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Cocteau Twins were a Scottish rock band active from 1979 to 1997. The original members were singer Elizabeth Fraser, guitarist Robin Guthrie, and bassist Will Heggie, who was replaced by multi-instrumentalist Simon Raymonde in 1983. The group has earned much critical praise for its innovative, ethereal sound and the distinctive soprano vocals of Fraser.

Four-Calendar Café is the seventh album by Scottish band Cocteau Twins. It was originally released on 18 October 1993 on Fontana. The album distinguished itself from the rest of the Twins' catalogue in two major areas: The sound was much more pop-oriented and less ambient than previous works, and Liz Fraser's lyrics were much more intelligible than usual.

Milk & Kisses is the eighth and final studio album by Cocteau Twins, issued by Fontana Records in March 1996. It proved to be their last

The song ''Rilkean Heart'' was a homage to Jeff Buckley, who was a lifelong lover of the work of poet Rainer Maria Rilke.

Cocteau Twins were a Scottish rock band active from 1979 to 1997. The original members were singer Elizabeth Fraser, guitarist Robin Guthrie, and bassist Will Heggie, who was replaced by multi-instrumentalist Simon Raymonde in 1983. The group has earned much critical praise for its innovative, ethereal sound and the distinctive soprano vocals of Fraser.

Four-Calendar Café is the seventh album by Scottish band Cocteau Twins. It was originally released on 18 October 1993 on Fontana. The album distinguished itself from the rest of the Twins' catalogue in two major areas: The sound was much more pop-oriented and less ambient than previous works, and Liz Fraser's lyrics were much more intelligible than usual.

Milk & Kisses is the eighth and final studio album by Cocteau Twins, issued by Fontana Records in March 1996. It proved to be their last

The song ''Rilkean Heart'' was a homage to Jeff Buckley, who was a lifelong lover of the work of poet Rainer Maria Rilke.

*SHIPS FOR FEB 15TH*Holiday Ghosts are back with their second LP West Bay Playroom, the follow-up to their acclaimed self-titled debut album from 2017. Originally starting out as a solo project from The Black Tambourines' Sam Stacpoole the band evolved into a partnership with Katja Rackin, before turning into a full band with the debut album - showcasing a primitive rock 'n' roll sound that's been compared to The Modern Lovers and The Velvet Underground alongside current garage rock acts, and praised by the likes of The FADER, Stereogum, BrooklynVegan and KEXP. For West Bay Playroom the band's refined their sound, offering a cleaner and more focused set of songs while breaking new ground and experimenting with influences from country, blues, spaghetti western soundtracks and more.

Recorded in April/May 2018 on the corner of Junction and High, in the lounge room on the Tascam Portastudio and Zoom R16.
Instruments: Wurlitzer Funmaker, tenor sax, clarinet, Acetone Rhythm Ace FR-3, Farfisa Super Bravo, acoustic guitar, sarangi.
Sugar and Gold - A song about Queensland's sordid history. Kidnapping, slave trade, colonial wealth and the illusion of a fair go. Sugar. Gold.
Blonde Wig - Tenor sax, Wurlitzer Funmaker. Sleeper's blonde wig.
Junction and High 1 - Entitlement and masculinity.
Junction and High 2 - Pacing around your beautiful suburb.
Junction and High 3 - We downplay their horror. Entertainment, media and the fine art of apathy when talking of reform/revolution.
Royal Filth - Yamaha CS reface, Farfisa Super Bravo, calrinet, tenor sax, sleigh bells. Republic now please.
Wisdom Vermin - A song inspired by social workers, community lawyers, doctors, researchers and other gems who cop it for caring for others.
Great Question - Wurlitzer Funmaker, Gretsch Committee through the god awful fuzz. Sandy Point.
The Lucknow Sound - A song about the hostage situation which exists because of gerrymandering in this country. Sometimes I can't see eye to eye with Barnaby on anything.
Flagged - Hondo Acoustic guitar, Sarangi, Casiotone, clarinet. You're nicked!

This guy again. The Godfather of DIY home recording. Hundreds of self-released albums over the past 50 years. Dozens issued on countless indie labels since 1976. Pop craftsman, crafty grandpop, notorious curmudgeon. Blah blah blah blah blah. Most recently teamed with Jason Falkner on the album Make It Be (Bar/None, 2017).

Since R. Stevie can't make a decent living on his music, he's trying to accomplish the task in the Afterlife. This album is an upgrade from the lo-fi, damaged-equipment home recording process for which RSM has become legendary. With a career-long sweep, R. Stevie took some of his best home-recorded lo-fi songs and re-recorded them with full-studio sparkle. All recordings were made in the past 15 years, with tracks captured in five U.S. states. Some compositions date from the 1970s to the 1990s, and there's a few newer tunes. The album lacks one thing: filler. Lou Reed famously said about his final Velvet Underground album: "I gave them an album loaded with hits," then he walked away. Afterlife is R. Stevie's Loaded—an album full of hits. He's walking away with a cane, a bum knee, and cataracts.

Afterlife was compiled and produced by Irwin Chusid (who oversees the musical estates of Sun Ra, Raymond Scott, and others). Chusid, a WFMU DJ since 1975, has been a compatriot of RSM since they met in 1978 after R. Stevie relocated to New Jersey from his native Nashville (to which he returned in 2010). It's often been pointed out that RSM's daddy Bob played bass with Elvis. But we won't dwell on that here.

Afterlife features sideman work by Ariel Pink, Jason Falkner, Lane Steinberg, and Chusid. It was mastered by veteran producer-musician Kramer (who has previously recorded with RSM). There's a biopic in the works. It's called Cool Daddio: The Second Youth of R. Stevie Moore (Spring Films), and with luck it might hit the cinema circuit in 2019.

R. Stevie will not be touring to promote this album. He's sick of traveling, his misanthropy's been acting up, and he prefers the comforts of his messy nest. But he will talk to journalists on the phone or via email. Just don't ask about his daddy. It's a worn-out topic. Sorry we brought it up.

For the last 20 years London-based author and party organiser Tim Lawrence has dedicated himself to excavating the history of New York City party culture and bringing some of the most powerful aspects of that culture to London's dance scene, from where it has ricocheted around the world. Having conducted the first set of major interviews with David Mancuso, Lawrence started to put on Loft-style Lucky Cloud Sound System parties with David and friends in London in June 2003. In early 2004 he published Love Saves the Day: A History of American Dance Music Culture, 1970-79, which tracked the influence of the Loft on the wider New York DJ, dance and disco scene. In 2009 his biography of the iconic musician Arthur Russell became the first book to map the wider downtown music scene. These beautifully written and politically insightful histories have educated, inspired and celebrated the previously overlooked foundations of contemporary dance music.

Lawrence's most recent publication, Life & Death On The New York Dancefloor, 1980 - 1983, published in late 2016, shines a light on 'one of the most dynamic and creative periods in the history of New York City'. Falling between the more regularly celebrated sounds of disco, house and techno, the period produced a uniquely hybrid series of sounds that never acquired a settled name. This led them to be largely ignored by historians and even DJs, yet the power of the period's music and the scenes it birthed, Lawrence argues, remains undeniable. Met with a rapturous response, Life and Death On The New York Dance Floor saw Lawrence on the road for most of the next year as he spread the word about the characters, the records, the clubs and the bands that shaped the post-Disco, post-Punk, and burgeoning Hip Hop landscapes of New York City during the early 1980s—a period when freedom still ruled.

This, the first of a 2-part sonic tribute to the 1980 - 1983 era as well as a musical companion piece to Life & Death On The New York Dance Floor sees recognised musicians (David Byrne of Talking Heads) nestle up alongside the belatedly recognised (Arthur Russell's Dinosaur L and Loose Joints, and Suicide's Alan Vega) and the downright obscure (Gray, 2 Teens Kill 4 and Tuxedomoon). An indication of what's to follow, Dinosaur L's original album version of 'Go Bang' has been dramatically overshadowed by the definitive François Kevorkian remix yet received regular play by David Mancuso and remains an enthralling experimental Arthur Russell jam.

Lovingly curated across 2 slabs of vinyl, the album introduces listeners to a stunning array of sounds, styles, vibes and feelings that encapsulate this most fertile and forward-thinking era, when music, fashion, sound system innovations, leaps in music technology, a DIY attitude and a freedom from corporate politics combined with extraordinary expressivity. All music contained within this album has been hand-picked and programmed by Tim Lawrence. It represents a selective yet rich introduction to one of the most extraordinary periods in New York City's epic musical history.

This is the first release on Reappearing Records, a label led by Tim Lawrence and distributed worldwide by Above Board distribution. Licensing courtesy of Tracksuit Music. Mastering by Optimum Mastering, Bristol UK. Artwork & design courtesy of Atelier Superplus. 2018.

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

Fémina channels blissed out, harmony-soaked soul music with a purpose. Lyrically poignant with hip hop and Latin influences, 'Perlas & Conchas' is the group's third album proper and unlike previous long players, is primarily an electronic statement, recorded and produced by British producer and musician Quantic - the first ever creation at his Selva Studios in New York - and features Iggy Pop.
 
Made up of Clara Miglioli and the two Trucco sisters, Sofia and Clara, the group's roots are in San Martín de los Andes in the Patagonian mountains, where they grew up together sharing a love of '90s hip-hop imported from the US - as well as the occasional Spanish-speaking rapper from Mexico or Spain. They took a musical side-step when Clara Trucco joined, and began drawing more from vocal harmonies and playing live instruments - a process that led them toward their unique style: a combination of soul, hip-hop and traditional Latin American music.
 The title 'Perlas & Conchas' translates to 'Pearls and Shells', a reference to the process through which a pearl is created: a speck of dirt, encased in a shell, turned into an object of wonder. They want to do the same thing with their music: to take dark, difficult situations and tun them into positivity.

Self Esteem ist ein Projekt, dass Rebecca Lucy Tailor ursprünglich mit Malereien, Prints und Videos
neben ihrer Hauptbeschäftigung als Sängerin & Songwriterin der britischen Band Slow Club begann.
Seit ihrer musikalischen Trennung von der Band, zeigt sich Rebecca von einer ganz neuen, bis dato
selbst Fans unbekannten Version ihrer selbst - ohne Kompromisse, Kleinmachen oder Zögern. So
schreibt sie nun die Songs, die über all die Jahre in ihr gewachsen sind- große Tracks über Liebe, Sex
und Chaos, mit fetten Basslines, Gospelchören und der sauberen, provokanten Produktionsweise, die
sie schon immer an großen Poptracks liebte.
Für "Compliments Please" arbeitete Rebecca mit dem Songwriter & Produzenten Johan Karlberg
zusammen, den sie vor allem deshalb aussuchte, weil sie großer Fan seiner Band "The Very Best" ist.
"Er liebt fette Beats - und er liebt es, sie kaputt zu machen, sie verrückter oder dreckiger erscheinen zu
lassen. Das haben wir beide gemeinsam".
"Compliments Please" ist ein Album, dass Self Esteem nicht nur als großartige Sängerin, sondern
auch als extrem eigenständige und besondere Songwriterin vorstellt.

Du Blonde may sound like a band, but in fact it is, and always has been, the work of just one person. Beth Jeans Houghton.Her new album Lung Bread For Daddy delves even deeper into self sufficiency, seeing Beth take the reigns on production, instrumentation, album artwork and direction of music videos. This project is entirely her own. 'I know exactly what I want my record to sound like and apart from drums, I have the ability to play all the instruments, so I did' Houghton states.True to form, the first peak of the new album is the self directed video (Houghton has also made videos for Ezra Furman, Red Hot Chilli Peppers and LUMP) for lead single 'Buddy' which also stars a bathtub, 3 bottles of vegetable oil and 37 packets of spaghetti.

Du Blonde may sound like a band, but in fact it is, and always has been, the work of just one person. Beth Jeans Houghton.Her new album Lung Bread For Daddy delves even deeper into self sufficiency, seeing Beth take the reigns on production, instrumentation, album artwork and direction of music videos. This project is entirely her own. 'I know exactly what I want my record to sound like and apart from drums, I have the ability to play all the instruments, so I did' Houghton states.True to form, the first peak of the new album is the self directed video (Houghton has also made videos for Ezra Furman, Red Hot Chilli Peppers and LUMP) for lead single 'Buddy' which also stars a bathtub, 3 bottles of vegetable oil and 37 packets of spaghetti.

'...shouldn't have said I was special at all.'

Emilie Kahn was raised on the outskirts of Montreal. Her parents met in a parking lot.

Miles Copeland's WONDERFULSOUND label will release the first Monks Road Social collection, Down The Willows.

Curated by the Blow Monkeys' Dr Robert, Monks Road Social is an ever-evolving collaborative outfit. Down The Willows is their first album release and a unique and special project of inspiration, friendship and craft.

Helping Robert get there were some members of the stellar Monks Road Social: Mick Talbot (Style Council, The Who) on harmonium, piano and Hammond; Crispin Taylor (Galliano, Candi Staton, Push) on drums; Ernie McKone (Galliano, Marlene Shaw) on bass; Matt Deighton (Mother Earth, Oasis) on lead guitar; Steve Sidelnyk (Richard Ashcroft, Madonna) percussion and, of course, the exquisite strings of Ben Trigg (Dexys, Richard Ashcroft).

These talented musicians were joined by some of Monks Road Records' exceptional new talent

Die Wände (formerly known as Girlie) release their debut album Im Flausch via Späti Palace on March 8th! Yes, finally ! Coming on vinyl LP and digitally, it really is an artefact of fluffyness. So much so that you can download the animated fluffyness and make it your screen saver.

When you are a little girl and the huge present placed in front you turns out to be a piano, the possible reactions are 3. A) Terror, clearly. You start screaming in a mixture of fear and disappointment for the present. A doll, maybe two or even 50 of them would be a cheaper and more practical solution. B) You ignore it. You give it the cold shoulder, hurting and surprising the Magi with the Piano in the room. C) You get excited and
start playing with it 24/7. If its in your blood, you become a musician.

With not much thought. This way you ll turn the givers to Prophets for sure.Helen Papalitsa or Lou, belongs to the 3rd category. A piano fell suddenly in front of her, while at a tender age. She turned it into furniture, she turned it into a safety valve for her anger and her overflowing energy. In the end this became her favourite playground. Of course, this could only be a give and take relationship. The piano bewitched the little girl, so together they ve spend years and years studying and practicing.

From Athens to Corfu, from Corfu to Helsinki, from soul to jazz and then into the magic world of electronic sound. A long journey for a young and determined to succeed girl. The result curries her name, Lou. Her debut album that describes her way to adult life while struggling to retain the excitement and naivety that describe her. Each track, one (at least) of the intense sentimental situations that she had to face during the last 2 years. Her return to Athens and her new beginning. True love, fake love, small
revolutions. Thoughts on paper converted into sounds, often while being in her room, or inside the studio of the infamous Lefteris Kalabakas.

Lou chooses to speak through a pop version of electronic music and her playful voice. In moments, her jazz background cant be hidden, nor does her need to skip the usual rules and forms, leading to really successful improvisations.

Words can hardly describe in detail all those that the need on the record will reveal. Lou will soon be in the selves of the record stores through Klik records. Be sure to keep an eye on this one

Weirdo and naked electronic funk with the bewitching voice of a siren that will provoke the misadventures of an argonaut sucked into the deep sea depths. A West Hill Studio production.

Multi-platinum selling Australian alt-electro pioneers Empire Of The Sun (Luke Steele & Nick Littlemore) celebrate the tenth anniversary of their multiple-ARIA-award winning debut album 'Walking On A Dream' with the release of a limited edition vinyl product on Captiol Records/EMI Music Australia, the first vinyl release of the album in over three years. The product includes:

A gatefold, 180 gram heavyweight vinyl of Walking On A Dream on transparent blood orange vinyl.

The original artwork from the initial 2009 vinyl release.

A unique code to download the previously unreleased track 'Chrysalis'.

Produced By Tim Green (the Former Guitarist Of Punk Iconoclasts
Nation Of Ulysses, Who Has Worked With Sleater-kinney, Bikini Kill,
Joanna Newsom And Jawbreaker, Among Others), 'post Earth' Is A
Call To Arms, Interspersed With Frustration And Hope.
'it Wasn't Intentional To Write A Politically Charged Record,' Says
Bassist Amy Allen, Who Constitutes Feels With Laena Geronimo
(guitar/vocals), Shannon Lay (guitar/vocals) And Michael Perry
Rudes (drums). 'but The Way The World Is Functioning Right Now
Made It Impossible To Write About Anything Else. We All Need To
Figure It Out; We're Running Out Of Time. The Golden Age Is Over.'
Maybe Feels Did Not Start Their Second Album With A Conceptual
Agenda But They Definitely Intended To Speak Out: 'if You Have Any
Kind Of Platform, You Should Use It For Good,' Lay States. Geronimo
Continues, 'if Our Wildest Dreams Came True, The Album Would
Sound Exciting To People While Also Inspiring Awareness And Action
Against Hate, Prejudice, Greed, The Destruction Of Our
Environment... Apathy's Not Cool And Toppling Oppression Could Be
Fun If We Do It Together!'
With A Steadfast Proportion Of Heavy And Light, Post Earth Never
Completely Wallows In Despair: Disillusionment Is Met With A Heady
Helping Of Defiance; Hard Work Battles Against Apathy; And There
Are Even References To The Simpsons, Courtesy Of Superfan Lay.
Feels Also Strike A Perfect Balance Musically Between Noise And
Energy, Breath And Space With A Mix Of Angular, Interweaving
Guitars, Lush Vocal Harmonies, Heavy Bass And Pummeling Drums -
At Times Hearty And Loud And At Others Stunningly Harmonic And
Calm. These Newly Emphasized Dynamics Highlight The Subtler,
Weirder, And Sonically Interesting Elements Of 'post Earth' And
Allowed The Four Friends (who Have Played Intermittently In Bands
Together Since High School) Room For Experimentation.
Lp Includes Digital Download Code.

'South Of Reality', The Claypool Lennon Delirium's
epic sophomore album, might be just the antidote
this sick world needs.
Music so potent it could repel an asteroid impact
from space, these seasoned warriors of
psychedelia have crafted timeless songs that may
as well be chiselled in stone.
The monolithic dream team's new record was
produced by Les Claypool and Sean Lennon
themselves and engineered and mixed by Les
Claypool at his own Rancho Relaxo studio in
Sonoma County, California.
Grab your goggles and a month's supply of Kool
Aid because The Claypool Lennon Delirium are
about to take you for a ride on a rock 'n' roll rocket
ship and frankly you may never come back.

Following 1 or 2 small run / mailorder lathe cuts, Polytechnic Youth follow it's hugely successful 'Popcorn Lung' label compilation LP, with it's first full length of the new year, and man... this one is just wonderful! A mighty record to kick off what promises to be another hugely productive, constantly busy year for the Crouch End based synth label.

PY often likes to quote the artist directly in it's press releases, and this one is no exception. Gabe's own words, more than adequately explaining the path leading to this killer set for 2019; 'It feels a little ridiculous to pretend that the person introducing you to Gabe Knox is some kind of bigwig press agent and not just Gabe Knox himself, so let me, Gabe Knox, tell you a little about myself in that hopes that you'll give my music a listen.

In 2014, after years of moderate success as a local musician and club DJ in Toronto, Canada, I looked at my collection of barely functioning analogue synths and drum machines and said to myself 'Instead of trying to unsuccessfully make music you think other people will like, why don't you make something that you'd actually want to listen to for once' I wanted to make music that had the drive shaft of Neu!, the punishing low end of King Tubby, the interleaved melodic lines of Vince Clarke, the melancholic, otherworldly whimsy of Raymond Scott and Delia Derbyshire, the hypnotic drone of Spacemen 3, and the analogue intimacy of Le Car. I wanted to bring the euphoria and hypnosis of dance music to the rock kids, and the energy and excitement of rock music to the dance kids.

This was going to be a tough sell in the clique-y Toronto music scene, so I figured the best way to get the music out there would be by recording when I can and self-releasing a steady stream of EPs online. They would all be a series, a snapshot of the evolution of that initial idea. ABC represents a compilation of the best songs of the first three EPs, subtly remixed and remastered to best suit vinyl. I hope you love listening to it as much as I loved making it.'

This really is a remarkable record. Displaying all the PY traits of icy cool blasts of minimal synth, motorik grooves, melodic pop via passing nods to early mute and sky records. Never before did label head Dom think he'd get the chance to namecheck 2 musical heroes from wildly differing poles -Vince Clarke and Spacemen 3- into one LP PR sheet, so he's understandably excited for this one's release!

250 copies on yellow wax in hand numbered, reverse board sleeves. Sure to go real quick....

- Originally release in 2008 on Vagrant Records, this was the fourth studio album from The Hold Steady.
- Entered the UK Album Chart at #15, and went on to sell over 30,000 physical / 6,000 digital in the UK.
- The deluxe 3LP edition is cut at 45RPM and spread over three 180g LPs for improved audio performance and contains a wealth of rare and previously unreleased material.
- Craig Finn from the band has been fully involved in preparing this release.
- Contains eight bonus tracks - some never previously released.

These New Puritans, The Great Heretics Of British Music, Return With Into The Fire, Their First New Studio Recording Since 2013's Critically Acclaimed Album Field Of Reeds. Into The Fire, Featuring Current 93's David Tibet, Is Available Via Infectious Music From All Digital Retailers And A 7-inch Coloured Vinyl Is Now Available For Pre-order, Backed With A Remix By These New Puritans As Mick The Asbestos. The Into The Fire Artwork Is A Collaboration Between George Barnett And The Award Winning Photographer And Director Harley Weir.

Mac DeMarco here covering one of his biggest musical idols, Haruomi Hosono. Having referenced him in numerous interviews and on his album covers, DeMarco now pays direct homage to the Japanese legend with his sincere take on 'Honey Moon,' originally released on Tropical Dandy in 1975. DeMarco effortlessly sings the original lyrics in Japanese, while maintaining his own unmistakable cool.

For the last 20 years London-based author and party organiser Tim Lawrence has dedicated himself to excavating the history of New York City party culture and bringing some of the most powerful aspects of that culture to London's dance scene, from where it has ricocheted around the world.
Having conducted the first set of major interviews with David Mancuso, Lawrence started to put on Loft-style Lucky Cloud Sound System parties with David and friends in London in June 2003.
In early 2004 he published Love Saves the Day: A History of American Dance Music Culture, 1970-79, which tracked the influence of the Loft on the wider New York DJ, dance and disco scene.
In 2009 his biography of the iconic musician Arthur Russell became the first book to map the wider downtown music scene.
These beautifully written and politically insightful histories have educated, inspired and celebrated the previously overlooked foundations of contemporary dance music.

Lawrence's most recent publication, Life & Death On The New York Dancefloor, 1980 - 1983, published in late 2016, shines a light on 'one of the most dynamic and creative periods in the history of New York City'. Falling between the more regularly celebrated sounds of disco, house and techno, the period produced a uniquely hybrid series of sounds that never acquired a settled name.

This led them to be largely ignored by historians and even DJs, yet the power of the period's music and the scenes it birthed, Lawrence argues, remains undeniable. Met with a rapturous response, Life and Death On The New York Dance Floor saw Lawrence on the road for most of the next year as he spread the word about the characters, the records, the clubs and the bands that shaped the post-Disco, post-Punk, and burgeoning Hip Hop landscapes of New York City during the early 1980s — a period when freedom still ruled.

This, the second of a 2-part sonic tribute to the 1980 - 1983 era as well as a musical companion piece to Life & Death On The New York Dance Floor, sees recognised classics (such as 'Don't Make Me Wait' and 'Din Daa Daa') nestle up alongside the belatedly recognised (including the August Darnell remix of 'Contort Yourself' and Mark Kamins remix of 'Love Tempo') and the downright obscure ('Vena Cava' and the B-side of the 'Pop Your Funk' 7' promo).

Capturing the range and the mayhem, Material's under-appreciated 'Bustin' Out' features Nona Hendryx delivering lyrics inspired by Black Panther George Jackson's prison letters plus a music track featuring dance beats combined with a heavy electric guitar — a combination proposed by Michael Zilkha after the ZE label head rejected Bill Laswell's first effort. The mix comes courtesy of Better Days resident DJ Tee Scott. Everyone, it seemed, was open to everything.

Lovingly curated across 2 slabs of vinyl, the album introduces listeners to a stunning array of sounds, styles, vibes and feelings that encapsulate this most fertile and forward-thinking era, when music, fashion, sound system innovations, leaps in music technology, a DIY attitude and a freedom from corporate politics combined with extraordinary expressivity. All music contained within this album has been hand-picked and programmed by Tim Lawrence.

It represents a selective yet rich introduction to one of the most extraordinary periods in New York City's epic musical history.

This is the first release on Reappearing Records, a label led by Tim Lawrence and distributed worldwide by Above Board distribution.

Licensing courtesy of Tracksuit Music.
Mastering by Optimum Mastering, Bristol UK.
Artwork & design courtesy of Atelier Superplus - 2018.

Corey Cunningham ist der Kopf von Business Of Dreams. Cunningham wurde in Nashville
geboren und wuchs in den ländlichen Gegenden der Umgebung auf. In Jugendjahren traf er seine
zukünftigen Bandkollegen Magic Bullets und Terry Malts in Kalifornien.
In Corey Cunninghams Business of Dreams dreht sich alles um emotionale Katharsis. Als sein
Vater vor ein paar Jahren verstarb, kehrte Cunningham in seinen Heimatstaat Tennessee zurück.
Musik zu machen, um mit diesem Verlust fertig zu werden, führte zu Business of Dreams'
reizendem, gleichnamigem Debütalbum. Dies ist trotz des der dramatischen Motivation ein
wahrhaftes Popvergnügen, das auf der Jahresbestenliste von Bandcamp des Jahres 2017 endete.
Mit dem neuen Business Of Dreams-Album Ripe For Anarchy hat Cunningham das Songwriting
mit Blick auf Reue, Existenz und Ausdauer verfeinert. Und das ist das Mantra hier: Es ist Zeit
loszulassen. Ripe For Anarchy ist in der historischen Definition des Genres durch und durch eine
Ode an den Indie-Pop.

Pete 'Bassman' Bain, one of the founding members of the UK cult psych rock band Spacemen 3, formed Alpha Stone after Spacemen 3 and his other band The Darkside split up in the mid-nineties. In 1996 the band recorded the album 'Stereophonic Pop Art Music' and it was released on Bomp! Records on Compact Disc. The album hasn't had a 'proper' vinyl release until now, 2018, when Hoga Nord Rekords continues their collaboration with Pete Bassman by releasing the album.

You can clearly hear that Pete Bassman was the driving force behind Alpha Stone; fuzz, synthesiser -sweeps, programmed drums and processed vocals are the cornerstones in Alpha Stone's sound. Raga-like mantras, heard in Farmer C, lies track to track with more percussion driven grooves and psychedelic pop oriented songs. The album's sound has obviously survived the 20+ years shelved in obscurity and proves the 'Drugby' sound still vital!

It's always hard to sum up a bands particular sound in a few words, but you could say that if you put guitar and bass, synthesisers, a drum machine, and Julian Copes record collection in the hands of an alien, you've got Alpha Stone!

Originally trained in classical piano through his mother and some of Indonesia's legendary classical music virtuosos, Fariz made his own historical moment when he became Indonesia's legendary Pop Icon of the eighties. With his unique talent as a multi instruments musician, Fariz wrote not less than 1,760 songs within his magnificent years between 1980-2000 and still leading the role as one of the most in demand and legendary Indonesian performers and producers ever noted by history. During his brilliant career, Fariz collaborated with the most famous names in the business, locally and internationally. This stunning compilation of incredible and hard to find tracks covers his early years from 1977 to 1982.

- Remastered from original sources in collaboration with the artist
- Strictly Limited Edition of 500 copies
- First reissue ever of collector's material

Elena Setién is an artist defined by her vivid songwriting and
nuanced compositions. Her music exudes the bold individualism
and sense of empathy associated with her homeland of Spain's
Basque region. Setién is a skilled multi-instrumentalist and
performed nearly every part on the record save for a few select
guitar parts by Steve Gunn. While Elena's recordings are
decidedly pop, she has considerable experience as an
improviser. 'Another Kind Of Revolution', Elena Setién's Thrill
Jockey debut, is a work of entrancing, effortless beauty.
Setién grew up during a period of political upheaval in Spain, in
the Basque region. The turmoil of the post-dictatorship period
of the 1980s and the intensive civic actions left her with a
sense of duty to fight for progress. Her lyrics throughout
'Another Kind Of Revolution' describe the beauty of everyday
life and nature and promote the forces of change, not as a
burden but as the very source of hope to draw from.
'Another Kind Of Revolution' tells its stories through an
expansive sonic palette. Pianos and Wurlitzer take on various
timbres for each song, trickling in and out of the foreground
with Setién's distinguished voice gently gliding overtop. Careful
attention to specific recording techniques and allowing for the
slight imperfections in the instruments and amplifiers, bring a
depth to the recordings that is both direct and organic. Elena
Setién's work is elemental and bold. Her music bends simple,
familiar sounds and compositional forms into thoroughly unique
songs. With 'Another Kind Of Revolution', Elena Setién
continues to defy convention with songs as gorgeous as they
are auspicious.
CD in 4 panel mini-LP style gatefold package.
LP pressed on virgin vinyl with an inner sleeve and free
download card. Also available pressed on red coloured vinyl.

Elena Setién is an artist defined by her vivid songwriting and
nuanced compositions. Her music exudes the bold individualism
and sense of empathy associated with her homeland of Spain's
Basque region. Setién is a skilled multi-instrumentalist and
performed nearly every part on the record save for a few select
guitar parts by Steve Gunn. While Elena's recordings are
decidedly pop, she has considerable experience as an
improviser. 'Another Kind Of Revolution', Elena Setién's Thrill
Jockey debut, is a work of entrancing, effortless beauty.
Setién grew up during a period of political upheaval in Spain, in
the Basque region. The turmoil of the post-dictatorship period
of the 1980s and the intensive civic actions left her with a
sense of duty to fight for progress. Her lyrics throughout
'Another Kind Of Revolution' describe the beauty of everyday
life and nature and promote the forces of change, not as a
burden but as the very source of hope to draw from.
'Another Kind Of Revolution' tells its stories through an
expansive sonic palette. Pianos and Wurlitzer take on various
timbres for each song, trickling in and out of the foreground
with Setién's distinguished voice gently gliding overtop. Careful
attention to specific recording techniques and allowing for the
slight imperfections in the instruments and amplifiers, bring a
depth to the recordings that is both direct and organic. Elena
Setién's work is elemental and bold. Her music bends simple,
familiar sounds and compositional forms into thoroughly unique
songs. With 'Another Kind Of Revolution', Elena Setién
continues to defy convention with songs as gorgeous as they
are auspicious.
CD in 4 panel mini-LP style gatefold package.
LP pressed on virgin vinyl with an inner sleeve and free
download card. Also available pressed on red coloured vinyl.

Berlin-based Brit Gemma Ray's Eighth Album Is A
Panoramic Self-produced Autobiography That Takes
In Harmony-laden 70s Pop Swagger ('blossom
Crawls'), Gothic Surf Disco ('death Tapes'), Sci-fi
Synthscapes Meets Girl-group Dramarama
('dreaming Is Easy'), Psychedelic Torch Songs
(land Of Make Believe), Gershwin Meets 'dark Side
Of The Moon' Meets Gainsbourg's Melody Nelson
('it's Only Loneliness') And More Besides.
Gemma Ray Draws Repeated Connections Between
Mindscape And Landscape Throughout This Album,
As Reflected In The Album's Title, 'psychogeology'.
Short Uk Tour Around Release With More Shows In
Summer.

When you walk alone, you're never lost. At least, that's the operating principle behind Homeshake, the recording project of Peter Sagar. Over his first three albums, Sagar followed his own idiosyncratic vision, a journey that's taken him from sturdy guitar-based indie-pop to, on 2017's Fresh Air, a bleary-eyed take on lo-fi R&B. Now, with Helium, Sagar is putting down roots in aesthetic territory all his own. Landscape that he once viewed from a distance now forms the bedrock of his sound, and from here, he looks back out at the world as if through a light fog, composing songs that feel grounded and intimate, even as they explore a dispersed feeling of isolation.

It's a feeling that comes through not only in the gauziness of the production, but also in the vulnerability of the songs themselves. Sagar began writing Helium shortly after completing Fresh Air, and in the middle of what he calls a 'binge' reading of Haruki Murakami. It's not hard to picture the narrator of these songs as a distinctly Murakamian character: He moves through time by himself, bemused by and insulated from a world he doesn't quite seem to have been made for. Everyone Sagar encounters here — including himself — seems to be a step removed from present reality, whether by technology ('Anything At All'), solitude ('Just Like My'), or sweet fantasy ('Like Mariah'). The record is stitched together by a series of instrumental interludes, synthesizer explorations whose haziness adds to the suspicion that this is all an uncanny dream.

Which isn't to say that Sagar is unmoored in his own world. In fact, much of Helium is the result of what he calls 'a much clearer mental state' than the one he'd experienced shortly following Fresh Air's completion. 'I had a better idea of the sound that was working for this record and what it was turning into as I was writing the songs,' he says. That's owing in part to the album's genesis. Where his previous three records were recorded directly to one-inch tape in a local studio, Helium was recorded and mixed by Sagar alone in his apartment in Montreal's Little Italy neighborhood between April and June of this year. Freed of the rigid editing process he'd endured before, he was able to lose himself in pursuit of tone and texture. 'I didn't have to book time, compete for good hours, wait on availability. I did a lot of it at home in the middle of the night,' he says. 'It made me get more obsessive about details.'

A budding interest in ambient and experimental music — particularly Visible Cloaks, DJs Paypal and Rashad, and Jlin — pushed him to tinker with the micro-sounds that surround the songs here. It's a process he found creatively invigorating; even the tinkling boom-bap of Young Thug informs 'All Night Long.' It's a far cry from the chorus-laden guitars of his earlier work. 'Ever since I started introducing synthesizers into my music, I've gotten more interested in texture,' he says. 'I'd hit a creative dead end with guitars, so synths took over.' The warm chords of a Roland Juno 60 form the album's base, and gave him a clean palette with which to work. 'No tape hiss, no humming power outlets and shitty mixing boards,' as he puts it. 'Everything just came out nice and pure.'

Still, for all the growth it demonstrates, Helium is at its core a singer-songwriter's record made by someone who doesn't feel beholden to any particular set of sounds, textures, or instruments to get his point across. In that sense, it feels closer to the bone, at once assured of its vision and remarkably vulnerable. It's perhaps our purest view yet of Homeshake's home country.

limited yellow coloured vinyl !!

To complete your collection of albums by The Cat Empire, this is what we have planned for Stolen Diamonds:

- All CD & Vinyl pre-orders will be signed by the whole band
- The Vinyl features a signed, die cut, limited edition sleeve

The first Vinyl run will be limited edition premium quality 180gm, manufactured in Germany. The Stolen Diamonds artwork has been supremely adapted for vinyl, with all of the original album tracks across 2 records (4 sides). All shrink wrapped and packaged very carefully so that it arrives pristine to your door.

Stolen Diamonds is the seventh studio album from The Cat Empire. The band chose to record for the third time with friend and Producer Jan Skubiszewski, this time at Red Moon Studios in Gisbourne, in the country side outside of Melbourne.

Felix says this about the album:

'The band wanted to create an album full of songs that would translate directly onto an international festival stage. That's really been the broad ambition of each album since Steal the Light. You could say that Steal the Light, Rising with the Sun, and Stolen Diamonds work as a trilogy - all produced with Jan, and all an integral part of our live sets around the world.

In terms of the production we weren't afraid to add layers and experiment with sounds outside our usual collection. But we also kept coming back to the simplicity of the melodies and the song's direct impact."

Hatch Records are pleased to announce the release of the third instalment from The Wedding Presents' popular Marc Riley Sessions series. A band with a history that's inextricably intertwined with the BBC and in particular the late BBC DJ John Peel, an early champion of the band, the 'Marc Riley Sessions' series echoes the famous Peel/Selwood releases on the Strange Fruit label that included BBC sessions from the likes of New Order, Buzzcocks, The Cure and Echo & The Bunnymen.

An avid Wedding Present fan himself, Riley, with his team of producers, has formed a close bond with The Wedding Present's David Gedge and the band. 'The release of the Wedding Present sessions done for our 6 Music programme over the years is something of an honour. In the great tradition of the Peel / Selwood releases on the Strange Fruit label, this record proves that, even without John, the BBC can still be a place where great bands can continue to grow and be creative... amongst friends.'

Having received critical acclaim for releases 1 and 2, 'Marc Riley Sessions Volume 3', features 9 tracks recorded for the awardwinning BBC Radio 6 Music show in 2015 and 2016. 'The two sessions on this compilation feature many songs that appear on 'Going, Going...' the studio album that The Wedding Present released in 2016. 'Going, Going...' itself was an extensive audio-visual project recorded over the space of eighteen months in Provence, Liverpool and Seattle. By the time of the 2016 session, however, the album had been completed and had actually been released the previous week. Consequently, The Wedding Present were touring the UK (playing 'Going, Going...' in its entirety) and so, in-between our Cardiff and Gateshead concerts, we stopped off in Salford to record some tracks for Marc. As a result, you can hear the 'live' feel in these performances. This was a band that was literally on the road!', says David.

The album also features two glorious cover versions including a heartfelt cover of the theme music from the fifth James Bond film, 'You Only Live Twice'. 'I've always been fond of recording cover versions and there a couple of great ones on this LP. In 2015 we had a go at John Barry and Leslie Bricusse's 'You Only Live Twice' - and enjoyed it so much that I'm now planning a compilation of Bond covers to be released on my label, Scopitones', says David. The second cover is the off-kilter 'Jumper Clown', a Marc Riley composition. 'Marc's band The Creepers released this song - which poked fun at his previous band's singer [Mark E. Smith from The Fall] - in 1983 and The Wedding Present covered it eleven years later for the B-side of our 'It's A Gas' single. We decided that an unannounced rendering for a live session while Marc himself was sat in the room watching would be a great surprise to spring on our DJ pal. We managed to keep the whole thing secret with the help of the show's producer Michelle. This involved hastily rehearsing and sound-checking the song whenever we got the nod from the recording engineer that Marc was out of earshot!', says David.

Forming in 1985, The Wedding Present are one of the UK's most longstanding and much-loved indie bands with eighteen UK Top 40 hit singles to their name. Not bad for a band that has, from its inception, stubbornly refused to play the record industry's game. From debut album 'George Best', 'an unmitigated delight' [NME], the first full-length release on their own Reception Records onwards, the band has charted an appealing, if often eccentric, course of its very own and the band released their ninth studio album, 'Going, Going...', to critical acclaim in 2016. In 2017, to commemorate the 30th anniversary of 'George Best', The Wedding Present released 'George Best 30'. The album featured brand new versions of the original twelve songs recorded by Steve Albini and mixed by Andrew Scheps. 2017 also saw the publication [by Red Planet] of 'Sometimes These Words Just Don't Have To Be Said' - a 450 page 'fanthology' of the band.

In 2018, Kneejerk Film released 'Something Left Behind' - a feature length documentary telling the story of the George Best album. The film, which featured interviews with all four original band members and was produced and directed by Andrew Jezard, appeared at several film festivals. Alongside The Wedding Present and David's 'other' band, Cinerama, David runs his own record label, curates his own festival and publishes a biographical comic book series; 'Tales from The Wedding Present' - essentially his memoirs in graphic novel style. The Wedding Present are set to perform at the Islington Academy, London on the 14th December and will be performing a series of 30th anniversary 'Bizarro' shows across the UK and Ireland in 2019.

Chaz Bear (formerly Bundick) was a musician from birth. Growing up, it was normal to hear music across genres, from Michael Jackson to Elvis Costello to The Specials, in the Bundick household. These influences were quite unique for a biracial kid growing up in South Carolina, contributing to the complexity of Chaz’s self-understanding and expression through his own music.

Chaz began playing and recording original compositions in his preteen years, forming multiple indie bands starting in middle school and continuing until his personal project, Toro y Moi, was signed by Carpark Records in 2009. Before getting signed, he was already an incredibly prolific artist, having released over 10 Toro y Moi albums on his own (and undoubtedly retaining a vast compendium of unreleased songs). His personal work drew upon a vaster array of influences than did his full band. Early Toro work called upon Chaz’s childhood exposure to 80’s R&B, pop and electronic music, while also evolving with his discoveries of acts like My Bloody Valentine and J Dilla and his burgeoning interest in French house. Just before his graduation from the University of South Carolina, where he earned a degree in graphic design, Chaz caught the attention of music bloggers and record labels with his dreamy, bedroom recordings.

Outer Peace, was written and recorded in the Bay Area after Chaz’s return from a one year stint in Portland. It is somewhat of a homecoming celebration, filled with features by friends and saturated with a playfulness that had not previously been embraced in past Toro albums. Outer Peace stands in contrast to the more sparse and contemplative Boo Boo, an album recorded while in Portland in relative isolation. With Outer Peace, Chaz showcases his ability to remain on the cutting edge of music’s evolution while not taking himself too seriously. There are contemporary hip hop references mixed in with funk, Eurodance and ambient elements, all interwoven expertly and retaining that quintessential Toro y Moi aesthetic.

As Donna Regina, Regina and Günther Janssen have been a fixture in the German indie pop and electronic scene ever since their first release in 1990. From 1999 on, they have released seven LPs and a slew of EPs on Karaoke Kalk. After a collection of cover versions of their songs by fellow artists and bands called »Dis Cover - Donna Regina As Recorded By« in 2015, »Transient« sees the wife and husband duo both musically and lyrically pick up where they left off with 2014's »Holding the Mirror For Sophia Loren«. Even after 28 years and 13 full-length releases, Donna Regina still have much to say and on their first proper studio album in four years express it in more languages than ever.

Between the English-language opener »Royal Blue« and the final German track »Lass uns so tun«, Regina Janssen also explores French (»Quatre septembres«, written by Bertrand Burgalat's lyricist Pascal Mounet), Spanish (»Mí globo de nieve«) and, newly so, Japanese (the Ayako Akashiba-penned »Melancholy Dragon«) as languages to convey complex truths with only few and simple words. Simple would be one word with which to describe the music on »Transient«, although maybe that would be a premature judgement. Even though the Janssens' music, on this album only supported by the Danish guitarist Rolf Hansen on »Quatre septembres«, seems more minimalistic or perhaps even quieter than before, it is still brimming with details and the occasional moment of ecstasy.

»Transient« isn't one of those records that will start slowly, peak in the middle and then fade out, but between songs like the opener »Royal Blue« and the beat-driven »Blitze« or the ambiguous up-beat track »Komm lass uns heiraten« and »Melancholy Dragon« with its elegiac synthesizer harmonies draws on the sharp contrasts in mood and style. As such, »Transient« may just be the perfect title for this album that lyrically is more at home in the entire world than ever before in Donna Regina's history and also makes it abundantly clear that nothing, neither happiness nor sadness, will be forever. After 28 years and 13 full-length releases, Donna Regina stay in motion because the world does, too.

With "Being Water" Lali Puna refine their distinctive take on pop and electronics, pushing the boundaries towards classical songwriting. The four songs - equally affecting and catchy as self-reflected and aloof - are complemented by the airy tripiness of a remix by Dave DK (Kompakt, Pampa Records).

Although singer Valerie Trebeljahr wrote "Being Water" mostly by herself, being backed by bandmates Christian Heiß and Christoph Brandner, she rejects the idea of authorship: "Nothing comes out of myself. I'm a sampler: I write music because I listen to music. And I write lyrics because I read". Accordingly, topics and references of "Being Water" vary quite widely: "Who's That Genius" pays tribute to Virginia Woolf and Madonna - and questions why the term 'genius' is still connoted primarily with maleness. The title track refers to the famous Bruce Lee quote "Be formless, shapeless, like water" - but here it is turned upside down: It was Hito Steyerl's video work "Liquidity Inc." that got Valerie's attention, re-reading the quote as a neoliberal paradigm. In contrast, a title like "For Only Love" might sound a little naive as Valerie claims - but: "It surely won't be hate that will save us all". The lyrics were written after watching Obaidah Zytoons and Andreas Dalsgaards documentary "The War Show".

"Diversity is queen" - this goes for the music as well. While the dreamy pop of "Who's That Genius" or the catchy guitar loops of "Being Water" are in the same vein of Lali Puna's earlier albums, the free-floating piano chords and tricky rhythm patterns of "Beatx" in some ways mark new territory as Valerie explains: "I am very proud of this song because it is so fiddly. I thought that was something reserved for men".