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Sophie Hunger Returns With Her Brand New Album 'molecules'.

'she Makes President', The Album's First Offering, Was Written Before The Us Presidential Election, With Hunger Having Listened To A Radio Programme That Declared That The Female Voters Would Wield The Deciding Vote On Election Day Owing To Their Greater Numbers And Likelihood Of Voting. I Wrote That Song Trying To Portrait This Future Female Identity And Then Trump Got Elected,' She Says, Still Audibly Stunned. Knowing That Women Had It In Their Hands Not To Elect Trump, But They Proved To Be Yet Again Unreliable When It Came To Standing Up For Their Own Rights.'
'molecules' Is Hunger's First Full Album In English, And Is What She Describes As Minimal Electronic Folk'. Her Most Compelling Qualities - An Ingenue-like Delicacy And Contrasting Solitary Darkness - Haven't Changed. Familiar Trickles Of Funfair Weirdness Still Permeate The Music, Calling To Mind Beth Orton And Regina Spektor. Moreover, She's Still Enigmatic And Self-possessed To The Point Where It Feels Too Intrusive To Ask Certain Questions.

(a) A1. She Makes President
(b) A2. Silver Lane
(c) A3. There Is Still Pain Left
(d) A4. Tricks
(e) A5. Let If Come Down
(f) B1. I Opened A Bar
(g) B2. Oh Lord
(h) B3. The Actress
(i) B4. Electropolis
(j) B5. That Man
(k) B6. Coucou

Vinyl album of the Fall's greatest hits, all Top 75 tracks, recorded live at King George's Hall Blackburn, 22nd September 2002 Full mailout to relevant music press and radio. Advertising in Record Collector and Shindig

The First Authoritative Compilation Of American Dream Pop Artist Happy Rhodes, Whose Singular Songwriting And Four-octave Vocal Range Emanated From The Pastoral Confines Of Upstate New York In The 1980s. Her Melding Of Classical Music Influences With Synthesizer And Acoustic Guitar, And Her Enchanting And Idiosyncratic Singing, Are Favorably Compared To Heralded English Chanteuse Kate Bush. Fans Of Such Artistic Pop Music Would Be Remiss To Overlook Rhodes's Similarly Remarkable And Otherworldly Sonic Transmissions, Traversing Tales Of Dreamers, Outsiders, Lovers And Other Lovely And Terrifying Creatures Born Of A Wellspring Of Wild Creativity And Bold Imagination. Affectionately Remastered From The Original Tapes, Ectotrophia Gathers Essential Songs From Rhodes's Mid-'80s Salad Days, Many Written When She Was Just A Teenager — Wildly Ahead Of Her Time And Unafraid To Bare Her Soul To Regional Audiences, The Ectophiles Who'd Eventually Coin An Entire Subgenre Of Pop Music In Her Honor. Dive Deep Into Ecto, With The Woman Who Started It All.

No Matter How Obscure Your Tastes Run, There Is Always Another Layer To The Onion Of Cult Stardom.

Case In Point: Ectotrophia, Numero Group's Latest Lovingly Curated, Fished-from-the-depths Outsider Artist Compilation Job, Which Collects Early Recordings By Dream Pop Singer-songwriter Happy Rhodes.

Ok, Rhodes Isn't An outsider Artist' In The Strictest Sense — She Has What Folks In The Biz Like To Call chops,' Both Vocally And On Her Choice Instruments (acoustic Guitar And Synthesizer), And Her Recordings Were Largely Produced In Professional Studios. But She Certainly Has Been An Outsider In Terms Of Her Career's Trajectory And Her Music's Path To Its Audience, Which Has Been Pretty Much Strictly Word Of Mouth (or Word Of Keyboard).

Rhodes' Classical-tinged, Kate Bush And Queen-influenced Music Was Mostly Issued On Cassette In The Late '80s And '90s By The Tiny Label Aural Gratification, And It Found A Ravenous Audience Among A Small Group Of Fans That Splintered Off From A Kate Bush Usenet Forum And Created Their Own Email List, ecto' — Named After Rhodes' Fourth Album — Where They Discussed Not Only Rhodes But Other Artists Whose Sensibilities They Felt Kindred To Hers (e.g. Bush, Peter Gabriel, Jane Siberry, And Others). They Even Coined A Subgenre For The Music, Which They Also Called ecto.'

The New Compilation Tells The Story Of Not Only Of Happy Rhodes' Music, But Also Of Fandom In The Early Stages Of The Internet. One Of Several Rickety, Homemade (but Still Operational!) Rhodes-centric Web Pages Is The ectophile's Guide To Good Music,' An Extension Of The Ecto Email List, Which Can Still Be Perused Here. It Includes Lists Of The Ectophile Community's Favorite Albums For Every Year Since 1992. (what Were The Top ecto' Albums Of, Say, 2017 Among The Arists Listed Are Alvvays, Fever Ray, Lorde, Tori Amos, And Perfume Genius.)

The History Of Post-punk Is Full Of Curious Footnotes And Sudden Dead-ends. Fascinating Bands That Flared Up, Intoxicated With The Rush Of Ideas And Sense Of Creative Freedom In That Fertile Period Where There Were No Rules And Boundaries To Creativity For Groups, Leaving A Vapour Trail Of A Handful Of Singles And Inevitable John Peel Sessions Before Disappearing Back Into The Ether.

The Drowning Craze Are Typical Of Those Bands. Their Legacy Is Three Singles And A John Peel Session, A Glimmer Of Possibility And A Hint Of Something Quite Wonderful, And Then Gone. Fortunately For Them Their Constituent Members Re-emerged Years Later In Other Projects Leaving Them Flagged Up On The History Train With The Band's Bassist Simon Raymonde Going On To Play In The Cocteau Twins Before Setting Up His Own Label, Bella Union, And Original Vocalist, Angela Jaeger, Joining Pigbag Whilst Their Next Singer, Frankie 'fun' Nardiello, Joined The Esoteric Chicago Industrial Disco Band

Thrill Kill Kult.

The Drowning Craze Had Formed In Early Eighties London With Simon Raymonde - The Son Of Ivor Raymonde Who Wrote Hits For Dusty Springfield, Such As "i Only Want To Be With You' And stay Awhile', And Then String Arranging For All The Walker Brothers Hits. Simon Played Piano And Violin At School, But Took His Own Tangent When Punk Rock Arrived And His Brother Got A Cheap Bass Off The Vibrators' Pat Collier And Gave It To Simon In 1977 Aged 15 Who Promptly Learnt The Whole Of Never Mind The Bollocks, The Sex Pistols First Album, In One Afternoon.

Inspired By Punk Rock/post Punk And John Peel He Was Very Much A Child Of Those Times. Glued To Peel's Lugubrious Tones On The Radio That Were Signposting A Way Out Of The Crashed Car Of Punk Rock And Into New Musical Soundscapes He Would Also Help To Carve As A Foot Soldier With The Drowning Craze.

The Band's Debut Single "storage Case" Was Released On Situation 2 In June Of 1981 And Was A Glacial, Perfect, Blissful, Post Punk, Dark Wonk Workout With A Busy Hypnotic Chorus Bass Line And, What We Would Call At The Time A 'shattered Glass' Guitar. It Was Their Only Release To Feature The Wonderful Voice Of New York Singer Angela Jaeger Who Was In London Studying Music And Theatre (and Would Eventually Join Pigbag) And Was Made Single Of The Week In The Nme And Sounds. Inevitably The Band Fell Victim To Artistic Difference, Like Any Good Band Should, And The Guitar Player Ran Off And Got A Proper Job As An Accountant.

30 Klassiker Der 80er Jahre Von Künstlern, Die Die Damalige Alternativ-szene Beherrschten. Mit Dabei Sind Hits Von Scritti Politti, Ultravox, Bauhaus, Adam & The Ants, Bow Wow Wow, King, Toyah, Altered Images, The Psychedelic Furs, Pixies, Howard Jones, Dead Or Alive, The Bangles Und Vielen Anderen.

We Are Scientists, The Brooklyn, New York Based Power Pop Troupe Are Set To Return With Their Sixth Album. Titled 'megaplex' And Released Via 100% Records On April 27th, The Infamous Duo, Keith Murray (guitar/vocals) And Chris Cain (bass), Are Once Again Set To Dazzle The World With Ten Brand New Splashes Of Colourful And Utterly Addictive Pop That Serve As A Welcome Distraction To These Bleak Times We Live In.

in The Past We've Used Our Music To Educate, To Enlighten, To Awaken People To The Depth And Complexity Of Moral Concerns. This Time, We Really Wanted To Drop A Fun-bomb. Something To Dance Or F*** To,' States Chris And 'megaplex' Achieves Just That. Recorded At Tim Wheeler From Ash's Atomic Heart Studios In Nyc And Once Again Produced By Max Hart (ex-katy Perry), The Duo Set About Honing Down A Sprawling Burst Of Creativity To Make The Concise Pop Beast That Is 'megaplex'.

"at This Point In Our Career, We've Written So Many Songs,' Explains Keith. the Pool For This Record Alone Was Something Like 90 Songs Deep — That We Know Exactly What We Want Out Of A We Are Scientists Record. We Want It To Be Taut, To Bang Hard, To Have A Big Hook Every Four Seconds Or So. We Don't Have To Be Precious About Which Songs Make It Onto A Record, We Can Listen To The Ones That Didn't Make It At Home, On Our Own Time. 'megaplex' Is Just The Ten Most Delicious Songs That We Have — A Stacked-up Compound Of Entertainment."

"it Takes A Lot Of Hard Work, A Lot Of Honing Of Craft To Make It To Six Records,' Continues Keith. I Mean, The Velvet Underground Never Made Six Albums. The Smiths Didn't. Pavement, Guns N' Roses, The Stooges — None Of Them Could Do It. So, I Guess We're Just Objectively Better Than Those Bands Now It's Just A Mathematical Fact, Right Van Halen Made Six With David Lee Roth But Only Four With Sammy Hagar, So I Guess We're Better Than Hagar-era Van Halen But Only Just As Good As Roth-era Which, Saying It Out Loud, Makes Total Sense, Yeah."

These Are Stark Facts That Cannot Be Argued When Faced With The Ten Melodious Molten Nuggets That Are Simply Blinding In Their Brightness. Yes Folks, We Are Scientists Are Very Much Back.

our Brilliant Work In Pop Song Writing Is Unsurpassed,' Summarises Keith. and Will Probably Make The We Are Scientists Name Live Beyond Eternity.'

Debut single Furniture by Newcastle, UK experimental noise-rock band Dose is due for release on 27th April via cult indie label A Turntable Friend.
Their cinematic amalgamation of discordant melodies, intricate guitars and a strong rhythm- all blended together with an array of obscure effects and samples- has already earned them rave reviews on magazines such as DIY Magazine and The Line Of Best Fit.
Inspired by the experience of playing in their squalid, decaying practice space, Furniture was written by Sean Turland and Ewan Barr and recorded at Suburban Home Studio with MJ from Hookworms. The full band includes bassist Matthew Collerton, guitar/synth/samples from Sam Campbell and drummer Joe Donkin. The group have been together under many iterations since 2015, discovering their unique sound which blends art rock, krautrock and slowcore into one coherent sonic landscape.
The song Furniture is led by a consistent guitar line remaining present throughout the track like clockwork, dipping in and out of view as other parts take precedence. Extreme dynamic alterations lace the song, from the abrasive chorus to the intertwining, mellow middle 8. For the climax, melodic guitar feedback and an Ebow are used side by side; alongside Ewan's spoken word overlapping Sean's distant vocals, this invokes a sense of multiple inner voices and opinions, mirroring the lyrics's theme of abandonment.

(white coloured vinyl) Karamika is the soundscape to a journey authored by George Thompson (Black Merlin) and Gordon Pohl (Musiccargo), an expansive collaboration that spans 12 tracks and a 600 kilometer commute between London and Düsseldorf.

Karamika is the soundscape to a journey authored by George Thompson (Black Merlin) and Gordon Pohl (Musiccargo), an expansive collaboration that spans 12 tracks and a 600 kilometer commute between London and Düsseldorf. This double LP is the bi-product of a creative simpatico, their quest to articulate a vision void of any defined lyrical or melodic language. The instrumentation is a balanced palette of hard and soft, light and dark, pristine and corroded, droning and orchestral, crafting narratives out of unexpected elements so weathered and rich that each carries a lifetime of character within — tin cans rusting in the desert dust, dewdrops pattering on overgrown foliage, swarms of locusts writhing in song — abstractions culminating in a parallax view of the world through Karamika's eye. This is savage music, uncontrolled, unrelenting, impenetrable.

Lp: Gatefold Sleeve, Veredelung Mit - regenbogenfolie , Inkl. Dl

Intimate and affecting indie pop from Stockholm based Nora Karlsson, originally from Umeå in the north of Sweden, the debut LP Rest In Peace is the culmination of a journey that started with writing her first original songs at age 17. Now 22, Nora's already toured around the world as the guitarist of Swedish psych pop outfit HOLY, and her songwriting's matured beyond her years. A far cry from the lo-fi home-recording of her first EP's Rest In Peace is an accomplished works by one of Scandinavia's finest songwriters, one that's already been praised in-ternationally by the likes of Gorilla vs. Bear, Stereogum, The Line of Best Fit, GoldFlakePaint and many more

It stands to reason that many vital albums come critically close to never being made. The eight-track upshot of doubt, upheaval and financial strain, Stains on Silence by Girls Names is one such release. Following 2015's blitzing Arms Around a Vision, and the parting of drummer Gib Cassidy just over a year later, the Belfast band suddenly found themselves facing down a looming void.

There was a finished - and then aborted - mix of the album, which was shelved for six months,' reveals Girls Names frontman Cathal Cully. We then took a break from all music and went back to full-time work. We chilled out from the stress of rushing the record and not being happy with it, as well as being skint with no impending touring on the cards and constantly having to worry about rent.'
The stumbling blocks that proved a strain became the album's defining breakthrough. Recorded in various locations including Belfast's Start Together Studio with Ben McAuley, Cully's home and the band's practice space, spontaneous creation, cut-up techniques and self-editing took centre-stage for the first time.

"We started tearing the material apart and rebuilding, re-editing and re-recording different parts in my home in early Autumn last year,' says Cully. When we got them to a place we were happier with we went back into Start Together Studio with Ben McAuley to finalise the mixes to what they are now."

Where AAAV proved a brazen statement of intent, Stains on Silence bounds forth as its feature-length comedown. What could have seen the band buckle became an opportunity for approaching things tabula rasa. During its two-year transmutation, Cully, bassist Claire Miskimmin and guitarist Philip Quinn had a single aim for their fourth album: to make an old-fashioned record clocking in around 30 to 35 minutes in length that made the listener reach straight for repeat. From the Bang Bang bar-summoning swoon of opener '25' and the submerged disco doom of 'Haus Proud' to the rapt, dub-leaning 'Fragments of a Portrait', Girls Names have excelled in their goal by forging an LP of synchronous nuance and defiance. Marked by the presence of drum machines and programming throughout, these eight masterfully-woven tales are once again commandeered by founder Cully, whose words, understated yet defiant, mine purpose and meaning from the mire ("I want to bathe again, I want to swim again / In a pool of twisting bodies, blackened gold." — '25'). But while Stains on Silence came critically close to never being made, having lived with it, reconfigured it, and guided its metamorphosis from flickers of inspiration and half-formed schemes, it's both a statement of pure perseverance, and a head-on confrontation with ambivalence that couldn't be more assured. (Brian Coney March 2018)

New Zealand multi-instrumentalist and visual artist Sarah Mary Chadwick is not a new face to Melbourne's music community. After spending a decade fronting the New Zealand formed grunge band 'Batrider', Sarah became tired of the collaborative requirements intrinsic to band life and shifted her focus to songwriting independently, drawing inspiration from 'weird old New Zealand musicians' and the way they 'tinker away and work for decades for little to no commercial success'.

Six years and three solo records later - 'Eating For Two' (Bedroom Suck Records), '9 Classic Tracks' (Siltbreeze) and 'Roses Always Die' (Rice Is Nice Records), Sarah will join fellow songwriters Homeshake, Jaye Bartell and Tim Cohen on Omnian Music Group's label Sinderlyn to release her fourth solo record Sugar Still Melts In The Rain.

To listen to Sarah's music is to be an observer to her thoughts on love, death and mental health. Sometimes this anguish bears itself in quiet moments of the record, but more often torment manifests at the break of Sarah's voice as she sing-shouts painfully self-aware lyrics. Learning that Sarah's songwriting is thoroughly autobiographical is perhaps more unnerving than the sexually deviant pornographic art that she creates to accompany her music.

Hi we are Distractor, this is the story of our second album. We are not sure how it ends.

We started the band in early 2015 and by March, we had released our 1st album. A month or so later, we had written the follow up, but held off on recording it until we were done with the videos.

In August, Glen, our lead singer, was diagnosed with cancer. We put the band on hold. It was the last thing on our mind. In September, things got worse. By the time October came, Glen had passed.

That was the end of Distractor. We clocked back into our jobs and sat there, crying a bit, and hating the world.

Our friend Levi, started dropping by. He had songs written. We learned them and began playing shows. We called ourselves Blue Flowers.

We had only played three shows as Distractor, so Blue Flowers was our boot camp. The songs were all Levi compositions, but we were off the dock now, heading... somewhere.

We recorded these songs ourselves, then Levi left the country and became seriously ill. In this month of nothing, I got the nagging thought that I wanted to make something with more energy, a little more chaotic. Pretty much I wanted to do Distractor, but I didn't know it.

It felt like breaking up, but Ron, Colin, and I talked to Levi about it and we would write new songs.

So we did. There was no fan fare, pretty much the first songs we showed to each other became the new set, and eventually the bulk of this album.

I'm not sure what people thought. I think a lot of people thought it was a joke. To be honest, it kind of was, but inside us, it was becoming our life. So we recorded these songs. However, we couldn't figure out how to mix them ourselves.

Now we are into last fall, one year ago. We still had no album, but we were getting better. Only slightly better, so I don't think anybody noticed.

We got the opportunity to go into an actual studio late 2016 and record three new songs. We tried not to feel guilty about our unfinished album neglected at home. We got the three songs back and they sounded good. It seemed like the right time... Hey you wanna be Distractor again' Yeah' Sure' OK'

It felt nice. We were good enough to be Distractor again. Now it was time to hopefully tackle our now three-time eluded album.

We got Sean, our bass player back, and he would produce it. We spent three months re-working and re-learning it.

And so here we are.

These last two years, we really had no idea what we were doing and we were hardly sure which way was forward. If anything, the making of this record was the process of us getting back on our feet. It's not about how low you feel. What ends up defining you is can you say... Last time was bad. But this time will be different, I almost lost it all, but this time I got it figured out.'

2018 Reissue Lp, First Time And Exclusive To Thi Pressing On 180g Vinyl (& Download Code )

Connan Mockasin's New Album 'caramel' , Excpect Nothing But Yet Another Prome Example Of Shocking Great Weird Ness - A Total Standout In Todays Pop!

2018 REISSUE LP, first time and exclusive to thsi Pressing on 180g Vinyl (& Download Code ) Connan Mockasin´s Superclassic Debut Album is being repressed for the first in a HQ 180g Vinyl Edition (+Download). Back by popular demand!

Das Duo The Beat Escape nahm die neun Tracks in dessen Heimatstadt Montreal auf, bevor sich DJ/Produzent Jori Hulkkonen ans Mixing setzte. Das Ergebnis erscheint nun wie ein diffuser, fast schon psychedelischer Traum aus hypnotischen Beats, melancholischen Harmonien und hymnischen Gesängen, Electronic-Pop im Stile obskurer Minimal-Wave-Platten der 80er Jahre. Fans von John Maus, Cigarettes After Sex, Joy Division, The xx aufgepasst!

The Levellers record label, On The Fiddle Recordings, is re-issuing the band's debut album 'A Weapon Called The Word' which was originally released by the French label Musidisc in 1991. Having already gained a considerable reputation as a formidable live band with a couple of EP's under their belts, the release of 'A Weapon Called The Word' signified the beginning of a career that has, so far, spanned two decades. The stand out songs from the album such as 'Carry Me', Together All The Way' and 'England My Home' are still being played regularly in the live set today. 'A Weapon Called The Word' is the only Levellers album to feature contributions from founding member Alan Miles who was subsequently replaced by current vocalist and multi-instrumentalist Simon Friend.

Belgian DJ & producer Mugwump performs an about-face with a new sound and live show and unveils the first extract of his second album 'Drape' and it's first extract,'No Trepidation', a fast-paced postpunk/electronic hybrid and a punch in the face of conformity, formatting and self-censorship.

Borrowing his name from a character from William Burroughs' famed novel Naked Lunch, Mugwump is an elusive presence, a reputation preceded by infamous DJ residencies at Belgian clubs and a longstanding recording relation with Cologne's Kompakt records, ongoing DJ support from Andrew Weatherall as well as a large catalogue of electronic 'disco-techno' records, released on leading labels R&S, Gigolo, Cocoon, Endless Flight, Eskimo, Permanent Vacation or International Feel. Mugwump is also well known for running the Leftorium clubnight in Brussels where like-minded DJ guests such as Ivan Smagghe, Andrew Weatherall, Superpitcher, Matias Aguayo, Optimo, Prins Thomas, Sascha Funke, Gerd Janson, Ata or Roman Flügel share decks leftorium
'Drape' is the follow-up to 2015's debut studio album 'Unspell', which boasted many guest vocalists, garnered media plaudits across the board internationally and was supported with live appearances at Benelux, French, UK and Dutch festivals & venues.Taking it further and morphing into a full live band with new members, Mugwump released the 'Metempsycho EP' in November 2016 on which Geoffroy made his singing debut. Driven by this live band experience, Mugwump's new album 'Drape' will release May 4th 2018

Unique Soul Jazz Records' Record Store Day seven-inch box set comprising five fantastic bespoke rare and collectors' punk singles, all re-mastered and all come in their own separate exact replica original artwork. Featuring classic punk rarities from the likes of X_X, The Bizarros, Hollywood Squares and more, all in original stunning artwork! 
 
This unique box-set edition is only available as a one-off pressing especially for Record Store Day 2018.

Is Let it Burn the greatest Goat track the band have ever made The band think it is the best song they have written. The label have not
stopped going on about it since they heard it. And now you can listen to Let it Burn when it is released as a ltd edition 7' single on 25 May. Let it Burn was written specifically for the climatic scene in the short movie Killing Gävle, a The Guardian produced film directed by the very talented Joe Fletcher about the famous Gävle Goat in Sweden which every year local custodians of Gävle try to protect a giant straw goat that is built for the town every Christmas being burnt down by mischievous pagans. Obviously Goat's music was the obvious to soundtrack the film - their back catalogue is used throughout the film but up to now it was the only place you could hear a segment of the 6 minute+ fuzz groove of Let it Burn but now thanks to Rocket Recordings it can be heard in all its glory. Not only that, but you get a brand new b-side, and like most recent Goat b-sides it reveals another exploratory sound to the bands'world music'. Friday Pt.1 is a 4 minute excerpt from an organically evolving, cosmic-jazz, studio jam. The ltd 7' comes in 3 exclusive colours, each ltd to 400 copies; 'yellow flame' vinyl, 'orange flame' vinyl and 'red flame vinyl' and these will be randomly distributed around the world. Goat play two shows this summer, supporting Foo Fighters at Gothenburg's Ullevi Stadium on 5 June and they will be headlining Stage 2 at London's Citadel Festival on 15 July.

Recorded with his band in Manchester at Marr's Crazy Face studios, 'Call The Comet' is the third solo record from the Smiths guitarist and follows 2013's critically acclaimed The Messenger and 2014's Playland, both of which made the UK top 10. Call The Comet is set in the not-too-distant future' says Marr, and is mostly concerned with the idea of an alternative society. It's my own magic realism.' Songs include Actor Attractor, Walk Into The Sea, Bug, and recent live favourite Spiral Cities. The characters in the songs are searching for a new idealism, although there are some personal songs in there too. It's something that people like me can relate to.' Says Marr.

Recorded with his band in Manchester at Marr's Crazy Face studios, 'Call The Comet' is the third solo record from the Smiths guitarist and follows 2013's critically acclaimed The Messenger and 2014's Playland, both of which made the UK top 10. Call The Comet is set in the not-too-distant future' says Marr, and is mostly concerned with the idea of an alternative society. It's my own magic realism.' Songs include Actor Attractor, Walk Into The Sea, Bug, and recent live favourite Spiral Cities. The characters in the songs are searching for a new idealism, although there are some personal songs in there too. It's something that people like me can relate to.' Says Marr.

Scottibrains are the enigmatic elusive four-piece who formed through a love of late night / early morning jams at band founder, producer and Speedy Wunderground head honcho Dan Carey's studios in Streatham, London.

Made up of record producer Carey (Kate Tempest, Bat For Lashes, MIA), Oli Bayston (AKA Boxed In), drummer Liam Hutton (Boxed In, Kate Tempest, Little Cub) and Oli's wife Beth Buxton - they previously put out the 4th single on Carey's Speedy Wunderground label, the motorik psych-kraut wig-out 'Keep Your Eyes Open Boy' back in August 2013.

Taking their name from a shared love of San Franciscan psych outfit Bunny Brains and Dan's pet cat Scotti and having come across a vintage flying V guitar in a local Cash Convertors branch one morning - Carey uses it to full effect - layering and repeating riffs over Buxton's deranged half spoken / half shouting frenetic mantras, with Hutton's and Bayston's pummelling rhythm section holding things together on a thread that feels like it could snap at any second.

All of this is more than evident in the bands new release for the labels 23rd single 'Sustained Threat' a full-on assault of the senses based on a Shepard tone sound - a tone that 'creates the audio illusion of a tone that continually ascends in pitch yet which ultimately seems to get no higher or lower.' The title itself comes from a BBFC regulation Bayston saw at the start of a film warning that there would be 'Sustained Threat' in the film.

In their fast becoming-rule of breaking their own rules, following their first ever double A side (Warmduscher/Meatraffle) and first ever 10' (Flamingods) this is the first ever track not to be mixed by Carey Senior. Orla Carey, the 13-year old daughter of the producer was behind the controls at her father's desk having previously worked the knobs for Rough Trade's Goat Girl ('Scream) and Moshi Moshi's Girl Ray ('The Way'). The apple doesn't fall far from the tree.

Their shows are as rare as, well, finding a vintage flying V in a Cash Convertors - but also incendiary, provocative and volatile - as a late night outing at last year's Glastonbury's Crowsnest displayed - a mass of sweat and bodies, 3 songs stretched out over 40 blistering strung out minutes.

Scottibrains.

Prepare to be beamed up.

Punk Slime Recordings are proud to present the return of Sibille Attar! Five years after her acclaimed debut album Sleepyhead (Pitchfork, nominated for the Swedish Grammys etc) the Swedish pop artist Sibille Attar is back with new music. A prominent artist on the Swedish indie scene for the past 15 years, Sibille Attar's solo debut was one of 2013's biggest Swedish albums and Paloma's Hand carries on the torch, showcasing a slightly darker and more ominous take on her brand of psychedelic pop, with the songwriting and melodies intact.

Debut album from Glasgow indie rock quartet that channel Kleenex and The Smiths, featuring members of Golden Grrrls (Slumberland / Night School). Following on from the band's two cassettes of demos on Comfortable On A Tightrope and their sold out and well regarded 7'.
RANDOMLY PACKED YELLOW OR BLACK 180GM VINYL WITH POSTER AND DL. 500 ONLY.

Playing their first shows in Glasgow in 2015 during a summer that never threatened to show up, Vital Idles' origins are closely tied with a tireless underground culture, a culture that informs the band's refusal to take it easy. Matthew Walkerdine, Nick Lynch and Higgins are responsible for Glasgow DIY publishing institution Good Press - an independent volunteer-staffed zine and art book shop - while Guitarist Ruari MacLean's pedigree stretches back to breakneck-indie-pop group Golden Grrrls and the Rose McDowall band.
Following two self-released demos and a sold out debut 7', Vital Idles arrive on Upset The Rhythm with 'Left Hand', a bare manifesto layered with meaning and non-meaning. The group can conceivably be called artists, or Artists, but in approaching their debut album Vital Idles have stripped away all extraneous ornamentation to sculpt an incredibly life-like, vibrant pop music completely détourned and re-thought.
For a conglomerate of art outsiders and aesthetes, Vital Idles are primitive, whimsically brutal. Sculpting a skeleton from a body already lean, there's a thrilling minimalism that runs through every beat and strum, a sparseness that feeds Jessica Higgins's surreal, oblique vocal delivery all the nourishment it needs.
Following practice room and bigger-budget recordings with Glasgow engineer Andy Monaghan, Vital Idles took complete control of their debut album, with Edwin Stevens (aka recording artist Irma Vep) providing an outside perspective on the hermetically sealed group's music. Engineered by Stevens and MacLean, 'Left Hand' crackles with a raw, punk approach to writing warped pop songs that don't just talk of disorder but often actively demonstrate it. At the heart of 'Left Hand', the beating pulse in the tool box, is a conflict never resolved. Higgins manages to create dialogues that she narrates both parts of, Dada-ist songs that seem obfuscated by layers of meaning that, when taken on their own terms as evocative mini-worlds, reveal themselves to be pieces that have an internal melancholy and logic. Like Gertrude Stein growing up on Dunedin pop groups, peel away the deliberate awkwardness and 'Left Hand' reveals itself to be a book of complex, literary short stories at pleasing odds with the wired, no-frills melodic thud MacLean, Lynch and Walkerdine serve.
At times a perilous journey into the unknown and at others an immensely enjoyable foray into form deconstruction, lyricist Higgins repeatedly builds narratives out of mis-hearings, peons to doing things wrong, sideways-glances at conventional narrative. The delivery tightrope-walks between deadpan epithets and a Smiths-ian pop singing which gives many of the lyrics bite, pathos, and a surprising amount of surrealistic positivity. With Chains' Troggs-ist chug stomping, Higgins flips the symbolism of the Chain into something to be tendered, cared for, is it a warped metaphor for the future, is a chain an aspiration There's an existential friction at the heart of Cave Raised that sees the narrator attempting escape, perhaps, unsure of themselves, 'a poorly appointed project manager who says the best part is bowling around, which is a little like knocking around' that breaks into a melodic reprieve that feels like an unexpectedly romantic pay-off in the middle of 'white space,' 'Let's tread the tides of time, to live it down, we'll stretch these shores of mine to steal away.' Like many of Vital Idles songs, it can be read as a mini treatise on the song itself, or enjoyed as a visceral song that never does what you want it to.
Like fellow Glaswegians Life Without Buildings, Vital Idles make the oblique sound essential. On Like Life, Higgins is at her most precarious with straight-up emotion; MacLean's melodic bassline seems to duet with the vocal as it seems, for once, to be straightforwardly vulnerable. After telling us 'I don't really care but I could, I should' our narrator begs the listener 'Don't leave me at home with all the people I lost and all the things I forgot. For all the people I lost, I care.' Whether it's a slip of the artist's mask of distance or a deliberate trick to fool us into caring, we care. It's indicative of the tension in Vital Idles: pop songs unwilling to bend to convention, chart hits in the alternative timeline where Messthetics compilations are Now That's What I Call Music, endlessly inventive linguistics that reveal emotional depth, a dry, punk minimalism able to turn on a dime into a mouldy, witty kitchen sink story narrated by Samuel Beckett. It's a tension that threatens to fall apart into dissonance or resolve into sweetness but thankfully does neither, rather it keeps Vital Idles moving forward, never standing still, never taking it easy.

The Knife's Karen Drejer hat als FEVER RAY mit ihrem neuen Album - Plunge' gerade Kritiker wie Fans begeistert. Das düstere und gespenstische Erstlingswerk - Fever Ray' aus dem Jahr 2009, dessen Songs bei diversen Filmen und Serien (z.B. - Dark', - Breaking Bad') im Soundtrack eingesetzt wurden, war lange Zeit vergriffen. Nun sind Einfach-CD im Jewelcase und auch die LP ab sofort wieder über uns erhältlich.

o Mirage is the 3rd full-length album from Chicago cinematic-rock trio To Destroy A City.

Limited Edition 180gm Oxblood LP w/DL/Gatefold CD.

This follow-up to 2014's post-rock paragon SUNLESS has an added immediacy due to the soaring nature of guitarist Michael Marshall's step toward the mic. Yes... There are vocals! Post-rock for the most part, has mainly utilized vocals as a texture or afterthought. Yet, To Destroy A City have adeptly included vocals into their cinematic tapestries with ease, and in the process added another layer of melody, modesty, and a surprising sense of hope to their already affecting guitar-driven compositions.

There is an air of instant grati- fication with Go Mirage. It seems to push you forward to the next horizon, much as its title might suggest. Idealists might bark that To Destroy A City can't continue to fly the post-rock flag with such a vocalic album.

The enlightened will find that the addition of vocals places the band as contemporaries to artists such as Caspian, Mogwai, and Album Leaf which have effectively used vocals as key components in their music.

"The Way We Came Back". The song is notable for being written by Poppy Hankin when she was just sixteen years old, yet had never been recorded until after the release of the North London group's debut album Earl Grey.

"It's cute, I guess," says Sophie Moss. "You kinda wanna skip to it, you know Makes you think about arguments but it doesn't make you hate them that much. It's an early, early - we're talking pre-Earl Grey here - banger that we wanted to oil up. A plump cow that needed to be milked. It was one of the first songs Poppy wrote when she was 16 which we all found pretty impressive. Sly arrangement, good vibes here."

The trio comprising Moss (bass) Poppy Hankin (guitar/vocals), Iris McConnell (drums), released debut album Earl Grey through Moshi Moshi last summer to unanimous acclaim: four stars in The Guardian, Q Magazine and The Evening Standard, Album of the Week on The Line Of Best Fit, Loud and Quiet and Under The Radar, an Album of the Day on BBC Radio 6 Music and an It's Album Time feature on Huw Stephens' BBC Radio 1 show.

With his new album 'Trail Of Intuition' Danish singer and songwriter Jacob Bellens once again is shimmering somewhere in-between electronically influenced songwriting and synthpop music, using his characteristic voice to reflect on his life's journey. Since the age of five, making music means creating a parallel universe to Jacob Bellens. It's his very own space, where he can be himself and always retreat to, no matter what happens. Out of this universe the Copenhagen based musician has released numerous songs and albums with his previous bands I Got You On Tape and Murder, with side projects and features as well as a solo artist. 'Trail Of Intuition' is his fourth solo album and the second one that's internationally signed with hfn music. Unlike the songs for his previous release 'Polyester Skin", which he wrote mostly on piano and guitar before sending them to producer Kasper Bjørke for final production, Bellens wrote all the songs for 'Trail Of Intuition' on his computer. You could see him sitting in front of his laptop in coffee shops across Copenhagen, with his headphones on, letting the basic programming and pre-production of the songs become an essential part of the writing process. The final production was made mostly by Rune Borup, who he knows back from the I Got You On Tape days and his friend Lars Iversen (The Asteroids Galaxy Tour), with whom Bellens also had the band project Goblins. The new album is a collection of snapshots of the whole range of feelings for which Bellens digs into the pool of his own experiences.

Wild Notion is an album that's been a long time coming, but it's worth the wait, packed as it is with full-bodied indie-riffs, which in turn are inflected by Night Flowers' undeniable pop sensibility.' NOISEY

Coverage also confirmed in AllMusic, Bandstand Busking, DIY, Dork, Dummy, The 405, Ghettoblaster, I Paper, The Mind Map, M Magazine, NARC, Next To The Aisle, Song For Ewe

It's as good a place to write in as any,' wrote Philip Larkin of Hull, a city of rainy-day poets and the original home of Night Flowers. But this indie-pop quintet has since blossomed from its Humberside origins to form a bright transatlantic soul.

The windswept north-east English coast collided with stateside sunshine when US-born vocalist Sophia Pettit joined the band in their new shared hometown of London in summer 2015, completing their irresistible brand of stirring, romantic pop.

A joyous combination of intertwining female/male vocals backed by glistening guitars and dreamlike atmospherics has seen them amass friends, fans and accolades across the world.

Das neue Studioalbum der Hamburger Indie-Lieblinge Krakow Loves Adana (Clouds Hill, Snowhite), bestehend aus Deniz Cicek und ihrem Partner Robert Heitmann, enthält acht neue, von Gitarren angetriebene Songs mit Indie-Rock-Echoes, vorgetragen in nachdenklicher, oftmals mystischer Gestalt. "Songs After The Blue" erscheint auf Heitmanns eigenem Label Better Call Rob.

Packaged in a 7' format showing the talents of these fresh young artists.
FALA is a new label from Amsterdam, a Knekelhuis sister label that will present you with some very delicate surprises in the near future. The kickoff will be a Dollkraut rework of the truly beautiful song 'Scheef' by Eefje de Visser. Dollkraut captures the magical energy of Eefje de Visser's creation, turning it into a drum driven dancefloor-ready track. The B-side will contain the original version of 'Scheef', released before on her highly acclaimed album Nachtlicht. FALA!

Following the success of his multi-platinum, Grammy-nominated debut album, Chaos & The Calm, James Bay is set to release his highly anticipated album, Electric Light, on 5/18 via Republic Records. The album includes his current single Wild Love'.

High Sunn, the project of 18-year-old San Franciscan Justin Cheromiah, returns with his debut studio album Missed Connections, the follow-up to last year's debut studio EP Hopeless Romantic which was praised by the likes of Stereogum, Consequence of Sound and BrooklynVegan. Produced by Dylan Wall (Craft Spells, Naomi Punk) the album is another collection of heartfelt and catchy guitar pop gems, showcasing Cheromiah's growth as a songwriter and chronicling the ups and downs of teenage life in modern day America.

Spanish quartet Hinds - Carlotta Cosials, Ana Perrotte, Ade Martin and Amber Grimbergen - announce their long-awaited second record I Don't Run. Out April 6 via Lucky Number, the new album shows a bigger, better, faster, funnier, more dexterous Hinds. Co-produced by the band and Gordon Raphael (The Strokes, Regina Spektor), and engineered by Shawn Everett (Alabama Shakes, Perfume Genius, The War On Drugs, John Legend), I Don't Run is the product of a band fighting for their place, a band unwilling to rely upon their successes, a band who have just begun to prove themselves, and a band who plays hard but works even harder.

Some might expect them to write songs about being happy, young and carefree - but we're not satisfied with that,' explains guitarist Ana Perrote. On this album the struggles are clear. We want to be brave.' I Don't Run is Hinds' return with an honest reflection on a period that changed their lives beyond their wildest imaginations. After everything they've overcome, one might think a band like Hinds would have second album jitters, but think again. Hinds are chomping at the bit and with defiant confidence. We loved making this album,' says Perrote. We knew what we wanted and we have what we wanted. This is a new start for us and we're fucking ready.