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Pearl Flip Horizon Vinyl. Europa-Version, limitiert auf 500 Exemplare. Seit 2013 vergriffen, ist ,Never Ender" endlich wieder erhältlich! Mit neuem Artwork von SINC und remastert von Andy Clarke versammelt ,Never Ender" die Split- und EP-Veröffentlichungen von HWM aus den Jahren 1996 bis 1999.

Blue vinyl limited to 300 copies, white indie store version 100 only

Hotel Lux today announce their debut album Hands Across The Creek, out January 27th on The state51 Conspiracy. They also unveil new single 'Common Sense' and a string of UK/EU tour dates. The Portsmouth/London band released a critically acclaimed debut EP in 2020 and have spent the subsequent period writing and honing this debut LP, which is produced by Bill Ryder-Jones. There has been press support from the likes of So Young, NME and DIY along with radio plays from Steve Lamacq and Iggy Pop. 'Common Sense' takes songwriting influence from The Beautiful South and lyrical inspiration from RMT strikers and trade union leader Mick Lynch. The use of direct and plain-English reveals an incisiveness and a considered contemplation of modern Britain in 2022.

On the new single, the band say, "Common Sense is about how the media are aware that apathy is the greatest enemy of social shift, how we are being taken for fools and we’ve become numb to it.”

Watch the video for 'Common Sense' here.

Once contenders for the mantle of Britain’s most self-conscious band — guilty, by their own admission, of pandering to audiences’ tastes following their move from Pompey to London — Hotel Lux have crafted a bold and bright identity that is truly their own on their brilliant debut album Hands Across The Creek. All it took was for their wildest dreams to be dashed.

“We always cared too much about how we were going to be perceived,” bass player Cam Sims recalls of those early days, as Hotel Lux became entwined in South London music scene folklore. It seems silly, now: the band’s early, clattering pub-rock singles received widespread acclaim from the offset – their acute social commentary and raw passion greater assets, perhaps, than they gave themselves credit for. But a sense of vulnerability endured.

Anxieties aside, Hotel Lux — completed by acerbic lead vocalist Lewis Duffin, guitarist Sam Coburn, drummer Craig MacVicar, and new members Max Oliver (guitar) and Dillon Home (organ; violin) — found themselves on the path to major success in 2020 around the release of the Barstool Preaching EP. Iggy Pop was singing their praises on the radio, and the band themselves were preparing for their big break in America via SXSW Festival. Then, the world shut down and their Stateside debut was cancelled. “We were gutted,” Lewis remembers. “Everything had been pretty exciting for us up until that point.”

Hotel Lux were left stumped, says Cam: “it was the most fragile we’ve been”. Original guitarist Jake Sewell even jumped ship, leaving the band to move to Amsterdam. But the surviving members remained focused – opting to put the meagre funds that remained from their America budget towards creating an album of their own. But first, they had to write some songs.

“It took a long, long time,” Lewis says of the writing process for what would eventually be their debut. Making songs about wearing gloves and going to Sainsbury’s at 6am was hardly proving worthwhile, and there were “a lot of arguments” as the band struggled to settle on a sound to call their own. “Craig and Sam got really hooked on ESG,” Lewis explains — referring to the ‘80s New York post-punk band known for their funky rhythms and simplistic refrains. “I hated that. It was doing my head in.”

But with new guitarist Max (of fellow South London band LEGSS) bringing a “scratchy and harsher, more tone-y Telecaster sound” with him in 2020, the roots of Hotel Lux’s transformation were soon in place. The band’s classic influences — Dr Feelgood, The Stranglers and Ian Dury — would mesh with the sounds of artists like Neil Young, Brian Eno and The Waterboys as Hotel Lux spread their wings while remaining faithful to their roots. (It’s a truth reflected in the album title — a phrase Lewis picked up from his Dad’s mates, which he believed to refer to the Portsmouth-Fareham connection.) “We ended up doing the whole ‘haha, that’s what the fourth album will sound like’ thing — but ended up actually doing it on the first album’, says Cam.

Vulnerability seems to creep in throughout the album. The songs were predominantly written in a rehearsal space in Bermondsey over a period of lockdown when ‘work meetings’ were allowed. Over the course of a few months, as tensions grew and friendships trod carefully along a tight rope. Through many, many ‘work meetings’ - Hands Across the Creek was birthed.

The band then decamped to The Wirral, near Liverpool, where they found further inspiration in the marina, the local Morrisons and a producer and kindred spirit in Bill Ryder-Jones (The Coral; Arctic Monkeys; Yard Act) — who also contributed piano to the record. It was here that the band’s multi-faceted influences, £20 Casio keyboards and experimentation with omnichords, violins and marauding song structures finally fell into place. With rich emotional peaks matching the band’s signature self-effacing wit, and as many jangling guitars as there are squiggling organ hooks, the results have proven emphatic.

Hotel Lux look set to become something their early critics might have not foreseen: a band full of confidence, with the ability to transcend their peers and carve out their own corner of the British music tapestry to confirm a legacy that is their own. “It feels really important,” Lewis concludes of the whole ordeal. “We spent a lot of time worrying.”

Blue vinyl limited to 300 copies, white indie store version 100 only

Hotel Lux today announce their debut album Hands Across The Creek, out January 27th on The state51 Conspiracy. They also unveil new single 'Common Sense' and a string of UK/EU tour dates. The Portsmouth/London band released a critically acclaimed debut EP in 2020 and have spent the subsequent period writing and honing this debut LP, which is produced by Bill Ryder-Jones. There has been press support from the likes of So Young, NME and DIY along with radio plays from Steve Lamacq and Iggy Pop. 'Common Sense' takes songwriting influence from The Beautiful South and lyrical inspiration from RMT strikers and trade union leader Mick Lynch. The use of direct and plain-English reveals an incisiveness and a considered contemplation of modern Britain in 2022.

On the new single, the band say, "Common Sense is about how the media are aware that apathy is the greatest enemy of social shift, how we are being taken for fools and we’ve become numb to it.”

Watch the video for 'Common Sense' here.

Once contenders for the mantle of Britain’s most self-conscious band — guilty, by their own admission, of pandering to audiences’ tastes following their move from Pompey to London — Hotel Lux have crafted a bold and bright identity that is truly their own on their brilliant debut album Hands Across The Creek. All it took was for their wildest dreams to be dashed.

“We always cared too much about how we were going to be perceived,” bass player Cam Sims recalls of those early days, as Hotel Lux became entwined in South London music scene folklore. It seems silly, now: the band’s early, clattering pub-rock singles received widespread acclaim from the offset – their acute social commentary and raw passion greater assets, perhaps, than they gave themselves credit for. But a sense of vulnerability endured.

Anxieties aside, Hotel Lux — completed by acerbic lead vocalist Lewis Duffin, guitarist Sam Coburn, drummer Craig MacVicar, and new members Max Oliver (guitar) and Dillon Home (organ; violin) — found themselves on the path to major success in 2020 around the release of the Barstool Preaching EP. Iggy Pop was singing their praises on the radio, and the band themselves were preparing for their big break in America via SXSW Festival. Then, the world shut down and their Stateside debut was cancelled. “We were gutted,” Lewis remembers. “Everything had been pretty exciting for us up until that point.”

Hotel Lux were left stumped, says Cam: “it was the most fragile we’ve been”. Original guitarist Jake Sewell even jumped ship, leaving the band to move to Amsterdam. But the surviving members remained focused – opting to put the meagre funds that remained from their America budget towards creating an album of their own. But first, they had to write some songs.

“It took a long, long time,” Lewis says of the writing process for what would eventually be their debut. Making songs about wearing gloves and going to Sainsbury’s at 6am was hardly proving worthwhile, and there were “a lot of arguments” as the band struggled to settle on a sound to call their own. “Craig and Sam got really hooked on ESG,” Lewis explains — referring to the ‘80s New York post-punk band known for their funky rhythms and simplistic refrains. “I hated that. It was doing my head in.”

But with new guitarist Max (of fellow South London band LEGSS) bringing a “scratchy and harsher, more tone-y Telecaster sound” with him in 2020, the roots of Hotel Lux’s transformation were soon in place. The band’s classic influences — Dr Feelgood, The Stranglers and Ian Dury — would mesh with the sounds of artists like Neil Young, Brian Eno and The Waterboys as Hotel Lux spread their wings while remaining faithful to their roots. (It’s a truth reflected in the album title — a phrase Lewis picked up from his Dad’s mates, which he believed to refer to the Portsmouth-Fareham connection.) “We ended up doing the whole ‘haha, that’s what the fourth album will sound like’ thing — but ended up actually doing it on the first album’, says Cam.

Vulnerability seems to creep in throughout the album. The songs were predominantly written in a rehearsal space in Bermondsey over a period of lockdown when ‘work meetings’ were allowed. Over the course of a few months, as tensions grew and friendships trod carefully along a tight rope. Through many, many ‘work meetings’ - Hands Across the Creek was birthed.

The band then decamped to The Wirral, near Liverpool, where they found further inspiration in the marina, the local Morrisons and a producer and kindred spirit in Bill Ryder-Jones (The Coral; Arctic Monkeys; Yard Act) — who also contributed piano to the record. It was here that the band’s multi-faceted influences, £20 Casio keyboards and experimentation with omnichords, violins and marauding song structures finally fell into place. With rich emotional peaks matching the band’s signature self-effacing wit, and as many jangling guitars as there are squiggling organ hooks, the results have proven emphatic.

Hotel Lux look set to become something their early critics might have not foreseen: a band full of confidence, with the ability to transcend their peers and carve out their own corner of the British music tapestry to confirm a legacy that is their own. “It feels really important,” Lewis concludes of the whole ordeal. “We spent a lot of time worrying.”

Hotel Lux announce their second album 'The Bitter Cup', which will be released October 31st. News of the album comes alongside the outlining of an extensive UK winter tour and new single, Costermonger. The band's 2023 debut album Hands Across The Creek won an abundance of press support, from the likes of: Dork, The Guardian, Mojo, Uncut, DIY L&Q, Clash, So Young, NME. BBC 6 Music playlists were also achieved. Recent single Another One Gone marked the start of new chapter for the band, after talking time to rediscover their identities, both as musicians and as a bunch of mates heading into their late twenties.

On new single, Hotel Lux say: "Costermonger is a musical translation of a BBC documentary detailing the rise and the fall of Deptford Market, High Street and the surrounding housing. The title itself refers to a Cockney word for a market trader. Sadly, the subject matter of the lyrics are as relevant now as they would’ve been back in ‘67 when Lewisham council first started pulling down the council housing.

On ‘The Bitter Cup’, Hotel Lux took it upon themselves to self-produce. “Something that felt completely natural, but also entirely necessary” Recorded at Big Jelly Studios, the band had enough confidence to lead on carving their own sound for this new record. Written completely collaboratively, and recorded live to replicate the emotional intensity of their live shows, this new record finds the band at their most vulnerable, while, also, at their most confident.

The most political music is often the most explicit, battering its audience with its beliefs. But that isn't always the case; sometimes it embeds its ideas in subtler, more successful ways. Take The Hotelier (previously The Hotel Year), whose second full-length Home, Like Noplace Is There is comprised of what can only be described as anthemic, cathartic rock songs, sent occasionally to delicate and destructive extremes. Singer Christian Holden pushes his clean voice until it crumbles, on "The Scope of All of This Rebuilding" against a strutting pace, and on the furious "Life in Drag", but most powerfully during the chorus of "Your Deep Rest" where his words are heart-wrenching and haunting. As drummer Sam Frederick stamps out an enormous beat and chords - strummed by Cody Millet, Scott Ayotte, and Chris Hoffman - clamor around him, Holden sings, "I called in sick from your funeral / tradition of closure made it feel impossible... / I should have never kept my word to you / Not a cry not a sound / Might've learned how to swim but never taught how to drown /You said remember me for me, I need to set my spirit free." By making political statements through personal explorations, The Hotelier has not only make a uniquely political record, but also a subtler, more successful one.

HotWax are a band set on experiencing life at its most intense. In the past two years, the Hastings-via-Brighton trio – comprising Tallulah Sim-Savage (vocals/guitar), Lola Sam (bass) and Alfie Sayers (drums) – have toured the world over, clocking up over 150 dates, including shows with Royal Blood and Frank Carter, and major festival appearances at Reading & Leeds and All Points East. Out of all this comes debut album Hot Shock (due March 7 via Marathon Artists), a record of adrenaline-jolted anthems about abandoning fear and leaping boldly towards the future.

HotWax worked with an all-female production team at the prestigious RAK studios, Catherine Marks (Boygenius, Wolf Alice) and Steph Marziano (Hayley Williams, Let’s Eat Grandma), as well as additional recording with Stella Mozgawa of Warpaint in Joshua Tree, California.

These songs were made to be played to a crowd, loud and with abandon. But there’s also a beating pulse of vulnerability underscoring the album. It’s an honest, moving sentiment sure to propel HotWax towards becoming the UK’s next big crossover rock act – and beyond.

"Britain’s most thrilling and fiercely confident new rockers” - NME “they’re a total inspiration – wicked songwriting, stunning stage presence, and a sheer, raw, couldn’t-give-a-flying attitude that punches you to the gut.” - Clash

House of Harm are proud to announce the forthcoming release of their new album Playground, out December 1st, 2023. The new record builds and expands upon the three-piece’s enthralling shadow-pop sound, a mix of midnight atmospherics, 90s era jangle pop, and contagious synth drenched hooks that further elevate the transcendent vocals of lead singer Michael Rocheford. Rounded out by Cooper Leardi (guitar / synths) and Tyler Kershaw (guitar / synth), House of Harm have amassed an impressive following as something of a best kept secret among their growing fanbase, leading to sold out shows on both coasts by the power of word of mouth alone. The band members have been drawn to music for as long as any of them can remember, and the drive to be around like-minded artists and make their own noise drew them all to Boston after high school. There they all quickly enmeshed themselves, playing in other bands before meeting each other. Ever since, House of Harm have been quietly making a name for themselves among music fans with darker pop persuasions via a steady stream of releases in single, ep and album form. That attention to detail and workmanlike approach at the expense of chasing instant gratification seems to be paying dividends after years of steady effort. The journey of their new album Playground saw House of Harm stay true to that ethos. The band painstakingly narrowed the record down to an efficient 10 tracks that they felt made the most sense, both standing on their own as well as fitting into an LP that built a cohesive world for the listener to get lost in. The album’s name also reflects the experimentation and happy accidents that came about during the writing and recording process. On “The Face of Grace” they set out to explore different dynamics by writing a song entirely without drums, but couldn't help themselves from putting emphasis on the song’s 6/8 waltz time signature. “Two Kinds” is another first for House Of Harm in that it’s predominantly driven by acoustic guitar. That aforementioned vulnerability shows up in other areas of the songwriting process as well with “Two Kinds”, one of their most revealing songs to date from a lyrical standpoint, written from a place of reflection and weakness and tackling feelings uneasy to be put on display for public consumption. Taken as a whole, the end result is an album representing a collection of the band’s most raw and expressive songs yet.

House of Harm are proud to announce the forthcoming release of their new album Playground, out December 1st, 2023. The new record builds and expands upon the three-piece’s enthralling shadow-pop sound, a mix of midnight atmospherics, 90s era jangle pop, and contagious synth drenched hooks that further elevate the transcendent vocals of lead singer Michael Rocheford. Rounded out by Cooper Leardi (guitar / synths) and Tyler Kershaw (guitar / synth), House of Harm have amassed an impressive following as something of a best kept secret among their growing fanbase, leading to sold out shows on both coasts by the power of word of mouth alone. The band members have been drawn to music for as long as any of them can remember, and the drive to be around like-minded artists and make their own noise drew them all to Boston after high school. There they all quickly enmeshed themselves, playing in other bands before meeting each other. Ever since, House of Harm have been quietly making a name for themselves among music fans with darker pop persuasions via a steady stream of releases in single, ep and album form. That attention to detail and workmanlike approach at the expense of chasing instant gratification seems to be paying dividends after years of steady effort. The journey of their new album Playground saw House of Harm stay true to that ethos. The band painstakingly narrowed the record down to an efficient 10 tracks that they felt made the most sense, both standing on their own as well as fitting into an LP that built a cohesive world for the listener to get lost in. The album’s name also reflects the experimentation and happy accidents that came about during the writing and recording process. On “The Face of Grace” they set out to explore different dynamics by writing a song entirely without drums, but couldn't help themselves from putting emphasis on the song’s 6/8 waltz time signature. “Two Kinds” is another first for House Of Harm in that it’s predominantly driven by acoustic guitar. That aforementioned vulnerability shows up in other areas of the songwriting process as well with “Two Kinds”, one of their most revealing songs to date from a lyrical standpoint, written from a place of reflection and weakness and tackling feelings uneasy to be put on display for public consumption. Taken as a whole, the end result is an album representing a collection of the band’s most raw and expressive songs yet.

Dayton, Ohio underground punk heros and purveyors of self-proclaimed "Spooky Punk" - this is the band's eponymous debut Dayton Ohio has another unlikely hero in its underground punk scene; self-proclaimed "Spooky Punk" band Houseghost. The bands new self titled debut album sees an official vinyl release courtesy of Rad Girlfriend Records. This Record shows a great combination of the horror tinged lyrics with raw energy and pop sensibilities. Brilliant production from Micah Carli (Hawthorne Heights) highlights the bands performance. Ranging fom dark and melodic, to angry and beautiful, Housghost covers all of their basest adding variety and depth to the track list. As a whole the album demands attention with its emotive power while retaining the aggression and creative spirit of classic punk bands. Houseghost takes a combination of styles and runs with them to create an innovative final product. Great hooks and unorthodox song structures are on full display with interesting chord progressions and powerful drumming. The dynamic brother-sister vocal duties compliment the dark sound of the record adding too the spooky and passionate lyrical content. You can expect great Vocal harmonies, crunchy guitar tones, crushing bass and absolutely punishing drums coming together for one of the most cohesive, intriguing punk albums of the year. Think Misfits meets Sleater- Kinney

Austin indie folk duo make their Grand Jury debut with True Love. Recorded over winter 2020 in LA with Andrew Sarlo (Big Thief, Bon Iver, etc.). This album is about growth and nostalgia. Both band members got married. One had a kid. They’ve found themselves individually away from the band, but settling into their most creatively fertile moment as a duo.

NNA is thrilled to bring you 'Hubble Eagle', the latest full-length from Ben Greenberg's Hubble project. Having cut his teeth in numerous bands such as Pygmy Shrews, Zs, and most recently with The Men, Greenberg has been fostering and cultivating his own unique re-examination of the guitar as an instrument, resulting in a minimalist and truly psychedelic whirlwind of notes, first displayed on his debut release 'Hubble Linger' on NNA in 2011. Since then, the Hubble sound has matured and expanded, taking in new ideas and influences while still retaining the rock and roll hypnotism of its 'one man and his guitar' rawness. On 'Hubble Eagle' we hear Greenberg launching his guitar mantra even further into uncharted territory. Opening with the side-long 'A Star Or Two Beside', Hubble trades in his trusted electric and opts for acoustic guitar, which when subjected to Greenberg's turbulent tapping chops, yields incredible and unexpected sonic results. Complex percussive patterns begin to emerge, creating a raw rhythmic backbone for a constantly shifting vortex of overtones and harmonic weavings. These dulcimer-like pluckings seem to ping-pong back and forth across a vast stereo field. It creates a whirlwind effect that sweeps over the listener like river rapids; bubbling, rushing, chaotic, and endlessly flowing. After some immersion, the barrage of notes can start to feel automated or even electronic, until brief pauses and subtle flourishes break the hypnotic spell, reminding the listener of the human nature of this music. Side B opens with the breaking of more new ground on the track 'A Long Way From Home' originally by The Kinks, Hubble's first cover song. Inspired by Greenberg's rigorous touring schedule on the open road, Hubble meditates on the feelings of isolation and melancholy set forth in the original song. By deconstructing the riffs and rebuilding them in the Hubble framework, the track turns into an electro-acoustic hybrid that is entirely new in sound, employing alternate tunings and adding vocals for the first time in the project's history. The result opens new harmonic gateways for the notes to flow through a psych-rock atmosphere. Closing off with the title track 'Hubble Eagle', Hubble is in its truest form with a powerful electric guitar exercise. The playing is mechanical in its relentless repetition, creating guitar fractals that seem to crystallize around themselves like the formation of a galaxy. Rock riffs are contemplated, exposed, and ripped to shreds by Greenberg's signature three-finger tapping technique, drawing upon raw bluesy or even gritty Americana-like tonality. The sound becomes so full-spectrum that it creates audio hallucinations, causing one to hear perhaps organ, voice, or synth... before breaking back into the reality that it is has been the sound of solo guitar all along. Greenberg successfully reminds us of the importance of hand-played music and the human touch in a time when electronics and circuitry along seem to prevail. Enhanced by the record's flow from acoustic into electric sound, the result of 'Hubble Eagle' is a truly unique modern guitar album.

The new album from brothers Harry and Alfie Hudson Taylor. The title ‘Loving Everywhere I Go’ is a line from one of our songs, it’s about embracing the fresh possibilities that life offers you, and being open-minded to new sounds, people and places.” The album was recorded in America and Dublin, with producer John Rausch at the controls for much of the creative process. The album includes the singles Back To You, Feel It Again and Run With Me.

Widely regarded as the poet laureate of the punk era (from his early career fronting the Stranglers to his transition as a solo artist), Hugh Cornwell has built a substantial and singular body of impressive solo albums. His tenth solo opus, Moments of Madness, continues his illustrious output by experimenting with musical genres as his enviable reputation as a wordsmith resounds across this album's songs.

Self-produced, and playing all of the instruments himself, Moments of Madness' ten incredible tracks finds Hugh flexing his musical muscles with a stripped down, offbeat, reverberating sixties vibe ringing from the seductive melodies and lyrically distinctive perceptions that are indelibly stamped with Hugh’s trademark imagination. Vocally and lyrically a career-best, Hugh has never sounded so good on his tenth solo album.

A high watermark and a modern-day masterpiece, Moments of Madness is being tipped as the most significant album of Hugh’s career.

Top-Livealbum des ehemaligen The Stranglers-Frontmanns Hugh Cornwell, das auf den UK-Touren nach seinem 10. Soloalbum "Moments Of Madness" (2022) aufgenommen wurde. Als Hofdichter der Punk-Ära zeichnete er für die denkwürdigsten Songs der Stranglers verantwortlich, samt des Überhits "Golden Brown", dessen vielfältige Textdeutungen eine Meisterklasse des Songwritings sind. Das Doppelalbum enthält Livesongs aus allen Epochen, darunter Stranglers-Klassiker wie "Skin Deep", "Always The Sun" & "Strange Little Girl", die 2CD kommt mit 4 weiteren Bonustracks, darunter "Nice'n'Sleazy" & "(Get A) Grip (On Yourself)".

Human Impact, die laserpräzise Noise-Rock-Allianz von Unsane-Frontmann Chris Spencer und Cop Shoot Cop-Mitglied Jim Coleman, meldet sich mit 'Gone Dark', dem zweiten Album der Band, zurück. 'Gone Dark' ist kein Schrei aus der Dunkelheit, sondern ein Schrei durch die Dunkelheit, eine robuste Proklamation von Resilienz und Widerstand im Angesicht der drohenden Apokalypse.

Dank der Verstärkung durch zwei weitere Noise-Rock-Veteranen - Bassist Eric Cooper (Made Out of Babies, Bad Powers) und Schlagzeuger Jon Syverson (Daughters) - ist das Arsenal von Human Impact gewaltiger denn je. Spencer, der das Jahr 2020 damit verbracht hatte, an einer Hütte in den Wäldern von Ost-Texas zu arbeiten, reiste nach Austin, um mit den beiden in der Garage des Bassisten zu jammen. Freundschaftliche Jamsessions mit alten Unsane-Songs führten schließlich dazu, dass die Rhythmusgruppe für die Europatournee 2022 vollständig in das Line-Up von Unsane und Human Impact integriert wurde.

Aufgenommen mit Co-Produzent Andrew Schneider (Ken Mode, Cave In) im Cedar Creek Studio in Austin, Texas, ist 'Gone Dark' eine härtere, straffere Version der strammen Grooves von Human Impact, mit zerbrechlichen Gitarrensplittern, leidenschaftlichen Schreien und Wolken aus dystopischem Lärm.

Marking the follow-up to acclaimed 2023 EP ‘Empathy Lives In Outer Space’, the impressive quartet kick off their EP campaign with visceral lead track ‘Shapeshifting’, showcasing another unbridled display of powerful emotion and effortless vocals, powered by their phenomenal rhythmic instrumentation.

Hailed by The Sunday Times as “an intriguing musical concoction that doffs its cap to grunge, The Kinks, Iggy Pop and T.Rex”, and accompanied with press support from many highly recognised publications (DIY, Dork, Clash, The Line Of Best Fit, Rough Trade, The Forty-Five), the band have fast become mainstays on the BBC 6 Music (Steve Lamacq), Radio X (playlisted) and Sirius FM airwaves. With their biggest ever headline show announced for The Lexington, London this September to coincide with their EP release, Human Interest are primed to kick on in the summer months, with multiple festival appearances lined up to build on recent supports with the likes of English Teacher, Self Esteem and Hinds.

On The Edge Of A Lost And Lonely World is the sophomore album from Humanist, the moniker of frequent Mark Lanegan collaborator Rob Marshall. The album features an array of guests including Depeche Mode’s Dave Gahan, Midlake’s Tim Smith, Isobel Campbell, and Ed Harcourt, amongst others.

Hundredth is an American rock band from Myrtle Beach, South Carolina, that formed in 2008. On September 2, 2020, Hundredth announced their new studio album Somewhere Nowhere, which will be self-released on 18th December, 2020. The album's first single "Bottle It Up" was released to all streaming platforms that same day.

“I can truthfully say I have never worked harder on anything in my life than I have this album. We wanted to push the boundaries of what Hundredth could be, while resonating with our fans in a new way. The result is something we are super proud of. So much time & sweat went into making the album and we can't wait to share it with you all.” says the band.

Hundredth haben sich über die Jahre als Band des Wandels etabliert. Mit jeder Veröffentlichung schlagen sie neue klangliche Wege ein – von ihren rohen Hardcore-Wurzeln über den verträumten Shoegaze von RARE (eines von Stereogums besten Alben 2017) bis hin zum cineastischen Synthpop von Somewhere Nowhere. Jeder Abschnitt ihrer Karriere fühlt sich an wie ein Neuanfang – mal hart, mal zart, aber immer mit dem Drang, voranzuschreiten.

Nach fünf Jahren Stille kehren sie nun mit Faded Splendor zurück: einer intensiven Mischung aus Post-Punk-Energie und weiträumigem Indie-Rock. Das Album vereint Einflüsse aus vier Jahrzehnten – von düsterem 80s-Post-Punk über das Indie-Revival der 2000er bis zum glitzernden 90er-Alternative-Rock und verträumtem Pop. Ein Hauch von Alt-Country klingt mit – vielleicht eine stille Erinnerung an ihre südliche Herkunft. Doch das ist keine Rückschau. Es ist ein Aufbruch.

Clear Vinyl. For the first time ever released on vinyl, this brilliant 2012 LP features an all-star cast of musicians and actors lead by Tim Robbins, Dr. John, Bill Frisell, Ralph Steadman, Annie Ross, John Joyce III and Will Forte. Hunter S. Thompson's classic Gonzo reportage on the 1970 Kentucky Derby is summoned brilliantly to life through spoken word and musical composition. Conceived by executive producer Michael Minzer for his Paris Records label, the project was produced by Hal Willner, who brought Bill Frisell in as composer/arranger/conductor. Bill then asesmbled a stellar group of musicians including Curtis Fowlkes (trombone), Ron Miles (trumpet), Eyvind Kang (viola), Doug Weiselman (woodwinds), Jenny Scheinman (violin), Hank Roberts (cello) and Kenny Wolleson (drums, percussion). Ralph Steadman does double duty portraying himself in the narration and contributing original artwork for the project. In 2021, Kramer re-Mastered the original audio for this historic re-release on limited-edition 'Horse-Shit Brown' vinyl for his Shimmy-Disc label.

The Nonesuch debut of Hurray for the Riff Raff (aka Alynda Segarra), LIFE ON EARTH, is a departure for the Bronx-born, New Orleans-based singer/songwriter. Its eleven new “nature punk” tracks on the theme of survival are music for a world in flux – songs about thriving, not just surviving, while disaster is happening. Hurray for the Riff Raff tours North America this spring, beginning March 19 in Atlanta and continuing through April 20 in Nashville, with stops in Austin, Chicago, Los Angeles, and New York, among others. International tour dates will be announced shortly.

For her eighth full-length album, Segarra (they/she) drew inspiration from The Clash, Beverly Glenn-Copeland, Bad Bunny, and the author of Emergent Strategy, adrienne maree brown. Recorded during the pandemic, Life on Earth was produced by Brad Cook (Waxahatchee, Bon Iver, Kevin Morby).

Life on Earth’s first single, ‘RHODODENDRON’, is about “finding rebellion in plant life. Being called by the natural world and seeing the life that surrounds you in a way you never have. A mind expansion. A psychedelic trip. A spiritual breakthrough. Learning to adapt, and being open to the wisdom of your landscape. Being called to fix things in your own backyard, your own community,” says Segarra.

Of the ‘Rhododendron’ video, which was directed by New Orleans-based artist Lucia Honey, Segarra says: “It is really far out and fun. I got this bodysuit that just looks like the inside of the human body. It looks like you’re skinless. It’s in a scene where I’m playing to an audience of plants. Just really absurd, but I put that suit on and I was like man, this feels really good. It feels like, ‘This is who I am. Let’s just take the skin off.’

“It reminds me a little bit of Kids in the Hall,” they continue. “With this ‘Rhododendron’ shoot, something clicked in me where I was like, ‘All I have to do is be myself.’ I had been thinking that I had to be something bigger than myself. I felt like I was just never quite making the mark and then something clicked where I was like, ‘I just gotta be me. I could do that. I could show up and be me. And if people don’t like it, then I don’t know what to fucking tell them.’ It was like a brain shift of, ‘Oh, this can be fun. It doesn’t have to be suffering.’ With so many videos and photo shoots before, it really felt like suffering. I felt so uncomfortable being perceived. I didn’t know who I was.”

Honey adds: “We wanted to create something surreal, playful, and saturated that indulged heavily in the aesthetic of the early ‘90s. Alynda and I had many overlapping visual and philosophical references which sparked the initial collaboration. We wanted to make this video an homage to Gregg Araki’s Teenage Apocalypse trilogy but as a nature documentary crossover. I came across Araki’s work as a queer teenager, and he’s always been a big inspiration. Sex, blood, punk rock, camp, etc.

“We live in a moment where the future is bleaker and more unknown than ever, so there becomes a deep comfort in nostalgia and reliving the past. Through our talks, I realised Alynda’s new album touches on many of these same subjects, but perhaps in reverse; running from a past that is always haunting you. Shifting into a more refined self/identity through confronting one’s trauma and baggage. It was easy to reach collaborative synergy for this video project because we’re both interested in tackling similar issues.”

Alynda Segarra was born and raised in the Bronx, which they left at the age of seventeen, running away from everything and everyone they knew, hopping freight trains or hitchhiking across the country in the company of a band of street urchins. Segarra moved to New Orleans in 2007 and formed two bands: Dead Man’s Street Orchestra and Hurray for the Riff Raff. In 2015, Segarra decamped to Nashville, then to New York, to make her most recent album, 2016’s critically praised The Navigator, an ambitious and fully realized concept album that was her quest to reclaim her Puerto Rican identity. Segarra’s previous records as Hurray for the Riff Raff are Crossing the Rubicon (EP, 2007), It Don’t Mean I Don’t Love You (2008), Young Blood Blues (2010), Hurray for the Riff Raff (2011), Look Out Mama (2012), My Dearest Darkest Neighbor (2013), and Small Town Heroes (2014).

Hurry has grafted the best qualities of ‘90s bubblegum power pop—the pitch-perfect songwriting, the pop-rock sheen, the borderline saccharine vocal melodies—onto something far more raw and emotionally resonant. Don’t Look Back is striking in its tenderness and candor—approximately half of the lyrics on the record concern the deterioration of an 11- year relationship Scottoline was in, with the other half being a celebration of new love. The first words Scottoline sings, in opening track “Didn’t Have to Try,” is essentially a statement of theme: “And we’re back at the beginning / Never thought I’d see a face like that again / It attacks when we’re not ready / And I won’t play it safe this time.” This is pop music about actual feelings which means it’s automatically better than most pop music. It is challenging and addictive.

There is not a single moment on Don’t Look Back that isn’t completely drenched in melody and emotion. “Parallel Haunting” evokes the tuneful ache of golden age Evan Dando; “Little Brain” sounds like golden age Evan Dando and golden age Noel Gallagher. Don’t Look Back is, in a word, bittersweet, with melodies that feel like a jackhammer on your brain’s pleasure center and lyrics that feel like getting slapped in the heart.

Der Plan sah vor, im Frühjahr 2023 direkt wieder ins Studio zu gehen, bei dem alten Freund Paul Grau in Motril, Spanien. Noch euphorisiert von der gelungenen Herbst-Tour machten Gisbert zu Knyphausen, Moses Schneider und Tobias "der dünne Mann" Friedrich Nägel mit Köpfen und buchten, was zu buchen war. Einziges Problem: sie hatten keinen einzigen neuen Song. Aber man wächst an seinen Aufgaben, nicht wahr? Irgendwo in der untersten Schublade, hinter der Rolle Zwirn, dem Anspitzer und der Ballpumpe lag dann doch noch das ein oder andere Instrumental, ein halbes Lied, ausgeschwitzte Reime und drei angebissene Texte. Um Weihnachten herum kamen in einem klammen, kleinen Übungsraum noch diverse ganz neue Stücke hinzu. Im Januar 23 traf sich die Husten-Delegation mit der Live-Ergänzungsmaschine Marcus Schneider (Gitarre), Ben Lauber (Schlagzeug) und Arne Augustin (Keyboard), um 15 oder 16 neue Lieder zu arrangieren. Obwohl Motril nicht mit Wärme und Sonne geizte, sahen sich am Ende der zwölftägigen Aufnahmen alle etwas verwundert an ob der Düsternis der Stücke. Wie sollte man das Konvolut sinnvoll auf einem Album anordnen? Also alles auf Schwarz. Von dunkel nach hell.Auf dem Weg kommt man aus dem dystopischen "Bis morgen, dann" an der Trauer von "Ja und ja" vorbei, schaut "Elli" dabei zu, wie sie unter die Armutsgrenze rutscht, bettelt "Lass mich bitte nicht in Ruh", blickt auf "Die andere Seite der Angst", sieht dem verblichenen Träumer Achim hinterher, tanzt "Nüchtern im Club", stellt sich hinter dem "Flamingo Hotel" ein paar philosophische Fragen, erinnert sich an ferne Tage und "Weiße Tiger" und bittet die Welt um Vergebung, da der perfekte Song auch mit "Für immer und ewig" nicht gelungen ist. Am Ende erschien es nur logisch, das Album "Aus einem nachtlangen Jahr" zu nennen.Ladies and Gentlemen: Aus einem nachtlangen Jahr - wohin auch immer. PS: Es passt sprichwörtlich ins Bild, dass die Berliner Künstlerin Tina Berning an wunderschöner Melancholie kaum zu überbietende Zeichnungen beisteuerte, für die Dunja Berndorff das perfekte Artwork fand.

To mark the 15th year of both Static Shock Records and Hygiene, we bring you the '15 Minute City' EP, which is also the 100th release of the label. Has it really been four years since their ‘Private Sector’ album on Upset the Rhythm?? In that time the band have had a small tweak in line up with the addition of Lucy from Primetime on bass. Hygiene have returned with their most urgent and essential recordings and not many bands can say that after 15 years. Lead track '15 Minute City’ is an absolute bundle of DIY greatness…it has the chaos and chorus of one the classic 70’s / early 80’s Swell Maps 7”s. ‘L.T.N’ is a robotic and stiff post punk song that doesn’t outlast it's welcome as it lasts just over a minute. Last track ‘Petrol’ is a childlike punk gem that gets stuck in your head after one play. Hygiene are one of the most underappreciated bands in London in 2023.

HYPER GAL are restless. Since 2019, Kansai’s minimalist duo has been in persistent, perpetual motion.

In January of 2024, SKiN GRAFT Records introduced HYPER GAL to western audiences, giving the previously self-released album “Pure” a worldwide release. It was followed by “After Image”; a new full-length record; in September of that same year. In short order HYPER GAL left Japan to embark on a month-long European tour, performing at festivals such as Left of the Dial in Rotterdam and Le Guess Who? in Utrecht.

Consisting of Koharu Ishida (vocals) and Kurumi Kadoya (drums), HYPER GAL craft a sound all their own, characterized by avant-garde rhythms, looping landscapes, and hypnotic vocals. Their music resists traditional genre boundaries to carve out a truly singular sonic space.

With their fourth album “Our Hyper”, HYPER GAL thrust their sound into a deeper, harder core. Songs unfold into surprising shapes, embracing shadowy turns emboldened by a heavier low-end, while unearthing sharp takes on Japan’s harsh noise roots. The drums have grown even more acrobatic and unorthodox, while the vocals take on new colors, shifting from mesmerizing repetition to melodic, pop-tinged expression.

The album’s artwork is no less adventurous and features masks created by contemporary artist Tokiyoshi Akina and photographed in the band’s own hands, signaling resistance to the performative dualities of social media and a commitment to authenticity.
Despite the lean, unadorned two-piece setup, HYPER GAL’s music attains an intense and unmistakable presence - an unwavering momentum driven by an unrelenting intent. “Our Hyper” is HYPER GAL amplified.

"With each release they appear as mirage sculptors, using simple tools (drums, keyboards, vocals) in craft of multi-genre spanning work which only becomes more captivating the simpler their execution becomes...”
– MYSTIFICATION

The central theme of Steady is perseverance. Each track is based on a personal story or a fleeting encounter with people these past few years, from close friends to total strangers, either at home or on night shift commutes. People navigating their own hardships, almost giving up but always struggling through. More broadly, it’s about multiplicity, and contradiction. These central figures displaying hope and determination within a city of development and neglect, uniformity and chaos - an unfiltered representation of a city with all its jagged edges, darkness, and shards of light. It's broken and disheveled, but never not beautiful, just like the people in it. Musically, Steady continues where Bleach (debut album) left off - a sonic language of glitch, decaying tape and analogue distortion through which hints of RnB and soulful ballads bleed through. With a greater emphasis on beats, albeit lopsided on pitch-shifted tape loops, Steady feels more self-assured, more confident, more recognisable. At the same time, it's never stable or predictable - choruses break down early, harmonies bend into beating microtones, tracks emerge before others have finished. The symphonic scope of Bleach is still retained in Steady though. This is music of motivic development, of micro and macro form, of meticulous refining. The work of two classically trained composers, the album's chaos is heavily considered and carefully shaped. Hours of improvisation sessions have since been painstakingly refined into ten distilled tracks, owing to Steady's three year gestation.

First new album in 6 years along with being their EVR debut album. Brett Romnes (Hot Mulligan, The Front Bottoms, Mom Jeans) produced the record along with being the drummer of the band. I Am The Avalanche features members of The Movielife, Head Automatica, Crime In Stereo, and Such Gold. Vinyl White Swirl LP limited to 250 available, Rude Records Exclusive

As everything in life changes, one thing is consistently true:
everyone is alone, but loneliness results when there is no self love, reliance, or understanding I hope that this album can encourage whoever listens to reflect introspectively and feel ok being:
alone, and not lonely

IAMX haucht seinem hyper-emotionalen Elektronik-Projekt mit dem neuen Album "Fault Lines " neues spirituelles Leben ein. Es ist der Nachfolger der aggressiven, kultigen Machenschaften, die auf dem 2023 erschienenen Album "Fault Lines " zu hören waren.
Dieses Sequel ist halb Mutant, halb Ballkönigin-Schwester mit pochenden Bassmonstern wie "Neurosymphony" und "Infinite Fear Jets", die ätherisch in Tracks wie "The Ocean" übergehen, in dem die großartigen Gesangstalente von Hafdis Huld im isländischen Intro und Outro zu hören sind.

Demon Records as part of our ongoing catalogue initiative are pleased to be making ‘Ten More Turnips from the Tip’, the fourth and final album to be released by Ian Dury & The Blockheads widely available on vinyl, pressed for the first time ever on classic black vinyl and featuring the singles 'Dance Little Rude Boy' & 'One Love'.

Shiverstruck, the latest album from IAN SWEET, finds songwriter and multi-instrumentalist Jilian Medford at her absolute best. Produced and mixed by Ben Allen (Deerhunter, Washed Out, Belle and Sebastian), the record centers a deliberate return to analog instrumentation, with acoustic guitars, piano, strings, and live drums at the forefront. Medford’s writing is more confident, direct, and emotionally exposed than ever, with soaring, melodic tracks like “Criminal Kissing” and “Jilian” revealing a striking new dimension of IAN SWEET.

IAN SWEET’s music has amassed millions of streams worldwide and earned praise from FADER, The New York Times, Stereogum, The New Yorker, Rolling Stone, and Pitchfork, which named Show Me How You Disappear one of the Best Rock Albums of 2021 and profiled Medford as a Rising artist that same year.

Following on from the release of ‘Ultra Mono’ in 2020,
IDLES are back to release a version of ‘Model Village’ with
none other than slowthai.
 In vocalist Joe’s words: “We are fortunate to announce our
forces have joined with the enigmatic and vibrant soul that
is slowthai. Go dig.”
 ‘Ultra Mono’ was a UK Number 1 album, with over 75k
global sales in week one and over 19k UK pre-orders
before album release.
 The band had five sold out Brixton Academy shows in
2021 and were the cover stars of Music Week, DIY and
Kerrang last year. Three sold out live streamed
performances at Abbey Road, with over 10k tickets sold.
 Praise for ‘Ultra Mono’:
 “Louder, angrier & more political” - Q (★★★★)
 “Alive, bristling, vicious and hopeful” - Financial Times
(★★★★)
 “The band want to take you on a trip and for you to enjoy
the ride, and for the destination to be serene. Hold on
tight.” - NME (★★★★)
 “it’s unapologetic and cements their status as one of the
most important bands in the country.” - Evening Standard
(★★★★★)
 “IDLES have concocted an explosive formula unlike
anything currently being offered in the arena of rock
music” - Crack (9/10)
 “it would take a brave person to bet against this from firing
IDLES to even more ridiculous levels” - Dork (★★★★)
 “This is rock music that compels you to pay attention” -
Independent (★★★★)

Die aus Bristol (UK) kommenden IDLES haben heute ihr kommendes fünftes Album 'TANGK' angekündigt. 'TANGK', der 11-Track-Nachfolger ihres Grammy-nominierten Albums CRAWLER, wurde von Nigel Godrich (Radiohead, The Smile, Beck), Mark Bowen und Kenny Beats (Denzel Curry, Vince Staples, Benee) und der Band selbst co-produziert. 'TANGK' - ausgesprochen "Tank" mit einem Hauch von "g" und einer lautmalerischen Anspielung auf den peitschenden Gitarrensound, den sich die Band als eine Art Siegel für das Leben in der Liebe vorstellte - ist das bisher ehrgeizigste und eindrucksvollste Album der Band.

IDLES sind eine der stärksten Rockbands des letzten Jahrzehnts. Godrich, Beats und Bowen waren auch für die IDLES ein hervorragendes Tandem, das sie in neues Terrain vorstieß und dann die Zügel anzog, wenn es nötig war. 'TANGK' ist gleichzeitig ausladend und konzentriert, einfallsreich und unmittelbar. Über das Album sagt Sänger Joe Talbot: "TANGK. Ich brauchte Liebe. Also habe ich es gemacht. Ich habe der Welt Liebe gegeben und es fühlt sich wie Magie an. Dies ist unser Album der Dankbarkeit und der Kraft. Alles Liebeslieder. Alles ist Liebe."

Wo IDLES einst darauf aus waren, die Welt zu verarschen, den ewig Gestrigen die Stirn zu bieten und persönliche Traumata in Echtzeit zu exorzieren, sind sie in diesem neuen Akt angekommen, um die Früchte solcher Beharrlichkeit anzubieten: Liebe, Freude und tatsächlich Dankbarkeit für die bloße Möglichkeit der Existenz. Diese Musik gedeiht nicht trotz unserer Probleme, sondern wegen ihnen. Wenn wir uns nicht um uns selbst und um die anderen kümmern, so scheint 'TANGK' in einem gewaltigen Hook nach dem anderen auszurufen, wer dann?