Pop & Rock Vinyl New Releases - News

Snarling Aussie punk from the the western burnout paradise of Perth. Recorded in 1980 and issued on the short-lived White Rider label, 'Last Night' arrived just before The Scientists abandoned their power pop hooks and went on an unhinged swamp-grunge tear. Replicated down to the tiniest detail, The Scientists E.P.has been remastered from the original analog tapes and presented in a heavy weight picture sleeve.

The Wave Pictures return with the promised second album of the year, Look Inside Your Heart - a warm, joyous record celebrating friendship, happiness and drunken party times. Like the first album they released this year, the more contemplative Brushes With Happiness, this one was recorded late at night whilst inebriated back at the tiny Booze Cube Studio in Stoke Newington, live to reel-to-reel tape with no computers of any kind. The album is peppered with giggles and chatter, which adds a sense of spontaneity and place.

As singer and guitarist Dave Tattersall explains: 'Look Inside Your Heart is intended as a rallying cry in the war against the machines; while a computer may have beaten world-champion human being Lee Sedol at Go, a machine could never have made music as joyful, spontaneous, happy, poetic, broken and rambunctious as this. Look Inside Your Heart is a bullet in the face of all pop-poseurs and robot wannabes, a die-hard continuation of the vulnerable rebel tradition of rock and roll music, a vibrant work of outsider art and a masterpiece of electric folk.'

Twenty years after forming in Wymeswold, Leicestershire as teenagers, The Wave Pictures have gone on to be one of the UK's most prolific and beloved bands. Fond of classic rock, jazz and blues, they are also one of the most accomplished, with Tattersall's guitar solos becoming the stuff of legend. They have collaborated with varying bright stars of the musical firmament, such as last year's rock'n'roll surf-garage-rock project with Charles Watson from Slow Club, as new band The Surfing Magazines, or their ongoing partnership with ex-Herman Dune member Stanley Brinks, or the very close partnership with Billy Childish for 2015's Great Big Flamingo Burning Moon.

The Wave Pictures return with the promised second album of the year, Look Inside Your Heart - a warm, joyous record celebrating friendship, happiness and drunken party times. Like the first album they released this year, the more contemplative Brushes With Happiness, this one was recorded late at night whilst inebriated back at the tiny Booze Cube Studio in Stoke Newington, live to reel-to-reel tape with no computers of any kind. The album is peppered with giggles and chatter, which adds a sense of spontaneity and place.

As singer and guitarist Dave Tattersall explains: 'Look Inside Your Heart is intended as a rallying cry in the war against the machines; while a computer may have beaten world-champion human being Lee Sedol at Go, a machine could never have made music as joyful, spontaneous, happy, poetic, broken and rambunctious as this. Look Inside Your Heart is a bullet in the face of all pop-poseurs and robot wannabes, a die-hard continuation of the vulnerable rebel tradition of rock and roll music, a vibrant work of outsider art and a masterpiece of electric folk.'

Twenty years after forming in Wymeswold, Leicestershire as teenagers, The Wave Pictures have gone on to be one of the UK's most prolific and beloved bands. Fond of classic rock, jazz and blues, they are also one of the most accomplished, with Tattersall's guitar solos becoming the stuff of legend. They have collaborated with varying bright stars of the musical firmament, such as last year's rock'n'roll surf-garage-rock project with Charles Watson from Slow Club, as new band The Surfing Magazines, or their ongoing partnership with ex-Herman Dune member Stanley Brinks, or the very close partnership with Billy Childish for 2015's Great Big Flamingo Burning Moon.

The Walthamstow based independent label release a limited double A sided 7'' featuring brand new material from veteran experimental DIY pop combo Magoo and their kindred spirits, London's Cowboy Flying Saucer

Magoo's 'Sons and Daughters Of Disaster' is a short slice of warped space rock and their first release since celebrating their 25th anniversary last year; a little taste of the flavours to come as the band head back into the studio shortly to start work on their 7th album 'Astral Shrieks The Hell Balloon' to be released in 2019. The band's first two albums were released on Chemikal Underground

With 'Heavily Sedated NOW!' Cowboy Flying Saucer grind out an angular, disorientating slab of corrupted motoric art punk; a reflection on the influence of the pharmaceutical industry and an opportunistic collaboration with London based jazz and experimental saxophonist Dee Byrne (Entropi).

Limited edition vinyl only release (with download card) pressed on a 'lucky dip' eco-friendly mash of coloured vinyl.

The Point Of No Return is the fourth album on Bubblewrap from the teemingly fertile, alt-garage-pop mavericks and their fifteenth overall. Tackling a typically diverse range of lyrical subject matter, the album casts its net wide over topics including the minimum wage, flowering plants, lizard people conspiracy theories, environmental destruction and the end of the world. Half constructed around the left-field imaginings of Reginald Foxwell, the ever-burgeoning contributions from James Buzzanca (bass/ guitar) & Joseph Coleby (drums/ programming) bring with them a greater propensity for aural experimentation. The resultant tracks deviate between torch-song cabaret, disco, punk, lo fi and their trademark soaring indie-pop, while also dipping ankles in expansive instrumentals and subdued ambience.

Following on from the success of 2017 split ep between Boy Azooga and Buzzard Buzzard Buzzard, Bubblewrap Collective brings you two of the most exciting acts on the Cardiff music scene: Perfect Body and Zac White. The record pressed onto limited edition purple and orange vinyl features artwork from Cardiff artist & musician Teddy Hunter.

Perfect Body play a dreamy and psychedelic brand of noise-pop drawing influence from the likes of Slowdive and My Bloody Valentine and merging them with the pop sensibities of the 60s British invasion. The attention gained from their first single Getting Cold saw them supporting the likes of Jen Cloher, Slowcoaches and The Wytches as well as a slot at the Greenman festival this year where they were picked as one of the top 10 bands to watch by Drowned In Sound.

Zac White has been playing on Cardiff's live music scene for over five years despite being only 20 years old. Alongside his early days performing with FUR and part of Lily and White, Zac has been honing his own sound based on influences such as Wilco. Loose Fur, Sonic Youth and Broadcast.

His 90s/00s off-kilter sound has grown from minimal arrangements with drummer Ethan Hurst into a rollicking, reverb-drenched, garage-psych experience.

'they've quietly found themselves elevated into the psych scenes premier league.' Drowned In Sound 
 
'when they go pedal-to-metal it rarely fails.' Mojo Magazine
 
'The Lucid Dream are rapidly becoming major players in an ever-increasingly crowded psych scene..utterly seductive.' The Quietus
  
'one of the most enthralling bands in the UK.' Far Out Magazine
 
 
The Lucid Dream return in October with the release of their 4th album, 'Actualisation'.
Driven by fans raising £10,000 to help replace all equipment robbed after a Paris show in early 2017, a new album became the instant focus in the summer of 2017 for a rejuvenated The Lucid Dream.
 
'Actualisation' is soaked in the influence of acid house, amalgamated with dub and kosmische. It will again see them acknowledged for venturing into pastures new, setting themselves apart from 'genres', 'scenes' or what any other act are currently doing. 
 
The album was penned over the summer of 2017 by Mark Emmerson (vocals/guitar/synths), using only the classic Roland 303/808 synths, bass and vocals as tools for writing. Inspiration for the writing was formed via continuous listening to the Chicago to UK acid house works of 1986-1992, the focus predominantly on the groove.
Several months on from those writing sessions and The Lucid Dream have completed their 4th album in 5 years. A record made for the dancefloor.
 
 
Recorded at Whitewood Studios, Liverpool, with Rob Whiteley, the album is produced alongside long-time collaborator Ross Halden (Ghost Town Studios, Leeds), with mastering via Dean Honer (All Seeing I/I Monster/The Moonlandingz).
 
The confrontational techno-punk of 'Alone In Fear' opens the album, a 9-minute attack fuelled by the frustration and anger spawned by Brexit, government and a realisation of what 2018 Britain currently is.
Recent single 'SX1000' (the first work from the album, unveiled via 12' vinyl in April this year) is the band's first move into pure acid house. The acid house fusion runs throughout the record, represented furthermore by 'Ardency', a track already praised by live critics when aired live for the first time earlier this year as 'even on first hearing, would've raised the roof of The Hacienda'.
 
The 2-part opus of 'Zenith' follows, commencing with a space-dub/house instrumental groove before building into a track that will go for your head as much as your hips. Only 'Breakdown' harks back to sounds of old for the band, a little reminder of the skull-crushing impact they can make when stripped to the bare bones. 'No Sunlight Dub' closes the album, a dark-dub that invites the classic acid-house tool (Roland 808) into the dub. The track makes a stop-off into drum 'n' bass/jungle along the way before rounding up in a manner suited to Lee Perry, King Tubby, Augustus Pablo and other Jamaican greats.
 
 
The Lucid Dream formed in Carlisle, Cumbria, in 2008. A string of sold-out 7s was followed by the debut longer player, 'Songs Of Lies and Deceit', in August 2013. The initial vinyl pressing of the debut album (500 copies) sold out within 2 days, and was backed by a main stage slot at Kendal Calling, and supports to Death In Vegas and A Place To Bury Strangers (full UK tour).
 
The bands 2nd album ('The Lucid Dream') was released in March 2015 to further acclaim. This included 2 BBC 6 Music sessions and plays across most shows on the station, as well as plays from BBC Radio 1 (Huw Stephens) and BBC Radio 2. Further press followed from Uncut, The Skinny, Louder Than War, and Drowned In Sound, who named the album #7 UK album of 2015. Supports to Clinic and A Place To Bury Strangers also coincided.
 
 
3rd album, 'Compulsion Songs' was released in September 2016, on Holy Are You Recordings. The vinyl pressing of the album sold-out within a day, prompting an immediate 2nd press, with pre-sales of the album topping 1,000 before release. The album was backed by a headline UK tour, and a main slot at Liverpool International Festival of Psychedelia (for which they were singled out for major plaudits from The Quietus, The Skinny and Drowned In Sound). The album again received acclaim from the likes of Mojo, Uncut, Classic Rock Magazine, BBC Radio 2 (Huey Morgan) and across the board on BBC 6 Music (Lauren Laverne, Marc Riley, Tom Ravenscroft, Gideon Coe, Stuart Maconie).
 
 
 
'Actualisation' is released on 19th October 2018 (CD/download/ltd red vinyl/standard black vinyl), via Holy Are You Recordings.

'they've quietly found themselves elevated into the psych scenes premier league.' Drowned In Sound 
 
'when they go pedal-to-metal it rarely fails.' Mojo Magazine
 
'The Lucid Dream are rapidly becoming major players in an ever-increasingly crowded psych scene..utterly seductive.' The Quietus
  
'one of the most enthralling bands in the UK.' Far Out Magazine
 
 
The Lucid Dream return in October with the release of their 4th album, 'Actualisation'.
Driven by fans raising £10,000 to help replace all equipment robbed after a Paris show in early 2017, a new album became the instant focus in the summer of 2017 for a rejuvenated The Lucid Dream.
 
'Actualisation' is soaked in the influence of acid house, amalgamated with dub and kosmische. It will again see them acknowledged for venturing into pastures new, setting themselves apart from 'genres', 'scenes' or what any other act are currently doing. 
 
The album was penned over the summer of 2017 by Mark Emmerson (vocals/guitar/synths), using only the classic Roland 303/808 synths, bass and vocals as tools for writing. Inspiration for the writing was formed via continuous listening to the Chicago to UK acid house works of 1986-1992, the focus predominantly on the groove.
Several months on from those writing sessions and The Lucid Dream have completed their 4th album in 5 years. A record made for the dancefloor.
 
 
Recorded at Whitewood Studios, Liverpool, with Rob Whiteley, the album is produced alongside long-time collaborator Ross Halden (Ghost Town Studios, Leeds), with mastering via Dean Honer (All Seeing I/I Monster/The Moonlandingz).
 
The confrontational techno-punk of 'Alone In Fear' opens the album, a 9-minute attack fuelled by the frustration and anger spawned by Brexit, government and a realisation of what 2018 Britain currently is.
Recent single 'SX1000' (the first work from the album, unveiled via 12' vinyl in April this year) is the band's first move into pure acid house. The acid house fusion runs throughout the record, represented furthermore by 'Ardency', a track already praised by live critics when aired live for the first time earlier this year as 'even on first hearing, would've raised the roof of The Hacienda'.
 
The 2-part opus of 'Zenith' follows, commencing with a space-dub/house instrumental groove before building into a track that will go for your head as much as your hips. Only 'Breakdown' harks back to sounds of old for the band, a little reminder of the skull-crushing impact they can make when stripped to the bare bones. 'No Sunlight Dub' closes the album, a dark-dub that invites the classic acid-house tool (Roland 808) into the dub. The track makes a stop-off into drum 'n' bass/jungle along the way before rounding up in a manner suited to Lee Perry, King Tubby, Augustus Pablo and other Jamaican greats.
 
 
The Lucid Dream formed in Carlisle, Cumbria, in 2008. A string of sold-out 7s was followed by the debut longer player, 'Songs Of Lies and Deceit', in August 2013. The initial vinyl pressing of the debut album (500 copies) sold out within 2 days, and was backed by a main stage slot at Kendal Calling, and supports to Death In Vegas and A Place To Bury Strangers (full UK tour).
 
The bands 2nd album ('The Lucid Dream') was released in March 2015 to further acclaim. This included 2 BBC 6 Music sessions and plays across most shows on the station, as well as plays from BBC Radio 1 (Huw Stephens) and BBC Radio 2. Further press followed from Uncut, The Skinny, Louder Than War, and Drowned In Sound, who named the album #7 UK album of 2015. Supports to Clinic and A Place To Bury Strangers also coincided.
 
 
3rd album, 'Compulsion Songs' was released in September 2016, on Holy Are You Recordings. The vinyl pressing of the album sold-out within a day, prompting an immediate 2nd press, with pre-sales of the album topping 1,000 before release. The album was backed by a headline UK tour, and a main slot at Liverpool International Festival of Psychedelia (for which they were singled out for major plaudits from The Quietus, The Skinny and Drowned In Sound). The album again received acclaim from the likes of Mojo, Uncut, Classic Rock Magazine, BBC Radio 2 (Huey Morgan) and across the board on BBC 6 Music (Lauren Laverne, Marc Riley, Tom Ravenscroft, Gideon Coe, Stuart Maconie).
 
 
 
'Actualisation' is released on 19th October 2018 (CD/download/ltd red vinyl/standard black vinyl), via Holy Are You Recordings.

Beacon's third full-length record enters sight as a work of meticulous revision and refraction. Returning home to New York in 2016, four years and several tours since the duo's rst release with Ghostly International, Thomas Mullarney III and Jacob Gossett knew the next direction would be different. Together they embarked on open-ended sessions, adopting a more linear style of songwriting compared to their previous loop and texture-driven method. They fundamentally constructed demos from piano chords and guitar phrases with vocal melodies, editing iterations almost ad innitum, looking through each from a multitude of angles. Compositions expanded, while others pared back to where they began. Like the bending of light, this abstractive and patient process outlines a space and scale in which seemingly separate colors — minimalist ballads, elaborate pop spirituals, and four-on-the-oor dance sequences — can coexist at different speeds, fanning out with spectral cohesion. A prismatic collection Beacon call Gravity Pairs.

'All matter is created by dividing gravity into pairs,' said 20th-century scientific-mystic Walter Russell, whose idiosyncratic 'new world-thought' writings and musically-informed schematic drawings were as fringe in their time as they are fascinating. Mullarney details the concept further: "'Gravity Pairs' is how Walter Russell describes the rhythmic order of the universe. I kept reading 'pairs' as both a noun and verb; simultaneously the elemental units of Russell's balanced universe and the process that brings us together." This curiosity of natural phenomena shines through the album's kaleidoscopic artwork — dichroic glass prisms photographed by the band themselves — and its lyrics, most directly through the narrative device of light.

With each iterative breakthrough, Beacon expanded the spectrum of these recordings as well as their possibilities in the live setting. The material can be played straight or in previous variations, enhanced by the recent addition of a drummer to their live band. Another epiphany came in the spring of 2017 when Beacon joined Tycho at Coachella and for dates in Europe, with Mullarney experimenting as the band's rst ever vocalist. 'Just doing things at that scale, and at that point in the record, was really validating,' says Mullarney. 'We came back with condence to nally nish the record.'

Two models exemplifying this mode are 'Be My Organ' and 'On Ice.' The latter is a smoke-lled still-life. Notes arpeggiate along a cool, motorik beat as Mullarney repeats 'you're not moving,' his vocals vaporized and echoed. The former elevates on a percussive build, reaching its peak in the nal strobe-lit minute. Then there's a late album ourish, 'The Road,' which, through pinwheeling repetitions beamed into four-on-the-oor framework — from Tycho drummer Rory O'Connor — folds vibrating wavelengths into a symphony of fragmentary energies.

Russell, the mystic, believed in balance, a rhythmic exchange 'between all pairs of opposite expressions.' On Gravity Pairs, Beacon channel the philosophy with pure pop mystique, slicing through dense and foggy dance and electronic music apparatuses to create something familiar but unique, melodic but cathartic. Rippling through these songs are iridescent synthesizer lines, stoic piano phrasing, dazzling percussion, posh harpsichord, understated xylophone, and a crisp voice in complete control. Taken as a whole, in their various combinations and compressions, these complementary and secondary tones unlock the lushest eld of color, a universe of light.

Singer/musician/producer Aisha Chaouche follows her debut album 'Safe' with 'Progression', set for release on limited edition coloured 10' vinyl through Late Night Tales' artist label Night Time Stories on 2nd November 2018.
Aisha's striking vocals sit centre-stage among her production of manipulated piano, electronic beats, sub-bass, sound effects and cello. Developed from an initial musical concept; melodies, structures and sounds bloom, exchange and reprise roles across the tracks, the EP evolving into a suite of four parts - the vocal tracks ('Progression', 'Resolution') balanced by instrumentals ('It Will Come In Time', 'Epilogue').

'The EP is about a natural progression, discovering courage and concurring fears. A small step in the right direction. A true understanding of my strengths and weaknesses that makes me feel much more emotionally balanced and focused.' - Aisha Chaouche.
Signing to Night Time Stories on the strength of a Soundcloud demo, Chaouche's debut album 'Safe' was released in June 2018. The album chronicles events that occured in her formative years and the catharsis that occurred through her songwriting, the 12 tracks described as 'heartbreaking and spine tingling hymns' (Wonderland Magazine), having 'weightless, otherworldly qualities' (Uncut), 'richly textured sonic grandeur' (Bristol Live Magazine) and 'channeling the hymnal qualities of Cat's Eyes, with the dense vocals of Medúlla-era Björk' (The Line Of Best Fit).

"More Or Less" is Dan Mangan's fifth album. His new music is about witnessing birth, and in some ways rebirth. It's about feeling disconnected from a popular identity and becoming acclimated to a new one. It's about raising kids in a turbulent world. It's about unanswerable questions and kindness and friendship and fear.

Dan Mangan worked with some incredible people who have made many of his favorite albums. In between recording sessions, he'd listen to Van Morrison's Astral Weeks and Nick Drake's Pink Moon.

In short, his album is: more sparse. Less meticulous. More kids. Less time. More direct. Less metaphor. More discovery. Less youth. More warmth. Less chaos.

Two-time JUNO Award Winner (2012 New Artists of the Year, Alternative Album of the Year)
One-time Polaris Prize Short List, Two-time Polaris Prize Long List (2010, 2012), XM Artist of the Year (2012), iTunes Album of the Year (2010, Singer/Songwriter)
SYNCS/SCORES - Original score for Hector And The Search For Happiness (eOne Films).

Platinum selling indie-rock heroes Razorlight are set to make a triumphant return with 'Olympus Sleeping', the band's first album in ten years. The record sees lead-singer and songwriter Johnny Borrell in top form, dishing

up instant classics like the insanely catchy 'Carry Yourself' or the album's lead single 'Olympus Sleeping'. The new material perfectly showcases the band's melodic nous, fizzing

backbeat and frenetic energy, with each new song easily fitting in to the band's extensive catalogue of hit singles. Formed around singer/guitarist Johnny Borrell, the band's debut album 'Up

All Night' debuted at #3, carried era defining hits such as 'Golden Touch' and 'Somewhere Else' and went on to sell over 1.2M copies in the UK. With their self-titled follow-up, Razorlight truly made the leap onto the international

stage, with the album providing top-ten singles across the UK and Europe and the band headlining festivals and touring the world. 'Their debut album is genuinely one of the greatest (..) This gets fairly close to those dizzy heights' - The Guardian

The Unwound album that ended all Unwound Albums. Recorded in a moudering farmhouose basement at the crest of the new century, Leaves Turn Inside You is the no-wave response to Spector's wall of noise call. Infinite layers of choppy guitar stabs and bridge scrapes, guttural bass thronk, thrift store synths, and monotone chanting wash over suffocating rhythms to deliver the wrld's only choral grung LP. Remastered from the original analogye tapes and pressed on heavy weight vinyl for the discerning noise-nik.

'An album of uncanny splendor. 9.0' - Pitchfork
'Beautifully austere and thrillingly expansive' - The Quietus
'Atypical and stunning.' 9/10' - Mojo

Diminutive perpetual heartbeat of the Velvets! The unmistakable beat of the Velvet Underground was malleted out on the unconventional kit of Moe Tucker. Her (at times) childlike, fallen angelic voice also shines on some VU fan favorites. Here Moe reinterprets some Velvet gems, sometimes playing all instruments, other times accompanied by the likes of Jonathan Richman, Jad Fair, Kim Gordon and more. In addition to VU faves, we're treated to rough and jubilant covers of her favorite early rock & roll hits, and memorial odes to Sterling Morrison and Andy Warhol, all stuck in a Warholian package with removable sticker and liners by David Fricke!

Strength, beauty, truth: those words perfectly describe Tucker's crucial role in the Velvets' historic fray, across their first three studio albums: 1967's The Velvet Underground and Nico, 1968's White Light/White Heat and the electrifying restraint of The Velvet Underground. 'After Hours' was Tucker's only starring role in the Velvets' original lifetime, but her clockwork drumming and loyalty to those ideals were constants in the noisy and emotionally direct music Tucker made in her second, improbable career as a solo artist: particularly the nine tracks that comprise this unique introduction, selected from a dozen releases across two decades. There are 1980 home-recorded versions of Chuck Berry's 'Around and Around' and the Shirelles' 'Will You Love Me Tomorrow' with Tucker playing all of the instruments, a charming duet with Jonathan Richman of the Modern Lovers on 'I'm Sticking With You,' iconic Velvets songs with instrumental support by Reed and original bassist-viola player John Cale, and the memorial ode 'Andy,' a chant-like eulogy with liquid-jangle guitar named after the pop artist who produced, managed and mentored the Velvets from 1966 to 1968. This collection ends with another memorial: 'Last Night,' written by Tucker and recorded in 1998 as he farewell to Sterling Morrison who died in 1995.

I'm Sticking With You: An Introduction To Moe Tucker presents this vital part of the history and legacy of The Velvet Underground and a portrait of (as Lou Reed described her) 'the driving force, the hardcore heart of the Velvets' mindset.

'Shlom Hatzibur' - 'Yanshuf al Anaf Gavoha' a repress of a long lost new wave single along with edits by 'The Models' and 'Mule Driver'.

'Shlom Hatzibur', a band formed by Yuval Banay and Oren Elazary, was active between 1984-1985. This was the year in which the band 'Mashina' paused their activity. ('Mashina' was established in 1983 - and is considered by many ones of the most influential rock bands in Israel). In 1984, they independently published two singles, one of which was 'Yanshuf al Anaf Gavoha'.'Yanshuf al Anaf Gavoha' (Owl on a High Branch) represents a rare moment in Israeli musical history and culture: a moment of disillusionment and expression of personal voice, contemporary sound, and rhythm which stood out during a turbulent political period.

During the First Lebanon War, in the 80s, a generation of young people traveled on the weekends from the battlefields of southern Lebanon and flocked to the rising nightclubs in Tel Aviv. From army discipline to individual freedom, from the threat of death to the city's vibrancy. It is a song of adolescence in a divided and alienated society, and its reissue is more relevant than ever.

The song mixes industrial rhythm with Post-Punk, Rock and Ska. The unusual musical production and the use of a drum machine were influenced prominently by the musical soundtrack played in Tel Aviv's record shops and alternative nightclubs (eg, 'Fuzz', 'Penguin').

OVERVIEW

After making waves with his debut album 'SCUM' and the seven-track 'CIVIL DISORDER', RAT BOY has teamed up with Tim Armstrong for his new project 'INTERNATIONALLY UNKNOWN'. The 12-track collection will be released on January 25th via Parlophone and Armstrong's Hellcat Records label and is today previewed with a video for its title track.

RAT BOY first found Armstrong's punk/hip-hop band The Transplants in his father's record collection, and subsequently delved into his back catalogue with Rancid and Operation Ivy. RAT BOY had repeatedly mentioned his admiration of Armstrong in interviews, which led to the L.A. punk veteran discovering the young Essex upstart.

Separated by 30 years of age and the Atlantic Ocean, RAT BOY and Armstrong sound like the very definition of an odd couple. But they immediately connected on their first phone call, through a shared love for mixing the visceral energy of punk with hip-hop beats. In many ways, it's hardly surprising: both musicians share similar influences and often reflect on their upbringing in their lyrics.

The pair met in Los Angeles and immediately captured three demos on their first day together, with members of The Interrupters backing them on bass and drums. Not only did they have chemistry but they had a wealth of unorthodox creative ideas, such as chopping up live drums before filtering them through an old tape machine or RAT BOY playing Armstrong's left-handed guitar upside down.

The momentum was such that the project was entirely written and recorded during three visits, which amounted to a total of two months' work. RAT BOY's live band joined him in Los Angeles, while other collaborators include former Aggrolites bassist J Bonner and The Interrupters' vocalist Aimee Interrupter. John King of The Dust Brothers (Beastie Boys, Beck) also contributed production.

'I wanted to do this completely differently because 'SCUM' took so long, and I was learning the whole way through making it,' says RAT BOY. 'I wanted to make something more personal and raw, which reflected me more. I was trying to find that sweet spot between hip-hop and punk, and Tim really understands that stuff. I've never really spoken to anyone else who love hip-hop and punk like I do.'

The result is twelve tracks which amplify RAT ROY's rabble-rousing riot act to a new level. He's drawing on diverse influences which echo, at various points, The Clash, Beastie Boys, The Prodigy, Rebel MC, Green Day and Run DMC.

'INTERNATIONALLY UNKNOWN' will be released on streaming, download, vinyl and CD formats. It will be available to pre-order with three tracks provided as instant downloads: the title track contrasts manic verses with an anthemic downtempo hook; the aggy street-punk rush of opening track 'CHIP ON MY SHOULDER'; and the experimental production that underpins 'NO PEACE NO JUSTICE', which also features a one-take improvised verse from Armstrong.

Repress

An early devotee of shoegaze and the dreamy melancholia of bands such as Mazzy Star and
Sparklehorse, Khouri began her career as an acoustic singer-songwriter in New York, selfreleasing
her first EP 'A Song to the City'. Returning to London, she was eventually discovered by
producer John Parish (PJ Harvey, This is the Kit) and began writing songs for what would become
her first LP, 'The Salted Air' released in 2017. The album earned plaudits from the likes of MOJO
and Drowned In Sound, was celebrated by Q (Feb 2017 Critics Choice) and selected as one of
Rough Trade's Albums of the Year 2017. In the past year, Khouri has toured in the UK and Europe
and has shared the stage with artists such as Low, John Parish, Aldous Harding, H. Hawkline,
Howe Gelb, Adrian Crowley, and many more.
Self-produced and recorded in London in between touring commitments, Khouri's latest offering
was mixed by Alan Weatherhead (Sparklehorse, Julien Baker) and is a powerful return from her
acclaimed debut. If her debut 'The Salted Air' were an allegory for displacement, in 'A New Dawn'
Khouri has found the shore and displays a quiet, newfound confidence.
The title track, which premiered on CLASH in August, opens with droning harmonium, cascades of
tremolo guitar and mermaid-like backing vocals. 'To Sleep' sees violinist Basia Bartz doubling
Khouri's nylon string guitar in a pizzicato set against swelling harmonium, piano and flurries of guitar delay. Penned as 'a lullaby she wrote from the point of view of a younger self' in a war
zone, Khouri deals with the sounds of shelling by singing herself to sleep: 'Teach me / A melody /
So I can hum myself to sleep'.
The beautifully arranged EP highlights Khouri's talent for creating songs that feel both vast and
intimate, as her sumptuous vocal takes centre-stage with poignant lyrics set against delicate
atmospheric soundscapes.
Nadine will be supporting LOW solo on their 'Double Negative' tour in Europe this October, ahead
of her own headline dates in the UK.

Speaking on '10 Out of 6', which was produced by Alex Kapranos at Edwyn Collins' studio in the Scottish Highlands, with the pair both providing backing vocals on the track, Meggie offers:

Mental health and all the chaos that we all quietly deal with day to day yet find hard to open up about despite all being in the same boat. You find yourself moving to a surreal place behind the eyes, you can see travel in others eyes passing through places of nostalgia and torment. Amendment of friendship within yourself. Encouragement to let go of mistakes, to keep moving and cross your own private bridge before your pushed off it. Until you do, it's 10/6. 

Birthed from hours spent in a windowless North London rehearsal room, doubling as a shared bedroom, with pedals cluttering the floor and lyrics on brown paper covering the walls, '10 out of 6' follows Meggie's debut single 'Coming Back Again' which was released

Hound Gawd! Records Gibt Die Rückkehr Der Berliner Garagengöttin Lana Loveland Bekannt. Als Organistin Der Legendären Fuzztones Ist Lana Loveland Den Meisten Fans Des Garage Rock Sicher Bekannt. Die Single Enthält Den Titeltrack "strange Charms", Und Auf Der B-seite "web Of Sound". Die Aufnahmen Erscheinen Im 7-inch Format.

15th Anniversary and 1st ever vinyl reissue of The Wildhearts classic 2003 LP 'The Wildhearts Must Be Destroyed'
originally released by Gut Records
Pressed on 180grm heavyweight vinyl, and presented in a replica of the original gatefold sleeve, with the addition of
printed inner bags.
The Wildhearts, led by Ginger Wildheart himself, are one of the most enduring and entertaining British rock bands,
still performing today after over 25 years.
Includes the two Top 30 chart hit singles 'So Into You' and 'Top Of The World'

1st ever vinyl reissue of The Wildhearts classic 2004 Live double LP 'The Wildhearts Strike Back' originally released
by Gut Records.
The Wildhearts, led by Ginger Wildheart himself, are one of the most enduring and entertaining British rock bands,
still performing today after over 25 years.
Recorded Live in London, Liverpool, Nottingham, Northampton, Leeds, Sheffield, Norwich and Edinburgh, with The
Wildhearts at the top of their game
Pressed on 2 x 180grm heavyweight vinyl, and presented in a replica of the original gatefold sleeve, with the addition
of printed inner bags with lyrics.
Includes material from the full career of the band up to this date, and featuring the hits 'I Wanna Go Where The People
Go', 'Caffeine Bomb', 'Vanilla Radio' and 'Suckerpunch.'

Focusing on low-slung IDM, Acid and atmospheric Electro with nods to Krautrock & Ambient sounds, Steve Hyland's ATTRAKTTA project gets an extended outing on the FILM label. Across eight beautifully produced tracks, Hyland - one of the founding members of AI Records and subsequently Concrete Plastic, explores vibrant synthesis and intricate drum programming, with the music arriving at a sweet spot between home listening material & club-ready workouts for more intelligent dance floors.

Eschewing straightforward synth sequences in favour of blissed out - almost disharmonious sonics, Hyland transmits a curious psychedelia on his debut LP. Sounds pitch and warp organically, buoyed up by saturated low end and punchy drum machine percussion. There remains a decidedly accomplished precision to the work, though - with the music bearing all the hallmarks of an artist of some considerable experience - testament to the British producer & label head's 19 years working in the industry.

A colourful, exquisitely composed LP that riffs on a timeless production aesthetic with considerable style, Echo Principle is a fantastic entry into the FILM Records discography.

'I'd like to be as un-mysterious as I possibly can,' Graham Van Pelt says. He's about to release Time Travel, his frst record in the four years since he moved from Montreal to Toronto, and he's no longer Miracle Fortress, or Inside Touch, or any of the aliases he's used to record over the years. He's just Graham Van Pelt.

With the perspective of leaving a longtime home, of watching old friends change and familiar places become unrecognizable, came a recommitment to an emotional honesty in Van Pelt's songwriting. Time Travel's eight songs are a tangle of friendships and feelings. Moving backwards and forwards in time, they occupy a space of elegant melancholy.

Immersing himself in the work of house music legends like Larry Heard, Vincent Floyd and Maurizio and the fragile disco of Arthur Russell, along with contemporaries like Jessy Lanza and Kelly Lee Owens, Van Pelt built the album from the bottom up, rooting every track in the crude sequencer of the Roland SH-101 synth, a decades-old dance music totem. The result are melodies that are simple but affecting, anchored to deep, wandering basslines. Time Travels was engineered by twin brothers Mark and Matt Thibideau, whose techno roots deepened the grooves throughout the record.

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.

Stone Foundation release the second 12" from their Top 30 album Everybody, Anyone. Both soulful tracks feature contributions from regular collaborator Paul Weller. Next Time Around (Side A) was co-written by Weller and the band. Carry The News (Side B) includes guest appearances from Weller (backing vocals) and his former Style Council bandmates Mick Talbot (piano) and Steve White (drums) - the first time all three have featured on a track together in well over two decades. Strictly limited to 500 copies worldwide.

'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.

Beautiful 1 Lp Edition With 140g Vinyl, Stoughton Tip-on Sleeve, Liner Notes (english & Japanese) By Chee Shimizu, Sticker Official Reissue Of Diggers' Favorite Colored Music Available On Vinyl And Cd Or The First Time Since 1981. Genre: Electronic, New Wave, Pop, Synth, Experimental Wrwtfww Records Is Deliriously Happy To Announce The Reissue Of The 1981 Self-titled Album From Cult Japanese Duo Colored Music, Available On Vinyl (housed In A Stoughton Tip-on Sleeve) And Digipack Cd, With Liner Notes By Digger, Curator, Connoisseur, Writer And Legend Chee Shimizu. An Incredible Mix Of Cosmic New Wave, Unconventional Disco, Avant-garde Synth Pop, And Hybrid Electronic Funk, Colored Music Is Enchantingly Unique, A Sort Of Experimental And Magnetizing Take On David Bowie's Berlin Trilogy With A Psychedelic Haruomi Hosono Touch. From The Groovy Post-punk Glam Title Track To The Proto-house Dance Floor Killer heartbeat", Ichiko Hashimoto And Atsuo Fujimoto Hit All The Right (and Sometimes Not-exactly-right-but-truly-genius) Notes To Create The Odd And Beautiful, An Unparalleled Audio Escape To The Best Elsewhere You Can Think Of. Also Playing On The Album Are Celebrated Musicians Mansaku Kimura, Shuichi ponta' Murakami (pacific, Ki-motion By Mkwaju Ensemble, Collaborations With Jun Fukamachi, Yasuaki Shimizu, Haruomi Hosono...) Kiyohiko Semba, Tamio doyo' Kawabata, And Tatsuhiko Hizawa.

A Year On (to The Week) From The Release Of The Critically Acclaimed 'masseduction' Album, St. Vincent Releases Reimagined Piano Versions Of The Album. Performed With Thomas Bartlett Over Two Days In A Studio In Midtown Manhattan, August 2017.

A thrilling debut for one of the most original British bands of the '90s. A romantic and elegant chamber pop masterpiece that mixes indie rock forms, the maverick pop song craft of a Lee Hazlewood and/or Van Dyke Parks, and the dark charm and hip romanticism of Ian Curtis, Scott Walker, and Leonard Cohen. While in the UK it was named album of the year (1993) by Melody Maker, in the USA Rolling Stone wrote: "the 1st Tindersticks album draws inspiration from the playful narrative style of producer Lee Hazlewood, the Cinemascope orchestrations of John Barry and the twilight-zone claustrophobia of Nick Cave and the Bad Seeds." Limited edition red vinyl in a gatefold sleeve.

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'.

Charalambides founders Tom & Christina Carter follow a vision of iconoclastic music as transformative force. Touching on the outer limits of acid folk, psych rock, and improvisation, their sound remains uniquely

personal & consistent. Since 1991, Charalambides has released many recordings on labels like Siltbreeze, Kranky & Wholly Other. Despite Tom and Christina Carters prolific

solo careers and numerous other projects, Charalambides has existed in an unbroken trajectory for over two-and-a-half decades, outlasting the genres that critics and other yardstick-makers have tried to cram them into.

Their recent performances and recordings retain the directness and delicate menace that mark their early releases, even as they explore an interlocking musical telepathy honed by years of artistic collaboration. Aptly

tilted Charalambides: Tom and Christina Carter, the newest album from Charalambides furthers the duos deep psychic understanding of music. Laid down in two sessions with no overdubs, the album entwines their best-known

approaches into a raw, fragile, wordless and hypnotic whole. Its definitely the duo at their most exquisite.

'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.

The language of sound has always been ingrained in Mich Cota's identity. As a two-spirit woman, raised by a native father and a white mother in Southern Ontario, Cota began composing small melodies on the piano from

the age of three to create her own sacred space in an intensely religious home. Inspired by her countryside surroundings, she would ingrain herself in nature, imagining herself in a place free of theology and restraint.

This is something Cota has carried with her throughout her creative existence. Her music is a way of navigating past traumas while exploring her queer experience, with open, unapologetic sincerity. It's through her artistic

expression that she relates to others, to build collective understanding and empathy, with the intention to heal and challenge normative ways of being. She is someone who is constantly learning and searching for a way to exhibit

her history that informs her artistic production rather than exhaust it. The song titles on Cota's third full-length, Kija / Care, are represented in both Algonquin and English; its dynamics oscillate between a restrained delicacy and a roaring

exultation while its painful assertions blossom into a strengthened authority. This visceral conflict not only informs Cota's artistic production but offers a place of distinct vulnerability and substantial endurance; it's a culmination

of discovering two worlds that are both vital and beautiful that Cota delivers with a confident, meditative spirit. It is a creative, alternative space that works towards change and sees Cota piece together the fragments of her past,

present and future self to produce an album that not only liberates those from the constraints of societal convention but welcomes them into an informed, empathetic reality. Kija / Care offers a sanctuary to digest the intensity of differing. Currently booking EU tour for October

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.

Ein einnehmendes Indie-Duo aus der Schweiz mit einem entzückenden Folk-Pop
Debüt.
Nora Steiner und Madlaina Pollina malen das Bild einer Welt, die wir schon lange nicht mehr so eindrücklich
und reflektiert wahrgenommen haben. Aufbruch, Licht und Schatten und die Bedrängnis der Gegenwart,
ausgedrückt in bezauberndem Indie-Folk-Pop, der Zähne zeigt und enorme Dynamik entwickelt. Mal erinnert
ihr zweistimmiger Gesang an First Aid Kit, ihre kompositorische Zugänglichkeit lässt an den perlenden Pop
von Boy denken, dann wieder geleitet uns das Duo an düstere Abgründe, wie sie auch Emily Jane White
beschreibt. Allerdings sind dies nur ungefähre Orientierungspunkte. Dass die beiden aus der Schweiz
kommen, ist grundlegend für deren Debütalbum "Cheers", denn "Cheers" heißt nicht nur Prost, "Cheers" kann
ein Anfang und ein Ende sein, eine Begrüßung und auch ein Abschied. Dabei spielen Steiner & Madlaina
gekonnt mit Ambivalenzen. Mal fließen ihre Songs lieblich daher, dann türmen sich die Instrumente
walzenartig auf. Durch die analogen Sounds und teils surfigen Gitarrenklänge gewinnt "Cheers" an Wärme
und transportiert einen unterschwelligen 60er-Jahre-Charme. Im Zentrum des Ganzen stehen aber immer die
Stimmen von Steiner & Madlaina, die so perfekt harmonieren, dass man die Vertrautheit und langjährige
Freundschaft der beiden herauszuhören meint.

1. Ich werde nie gehen
2. Prost Hawaii
3. Wenn du mir glaubst
4. Hold
5. Riot
6. Das schöne Leben
7. Reckless love
8. Groß geträumt
9. Wait for it
10. Herz vorus id Wand

In the 1980 documentary 'Philip Guston: A Life Lived,' the famed neo-expressionist talks about a painting he keeps starting over. 'It looked alright—but it felt to me as if it were additions—this and that and that,' he says. 'What I'm always seeking is some great simplicity where the whole thing is just there.'

'That, to me, is the ideal feeling of existing,' says John Rossiter, singer and guitarist of the LA-based art rock quartet Young Jesus. 'That feeling you pursue when you're creating, when the world is opening up and things are on the cusp of beauty and revelation, but it's just out of reach. To maintain that in the face of depressing or difficult stuff is what I'd like to be able to do.' This pursuit is what drives Young Jesus, and it's documented on their upcoming record The Whole Thing Is Just There.

On The Whole Thing, which takes its name from the late painter's words, Young Jesus combines a palette of indie rock instrumentation with a spirit of unhindered spontaneity to construct—and deconstruct—emotionally potent and inventive sonic landscapes.