Pop & Rock Vinyl New Releases - News

'european Heartbreak' Was Recorded And Coproduced In La With Chris Cohen From Deerhoof
And In Richmond, Virginia With Trey Pollard (natalie
Prass, The Waterboys, Bedouine), Who Oversaw
Horn And String Overdubs From Spacebomb.
A Vast Step Forward From Amber Arcades' Critically
Acclaimed Debut Album 'fading Lines', This Selection
Of Songs Flit Around Europe, From Berlin To Spain To
The South Of France. It's European Not Just In
Lyrical Theme But Also In The Sly Sophistication Of Its
Music: Songs That Carry With Them The Air Of Opentopped Cars On Clifftop Roads, Of Cocktails On The
Terrace At Sunset. And Then The Lyrics Undercut That
Sunny Mood, Artfully And Skilfully.

Bokanté - Founded By Michael League (snarky
Puppy) - Is A Truly Global Band, With Players From
Five Countries And Four Continents.
Metropol Orkest Is Part Jazz Big Band, Part
Symphony Orchestra, Helmed By English Conductor
Jules Buckley.
The Message Is Laced Throughout New Album
'what Heat'... And It Is Urgent. Injustice Is Raging All
Around.
For Fans Of Snarky Puppy, Oumou Sangaré, Buena
Vista Social Club, Les Amazones D'afrique,
Anjelique Kidjo, Ghost-note, Bill Laurence, Afro
Jazz, World Music.

San Francisco-based post-black metal act Bosse-de-Nage have returned to The Flenser for their fifth studio album titled Further Still. This latest album sees the band eschew the sprawling arrangements and hypnotic repetition of their previous efforts in favor of tight, propulsive song structures. It is deliberately succinct in approach while maintaining the band's unique lyrical style set to unpredictable melodies.

Bosse-de-Nage takes their name from a character in the book The Exploits and Opinions of Dr. Faustroll, Pataphysician by the French symbolist author Alfred Jarry. They recorded their first demo in 2006, which was subsequently released on cassette by Aesop Dekker's The Funeral Agency label. Their first album was recorded the following year, but the band became inactive for awhile, and their debut sat on the shelves until The Flenser released it in 2010. This sparked new life into the project and they recorded and released two more self-titled albums over the next two years. In 2012 BDN released a split EP with fellow Bay Area 'blackgaze' upstarts Deafheaven. They subsequently released their monstrous and surreal masterpiece, All Fours (Profound Lore), in 2015 to critical applause. Further Still sees the band refine their multitude of ideas, distilling them to their most basic forms yet retaining their idiosyncratic footprint.

Cat.no.: FR90LP
Format: LP

"The Room", Fenster's fourth album and their first release on Altin Village & Mine marks the beginning of a new chapter for the band. After releasing three albums, a feature length film, and touring extensively throughout Europe and North America since 2012, "The Room" serves as an entry point into their sonic evolution. The essential characteristic of the band is transformation - within and between genres, albums, and songs. Their sound is a window framing psychedelic, groovy, hypnogogic, playful pop.

Fenster is Elias Hock (Germany), Jonathan Jarzyna (Germany), Lucas Ufo (France) and JJ Weihl (USA). Their mission in creating this album was to compose and arrange every song together in a room. It is an experiment in collective creativity that pushed all of them to transcend their individuality and create something together which is greater than the sum of its parts.

The songs were tracked live in a house where the band ate, slept, and played together. Often the songs were recorded without implementing a click track. They were intent on finding and locking into a human groove—one open to imperfection—while still maintaining a tightness between them. They wanted to make the songs feel alive—as if the listener were present in the room with them in the moment of creation.

The album's title track "The Room" opens the record like a rollercoaster ride. There is a tension in the first bars that ties us to earth, a minimal riff that guides us to the first chorus where we feel we are slowly lifting into the air—and by the time we reach the second chorus it has exploded into a space far away from the planet's gravitational pull.

The band's use of juxtaposition is not just a way of channeling a vast library of musical genres and concepts, it is a means of expression. Combining tender pop melodies with kraut-beats, disco grooves and psychedelia frees the band from any one sound and creates a genre all its own.

This playfulness is especially vibrant in songs like "Rhythm A" and "HAHA lol" which deconstruct and fuse together disparate moments of explosive rock, tender harmonies, percussion made of splashing water, voices from a radio, and electric piano. Even "Feel Better", a sparkly pop ballad is cracked wide open by a long trippy interlude that appears unexpectedly within an otherwise classic structure.

The cover art, created by the band's own Lucas Ufo, invites us into a room in the shape of a human skull. If one looks "out" the window in the picture, one finds oneself looking in to an infinite portal of rooms within rooms. The record plays a lot with this idea of perception. In "HBW", the relationship between the bass and the drums creates the feeling of an infinity loop. The lyrics lend an enigmatic tint to the landscape of so called objective reality v. perceived reality: "I was a phase — you were going through — said I was the one but there is no one — there's only the sun — that gives shape to the moon"

The record starts with "The Room" and ends with "Two Doors". Maybe one door is an exit, and one leads to another room... who knows The song has something mysterious and expansive, like a digital ocean flooding the room, carrying everything away. The whole process of making a record is about capturing a moment in time. This is the record they made - in this point in time, all together, in a room. The last words of the record roll out with the waves: "What you leave behind for someone else to find — Two doors inside — neither one is right"

Tracklisting

Night Shop is the songwriting project of Justin Sullivan. Sullivan has worked as a touring drummer for the past twenty years with a half dozen DIY punk bands, including Ringers and an early incarnation of Worriers. In 2009, he joined The Babies alongside Kevin Morby and Cassie Ramone. When the band went on hiatus in 2013, Sullivan moved to Los Angeles with Morby and continued working with him as a staple of the live band and playing on all of Morby's studio albums. In the meantime, Sullivan also formed the fuzz punk outfit Flat Worms, with Tim Hellman of Oh Sees and Will Ivy. But in the middle of a tour in August of 2016, Sullivan realized the rigors of the road had grown to be too much. He made the decision to take a full calendar year away from touring and focus, for the first time, on writing his own music.

Like most of Sullivan's projects, the album is a family affair. His former touring and recording partner in the Kevin Morby band, Meg Duffy (Hand Habits) plays bass on several of the songs and sings backup vocals on a few as well. Flat Worms cohort Will Ivy plays lead guitar on some, while Mare labelmate and soon-to-be touring partner Anna St. Louis sings backup on two songs. The album was engineered by Jarvis Taveniere of Woods and mixed by Drew Fischer who previously worked with Sullivan on Morby's first two records and The Babies second album Our House On The Hill.

'When I think about this record, a lyric from A Hard Rain's A-Gonna Fall, comes to mind. It's the line where Dylan sings, 'I'll know my song, well before I starting singing.' In The Break is the product of someone who has had a lot to say and has waited for the perfect moment to say it.' - Kevin Morby

Cat.no.: WOODSIST 095 LP
Format: LP

Tracklisting

Flowing and brimming with life, ‚Anohito', the second album by indie supergroup Spirit Fest, has come ashore.

The group is comprised of Tokyo-based duo Tenniscoats (Saya and Takashi Ueno), Markus Acher (The Notwist, Rayon), Cico Beck (Aloa Input, The Notwist) and Mat Fowler (Jam Money, Bons). Crossing boundaries geographically and musically, each member contributes rich experiences in collaboration. But experience can be a tricky friend to navigate, often leaving musicians trapped in their comfort zones. However, Spirit Fest embodies the idea of perpetual motion. Ever-changing and keeping their music alive, the singular souls of Spirit Fest have been drawn together a second time.

In the wake of releasing their first record, the group embarked on an European tour where they found their own distinct character and collective voice. From this shared experience, new songs and recordings followed, encompassing ‚Anohito' (Japanese for ‚that person').

The first two album tracks were constructed on a day off in London. The triumphant opener ,Anohito (Till The Gate)', an extraordinary minor key title track, sets the tone of the record; Saya's tender voice and the shimmering, delayed guitars and zither reach delicate and pastoral heights. The loopy folktronica of ‚Fête De Départ' continues to preserve the pace of the album perfectly.

Spirit Fest recorded the remainder of ,Anohito' at Markus's home in Munich. Only Mat operated from London, contributing additional recordings in the form of a tape exchange. These begin with the collective lament of ‚Yuri's Zahn', followed by Markus's evocative banjo pop ‚Look At The Colours' and the twisted Raymond Scott/Dick Hyman-ish wonk of ‚Ueno The Future'. The album draws to a close with ‚Takeda No Komoriuta' (‚Lullaby Of Takeda'), a beautiful cover of a dark Japanese traditional, followed by the instrumental track ‚Bye Bye' - a perfect collage to close and document this rich and playful collaboration by highly imaginative & ego-free musicians.

Tracklisting

Remastered Edition Of A Compilation Of Stereolab
Singles And Rarities, First Issued In 1995. Clear Double Vinyl. Includes Download Card.

NEW YORK, NY (August 27, 2018) - Today multiplatinum, record-breaking superstar ARIANA GRANDE debuts at #1 on the Billboard 200 chart with her critically acclaimed fourth studio album, Sweetener. In addition, Sweetener broke the record for largest streaming week for a pop album by a female artist. This is ARIANA's third album to debut at the top of the Billboard 200 chart. Get Sweetener HERE.



Sweetener was met with rave reviews from RollingStone giving the album four out of five stars, claiming it as 'the best album of her career.' The Fader went on to say, 'It's Ari at the top of her game' and Cosmopolitan proclaimed she is the 'only hope for pop this year.' While V Magazine added to the extensive list of praise that 'her light is shining brighter than ever.'



Three previously released music videos for 'No Tears Left To Cry' now officially certified RIAA PLATINUM, 'The Light Is Coming', and 'God Is A Woman' were directed by Grammy Award®-winning director Dave Meyer. To date all three videos combined have now been streamed on VEVO over 640 million times.



ABOUT ARIANA GRANDE

With her powerful vocals and astonishing range, Ariana Grande has emerged as one of the most magnetic and massively successful performers in pop music today. At age 25 she's delivered three platinum-selling albums and surpassed 18 billion streams, in addition to nabbing four Grammy Award nominations and landing eight hits in the Top 10 on the Billboard Hot 100 chart. With 2016's critically acclaimed Dangerous Woman, Grande both boldly defies expectation and reveals the full force of her voice (recently hailed as an 'extraordinary, versatile, limitless instrument' upon Grande's appearance on Time's '100 Most Influential People' list).



Since making her full-length debut with 2013's Yours Truly (featuring the game-changing, triple-platinum smash 'The Way'), Grande has brought her striking vocal presence to a genre-blurring breed of pop, taking on R&B, soul, and electronic music with equal nuance and assurance. Arriving in 2014, her sophomore effort, My Everything, garnered a Grammy Award nomination for Best Pop Vocal Album and spawned the 6x-platinum hits 'Problem' and 'Bang Bang' (a Grammy nominee for Best Pop Duo/Group Performance). Grande embraced a more uncompromising vision than ever before in the making of Dangerous Woman. With People noting that the album 'celebrates feminine might,' Entertainment Weekly praised Grande for 'having something meaningful to say with that jaw-dropping voice — one of the most exquisite in pop today.' Grande wrapped up her widely lauded Dangerous Woman Tour in support of the album last year, performing 85 arena shows worldwide.



Through the years, the longtime actress and former Broadway star has proven the scope of her talent by appearing on Scream Queens and Hairspray Live! and showcased her comedic chops by hosting Saturday Night Live. With her social media following now surging past 200 million, Grande has also earned numerous accolades from the MTV Video Music Awards, iHeartRadio Music Awards, and American Music Awards (including the highly coveted Artist of the Year prize).



Ariana's recent single 'No Tears Left To Cry' debuted at #1 on iTunes in 88 countries worldwide and began the next era for her upcoming fourth full length studio album Sweetener. With the release of 'Not Tears Left To Cry' she became the first artist in music history to see the lead single from her first four albums debut on the Top 10 on Billboard Hot 100. This year she has graced the prestigious magazine covers of TIME's Next Generation Leaders, FADER, and British Vogue. The highly anticipated album, Sweetener, was released in August 2018 and debuted at #1 on the Billboard 200 chart.

Recorded in 1981 in France.. Great compositions here, Jazz with West Indies soul!

Last years (2017) edition of Convenanza festival featured Swedish band Fontan, who have released material on Hoga Nord Rekords, and that set the ground for a collaboration between the record label and one of the most interesting festivals around. The joint forces has resulted in the compilation album 'Convenanza 2018' containing this years (2018) acts.
The contributors are: electro oozing duo Woodleigh Research Facility, consisting of Andrew Weatherall and Nina Walsh, etno-minimalists Komodo Kollektif from Glasgow with, among others, Gordon Mackinnon who's running the top quality label Invisible Inc. The more rock oriented side of 'Convenanza 2018' contains Berlin based Die Wilde Jagd, whose sound can be defined as some sort of post punk where strong chorus drenched basslines float upon a smooth electronic soundscape with both live drums and drum machines as the back bone to the beat. Wild Woman & The Savages could best be described as the result of an orgy between PIL and The Birthday Party! The Liminanas, with special guest Anton Newcombe, contribute to the collection a garage psych rock track suited for long hot drives through the dessert.
Weatherall's unfailing 'fingerspitzengefuhle' in picking artists for the festival gets repeated yet again and if you for some unexplainable reason fail to make it to Carcassonne this year, the magic from the old castle still can reach your senses with the help from this compilation!

Gatefold Coloured Vinyl (marbled) + Cd

Every Visionary Artist Has A Defining Work - Their Personal Magnus Opus. For The Polymath
Andrew Bayer, 'in My Last Life' Might Be Just That.
Grammy Nominated Through His Production Work With Above & Beyond, The Berklee College
Of Music Graduate Co-produced Their #3 Us Album 'common Ground' And Is Also A Writer
And Producer On Lo Moon's Indie Electronica Hit 'loveless'.
As A Dj, The New York Native Has Graced The Stages Of Tastemaker Electronic Festivals Such As
Edc Vegas, Electric Zoo And Creamfields, And Headlined Clubs From La To London - With A
Forward-thinking Sound That Will Be Catered For By Forthcoming Club Mixes Of The 'in My Last
Life' Songs.
But It Is As An Album Artist That Andrew Bayer Has Sculpted His Reputation As A True Innovator
- An Artist In The Classic Sense Of The Word.
It's A Journey That Began With His 2011 Debut Lp 'it's Artificial' - Described By Mixmag As am
Incredible Album Of Sophisticated Electronica'. Traversing Glitch Hop, Progressive House And
Electronica, It Signalled The Arrival Of A True Talent On Anjunabeats.
It's 2013 Follow-up, 'if It Were You, We'd Never Leave' Took An Even Bolder Creative
Direction. Ditch The 4/4 Beats Completely, Andrew Instead Conjured A 16-track Sampladelic
Odyssey Featuring Sufjan Stevens, Ane Brun And Des-ree - Earning Comparisons To Dj
Shadow, Moby And Flying Lotus By Xlr8r.
Five Years In The Making, This Third Lp 'in My Last Life' Represents A Humanising Of The
Enigmatic Producer's Sound - Comprising Of 8 Heart-felt And Emotional Songs Penned And
Delivered By Norwegian Singer/songwriter Ane Brun And The Talented Alison May
Respectively. It Is Also, Quite Simply, His Defining Work To Date.
An Artistic Statement And A Perfectly Considered Body Of Work, 'in My Last Life' Owes Very
Little To The Dancefloor That Andrew Is Often Associated With - Instead Drawing Its Inspirations
From Influences As Far And Wide As Talk Talk, Aphex Twin, Kate Bush And Atoms Of Peace.
Through Its 8 Songs, The Lp Plots An Enchanting, Carefully Spun Tale Of Love And Loss -
Explored Through The Narrative Prisms Of Reincarnation And Immortality.
Alison May Swims In The Overwhelming Sensations Of Love In The Ethereal Electronic Washes Of
'tidal Wave', Looks At Love Through Reincarnation On The Dreamy 'in My Last Life' And
Whispers Of Stalking Ex-lovers From The Beyond The Grave On The Shuffling Trip-hop Beats Of
'immortal Lover'.
Ane Brun's Three Turns, Meanwhile, Are As Diverse As They Are Majestic. Nodding Back To
Classics 80s Ballads From Kate Bush And Sade, 'love You More' Is A Slow-building Indie-pop
Beauty Loaded With Joy And Musicality. Somewhere Between Aphex Twin And The Xx, 'hold
On To You' Is A String-laden, Bittersweet Love Song To A Partner That She Can't Quite Keep
Hold Of, Whilst The Psychedelic Synth-pop Journey Of 'your Eyes' That Could Easily Be Filed
Next To The Best Work Of Mgmt, Passion Pit Et Al.
And Then There's Closer 'end Of All Things', An Anthemic, Arm-waving Electronica Excursion,
Where Alison May Sings In Ode To A Recently Lost Love - Capturing All The Celebration,
Uncertainty And Emotion Of The End Of A Beautiful Road.
A Perfect Closer, But 'in My Last Life' Is Also An Album That Needs To Be Taken In Its Entirety.
Taking As One Cohesive And Beautifully Constructed Whole, The 8-track Lp Represents An
Journey That Will Surprise, Stun And Overwhelm Those That Submit To Its Charms - A Truly
Personal Masterpiece With All The Musicality And Detail That Andrew's Fans Know And Love Him
For.

Released in 1980 as the follow-up to their debut album, Three Imaginary Boys, and featuring a new line-up that included Simon Gallup and Mathieu Hartley, this is the album that gave the band their first hit ('A Forest'), and also began to solidify the brooding atmospheric sound that would soon make these grandfathers of goth international pop icons. Includes bonus tracks in a deluxe gatefold 180 gram 2LP version.

Released in 1980 as the follow-up to their debut album, Three Imaginary Boys, and featuring a new line-up that included Simon Gallup and Mathieu Hartley, this is the album that gave the band their first hit ('A Forest'), and also began to solidify the brooding atmospheric sound that would soon make these grandfathers of goth international pop icons. Includes bonus tracks in a deluxe gatefold 180 gram 2LP version.

Dirty Projectors Melden Sich Mit Neuem Album Lamp Lit Prose Zurück!

Lamp Lit Prose Erscheint Nur Anderthalb Jahre Nach Dem Selbstbetitelten, Lezten Album. Man Darf Es Getrost Als Yang Zum 2017er Yin Verstehen. Die Dunklen Zeiten Des Break-up-albums Hat Longstreth Hinter Sich Gelassen. Nun Herrscht Hoffnung Statt Das Gebrochene Herz. Die Stärke Aus Der Neuen Lebensbalance Macht Lamp Lit Prose Zum Wahrscheinlich Zugänglichsten Album Des Dirty Projectors Kataloges. Songtitel Wie I Feel Energy, I Found It In U Oder (i Wanna) Feel It All Sprechen Für Sich. Zurück Sind Die Gitarren, Zurück Sind Auch Die Verschlungenen Gesangsharmonien. Lamp Lit Prose Ist Das Wiederbekenntnis Zu Den Soundidealen Von Dirty Projectors. Produziert Wurde Lamp Lit Prose Vom Gesicht Der Band, Dave Longstreth, In Seinem Ivo Shandor Studio In Los Angeles. Und Wieder Hat Er Eine Illustre Schar Von Gästen An Bord: Syd, Empress Of, Amber Mark, Haim, Rostam, Robin Pecknol, Dear Nora Sowie Nat Baldwin Und Mike Johnson, Die Beide Schon Sein Vielen Jahren Die Rhythmus-sektion Der Dirty Projectors Ausmachen.

Das zweite Album Love Is Real des amerikanischen Lo-Fi/Darkwave Künstlers John Maus aus dem Jahr 2007 ist endlich wieder auf LP erhältlich.

- Schwarze heavyweight LP in Sleeve mit MP3-Downloadkarte

2010er Album von Bachelorette

'And Nothing Hurt' is Spiritualized's eighth album, the follow up to
2012's 'Sweet Heart, Sweet Light'. From the opening lullaby of 'A
Perfect Miracle' through to the fading Morse Code at the close of 'Sail On Through', it painstakingly wraps layer upon layer of gloriously transcendent sound together to create a mesmerizing and cinematic collection of songs.
There are points - the thunderous climax of 'On The Sunshine'; the spectral waltz of 'The Prize'; the towering guitar solo on 'I'm Your Man' - where the waves of blissful noise are almost overwhelming, where one can imagine the studio's speakers vibrating themselves off of the walls. Which is an incredible feat when you discover that the album was conceived and recorded almost entirely by one man -
Jason Pierce, AKA J.Spaceman - in an upstairs room in his east
London home. Sat in an edit suite in Whitechapel a month or so after finishing recording, Jason talks honestly about the painstaking, frustrating process of creating 'And Nothing Hurt': 'Making this record on my own sent me more mad than anything I've done before. We'd been playing these big shows and I really wanted to capture that sound we were making but, without the funds to do, I had to find a way to work within the constraints of what money I had. So I bought a laptop and made it all in a little room in my house.

Over the last several years, the Zappa Family Trust and UMC have lovingly been restoring Frank Zappa's iconic catalog together by reissuing his classic albums on CD and pressing long-out-of-print records back on vinyl. Next up in the ongoing vinyl initiative, coming on the heels of the reissue of his enigmatic Burnt Weeny Sandwich, is Zappa's 1970 stylistically diverse and subversive album, Chunga's Revenge, which will receive a 180-gram audiophile repressing on black vinyl on July 20. Supervised by the ZFT, the record, which has been unavailable on vinyl for more than three decades, will be press pressed at Pallas In Germany and feature reproductions of the original artwork. Chunga's Revenge, although released under Frank Zappa's own name, introduced a new Mothers lineup that included former Turtles members Howard Kaylan and Mark Volman, aka Flo and Eddie, as well as keyboardist George Duke, drummer Aynsley Dunbar and multi-instrumentalist Ian Underwood. The album is one of Zappa's most eclectic efforts, encompassing the improvisational title track, the raucous guitar jam "Transylvania Boogie," the bluesy "Road Ladies" and the jazzy "Twenty Small Cigars," along with more conventional rock numbers like "Tell Me You Love Me," "Would You Go All the Way" and "Sharleena."

Die Belgischen Cosmic-rocker Go March Präsentieren Den Nachfolger Ihres Selbstbetitelten Debütalbums Aus 2015, Das Ihnen Kritiken Wie "mogwai Meets Kraftwerk" Einbrachte. Auch Das Neue Werk Ist Voller Psychedelischer, Elektronischer Synth-rock-sounds, Pulsierend, Polyrhythmisch Und Episch, Die Den Geist Von Proto-techno-künstlern Wie Manuel Göttsching Oder Giorgio Moroder Atmen. Go March Tourten Mit Holy Funk, Trans Am Und Millionaire Und Wurden Von Psychemagik, Shigeto Und Peaking Lights Remixt.

Auntie Flo Joins The Brownswood Roster To Deliver His Third And Most Ambitious Album To Date. The Glasgow-raised Producer, Of Goan-kenyan Heritage, Has Often Featured Collaborators From Different Spots He's Visited, And This New Record Takes That Approach To Another Level. Contributions Come From A Globetrotting Cast Of Friends, Including Laurie Pitt, Of Glasgow's Golden Teacher, Senegalese Multi-instrumentalist Mama Ndiack, Uk Producer And Singer Andrew Ashong And Cuban Percussionist Yissy Garcia.

It Arrives As The Natural Companion Piece To His Radio Highlife Show On Worldwide Fm, The Online Station Run By Brownswood Boss Gilles Peterson. Regularly Touring To Dj In Various Cities Around The World, It's A Pursuit That's Gone Hand-in-hand With The Global Slant Of His Music - With The Local Radio Often Being His First Introduction To New Cities. It Follows In The Path Of Glasgow's Highlife Club Night Which He Co-founded, Playing Music From West Africa And Latin America Which Broke Out Of The City's House And Techno Mould. Likewise, His Own Music Has Always Been Laced With Percussion, Ideas And Inspirations That Reflect A Far-reaching Perspective.

After releasing his successful debut album Maverick A Strike Finley Quaye went back into the studio to record his follow-up album Vanguard. It's a unique work which features a lot of different music styles, including soul, rock, reggae and funk. The album features the single 'Spiritualized', which is a boozy rock 'n' roll track with a lot of driving guitar melodies. The album got many sides, from protest songs to love songs, Quaye has a lot say about the world.

After winning the Mobo Award for best reggae act in 1997 and the 1998 BRIT Award for Best Male Solo Artist Finley Quaye looked into the future with bright shining eyes. But later on he fell back into oblivion.

Vanguard is available as a limited edition of 1.000 individually numbered copies on silver vinyl.

Zwei Jahre nach seinem hochgelobtem Debütalbum Tremors legt der ehemalige Wahlösterreicher sein
zweites Album vor. Mittlerweile lebt SOHN in Los Angeles und dem neuen Album hört man die Wärme seiner
neuen Heimat durchaus an. Erneut hat er das Album in reinen Nachtschichten erarbeitet - dieses Mal in
einem Studio im Norden Kaliforniens. Die 10 Songs sind zuversichtlich, direkt und fokussiert. Vorsichtig
lockert er die Beschränkungen auf und baut in jeden Track neue musikalische Elemente ein, durch die
Gesang, Melodien und Rhythmen noch besser zur Geltung kommen.

Die Songs auf ihrem Debütalbum "Lykke til i livet" sind der Sound des Erwachsenwerdens und des Erwachsensein. Virkelig sind drei 19 jährige Jungs, die nicht nur die norwegischen Musikfans
begeistern werden. Virkelig sind drei 19 Jahre alte Jungs, die die norwegischen Radio-, Medien- und Musikfans mit
ihren Rocksongs verzaubern. Ihre ersten drei Singles liefen für 48 Wochen im norwegischen Radio und dieses neue Album bringt die Band zu neuen Höhen.
"Balletdanseren" ist die erste Single aus ihrem kommenden Debütalbum und zeigt eine größere,
bessere und reifere Band. Der Vergleich mit der Band "War On Drugs" passt hervorragend, insbesondere bei diesem Lied.
Die Songs auf ihrem neuen Album - Lykke til i livet ' sind der Sound des Erwachsenwerdens und des
Erwachsensein. Zum ersten Mal von zu Hause weggehen und sich dem Unbekannten stellen. Virkelig singt auf Norwegisch, kommt aus Bodø in Nordnorwegen. Der ebenfalls enthaltene Song Perrong wird in dem Film Thelma von Joachim Trier vorgestellt.

White Denim are back - regenerated and resolute.

The Austin quartet have long pulled hard at the parameters of rock & roll, admitting garage punk, soul, psychedelia, prog, jazz and blues while holding onto its vital goodtime core.

Their up-tempo drive has produced a body of work defined as much by stellar musicianship as off-the-chain exhilaration.

Energy and adventurism have always been paramount.

Here are nine songs with clarity and renewed purpose as well as a truckload of attitude.

A new studio, new collaborators, and new techniques for writing and recording influenced the elastic possibility and liberation felt throughout.

Theirs is music that aims for the whole body, while equally satisfying the mind. While it has morphed, expanded, and even burst apart, White Denim's sincere, human drive and ability to spark true exhilaration have been unerring constants of the band's existence.

Ever progressing, never content to camp out on a plateau of their creative accomplishments, there is no other band quite like White Denim - unique in talent and legendarily potent as a live band, they are quite simply a very special band.

James Joyce sagte einmal, wenn Dublin komplett zerstört würde, sollten die Menschen in der Lage
sein, nur durch die Lektüre seiner Novellen die Stadt Stück für Stück wieder aufzubauen.
Wilder Makers Album Zion ist das erste Kapitel in einer musikalischen Novelle, die denselben
Anspruch für Brooklyn, NY hat.
Geschrieben von Gitarrist, Saxophonist und Sänger Gabriel Birnbaum und unter Mithilfe von seinen
langjährigen Partnern Katie Von Schleicher, Nick Jost (Baroness), Adam Brisbin (Sam Evian, Jolie
Holland) und Sean Mullins zum Leben gebracht, ist Zion ein kaleidoskopischer Schnappschuß einer
rastlosen, aber immer kreativen Stadt.
Auf Zion erweitern Wilder Makers ihre musikalsiche Palette.
Die Einflüsse reichen vom klassichen Bob Dylan Sound der 70er Jahre über den Einsatz von
Free Jazz Saxophon und Dr. Johns sumpfiger Psychedelia bis hin zu The Velvet Undergound

'I've Tortured You Long Enough' is the tongue-in-cheek title of Mass Gothic's second album. Husband / wife duo Noel Heroux and Jessica Zambri have always dipped in and out of each other's creative spaces, advising on their
respective outputs and supporting one another but, until this record, they had never completely committed to doing an entire album as a duo, sharing an equal load. The result is a record packed with the tension, chaos and beauty of a fluid and cathartic two-way conversation. In a universe that
increasingly threatens our abilities to communicate and coexist, their creative union isn't just inspired but important.

The album was ultimately recorded in Brooklyn with Rick Kwan. Chris Coady mixed the record and Heba Kadry mastered it.

The Beths occupy a warm, energetic sonic space between joyful hooks, sun-soaked harmonies, and acerbic lyrics. Their debut album Future Me Hates Me, forthcoming on Carpark Records, delivers an astonishment of roadtrip-ready pleasures, each song hitting your ears with an exhilarating endorphin rush like the first time you heard Slanted and Enchanted or 'Cannonball.'

Front and center on these ten infectious tracks is lead singer and primary songwriter Elizabeth Stokes. Stokes has previously worked in other genres within Auckland's rich and varied music scene, recently playing in a folk outfit, but it was in exploring the angst-ridden sounds of her youth that she found her place. 'Fronting this kind of band was a new experience for me,' says Stokes. 'I never thought I had the right voice for it.'

From the irresistible title track to future singles 'Happy Unhappy' and 'You Wouldn't Like Me,' Stokes commands a vocal range that spans from the brash confidence of Joan Jett to the disarming vulnerability of Jenny Lewis. Further honeying Future Me Hates Me's dark lyrics that explore complex topics like being newly alone and the self-defeating anticipation of impending regret, ecstatic vocal harmonies bubble up like in the greatest pop and R+B of the '60s, while inverting the trope of the 'sad dude singer accompanied by a homogenous girl-sound.'

All four members of The Beths studied jazz at university, resulting in a toolkit of deft instrumental chops and tricked-out arrangements that operate on a level rarely found in guitar-pop. Beths guitarist and studio guru Jonathan Pearce (whose other acts as producer include recent Captured Tracks signing Wax Chattels) brings it all home with an approach that's equal parts seasoned perfectionist and D.I.Y.

'There's a lot of sad sincerity in the lyrics,' she continues, 'that relies on the music having a light heart and sense of humor to keep it from being too earnest.' Channeling their stew of personal-canon heroes while drawing inspiration from contemporaries like Alvvays and Courtney Barnett, The Beths serve up deeply emotional lyrics packaged within heavenly sounds that delight in probing the limits of the pop form. 'That's another New Zealand thing,' Stokes concludes with a laugh. 'We're putting our hearts on our sleeves—and then apologizing for it.'

The Beths occupy a warm, energetic sonic space between joyful hooks, sun-soaked harmonies, and acerbic lyrics. Their debut album Future Me Hates Me, forthcoming on Carpark Records, delivers an astonishment of roadtrip-ready pleasures, each song hitting your ears with an exhilarating endorphin rush like the first time you heard Slanted and Enchanted or 'Cannonball.'

Front and center on these ten infectious tracks is lead singer and primary songwriter Elizabeth Stokes. Stokes has previously worked in other genres within Auckland's rich and varied music scene, recently playing in a folk outfit, but it was in exploring the angst-ridden sounds of her youth that she found her place. 'Fronting this kind of band was a new experience for me,' says Stokes. 'I never thought I had the right voice for it.'

From the irresistible title track to future singles 'Happy Unhappy' and 'You Wouldn't Like Me,' Stokes commands a vocal range that spans from the brash confidence of Joan Jett to the disarming vulnerability of Jenny Lewis. Further honeying Future Me Hates Me's dark lyrics that explore complex topics like being newly alone and the self-defeating anticipation of impending regret, ecstatic vocal harmonies bubble up like in the greatest pop and R+B of the '60s, while inverting the trope of the 'sad dude singer accompanied by a homogenous girl-sound.'

All four members of The Beths studied jazz at university, resulting in a toolkit of deft instrumental chops and tricked-out arrangements that operate on a level rarely found in guitar-pop. Beths guitarist and studio guru Jonathan Pearce (whose other acts as producer include recent Captured Tracks signing Wax Chattels) brings it all home with an approach that's equal parts seasoned perfectionist and D.I.Y.

'There's a lot of sad sincerity in the lyrics,' she continues, 'that relies on the music having a light heart and sense of humor to keep it from being too earnest.' Channeling their stew of personal-canon heroes while drawing inspiration from contemporaries like Alvvays and Courtney Barnett, The Beths serve up deeply emotional lyrics packaged within heavenly sounds that delight in probing the limits of the pop form. 'That's another New Zealand thing,' Stokes concludes with a laugh. 'We're putting our hearts on our sleeves—and then apologizing for it.'

The Beths occupy a warm, energetic sonic space between joyful hooks, sun-soaked harmonies, and acerbic lyrics. Their debut album Future Me Hates Me, forthcoming on Carpark Records, delivers an astonishment of roadtrip-ready pleasures, each song hitting your ears with an exhilarating endorphin rush like the first time you heard Slanted and Enchanted or 'Cannonball.'

Front and center on these ten infectious tracks is lead singer and primary songwriter Elizabeth Stokes. Stokes has previously worked in other genres within Auckland's rich and varied music scene, recently playing in a folk outfit, but it was in exploring the angst-ridden sounds of her youth that she found her place. 'Fronting this kind of band was a new experience for me,' says Stokes. 'I never thought I had the right voice for it.'

From the irresistible title track to future singles 'Happy Unhappy' and 'You Wouldn't Like Me,' Stokes commands a vocal range that spans from the brash confidence of Joan Jett to the disarming vulnerability of Jenny Lewis. Further honeying Future Me Hates Me's dark lyrics that explore complex topics like being newly alone and the self-defeating anticipation of impending regret, ecstatic vocal harmonies bubble up like in the greatest pop and R+B of the '60s, while inverting the trope of the 'sad dude singer accompanied by a homogenous girl-sound.'

All four members of The Beths studied jazz at university, resulting in a toolkit of deft instrumental chops and tricked-out arrangements that operate on a level rarely found in guitar-pop. Beths guitarist and studio guru Jonathan Pearce (whose other acts as producer include recent Captured Tracks signing Wax Chattels) brings it all home with an approach that's equal parts seasoned perfectionist and D.I.Y.

'There's a lot of sad sincerity in the lyrics,' she continues, 'that relies on the music having a light heart and sense of humor to keep it from being too earnest.' Channeling their stew of personal-canon heroes while drawing inspiration from contemporaries like Alvvays and Courtney Barnett, The Beths serve up deeply emotional lyrics packaged within heavenly sounds that delight in probing the limits of the pop form. 'That's another New Zealand thing,' Stokes concludes with a laugh. 'We're putting our hearts on our sleeves—and then apologizing for it.'

Heavy Eyes' is the debut album from Canadian indie-rock trio
Basement Revolver. There's an air of weariness pervading the
album, with the sleepy title 'Heavy Eyes' summing up a general
exhaustion right down to the bone, as well as hinting at a
heavier direction as they deftly merge 90s infused indie rock
with fuzzy dreamy pop and poignant, yearning lyrics. Unable to
disguise the emotion in her voice, songwriter Chrisy Hurn
shares intimate stories and personal wounds from her past,
revealing a deeply affecting and rewarding set of songs.
Bringing together the talents of Chrisy Hurn (vocals, guitar),
Nimal Agalawatte (bass, synth) and Brandon Munro (drums),
the band hail from Hamilton, Ontario and were named
Basement Revolver due to Chrisy's basement apartment, rather
than any trigger-happy leanings. Their ascent to the spotlight
has been a steady trajectory, capitalising on the success of their
debut single 'Johnny' in 2016. The track garnered
endorsements from DIY Magazine and Exclaim! as well as
respected tastemakers Gold Flake Paint, who hailed it a
Favourite Song Of The Year contender. They had stumbled
across a sound that is capable of stripping listeners of
inhibition, yet heavy hitting enough to leave a lasting
impression.
On the back of 'Johnny', they were signed by Memphis
Industries' UK sub-label Fear Of Missing Out Records, who
released their debut self-titled EP in 2016 with 'Johnny' and
their second single 'Words' reaching the higher echelons of
many charts and the EP flagged up in several End Of Year lists.
They followed this up with the 'Agatha' EP in 2017 where the
single 'Bread & Wine' reached the B-list on 6Music and also
garnered support from John Kennedy at Radio X.
In a relatively short time, Basement Revolver have successfully
encapsulated the yearning and hopefulness of their generation,
whilst harnessing a unique, yet familiar soundscape.
Pink coloured vinyl LP includes digital download code.

If you want to know what Gabe Gurnsey's debut album
'Physical' sounds like, the first thing you should do is forget all
about Factory Floor, the group he co-founded 13 years ago.
Gone are the cold, lengthy, stripped back deconstructions of no
wave electronica and industrial techno, abandoned in favour of
something altogether warmer, torrid and succinct.
'It's a real departure from Factory Floor,' he explains. 'Yeah,
that was the intention. There's only one track over six minutes
long! There's only one crossover point on the song 'Night
Track', which is 6'33' - that's probably as close to Factory Floor
as it gets. What I wanted to get into with 'Physical' had more to
do with exploring songwriting and structure. The album is very
escapist in one sense even though I don't want to escape from
Factory Floor but what I do on my own has to be separate and
it has to explore new avenues.' Gurnsey started writing tracks in his downtime from the group early 2017 and by the start of that Summer he had 30 demos ready for work. He admits he worked very quickly initially but then gave the tracks 12 months to develop fully into a new sound.
And that new sound - a 21st Century take on muscular electro,
Balearic synth pop, EBM, proto-Hacienda militant funk, early
Chicago house and minimal, Neptunes-referencing beats - can
be experienced in full on 'Physical' the album released on Erol
Alkan's Phantasy label. The album features additional production from Erol Alkan, who also mixed the record.
Double LP format includes printed inner sleeves and digital
download code. Press - Reviews in Q, Loud & Quiet, The Quietus, Record Collector, Uncut.
Features in Loud & Quiet, Electronic Sound, Q, Clash, The Quietus, Gigwise, Silver Soundz.








[]I C2 | I Get
[]J C3 | Version

Glenn Jones at his most vivid, exploring memories old
and new through beautifully woven threads of melody.
His unparalleled skill and creativity exhibits the
mastery Jones possesses of his craft, further
cementing his position as a pillar in American Primitive
guitar music. Recorded in New Jersey by Laura Baird
and mixed by Matthew Azevado, 'The Giant Who Ate
Himself And Other New Works For 6 & 12 String
Guitar' makes for an exceptional evening of listening.
'His tunings are counterintuitive and mesmerizing; his
use of partial capos and muted strings is novel and
intriguing. But to Jones' great credit, those only feel
like tools for telling stories.' - Pitchfork
'It's incredibly calming to watch Glenn Jones play
acoustic guitar... there's nothing flashy about his style,
only careful consideration as he gently hops over the
frets like a lily-padding frog' - NPR All Songs
Considered
Glenn Jones has a purist's mastery but an inventor's
imagination' - The Wire

Interpol release their sixth studio album 'Marauder' on Matador
Records, available on CD and black vinyl.
Also available to independent retailers on exclusive cream
coloured vinyl.
For the first time since 2007's 'Our Love To Admire', Interpol
have opened themselves up to the input of a producer. For twoweek spells between December of 2017 to April of 2018, they
travelled to upstate New York to work with Dave Fridmann -
famed for recording with Mercury Rev, Flaming Lips, MGMT,
Spoon, Mogwai and countless more.
In the run up to writing and recording, Sam found himself
immersed in soul drummers such as Al Jackson Jr (Otis
Redding's drummer) and 80's funk producers Jimmy Jam and
Terry Lewis. 'How can I make shit swing' was the question
Sam repeatedly asked himself and the answer is in the striding
gallop of opener 'If You Really Love Nothing', the embellished
skip 'n' bounce of 'Stay In Touch' and the R&B swagger of
closer 'It Probably Matters'. Interpol have always been worldbeaters at creating a feeling but 'Marauder' is where the feel is
just as crucial.
Paul may have stepped out of the shadows as a bassist but he's
stepping into an even brighter light as a songwriter. During
Interpol's previous albums, the singer largely kept himself out
of his own work, preferring to fill his lyrics with detached
thoughts, characters and observations, often phrased in
abstract. However, more than 20 years on since forming at
NYU, the frontman is finally allowing himself to play a role in
his own stories. 'This record is where I feel touching on real
things that have happened to me are exciting and evocative to
write about,' he explains. 'I think in the past, I always felt
autobiography was too small a thing for me to reference. I feel
like now, I'm able to romanticize parts of my own life.'
Global dates announced, including Madison Square Garden,
Hollywood Bowl, Royal Albert Hall and Japan.

180 gram Translucent Royal Blue, Double Gatefold Jacket, Double sided record sleeve, Bi-Fold Lyric booklet with 6 double sided photo inserts

In 2013, a 16-year-old LORDE quietly, yet confidently asserted herself as the voice of a generation with her full-length debut, Pure Heroine. The album would go triple-platinum, selling over 4 Million worldwide, win two GRAMMY® Awards, a BRIT and spawned the seven-times platinum record-breaking international juggernaut single, Royals,' and quadruple-platinum follow up Team.'

She also curated the official soundtrack for The Hunger Games: Mockingjay - Part 1 and recorded Yellow Flicker Beat' as the lead single. Her last trip to the UK was when she was personally asked by David Bowie's family to perform her spellbinding tribute to the late artist at 2016 BRIT AWARDS. Having once been described by David Bowie himself as "the future of music', Lorde is proving to be that and much more.

Following LORDE's triumphant return with comeback single Green Light,' the singer released her second full-length album Melodrama on June 16.

Melodrama will now be released on standard & deluxe vinyl this April