Pop & Rock Vinyl New Releases - News

Limited to 150 ! 12" blue colored vinyl - 2 tracks :

Limited to 500 ! 2 tracks :

This a compilation with a focus of the the role of a publisher: AUTOPILOT is a music pubblisher, founded by Willy Schwenken and Guido Möbius in 1997 and run mainly by Möbius since 2000. It features tracks by Black To Comm, The Art Of Painting, FS Blumm, Miwon and more..

As anyone who's ever stayed in one place far too long will know, sometimes a drastic change is what's needed. For Holy Family, the duo of non-blood brothers Anton Ekman and Viktor Hansson, a radical relocation from Sweden to Canada has helped shape the sound of their transatlantic debut album Can't Dance, Wont Steal, Need Some Help. The last months before moving to Montreal, living in Gothenburg had become increasingly unbearable,' recalls Ekman. To us, Gothenburg was the city that we'd initially adopted as our home and it's accepting us was a big deal. But inevitably we started dragging our feet behind us and needed a change of pace.'Country kids at heart, Montreal's lush scenery provided respite from the daily rigmarole of their home city with Canada's open spaces having a far bigger influence on the pair than they expected. The expedition wasn't a case of simply 'finding' themselves, this was a band who had already met, gotten to know each other, performed at Toronto Film Festival, received an award from the Swedish Association of Composers (STIM), and broken up with themselves, originally a trio until their third member left town, if anyone could be certain of their identity, it's Holy Family. As a trio we struggled to make long-distance work but after a while we had to accept that sending files back and forth between each other wasn't for us,' admits Hansson. Our sole goal was to make enough tracks to fund inter-rail tickets for an Eastern European tour. Somewhere down the line we stopped dreaming of Eastern Europe but continued making tracks.'Ironically, going the distance was precisely what the pair needed, and under their new guise as a duo they set course for Montreal having felt a kinship with Canadian exports Wolf Parade and Godspeed You! Black Emperor whilst needing to venture far enough away so that backing out wasn't an option. Whilst strolling around downtown on one of their first days in the city, the pair passed a homeless man with sign that said "Can't dance, won't steal, need some help". It stuck with us. Possibly because it did feel like we needed a whole lot of help being in a new town without any real safety nets,' they remember.Superbly demonstrating Holy Family's uniquely ambivalent sense of place, five of Can't Dance's tracks were completed in Montreal with the other five completed back in Gothenburg. The sound of two worlds colliding, it's a culmination of where the duo is headed and where they've already been. Written whilst sharing the one-bedroom Montreal apartment where the band currently resides, 'East Coast Nerves' resurfaces the mechanical rhythms heard by Viktor in a previous life as a Gothenburg dock-worker, whilst home-grown track 'Youth Cult's stripped back mood looks towards the pair's future in their new location. The fuzz ripping through the doom laden garage sound of Gothenburg track 'Keeping Up' recalls the city's unquenchable thirst for romanticising the industrial working class days and it's brilliantly offset against the uplifting atmospherics of Montreal track 'Trail Of Songs'. To be able to have the perspectives of both being inside looking out and outside looking in was important,' they say. The first couple of months after moving to Montreal we hadn't really started working so inevitably a lot of time was spent reflecting on how our lives had been previously and trying to figure out how we wanted them to be.'Whether finding a way to mix things up a little or simply as a means of escape Can't Dance is an album fuelled by hope. From questioning the status quo and social roles of a previous life to focusing upon wants and needs mostly born out of personal frustrations for now, Holy Family's distinct approach comes from appreciation rather than disdain, from hoping that life will prove itself somewhat moldable, wherever they find themselves.

Limited to 200 RSD Release ! 2 tracks

MINI LP - a mini album by Busy P unreleased OST ( skateboard documentary soundtrack) 5 tracks :

Limited to 200 ! 2 tracks :

Die im Mai letzten Jahres erschienene - Brief Embrace EP von Aaron Ahrends blieb nicht ohne Folgen. Michaela Dippel besser bekannt als Ada (Pampa) hatte sich sofort in - Newborn verliebt und begann einen Remix zu entwickeln. Dies ging mit der Aufnahme einige Larven einher, die sich unter ihrer Aufsicht verpuppten und letzten Endes als Schmetterlinge nun wieder in die Freiheit entlassen wurden. Der Song ist ein unglaublicher Ohrwurm und versüßte uns so einige Grillparties im letzten Sommer.

Die wunderbare Band Forgotten Birds (Karaoke Kalk) haben sich eigentlich im letzten Jahr erst mal von der Bühne verabschiedet. Dass eine Band überhaupt eine Remixanfrage annimmt, ist ja schon ungewöhnlich genug. Ihr erster und vielleicht sogar letzter Remix entstand spontan aus einer Studiosession. Umso mehr freuen wir uns auf ihr musikalisches - Abschiedsgeschenk !

Dave DK (Kompakt/ Pampa) spielte die EP öfters und verliebte sich in - Casiotone 401 , sodass er sich für seine Sets einen DJ-freundlichen Edit baute, welcher dieses Release mehr als rund macht.

Recently we've been thrilled to announce that Django Django will release their new album, Born Under Saturn, on May 4th 2015 via Because Music.

Django Django's debut album came out in January 2012 on Because Music and was lavished with praise. It was 'updated psychedelia that beguiles and delights' (The Guardian), 'consistently mind-melting and often brilliant' (Q), 'bursting with ideas' (Pitchfork) and 'gloriously, unpredictably new' (Mojo). By December it had been shortlisted for the Mercury Prize and named one of the albums of the year by Rolling Stone and NME. They became known from their electric live performances full of energy, and went on to play memorable shows at festivals across the globe including as Glastonbury and Fuji Rock.



This much-anticipated first ep from Born Under Saturn, First Light, will release on April 6th to much excitement with great remixes whose one is produced by recently critical acclaimed producer, Ghost Culture (Phantasy Sound).

LP: incl. mp3
Dropout Patrol is one of those bands whose concerts are always interrupted at some point by someone who starts talking at the top of their voice. Why Maybe it's because the music is so quiet, so reserved. Like something from the days when Cat Power was still making Indie rock, Jason Molina was still alive, and Geoff Farina's exceptional band Karate was still in existence. But that makes it sound as if everything was better then, when really, it was rarely ever as good as here and now.

Reissue of 1986 Debut full-length album'A Cup Of Tea and A Lye Down'. Re-mastered and packaged featuring liner notes, posters and flyers presented in a gatefold. Flying Nun and Capture Tracks reissue of the Able Tasmans' 1986 debut full-length album 'A Cup Of Tea and A Lye Down' with bonus 12' containing the bands first EP 'The Tired Sun' (1985) and three bonus tracks. Initially, hailing from Whangarei, one of New Zealand's northernmost city, The Able Tasman's where more than 1500km's away from Flying Nun's epicenter Dunedin. However, this never hindered involvement with the label releasing four albums and two EP's filled with their own brand of sweet and crafty guitar pop. Named after the Dutch explorer Abel Tasman (who first discovered New Zealand in the late 1960's) the band themselves were avid explorers limited only by their imagination. Their song writing and arrangement crossed lines between baroque and indie pop integrating field recordings and bringing keyboards to the forefront of their music. They are also the only New Zealand band to tastefully incorporate bagpipes into a song. 'It was Flying Nun who gave us the chance to record. We remain grateful. I personally felt some pride in hailing from Whangarei, not a major center and certainly not southern, yet doing music that Flying Nun and its grand stable of thoroughbreds thought was something akin to good.' founding member Graeme Humphreys explains. Even as a dinky 3-piece with not a guitar in sight we were invited to tour alongside Look Blue Go Purple and The Chills. It was a massive vote of confidence.' Now, after nearly two decades their debut album will be available again, with this new collection dedicated to the late David Beniston, the Able Tasmans' original bassist and founding member.

'Independent Worm Saloon' is the major label debut by the Butthole Surfers originally released by Capitol Records in 1993. Riding the wave of the early 90s alternative explosion the band used some of that major label money and hired former Led Zeppelin bassist John Paul Jones as producer and the result is a tight in your face album that didn't tone down the band at all. Gibby Haynes is in fine form with his often hilarious and bizarre vocals and lyrics working their way into your brain on all out rockers like 'Who Was In My Room Last Night' and 'Goofy's Concern' and on the more mellow numbers such as 'The Ballad Of Naked Man' and 'You Don't Know Me'. First time ever domestic vinyl release.

A sound that's equal parts aggressive and odd, with killer riffs and, occasionally, a horn solo. It's post-modern punk music, unpredictable and consistently intriguing. Here's what the press is saying about it: "They create this sound that's equal parts "aggressive" and "odd", with killer riffs and, occasionally, a horn solo. It's post-modern punk music, unpredictable and consistently intriguing" - Pitchfork // "Teenanger toil in garage-inflected post-punk, keeping the proceedings loose enough to give character, but never soft." - Noisey // "'Hot Rods' is a loser anthem perfect for when you're smoking cigarettes in the alley, complaining about all the
yuppies and jocks." -Consequence of Sound // "Melissa Ball sings with a Kim Deal sigh, as her band's metal-on-metal lurch sticks to her like migraine in a tarpit. " - Chartattack // "Vocalist Chris Swimmings keeps the anger burning against guitarist Jon Schouten's wall of fire and raw fury. " - Impose

The "misfits' misfits" the Nightingales new album 'Mind Over Matter' is released on CD and as a limited edition 180g vinyl, gatefold sleeve LP by John Robb's Louder Than War label on Monday 11 May.

Like the band's last three albums 'Mind Over Matter' was recorded in Germany at Hans-Joachim Irmler's Faust Studio and produced by the 'Gales bassist and Faust Studio house engineer Andreas Schmid.

The Nightingales were formed by former Prefects (Clash's 'White Riot Tour', Peel favourites, etc) vocalist Robert Lloyd and recorded a bunch of albums and 45s in the 1980s - as well as playing shows throughout Europe as headliners and supporting acts as diverse as Bo Diddley and Nico - but stopped working when Lloyd decided to combine a 'solo career' with money earning manual labour.

Around a decade ago Lloyd chose to revive the 'Gales but not as a nostalgia act performing old material for the entertainment of the affluent and ageing ex punk/indie brigade but as an uncompromising, confrontational contemporary group. His idea of what the band should be doing has taken time to come to fruition largely due to the coming and going of various mercenary, starry eyed, wastrel &/or part time musicians but during the recording of the 'Insult To Injury' album in 2008 Lloyd met Schmid who joined  the band and at last the group "got good" (R.Lloyd).

The Nightingales then "got great" when former Violet Violet drummer Fliss Kitson joined the group a year or so later prior to  recording the Cooking Vinyl album 'No Love Lost' in 2012. The Violets had been a regular support to the 'Gales over the years and Lloyd had always been an admirer of Kitson's playing so when that band split up and she agreed to become a Nightingale he was "made up" and finally the group was "proper".
 
This line up (completed by original Prefect Alan Apperley on guitar) became a  top notch live unit and following the sold out, self released 'For Fuck's Sake' LP in April '14, the streamlined four piece Nightingales embarked on their most successful UK tour to date before writing the new album and recording in September at the end of a short tour of Germany and Austria.  
The Nightingales were formed by former Prefects (Clash's 'White Riot Tour', Peel favourites, etc) vocalist Robert Lloyd and recorded a bunch of albums and 45s in the 1980s - as well as playing shows throughout Europe as headliners and supporting acts as diverse as Bo Diddley and Nico - but stopped working when Lloyd decided to combine a 'solo career' with money earning manual labour. Mind Over Matter' is a short, sharp blast of melody, rhythm, irritation and humour. The group might play around but does not fuck about. They may indulge themselves but do not waste your time. They could be mad but are most certainly diligent.

To coincide with the album's release the Nightingales will be recording a session for Marc Riley's BBC 6 Music show on May 13 before touring the UK and Ireland from Friday 15 May - Thursday 4 June (gig list to follow). Further UK dates plus trips to West Coast USA and mainland Europe are currently being booked for later in the year and a compilation of covers of 'Gales songs by various fans/artists is scheduled for release in the next twelve months.

The latest issue in our Record Store Day exclusive Picture disc series, this is a fully licensed, limited, hand-numbered edition of 1000 copies only 7' with two classic Joy Division tracks. Our little contribution to the celebration of vinyl and indie record stores and a nice souvenir you can both listen to and frame on your wall!

Recorded with a multitude of collaborators in Europe, Japan, Australia and the USA, Quixotism presents the fruit of two years of work in the form of a single, LP-length piece in five parts. Ambarchi's work in recent years has evinced an increasing fascination with the possibilities of combining abstract sonic textures with rhythm and pulse, whether in his drumming with Keiji Haino, the subtly driving ride cymbals provided by drummer Joe Talia in their work together, or the motorik grooves of Sagittarian Domain (Editions Mego, 2012). Quixotism takes this aspect of Ambarchi's recent work to the next level: the entirety of this long-form work is built on a foundation of pulsing double-time electronic percussion provided by Thomas Brinkmann. Beginning as almost subliminal propulsion behind cavernous orchestral textures and John Tilbury's delicate piano interjections, the percussive elements (elaborated on by Ambarchi and Matt Chamberlain) slowly inch into the foreground of the piece before suddenly breaking out into a polyrhythmic shuffle around the halfway mark, being joined by master Japanese tabla player U-zhaan for the piece's final, beautiful, passages.

The pulse acts as thread leading the listener though a heterogeneous variety of acoustic spaces, from the concert hall in which the Icelandic Symphony Orchestra were recorded to the intimacy of Crys Cole's contact-mic textures. Ambarchi's guitar itself ranges over this wide variety of acoustic spaces, from airless, clipped tones to swirling, reverberated fog. Within the complex web Ambarchi spins over the piece's steadily pulsing foundation, elements approach and recede, appear and reappear, in a non-linear fashion, even as the piece plots an overall course from the grey, almost Nono-esque reverberated space of its opening section to the crisp foreground presence of Jim O'Rourke's synth and Evyind Kang's strings in its final moments. Formally indebted to the side-long workouts of classic Cologne techno, the long-form works of composers such as Eliane Radigue, and the organic push and pull of improvised performance, Quixotism is constantly in motion, yet its transitions happen slowly and steadily, so that they are often nearly imperceptible, the diverse elements which make up the piece succeeding one another with the logic of a dream.

Anyone who follows Ambarchi's work knows that it has many facets: explorations of the outer limits of rock with Keiji Haino, psychoacoustic interference and sizzling harmonics in his solo performances, delicate improvisations with Keith Rowe or John Tilbury. To all these projects, Ambarchi brings his particular sensibility, patiently allowing sounds to develop on their own terms without forsaking their intrinsic physical and emotional power. Similarly, although Quixotism is shaped by its many contributors, the resulting sound world is unmistakably Ambarchi's own. His most substantial solo release since Audience of One (Touch, 2012), Quixotism represents the summation of Ambarchi's work over the last few years while also pointing to the future.

"Nisennenmondai - Live at Clouds Hill" is the new live record from the Tokyo-based all-female intrumental trio Nisennenmondai. Recorded Live in Hamburg by Johann Scherer (producer i.e. for Gallon Drunk, Bosnian Rainbows) the longplayer is supported by a European tour!

Recorded with a multitude of collaborators in Europe, Japan, Australia and the USA, Quixotism presents the fruit of two years of work in the form of a single, LP-length piece in five parts. Ambarchi's work in recent years has evinced an increasing fascination with the possibilities of combining abstract sonic textures with rhythm and pulse, whether in his drumming with Keiji Haino, the subtly driving ride cymbals provided by drummer Joe Talia in their work together, or the motorik grooves of Sagittarian Domain (Editions Mego, 2012). Quixotism takes this aspect of Ambarchi's recent work to the next level: the entirety of this long-form work is built on a foundation of pulsing double-time electronic percussion provided by Thomas Brinkmann. Beginning as almost subliminal propulsion behind cavernous orchestral textures and John Tilbury's delicate piano interjections, the percussive elements (elaborated on by Ambarchi and Matt Chamberlain) slowly inch into the foreground of the piece before suddenly breaking out into a polyrhythmic shuffle around the halfway mark, being joined by master Japanese tabla player U-zhaan for the piece's final, beautiful, passages.

The pulse acts as thread leading the listener though a heterogeneous variety of acoustic spaces, from the concert hall in which the Icelandic Symphony Orchestra were recorded to the intimacy of Crys Cole's contact-mic textures. Ambarchi's guitar itself ranges over this wide variety of acoustic spaces, from airless, clipped tones to swirling, reverberated fog. Within the complex web Ambarchi spins over the piece's steadily pulsing foundation, elements approach and recede, appear and reappear, in a non-linear fashion, even as the piece plots an overall course from the grey, almost Nono-esque reverberated space of its opening section to the crisp foreground presence of Jim O'Rourke's synth and Evyind Kang's strings in its final moments. Formally indebted to the side-long workouts of classic Cologne techno, the long-form works of composers such as Eliane Radigue, and the organic push and pull of improvised performance, Quixotism is constantly in motion, yet its transitions happen slowly and steadily, so that they are often nearly imperceptible, the diverse elements which make up the piece succeeding one another with the logic of a dream.

Anyone who follows Ambarchi's work knows that it has many facets: explorations of the outer limits of rock with Keiji Haino, psychoacoustic interference and sizzling harmonics in his solo performances, delicate improvisations with Keith Rowe or John Tilbury. To all these projects, Ambarchi brings his particular sensibility, patiently allowing sounds to develop on their own terms without forsaking their intrinsic physical and emotional power. Similarly, although Quixotism is shaped by its many contributors, the resulting sound world is unmistakably Ambarchi's own. His most substantial solo release since Audience of One (Touch, 2012), Quixotism represents the summation of Ambarchi's work over the last few years while also pointing to the future.i

Breakfast In Fur began as a recording project between Dan Wolfe and Kaitlin Van Pelt in the burgeoning music scene of New Paltz, NY. With the inclusion of friend and guitarist Michael Hollis, Breakfast In Fur was truly born.

The band's first release was an eponymous EP that came out on 10' vinyl on Analog Edition Records in 2011. Sonically the EP is a self-contained universe of jangly guitar, children's toy sounds, layered percussion, droning accordion and Wolfe and Van Pelt's soft, whispered vocals.

Flyaway Garden marks Breakfast In Fur's transition from the quiet bedroom folk of their first EP into the experimental psychedelic rock of their new album. Now performing live featuring Dan Wolfe (guitar/vocals), Kaitlin Van Pelt (synths/vocals), Mike Hollis (lead guitar/bass), and Chris Walker (drums).

While maintaining elements of the pastoral folk of their first EP on songs like 'Portrait" and 'Whisper,' Flyaway Garden also sees the band moving into more aggressive, punk influenced territories with tracks such as 'Shape" and "Setting Stone.' British IDM and ambient music play a significant role on their new album, most notably in the electronic textures that accent, and occasionally envelop these recordings. Largely self-produced in Van Pelt and Wolfe's home, Flyaway Garden presents a nuanced, idiosyncratic production. As Pitchfork wrote in their review of the album, 'Flyaway Garden makes an airtight case for Breakfast In Fur's atmospheric allure and mastery of mood.'

Commenting on the lyrical content of their latest album in the Miscreant Fanzine, Breakfast In Fur noted that 'the new record has a lot of songs about time and identity— like when you look at a photograph of yourself as a child... how are you that person There's a lot about that kind of feeling.' These questions of identity and the passing of time crop up all over Flyaway Garden. Tellingly, the cover art (created by Van Pelt) features a small child engulfed in a stream of flowing colors, an image that conjures Breakfast In Fur's psychedelic vision, as well as layers of stratum that depict the passing of geological time.

Mini Mansions machten in der Vergangenheit hierzulande durch ein Cover von Blondie's Heart Of Glass auf sich aufmerksam. Nun folgt der mittlerweile schon dritte Tonträger des Trios aus Californien.

Bei Mini Mansions handelt es sich übrigens um das Bandprojekt von niemand geringerem als Michael Shuman, dem Bassisten von - GENAU - Queens Of The Stone Age, eine Band, deren Mitglieder ja durchaus offen für - Nebenprojekte sind. Neben Shuman besteht die Band noch aus Zach Dawes und Tyler Park, die alle drei eine Liebe zum Punkrock und Melodien teilen. Auf The Great Pretenders zeigt sich genau das, die Songs zeugen vom tiefen, abwechslungsreichen musikalischen Zusammenspiel dieser drei. Gleichzeitig ist es sicherlich aber auch das einzige Album auf dem als Gäste zugleich Beach Boys Mastermind Brian Wilson und Arctic Monkeys Sänger Alex Turner zu hören sind. Die erste Single trägt den schmucken Namen - Death Is A Girl , ein Track der geschickt psychedelischen Pop mit 80er Wave mischt.

"Bricks Are Heavy" was the third album by L7 originally released in 1992. Produced by Butch Vig "Bricks Are Heavy" is somewhat poppier with more focused songwriting than their previous LP's and was the bands breakthrough album fueled by the success of the single "Pretend We're Dead". L7 was often associated with the then raging Grunge movement (even though they were from L.A.) and it's not hard to see why as the album features abrasive, sledgehammer guitar riffs and plenty of heavy rockers with the songs "Wargasm", "Slide", and "Everglade". The group emphasized their feminist and Riot Grrrl side with "This Ain't Pleasure" and "Diet Pill". First domestic release on vinyl for this early 90s alternative classic.

Speedy Ortiz is proud to announce their sophomore album, Foil Deer, which will be released via Carpark Records on April 20th.

'Major Arcana' released in 2013 won them glowing reviews , features and several UK tours (highlights below):

- 4 PAGE NME FEATURE

- 9/10 LEAD REVIEW IN NME: 'One of the reasons 'Major Arcana' works so well is because it's addictive and fun. The guitars and bass sound incredible, like the last Deerhunter album without the Yankee Doodle Dandy'

8/10 Drowned In Sound : ' Speedy Ortiz are way too euphoric and glorious to suffer for their artfulness. Stripping away the frills, at heart Major Arcana is a mournful treasure that asks to be celebrated.'

*NME RADAR FEATURE: 'What's miraculous, though, is that Major Arcana doesn't sound at all self-pitying; it's torrid Slint-meets-Pavement rattle bolsters Sadie's relished words so that yelling along is an exercise in gleefully exorcising your own demons'

8.4 ON PITCHFORK: : 'There's the squalling, guitar-on-guitar carnage of Archers of Loaf, the grungy mysticism of Helium (Dupuis lifted the title Major Arcana from a book she was reading on black magic), and of course the deadpan wit of vintage Liz Phair ('I was never the witch that you made me to be,' Dupuis tells a burnt-out old flame on 'Plough', 'Still you picked a virgin over me').

Standard LP is gatefold, single black LP with chapbook, plus digital download card.
Deluxe LP Is as above but with metallic gold coloured vinyl, and sticker.(200 ONLY FOR UK)
CD comes in digipak with a folded poster approximating the chapbook in the LP.

Speedy Ortiz said they would get the flowers themselves. What a lark! What a plunge!

When considering Massachusetts' Speedy Ortiz, that line from Virginia Woolf comes to mind. Not only for the obvious echoes to DIY, a form and function that's characterized the band's nascency, but in the proto-feminist undertones driving much of their sophomore album, Foil Deer. "I'm not bossy, I'm the boss," Sadie Dupuis sings on "Raising the Skate," invoking in spirit one half of the Carter-Knowles clan and echoing the other's wordplay. And wordplay makes sense, considering Dupuis-the band's songwriter, guitarist, and frontwoman-spent the band's first few years teaching writing at UMass Amherst. She's drawn to the dense complexity of Pynchon, the dreamlike geometry of Bolaño, the confounded yearning of Plath-all attributes you could easily apply to the band's 2013 debut Major Arcana, which fans and press alike have invested with a sense of purpose and merit uncommon in contemporary guitar rock.

The group, including Mike Falcone on drums, Darl Ferm on bass, and new addition Devin McKnight of Grass is Green on guitar, have spent the last year on an almost endless cross-continental touring jag, tagging along with the likes of The Breeders, Stephen Malkmus & the Jicks, and Thurston Moore. That shift into full-time musicianship brought with it an attendant reordering of priorities when it came to songwriting, and the band members' lives in general. They would get the damn flowers themselves.

Dupuis wrote much of Foil Deer at her mother's home in the Connecticut woods, where the songwriter imposed a self-regulated exile and physical cleansing of sorts, finding that many of the songs came to her while running or swimming alone. "I gave up wasting mental energy on people who didn't have my back," she says. "Listening to our old records, I get the sense I was putting myself in horrible situations just to write sad songs. This music isn't coming from a dark place, and without slipping into self-empowerment jargon, it feels stronger." Many of the songs deal with a similar sense of starting over, editing out the unnecessary drama. "Boys be sensitive and girls be, be aggressive," she sings on "Mister Difficult."

And while their debut album was recorded on the fly, Speedy Ortiz spent almost a month in the studio on Foil Deer. Falcone's drums are taut, mechanistic; Ferm's bass ranges from the aggressive rattle of an AmRep classic to smoother, hip-hop inspired lines. McKnight, meanwhile, lends spacier, textural riffs to complement Dupuis' wiry, melody-driven guitar style. "The demos for our songs have always had tons of small details and production experimentation, but we never had any money to pay for more than a couple days in the studio, so the songs came out very live-sounding and guitar heavy," Dupuis says. It was recorded and mixed at Brooklyn's Rare Book Room with Nicolas Vernhes (Silver Jews, Enon, Deerhunter), with the record mastered by Emily Lazar (Sia, Haim, Beauty Pill), lending a more polished sound and a pop sensibility that will stand out to existing fans and new converts alike. For all the lyrical complexity and guitar-based excursions Speedy Ortiz have built their reputation on to this point, Foil Deer has a sense of light-footed fun. What's the point of doing things yourself if you're not going to enjoy the trip

Standard LP is gatefold, single black LP with chapbook, plus digital download card.
CD comes in digipak with a folded poster approximating the chapbook in the LP.

180g LP In Gatefold Jacket Includes Art Print Poster + DL Coupon. Godspeed You! Black Emperor (GYBE) returns with its first single LP-length release since the group's earliest days in 1997-99. 'Asunder, Sweet And Other Distress' clocks in at a succinct 40 minutes and is arguably the most focused and best sounding recording of the band's career. If Godspeed around the turn of the millennium felt like a band of the moment, now, in a time of rapid cultural turnover and bite-sized music consumption, they feel out of step in a very necessary way.' - PITCHFORK // This Montreal collective still sound like nothing else...The Godspeed ethos of wordlessly eliciting universal truths remains as devastatingly effective as ever.' - THE GUARDIAN // Working with sound engineer Greg Norman (Electrical Audio) at studios in North Carolina and Montréal, GYBE slowly and steadily put the new album together through late 2013 and 2014, emerging with a mighty slab of superlative sonics, shot through with all the band's inimitable signposts and touchstones: huge unison riffage, savage noise/drone, oscillating overtones, guitar vs. string counterpoint, inexorable crescendos and scorchedearth transitions. Following Godspeed's return from a long hiatus at the end of 2010 to begin playing live shows again, and with the hugely acclaimed 'Allelujah! Don't Bend! Ascend! release in 2012 marking their first new release in a decade, the group continued to perform regularly on their own headlining tours (and as headliners at many leading festivals), often including a new multi-movement piece in concert over the past couple of years. Known to fans and through live show recordings by the sobriquet Behemoth', GYBE has gradually distilled this new work down to a fastidious and uncompromising essence in the studio, with the swing-time swagger of the opening unison riff in Peasantry or 'Light! Inside of Light!'' giving way to increasing microtonal divergences and an exhilarating immersion in the harmonic power of massed amplified instruments, before collapsing into some of the most visceral and unalloyed noise/drone the band has yet committed to tape on Lambs' Breath' and Asunder, Sweet'. The album closes with Piss Crowns Are Trebled', a 14-minute piece of vintage Godspeed, where ascending and descending guitar and violin melodies intertwine over gut-rattling distorted bass in 3/4 time, segueing into a pummeling four-on-the-floor series of sparkling, soaring crescendos. 'Asunder, Sweet And Other Distress' finds Godspeed in top form, a sterling celebration of the band's awesome dialectic, where composition, emotion and 'note-choice' is inextricable from an exacting focus on tone, timbre, resonance and the sheer materiality of sound.

"Nisennenmondai - Live at Clouds Hill" is the new live record from the Tokyo-based all-female intrumental trio Nisennenmondai. Recorded Live in Hamburg by Johann Scherer (producer i.e. for Gallon Drunk, Bosnian Rainbows) the longplayer is supported by a European tour!




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Vinyl including CD. Recorded at Chicago's infamous Electrical Audio Studio with Steve Albini (Nirvana, The Pixies, Neurosis, The Jezus Lizard, ...)

Kristen, one of the best bands in Poland, was formed in the late 1990s and since then released seven albums. Initially inspired by Chicagoan post-rock and math-rock, Kristen gradually embraced avant rock, free-jazz flexibility and delicate brushes of electronics. They expanded their basic trio on some recordings, but have continued to play live in their core format of guitar, baritone guitar, drums, sampler and vocals. Thanks to excellent concerts they found themselves touring with Deerhoof, Xiu Xiu, Joe Lally, Talibam! and Karate, and playing at festivals such as Primavera Sound or Incubate. Kristen's most recent output, "The secret map" demonstrates their amazing ability to stretch the rock template. The group enhances their trademark sound that walks the fine line between frenetic kraut/noise rock and melancholic ballads. Compared to the groups previous efforts, The Secret Map might be their most experimental work to date, preferring the slowly ascending, free roaming echoing rock semi-improvisations somewhere between The Dead C and Tarentel. But most of all, you will discover a fully developed band which seamlessly blends song-writing and improvisation, emotions and abstract soundscapes into absolutely unique music.

Beach Beach have spent two years swimming, front crawl style. Fast and forceful, these Majorcans fled the island they were born in and squeezed every song in their debut album Tasteless Peace (La Castanya, 2012), a record that dares you to go underwater and see how long you can go without breathing, to the last drop. Now they are back with a brand new recipe in their hands and an expanded set of cooks. In The Sea Pau Riutort and Tomeu Mulet have benefited from the participation of Àngel Garau on drums and Lluís Cabot on guitar.

Is there anything shinier than a guitar through a chorus effect, a 12-string and an acoustic guitar playing in unison Probably, you would only be able to get the same feeling by staring at the sun without your valued shades. Fast paced rhythms, overdriven basses and beautiful background vocals. They have dared to do it all: percussion arrangements, guitar solos, instrumental parts, harmony vocals... Maybe the bands from the C-86 movement will come to mind, something that the wonderful 'Just Like Before' corroborates. Crystal-clear guitar lines may remind you of The Smiths as well. But let's not forget The Feelies, or New Zealand's kiwi-pop, or Postcard Records, or American power pop à la early The Last.

The Sea greets you and then says goodbye, leaving the gift of 12 cuts with a distinct radio jingle feel, as fresh as taking a bath by the seashore rocks in the afternoon o having a glass of lemonade with lots of ice. As it was the case with Tasteless Peace, this is a feeling that contrasts with a set of lyrics that comes across as less summery, more metaphorical, inspired by Blai Bonet and his novel El Mar ('The Sea', hence the album title) or Llorenç Villalonga. Lost opportunities and growing up in a world full of cowards seem to leave no other option than running away towards some uncertain location, but always forward.

Beach Beach will rather face anguish by lying in the sun, pouring water on their wrists and the back of their necks, like moms do. They couldn't do it any other way; they've thrown the fishing line again and have taken enough fish out of the water to make us all enjoy a delicious seafood paella. It might lack the shellfish, but The Sea is a brilliant record.

The latest single from Jack White's record-breaking Lazaretto album showcases the anthemic ''Would You Fight For My Love'' a song that weaves in and out of movements and moods and crushes the listener with intensity. The b-side features a stunning cover of ''Parallel'' written by Dean Fertita (Queens of the Stone Age, The Dead Weather) and Brendan Benson (the Raconteurs) and originally released under Fertita's Hello=Fire moniker. In addition, the artwork of the single fits in with that of the previous five picture sleeves of Jack White singles, a continuing visual narrative progressing one record at a time.

Right from their inception in 1976, back in the first stirrings of punk, Wire went about making music in a subversive, conceptual way, setting themselves apart from both their peers and their influences.

'I had this idea that I wanted to avoid things that had a particular kind of tradition,' explains singer and guitarist Colin Newman. 'I thought the three-chord trick was too simplistic and that the one-chord trick would be better. Or the two chord trick where the second chord is definitely not the right chord.'

Bass guitarist and vocalist Graham Lewis identifies another trait that has run throughout the group's lifetime. ' People said, we were mysterious, arch and dark. But the only way of doing that successfully, is by also having a sense of humour. You have to have that balance. With Wire there's a peculiarity, a contrariness and that can be funny." This questing approach has served them well in guarding against repetition and cliché. In context, Wire's last album, 2013's aptly titled Change Becomes Us was another case of 'Expect the unexpected' as it found them extensively reworking a rich cache of material abandoned amid a temporary

break-up in the early 80s.



Their 13th studio album - simply titled Wire - comprises material that was written with the album in mind, but toured extensively first, as well as songs that Newman introduced to the group in the studio just prior to recording. The idea was to get the most spontaneous reaction possible from the musicians, and far from the rough and ready results one might expect from such a tack, Wire is full of swooning pop melodies with a 60s tinge and an irresistible, near motorik rhythmic momentum. One can recognise certain melodic inflections, guitar and bass motifs, and drum rhythms from Wire's idiosyncratic vocabulary but it has a remarkable freshness. The basic tracks were recorded at Rockfield Studios with overdubs added at Brighton Electric. The 11 tracks selected for release were the ones that came together most naturally.



From the outset Wire was an alliance between four very different characters and continues today with the addition, in 2012, of It Hugs Back guitarist Matthew Simms, who is around thirty years younger than the other group members. 'With Matt there was a really new dynamic that had appeared in the group's sound and that was something we wanted to capture, utilise and be creative with,' says Lewis.

Wire is the first album where Simms has been involved in formulating the material from the ground up, but when the group's particular chemistry starts working he is now very much part of the process.

Lewis provides most of the lyrics for the album, their subject matter encompassing love songs, cryptic narratives and coded messages. One time, Newman asked Lewis to send over some unfinished, unformatted text so he wouldn't be bound by what to use for the chorus. This material spawned two songs written on the same day, 'Split Your Ends' and the droll 'In Manchester'. The latter has the disorientating and rather absurd situation of having 'In Manchester' as a soaring chorus, when the song is not about Manchester beyond a single line in the lyric.

As the album progresses, some of the sunlit pop tunes become more shadowy and it ultimately plunges into the musical black hole of 'Harpooned', eight churning minutes of the group's darkest, most abrasive music to date, and a favourite in live performances since 2013.



'The point where our personal narratives meet is all about change - moving on and keeping it interesting for ourselves,' says Newman. 'We're in it for the long haul and this is a one-way trip.'
live dates outside the UK will be announced soon.

Given its short gestation, it is striking how far removed the new album is from its predecessor . After the dark complexity of recent output, Same As You is startlingly fresh, as inclusive and accessible as the title suggests, while still maintaining the playful experimentation on which the band has made its name.

Originally conceived as a single longform piece, the tempo remains constant but does not prevent the band from producing swells of raw, joyous, life-affirming energy within these self-imposed limits

The vocal performances and the heartfelt, spiritual lyrics are an inspired addition to the rich instrumental mix: Pete Wareham and Mark Lockheart (tenor sax), Tom Herbert (double bass) and Leafcutter John (guitar, electronics), with Shabaka Hutchings (Sons Of Kemet, Melt Yourself Down) making a guest appearance.

The album's lead single 'Dont Let The Feeling Go' sees Rochford take on vocal duties alongside a choir of friends and collaborators: it's Polar Bear at their most direct.

The use of vocals may catch the ear but that should come as no surprise given that Rochford has enjoyed working with singers as diverse as Beck, Spoek Mathambo, Paolo Nutini and Rokia Traoré over a 15 year career that has seen the drummer, composer and producer emerge as a pivotal figure in contemporary British music

Recorded by Rochford in London, and mixed in the Mojave Desert with Ken Barrientos late last year

Polar Bear will tour Europe from February (see confirmed dates below)

Blue Sky On Mars (1997) is the sixth album by Alternative Rock musician Matthew Sweet, who emerged in 1991 as the leading figure of the American Power Pop revival. Like his British counterparts Teenage Fanclub, Sweet adhered to traditional songcraft, yet subverted the form by adding noisy post-punk guitar and flourishes of country-rock, resulting in an amalgam of the Beatles, Big Star, R.E.M., and Neil Young.
For the next five years, as Alternative Rock was the dominant commercial force in Rock & Roll, Sweet was a popular concert attraction, and his reputation as an alternative Pop singer/ songwriter was at its peak: his next two records, Altered Beast (1993) and 100% Fun (1995), were both critically acclaimed and relatively successful albums, with the latter reaching gold status
and making many year-end best-of lists. Running up to his sixth album Blue Sky On Mars, multi-instrumentalist Sweet worked with musicians and producers known for their work with Lou Reed, Richard Hell, Television, Pearl Jam, Stone Temple Pilots, Fleetwood Mac, and more.

Ihr ersten neues Album seit 2007 inkl. "Lampshade of Fire"
Am 27. Februar erscheint mit "Strangers To Ourselves" endlich das lang erwartete neue Album von Modest Mouse. Es ist der Follow-Up zum Longplayer "We Were Dead Before the Ship Even Sank", der 2007 erschien und sensationell Platz eins der US Billboard Charts erreichte.
Modest Mouse wurde 1993 von Gitarrist und Sänger Isaac Brock in Issaquah, Washington, gegründet. Nach einigen Independet-Veröfffentlichungen wurde die Band 1999 vom Sony Music-Label Epic Records unter Vertrag genommen, wo sie ein Jahr später ihr erstes Major-Album "The Moon & Antarctica" veröffentlichte. 2004 gelang Modest Mouse mit dem Album "Good News For People Who Love Bad News" der kommerzielle Durchbruch: der Longplayer schaffte den Sprung in die Top 20 der US Charts, verkaufte sich mehr als zwei Millionen Mal und brachte u.a. die Hitsingle "Float On" hervor. 2006 stieß Ex-Smiths-Gitarrist Johnny Marr zum Line-Up, 2007 erschien das US Nummer-Eins-Album "We Were Dead Before the Ship Even Sank", das der Band auch die erste Platzierung in den deutschen Charts bescherte.

01. Clam 03:29
02. I May Have Lied to You 05:05
03. Baggage Man 05:33
04. Timesick 03:48
05. Scooter Accident 04:54
06. Untitled 04:59
07. Slightly 04:56
08. Slender Gender 04:03
09. You and I 04:19
10. How Much for This 06:14

Black Yaya, das ist David Yaya Ivar von Herman Dune.
Herman Dune kennt jeder der sich in den letzten 10 Jahren mit moderner Folk-Music und mit Lo-Fi Pop beschäftigt hat. Die John Peel Lieblingsband hat mit ihrem Album - Giant aus dem Jahre 2006 einen echten Klassiker abgeliefert und auch ihre Alben - Next Year In Zion und - Strange Moosic sollten in keiner Sammlung fehlen. Black Yaya ist kein Neuanfang sondern viel mehr ein neuer Erzaehlstrang im großen Epos, ein neuer Charakter im großen Herman Dune Universum. Alles klingt viel opulenter, besser arrangiert, irre eigentlich, er hat alles allein eingespielt, in einem Strandhaus in Malibu, und das hört man den Aufnahmen an - die Songs sprühen vor Energie und Begeisterung und das ganze Album strahlt eine unglaubliche Entspanntheit aus. Anti-folk meets Westcoast Yacht Pop in High Fidelity.

Gatefold Cover, Etching on side D, DL incl. film in HD, incl. mp3
There's always been a hugely cinematic tone to Dark Dark Dark's music, be it through the immersive sense of atmosphere much of the instrumentation and vocals instill, or the image-strewn lyrics and sense of place that can transport the listener to another world. So it makes perfect sense that they would end up in the world of cinema. However, this is not simply a film score commission. Here the group's involvement with Flood Tide runs much, much deeper. Flood Tide is written and directed by former band member Todd Chandler, and features the band both as characters and performers.
Set within artist Swoon's floating junk sculptures project, 'Swimming Cities of Switchback Sea', Flood Tide both documents and reimagines the real-life journey of Swoon and her collaborators as they build boats out of junk and set out on the open water of the Hudson River. All of this is accompanied by an original, nineteen song soundtrack by Dark Dark Dark.

The film and soundtrack release comes after a fruitful and productive few years for the group. After releasing the much praised debut album on melodic 'Wild Go' in 2011, the band followed up with full-length 'Who Needs Who' in 2012, and then the 'What I Needed' EP in 2013, a year that saw them tour the world, play two ATP's within 6 months (curated by The National and TV On The Radio), as well as create a score to Jerome Hill's La Cartomancienne. Flood Tide also premiered in 2013 at the Torino Film Festival, exposing the world to the group's rich and evocative soundtrack for the very first time.

With much of Dark Dark Dark's previous material being glued together by the distinctive vocals of Nona Marie Invie, this soundtrack is unique in that it is primarily instrumental, an approach that motivated the group immensely. 'We were excited to have an opportunity to make an instrumental record because we've always been inspired by bands like Rachel's and Dirty Three, and soundtracks like those from the movies Waking Life and Dead Man,' say the band. Much like some of the influences and inspirations mentioned here, the soundtrack to Flood Tide succeeds as a stand-alone record, even when free from its contextual home of the film. 'This is a really unique record,' the group say of the project, 'it's much more textural and ambient than most Dark Dark Dark material.
The line-up featured on the soundtrack is one that never toured full time, and this record is a beautiful document of the chemistry and sensibilities of that variation of the band. The group have taken the material on the road, playing it in strange, distinctive places that are emblematic of the film's own unique journey. 'We've played this material in a hand-built drive-in movie theatre filled with junk cars, on rafts on the Hudson River, in the canals of Venice and in museums across the USA.'

The double gatefold vinyl release wraps up this project for the band perfectly, 'We're excited to have the recordings out in the world. It's a document of a special time in our lives. Releasing a small run of vinyl with a download of the film seems like the most beautiful and intimate way to share this project.'


The film and soundtrack feature Dark Dark Dark members Nona Marie Invie, Marshall LaCount, Todd Chandler, Jonathan Kaiser, and Mark Trecka.

Never one to stand still and fresh from a scheduled intermission whilst working on a dance record as Les Sins, loaning his vocals to Chromeo and starting his own record label, producer, songwriter, singer and melodic mastermind Chaz Bundick is all set to resume his Toro Y Moi guise with brand new album What For. And whilst most would think there were no genres left to play with, the intrepid musical explorer is about to throw one hell of a curve ball into the mix.'I've done electronic R&B and more traditional recorded R&B stuff. I just wanted to see what else was out there,'Bundick says of the record's new direction. 'It's all coming from the same mindset and point of creativity. It's just me trying to take what I already have, then taking it further asking, "OK, what can I do now" or "What haven't I tried yet"As mastermind and ringleader of the smeared electronic production sound that defined and established 'chillwave' before hipsters rode it within an inch of its life (see 2010's Causers of This), an explorer of motorik space-age funk (2011's Underneath The Pine), smoky 4/4 house-tinged pop, electro-funk and late-night electronic soul (2013's Anything In Return) all to critical acclaim, What For is where Toro Y Moi's story continues - albeit one that leaves its true meaning only to imagination. 'The album's main themes are love and nature,' he hints. 'I wrote about personal experiences but intentionally left them vague. I've always felt that good songs should heighten your mental awareness.'Written and recorded over the course of eight months at his home studio in Berkeley, California,What Fordraws inspiration from Big Star, Talking Heads and Todd Rundgren, as well as the psychedelic soul of Brazil's Tim Maia and '70s-era jazz-funk of France's Cortex. Unknown Mortal Orchestra guitarist Ruban Neilson appears on the album, as does multi-instrumentalist Julian Lynch. This time, meticulous production of stereo-panned guitars, buzzing synthesizers, funky keys and live drumming has paved the way for the feel of a rock band playing together in the same room; 'A studio should keep changing and all of the gear should be out and exposed or else you'll never remember to use it. With this album, I'd just walk up to an instrument somewhere in my house and start writing,'Bundick recalls.Having spent his formative years playing in punk rock bands and studying graphic design at the University of South Carolina, Bundick began making bedroom recordings under the name Toro Y Moi in 2001. Those early demos made up the seeds of his distinct retro-future sound ahead of a brief stint in New York before relocating to California in 2012. It's a move that has given Bundick time to reflect on what's important, allowing him the freedom to create whilst also embarking upon new exciting projects such as establishing 'Company' records;'Having a label has been a goal for a while. I want to be a part of this generation,'tells Bundick. 'I'm aiming to take Company as far as it can go. I'm helping artists with each release from production to the design of the album cover to make something timeless.'Whether recording and creating another album, or assisting with someone else's work in progress, Bundick continues to prove to be as prolific as he is diverse. In the process he is constantly pushing the limits to point Toro Y Moi in new directions, yet never sacrificing his melodic sensibility or keen ear for arrangements and texture.

What For - Why Not...
Full press campaign by In House Press, early support from Zane Lowe and Pitchfork on announce.

LP is black vinyl, includes digital download and sticker.
Videos in the works.
CD in softpak, based on LP design.
European tour this spring (see below).

Das neue Album von Kitty, Daisy & Lewis, produziert von Mick Jones (The Clash)! Beschrieben als "a gift to those of us who still believe in magic" (The Observer) haben sie die Zeit genutzt, um sich ein 16-Spur Analog-Studio in einem verfallenen indischen Restaurant in Camden Town zu bauen. Eigene Räumlichkeiten und neues Vintage Equipment ermöglichte es ihnen, an der Instrumentierung, Produktion, Sounds und diverser Stile zu arbeiten. Und wieder gelingt es den drei Geschwistern auf faszinierende Weise aus Rockabilly, Blues und Ska ihren einzigartigen Sound zu kreieren. Kitty Daisy & Lewis haben bis dato weltweit mehr als 250.000 Alben verkauft, ihre eigenen Touren waren ausverkauft, und sie spielten bereits als Support für Acts wie Coldplay oder die Stereophonics. Von Beginn an inspirierten und beeindruckten sie eine Vielzahl von Fans, darunter auch Stars und Prominente wie Amy Winehouse, David Lynch und Dustin Hoffman. Als ersten Vorboten ihres im Januar 2015 erscheinenden Albums liefern Kitty Daisy & Lewis die Single "Baby Bye Bye".

Anfang Oktober erscheint mit ‚Taiga' das vierte Studioalbum der 25-jährigen Sängerin, Songschreiberin und Produzentin Zola Jesus auf Mute!

Geschrieben in Vashon Island in Washington State und gemischt in Los Angeles von Dean Hurley, folgt ‚Taiga' den gefeierten Alben ‚Versions' (2013) and ‚Conatus' (2011).

In der Gegenwart stehend und doch verbunden mit der Vergangenheit, beschreibt das vorliegende Album einen Wandel. Kompositionen türmen sich auch, baden in ihrer wohlvertrauten Stimme und formulieren ein neues künstlerischen Selbstvertrauen: 'For me, it feels like my true debut, because it is the first time I have felt so open and liberated.'

Limitiertes farbiges Vinyl mit marmoriertem Effekt inklusive Mp3 Download Code, 200 EH für den Pool only!

Ltd Picture Vinyl
Ahead of their biggest ever show at London's Wembley Arena on December 5th, Bring Me The Horizon continue their trail-blazing quest to bring their own unique brand of metal anthems to the masses with the release of their new single, 'Drown', out on December 7th (pre-order now).
Having firmly established themselves as a true British export with the release of their critically acclaimed last LP Sempiternal, which sold over 450k copies and charted at 1#, #3 and #11 in Australia, the UK and America respectively, Oli Sykes (Lead Singer), Lee Malia (Lead Guitarist), Matt Kean (Bassist), Matt Nicholls (Drummer) and Jordan Fish (Keyboards) return with this powerfully melodic rock anthem.