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An album about crossing physical and metaphorical borders that has never been timelier: Calexico's classic album 'The Black Light' turns 20 this year. This limited celebratory anniversary edition includes all new artwork by Victor Gastelum, extensive linernotes, and 11 bonus tracks.

What was surprising about The Black Light (and what set its architects apart from their indie rock peers) was the album's unusual willingness to wade into the rapids of American and Mexican culture, fully immersing itself midstream. From the outset, with 'Gypsy's Curse', the record combines guitar twang and flamenco flourishes; and by its end, almost an hour later, it's contrived a skillful and instinctive union of smoky bar room jazz, arthouse indie rock, and compelling mariachi brass in 'Frontera'. If Calexico falls short as a name, it's only in the fact that - alongside their mining of Mexico's fertile musical past - Joey Burns and John Convertino weren't just digging into California's songbook...they were unearthing America's too.

- Anniversary-Edition on 180g heavy double vinyl including 11 bonus tracks
- Limited Clear Double LP on 180g heavy vinyl
- New Alternative Artwork by Victor Gastelum
- Gatefold Cover with embossed logo and silver print and 8 page booklet
- Limited to one pressing only

+ download coupon

2LPX version is an indies only format.

An Album About Crossing Physical And Metaphorical Borders That Has Never Been Timelier: Calexico's Classic Album 'the Black Light' Turns 20 This Year. This Limited Celebratory Anniversary Edition Includes All New Artwork By Victor Gastelum, Extensive Linernotes, And 11 Bonus Tracks.

What Was Surprising About The Black Light (and What Set Its Architects Apart From Their Indie Rock Peers) Was The Album's Unusual Willingness To Wade Into The Rapids Of American And Mexican Culture, Fully Immersing Itself Midstream. From The Outset, With 'gypsy's Curse', The Record Combines Guitar Twang And Flamenco Flourishes; And By Its End, Almost An Hour Later, It's Contrived A Skillful And Instinctive Union Of Smoky Bar Room Jazz, Arthouse Indie Rock, And Compelling Mariachi Brass In 'frontera'. If Calexico Falls Short As A Name, It's Only In The Fact That - Alongside Their Mining Of Mexico's Fertile Musical Past - Joey Burns And John Convertino Weren't Just Digging Into California's Songbook...they Were Unearthing America's Too.

- Anniversary-edition On 180g Heavy Double Vinyl Including 11 Bonus Tracks
- Limited Clear Double Lp On 180g Heavy Vinyl
- New Alternative Artwork By Victor Gastelum
- Gatefold Cover With Embossed Logo And Silver Print And 8 Page Booklet
- Limited To One Pressing Only

Nothing is ever straightforward with Connan Mockasin, and nothing should ever be straightforward with Connan Mockasin. This riddled rule has never resounded more than on Jassbusters, Mockasin's third album and first in five years. An unclassifiable, unconventional album that neither picks up from nor abandons the modes of 2013's widely-embraced Caramel or its 2010 predecessor Forever Dolphin Love, Jassbusters foreshadows a five-part melodrama titled Bostyn 'n Dobsyn, directed by and staring Mockasin. Jassbusters soundtracks the unpredictable narrative of the television series in eclectic, electric ways.

Whether bending genres for shits n' giggles or collaborating with artists like James Blake (who might just appear on a Jassbusters track), MGMT, John Cale, and Charlotte Gainsbourg, Connan Mockasin has always maneuvered in mysterious ways. After touring with the likes of Radiohead and Neil & Liam Finn (Crowded House), the Kiwi R&B surrealist continues assembling a cult around his theater, nay spectacle, of life with Bostyn 'n Dobsyn screenings and Jassbusters performances throughout October and November 2018

This fall, Arc Iris releases Icon Of Ego, its third groundbreaking album, as a trio that packs the heft of a far bigger band with fully realized sonic and visual intensity.
On this latest album, vocalist / guitarist Jocie Adams, keyboardist / sample artist Zach Tenorio-Miller and drummer Ray Belli have crafted a vividly expressionistic new album that reflects both the group's protean talents as well as its journey of survival.
After its self-named 2014 debut on the ANTI- label, Arc Iris achieved critical acclaim, along with tours with St. Vincent and Jeff Tweedy and festivals like Bonnaroo followed. Within two years, the band self-released Moon Saloon in the US while British independent record label Bella Union released the album in Europe. Tours supporting Kimbra, Gene Ween, and a complete re-imagination of Joni
Mitchell's Blue performed at Washington's Kennedy Center followed, which added to a growing, international fan base that has remained dedicated throughout.
Icon of Ego finds a stronger, more experienced band. Recording at Providence's Columbus Theater, home to silent movies and vaudeville during the '20s, the band has evolved into a concentrated pop-prog explosion, mixing styles with disparate elements that captivate and surprise. With heavy synthesizer work by Tenorio and Adams, and seemingly impossible transitions executed effortlessly by Belli, the songs here carry a thick, analog electronic sound that harks back to the '70s. Presiding over these are Adams' powerful vocals that house the energy under pop forms.

After coming home fired up from their 2017 tours (which included UK / Euro / US dates with Drive-By Truckers, Dream Syndicate, Fruit Bats, The Cribs)
Eyelids headed into various studios in Portland to finish up a new batch of songs they had been working on. They ended up with a perfect combination of
the lilting, powerful hooks of their recent Peter Buck-produced album
or alongside the spookier, more meditative moments from their debut
854 . Oh and they added in a fiery rendition of The Gun Club's 'Sex Beat' (with
Scott McCaughey and Peter Buck of R.E.M. throwing down alongside them) just to hammer the point home. Now Eyelids could always write a earworm of a song (which is why or ended up many best of 2017 lists) and from the minute
the needle hits this vinyl, there it is again. With its rolling and
intricate jangle the band (like XTC, R.E.M. and The Byrds— their three biggest comparisons from the press) make their three distinct personalities / guitars become an amazingly powerful whole.
'With more than a hint of the Beatles, drenched in three West
Coast guitars and as great as any alt American record gets .' —Chris Hawkins, BBC6 Radio

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

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

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

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

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

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

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

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

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

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

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

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

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

The eighteenth edition in Famous Class' LAMC split series featuring an unreleased A-side track from one of the label's favorite band's, backed with a B-side track from a lesser-known artist handpicked by the A-side group. The series gets its name from the epic Less Artists More Condos concerts that the late ARIEL PANERO threw in New York, showcasing amazing bands in some strange and unique venues. Ariel's driving force was a desire to get the bands he believed in the recognition he felt they deserved. This series simply tries to honor that idea. Features LIARS "Total 3 Part Saga" backed with TROPICAL FUCK STORM'S "The Happiest Guy Around."

Daniel Brandt, co-founder of acclaimed German ensemble Brandt Brauer
Frick, is set to release his second solo album for London imprint Erased Tapes on
October 12th. Titled Channels, the new record follows the release of the London
and Berlin based producer's solo debut Eternal Something from 2017.
The seven-track LP is Brandt's biggest statement yet, with the album's thrilling
avant-garde framework interweaving chord-driven techno, orchestral flourishes,
rich electronic textures and hints of dark cinematic pop. Following on from Eternal
Something, which captured a contemplative kind of isolationism, with Channels
Brandt set out to create an album that captures the essence of minimalism whilst
lending it to a more playful context. After performing and recording Steve Reich's
Six Pianos in a group of six, Brandt began regularly composing long meditations
on the piano, something that permeates the sound of the new record. Its frenetic
energy and shape-shifting identity was also born out of touring with his new band
Eternal Something — comprised of Brandt on piano, drums and synthesisers,
Pascal Bideau on guitar and bass, plus Florian Juncker on trombone — and a desire
to translate both the sound and spiritual unity of their live shows in which
musicians locked together to create an intriguing meld of expansive works.
Intricate floor-filler and lead track 'Flamingo' synthesises the measured pacing of
Detroit techno with an orchestral background. As with all of the tracks on
Channels, 'Flamingo' began life as a sketch with very basic instrumentation,
before taking it into the studio to rehearse with his band members, giving the
album a live and visceral sound that sets it apart from his debut; 'It was a great
experience to do it this way as I have always wanted to have the chance to try
out something in a live setting before recording it in the studio and not the other
way round,' explains Daniel. 'The actual typical rock band recording style that I
never had the chance to do before.'
The album's most immersive, club-ready track 'Sailboats III' is built with a vivid
and pulsating bass line that takes inspiration from a Lichtenstein painting, as well
as the UK bass scene and producers like Tessela and Lord Tusk. The blossoming
cosmos of 'Cherry Dream' is informed by Tangerine Dream's iconic soundtrack
to the film Risky Business, a compelling reinterpretation of Love On A Real Train
replete with darker, electronic elements and live orchestration. 'Daze', co-written
with guitarist Pascal Bideau, chimes with an acoustic melody and is carried by a
rhythmic percussive pulse, whilst the understated 'Ltd' was stylistically inspired
by Steve Reich's Electric Counterpoint as well as Daniel and his band's live
improvisations with orchestral collective Stargaze, whose founder and conductor
André de Ridder contributed violin on the album.
Title track 'Channels' melds instrumental ambient with melodramatic
embellishments, whilst the record's closer 'Twentynine Palms' takes its name from
the vast Californian desert, and was written while Daniel was travelling there,
evoking the widescreen and rapturous sound of open space and nature.
With Brandt also being skilled as a filmmaker, directing and producing visuals for
BBF and Eternal Something, much of the new album's creative ideas reference a
rich visual palette. He directed the video for 'Flamingo', a sideways glance at the
art world that takes the concept behind John Cage's 4'33' and turns it on its head.
'The video for Flamingo is deliberately non performance — people sitting in a
room and watching basically nothing, never really sure if anything is ever going
to happen. It's also a play on John Cage's 4'33', except in this instance there isn't
even a performer present.' — Daniel Brandt
Daniel's passion for film even prompted him to kick start his own online television
channel Strrr.tv in 2017 that since attracted a lot of attention with guest
moderators including BBC Radio DJ Gilles Peterson, modular synth legend
Suzanne Ciani and Berghain bouncer Sven Marquardt counting amongst the
most popular episodes.
Recorded between Berlin and London, Channels is a deeply enthralling listening
experience, which sees Daniel Brandt build upon his distinctive percussive sound
whilst exploring new and expansive horizons.

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

Robert Pollard's Waved Out gets the 20th anniversary reissue treatment with newly re-mastered audio and a beautiful blue vinyl pressing. The Guided By Voices captain's second solo album from 1998 captures the more eclectic side of his
songwriting. Here, he brilliantly compresses prog, psych, and post-punk ideas into magnificent two-minute pop songs. Wire, early Genesis, Nilsson Schmilsson, Lennon's White Album songs, Blue Öyster Cult, XTC, and Captain Beefheart: it's all
here, condensed into brilliant songs like 'Subspace Biographies' and 'Whiskey Ships.' A lot's been made of Pollard's spontaneous and prolific songwriting methods, and most of that's true, though he works much harder on his songs than even he likes to admit. With Waved Out, he seemed to grow more comfortable and ambitious
in formal studio-type settings, so that anyone who carps about 'unfinished arrangements' and 'shitty production values' ought to be pretty happy with this record. This doesn't apply to 'Caught Waves Again,' where he sings into a boombox over a tape of GBV guitarist Doug Gillard's noodling. Nor does it apply to a
touching song about tragedies in Pollard's hometown of Dayton, Ohio, called 'People Are Leaving,' where he puts two separate melodies over instruments by collaborator Stephanie Sayers. In addition to Gillard, a few other GBV personalties appear on the record, Jim Pollard, Tobin Sprout and Jim MacPherson, then of The Breeders. But the bulk of the record, including a fair bit of the drumming, is all Robert Pollard.
- On blue vinyl!

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













[M 13. Sweet Georgia Brown

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

If Only There Was A River is the first full-length studio album from Anna St. Louis. The songwriter, who originally hails from Kansas City, began writing songs after moving to Los Angeles five years ago and has previously released a cassette of recordings on Woodsist / Mare Records, appropriately titled First Songs. The tape received notice from NPR: All Songs Considered, Pitchfork, and Stereogum.

On her proper debut, St. Louis spreads her wings and expands on the promise hinted at on First Songs. To achieve that end, she enlisted Kyle Thomas (King Tuff) and Kevin Morby to produce the album, which was engineered by Thomas in his home in Mount Washington, LA. The collection of eleven songs also features Justin Sullivan (Night Shop) on drums and multi-instrumentalist Oliver Hill (Pavo Pavo). While hints of influences like Loretta Lynn, John Fahey and Townes Van Zandt peek out of the corners of the songs, this album is not a nostalgic affair. Rather it marks the emergence of an artist fully coming into their own.

'Being from the Midwest means a certain tone is woven into ones' fabric. And every now and then, someone comes along who has the power to convey that feeling in their cadence alone. And so all hail Anna St Louis, who lets us into her world of heartache, wonder and a never-ending, never-beginning dance with time. Her album is for the mystics, reminding us that the world is full of magic at every turn, if only we let ourselves see it. Sometimes just by stating a simple observation, St. Louis lets us in on an infinite truth that perhaps we wouldn't have seen otherwise. To step into the world of Anna St. Louis is to step into a world where the heart leads straight to the soul and where everything is cloaked in beautiful mystery. If Only There Was A River is a record of longing—of a soul reaching for more.' - Kevin Morby

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

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

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

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

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

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

Heavenly Sweetness presents us with Anthony Joseph's sixth studio album recorded on his native island of Trinidad.

The Bela Session is a full release of Bauhaus' first studio session from January 26 1979, where the iconic "Bela Lugosi's Dead" was recorded. This is the first and only official reissue of "Bela Lugosi's Dead" on vinyl, and the first time 3 of the 5 tracks have been released. This EP has been produced directly by the band with Leaving Records, in advance of the band's 40th anniversary

UK post-punk pioneers Bauhaus' immensely influential 'Bela Lugosi's Dead' - originally released in 1979 - is considered the original gothic rock record.
The first official vinyl reissue of 'Bela Lugosi's Dead' and first release of complete recording session (including 3 previously unreleased tracks), mastered by Mandy Parnell.
The live version of 'Bela Lugosi's Dead' was in iconic 1983 film The Hunger. It has been covered by Nine Inch Nails, Massive Attack and Nouvelle Vague.
The original version of 'Bela Lugosi's Dead' has never been on streaming services.
180g vinyl. The art is a variation of original 1979 12-inch. Reproduction of original recording session tape on inner sleeve. Includes 50x50cm poster of cover, gold retail sticker.

Chess Club via RCA Records release the second album from Danish singer/songwriter/producer. A mix of synth/indie/pop. Standard vinyl and CD formats. A 14 track album which includes collaborations with Diplo and Charlie XCX amongst others. Radio support across R1, ILR network, Virgin, Radio X, Capital. Online/social media activity. Ads, features, interviews and reviews across all press. UK tour dates. Poster campaign and database mailout.

"a Joyful Album, Redemptive, True And Full Of Insights.." - 9/10 (album Of The Week) Loud And Quiet
"recalls The Magic Pop Purity Of Arthur Russell... Its Minimalism Manages To Feel Enlightened And Transformative." -pitchfork  "skilful Arrangements Of Chiming Alt.pop... Quietly Haunting" - 7/10 Uncut"could Listen To Him For Weeks... Half Elliot Smith, Half Robin Hitchcock" - The Sunday Times"a Joyful Album, Redemptive, True And Full Of Insights.." - 9/10 (album Of The Week) Loud And Quietrecorded In Between Stints Touring As A Member Of Dear Nora, And Then As A Touring Member Of Girlpool, Utopia Teased Is Stephen Steinbrink's Followup To His Critically Acclaimed 2016 Album Anagrams. Unlike The Pristine Production Of Anagrams, On Utopia Teased Steinbrink Embraces The Rough Edges, As He Shifts His Focus From The Craft Of Production To The Art Of Processing And Capturing His Experiences With Honesty. He Explains, i Was Driving The Preamps A Little Too Hard, Mixing Down To Tape, Bouncing Back To The Computer, And Repeating The Process Over And Over Again. I Wanted It To Reflect How Fried My Brain Felt At The Time, Totally Pulverized. The Songs Just Poured Out Of Me, It Hardly Felt Like Work To Make Them Up. It Was Like Turing On A Spigot. I Don't Write Often, Maybe Once Or Twice A Year, But When I Do, A Lot Comes Out..'
empty Vessel' And maximum Sunlight' Both Sung From Perspective Of Residents Of Tonopah, Nevada, Were Written To Accompany A Book About The Town, By Steinbrink's Friend Meagan Day. The Sparse Imagery On empty Vessel,' Ostensibly About A Semi-transient Lock-picking Truck Driver, Feels At Least Semi-autobiographical As Steinbrink Sings you're 31, You Don't Believe In Anything...if You Don't Stop Moving You'll Never Get Hurt.' His Evocative Lyrics Continue To Intrigue On maximum Sunlight' As He Sings sleeping Through The Night In The Drained Pool / I Said I Love You To A Fool' From The Perspective Of A 30-year-old Alcoholic Atv Enthusiast.

Much Of His Outlook On Life Is Captured On The Elegiac Waltz zappa Dream,' (originally Written And Recorded By His Friend Rosie Steffy) On Which He Sings, dreams Are So Fucked Up / Even The Really Good Ones...would It Be Such A Bad Thing / To Be Finished With Living...everyone Preserves A Myth / Guards It Like A Bone / You See It In Your Lover's Eyes / But Never In Your Own...there Is A Magic On This Earth / In Cats And Clouds And Cars / For Everything That You Call "real" / Was Once The Dust Of Stars / Yeah You Have Been A River Rock / And A Drop Of Rain / And With Any Bit Of Luck / You'll Be Those Things Again / Are You In Love With Your Life Or A Dream / Or Just Overwhelmed/ Wondering What This Could Possibly Mean' At The Close Of The, Too-little-too-late Acoustic Narrative mom', Guest Vocalist Melina Duterte Of Jay Som Joins Him In Conjuring A Memory Of Listening To Extraterrestrial Radio, Drifting Asleep In A Suburban Phoenix Wal-mart Parking Lot. The Album's Heartbreaking Closer i'm Never Changing Who You Are' Continues Steinbrink's Recollection Of His Adolescence, Asking An Unnamed Family Member will You Try To Love More Than You Did' While Soberly Accepting His Reality.

In An Interview With North Of The Internet, Steinbrink Recalled A Video He Came Across On His Phone, Which Was Taken The Day After The Fire, it Sent Me Spiraling And Thinking, It's Almost Been A Year. Nothing Really Felt Actual Those Weeks, And I Could Only Only React To The Future At A Remove Because The Horror Of Everything Was Inescapably Tying Me To The Present. The Idea Of Doing Laundry Or Driving Across The Bridge To San Francisco To Work Was Too Abstract, So I Just Didn't Do It. I Hardly Did Anything. Two Days After The Fire I Woke Up, Walked To P.'s Porch And Sat There For Hours Alone And Cried Without A Jacket On Until The Sun Started Going Down. Geese Were Flying Across Power Lines At Dusk And I Took A Video Of Them On My Phone. I Imagined One Of The Birds Was My Friend.' In The Same Interview, He Goes On To Share Some Insight Provided By A Friend He Reached Out To When Trying To Finalize The Album: finishing The Thing Puts A Limit Around Something That Comes From An Infinite Well, This
Is Uncomfortable.' True.

Das Neue Album Der Schottischen Indierock-band Wurde Produziert Von Jonathan Low (the National, Sufjan Stevens, Kurt Vile, The War On Drugs)

Das Neue Album Der Schottischen Indierock-band Wurde Produziert Von Jonathan Low (the National, Sufjan Stevens, Kurt Vile, The War On Drugs)

Harking from East Oslo, Das Body are a four piece who make bombastic, multi-coloured and often dazzling synth pop that will make you want to move. Having finished up a few years in the studio refining their sound, Das Body are now fully prepared to make their colourful entrace - and make no mistake about it, they are here to be noticed. Their latest offering is an eclectic adventure through 80s synths and infectious rhythms that makes them stand out as a wholly exciting new prospect, drawing out the best parts of pop without making it overly saccharine in its delivery. From the sounds of things, it seems that Das Body have been partying at the same sweaty disco as Christine and The Queens, utilising a similar relentless groove and slap bass, where lead singer Ellie Linden's vocals twinkle with a delicious villainry, twisting and turning with a devillish smile. It's an enchanting concoction and ultimately makes "Boys" sound like it was tailor-made to be played at the dirtiest disco in town.

It's safe to say that for indie-rock trio Doe, the last 12 months has seen a dramatic shift in their evolution as a band. Since their critically acclaimed debut album, Some Things Last Longer than You that ABC News voted 6th in their 50 Best Albums of 2016 list, the London based outfit have played sold out shows on both sides of the Atlantic, wowed SXSW audiences and toured with the likes of LVL UP, Jeff Rosenstock and Honeyblood. They recently celebrated their fifth year together with a sold out headline show at London's Paper Dress Vintage. Not content with stopping there, Doe have now signed to renowned indie labels Big Scary Monsters and Topshelf Records to release their sophomore record - Grow into It, produced by Matthew Johnson (Hookworms, Suburban Home Studio) and released on 28th September. Embracing the theme that age is a challenging force, but ultimately positive: sonically the band have written something light and catchy that reinforces their pop sensibilities but ambitiously builds on the lyrical word-play, intertwining guitars and off kilter time signatures of their debut. Drawing on a much wider range of influences than the last record, from The Breeders, Sleater-Kinney, Helium, Plumtree, Superchunk, Autoclave, Weezer, Pixies, Breeders, Pavement through to The Cars, the band have been more playful in their compositions; still referencing their 90's influenced roots but reaching wider to create something unmistakably classic sounding but irresistibly modern. Ever the impressive live act, so much so that NPR once said 'Doe makes snide exasperation sound like a party', the latter half of 2018 not only sees the band make appearances at Truck Festival and The FEST in Gainesville, but they'll also be touring the UK in October with Speedy Ortiz. FFO - Swearin' , Charly Bliss, Tancred, Great Grandpa , Speedy Ortiz, The Breeders

The track is lifted from Frøkedal's forthcoming sophomore album 'How We Made It' - released August 31 via Propeller Recordings.

Singles include 'David' - a moment of 'hopeful optimism', following Pitchfork-praised single 'I Don't Care': 'a cheeky, mid-tempo breakup song that shifts between the defiant detachment and hot-headed resentment.'


New music joins Frøkedal's solo debut of 2016 'Hold On Dreamer' - a Norwegian Grammy-nominated effort, reaching international acclaim across the US (The New Yorker, Indie Shuffle), UK (The Sunday Times, The Independent, Q Magazine, Uncut), Germany (i-D, Nothing But Hope and Passion), France (Efflorescence Culturelle, A Nous Paris) and Australia (Vulture Magazine, Double J).

International airplay includes continued support from respected industry tastemakers Lauren Laverne, Marc Riley and Cerys Matthews, BBC Radio 6 Music. European radio support has also been strong on Frøkedal's most recent singles with continued airplay from 26 different stations across 11 European countries.

OLKSONGS FROM A NON-EXISTING LAND, the new record from Roland Van Campenhout, the wizard-bearded belgian king of the dharma bums, brings mantra from India, repetitive hypnotic Javanese gamelan - voodoo swamp from New-0rleans,with respect to SANDY BULL & THE BAYOU MAHARAJA, little electronic soundscapes with poetic lyrics...

Recorded in Ghent Belgium & wonderfully mixed in Tokyo by JOE TALIA, with some high-class jazzcats playing along. His own atmospherics crackling away, miles away from the ersatz, bam-a-lama background muzak that surrouds us all 24-hours a day ... FOLKSONGS FROM A NON-EXISTING LAND, the healing haiku poetry from a location somewhere very close to the enigmatic heart of the thing .....

Over a decade into their musical life as Rue Royale, Brookln and Ruth Dekker are back with In Parallel, an album of bold, rhythmic and sometimes haunting songs born from a time of beauty and tumult. The album was done with the help from Sean Carey (Bon Iver, S. Carey), whos and rhythmic inventiveness adds a new texture to Rue Royale's music.

The Nottingham-based Anglo-American duo have paid their dues with 1,000+ shows in 16 countries. In 2014, the pair took an enforced period of time off the road. After 7 years of virtually non-stop life on-the-road, they needed a breather. Instead, they had a baby. Being joined in life by a daughter, the oft-clichéd pleasure and pain of child rearing became real at home whilst paying the bills and facing up to political upheavals in their dual home countries with Trump and Brexit.

"We're conscious that things have maybe taken a bit longer to kick into gear again than we, and those who follow us, anticipated," says Ruth. "We're now embracing our differing perceptions and balancing imbalances. We're moving forward with a confidence and a sort of wide-angle view comprised of our parallel-realities, exploring these themes and feelings in 'In Parallel'."

Watford based 4-piece The Spitfires consist of songwriter Billy Sullivan on lead vocals and guitar, Sam Long on Bass/backing vocals, Matt Johnson on drums and George Moorhouse on keyboards. Taking in a wide range of influences from reggae and ska through to punk and soul, this melting-pot of musical genres has helped infuse and consolidate the band's own highlyauthentic sound and style into a progressive take for a new generation of fans.

The band have now announced their new single 'Something Worth Fighting For' (taken from the new album Year Zero) will be released 28th September on limited 7' vinyl and digital download through Hatch Records.

'Something Worth Fighting For' is an inspired lyrical and musical foray into tough times with a rhythm to match. Sullivan's take on trying to escape boring suburban life in times of disarray and uncertainty is set to a pulsating mix of dub and reggae influenced horns, guitars and percussion.

Year Zero is the band's best received album to date and reached number 6 in the UK Independent Chart as well as reaching 8 in the UK Vinyl Chart.

Tim Cohen refuses to die. He simply subsists on fleeting ideas. As if trapped inside a virtual insect farm, he catches uttering melodies in his butter y net of a mind, digesting them and spitting them out in verse. It's not that he wants to, necessarily. His obsession with making music as a means to turn nothing into something has become some- thing of a need. This need has driven him to release close to 30 full length records over the past decade. His prolificacy has sometimes worked against him, as he describes some of his earlier, home-recorded work as 'hurried' or 'incomplete'. But, 2018 has found Cohen at the top of his songwriting game, as focused and direct as ever.

The Modern World is his newest solo collection, recorded at home over the course of a restless and fruitful year. The birth of his second child, coupled with the constant juggle of a fledgling painting career and a day job, allowed strains of anxiety into the artist's vision, and he relished those rare moments of silence, when he could coop up in his attic recording space and press 'record.' The result is a visceral, raw yet clear amalgamation of Cohen's utmost paranoia's and deepest joys. It is his first entirely self-recorded record since 2011's Tim Co- hen's Magic Trick and those years of practicing restraint and patience in the studio has paid dividends here. The new LP is bold and urgent- sounding, structured and sequenced to highlight Cohen's most interesting sonic moments.

11 new reinterpretations of songs from the award winning 'RELAXER'
featuring Danny Brown, GoldLink, Little Simz, Pusha T, Twin Shadow,
Rejjie Snow and more.
'It's no secret that we love and are influenced by hip hop, and it's
always been a dream of ours to work with hip-hop artists in
reimagining our music. With 'REDUXER' that dream has come true.
We couldn't be happier with the results. This album is truly global,
featuring rappers and producers from all over the world. After a very
long time in the making, we are stoked to share it with you all.'
Putting their own indelible vocals on the songs are, amongst others,
Grammy-nominated US hip hop high flyer GoldLink, platinum-certified
Parisian rapper Lomepal, Berlin powerhouse Kontra K, Dublin-born
breakthrough rapper Rejjie Snow, Australian auteur Tuka, Puerto
Rican rapper PJ Sin Suela and London's acclaimed Little Simz.
The project was first hinted at last month when Virginia Beach hip
hop superstar PushaT and LA synth pop polymath Twin Shadow both
joined alt-J for a surprise performance of 'In Cold Blood' on The Late
Show With Stephen Colbert.
alt-J - one of the most successful British bands of the millennium -
are Joe Newman, Gus Unger-Hamilton and Thom Green. Released
last year, 'RELAXER' flew straight into the Top 10 of the UK Album
Chart ahead of a summer of major international shows, including a
headline show at London's O2 Arena; and headline performances at
numerous festivals. 'RELAXER' is the follow up to their Number One,
Grammy and Brit Award-nominated album 'This Is All Yours' and their
2012 Mercury Prize and Ivor Novello Award-winning debut 'An
Awesome Wave'. Between them, the records have sold in excess of
two million copies and their songs have been streamed more than
one billion times.


A 1. 3WW (feat. Little Simz) [OTG Version]
[B] 2. In Cold Blood (feat. Pusha T) [Twin Shadow Version]
[C] 3. House Of The Rising Sun (feat. Tuka) [Tuka Version]


[F] 6. Adeline (feat. Paigey Cakey and Hex) [ADP Version]
[G] 7. Last Year (feat. GoldLink) [Terrace Martin Version]
[H] 8. Pleader (feat. PJ Sin Suela) [Trooko Version]
[I] 9. 3WW (feat. Lomepal) [Lomepal Version]
[J] 10. In Cold Blood (feat. Kontra K) [Kontra K Version]
[K] 11. Hit Me Like That Snare (feat. Rejjie Snow) [Rejjie Snow Version]