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Schließlich kamen sie aus ihren Kellern und begannen, gemeinsam im selben Raum an den Songs zu arbeiten, leise zu proben (für die Verhältnisse des normalerweise superlauten Buffalo Tom) und mit Akustikgitarre zu spielen. Nachdem sie die meisten Songs mit einer Menge Overdubs und elektrischer Gitarren versehen hatten, entwickelten sich die Songs zu diesem schönen und aufregenden neuen Buffalo Tom Album: „Jump Rope“.

After six years, the American alternative rock band Buffalo Tom are back in 2024 with their tenth full-length studio album, titled Jump Rope. During the lockdown, the band kept on writing and sent each other ideas for arrangements and parts, which resulted in a sizeable backlog of song ideas. A sort of direction made itself apparent from the ideas they were trading; most of the songs called for an acoustic, quieter production. Eventually, emerging from their basements, they slowly got to actually working together on the songs in the same room, rehearsing quietly (especially for the super-loud Buffalo Tom), with acoustic guitar. After giving most of the songs a good amount of overdubs and a lot of electric guitars, the songs evolved into this beautiful and thrilling new Buffalo Tom album: Jump Rope. Jump Rope features the singles “New Girl Singing”, ""Helmet"" and ""Autumn Letter"" and is available on black vinyl.

Das Reissue enthält sechs bisher unveröffentlichte Demos, darunter die Songs Hold Me Up und Don"t Blow Your Wind, die nie über die Demo-Phase hinausgingen. Auch frühe Versionen von Tangerine, Summer, Kitchen Door und Clobberedsind enthalten und zeigen, wie diese Klassiker entstanden. Ergänzt wird die Veröffentlichung durch neues Artwork, Fotos, Erinnerungsstücke sowie Notizen der Band und Produzent John Agnello. Sleepy Eyed markierte Mitte der 90er einen Wendepunkt: Nach dem Erfolg von Big Red Letter Day (1993), das Buffalo Tom in die Billboard-Charts brachte und mit Late At Night in der Kultserie My So-Called Life zu sehen war, wollte die Band zurück zu einem roheren Sound. Bill Janovitz verweist auf Dylan- und Stones-Platten als Inspiration: weniger Perfektion, mehr Direktheit, Nähe und Authentizität. Aufgenommen wurde in den Dreamland Studios im Bundesstaat New York - abgeschottet, intensiv, fast wie tägliche Live-Sets. Herausgekommen sind Songs, die bis heute zu Fan-Favoriten zählen, allen voran Tangerine, Summer und Kitchen Door. Gegründet 1986 an der University of Massachusetts, stehen Buffalo Tom (Bill Janovitz, Chris Colbourn, Tom Maginnis) seit fast 40 Jahren gemeinsam auf der Bühne - 10 Alben später ein beeindruckendes Stück Beständigkeit.

"When The Wind Forgets Your Name" ist das erste neue Built to Spill -Album seit der Veröffentlichung von "Untethered Moon" aus dem Jahr 2015 und das achte Studioalbum dr langlebigen Band um Mastermind Doug Martsch. Es wurde von Martsch produziert, von Martsch, Lê Almeida, Joao Casaes und Josh Lewis gemischt und von Mell Dettmer gemastert. Das Cover Artwork wurde von dem Comiczeichner Alex Graham (Dog Biscuits; Fantagraphics Books) gestaltet, der auch den fünfzigteiligen Comicstrip für das Klappcover des Albums illustriert hat (erhältlich mit den CD-, LP- und MC-Ausgaben des Albums). Seit 1992 wollte Doug Martsch, Gründer von Built to Spill, dass seine geliebte Band ein gemeinschaftliches Projekt ist, eine sich ständig weiterentwickelnde Gruppe von unglaublichen Musikern, die gemeinsam Musik machen und live spielen. Nach mehreren Alben und EPs auf Independent-Labels stand Martsch von 1995 bis 2016 bei Warner Brothers unter Vertrag. In dieser Zeit nahmen er und seine wechselnden Mitstreiter sechs unbestreitbar großartige Alben auf - "Perfect From Now On", "Keep It Like A Secret", "Ancient Melodies Of The Future", "You In Reverse", "There Is No Enemy", "Untethered Moon". "When The Wind Forgets Your Name" setzt nun die Erweiterung des Built to Spill -Universums auf neue und aufregende Weise fort. Im Jahr 2018 brachten Martschs Glück und seine Intuition ihn mit dem brasilianischen Lo-Fi-Punk-Künstler und Produzenten Le Almeida und seinem langjährigen Mitstreiter Joao Casaes zusammen, beide von der psychedelischen Jazz-Rock-Band ORUA. Als Martsch ihre Musik entdeckte, verliebte er sich sofort in sie und bat sie bei Built to Spill mitzumachen, als er eine neue Begleitband für Auftritte in Brasilien brauchte. Die Auftritte in Brasilien liefen so gut, dass Martsch, Almeida und Casaes beschlossen, 2019 weiter zusammen zu spielen und durch die USA und Europa zu touren. Bei Soundchecks erlernten sie neue Songs, die Martsch geschrieben hatte, und als die Tournee zu Ende war, nahmen sie die Bass- und Schlagzeugspuren in seinem Proberaum in Boise auf. Nachdem sie nach Hause geflogen waren, begann Martsch selbst mit dem Overdubbing von Gitarren und Gesang. Das gemeinschaftliche Abmischen fand während der Pandemie übers Internet statt, in dem die Tracks hin und her geschickt wurden. Herausgekommen ist "When The Wind Forgets Your Name", eine komplexe und schlüssige Mischung aus den unterschiedlichen musikalischen Ideen der Künstler. Neben den poetischen Texten und Themen von Built to Spill sorgen die Experimente und die Liebe zum Detail für ein Album voller einzigartiger, lebendiger und zeitloser Klänge.

There's Nothing Wrong with Love is the second full-length album released by legendary indie rock band Built to Spill. It was originally released September 13, 1994 on the Up Records label. The line-up for the album was Doug Martsch, bassist Brett Nelson, and drummer Andy Capps, with Phil Ek producing. The album features the enduring singles "In the Morning," "Car," and "Distopian Dream Girl." There's Nothing Wrong with Love was wonderfully received by critics upon its release. It went on to earn "Best Albums of 90's" notices from the likes of Pitchfork, PASTE, SPIN, and has sold nearly 140k copies to date.

A very old saying goes that no one saves us but ourselves.
Recognizing and breaking free from the patterns impeding our
forward progress can be transformative - just ask Bully’s Alicia
Bognanno. Indeed, the third Bully album, ‘SUGAREGG’, may not ever
have come to fruition had Bognanno not navigated every kind of
upheaval imaginable and completely overhauled her working process
along the way. “There was change that needed to happen and it
happened on this record,” she says. “Derailing my ego and
insecurities allowed me to give these songs the attention they
deserved.”
‘SUGAREGG’ roars from the speakers and jumpstarts both heart and
mind. Like My Bloody Valentine after three double espressos, opener
‘Add It On’ zooms heavenward within seconds, epitomizing
Bognanno’s newfound clarity of purpose, while the bass-driven
melodies and propulsive beats of ‘Where to Start’ and ‘Let You’ are
the musical equivalents of the sun piercing through a perpetually
cloudy sky.
On songs like the strident ‘Every Tradition’ and ‘Not Ashamed’,
Bognanno doesn’t shy away from addressing “how I feel as a human
holds up against what society expects or assumes of me as a woman,
and what it feels like to naturally challenge.” But amongst the more
dense topics, there’s also a light-heartedness that was lacking on
Bully’s last album, 2017’s ‘Losing’. Pointing to ‘Where to Start’, ‘You’
and ‘Let You’, Bognanno says “there are more songs about erratic,
dysfunctional love in an upbeat way, like, ‘I’m going down and that’s
the only way I want to go because the momentary joy is worth it.’”
The artist admits that finding the proper treatment for bipolar 2
disorder radically altered her mindset, freeing her from a cycle of
paranoia and insecurity about her work. “Being able to finally
navigate that opened the door for me to write about it,” she says,
pointing to the sweet, swirly ‘Like Fire’ and slower, more
contemplative songs such as ‘Prism’ and ‘Come Down’ as having been
born of this new headspace. Even small changes like listening to
music instead of the news first thing in the morning “made me want
to write and bring that pleasure to other people.”
Vinyl format includes digital download coupon.

Lucky For You is Bully's most close-to-the-bone album yet. It's an album that's searing and unmistakably marked by its creator's experiences, while still retaining the massive sound that Alicia Bognanno has become known for over the last decade. Her fourth album draws from personal pain and the universal struggle that is existing, learning, and moving on-and it's all soundtracked by Bognanno's rock-solid melodic sensibilities and a widescreen sound that's impossible to pin down when it comes to the textures explored. These ten songs are simply the most irresistible Bognanno's put to tape yet, making Lucky For You her greatest triumph to date in a career already packed with them. Work on Lucky For You began last year, when Bognanno brought some in-progress demos to producer J.T. Daly in his Nashville studio to see if they could strike creative kismet. "Authenticity is always on my mind, without even knowing it," she explains while discussing their recording process together. "It was great with J.T., because I could tell he was a genuine fan who wanted to emphasize what's actually good about my writing instead of changing it. I could tell how much he cared about the project, and it meant alot to me." The album came together over the course of seven months, the longest gestation process for a Bully record to date, but that time allowed inspiration to emerge in new ways. The result is a kaleidoscopic rock record spanning punk's grit, the crunchy bliss of shoegaze, explosive Britpop, and the type of classic anthems Bully has been known for. Lucky For You's thematic focus zooms in on grief and loss: The record is largely inspired by Bognanno's dog and best friend Mezzi passing away, at a time when her life already felt as if in metamorphosis. The oceanic first single "Days Move Slow" was written shortly after Mezzi's passing, reflecting the persistence of Bognanno's incisive wit in the face of adversity. "There was nothing I could do except sit down and write it, and it felt so good." And then there's the passionate opening track "All I Do," which kicks in the door with huge riffs atop her lyrical reflections on three years of sobriety. "Once I stopped drinking, I felt like I was still haunted by mistakes and things that had happened when I was drinking, and it's still taking me a long time to forget about that while existing in this house. How do I shed the skin from a path I've moved on from?" In that vein, Lucky For You is a document of perseverance in the face of the big and the small stuff. "I'm so overly emotional and sensitive, it's a blessing and a curse" she says with a laugh, but there's no downside to her expressions of vulnerability on this record; it's the latest bit of evidence that nothing can hold Bognanno back.

This release resurrects a long-lost cornerstone of Seattle's early grunge history, showcasing Bundle of Hiss, featuring future Mudhoney and TAD guys and singer Jamie lane, one of the genre's missing links. Between 1986 and 1988, when Seattle was still a circuit of small clubs, four-track tapes and bands sharing drummers and singers, Jack Endino went in to record one of the most solid - and most unfairly invisible - outfits of that scene: BUNDLE OF HISS. Two sessions (1986 at Reciprocal and 1987/88 at Audio Design) fell into limbo, stored in the basement of Mudhoney-Drummer Dan Peters and for years they were a kind of pre-grunge legend, everyone knew they existed, but there was no record, until Loveless Records from NYC released both on CD. The second one, Audio Design Sessions, now sees the light of vinyl for the first time, just as it should have come out in the late '80s: a basement document turned into a collectible artifact. For those who want real grunge, not the domesticated version. It gathers the core of those 1987-1988 recordings done by Endino: the moment when the band is tighter, darker and closer to what the press would later call the "Seattle sound": minor-key melodies, thick fuzz, vocals on the edge, and that mix of hard rock, punk and Sabbath-like heaviness we'd later hear in Mudhoney, TAD or early Soundgarden. And Jack Endino himself summed up these sessions: "Vintage Seattle grunge from one of the original practitioners_ I always felt sad that this hard-working band never managed to get a record out and was almost lost to history. It was a pleasure -and a technical pain!- to resurrect all this." Kinda key release of the early grunge days, first-generation material, recorded by the scene's producer, at the exact moment Seattle was shifting from noisy punk to that heavy, shadowy rock that later blew up. It sounds raw, young and dangerous: this is not a polished compilation, it's a snapshot of the scene.

With Horror Spectrum, Bunnies plunges headfirst into the shadowy abyss of their art-rock multiverse, unearthing sounds that slither, shimmer, and scream.

Equal parts psychedelic hallucination, krautrock ritual, and noise rock exorcism, this record feels like the sonic aftermath of mad scientists summoning ghosts through an analog synthesizer they excavated from a cursed tomb. It's less an album and more an experiment gone deliciously wrong—a séance that channels the chaotic energies of dimensions better left untouched.

From the extraterrestrial pulsations of “Eyer of Ire” to the technicolor bliss of “That Evil Ghoul,” Horror Spectrum is a seven-track odyssey that detonates the boundaries of Bunnies’ already unhinged catalog. These tracks drag you by the ankles into realms where sound has teeth, time melts into warped rainbows, and the music feels like it’s plotting something sinister. Few bands dare to tread where Bunnies boldly hop, but here they are, mapping out mythical soundscapes with the glee of cartographers lost in their own creation.

This freakish entity of a record is profoundly unsettling and weirdly exhilarating. Horror Spectrum is the sound of a band digging deep into their subconscious and inviting you to get lost in the labyrinth.

Will you find your way out?

And if it sounds this good, why not just stay?

Konstrukt 5 by Buntspecht, released 14 March 2025, includes the following tracks: "So viel zu sehn", "Die Stadt in Dir", "Wenn Du jetzt gehst", "Reprise" and more.

Five years on from their acclaimed second album “Public Mono”, Burning Ferns return with a new LP “World Of The Wars”. And my oh my, how things have changed. “World Of The Wars” is the sound of a band grappling with the world going to hell, and making sense of it through the medium of pristine guitar pop. Initially recorded remotely in the face of Covid lockdown and completed at their Le Mons studio, Newport in 2021/22, it is an album of relentless musicality and guile. Songwriter Tony Gray displays unerring quality control to deliver 12 startling new songs that push on from the power pop of previous releases to more widescreen musical aspirations.
Mitwirkende
veröffentlicht am 7. April 2023

Songs wriiten by Anthony Gray. The album was mixed by Charlie Francis (REM/High Llamas/Robyn Hitchcock) with artwork provided by Newport’s greatest cult hero, the musician and artist, Jon Langford.

London’s melodic punk outfit Burnt Tapes have released their most powerful and emotionally chargedrecord to date: New Lungs. Out now via Lockjaw Records, the album is a cathartic journey throughmental health struggles, lost connections, and the desperate hope for renewal.

Produced by Daly George (Creeper, Milk Teeth), New Lungs was recorded in two parts — split between the rustic isolation of an old stable-turned-studio in Aldershot and the famed Ranch Studios in Southampton. The band took a more collaborative, experimental approach to writing this time, building tracks piece by piece and capturing the visceral energy of their live shows.

Sonically, New Lungs builds on the grit and heart of 2019’s Never Better, but cranks up the intensity. Think big, anthemic sing-alongs, driving guitars, and a heavier edge, without losing the melodic honesty fans have come to love. Thematically, the record deals with the toll of depression, anxiety, broken relationships, and the disorienting struggle of trying to move forward while feeling stuck in the past.“

This album nearly killed us to make,” the band admits, “but it feels like the closure we needed. It’s us working through everything—the burnout, the self-doubt, the weight of the last few years.”

With standout tracks like MOTHERSGUILT, New Lungs, You Only YOLO Once, and Graveyards, the album delivers both punch and poignancy—perfect for fans of Hot Mulligan,The Menzingers, and Heart Attack Man.

Burnt Tapesare set to support the release with appearances at Manchester Punk Festival and a run of live dates through the summer.

Rockitman and Millennium Man were recorded in the summer of 1996 around the time bushpilot re-emerged from a hiatus following making the recordings that would become the album '23' to appear 3 times in short sucession at that years Leeds Sound City festival. The appearances led to interest from a major label in the USA, but as usual life got in the way ..With a new drummer in the shape of Nick Tonge of Leeds heavy noise merchants Zoopisa Rockit man and Millennium Man took from improvisations developed working with legendary Leeds producer Richard Formby in his studio and turning them more into songs: Richard thinks of them as 'Frankenstein creations'. We think noise rock with heavy Can influence compressed into two 3 and half minutes blasts of furious joy.The video was created by award winning Leeds artist Sarah Doyle, who also created the cover artwork. The video stars British rocker Vince Taylor, a key unfluence on a young David Bowie, and a host of model spaceships.
Originally intended for release in 2021, well covid got in the way, so here it is at last!

RECORDED LIVE ON THE BAND’S 30TH ANNIVERSARY TOUR. LIVE AT THE FORUM, LONDON, DECEMBER 2006. INCLUDES THE CLASSICS ‘EVER FALLEN IN LOVE’, ‘ORGASM ADDICT’, ‘WHAT DO I GET?’, ‘HARMONY IN MY HEAD’, ‘WHY SHE’S A GIRL FROM THE CHAINSTORE’ AND TRACKS FROM ACROSS THE BAND’S EXTENSIVE BACK CATALOGUE.

NEVER BEFORE ON VINYL.

PRESSED ON RED VINYL.

LIMITED TO 1,000 COPIES WORLDWIDE.

Join Buzzcocks as they celebrate the 30th Anniversary of the band’s formation in front of a ravenous London audience. Recorded in December 2006, and never before released on vinyl, ‘30’ captures the band on excellent form, performing twentyeight songs from across their back catalogue, including the seminal late ‘70s hits and highlights from the rest of their career. Still wired, still buzzing with punk energy and still playing loud, fast and unapologetically, this is the sound of a band on unstoppable form, led, as ever, by the inimitable combination of Pete Shelley and Steve Diggle.
This red vinyl edition promises to be a must-have for die-hards and collectors, and a brilliant primer for those not yet in the know.

This exclusive 7" vinyl contains two tracks recorded in 1991. First time on vinyl.

All Her Plans, the third album from Melbourne, Australia's Cable Ties, finds the trio of Jenny McKechnie, Shauna Boyle, and Nick Brown at their punchiest and most assured. The ferocious, kraut-influenced blend of post-punk and garage rock of Merge debut Far Enough remains, but McKechnie's lyrics invite the listener closer than ever before. The urgency and fury that have marked Cable Ties' output thus far is more nuanced on All Her Plans.

The unfettered rage of their calls to action endures tackling subjects like broken mental healthcare systems and the burden of familial care that is largely placed on women…while holding space for gratitude, love, and acceptance. All Her Plans is a breakthrough moment for Cable Ties. It is the sound of a group that is exhilarated to be making music together again, both a celebration of their resilience and a massive step forward into a future they can finally claim as their own.

The original plan for Cactus was to release a debut album with the super group line-up of Vanilla Fudge rhythm section bassist Tim Bogart and drummer Carmine Appice together with guitarist Jeff Beck and singer Rod Stewart, though Beck’s car accident and Stewart joining Ron Wood in The Faces counteracted that.

Eventually joining Bogart and Appice were guitarist Jim McCarthy (Mitch Ryder’s Detroit Wheels) and singer Rusty Day from Ted Nugent’s Amboy Dukes for this self-titled album that is arguably the highlight in their catalogue.

Cactus is available as a limited edition of 1000 individually copies on translucent red coloured vinyl.

Fifth album on Columbia Records from Kentucky (now UK based) indie/alt/rock six piece. A 13 track album available on vinyl and CD. Radio support for lead single "Ready To Let Go" across R1, Beats 1, 6Music, Radio X, Virgin, Absolute, ILR. Streaming support across all platforms. Ads, features, interviews and reviews across all press. Online/social media activity. UK tour dates in June. Poster campaign and database mailout.

Nach einem siebenjährigen Hiatus nach ihrem Zweitling 'The Stand-In' (2013) ließ sich Alternative-Country-Künstlerin Caitlin Rose aus Nashville zusammen mit William Tyler, Brian Kotzur, Jack Lawrence und Luke Schneider in den dortigen Sound Emporium Studios nieder, um innerhalb einer Woche ihr drittes Album aufzunehmen. 'CAZIMI', benannt nach einem Planeten, der sich so nahe an der Sonne befindet, dass man ihn als im Herzen der Sonne stehend betrachtet, drückt beides aus, die helle Freude und Begeisterung mit vertrauten Personen wieder Musik zu machen, als auch den Burnout, den Caitlin Rose überwinden konnte.

Nach einem siebenjährigen Hiatus nach ihrem Zweitling 'The Stand-In' (2013) ließ sich Alternative-Country-Künstlerin Caitlin Rose aus Nashville zusammen mit William Tyler, Brian Kotzur, Jack Lawrence und Luke Schneider in den dortigen Sound Emporium Studios nieder, um innerhalb einer Woche ihr drittes Album aufzunehmen. 'CAZIMI', benannt nach einem Planeten, der sich so nahe an der Sonne befindet, dass man ihn als im Herzen der Sonne stehend betrachtet, drückt beides aus, die helle Freude und Begeisterung mit vertrauten Personen wieder Musik zu machen, als auch den Burnout, den Caitlin Rose überwinden konnte.

The perfect soundtrack for a summer roadtrip in an old car across Death Valley.

“Calexico's musical textures are woven out of a dazzling array of instruments and styles, including mariachi trumpets, countrified pedal steel, Latin jazz percussion, and carnival organ, just to name a few. The songs move at siesta speed, casually looping and loping along, never getting overheated. Bandmates Joey Burns and John Convertino have their hands in so many musical pies--including projects with OP8, Giant Sand, Victoria Williams, Giant Sand, and Richard Buckner--one wonders how they find the time to create the sun-soaked music of Calexico. But thank God they have.” --Tod Nelson

Neuauflage des Calexico-Albums "Carried To Dust" von 2008 auf schwarzem Vinyl, inkl. Victor Jaras "Hands" und "Two Silver Trees".

Into The Woods is the fifth album from California-based quartet The Call, featuring the passionate singing and writing of Michael Been. The album was released in the US in 1987. While The Call’s earlier releases - notably The Call and Modern Romans - pointed out the world’s obvious problems, Into The Woods takes a more introspective look at life’s tougher personal questions. Into The Woods seems to be a study in contrast between beauty and danger where the imagery of the woods becomes a metaphor for self-examination.

Jack Callahan und Jeff Witscher waren echt müde. Seit der Jahrtausendwende hatten sie sich beide in der amerikanischen Underground-Experimental-Musikszene abgemüht, unter Namen, die du vielleicht kennst oder auch nicht: Rene Hell, Marble Sky, die Reihe, um nur einige zu nennen. Ihr erstes Album Think Differently war das Ergebnis einer Reihe von Endpunkten: der Auflösung ihrer Underground-Szene und, nicht zuletzt deswegen, der Tatsache, dass die abstrakte Musik, die sie seit jeher getrennt und gemeinsam gemacht hatten, nicht mehr so gut ankam wie früher. Wo sonst sollten sie hingehen als auf die andere Seite des Hufeisens: zur Popmusik. Warum also nicht den Zeichen der Zeit folgen? Eine Gitarren-Pop-Rock-Hymne zum Jahrtausendwechsel aufnehmen, die davon handelt, dass man als alternde Underground-Musiker keine Noise-Musik mehr machen will. ,Sorry to Hear That" ist ein Album über ,Think Differently". Wenn ,Think Differently" ein meta-konzeptuelles Album war, dann ist ,Sorry to Hear That" ein meta-meta-konzeptuelles Album. Meta Meta+Hodos. Es wurde über einen Zeitraum von 9 Monaten nach dem ersten Album aufgenommen. Es war eine Zeit persönlicher und beruflicher Umbrüche: Der anfängliche Optimismus aufgrund der Aufmerksamkeit, die "Think Differently" erhielt, schlug schnell in Fanatismus um und mündete unweigerlich in Angst, Enttäuschung und Zerwürfnis. Das Album, das sie schließlich aufgenommen haben, ist ein Dokument und eine Erzählung über diese Zeit. ,Sorry to Hear That" ist eine Fortsetzung, die klanglich und konzeptionell dort ansetzt, wo das erste Album aufgehört hat. Hier gibt es mehr Gitarre, mehr Breakbeats, mehr selbstbezogenes Unwohlsein und mehr humorvolle Selbstironie. Es fängt perfekt ein, was das Duo von Anfang an vermitteln wollte: Es ist ein mitreißendes Album voller Kommentare von beiden Seiten, dem Spieler und dem Gespielten, die bis ins Unendliche gesteigert werden. ,Sorry to Hear That" hat eine Reihe von Gastauftritten von alten und neuen Kumpels aus der Independent-Musikszene: Marlon DuBois, Frontmann von Shed Theory, Dylan Baldi und Jayson Gerycz von Cloud Nothings, Flannery Silva alias F.G.S., Jazz Lambaux und andere.

“No one really encouraged me to take up music,” says Callum Easter. “It's just been in my gut for a long time.” The original rumblings of music came from childhood growing up on the east coast of Scotland but it was the discovery of an accordion that led to the biggest shift in Easter’s musical life to date “It's not an instrument I considered playing until I picked one up in a charity shop,” he says.

At the time Easter was playing in and around Edinburgh. He realised he wanted an instrument that would allow him to engage more with the audience. “I wanted to face the crowd and sing,” he says. “The spectacle appealed too, it's pretty physical singing and playing whilst on your feet. I think people enjoy seeing you struggle and take chances.”

By the time 2019 arrived, Easter had transformed his live show and sound from his early days so after signing to Moshi Moshi, it made sense to go back into the studio and rerecord tracks from his first two EPs and debut album Here or Nowhere (released on Lost Maps). “The premise was to record the versions of the songs I'd been performing live using mainly accordion, drum machine and drone,” he says. “One take, no overdubs, straight to tape. All done in Glasgow’s Green Door Studios.”

The result captures a stark and potent sense of musical evolution and growing craftsmanship. Music that wrestles equally with honesty, fragility and intensity. Lyrically, the album is introspective, covering the subjects of “Love, injustice, commonality, longing, acceptance, and having no regrets.” With Easter joking that, “I probably do melancholy a bit too well. But I'm working on that.” Balanced with the melancholy is beauty and tenderness however.

With Easter reconnecting with music of his past, it also highlights how far he’s come on his idiosyncratic journey. A determined and impassioned artist who follows his musical gut rather than any defined career plan. “I don't feel comfortable with purpose,” he says. “It sounds a bit steady, like you're responsible for something. I don't really know what I'm looking for. For now, it’s just me in a room with plenty of scope.”

Callum Easter has always been a force of nature. The singer and multi-instrumentalist thrives on impulse and spontaneity, balancing that with an impeccable song writing craftsmanship that makes even the more outré moments of his current batch of mutated soul punk/rock ‘n’ roll instantly arresting. New album System was recorded largely alone in his Edinburgh studio, but it bustles with a brash, maximalist vigour, that draws a line under his previous work and charges exhilaratingly forwards - beginning a journey that he describes as a “descent into ordinary madness.”

Easter's love of rock ‘n’ roll has long been baked in – but there’s a new fervour to where he’s taken this source. Now there is an outward fire; a raging – albeit with the sort of wryly humorous delivery only Easter can provide - against the general noise of everyday living and a longing for something else, something more, something that looks you straight in the eye.

Inspired by the rawness and honesty of artists like Elliott Smith, Julien Baker, Adrianne Lenker & Sufjan Stevens, Callum Pitt imbues his indie-folk with grand, orchestral, chamber pop sensibility plus an alt-rock edge. Despite using music often as a canvas to openly discuss depression & anxiety, as well as political unrest, Callum still manages to imprint feelings of optimism and unity, alongside genuine warmth and honesty, throughout his songs.

This debut album In The Balance pinpoints back to one night in 2019, where Pitt was handed an earth-shaking reminder of how much hangs in the balance with each passing second. Minutes after he waved goodbye to his brother and parents as they left his house, a fire engine hit the back edge of their car. They were all unharmed. But if the car was in the engine’s path a fraction of a second later — if Pitt had said one more word at the doorstep — it would have ploughed directly into the drivers’ side.

28-year-old Pitt has been working on his craft for a decade, beginning in the Newcastle pub scene and gradually refining his thoughtful, poetic songwriting voice. He won the Alan Hull Award for songwriters in 2019, and the Fender Player Plus competition in 2021. Meanwhile, he’s studying a masters in Occupational Therapy, and has worked with children, young people and adults with disabilities through various outlets, including therapeutic music work. These are experiences that shaped In The Balance, his first true body of work, giving him a new perspective on the cathartic and unifying power of music.

U.K.-based artist and multi-platinum-selling singer/songwriter Calum Scott has announced that his highly awaited sophomore album Bridges will arrive on June 17. The follow-up to Calum’s 2018 full-length debut Only Human — a widely acclaimed effort that hit No. 1 on the iTunes album chart in 21 countries across the globe, in addition to selling more than 3.6 million in adjusted album sales and garnering over 7.5 billion combined streams. Fresh off his recent run as support for Irish rock band The Script (which included a stop at the legendary Radio City Music Hall in New York City), Calum has just announced his forthcoming headlining tour of North America. The 25-date tour will kick off on July 30 at Seattle’s Neptune Theatre and wrap up on August 31 at House of Blues in Chicago. Please note the LP release date is later in year

There is a palpable mood at the heart of Canadian perennial Calvin Love’s work. Only once in a blue moon comes an artist that seems so familiar yet out of space. Love arrives as an enigma, a crooning, haunted voice. With nods in comparison to Roy Orbison, and Bryan Ferry. Love has certainly drawn subtle inspiration from the classic singers of the 60s, 70s and 80s. But Love’s work reflects on the modern journey. Songs for the introverts, songs for lonely and hopeful, and songs to soundtrack our lives through the quiet hours, and all the places our minds drift to as we head toward the uncertain future of the 21st Century. Emerging from the same vibrant Canadian scene as contemporaries Andy Shauf, Mac Demarco and Sean Nicholas Savage. Love has established himself as a rare calibre of singer by blending obsession with the beauty of artifice and the inner systems of real and natural things it is this infallible match that makes Love’s work so strange and inviting.
Active since 2011, Love has toured relentlessly throughout Canada, USA, Europe, and Asia. He has also worked with producers Richard Swift (The Shins, The Black Keys) and Gus Seyffert (Beck, Roger Waters). As well as support tours opening for honourable mentions Jonathan Wilson, Weyes Blood, and Of Montreal. He is currently touring with Mattiel.
Love released his 2012 debut album "New Radar" on Aquarium Drunkard Imprint "Autumn Tone" followed by 2015 sophomore album "Super Future" on Arts & Crafts as well as numerous cover albums, singles and EPs and the 2018 release of 'Highway Dancer'.

Limited marble coloured vinyl

There’s a lonesome vibe to his brand of heartland rock, evoking late nights on a deserted road, or neon-lit streets just after a rainstorm.” (Brooklyn Vegan)
“His music has a distinct cinematic quality to it, as it explores the weird, grotesque, and strangely beautiful corners of the human psyche.” (Noisey)


'Highway Dancer' was the latest addition to Calvin Love's catalog of cerebrally-crafted, atmospheric indie pop, before his b-side and rarities album 'Night Song' came out via Taxi Gauche Records a year ago. The album stems from the same period of songwriting as his 2017 EP, Ecdysis, and encapsulates the observations and inspiration from Love's life on the road. 'Highway Dancer' is now re-issued on vinyl.
"The songs you hear on this album were compiled from a larger collection over the past three years. Many of the songs are the subconscious soundtrack to my life and travels before my mind had a chance to conceive them. Inspiration came from everything that attracted my inner soul to the external forces and beauty this world has to offer."
For fans of: Weyes Blood, Father John Misty, Cut Worms, Sam Cohen

Love returns with 'Lavender', the follow up to the Canadian crooner’s LP, 'Night Songs' (Taxi Gauche Records, February 2020).
A reflective timeline of dusty folk, 'Lavender' aims to capture the modern loneliness of the 21st century. A sorrowful soundtrack, inspired by the production of great crooners and folk artists of the 70s/80s like Cohen, Lightfoot, and Nick Drake, to name a few, Love achieves a similar quality on Lavender. Like a Chris Isaak trapped in a David Lynch film, Love’s haunted
vocals guide the listener through poetic verses on the archetypes of love and truth, posthumous poetry by his grandfather circa 1930s, and escapism, all melting and flowing into a pool of celestial wisdom.
Acoustic guitars sweep across desolate sonic landscapes of global narcissism, social media and the universal need for connection. Hypnotic bass grooves and lush 3D string ensembles, wrap the listener in a familiar cinematic romance, embraced and mystified. 'Lavender' explores the universal threads that make us feel and experience what we do, in a time when the need to peer into ourselves has never been more important. 'Lavender' draws you inwards, like staring up at the stars at night, or standing alone with the silence of the forest, 'Lavender' wants you to find your own meaning. Self-recorded in a variety of spaces through out Turtle Island (Canada & The USA). Specifically, Toronto Island, a basement in Edmonton, AB, various apartments and motels in Los Angeles and around the United States, on a road trip west via the Trans-Canada highway and ending at a cabin in the foothills of the Rocky Mountains.


“There’s a lonesome vibe to his brand of heartland rock, evoking late nights on a deserted road, or neon-lit streets just after a rainstorm.” (Brooklyn Vegan)

After standout collaborations with Christophe Honoré and Bertrand Mandico, Calypso has signed with Pop Noire for the original soundtrack of Caroline Deruas’ film Les Immortelles. She unveils her new single, L’Homme Poisson, a gem of magnetic pop. With this ultra-catchy track, she reinvents 70s synth-pop with her signature poetry—both modern and timeless.


With Les Immortelles, Calypso Valois does more than accompany the film: she becomes its sonic soul. Each track—from enchanting choruses to rich instrumentation (piano, synths, strings, brass)—immerses the listener in a dreamlike universe, where music weaves the emotional thread. A singular cinematic experience, infused with mystery and magic. Whether you’re a fan of sophisticated pop, evocative soundtracks, or simply seeking an enchanting musical journey, this album transcends the boundaries of genre and era.
The film opened the Venice Film Festival and continues to make waves at festivals before its release a on Wednesday, February 11, 2026.

Cam Muncey is an Australian guitarist and vocalist. He is the mainstay lead guitarist and one of the songwriters of Melbourne-based rock band Jet.

25th Anniversary Reissue. Remastered With New Artwork.

By the late 90s the independent music scene in San Diego, CA had become synonymous with noisy, post-hardcore bands that were pushing the boundaries of what it meant to be punk. Camera Obscura cut their teeth on the angular and abrasive sounds of Antioch Arrow, Clickatat Ikatowi, and Heroin, and incorporated synths and electronics to create their own dark, jarring, experimental rock sound. ‘To Change the Shape of an Envelope’, released in 2000 on Troubleman Unlimited, was their only LP. The album runs the gamut sonically with dark, high energy songs like “Twenty-Five Diamonds” and “Sarasota”, the early industrial sounds of “Something About a Nightmare”, and the shoegaze influenced “Cinematheque”.

FFO: The Faint, The VSS, and Clickatat Ikatowi.

25th Anniversary Reissue. Remastered With New Artwork.

By the late 90s the independent music scene in San Diego, CA had become synonymous with noisy, post-hardcore bands that were pushing the boundaries of what it meant to be punk. Camera Obscura cut their teeth on the angular and abrasive sounds of Antioch Arrow, Clickatat Ikatowi, and Heroin, and incorporated synths and electronics to create their own dark, jarring, experimental rock sound. ‘To Change the Shape of an Envelope’, released in 2000 on Troubleman Unlimited, was their only LP. The album runs the gamut sonically with dark, high energy songs like “Twenty-Five Diamonds” and “Sarasota”, the early industrial sounds of “Something About a Nightmare”, and the shoegaze influenced “Cinematheque”.

FFO: The Faint, The VSS, and Clickatat Ikatowi.

Camera Obscura feiern das 25-jährige Jubiläum ihres Debütalbums ,Biggest Bluest Hi-Fi" mit einer Vinyl-Neuauflage bei Merge Records. Seit der ursprünglichen Veröffentlichung in Großbritannien bei Andmoresound im Jahr 2001 ist das Album in diesem Format vergriffen. Die Jubiläumsausgabe kommt als die definitivste Version von ,Biggest Bluest Hi-Fi", die je auf Vinyl gepresst wurde, und enthält beide B-Seiten der Single ,Eighties Fan" - ,Shine Like a New Pin" und ,Let's Go Bowling" -, die später den erweiterten CD-Neuauflagen des Albums hinzugefügt wurden. ,Biggest Bluest Hi-Fi" wurde nach seinem Erscheinen wiederholt von John Peel in seinen BBC-Radiosendungen gespielt. Das Album ist ein bemerkenswert selbstbewusstes Debüt, ein voll ausgereifter Ausdruck eines Sounds, der die Fans der Band seit ihrem ersten Durchlauf des von Stuart Murdoch (Belle & Sebastian) produzierten ,Eighties Fan" bis zum letzten Hören des 2024 erschienenen Studio-Comebacks von Camera Obscura ,Look to the East, Look to the West" in seinen Bann gezogen hat. Diese Fans haben lautstark gefordert, dass ,Biggest Bluest Hi-Fi" die Vinyl-Neuauflage erhält, die es schon lange verdient hat. Wenn man die Nadel auf Tracks wie ,Swimming Pool", ,Pen and Notebook" und ,Happy New Year" setzt, ist leicht zu hören, warum: Jeder der 12 Songs des Albums ist ein perfekt beobachteter Ausschnitt aus dem Leben, der durch opulent detaillierte Arrangements filmisch inszeniert wird. Es ist zeitlose, grundsolide Popmusik, wie sie nur Camera Obscura machen kann, geeignet für die Hi-Fi-Anlagen von 1966 und 2026 gleichermaßen.

Jade Green Swirl vinyl. Camp Cope's new album How To Socialise & Make Friends will be released on March 2nd 2018. The follow up to their 2016 self-titled debut kicks off with the instantly remarkable bass line of "The Opener," an explosive diatribe against the sexist double standards of the music industry at large. What follows the lead single are a collection of songs that anchor on the cycles of life, loss and growth through resilience and those moments of finding and being yourself. Throughout the nine songs on How To Socialise & Make Friends it becomes clear that if their debut was the flame, this is Camp Cope rising from the ashes, stronger and more focused than ever.