake 7 features two songs by Terminal Gods, a gothic rock band from London. Formed in 2011, the band has released three singles and a EP on their own label Heavy Leather Sex Productions, and will release their debut album in Spring 2016. The sound of Terminal Gods is heavy influenced by the early 1980s gothic rock scene, otibly The Sisters Of Mercy (due to the baritone vocals of Crowley, the atmospheric guitar work of Maisley and the cold sounds of the drum machine), although the most recent single 'Road Of The Law' demonstrate that the band is more and more developing a sound of their own.

'Boundless', the A-side of their Snowflakes Christmas Singles Club, shows a total new side of the band, and sounds almost like a ballad, but one with a punch. The song is written from the perspective of Father Christmas, reflecting on his sometimes tiresome job to bring presents to people who ask a lot, but not take a real interest in him as a person. The B-side is a cover of one of the most popular Christmas pop songs from the 1980s, Chris Rea's 'Driving Home For Christmas'. Terminal Gods turn it into an almost industrial sounding postpunk song. The single comes on snow white vinyl and is limited to 350 copies.

- Demon Records is delighted to present the reissue programme of the albums by THE COMSAT ANGELS originally
recorded between 1980-'90 These albums prove beyond all reasonable doubt that while commercial recognition
may have eluded the Sheffield-based quartet, they still accumulated one of the most enviable, enduring and unsung
catalogues known to rock.
- This series begins with the trio of iconic, post-punk era LPs the Comsats recorded for Polydor - WAITING FOR A
MIRACLE; SLEEP NO MORE and FICTION); and also CHASING SHADOWS coupled with FIRE ON THE MOON (the latter
recorded while the Comsat Angels were known as Dream Command), which were both originally released by Island
Records.
- The second album was the intense, monumental SLEEP NO MORE (1981). A far heavier and darker record than the
debut, this album is widely considered one of the great post-punk LPs.

- Demon Records is delighted to present the reissue programme of the albums by THE COMSAT ANGELS originally
recorded between 1980-'90 These albums prove beyond all reasonable doubt that while commercial recognition
may have eluded the Sheffield-based quartet, they still accumulated one of the most enviable, enduring and unsung
catalogues known to rock.
- This series begins with the trio of iconic, post-punk era LPs the Comsats recorded for Polydor - WAITING FOR A
MIRACLE; SLEEP NO MORE and FICTION); and also CHASING SHADOWS coupled with FIRE ON THE MOON (the latter
recorded while the Comsat Angels were known as Dream Command), which were both originally released by Island
Records.
- The third and final album for the Polydor label was the understated FICTION (1982). Perhaps the most under-rated
of the three albums for the label, it has stood the test of time and remains a fan-favourite.

Demon Records is delighted to present the reissue programme of the albums by THE COMSAT ANGELS originally
recorded between 1980-'90 These albums prove beyond all reasonable doubt that while commercial recognition
may have eluded the Sheffield-based quartet, they still accumulated one of the most enviable, enduring and unsung
catalogues known to rock.
This series begins with the trio of iconic, post-punk era LPs the Comsats recorded for Polydor - WAITING FOR A
MIRACLE; SLEEP NO MORE and FICTION); and also CHASING SHADOWS coupled with FIRE ON THE MOON (the latter
recorded while the Comsat Angels were known as Dream Command), which were both originally released by Island
Records.
CHASING SHADOWS saw the Comsat Angels signed by Chris Blackwell to Island Records, with Robert Palmer on
production duties, the fans were delighted to hear the band move back towards their earlier atmospheric sound,
after two 'poppier' releases on the Jive label. A genuine 'return to form'.

Demon Records is delighted to present the reissue programme of the albums by THE COMSAT ANGELS originally
recorded between 1980-'90 These albums prove beyond all reasonable doubt that while commercial recognition
may have eluded the Sheffield-based quartet, they still accumulated one of the most enviable, enduring and unsung
catalogues known to rock.
This series begins with the trio of iconic, post-punk era LPs the Comsats recorded for Polydor - WAITING FOR A
MIRACLE; SLEEP NO MORE and FICTION); and also CHASING SHADOWS coupled with FIRE ON THE MOON (the latter
recorded while the Comsat Angels were known as Dream Command), which were both originally released by Island
Records.
The little-known FIRE ON THE MOON was recorded while the Comsats were briefly known as Dream Command, a
move encouraged by the label in an attempt to circumvent issues with the band name in the USA. The album was
only ever released in the USA and the Netherlands, and quickly deleted. A real 'lost' album for Comsat Angels fans.

A moment comes when you stop dreaming, start living and discover your destiny.

Based on author James Thurber's fantastical 1939 short story of the same name, the 2013 big screen rendering of The Secret Life of Walter Mitty features Ben Stiller directing and starring in the role of a day-dreamer who escapes his anonymous life by disappearing into a world of fantasies filled with heroism, romance and action. When his job along with that of his co-worker (Kristen Wiig) are threatened, Walter takes action in the real world embarking on a global journey that turns into an adventure more extraordinary than anything he could have ever imagined.

The music that accompanies those reveries reflects the actor's innate quirkiness. Film score composer Theodore Shapiro has been the go-to guy for movie comedies starring the major comic actors of the early 21st century, including Ben Stiller, Will Farrell, and Owen Wilson. Shapiro has scored numerous films, including Old School, Starsky & Hutch; The Devil Wears Prada and Blades Of Glory.

- 180 GRAM AUDIOPHILE VINYL
- GATEFOLD SLEEVE / INSERT
- PVC PROTECTIVE SLEEVE
- FEATURING JOSÉ GONZÁLEZ
- FIRST PRESSING OF 750 NUMBERED COPIES ON
WHITE & BLUE MIXED VINYL

Peter J. Birch: His real name is Piotr Jan Brzezinski. Peter J. Birch lives and composes in Wolów, small town in Poland near Wroclaw. Peter J. Birch is currently one of the most active polish artists. This 24-year-old singer/songwriter has given over 350 concerts, not only all over Poland, but also in 18 other European countries. He played at Heineken Opener Festival (Poland) 2011 and 2013, one of the biggest music festivals in Europe, at OFF Festival 2013 (Poland), Melodica Festival 2012 (Germany), Poke Festival 2013 (Slovakia), Sound of Bronkow 2014 (Germany) and much more. Solo and with the band. In 2013 his full lenght debut album "When The Sun's Risin' Over The Town" was released and got very positive press reviews in Poland and all arround Europe. His second album "Yearn" was released in September 2014 and had a good press as well. The third album "The Shore Up In The Sky" (Gusstaff Records) will hit the stores in November 2015 and is a new path chosen by the arist from Wolów. This time the young musician decided to record an album the way his idols did in the old days - live at the studio. The accompanying musicians are members of the band Two Timer from Poznan: Ernest Kalaczynski (guitar), Lukasz Rudnicki (bass) and Max Psuja (drums). The guys met on a first rehearsal and it worked right away so the musicians decided to register with them the whole album, which will be released this fall. There are also some special guests as well like Ania Brachaczek (BIFF) and Gosia Siara Witkowska (Qlhead + Siara) On "The Shore Up In The Sky" Peter is looking for some another sounds close to his soul so you'll find it all on this album. Not only acoustic indie folk and alternative country but some more paths, from rhythm & blues till psychedelic garage rock. Peter J. Birch websites:

Recorded in 1981, this classic album took the band further down the road of despair, initiated with Seventeen Seconds, with an album full of mournful atmospheric tracks, including their hit single, 'Primary.' Includes 6 bonus tracks in a deluxe gatefold 180 gram 2LP version.

Released in 1980 as the follow-up to their debut album, Three Imaginary Boys, and featuring a new line-up that included Simon Gallup and Mathieu Hartley, this is the album that gave the band their first hit ('A Forest'), and also began to solidify the brooding atmospheric sound that would soon make these grandfathers of goth international pop icons. Includes bonus tracks in a deluxe gatefold 180 gram 2LP version.

"Empty Airport", Chra's first LP on Editions Mego may be read as a reference to Brian Eno's ambient classic, though this time we find ourselves in a territory of transit that sounds like a dystopian swan song on civilizatoric debris - a heteropia in which the listener restores himself in a surrounding that is emptied of human remains, having left just some ghostly echoes behind. Chra aka Comfortzone-Labelfoundress Christina Nemec has traced out a post-anthropocene area in which acoustic entries of field recordings are stratified in layers of deconstructed noisescapes. Partly interspersed with clunky technoid bass-lines, an introspective space is opened, which excavates in a discreet and subtle manner, layers of abandoned wasteland. Nemec, who is a member of various band projects like Shampoo Boy (together with Peter Rehberg and Christian Schachinger) or the female berzerker formation SV Damenkraf as well as Pasajera Oscura, has succeeded in producing a significant LP, that merges dark techno and industrial with found sounds and ambient scapes, resulting in a compositoric minimalism that is ushering us in a state of existential trance.

The 'Under The Tracks' EP represents Formation's first collaboration with Brighton's house master/producer Leon Vynehall.
Lead track 'All The Rest is Noise' finds Formation harnessing their dual talents for insistent pop hooks and groove-orientated instrumental loops into their most immediately memorable moment to date. With a message that, you shouldn't suffer alone, shouldn't listen to those negative voices, shouldn't put yourself down. It can change.
The EP title track 'Under The Tracks' drops the tempo as piano, cowbell and Will Ritson's increasingly energised vocals flow together into a haze of rhythms, 'Love' layers upwards from its pulsing bass into a blend of waves of new disco with a defiant lyrical message about social alienation and a call for Love and solidarity between all people, Whilst 'Control' strips Formation's sound right back to its core with its inventiveness.

Fünf neue Songs, vereint in einer weltweit auf 1.000 Exemplare limitierten 10''. Wo das mit Kritikerlob
überhäufte Vorgängeralbum "The Spirit" raumgreifend und atmosphärisch Schwerpunkte setzte, arbeiten
Hugo Race und seine Männer auf "False Idols" den rauen, dreckigen Kern ihres Sounds heraus. Beide
Scheiben wurden im gleichen Studio in Melbourne aufgenommen. Wie Hugo Race sehr treffend bemerkt,
handelt es sich bei der EP um "a wild ride". Die fünf Songs erzählen eigenständige Geschichten und geben
den Blick frei auf die düstere Seite der Musik und Seele von Hugo Race & The True Spirit. Während das
hypnotische "Hematite" mit seinem rollenden Rhythmus zusammen mit Don Rogall geschrieben wurde,
besticht die düstere Delta-Blues-Nummer "Magnetic Girl" durch das atmosphärische Gitarrenspiel Patrick
Browns von The Hellhounds. "Lip Service" und das Titelstück "False Idols" zählen zu den intensivsten Songs,
die Hugo Race mit The True Spirit je aufgenommen hat.

When I was a child, I spoke to Helen.

Helen is a pop group from Oregon. Liz Harris (vocals/lead guitar), Jed Bindeman (drums/tambourine), Scott Simmons (bass/guitar), and Helen (back up vocals).

Originally started with the intention of being a thrash band, it turned into something else entirely. The Original Faces was recorded over a period of several years in Portland by the band members, their friends Nick, Chris and, largely, Justin Higgins. Written together, some songs based on Liz and Scott's demos.

Following his last solo release on Editions Mego in 2010 'A Handful of Automation', Robin Fox returns with 'A Small Prometheus', a significant new work which exposes a very different audio world to that previously encountered. In the intervening period Fox has been highly active with his widely acclaimed RGB (red, green, blue) laser show along with a recent collaboration with Atom (tm): 'Double Vision' which premiered at Unsound festival in 2014. 'A Small Prometheus' was developed as a soundtrack to a dance work of the same name co-created with Australian choreographer Stephanie Lake. The outline here was to explore the themes of combustion and heat dissipating in various physical systems.. Greatly extending the language of his creative output Fox constructs a synthesis of electronic and acoustic sources creating a deeply nuanced excursion through space and time, timbre and texture. There is a subtle intensity to the works here, 'A Pound of Flesh' is an industrial strength spiralling drone, intoxicating, disorientating, 'Antlers' takes the listener on an eleven minute ride through a vortex of pulsing and swirling electronics whilst the title track is an unnerving combination of distressed field recordings, closed mic'd crackle and a foreboding distant pulse. 'Through Sky' starts out with a slow menacing rhythmic backbone which hosts an arsenal of small sounds until a certain wind supplants all in an admirable and somewhat haunted exchange.

With it's combination of vast caverns, spiraling counterflows and microscopic investigations Fox has opened up a new world of sound in his personally trajectory and one most unlike others existing anywhere in the present day.

Zelienople have been an active part of Chicago's rich musical landscape for nearly fifteen years. Show Us The Fire is the band's first album for Chicago's Immune Recordings.  Zelienople have previously released critically acclaimed and quick to sell out albums on Type, Digitalis, Root Strata, and Time-Lag.
Mike Weis is also a member of Kwaidan with Locrian's André Foisy and has collaborated with Mind Over Mirrors, Steven Hess (Locrian, Cleared), Jasper TX, and Korean percussionist So Ra Kim.  Matt Christensen has released solo work on Bathetic and plays with Weis and Scott Tuma in Good Stuff House.