Pop & Rock Vinyl New Releases - News

Fronted by Texan native Danny Lee Backwell, 'Myth Of A Man'
is Night Beats' fourth studio album and their second for
Heavenly Recordings, following the release of 'Who Sold My
Generation' in 2016.
While Blackwell has always fed off the musical legacy of his
Texas roots - Roky Erickson and the 13th Floor Elevators, The
Red Krayola, The Black Angels and more paving the way for the
napalm-coated psych-rock headtrip of past albums - 'Myth Of A
Man' has him pulling from the surrogate wellspring of Nashville,
Tennessee.
In short, it's an album that holds its own next to the classics,
less of the bloodshot acid trip of 'Sonic Bloom' (2013) and 'Who
Sold My Generation' (2016 here, Blackwell has recalibrated
them, slowed them down just enough and allowed them the
space to breathe and exist as something new. It's the same
book, just a different chapter.
Written during a particularly destructive period of the band, the
album is populated by fallen angels, blood-sucking wanderers
and vindictive lovers - sketches of people the band has surely
come across during their cosmic roving through the
underground - but the character most present is Blackwell
himself. ''Myth Of A Man' can be summed up as a personal
display of vulnerability and guilty conscience,' he explains,
'Destroying the mythos of what it means to live and function in
society.'
With its bold steps forward, 'Myth Of A Man' serves as both a
takedown and reintroduction of the band as we know it - the
strongest evidence that you'll never be able to pin Night Beats
down.
LP pressed on red vinyl.

Rock Action announce the signing of British alt.
rock legends Swervedriver with the release of their
brand new album 'Future Ruins'.
The record presents a band moving with realtime
and real-life vitality, showcasing new tricks
alongside classic hallmarks. 'Future Ruins' exhibits
Swervedriver's fabled widescreen escapism but
with a tension that echoes the sleeve image of
Coney Island in skeletal monochrome, like a post
mortem photograph of a failed utopia.
Heavyweight vinyl with digital download code.

If TEEN's 2016 album Love Yes was a bursting, harmony-infused synthpop thesis on embracing love, then its follow-up, the even more joyous and melodic Good Fruit, is its opposite, a look at what happens after love fades. The Lieberson sisters—Teeny, Lizzie, and Katherine—have, with their fourth album, crafted a dynamic, hook-stuffed take on the oft-trodden breakup album; as on prior releases, there are frequent meditations on death, capitalism, and womanhood.

The sisters—and Boshra AlSaadi, a longtime TEEN member who left a year into songwriting to focus on her own music—spun together Good Fruit in a few places, over roughly a year, as they aimed to break free of the notorious write-record-tour cycle. At a week-long session in Montreal in February 2017, they began working on 'Radar,' a Lizzie-penned ballad that explores a previously unmentioned formative trauma. Another Montreal week in April 2017 birthed a large chunk of Good Fruit, and a five-day expedition in upstate New York led to 'Putney,' a slinky, bassy bop that deals with how projected ideals and personal fantasy play into sex and misogyny.

'Runner' came last, arising from an environment where the sisters surely feel the most comfortable: New York, the city where they've lived for over a decade. Perhaps the album's most bursting, beatific, synth-driven track, 'Runner,' which reflects on fleeing a relationship as a partner wants to become closer, jelled just before the album was completed, in an NYC home studio belonging to TEEN collaborator Miles Francis.

While recording Good Fruit, the sisters employed a self-described 'reductive approach,' strove to create space within their songs, and, for their first time, self-produced the album (save a few co-productions from Francis, who also played on some songs). These techniques explode the glistening, sprinting glamour of 'Only Water,' a deceptively upbeat number about death and the loss of a loved one. They inform Good Fruit's handful of ballads too, including 'Pretend,' which rings with a vast, unsettling static fuzz even as Lizzie beautifully recounts the disappointment of realizing a partner wasn't all she'd built them up to be.

When love fades, TEEN soars. 'A lot of what ties Good Fruit in...is forging new paths for ourselves and letting go of old ways of doing things,' Teeny says. The band's intentional amendments to its longtime formula have resulted in its most mature, nuanced, and exhilarating statement yet.

Pavo Pavo is the recording project of Oliver Hill and
Eliza Bagg. On their acclaimed 2016 debut, 'Young
Narrator In The Breakers', Eliza's effervescent
soprano was compared to 'a lovelorn alien
reaching out from the farthest reaches of the
galaxy' (Pitchfork) and the elegant, symphonic
arrangements were described as 'weightless pop
that sounds like it was beamed down from a
glimmering utopian future' (Stereogum).
'Mystery Hour', the band's second album, is a
focused, widescreen development. Channelling the
narrative drama of Oliver and Eliza's changing
relationship, it is an uncategorizable record that's
both maximal and compact, a fever dream filled
with cinematic imagery and rooted in acute
emotion, written as the two were separating after
a six-year relationship.
LP format includes digital download code.

Vault back to the dawn of 2009. Signed the previous year to Glasgow
independent label Chemikal Underground are The Phantom Band, a six
piece group that meld folk, Krautrock, the blues, art-rock and anything else
that comes to hand, lacing their idiosyncratic, intricate tapestries with
effortless pop melodies delivered by the mahoganized baritone of singer Rick
Anthony.
The group's debut album, 'Checkmate Savage', immediately attracts
widespread acclaim from critics in the national music press and newspapers.
'A record as auspicious and accomplished as it is unforeseen' - Keith
Cameron, Mojo (4/5 stars)
'This kraut-folk groove-fest could have been bashed out by The Beta Band's
little brothers' - Camille Pia, NME (8/10)
'Were they from Brooklyn rather than Glasgow, Checkmate Savage would
have been acclaimed as a benchmark album of 2009' - Michael Hann, The
Guardian (4/5 stars)
'This debut is fearlessly ambitious and unexpectedly commercial' - Steve
Jelbert, The Times (4/5)
Fans of the group's heady brew swiftly snap up all vinyl copies of the album,
the result being stratospheric prices for those searching for it on the second
hand vinyl market.
A decade on, Chemikal Underground is proud to announce the imminent
rebirth of an album that remains as spectacularly imaginative as it was the
first time round, presented in a package that does 100% justice to the
original songs, which were deftly produced by Paul Savage - whose credits
include Mogwai, Franz Ferdinand, King Creosote, Deacon Blue and many
more - at the label's affiliated recording studio Chem 19 in Lanarkshire and
Franz Ferdinand's studio in Glasgow.
Deserving of a place in every record collection worth its salt, the stylistically
wide open, moonstruck delights of 'Checkmate Savage' are, for the first
time, spread over four sides of heavyweight vinyl housed in a gatefold
sleeve, with a digital download code. The record is available 10 years on
from the release date of the original album.
This new edition - cut from the original masters - is an essential acquisition
for those with an appetite for wildly creative, mischievous and aurally
captivating music. A no-brainer, in other words.
The Phantom Band went on to release three more albums on Chemikal
Underground - 'The Wants' (2010), 'Strange Friend' (2014) and 'Fears
Trending' (2015) - while Anthony, under the name Rick Redbeard, has
released two solo records on the label, 'No Selfish Heart' (2013) and 'Awake
Unto' (2016).

Fourth album from the acclaimed Belgian quintet.
'Fever' follows the band's self-imposed hiatus, a
break that saw frontmen and writing partners Jinte
Deprez and Maarten Devoldere pursuing different
individual interests from both a personal and
creative perspective that has ultimately led the
band to fashion their most cohesive album to date.
On reconvening the band had no plans, just a
simple desire to better their previous works and to
further the band's story. Both primary songwriters
agreed on a less serious vision leaning towards a
looser, refreshed sound - less melancholic but
retaining their unerring ability to create a hook
laden armoury.
LP formats pressed on 180g vinyl with digital
download card.

Although perhaps best known as lead guitarist for 4AD's
Merchandise, on his third solo album, 'Guitar Dream',
David Vassaloti's abilities as a songwriter and multi
instrumentalist are finally given an opportunity to shine,
thanks in no small part to the production and engineering
talents of co-conspirator and Merchandise frontman
Carson Cox.
A quasi-breakup album voiced through a protean pastiche
of dejected characters, 'Guitar Dream' finds Vassalotti at
his most up-front and confessional. While 2015's genre
spanning Broken Rope was interspersed with loops,
samples and sound-collages, 'Guitar Dream' features more
straightforward songwriting that is reminiscent of
Merchandise's melancholic post-punk balladry, albeit with
an added dose of gravitas.
Fractured glam, keyboard trumpets and, yes, the
occasional guitar solo prop up Vassalotti's dynamic yet
unpolished vocals, which are ghostified by blankets of
delay and reverb. While the beautifully sad guitar line on
opening track 'This Extravagant Lie' sets the tone for the
album in just four bars, outliers like 'Let It Burn' shift to a
minor key and themes of destruction, before closer 'What
Shall You Say Tonight', with its oscillating synths and a
punctuating yelp, wakes us up from the dream on a
hopeful note.
'Vassalotti is simply one of the most brilliant and inventive
guitarists of the past decade' - NME
'His knack for building a hook with little flash evokes how
Lawrence could make Felt songs feel both poignant and
giddy' - Pitchfork
'Vassalotti sings visceral poetry... over steadily paced
layers of guitar' - The Fader

The story of Seattle's rise to global rock supremacy in the late 80s and early 90s
begins with Green River. Made up of Jeff Ament (bass), Mark Arm (guitar/vocals),
Bruce Fairweather (guitar), Stone Gossard (guitar) and Alex Shumway (drums), the
quintet put out three 12's and a 7' single during its brief existence.
Green River's influence on Seattle's music scene spread far and wide thanks to the
members' dispersion into bands including Pearl Jam, Mudhoney and Love Battery, as
well as the punk glam sludge rock songs they left behind. 'By '83, '84, there was
definitely a movement that was happening within hardcore, like Black Flag slowing
down for My War,' says Arm. 'The Replacements and Butthole Surfers were rearing
their heads, and they're very different bands, but they're not hardcore - the
Replacements are pretty much straight-up rock, and Butthole Surfers were God
knows what. Sonic Youth's Bad Moon Rising was around, and a lot of really
interesting post-hardcore things were happening.'
Green River, formed in 1984, were part of that evolution, with a sound that
straddled a lot of different genres - blues, punk, bloozy straight-ahead rock. The
mini-LP 'Dry As A Bone' - which came out in 1987 - and the band's lone full-length
'Rehab Doll' - which came out in 1988 - were released as a single CD with a few
bonus cuts, including their sneering cover of David Bowie's 'Queen Bitch' and their
marauding version of Dead Boys' 'Ain't Nothin' to Do', in 1990 - but they've been
unavailable on vinyl for years.
Now, these slices of Seattle music history are not only back in print, they're
accompanied by items from the vaults that had been forgotten about for decades.
'Dry As A Bone' was recorded at Jack Endino's Reciprocal Recording in 1986 and it
shows the band in furious form, with Arm's yowl battling Fairweather and Gossard's
ferocious guitar playing on 'This Town' and 'Unwind' opening as a slow bluesy grind
then jump-starting itself into a hyperactive chase. The deluxe edition includes Green
River's cuts from the crucial Seattle-scene compilation 'Deep Six', as well as long-lost
songs that were recorded to the now-archaic format Betamax.
'Rehab Doll', recorded largely at Seattle's Steve Lawson Studios., bridges the gap
between the taut, punky energy of 'Dry As A Bone' and the bigger drums and thicker
riffs that were coming to dominate rock in the late 80s. This new edition of 'Rehab
Doll' includes a version of 'Swallow My Pride' recorded to 8-track at Endino's
Reciprocal Recording, which features a more accurate depiction of how the band
sounded when they played live. 'When I listen to these mixes, I think, 'This is how
we actually sounded - this is the kind of energy we had,'' says Shumway.
Green River's place in American music history is without question but these
recordings paint a more complete picture of the band - and of rock in the mid to late
80s, when punk's faster-and-louder ideals had begun shape-shifting into other ideas.
CDs in digipack with 12-page booklet. 2LP formats in gatefold jacket with custom
dust sleeve and digital download code.

'learning To Cope With Cowardice', The Groundbreaking Debut
Solo Album By Visionary Post Punk Iconoclast Mark Stewart, Is To Be Given A Definitive Reissue Alongside 'the Lost Tapes', A Newly Discovered Cache Of Unreleased Material.
'learning To Cope With Cowardice' Is Released On Double Cd,
Double Vinyl With Digital Download Code And Separately As
Digital Download Albums. 'learning To Cope With Cowardice' Is A Vital Chapter In The Legacy Of Mark Stewart & The Maffia, A Project That Would Prove To Be A Revolutionary Benchmark For Many, From The Innovators Of The 'bristol Sound' (the Wild Bunch, Smith & Mighty, Tricky, Massive Attack) Through To The Likes Of Trent Reznor And Nine Inch Nails. Collected Together This Set Realizes An Expansive Restoration Of One Of Stewart's Most Audacious Statements. As It Was In The Early 1980s So It Is Now, 'learning To Cope With Cowardice' Is A Masterwork Of Mutant Design And A Rude Awakening Of Extraordinary Bite.
Mark Stewart Himself Perceives 'the Lost Tapes' As A Document
That Now Possesses A Storied Significance: it Was A Real
Adventure Discovering This Forbidden History, A Twisted Tale Of
Muswell Hillbillies, French Pirates And A Dutch Schizophrenic
Doctor Doing Psychic Archaeology.' Whilst Adrian Sherwood
Describes These Works As Characteristic Of A Distinct Primitivism: ('the Lost Tapes' Represent) The Early Childhood Of The Songs Before Mark And Me Conducted Frenzied, Scorched Earth, Slash And-burn, Twenty Hour Mental, Manic Editing Sessions At Crass' Studios That Led To Birthing The Finished Album.'

1985 goth-rock fronted by a pre-Janes Addiction Perry Farrell. Recorded at Radio Tokyo Studios in Venice, California by Ethan James who was a member of Blue Cheer and recorded everyone from The Minutemen to The Bangles, this is more than just the precursor to the alternative and grunge-era legend! This is classic 80s era LA glammy-goth-rock essential to any fan's of Farrell's career.

Limited edition clear blue colored vinyl! Sharon Van Etten's Remind Me Tomorrow comes four years after Are We There, and reckons with the life that gets lived when you put off the small and inevitable maintenance in favor of something more present. Throughout Remind Me Tomorrow, Sharon Van Etten veers towards the driving, dark glimmer moods that have illuminated the edges of her music and pursues them full force. With curling low vocals and brave intimacy, Remind Me Tomorrow is an ambitious album that provokes our most sensitive impulses: reckless affections, spirited nurturing, and tender courage. The songs on Remind Me Tomorrow have been transported from Van Etten's original demos through John Congleton's arrangement. Congleton helped flip the signature Sharon Van Etten ratio, making the album more energetic-upbeat than minimal-meditative. The songs are as resonating as ever, the themes are still an honest and subtle approach to love and longing, but Congleton has plucked out new idiosyncrasies from Van Etten's sound. For Remind Me Tomorrow, Van Etten put down the guitar. The album shows a magnetism towards new instruments: piano keys that churn, deep drones, distinctive sharp drums. It was "reverb universe" she says of the writing. There are intense synths, a propulsive organ, a distorted harmonium. The breadth of Van Etten's passions (musical, emotional, otherwise), of new careers and projects and lifelong roles, have inflected Remind Me Tomorrow with a wise sense of a warped-time perspective. This is the tension that arches over the album, fusing a pained attentive realism and radiant lightness about new love.

GOLD VINYL REPRESS!!! Classic album alert... from 1997!!!
'Dutch sonic experimentalists 35007's eponymous sophomore album (later referred to, more often than not, as Into the Void We Travelled) did much to fine-tune and expand the breadth of the group's style: a clever mix of analog and electronic effects and psych, stoner, and Krautrock influences. Opening statement "Herd" cleverly dissects society's disdain for individuality atop a hypnotic motorik framework spiced with electronics, while subsequent standouts like "Soul Machine," "Big Bore" (which is anything but), and the supremely danceable "Powertruth" bolster guitar riffing to stoner rock thresholds. All of these benefit from Eeuwout Baart's gritty, soulful vocals, which often bring Dave Wyndorf to mind and thus make "Monster Magnet tripping at a rave" a very apt description for the proceedings. ....Instead, the album's remaining highlights include the organ-laden "66" and the semi-epic "Undo," which, along with the closing ten-minute instrumental "Locker," bask in swirling, spacy synth effects for an ambient landscaping effect that would duly come to fruition on 35007's best-known opus, Liquid, some years later. ....' ALLMUSIC

*SHIPS FOR 11TH JAN*Angelic milk, the Saint Petersburg based project from Sarah Persephona, is back with their long-awaited debut album DIVINE BIKER LOVE. After a few Bandcamp-only releases angelic milk signed with PNKSLM Recordings in 2015 for the release of the IDK How single, which immediately brought them the attention of the likes of Stereogum, SPIN, KEXP, BrooklynVegan and many more. Their first studio recordings, the Teenage Movie Soundtrack EP, arrived the following summer to continued acclaim, before the band retreated to the studio to work on the debut album. Two years later the band emerged with DIVINE BIKER LOVE, a distinct collection of songs where Persephona's grunge pop sensibilities meets influences from shoegaze and dream pop, as well as hard rock - a collection of songs that couldn't have been made by any other band.

Bivouac did everything a 3-piece alternative rock band from Derby, who grew up on a steady diet of Husker Du, Sonic Youth and The Pixies, could dream of doing in the nineties. They released a string of records on cool indie label Elemental, recorded sessions for John Peel, played with Fugazi and Jesus Lizard, danced onstage with Nirvana, signed to a major label and split up. They'd began in 1992 and were over by 1996, but in that brief period, Bivouac crafted some essential, skewed and fuzzy tuneage that has endured and lingered on the cult fringes of alternative rock, remember fondly by those that were there as the band got on with the rest of their lives.

Then in 2016 they returned. It's all Stewart Lee's fault. Sometime that year the stand-up comedian, writer and director wrote a Guardian column that mentioned Bivouac. This brief mention was read by the good people who organise Gigantic, the popular nostalgia festival in Manchester who were fans of the band, who promptly asked the band to play that year.

'What shall we wear', that's the first thing that drummer Antony Hodkinson said in response to the question of 'shall we do some gigs after not playing for 20 odd years',' explains singer and guitarist Paul Yeadon. 'And that was pretty much the spirit of the few shows we played together thereafter! We made a racket (with earplugs this time), celebrated the folly of youth, grown men cried, people travelled from Scandinavia, Europe and America. It was very humbling...we planned a few more.'

All of which leads us to 2018, where the band have indeed planned a few more. This year marks the 25th anniversary of 'Tuber', their debut album, and to celebrate such an event, this September 7th sees the release of a beautifully presented double vinyl reissue. Remastered by Paul Yeadon himself, the album is coupled with the first official release of the two sessions recorded for John Peel in '92 and '94 and issued through the band's own label Thanks Capitalism in a limited run of 500 copies.

'Tuber was recorded on a farm in Warwickshire, we played a lot of golf on the then cutting-edge Sega Megadrive,' remembers Paul. 'At this point we had played a lot of shows and still liked one another, we were match fit and well-rehearsed. I think the combination of being confident at what we were doing but still not being really aware of why or what we were doing, (the needless pouring and scab picking would come later) made for a heartfelt and naïve record. Simplistic and uncontrived.'

And of the Peel sessions Paul remembers...

'We all grew up listening to Peel. It's a cliché I know but I listened under the bedclothes on an AM radio to his show in the early 80's. The music he played me then still defines a large percentage of my musical taste. To be part of that legacy is still really humbling, we are very proud to release the Peel sessions. I remember him playing us as I walked across the Reading show grounds, puffing my chest out! He kindly supplied us and our labelmates AC Acoustics with beer from the VIP tent cos we were skint, we did awful radio interviews with him and he had us do three sessions. It really was a dream come true.'

London based Chemtrails, led by the musical and romantic partnership of Mia Lust and Laura Orlova, is back with their new EP Cuckoo Spit, less than a year after the release of their acclaimed debut album Calf of the Sacred Cow. After releasing two digital-only EPs in 2016 and 2017 and receiving the attention of the likes of Stereogum, The Line of Best Fit, DIY and GoldFlakePaint, the band quickly delivered the debut album - and now the prolific duo is back with a brand new EP. Their strongest collection of tracks yet, Cuckoo Spit finds the band at their catchiest, while also mixing up their lo-fi home recordings with some studio flair.

Das siebte Studioalbum "Dig Out Your Soul" ist die erste Veröffentlichung der Brit-Pop-Helden seit "Lord
Don't Slow Me Down", dem Soundtrack zum gleichnamigen Roadmovie. Es erscheint als erstes neues Oasis
Album auch international auf dem bandeigenen Label Big Brother. Auf dem Produzentenstuhl saß erneut
Dave Sardy, die Aufnahmen fanden in den Abbey-Road-Studios in London statt, wo alle vier Bandmitglieder
am Entstehungsprozess beteiligt waren. Die erste Single "The Shock Of The Lightning" ist die vielleicht
wiedererkennbarste Oasis-Nummer des Albums: Noels Songwriting, Liams unverkennbare Stimme und der
ebenso unverkennbare, druckvolle "Finger in die Steckdose"-Rock 'n' Roll. Dennoch markiert die Arbeit an
der neuen Platte einen Wendepunkt. Dazu Noel Gallagher: "Ich wollte Musik schreiben, die groovt und sich
vom traditionellen Strophe-Refrain-Mittelteil-Schema unterscheidet. Ich war auf der Suche nach einem
hypnotisierenden Sound, einer treibenden Kraft." Dass die Suche erfolgreich war, zeigt "Dig Out Your Soul" in
aller Deutlichkeit.

Repress!

Sleaford Mods are one of the most important, politically charged and thought-provoking duos currently making their mark on the UK music scene and beyond. They are now poised to release their fifth studio album entitled 'Eton Alive' in February 2019. The album, which features 12 new tracks from the prolific artists, was recorded in Nottingham.
The record will be the first released on Jason and Andrew's newly formed label 'Extreme Eating' and their first album since parting ways with Rough Trade Records.

'Eton Alive speaks for itself really. Here we are once again in the middle of another elitist plan being digested slowly as we wait to be turned into faeces once more. Some already are, some are dead and the rest of us erode in the belly of prehistoric ideology which depending on our abilities and willingness, assigns to each of us varying levels of comfort that range from horrible to reasonably acceptable, based on contribution. So after the digestive system of the Nobles rejects our inedible bones we exit the Arse of Rule, we fall into the toilet again and at the mercy of whatever policies are holding order in the shit pipe of this tatty civilisation. It is here our flesh regenerates as we rattle into another form, ready, and ripe for order'.
- Jason Williamson

Arguably one of the most acclaimed and loved bands of the past 20 years, by both fans and their musical peers alike, The Beta Band formed in St. Andrews, Scotland, in 1996. Innovative and singular, their unique musical and aesthetic approach to everything they did set them far apart from their musical contemporaries. Together for a relatively short period of time, the three albums and three EPs they released between 1996 and 2004 would nonetheless help define them as one of the most exciting and cherished bands of their generation. Released in 1999, the album The Beta Band' followed the critically acclaimed compilation The Three E.P.'s' (1998). With high anticipation for The Beta Band, the band originally planned to record the album in four separate continents, but financial constraints slimmed the recording locations down, however, the album was still recorded in a variety of locations and pulling inspiration from sources as diverse as Jamaican reggae, Disney's movie The Black Hole' and Bonnie Tyler's Total Eclipse of the Heart".

Why ist eine US-amerikanische Indie-Rock-Band mit Hip-Hop- und Folk-Einflüssen aus Berkeley,
Kalifornien. Gründer, Frontmann und Songschreiber von Why ist Jonathan "Yoni" Wolf. Er nutzte den
Bandnamen erstmals 2001. Zwei Jahre später veröffentlichte er solo als Why eine EP und das Album
"Oaklandazulasylum". Erst seit der Veröffentlichung von "Elephant Eyelash" (2005) tritt Why als Gruppe auf.
Nach fünf Jahren Pause erschien mit "Moh Lhean" 2017 das sechste Studioalbum der Formation. Zwei
Monate später hatte sie ein Stelldichein im Hauptquartier von Third Man Records in Nashville. Der Auftritt des
Quartetts im legendären Blue Room wurde wie üblich direkt mitgeschnitten. "Live At Third Man Records"
enthält neun Songs, nur drei davon stammen von "Moh Lhean" - "Proactive Evolution", "One Mississippi" und
"The Barely Blur" -, die anderen von früheren Alben. Insofern darf man die LP auch als inoffizielle
Hitsammlung verstehen.

Hotly Anticipated Album From The Acclaimed Australian
Duo.
The Album Consists Of Two Acts Across Seven
Movements That Represent The Different Facets Of The
Dionysus Myth And His Cult And Takes The Musical Form
Of An Oratorio, Which Has Informed Both Spiritual And
Secular Pieces Of Music As Far Back In History As The
Early 16th Century.
Two Years In The Making, Perry Has Amassed An Array
Of Folk Instrumentation And As Often Heard On Previous
Albums Takes Inspiration From Across The World, Tracks
Evolve Less Like Songs More Akin To Fragments Of The
Cohesive Whole.
Deluxe Lp Format Is Pressed On Heavyweight
Transparent Purple Vinyl Accompanied By A Copy Of The
Album On Cd Plus A Deluxe 16-page 12' X 12'
Hardback Picture Book With Padded Cover.
Standard Lp Format Is Heavyweight Black Vinyl In A
Gatefold Sleeve.
16 Date European Tour Next Year, Including Two
Headline Shows At London's Hammersmith Apollo

The Britpop Era Brought The World A Bunch Of Great Records, Including Echobelly's Second Album On. Often Compared To Blondie And Known For Their Influences From The Smiths,

They Recorded Some Melodic And Intense Alternative Guitar Rock For This Record. The Album Reached Number 4 In The Uk Charts And Including Their Famous Singles

king Of The Kerb' (about Homelessness And Prostitution) And great Things' (about The Future). Glen Johanssen Is A Superb Musician And Provided Gritty,

Stained Backdrops For Sonya Madan's Otherworldly Vocals.

Memorable Hooks That Lodge Themselves Ineradicably In The Mind, It's The Power Of Echobelly.

On Is A Worthy Follow-up To Its Predecessor And One Of The Better Britpop Albums Circulating In The Mid-90s.

'I see music in shapes and colours, I write because I'm alive. I fervently believe in magic, in the moments of transcendence when everything makes sense. Through this I stay awake, I stay alive.'

Growing up on a Hertfordshire cul-de-sac then flying back 'home' to Kenya where her parents were born, shaped in Mara the traveller, the outsider and the romantic, that have become hallmarks of her music. Mara performs with her band (Poppy Ackroyd, Fiddes Smith, Jools Owen, Jamie Patterson) as well as solo.

Mara is classically trained in composition, piano and guitar as well as fine art. She has performed over 300 shows, both on festival stages and intimate concerts, most recent stages include Fusion (Germany), Kaltern Pop (Italy), Together the People (UK) and Sazavafest (Czech). Mara's music has taken her across Europe, to New Zealand, Australia, the US and around home shores in England, performing in venues small and large, some conventional, some extraordinary (including canal boats, caves, and a hospital!). She's become known for captivating audiences with her soulful melodies, rich lyricism, captivating voice, unassuming charm and wicked laugh

THE SILVER FIELD, aka Coral Rose, has announced details of her debut album, Rooms, out on Tim Burgess' O Genesis Recordings.

Rooms was recorded in Coral Rose's bedroom and on the album instruments such as the double bass, cello, guitar, mandolin, harmonium and a bagpipe chanter form loops and layers, her father's old SPX-90 drenching the rich sounds in delays and reverbs. Rooms is the perfect introduction to the sound world of Coral Rose and friends: the EVI (electronic valve instrument, a breath controlled analogue synth) is introduced on the opening track, 'Afire', via Cathy Lucas (Vanishing Twin), and Kiran Bhatt (Red River Dialect) drums on 'Rain'. 'Rain', described by The Quietus as 'a delicate and pleasing creature' earlier this year, has already had support from BBC 6Music's Mary Ann Hobbs.

Rooms follows recent releases on O Genesis by Daniel O'Sullivan (VELD) and Richard Youngs (Belief), and like O'Sullivan and Youngs, whose albums are very much tied to a place - the home, whether through themes or creation - in this case, The Silver Field's Rooms is focused on leaving a home behind, both physically and emotionally.

The home that Coral Rose feels she's leaving behind on Rooms is an old sense of self - encountering herself as an adult and more
specifically, a human being. She explains, 'This plays out through the metaphor of leaving a house behind - a house of the stuff that builds up around you as you grow up - leaving that behind to make your own decisions about how to live. The last track, 'Rooms', is just a little snippet but to me it's a moment of looking back, seeing it all in a new light with a different perspective from outside, seeing all the feelings and meanings that were once so all-encompassing as something different - as just part of the landscape.'

This kind of liberation often comes with a sense of loss and this is felt keenly on 'Rosebud', a collaged piece, which she explains 'is like a moment of everything falling apart or burning down, those screeches to me sound like beams breaking'. Elsewhere on the album, Coral Rose's imagery depicts a dreamlike world, the album takes inspiration from both Rose's own dreams, and the underwater landscape of waking dreams.

The artwork, created by Coral Rose, shows the artist's connection with the landscape around her and on the cover, a particular home that she inhabited. Painted in North Wales, the front cover painting shows the artist's view through a window, looking outwards to the rain and light while the inside sleeve artworks are polaroid photographs - multiple exposures of the setting sun through clouds. 

Analogue processes flow throughout the album - several tracks on the album have a tape loop forming the spine of the song, and, explains Coral Rose, 'the unpredictability of using a loop of tape rather than dragging something about on screen means sometimes something some little part of it becomes this perfect loop that I never would have heard if I was trying to compose something from the recordings myself.' The reel-to-reel player was found at a car boot sale: 'the guy gave it me for £1 - it was the last change I had on me - because I got talking to him about Daphne Oram. It wasn't in great shape and I kind of nursed it back to life. It had extra character because of that though, I think, a lot of the songs on the album aren't in concert pitch because it tended to speed things up or slow things down, and often added strange sounds into the mix like the bass wobble in 'Gost'.'

Includes 4 previously unreleased tracks, 3 incredibly rare tracks that are currently all out of print. Package includes never before seen family photos.

Alex Chilton front man for the Boxtops and Big Star was always known to surprise his fans with different directions he took over the years. Songs From Robin Hood Lane finds Chilton tackling a variety of numbers from the great American songbook.

These songs are the first Alex ever heard as a kid in the 1950s growing up in a Memphis suburban streat called Robin Hood Lane. Recorded in 1990.

Many of the songs he learned from his father Sidney Chilton, a jazz trumpeter and pianist when Alex was a kid growing up in the Memphis suburbs in the 1950s. It features some of his most expressive singing from his time as a solo artist. This set includes previously un-released recordings and others that are quite rare. All have been out of print for some time. This is a great lazy Sunday afternoon record to listen to and curl up with someone you love.

Emerging like an ornate relic of disenchanted youth, Austin-based power trio Grivo unleashes their ominously trudging sound with the debut full length Elude out November 9, 2018. Combining slow, methodical hooks and warm tube amplifiers, Grivo's massive tones artfully re-establish the link between heavy guitars and downtempo pop to yield a potently encompassing experience. Utilizing effects as an active compositional element, Elude's infectious riffs are brilliantly crafted and paced to allow the saturated guitars and bruising low-end to fully bloom. Within the tidal sound waves and bleak timbre, Grivo forges a distinctive personal connection that challenges the modern definitions of doom metal and shoegaze.

Born and raised in small-town Michigan, Grivo is led by guitarist/vocalist Timothy Heck who founded the band with his brother and drummer Matthew. The Heck brothers have shared a life-long musical partnership, starting as jazz-obsessed teenagers before diving into the punk and hardcore scenes of the Midwest in their early twenties. After years of intensive touring, they sought new inspiration and slower tempos, opting to relocate to Austin in 2015. Timothy adopted a reserved and accessible approach to songwriting, evoking empathy through minor key signatures while constructing intricate walls of auditory mass. Towing a thin line between genres, Grivo is careful never to fully commit to any style or tradition, allowing for broad crossover appeal.

Elude's lyrics portray the harsh recognition of the distance between longing and embrace. Candid songs such as 'C.A.' and 'Burnout' eloquently articulate the pain of unrequited desire and derive sympathy from chorusladen guitar flourishes. On songs like 'Cave,' Timothy's vocals and guitar leads form a unified voice, often singing into and out of one another to gracefully embellish the melody. Grivo's chord progressions are composed at the perfect emotional pitch, allowing energy and tension to naturally build and melt into an intoxicating release. The dense fuzz tones on 'Room' and 'Opia' are brutal, searing the guitar stops into piercing feedback and grinding the edges off the bass lines. This multi-layered use of effects is an essential part of Grivo's arrangement and identity, orchestrating an expansive variety of color and expression. The cohesive mood enveloping the nine dirges of Elude creeps along at a hypnotic tempo, luring the listener into the addictive malaise and subtle complexities of Grivo.

3 tracks taken from Luca Nieri's Alchemy.  A collection of instrumental music & a skewed homage to Nieri's favourite film soundtracks of the 60s and 70s, and the follow-up to 2017's self-titled effort, which was lauded by Rough Trade as a record which 'exists in a cosmos, textured and beautifully melancholy.

With simple numbers rather than song titles ... #4 is a cover version of 'The Windmills Of Your Mind' the lead key track in the 1968 Thomas Crown Affair Film & #10 appears in the AMC series Lodge 49, a psychedelic tale based around the tales of a Californian loner surfer.

'Yaaay Yeah! I feel better already. Thats what I want to hear tickle my thing on a hot July night... Anyway, I like these people [Cambodia Space Project], maybe I should join their band. I think that's a good idea! —Iggy Pop

"In 1973, Iggy Pop declared himself 'a streetwalkin' cheetah with a hide full of napalm,' and though you could wonder if it mattered whether he meant 'cheetah' or 'cheater', there was no doubt where the second reference came from. For those who grew up in the West in the late 60s/early 70s, the conflict in what was then called Indo-China was part of our daily routine, and Iggy was one of the few American artists to so take on its textures. The consummation of a long-standing love affair between Iggy Pop and Angkor, this album is a tribute from the Cambodian bands that have felt the man's indelible Raw Power. Produced by Julien Poulson and Jason Shaw, with the full blessing of the Ig himself, it puts a unique, contemporary Cambodian spin on Iggy's poetry and rock-action: Can you feel it We got a right!' —Clint Walker, famed musicologist and author

Angkor Pop! is an exotic and ambitious compilation project showcasing the very best of Cambodia's new wave of East/West fusion groups—an homage that marks several astonishing milestones in rock'n'roll history: the 50th anniversary of The Stooges, the 40th anniversary of the seminal Iggy Pop/David Bowie albums "The Idiot" and "Lust for Life," and, not least, the occasion of Iggy Pop's 70th Birthday!! The best of Cambodia's music scene—acts like The Cambodian Space Project, Doch Chkae, Kampot Playboys, Professor Kinski with Miss Sarawan and Jessica Lisha Srin, Bokor Mountain Magic Band, Phnom Skor just to name a few—each covering selections from Iggy Pop's astonishing back catalogue—with the full blessing of the man himself, who seemed (and seems) rather chuffed with this tribute coming from far flung Cambodia.

Read the full story inside the LP, penned by one of the masterminds behind the project, Julien Poulson of Cambodian Space Project, and starring the other mastermind behind the project, CSP guitarist Jason Shaw. Storms of Biblical proportions! Theft by cat burglars of the hard drive which contained all the recordings! Sleuthing and shady back alley deals on the mean streets of Phnom Penh! Soaring fever and emergency surgery! High drama, frame-ups, tension, crimes and misdemeanors, intervention and ultimately redemption: it all conjures up a single revered name, that of one lone lupine man at the pinnacle of the rock mountain—Iggy Pop!

Before there was Joy Division, there was Warsaw. The group was founded after a 1976 Sex Pistols gig, and the late great Ian Curtis joined the group soon after. By their first official gig, in 1977, they were already the talk of NME and a rush to sign and record led the group to RCA. Recording in Manchester's Arrow Studios in May 1978 brought a full album's worth of songs but the band ultimately didn't like the direction of the production and asked to be released from their contract. Here is that mythical unreleased album along with the earliest demos from the group, recorded in 1977. Essential stuff for any fan of UK post-punk.

Arguably One Of The Most Acclaimed And Loved Bands Of The Past 20 Years, By Both Fans And Their Musical Peers Alike, The Beta Band Formed In St. Andrews, Scotland, In 1996. Innovative And Singular, Their Unique Musical And Aesthetic Approach To Everything They Did Set Them Far Apart From Their Musical Contemporaries. Together For A Relatively Short Period Of Time, The Three Albums And Three Eps They Released Between 1996 And 2004 Would Nonetheless Help Define Them As One Of The Most Exciting And Cherished Bands Of Their Generation. After A Short Hiatus The Band Gradually Gravitated Back Into The Studio And Recruited Noted Uk Producer Colin Emmanuel, Aka C-swing, To Oversee The Process Of hot Shots Ii' Which Was Released In Mid 2001. Notoriously The Band Had Intended To Release squares", Which Featured A Sample From The Günter Kallmann Choir's 1970 Version Of Wallace Collection's daydream", As The Lead Single. However After Filming The Music Video And Taking The Single To Radio It Suddenly Transpired That Another Single daydream In Blue' By I Monster Featuring The Sample From Günter Kallmann Choir Recording Was Also To Be Released At The Same Time Causing The Band To Release broke' Instead. Touring Extensively And Supporting Radiohead In August 2002, They Made No. 3 On Q Magazine's List Of 50 Bands To See Before You Die".

The cliché that circulated after the 2016 election foretold a new artistic golden age: Artists would transform their anger and anxiety into era-defining works of dissent in the face of authoritarianism.
Yet Bob Mould calls his new album Sunshine Rock.
It's not because Mould—whose face belongs on the Mount Rushmore of alternative music—likes the current administration. His decision to 'write to the sunshine,' as he describes it, comes from a more personal place - a place found in Berlin, Germany, where he's spent the majority of the last three years. Here Mould would draw inspiration from the new environments.
'Almost four years ago, I made plans for an extended break,' Mould explains. 'I started spending time in Berlin in 2015, found an apartment in 2016, and became a resident in 2017. My time in Berlin has been a life changing experience. The winter days are long and dark, but when the sun comes back, all spirits lift.'
These three years in Berlin would quite literally shed new light on Mould's everyday mindset.

'To go from [2011 autobiography] See a Little Light to the last three albums, two of which were informed by loss of each parent, respectively, at some point I had to put a Post-It note on my work station and say, 'Try to think about good things.' Otherwise I could really go down a long, dark hole,' he says. 'I'm trying to keep things brighter these days as a way to stay alive.'

That makes Sunshine Rock as logical a product of the current climate as any rage-fuelled agit-rock. Variations on the word 'sun' appear 27 times in five different songs over the course of the album's 37 minutes. To hear Mould tell it, the theme developed early.
'Sunshine Rock is one hell of a way to wrap up the busiest decade of my career,' he shares. 'The autobiography, the Disney Hall tribute show, reissues of several albums from my catalogue, three current rock band albums, several world tours, and now this new album — I'm humbled and grateful to still be making new music while celebrating my lifetime songbook.'

Sneaks, a.k.a. Eva Moolchan, emerges from the male-dominated Baltimore-Washington punk scene, joining the resistance forged by queer black feminists who create, explore, empower, conquer, and play bass. Highway Hypnosis combines bewitching beats and invented words, to produce what Clash Magazine described as 'stripped down hip-hop, skeletal post-punk, and extra-dimensional pop music.'

Recorded at New York's Silent Barn in 2017, Highway Hypnosis was co-produced by Carlos Hernandez (of Ava Luna), Tony Seltzer (Princess Nokia), and Eva Moolchan herself. A glimmering anthem shrouded in an atmosphere of darkness, her first single 'Beliefs' drops its bass along with a call to arms for all non-believers whose mantra is assigned: 'Remove your beliefs and start again / 'cause all I wanna do is start again.' Among laughter samples and charming vocals featured on the album lie one club banger, your little sister's anti-meat school lunch protest song, a 55-second epic bass surprise, and a Jacknife Lee (Taylor Swift, Bat for Lashes, R.E.M.) production credit on 'Hong Kong to Amsterdam.'

'We need more artists like this. It's true and honest and clear and mighty.' Jacknife Lee

'Critics can't seem to decide where Sneaks fit. Eva Moolchan's music has been labeled punk, post-punk, hip-hop, synth-pop, and more, and this record has drawn comparisons to everyone from Gang of Four to Sleaford Mods and Aphex Twin. What's more, Moolchan has achieved this using just bass guitar, drum machine and pokerfaced, almost spoken word vocals.' Bandcamp Best Albums of 2017 (of It's a Myth)

'It's a bizarre approach to post-punk, but the sheer immediacy will intrigue and confound you. And then make you dance.' Newsweek Overlooked Albums of 2017 (of It's a Myth).

The Lemonheads' first record in 10 years!
Covers album - Includes versions of Nick Cave, Yo La Tengo, The Bevis Frond, Eagles and more.

Extensive world tour over the 12 months, including Europe, USA and Asia. Banana scented scratch & sniff vinyl sleeve!

'The Lemonheads are no strangers to a cover, the grunge-pop heroes perfect the art.' NME

The Lemonheads follow up the critically acclaimed 'Varshons' from nearly ten years ago with another eclectic collection of covers.
Produced by director Matthew Cullen and mastered by Howie Weinberg (Beastie Boys, Nirvana, The Ramones), their tenth studio album brims with the slowly-matured vocal of Evan Dando as he lures a host of personal faves to his melodic lair. He really has become one of the great expressive singers of our time.
What they said about Varshons:

'Gram Parsons, Wire, and GG Allin: You'd be hard pressed to find three more disparate rock acts, yet on 'Varshons' they all sound like the Lemonheads - boppy, overcast alt-rock delivered at a fast clip and sung in a whiskey tenor.' Pitchfork

'Varshons 2' is a hokey jukebox filled with unique versions of Yo La Tengo, Nick Cave, The Bevis Frond, NRBQ, The Eagles, Paul Westerberg, The Jayhawks, Lucinda Williams and John Prine.
Like Hank Williams slumped in his car between gigs, strumming and hollering, reasoning and weeping, humming it on over, Evan and his Lemonheads make every tune their own.

The Lemonheads' first record in 10 years!
Covers album - Includes versions of Nick Cave, Yo La Tengo, The Bevis Frond, Eagles and more.

Extensive world tour over the 12 months, including Europe, USA and Asia. Banana scented scratch & sniff vinyl sleeve!

'The Lemonheads are no strangers to a cover, the grunge-pop heroes perfect the art.' NME

The Lemonheads follow up the critically acclaimed 'Varshons' from nearly ten years ago with another eclectic collection of covers.
Produced by director Matthew Cullen and mastered by Howie Weinberg (Beastie Boys, Nirvana, The Ramones), their tenth studio album brims with the slowly-matured vocal of Evan Dando as he lures a host of personal faves to his melodic lair. He really has become one of the great expressive singers of our time.
What they said about Varshons:

'Gram Parsons, Wire, and GG Allin: You'd be hard pressed to find three more disparate rock acts, yet on 'Varshons' they all sound like the Lemonheads - boppy, overcast alt-rock delivered at a fast clip and sung in a whiskey tenor.' Pitchfork

'Varshons 2' is a hokey jukebox filled with unique versions of Yo La Tengo, Nick Cave, The Bevis Frond, NRBQ, The Eagles, Paul Westerberg, The Jayhawks, Lucinda Williams and John Prine.
Like Hank Williams slumped in his car between gigs, strumming and hollering, reasoning and weeping, humming it on over, Evan and his Lemonheads make every tune their own.

TOY have announced details of their new album, Happy In The Hollow, which is released on Friday January 25th 2019. Their fourth album, and their first for new label Tough Lough Records, it's unquestionably their most direct and propulsive album to date.

Recorded between their own home tape studios and mixed at Dan Carey's Studio B in South London, the album was entirely produced and mixed by the band.

Having recently released a limited 12' featuring 'The Willo' and 'Energy', the band have today shared the latest track from the album, 'Sequence One'.

Talking about the track, Toy say:
'Sequence One' is about running through a war zone of post apocalyptic proportions with your significant other. It was one of the first tracks we wrote when we started making Happy In The Hollow. We wrote it on the 5th Of April.

Happy In The Hollow is entirely uncompromising: an atmospheric capturing of a state of mind that touches on Post Punk, electronic dissonance, acid folk and Krautrock. Familiar qualities like metronomic rhythms, warping guitars, undulating synths and Tom's gentle, reedy vocals are all in there, but so is a greater emphasis on melody, a wider scope, and a combining of the reassuring and the sinister that is as unnerving as it is captivating.'



The sound has without doubt expanded — and grown more confident — in part because
this is the first album for which Toy has become a self-sufficient five-person unit doing everything for themselves.

'Each song was a blank canvas,' says Maxim. 'Producers inevitably develop their own patterns over
time, right down to certain drum sounds. We were starting from scratch and it felt very creative as a
result. It's an album we feel deeply connected to'.

I Met William Tyler On A Train Going South Out Of London. He Had A Nervous And Cryptic And Welcoming Aura And Was The First Nashville Native (there Is Such A Thing) That I'd Ever Met. We Both Carried More Than We Could Manage On That Trip, And I Realized Later That His Bags Were Full Of Books. Books About Psychology, Philosophy, The Civil War, And Astrology. Books—i Realize Now As I Write This—about Measuring And Deciphering The Boundaries Of Kindness And Cruelty. William And I Bonded Early In Our Relationship Over Barry Hannah, A Hellraising Writer From Mississippi Who Practically Reinvented The Way That Words Could Be Assembled On A Page. Like Hannah, William Tyler Knows The South—as A Crucible Of American Histories And Cultures, An Entity Capable Of Expansive Beauty And Incomprehensible Violence, Often In The Same Beat.. In The Music Of William Tyler, The South Is Not Apart From America, The South Is America Condensed. And Like Hannah—and This Part Is Important—william Moved To California, Where Goes West Was Written. William's New Record, Goes West, Is The Best Music That He's Ever Made. I'm Sure Of This Because I Know And Love All Of His Music Intimately, And This Album Moves Me The Most, And The Most Consistently. The First Time I Heard It Was In The Late Spring In The Texas Hill Country, Rolling Between Limestone And Scrub. I Was On A Cleanse Then—no Alcohol, No Drugs, No Evil Thoughts—and Was Astonished At The Emotional Clarity That The Album Held. Goes West Marks A Sort Of Narrowing Of Focus For William's Music, It Sounds As Though He Found A Way To Point Himself Directly Towards The Rich And Bittersweet Emotional Center Of His Music Without Being Distracted By Side Trips. Perhaps This Is Down To The Fact That William Only Plays Acoustic Guitar On The Album, A Clear And Conscious Decision Considering That He Is One Of Nashville's Great Electric Guitarists. The Band That Performs Goes West Alongside William—including Guitarists Meg Duffy And Bill Frisell, Bassist And Producer Brad Cook, Keyboardist James Wallace, Drummer Griffin Goldsmith, And Engineer Tucker Martine—is The Best And Most Sympathetic Group Of Players That William Could Have Assembled To Play These Songs. The Second Time I Heard Goes West, I Was Also In Texas And I Was On Lsd With My Friend Brad And We Were Driving Out Of Marfa On Highway 90. It Was Around Sundown And The Music Sounded Like It Was Coming Out Of The Clouds And Dancing Right In Front Of My Eyes. I Know That Sounds Exactly Like What Someone On Acid Would Say, But The Whole Reason I Took The Acid In The First Place Is That I Was Looking For Some Peace Of Mind After A Long, Hot, Sweaty Summer. Goes West Gave Me That. M.c. Taylor, Durham Nc.

One of the most notorious concerts in the history of Green Day's career and the '90s era. In true punk spirit Billy Joe Armstrong's first words to the 3-day rain soaked and angry crowd were "'What is this free fucking hippy love shit How are you doing, you rich motherfuckers' They would exit the festival by helicopter but not before Mike Dirnt got a tooth chipped after being tackled by a security guard. It was truly a shitshow but the performance is great and epic and necessary for all '90s alternative and punk fans.

Hot on the heels of Captured Tracks' reissue of Capital Punishment's 1982 album Roadkill, the quartet of Kriss Roebling, Ben Stiller, Peter Zusi, and Peter Swann return with This Is Captial Punishment an EP of new material recorded almost 35 years after the group disbanded. When asked for bonus material for the Roadkill reissue, the original members got back together and did a remake of their track 'Confusion.' A blistering, motorik take on the original, the new version reimagines 'Confusion' as a much louder and sinister track. It was so loved by the label - and the band had so much fun recording it - that they decided to record new material.

With the 'Confusion' remake leading off the EP, Capital Punishment burn through four other tracks that all explore the darker edges of rock 'n' roll. From the strangely sultry 'Drumming Out Time Inside Me' and 'Grey And Illuminate' to the band's favorite 'Hot Love,' Capital Punishment may not be teenage punks anymore, but they certainly haven't lost their edge.

Pressed on translucent blue vinyl, This Is Capital Punishment is limited to 1500 copies worldwide.

- Actor Ben Stiller's high school band reunites with new material
- Four new tracks and a remake of their song 'Confusion'