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Kiran Leonard is a 22 year old musician from Saddleworth, Greater Manchester. Debut album proper Bowler Hat Soup (2014) and follow-up Grapefruit (2016) were both recorded at home, with Kiran playing virtually every instrument himself. Dervaun Seraun (2017), a concept album in five movements inspired by five pieces of literature and arranged for piano, strings and voice, was an ambitious departure from his usual sound.

Western Culture now sees him return to the signature sound of his first two records, yet marks a huge sonic progression thanks to the involvement of his venerable live band on record for the first time, as well as being the first to have been made in a professional studio (Old Granada Studios in central Manchester). Please read on for Kiran's statement on the record, discussing the themes within.

I like the phrase 'WESTERN CULTURE' very much because it is a resounding clang from a hollow vessel, connoting so much (grandeur; authority; hostility) without possessing a concrete meaning in of itself. What does 'western culture' consist of This question changes shape depending on who is speaking: e.g., 'culture' is constantly evolving and autonomous, rapidly reacting to and altering the present in which it unfolds, but is simultaneously regarded as something static and possessed, corresponding roughly to 'tradition' or 'heritage', something people can call on when the world seems precarious and alien and antagonistic. And so very often when we talk about culture, we reveal our personal conceptions of world events and of what is to be done.

'666 Kill' is an EP with an unusual genesis. Healey set himself an experiment: to rapidly put together a body of work from his first idea to completion without overthinking any part of the process. And so he'd write lyrics in his bedroom that were rich in violent gothic imagery - an ominous home invasion from the devil ('666 Kill'), an existential bullet-in-the-head ('Lovelawn'), and a metaphorical grim reaper ('Learn Toulouse') - before rushing down to his studio / garage to record them as quickly as possible.

'I was trying to touch on different ideas I had at the time: weird things like planes going missing and an obsession with death, which sounds really depressing but at the time I found it really interesting,' he explains. 'We all have weird little things that run across our minds and we generally don't say them out loud. For good reason! But it felt like an exciting process to write in that style and not put a filter on it.'

A week later and it was done, with Healey having recorded vocals and almost all of the instrumentation himself. A fortnight later, however, he listened back and was pleasantly surprised at his latest creation. From the menacing country-folk of the title track to the beautifully bleak contrast of 'Lovelawn' and the relatively uplifting closer 'When You're Lonely', it echoes the low-fi introspection of Elliott Smith with the rawness of early Neil Young.

A notable detour is the hypnotic rhythm and screeching sax that permeates through 'Guitar Music' - ironically named given that it was the first song that Healey ever wrote on keys and features no guitar beyond some bass.

Aviv Geffen features 15 essential tracks, including 'Blackfield', 'Once', 'Family Man' and 'Pain' Open Mind is a CD presented in digipack packaging complete with a 8-page

booklet or as a 2LP with a D side etching presented in gatefold packaging featuring new artwork by Hajo Muller.



Blackfield is the collaboration between Israeli songwriter and musician Aviv Geffen, and British musician and producer Steven Wilson. The collaboration, extending from their self-titled debut in 2004 to their superb return with album

'V' produced with Alan Parsons in 2017, has proven to be a prolific partnership for creating striking and affecting music. The pair makes for a formidable musical force; Geffen has worked with legendary producers Tony Visconti and Trevor Horn, has also recently

performed with and hosted Jake Bugg, played as support for Biffy Clyro, and was a judge on the Israeli TV show The Voice. Wilson, after a long tenure as the leader of the hugely influential band Porcupine Tree, has since embarked on a

highly successful solo career, most recently earning a #3 album in the UK Charts and #2 in the DE Charts, as well 4 Grammy nominations. This collection, curated by Wilson and Geffen, selects the best works from an impressively rich Blackfield catalogue with each of the five records combining

both sweet and tart elements. It's an uncommonly potent mixture. Perhaps the debut album's Lasse Hoile cover art a bottled elixir lurking in the gloomy shadows of an apothecary signifies that Blackfield is a dark medicine to be

administered through the listener's ear. There's no recipe on the aged and frayed label of the bottle. Yet some lyrical ingredients can be discerned within the mix: Take a dash of childhood memory, sprinkle in some heartbreak, pour

in a drop of blood from an open vein, add a pinch of angry conscience (carefully weighed), puree the dew of a kiss, and then garnish with the bitter tears of adult disillusionment. Stir carefully and name it after the very first Blackfield collaboration: 'Open Mind'.

'Hooray Hooray, it's Dirt Box Day!'comes the chant from Dirt Box Disco fans every August at the Rebellion Festival in Blackpool. It's also been heard at more than 300 gigs up and down the country. With a new label

and new management behind the release - Dirt Box Disco are now officially a 'big-noise' with their earworm-like punk rock punchlines. Hooray! Hooray! features the band's twelve favourite tracks, freshly polished

by Grandmaster Howie Weinberg (worked with the Beastie Boys, Rammstein, Arctic Monkeys, Metallica, Nirvana, Red Hot Chili Peppers, Mars Volta, U2 and more). The single 'My Life is Shit' is the throbbing anthem of the five

costumed punk rockers. A song written from the gut that along with the other tracks on Hooray! Hooray! has built a loyal and passionate fan base. 'My Life is Shit' is just one of many catchy tunes. Dirt Box Disco fans sing

this song by heart loudly and compete with WEAB, the rabble-rousing front man. Nothing is serious in the Dirt Box world, the band cock a snook at spotty teenage obsessives, naturally keeping their young adults energy.

The band is a five-pronged phenomenon. Behind the crazily costumed combo stand two brothers who do everything: writing, composing songs, recording demos, recording CDs, distributing CDs, and making videos. PR can never do them justice - seeing is not believing!

The new intimate studio film from the highly praised Russian duo recorded on a remote Norwegian island. Album of the year winners at the Progressive Music Awards '18 with

their previous release 'Lighthouse' Available on heavyweight 180g vinyl with a printed inner sleeve. Following the success of two highly-praised albums on Kscope, 'Belighted' and

'Lighthouse', Russian duo Gleb Kolyadin and Marjana Semkina are releasing a new studio film shot at and named after a remote recording studio on a Norwegian island. The footage offers a behind-the-scenes insight into the

recording techniques of two of modern progressive music's most talented composers. The content captures Iamthemorning's live set-up from the last three years, with the setlist consisting of songs from their first three studio

albums and an unplugged recording of 'Blue Sea', the first track to be written for their upcoming fourth album and exclusive to a Blu-ray version. The studio was designed with panoramic windows that allow the stunning backdrop

of Giske Island and the Norwegian Sea to be baked into the performances, a location that is featured in glorious high-definition on this Blu-ray. 'Ocean Sounds' builds on the recent success of Kolyadin's self-titled debut

solo album on Kscope, which has been nominated as Album of the Year at the Progressive Music Awards '18: an honour that Iamthemorning have already achieved with Lighthouse, and which is also backed by Semkina winning

Female Vocalist of the Year in the 2016 Prog Magazine Reader's poll. The pair's live performances have included the likes of London's Bush Hall, Ramblin' Man Fair and the Netherland's Midsummer Prog Festival.

The audio recording, mixing and mastering were handled by regular collaborator Vlad Avy, the film was produced and edited by Miles Skarin at Crystal Spotlight, and the watercolour artwork was designed by Constantine Nagishkin.

12' satin finish sleeve, Printed inner sleeve, Standard weight vinyl. For one night only in April of this year, Nick Cave & The Bad Seeds shared a show from their celebrated 2017 world tour on cinema screens worldwide. Filmed at Copenhagen's Royal Arena in October 2017, Distant Sky captured an extraordinary and triumphant live concert from Nick Cave & The Bad Seeds. Performing new album Skeleton Tree's beautiful compositions alongside songs from their essential catalogue.

Me At Six return with their brand new sixth studio album, VI, released on October 5th. Recorded at VADA Studios with Dan Austin (Biffy Clyro, Massive Attack, Pixies), and for the first time ever co-produced by the

band, VI showcases the band as they've never been heard before - switching moods and styles with breathless confidence.

Whilst retaining their bite, VI sees them flourish with uplifting alternative pop tracks such as 'Back Again', '3AM' & 'Pray For Me', straying into new territories with electro dance floor leanings on 'IOU', while heavier tracks like 'Fast

Forward' & 'Predictable' are set to strike a chord with the band's long standing rock fanbase.

Families sit together huddled in front of their flatscreen TVs peeking through their hands to see the new world leader being sworn in by a fading shadow of hope whilst criminals applaud. The world is crying and The End Is On TV. Outside, lost souls wander in a daze fixed on prescription drugs with Eyes In The Sky. This Is Your Life trying to escape advertising and takeaway menus and spending what you don't have and looking perfect and trying to fit in and everyone and everything always being Oh So Happy.

Escape when and how you can, get off your knees and face the sun, find your groove and create an Easy Life for yourself as the screens keep the mind bombarding of grim tales, fear and sadness. Why can't they bring us some Good News

Don't let the Natural Rewards we seek be diluted, fight the lies however you can because we realise and accept that there'll always be Something Wrong With Everything....but never give up as you've everything to win the race, it's beautiful with love and grace, keep moving on.

Die Beta Band war eine britische Musikgruppe, die ihren
eigenen Stil als Folktronic bezeichnete, was eine Mischung aus
Folk, Rock 'n' Roll, Trip Hop und hemmungslos
experimentellem Jammen darstellt.
Die Beta Band wurde 1996 in der Nähe von Edinburgh von
den Musikern Steve Mason (Gesang, Gitarre) und Gordon
Anderson gegründet. Als sie gemeinsam Songs für ihre Debüt-
EP Champion Versions verfassten, stießen mit Robin Jones
(Schlagzeug) und John MacLean (DJ, Sampler, Keyboard-
Pianist) noch zwei weitere Mitglieder hinzu. Im Juli 1997
veröffentlichten sie die von Nick McCabe produzierte EP
Champion Versions, die von Kritikern vor allem aufgrund des
innovativen "Cut'n'Paste"- Sample-Konzepts umjubelt wurde.
Zwei ähnliche EPs folgten bald darauf: The Patty Patty Sound
im März des folgenden Jahres und Los Amigos del Beta
Bandidos im Juli. Alle drei erschienen im September 1998
unter dem passend gewählten Titel The Three EP's in einer
Kollektion.

With their second album Pre Strike Sweep, GØGGS add a new level of primordial anxiety to their already catastrophic symphony. Recorded and mixed in 2017 by GØGGS guitarist and co-founder Ty Segall, the album explores the damaging affects of modern life before blowing them up one by one. Singer Chris Shaw uses terms like 'space rinse' and 'roadside surgery' to inform the listener that this is a strange and different trip, far and away from the 'Glendale Junkyard' he romanticized in 2016 on their self-titled album. In fact, all expectations brought on by that acclaimed debut are crushed into dust, revealing a new standard by which the GØGGS march thumps.

'The Lamb was written during a time of intense paranoia after a home invasion, deaths of loved ones and general violence around me and my friends,' says Lillie West, the Chicago-based songwriter behind Lala Lala. 'I began to frequently and vividly imagine the end of the world, eventually becoming too frightened to leave my house. This led me to spend a lot of time examining my relationships and
the choices I'd made, often wondering if they were correct and/or kind.'

West initially started Lala Lala as a way to communicate things that she felt she could never say out loud. But on The Lamb, her sophomore LP and debut for Hardly Art, she has found strength in vulnerability. Through bracing hooks and sharp lyrics, the 24-year-old songwriter and guitarist illustrates a nuanced look on her own adulthood -- her fraught insecurity, struggles with addiction, and the loss of several people close to her.

Across the album's 12 tracks, West carefully examines the skeletons in her closet for the first time, hoping to capture honest snapshots of her past selves. Many of the songs show West asking herself agonizing questions about her life with a clever and hopeful curiosity. On the album's first single and opening track, 'Destroyer,' she reflects on feeling self-destructive and the delayed realization something in the past has irrevocably hurt you. In 'Water Over Sex,' West laments her old precarious lifestyle, while trying to readjust to her newfound sobriety, and 'Copycat' confronts her feelings of alienation and boredom. 'Some of this album is about being frustrated that everything is always repeating itself and being bored with your own feelings,'she explains. ''Copycat' in particular is about how everyone talks exactly the same on the Internet and how it sometimes feels futile to try and be yourself.'

'the Lamb Was Written During A Time Of Intense Paranoia After A Home Invasion, Deaths Of Loved Ones And General Violence Around Me And My Friends,' Says Lillie West, The Chicago-based Songwriter Behind Lala Lala. 'i Began To Frequently And Vividly Imagine The End Of The World, Eventually Becoming Too Frightened To Leave My House. This Led Me To Spend A Lot Of Time Examining My Relationships And
The Choices I'd Made, Often Wondering If They Were Correct And/or Kind.'

West Initially Started Lala Lala As A Way To Communicate Things That She Felt She Could Never Say Out Loud. But On The Lamb, Her Sophomore Lp And Debut For Hardly Art, She Has Found Strength In Vulnerability. Through Bracing Hooks And Sharp Lyrics, The 24-year-old Songwriter And Guitarist Illustrates A Nuanced Look On Her Own Adulthood -- Her Fraught Insecurity, Struggles With Addiction, And The Loss Of Several People Close To Her.

Across The Album's 12 Tracks, West Carefully Examines The Skeletons In Her Closet For The First Time, Hoping To Capture Honest Snapshots Of Her Past Selves. Many Of The Songs Show West Asking Herself Agonizing Questions About Her Life With A Clever And Hopeful Curiosity. On The Album's First Single And Opening Track, 'destroyer,' She Reflects On Feeling Self-destructive And The Delayed Realization Something In The Past Has Irrevocably Hurt You. In 'water Over Sex,' West Laments Her Old Precarious Lifestyle, While Trying To Readjust To Her Newfound Sobriety, And 'copycat' Confronts Her Feelings Of Alienation And Boredom. 'some Of This Album Is About Being Frustrated That Everything Is Always Repeating Itself And Being Bored With Your Own Feelings,'she Explains. ''copycat' In Particular Is About How Everyone Talks Exactly The Same On The Internet And How It Sometimes Feels Futile To Try And Be Yourself.'

PNKSLM Recordings are beyond excited to announce the second full length from Stockholm's Les Big Byrd. Consisting of Jocke Åhlund, Nino Keller, Frans Johansson & Martin "Konie" Ehrencrona, Les Big Byrd have been consistently one of the most exciting bands at the forefront of the Swedish music scene. Following on from 2014's "The Worshipped Cats" LP (A Recordings).

Long awaited second album from this stargazing psychedelic pop collective, with a slick production that ensures the trip is an aural joy.

Fans of Follakzoid / Hookworms will find much to lose themselves in on this album!!

PNKSLM Recordings are beyond excited to announce the second full length from Stockholm's Les Big Byrd. Consisting of Jocke Åhlund, Nino Keller, Frans Johansson & Martin "Konie" Ehrencrona, Les Big Byrd have been consistently one of the most exciting bands at the forefront of the Swedish music scene. Following on from 2014's "The Worshipped Cats" LP (A Recordings).

Long awaited second album from this stargazing psychedelic pop collective, with a slick production that ensures the trip is an aural joy.

Fans of Follakzoid / Hookworms will find much to lose themselves in on this album!!

Punk Slime Recordings is proud to present the debut album from Miss World, aka Natalie Chahal of Shit Girlfriend. Keeping Up With Miss World is a raw, 13 track power-pop, garage-party movie scene that plays out like a thumb numbing Instagram scroll fest. A teen-dream magazine collage, a multi-colored sonic mood board featuring torn up images of Ariel Pink, Kim Gordon, Clueless OOTDs, Madonna and Kim Kar-dashian smeared with gluestick goo.

Paw was an American alternative rock band from the United States who released their debut studio album Dragline in 1993. While the album wasn't a commercial success it is widely considered among fans and critics as their best album. This is a traditional grunge album, recorded during the heydays of this music. Fantastic song structures with riff-based melodic choruses and deep lyrics showing their greatness. 'Jessie', the band's biggest single, is recognizable for its timeless chorus and pedal steel solo. Other great songs includes 'Sleeping Bag' and 'Couldn't Know'. It's a mighty beast from the beginning, with beautiful clean guitars, powerful riffs and howling vocal parts. It's Paw at their best.

Their second album, Skiff, is a new direction for The Skiffle Players. Now, they all sing and write. There is no leader.
Recorded at Infinitespin Recorders in Van Nuys CA, with engineer Matt 'Linny' Linesch, the album begins with a bold
opening; the Farmer Dave Scher-penned 'Cara,' heavy information for the soul. Then, into classic Cass McCombs
insanity on 'Local Boy,' a wild ride on the run from the cops. Third is a touching tribute to a bygone companion, 'Miss It
When It's Gone,' written and led by Neal Casal.The album's revolving perspective continues to bounce around, leaving no apparent land to stand upon. In that, it is
deeply subversive. For there is nothing to defend, but the ability o transform and imagine.The album continues to unfold back to McCombs with a satire
on justice, 'The Law Offices Of Dewey, Cheatum And Howe.' It goes from the saloon 'Long Horns, Long Necks, Long Legs,' to the rainforest 'Herbamera.' Casal blasts in again with the
sun-bleached rambler, 'Los Angeles Alleyway.' Scher's 'Skiffleman' sings a song for everyone. McCombs plays with memory in a song about coming of age in the Bay Area on
'Oakland Scottish Rite Temple Waltz.' Penultimately, 'Santa Fe' is an elliptical broadside about materialism and waste. The album concludes by pushing off again, out into the familiar
waters of a traditional skiffle number, 'Sweet Georgia Brown,' each member taking a perhaps all-too casual solo.This is acoustic dance music at its finest. It is also refreshingly
contradictory, irreverent and mystical, deeply personal and communal, and traditional and profane—the ever revolving and disintegrating ship known as Skiff













[M 13. Sweet Georgia Brown

Taking inspiration from the original concept behind the founding of Saddle Creek, as an attempt to highlight our home city through music and art, we began the Document Series in 2017. Each release featured in the Document Series is comprised of an exclusive record featuring unreleased music from artists outside of the label's roster, along with a specially curated zine created by the artist. The fifth installment in the series comes from Austin, Texas based Hovvdy.

Hovvdy (pronounced "howdy") is the writing and recording project of Charlie Martin and Will Taylor. The duo, both primarily drummers, first met in the fall of 2014 and quickly bonded over a love for quiet music. Within a few weeks, they had combined songs and began recording their first EP in bedrooms and family homes across Texas.

By 2016 the two had committed to each others growth in songwriting and recording, resulting in their debut album Taster , originally released on Sports Day Records and reissued in 2017 by Double Double Whammy. They followed this in 2018 with the release of Cranberry , which Pitchfork described as, "Foggy, warm, and wistful, it sounds like faded time." Hovvdy has found a unique identity in rhythmic, down-tempo pop songs that are hopeful, yet melancholy; relatable, yet distinguishable.

'In a dreamlike fictive and windswept Brittany, hippy pirates and wild women more or less inspired by Gérard de Nerval fight it out in a theatre, the magic of which brings to mind Cocteau, and where musical improvisation has an important role: this is Noroît, a cursed film which was never released in cinemas at the time (1976), directed by the great Jacques Rivette, where Jean-Cohen-Solal, his brother Robert and Daniel Ponsard can be seen and heard playing. The scene is every bit as inventive as that featuring the Art Ensemble Of Chicago in Les Stances à Sophie!

The same magic and invention can be found on this first album by Jean Cohen-Solal: Flûtes libres. A magic which can be keenly felt on "Quelqu'un", a long contemplative mantra which takes up the whole of the B side and which anticipates the future collaboration in the mysterious universe of Jacques Rivette.

Jean Cohen-Solal studied flute from all angles, and became one of the great French virtuosi, along with Michel Edelin who at the time was with Triode. This was a period (1972) when flutists were very popular with the public, most of whom had been influenced by Roland Kirk, including Ian Anderson in Jethro Tull. Jean Cohen-Solal tells a different story, richer and centred on the instrument itself, using the magic (yes, that again) of overdubs.

Perhaps Paul Horn rather than Roland Kirk could be an influence, but stripped of a classical background which was too audible and a tendency for easy listening. In fact, in terms of comparison, "open music" by Bob Downes would be the closest to the electroacoustic experiments of Jean Cohen-Solal, who, by the way, was also close to the GRM and Bernard Parmegiani for whom he occasionally provided sound sources.'

Molly Burch burst onto the music scene in 2017 with her debut Please Be Mine- a ten-track ode to unrequited romance written after studying Jazz Vocal Performance in Asheville, NC - and earned immediate praise from critics for her smoky, effortless vocals and bleeding-heart lyrics. Following a year of touring all over North America, Europe and the UK alongside the likes of Ought, Alex Cameron, Grizzly Bear and Courtney Barnett amongst others, Burch then returned to Texas to decompress. Finding herself suddenly devoid of stimulation and with nothing but time on her hands, she began anew, bouncing ideas off her bandmate and boyfriend Dailey Toliver - who contributed guitar parts and orches-tration suggestions - and, slowly, an album took shape; soon after, First Flower became real.

A walk-through Burch's most intimate thoughts - broken friendships, sibling relationships and overwhelming anxiety - First Floweris a bright, beautiful album peppered with moments of triumph with Burch's voice as strong and dexterous as ever. Opening track 'Candy' is a swinging, playful hit, while 'Wild' deals with pushing away fear. Title track 'First Flower' is classic Burch, a simple love song that makes your skin raise with goosebumps when she breaks into the chorus. But the album's true stand-out is 'ToThe Boys', a courageous, sassy fuck-you to her own self-deprecation where she learns to love all the things she hated about herself. 'I don't need to scream to get my point across/I don't need to yell to know that I'm the boss,' she coos over a sparse guitar riff. First Flower is a shapely sonic stage to let Burch shine on. The composition and production carefully constructed to compliment and not over power

Molly Burch burst onto the music scene in 2017 with her debut Please Be Mine- a ten-track ode to unrequited romance written after studying Jazz Vocal Performance in Asheville, NC - and earned immediate praise from critics for her smoky, effortless vocals and bleeding-heart lyrics. Following a year of touring all over North America, Europe and the UK alongside the likes of Ought, Alex Cameron, Grizzly Bear and Courtney Barnett amongst others, Burch then returned to Texas to decompress. Finding herself suddenly devoid of stimulation and with nothing but time on her hands, she began anew, bouncing ideas off her bandmate and boyfriend Dailey Toliver - who contributed guitar parts and orches-tration suggestions - and, slowly, an album took shape; soon after, First Flower became real.

A walk-through Burch's most intimate thoughts - broken friendships, sibling relationships and overwhelming anxiety - First Floweris a bright, beautiful album peppered with moments of triumph with Burch's voice as strong and dexterous as ever. Opening track 'Candy' is a swinging, playful hit, while 'Wild' deals with pushing away fear. Title track 'First Flower' is classic Burch, a simple love song that makes your skin raise with goosebumps when she breaks into the chorus. But the album's true stand-out is 'ToThe Boys', a courageous, sassy fuck-you to her own self-deprecation where she learns to love all the things she hated about herself. 'I don't need to scream to get my point across/I don't need to yell to know that I'm the boss,' she coos over a sparse guitar riff. First Flower is a shapely sonic stage to let Burch shine on. The composition and production carefully constructed to compliment and not over power

After Their Successful Period In The Early Days Of The Grunge Mudhoney Spread Their Wings To The Blues And Garage Rock On Their Album Tomorrow Hit Today. Referring To The Song when Tomorrow Hits' Of Their Self-titled Debut Album. Frontman Mark Arm Still Sings Like He Is Back In Those Early Days And The Instrumental Parts Are Equal As Impressive. As One Of The Few Remaining Seattle Originals They're Hitting The Right Notes. Part Of This Can Be Accounted To The Studio Talents Of Legendary Memphis Producer Jim Dickinson.

The Alternative Rock Band Mudhoney Can Be Seen As One Of The Pioneers From The Grunge Music. They Inspired Countless Other Grunge And Rock Musicians And Will Always Be Linked To The Seattle Music Scene.

Brighton four-piece Wild Cat Strike unveil their upcoming debut album 'Rhubarb Nostalgia', following early support from the likes of BBC Radio 1 Rock Show, Dork Mag, Clash and more.

The album was introduced via the unshakably catchy, country-infused lead single 'I Feel Good', along with an attention-grabbing and raucous video. As their sound has developed over recent years, a new breed of Wild Cat Strike songs has emerged. While keeping elements of their intense, post-rock roots - with swells of distorted guitar, dynamic switches and raw and flowing melodies - they have homed in on an energetic and fresh songwriting style. The lyrics of frontman Danny Byrom bring candid ruminations on life, death and memory; his nuanced, charismatic vocal delivery, and guitar playing, are joined by the formidable combination of Max Boughen (guitar), Chris Whitehorn (bass) and Joe Caple (drums).

On several tracks, they also enlisted former band-member Guy Jones to lend his talents, improvising on slide guitar, honky-tonk piano and organ; while label-mate Natalie Evans adds sweet backing vocals on a couple of songs. To complete the sound, several fellow Brighton musicians (members of Delta Sleep, InTechnicolour and Tall Ships - collectively named by Byrom as the 'God Damn Gospel Choir') piled into the vocal booth to lay down some jovial and raucous gang vocals

Shortly after completing their critically acclaimed Top 20 album 'Marble Skies' last year, Django Django found themselves in the midst of an extended rush of inspiration. Before 'Marble Skies' had even been released, they returned to their HQ to record a selection of new material with drummer Dave Maclean on production duties.

The result is the all-new six-track EP 'Winter's Beach' which is set to be released on October 12th on Because Music.

The lead track 'Swimming At Night' - which was premiered by BBC 6Music's Lauren Laverne - is Django Django at their most gloriously unpredictable. Its deceptively linear beat soon progresses into something altogether more leftfield, with a coherent collision of vintage synths, vocoders, tight vocal harmonies and surrealist lyrics about 'living with life forms under the water.'

'Swimming At Night' is accompanied by a video which was directed and animated by Gemma Yin Taylor, whose previous credits include Sigrid and Alvvays.

'For Swimming at Night the guys wanted to create a highly visual piece of moving image exploring the vibrant inner worlds within our own heads. With a nod to some iconic graphic and video styles from the 70's and 80's, I used mixed media techniques and a low frame rate to achieve a distinctive tactile quality. Meandering through deconstructed figurative, scenic, and natural forms from the start of the video, sets the stage for introducing some trippier 'life forms underwater' when the track submerges us into the vibrant choruses. The imagery is familiar, but subverted, using non-linear animation techniques. I wanted the video to embody the off-beat eccentricities of the track, whilst still having a bold, bright pop sensibility', says Yin Taylor.

Maclean adds; 'the Swimming at Night chorus is about closing your eyes or being in the dark and swimming in your own world, your own thoughts. The idea for the video came when we were in Palm Springs. The light and the colours there were extraordinary and were the inspiration behind some of the imagery in the video. That, combined with an old drawing that Tommy found, of a colourful deep blue sea full of creatures. The video was animated by Gemma Yin Taylor who did an amazing job at bringing to life the visual I had in my head'.

Commencing with the mood-setting instrumental opening title track, the 'Winter's Beach' EP sparkles with the creative energy of a band who are fully embracing their artist freedom. It's followed by 'Sand Dunes', which reiterates the band's unique ability to set post-apocalyptic imagery and themes of rebirth to beautifully futuristic sounds.

Elsewhere, 'Flash Forward' pulsates with an ominous and rapid-fire dancefloor energy; 'Ghost Rider' takes flight with some otherworldly psychedelic grooves; and 'Blue Hazy Highs' sounds like today's Django Django time-travelling back to the Summer of Love.

SRSQ (pronounced seer-skew) is the solo project of Kennedy Ashlyn (vocalist/keyboardist of Them Are Us Too). Creative voids aren't filled, but rather holes left that push the edges of the present into new realms of consciousness.

Ambient synthesizers that approach harshness, relentless arpeggiations act together with Kennedy's vocals as a lush weapon, weaving cloudlike fables over orchestration that's familiar and foreign. Trance-like at times, yet always rooted in cadence and structure, the synesthesia of sound and feeling takes cues from the delicate miasma of Cocteau Twins, My Bloody Valentine, or Dead Can Dance, using their example as the ground floor for building a new temple of frequency.

SRSQ (pronounced seer-skew) is the solo project of Kennedy Ashlyn (vocalist/keyboardist of Them Are Us Too). Creative voids aren't filled, but rather holes left that push the edges of the present into new realms of consciousness.

Ambient synthesizers that approach harshness, relentless arpeggiations act together with Kennedy's vocals as a lush weapon, weaving cloudlike fables over orchestration that's familiar and foreign. Trance-like at times, yet always rooted in cadence and structure, the synesthesia of sound and feeling takes cues from the delicate miasma of Cocteau Twins, My Bloody Valentine, or Dead Can Dance, using their example as the ground floor for building a new temple of frequency.



SRSQ's pulse began after the death of Kennedy's closest friend and TAUT collaborator Cash Askew, a casualty in the sudden and tragic Oakland Ghost Ship Fire of 2016. Driven by loss, SRSQ became the vehicle for Kennedy's transformative process, exploring nuance, nostalgia, reflection, and reconciliation, manifesting in the aural landscape of Unreality.

As a debut, Unreality is entrance into a new form of storytelling, traversing the present while pulling from a deep swath of experience, immersion, and sound. Like the impulse it pulls from, each song evokes the complex duality of meditation—where simple intersects with infinite. Kennedy proves an adept architect of rhythm, using sequenced electronics as a deep backbeat that allows the harrowing beauty of her vocals to lead the journey.



Produced by Matia Simovich of Inhalt, Unreality is simultaneously crisp and full, each tone and note occupying its own unique sonic world - grief butted against power, tracked to a heavy heartbeat.

Spiral Joy Band spun from the orbit of drone-improv pioneers Pelt in 2004 - initially as an incubator for that group's burgeoning acoustic experiments, but eventually drifting into a thrum all their own. Their variable lineup is based around Mikel Dimmick, Patrick Best, and Troy Schafer, and their rough-hewn drones utilize a staggering variety of exotic gongs and instruments, both electric and acoustic. On Summoning, Spiral Joy Band enlists vocalist Dani Schafer.

From the very first track 'Lateral Waters, Languid Domes,' Summoning leaps away from the contemplative, avant-hillbilly ripples of SJB's previous releases, and plunges directly into deep interstellar currents, tillered by an electric guitar that one could (almost) describe as 'Heldon-like.' With the exception of the chaotic interlude of 'Starlings in Deerwood' (which recalls the most explosive moments of electric-era Pelt), Summoning is built upon Dimmick's monolithic harmonium and Dani Schafer's full-throated vocals, which envelope and tie off the acid embroidery of Troy and Pat's guitar, violin, and electronics.

With Pelt seemingly unplugging their power strips for good, the wild electric howl and kosmische ragas of Summoning exuberantly herald humanity's inevitable plunge into the heart of the sun.

Since first emerging in 2013 with her critically acclaimed 'All We Can' EP, Yumi And The Weather have spent the past few years perfecting their unique blend of electrifying technicolour psych-pop, finally emerging with

their long-awaited full length offering (released via their own MIOHMI RECORDS imprint). Armed with this new arsenal of unrelentingly catchy and stirring pieces of music, Yumi are ready to continue their path of destruction (which has included

a stint supporting British Sea Power, a slot at Secret Garden Party, Bad Pond

RIYL HIDDEN CAMERAS/ARTHUR RUSSELL

Since his recording debut as Choir Boy in 2016, Adam Klopp mined a sound swirls 1980s synth noir with captivating, cinematic songs sweeping with pensive sorrow and glowing hope. As a former member of the Mormon faith, Klopp spent his youth both in the pews of his place of worship, but also churning through DIY punk venues, before leaving the sect in the thick of a mission in Tahiti.

The duality of faith and fiction are central to the lush explorations on his debut album Passive With Desire. Recorded at Studio Studio Dada, the album's tracks permuted as bedroom sketches, awash with camp, the sting of loss, and allusions to halcyon days of nocturnal, electronic driven pop. Retaining elements of Klopp's original demos, Passive With Desire was recorded with a full band and polished with trumpet, strings, as well as archival samples calling back to Klopp's hazy youth.

Engineered by Klopp, Bret Meisenbach, and Stephen Cope, Passive With Desire is the entry point to Choir Boy's world of emotive wit, novella kissed lyricism, and bouncy, synth-forward takes on traditional song writing bound by the universal themes of loss, desire, evolution, and exploration.

Now available for the first time in wide release, Passive With Desire is a proper introduction to Klopp's unique storytelling, orated by his full, rangeful vocals. The expanded CD version comes with a 12-page lyric booklet, and combines the album with seven bonus tracks, including the Sunday Light EP and tracks from the limited Part Time Punks cassette. The repackaged LP edition comes in a sturdy matte jacket with matte Eurosleeve insert with lyrics. The first pressing comes in limited editions of 100 on Clear/Black/Red Splatter, 400 on Metallic Red, and standard black vinyl.

Key Selling Points:
- Expanded CD version comes with a 12-page lyric booklet, and combines the album with seven bonus tracks, including the Sunday Light EP and tracks from the limited Part Time Punks cassette.- LP edition comes in a sturdy matte jacket with matte Eurosleeve insert with lyrics. - LP comes with download- Reissue of debut album

RIYL HIDDEN CAMERAS/ARTHUR RUSSELL

Since his recording debut as Choir Boy in 2016, Adam Klopp mined a sound swirls 1980s synth noir with captivating, cinematic songs sweeping with pensive sorrow and glowing hope. As a former member of the Mormon faith, Klopp spent his youth both in the pews of his place of worship, but also churning through DIY punk venues, before leaving the sect in the thick of a mission in Tahiti.

The duality of faith and fiction are central to the lush explorations on his debut album Passive With Desire. Recorded at Studio Studio Dada, the album's tracks permuted as bedroom sketches, awash with camp, the sting of loss, and allusions to halcyon days of nocturnal, electronic driven pop. Retaining elements of Klopp's original demos, Passive With Desire was recorded with a full band and polished with trumpet, strings, as well as archival samples calling back to Klopp's hazy youth.

Engineered by Klopp, Bret Meisenbach, and Stephen Cope, Passive With Desire is the entry point to Choir Boy's world of emotive wit, novella kissed lyricism, and bouncy, synth-forward takes on traditional song writing bound by the universal themes of loss, desire, evolution, and exploration.

Now available for the first time in wide release, Passive With Desire is a proper introduction to Klopp's unique storytelling, orated by his full, rangeful vocals. The expanded CD version comes with a 12-page lyric booklet, and combines the album with seven bonus tracks, including the Sunday Light EP and tracks from the limited Part Time Punks cassette. The repackaged LP edition comes in a sturdy matte jacket with matte Eurosleeve insert with lyrics. The first pressing comes in limited editions of 100 on Clear/Black/Red Splatter, 400 on Metallic Red, and standard black vinyl.

Key Selling Points:
- Expanded CD version comes with a 12-page lyric booklet, and combines the album with seven bonus tracks, including the Sunday Light EP and tracks from the limited Part Time Punks cassette.- LP edition comes in a sturdy matte jacket with matte Eurosleeve insert with lyrics. - LP comes with download- Reissue of debut album

Mit der um sieben Bonusstücke ergänzten Neuauflage von "Passive With Desire" (2016) kommen zu den neun Originaltiteln des Albums die beiden Songs der Single "Sunday Light" (2017) sowie die fünf Aufnahmen der limitierten Kassette "Part Time Punks Sessions" (2018) hinzu. Letztere erschienen ebenfalls bei Dais, das Debüt kam via Team Love Records in die Läden. Hinter Choir Boy verbirgt sich ein synthielastiges und 80er-dominiertes Dream-Pop-Projekt von Adam Klopp (Gesang, Synthesizer, Piano, Gitarre, Perkussion, Elektronik). Der verbrachte zwar seine Kindheit und Jugend in der Glaubensgemeinschaft der Mormonen in Salt Lake City, aber mit zunehmendem Alter auch immer mehr Zeit in der DIY-Punk-Szene. Schließlich gelang es Klopp, die Sekte zu verlassen. Die Stücke für sein Debüt skizzierte er als Single-Demo-Tracks, doch die finalen Aufnahmen fanden im Studio mit Begleitung - Katrina Marie Rick Peterson (Gesang), Bret Meisenbach (Gitarre), Jacob Hall (Drums), Kyle Hooper (Keys), Chaz Costello (Bass), Alyssa Pyper (Violine) - statt. Flankiert wird die CD durch ein informatives 12-seitiges Booklet.

Heather Leigh: pedal steel guitar, vocals, synthesizer, drum machine

music composed & performed by Heather Leigh

additional instrumentation by John Hannon: violin, synthesizer & David Keenan: electric bass

recorded & engineered by John Hannon, Rayleigh, Essex March 2018

vinyl mastered & cut by Rashad Becker at Dubplates & Mastering, Berlin June 2018

photographs & design: Heather Leigh


Heather Leigh takes her Throne as queen of pedal steel with a suite of heartbleed ballads cauterised with burning riffs. After the rawness of its precursor I Abused Animal, Throne is a record of late night Americana and heavy femininity; intimate love songs smoked in sensuality. The songs on Throne are woozy, gorgeous and uncomfortable, smothered in thick layers of bass but lifted by multitracked vocals. These are rich song forms that stand in contrast to the stripped down steel in her duo with Peter Brotzmann.

Prelude To Goddess sashays in wearing leopard print jeans under the twinkling fluorescent illuminations of the British seaside, like Brighton Rock with extra bass. It is followed in by Lena - arguably Leigh's Jolene - a perverse love song soaked in a subversive sexuality, weighed down with a heavy pulse. Soft Seasons is anchored with sunken beats shrouded in wailing, growling steel and an earwormy melody.

Gold Teeth, the longest track on the record, crests and breaks in waves; ecstatic peaks balanced and echoed by melancholic troughs. It soars on an updraft, and from cosmic heights dives seaward into a gnarly and riotous pedal steel breakdown, before catching the breeze again.

Days Without You and Scorpio & Androzani are shorter, intimate songs, in the latter the synths seethe and the steel bows and bends as Leigh's voice falters above a Greek chorus of shadows and reflections. But this isn't autobiography, and Throne departs on Days Without You, a confrontationally unfinished romantic song, anxious with half-thoughts and missed connections. It glides into the night on stilettos leaving unanswered questions, in a fug of psychic disturbance and lovesick sensuality.

Leigh's artwork (which she photographed and designed) is a visual mirror of the songs on Throne. It is an album of cosmic echoes, abstractions and introspection, of characters and stories that make up Leigh's first best pop record, its melodies and hooks set alight with the fiery core of her unique and distinctive pedal steel.

Guildford-based singer songwriter Annabel Allum continues her reinvention as one of the most vital, snarling and sarcastic voices in the indie scene. Funded by the PRS Flash Fund For Vinyl 2018, this vinyl release is a combination of Annabel's two EP's to date: All That For What and Sorry I'm Not Perceptible. Supported by The Fader, DIY, Earmilk, Wonderland, The Line of Best Fit and MORE! + Radio plays on BBC R1, BBC6 Music, Radio X & Amazing Radio

«VOL 1- ARP» is the first in a series of live performances from Pekula Records. This recording was especially written for the 15th anniversary of the live venue Parkteatret in Oslo, Norway. The music was written and curated by Erlend Mokkelbost (Jr. Ewing, Montée ++) Simen Følstad Nilsen (Aiming For Enrike, Honningbarna) and Axel Skaalstad. This is a unique concert/musical composition that will never be performed again. But luckily everything was recorded, and is now being released on Pekula Records.

Sophomore album from the Australian singer-songwriter Peter Bibby. Grand Champion, full of true-blue charm and storytelling, follows his 2014 full length debut Butcher/Hairstylist/Beautician which earned praise from Pilerats ["one of those Australiana artists who is so bloody fair dinkum you have to pause for a moment even if you're from here"], The West Australian ["a great Australian lyricist to rival the likes of Nick Cave and Paul Kelly"], Music Feeds, and lead to performances at SXSW and Laneway Festival. PR: Grandstand (US), Inside Out (UK), Positive Feedback (AU) || Radio: Terror Bird (US)

'AAARTH' marks a transformative, near-psychedelic rebirth that channels long-held anger, soundtracking a chaotic global period of injustice and division, setting it against a deeply poignant backdrop of personal experiences and healing. Although the album came into being as the band travelled the globe and recorded in their mobile recording studio, the music intertwines the whispering hills of Wales with the otherworldly rainbow canyons of the Utah / Arizona border. 'AAARTH' unites the personal with the mythical and symbolic, as Bryan continues; 'We've definitely made a colourful, mystical collage with this record, partly because of our surroundings. Those multi-coloured sunsets & the primeval elements of nature in the Southwest - it's emboldened our imaginations in the songwriting and the production. I love stories and seeing symbolism and meaning change with different cultures and interpretations. I see it in my lyrics, a lot of the imagery plays on being ambivalent because I'm often expressing a lot of things at once. That's true of the title; it falls somewhere between a scream, an exaltation, a play on words, and then this motif of the bear ('arth' in Welsh) that spiritually represents strength, wisdom & healing.'
The Joy Formidable bring their unique, evolving and progressive live show to an already- sold-out show at The Lexington in London, followed by main stage appearances at Reading & Leeds Festivals, before they depart for the US and Canada - by personal invitation from Dave Grohl - as support to Foo Fighters

ÄTNA are singer and multi instumentalist Inéz and drummer Demian and if you listen to their
music it's hard to believe that this mighty sound was crafted by only two musicians. But the most
jaw-dropping aspect remains the distinctive music itself. ÄTNA unfold an energetic , highly
percussive , dark and twisted version of pop that isn't afraid to take risks. Their music is an
adventure, to say the least, riding between powerful extremes whether sensual tenderness or raw
furiosity. From dream state to outburst - the abstract beats, playful piano and determined vocal
work of Inéz make switching between multiple moods sound effortless. Somewhere between
James Blake, Fever Ray and White Stripes the two artists have created their own microcosm.
Inéz and Demian's decision to create a four-piece video suite has led them to some interesting
and intense sonic and visual experiences. The challenge of playing all of the pieces in the suite
live whilst being filmed in one take creates a unique tension between the artist and the medium.
Each unique setting alludes to artistic movements, design icons as well as unique areas one
would not expect in today's Germany.
The music on this EP is the recorded result of these live music video takes.
ÄTNA create an artistic stream of ideas, and welcome you to get carried away by it.

Exploded View, the international music project of Annika Henderson, Hugo Quezada, and Martin Thulin has returned and taken flight with their second full-length, Obey. The album was recorded at Hugo's and Martin's studios in Mexico City with Annika visiting from Berlin. Leaving behind their raw, live recording process, and embracing overdubs and multi-instrumentalism, the band has crafted their most ambitious work to date. The four-piece that recorded the band's self-titled debut album and Summer Came Early EP became three to create a more concise collection of songs. Their motivation for creating together remains purely passionate and the improvisational spark the band is known for has morphed into the emotional flames of being close friends with a deep desire to make music with each other.

When asked about the title of the record, singer Annika said 'this is in reference to so many things. We live in a society where we must obey or risk punishment. This can be social punishment, legal punishment, emotional punishment - if you dare to step outside, you will reap the reward. We live in a time when we are selfcertifying a lot. Whether it's how we present ourselves on social media or our diet or our job - we obey the social norms. Our fears are used against us by advertisers. Our fears of growing old or being excluded - we must conform or pay the high price - buy this and you will be accepted. We must obey.' She adds musingly at the end, 'It's also funny because in the band we often feel like we are all compromising, so we must all obey each other's wishes to some extent too.'

Striking the balance between precise and wild, between unshackled and grounded, grooving and unhinged, has always been Exploded View's specialty. They have a special knack for making the esoteric feel accessible and crafting pop music out of seemingly raw consciousness. This unique ability to make beautiful music that feels written beyond the veil is at the heart of what makes the band so captivating and powerful, and it's on full display all over Obey.

Exploded View, the international music project of Annika Henderson, Hugo Quezada, and Martin Thulin has returned and taken flight with their second full-length, Obey. The album was recorded at Hugo's and Martin's studios in Mexico City with Annika visiting from Berlin. Leaving behind their raw, live recording process, and embracing overdubs and multi-instrumentalism, the band has crafted their most ambitious work to date. The four-piece that recorded the band's self-titled debut album and Summer Came Early EP became three to create a more concise collection of songs. Their motivation for creating together remains purely passionate and the improvisational spark the band is known for has morphed into the emotional flames of being close friends with a deep desire to make music with each other.

When asked about the title of the record, singer Annika said 'this is in reference to so many things. We live in a society where we must obey or risk punishment. This can be social punishment, legal punishment, emotional punishment - if you dare to step outside, you will reap the reward. We live in a time when we are selfcertifying a lot. Whether it's how we present ourselves on social media or our diet or our job - we obey the social norms. Our fears are used against us by advertisers. Our fears of growing old or being excluded - we must conform or pay the high price - buy this and you will be accepted. We must obey.' She adds musingly at the end, 'It's also funny because in the band we often feel like we are all compromising, so we must all obey each other's wishes to some extent too.'

Striking the balance between precise and wild, between unshackled and grounded, grooving and unhinged, has always been Exploded View's specialty. They have a special knack for making the esoteric feel accessible and crafting pop music out of seemingly raw consciousness. This unique ability to make beautiful music that feels written beyond the veil is at the heart of what makes the band so captivating and powerful, and it's on full display all over Obey.