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April 6th marks the release of Hop Along's third studio record, Bark Your Head O, Dog.

Written over the course of 2016 and 2017 and recorded in the summer of the latter year by Frances Quinlan (songwriter/vocalist/rhythm guitar), Tyler Long (bass), Joe Reinhart (guitar), and Mark Quinlan (drums), the album addresses disappointment, particularly in man's misuse of power, and relates accounts from the periphery -- one's attempts to retreat from the lengthening shadows of tyrants, both historical and everyday. It considers what it's like to cast off longheld and misguided perceptions, yet without the assurance of knowing what new ones will replace them. Much like on Hop Along's first and second records, Get Disowned and Painted Shut, Quinlan seeks in real time to work through these issues.

Throughout the album, one gets the sense that Quinlan is wandering in the thicket of a forest—a state of being that will feel familiar to long time listeners—and on this outing, she hasn't left a trail of breadcrumbs behind her. The album's artwork, which Quinlan painted herself, invites the listener into that forest, as well. There is a terror in getting lost,' she says, the woods are at the same time beautiful and horrifying.' This curious wandering gives the album, both lyrically and musically, a heightened dimensionality.

Bark Your Head O, Dog is, without question, Hop Along's most dynamic and textured record yet. Self-produced and recorded at The Headroom in Philadelphia by Reinhart and Kyle Pulley, Bark Your Head O, Dog features the familiar sounds that have always made the band allergic to genre: grunge, folk, punk, and power pop all appear, with inspiration from ELO to Elvis Costello to '70s girl group vocal arrangements. This time around, they've added strings, more intricate rhythms, lush harmonies (featuring Thin Lips' Chrissy Tashjian), along with a momentary visit with a vocoder. In more than one place, Mark Quinlan drums like he's at a disco with Built to Spill.

Most significantly, Bark Your Head O, Dog shows the band at its strongest and most cohesive. Hop Along (which originally began as Quinlan's solo project under the moniker Hop Along, Queen Ansleis) has never sounded so deliberate, so balanced. So strange to be shaped by such strange men' is a line that repeats on more than one song on the album. I've been thinking about that a lot. That I just deferred to men throughout my life,' Quinlan says. But by thinking you're powerless, you're really robbing yourself. I'm at a point in my life where I'm saying instead, 'Well, what can I do''

Los Angeles has often been described as a dream factory'--both a mecca where dreamers converge to pursue long-held aspirations, and a topography of hallucinogenic contradictions: enchanting tangerine sunsets diffused by smog, crystal-clutching spiritualists mingling with deep-pocketed narcissists, rows of scenic palms competing with garish billboards for commuters' attention. It was against this backdrop that the four members of La Luz--singer/guitarist Shana Cleveland, drummer Marian Li Pino, keyboardist Alice Sandahl, and bassist Lena Simon—conceived of Floating Features, the band's third studio album. For this, their most ambitious release yet, La Luz consulted landscapes both physical and psychological. References to dreams abound on Floating Features. Loose Teeth' catalyzes nightmare fuel into a propulsive, intentionally-disorienting collision of honeyed harmonies and Takeshi Terauchi-esque jet-streams of distorted surf guitar. Mean Dream' unsurprisingly mines dreamstate imagery, and the lyrics and melody for Walking Into the Sun' actually came to Cleveland During a particularly-vivid night of deep sleep. Looming over the album's Coterie of surreal figures (gargantuan cicadas, a monstrous Creature,' The Sun King, aliens, the titular Lonely Dozer') is the magnificent Greed Machine,' a skulking, insatiable engine of consumption-NathanaelWest's business of dreams' fearsomely manifested. Only La Luz could conjure up Floating Features' Leone-on-LSD vibes, and the album finds the L.A. band at the height of their powers--golden rebels in a golden dream.

What you think you do and what you actually do are two different things. So I don't know what to say about this music. Here are some quotes by other people who say some of the things I think':

Sometimes the most positive thing to be is absolutely negative.
I look for ambiguity when I'm writing because life is ambiguous.
Reality leaves a lot to the imagination.
Desperation is my inspiration.
Middle class fakes are my role models.
I'm interested in people - the only books I read are biographies.
Being human and being alive is bizarre, you couldn't make it up.
I think life is very ludicrous and must be laughed at.
This is it... there's really nothing else.

No Need To Argue' is the sophomore effort by Irish group The Cranberries that was originally released in 1994. Propelled by the hit song Zombie' about the Irish conflict, the album was a worldwide smash and helped make the band one of the biggest of the 90s. With a more mature approach to songs and subject matter the album features many highlights including "Ode To My Family", "Yeats' Grave" and "Ridiculous Thoughts" with a more lively rock sound than their much mellower debut album. Limited edition of 1,500 copies on clear & pink vinyl in a gatefold cover with printed inner sleeve that includes the lyrics.

The Kills machen aus Saul Williams List Of Demands eine poppige Nummer!


- Limitierte schwarze 7 in Picture Sleeve inklusive MP3 Downloadkarte.

Somewhere between utopia and dystopia The Longcut have constructed their own monolithic world. Impossible to place but undoubtedly familiar, on their new record Arrows, Manchester's sonic architects have carved out their own Upside Down within the crevices of the North, sublimely sweet, bittersweet and bleak, where concrete blockades loom large, but songbirds emerge from clouds overhead.

Much of Arrows was born out of frustration with the whole process,' reveals the band's vocalist and drummer, Stuart Ogilvie of the album's brutal leanings. Like even when you know good things are happening in your life, other situations can get you down. That balance or imbalance is felt by everyone so hopefully people can hear this journey and relate.'

7 years in the works but much less time in the making, several cuts of each song and two versions of the album later, Arrows embodies aggravation. Sliced, diced and layered up again for the 21st Century, Arrows shows strength from struggle through its stark contrasts, We were going to call it 'Monuments' because of this process of chipping away and adding things,' tells bassist, Jon Fearon. Eventually we settled on 'Arrows', it'd be easy to read too much into it but really, it's about people. 'Arrows' was also the track that pushed us to finish the record, even when it was tough.'

Chiselled from chopped up loops, original demos, welding together long improvisations then building, re-recording and fine-tuning, Arrows captures many moments in time. Not least, the whisky-fuelled home recording sessions where kitchen shelves were rearranged to re-amp bass parts at full volume and bedrooms were transformed into control rooms strewn with amps and microphones. It may have taken its time, but throughout the record's walls of sound, tortured beauty lies within, You can go from nothing to something very quickly when you eventually get going,' says guitarist, Lee Gale.

Behemoth of a lead single 'Deathmask' is the perfect case in point. Energetic, menacing and mesmerising, the words came together very quickly. I was walking home in a pretty shitty mood and this really ominous weather front came over,' recalls Stuart. The sky went dark and there was this static electric feeling in the air, powerful and foreboding. That's where the line Under the gathering sulphur' comes from. It got me thinking about escapism, not to some sunny uplands, but to a place where the natural order was breaking down too.'

Weaving in and out of apocalyptic swells of visceral white noise and razor-sharp riffs from guitar strings sawn with a drum-stick, as Stuart proclaims on 'Kroqd' Ashes are falling from the sky and I'll keep singing,' the tour de force of the record is in the astute voyeurism of the lyrics. It's taken time to write because so much has happened,' he hints. Reflecting life and what happens to people rather than dwell in self-deprecating misery... I try to take my feelings of those and abstract them, it's that idea of something ongoing being constantly re-evaluated, which can account for a lot of the record's ambiguities and contradictions.'

Elsewhere the trio's hefty homage to the basslines of beatmakers J Dilla and Flying Lotus' 'LTWXRMX' which samples the 1950s IBM advert soundbites of Raymond Scott's track 'Lightworks' also threw up a few creative demons. We had this mad loop of Scott's stuff for 'Punches', all these arpeggiated sounds before realising we had to completely re-do the track because those samples were copyrighted,' tells Jon. Clearly no artistic endeavour will go unpunished.'

Whilst previous albums A Call and Response (2006) Open Hearts (2009), and 7-track EP Broken Hearts (2010) were formulaic in structure, Arrows was formed from the rolling approach of no clearly-defined beginning, middle or end. Through its single-word titles which stack upon each other like steel girders, order is brought to the recordings, mixed by studio boffin and The Earlies live guitarist/multi-instrumentalist Tom Knott, who provided 'Popic's live brass sounds. He transformed our sprawling recordings into a coherent whole and his contribution is one of our favourite parts,' Jon says. Meanwhile on the sleeve, Arrows takes its shape with angular artwork created by long-time artistic collaborator Liam Palmer.

Raw, brutal, pounding the senses and always from the heart, The Longcut are ready to launch Arrows into 2018's bleak and beautiful horizon.

A Love Sleeps Deep's bones rattle with all the seismic changes of the last five years since the release of The Moondoggies' Adios I'm a Ghost. While the Washington band got lumped in early on with the woodsy folk-rock/Americana movement that sprung up in the Pacific Northwest in the 2000s, the core Moondoggies sound has always been rock in the more classical sense—more Pink Floyd than Woody Guthrie. A Love Sleeps Deep crystalizes that. Perhaps more importantly, A Love Sleeps Deep finds singer/guitarist Kevin Murphy at his most pointed as a songwriter. There's no lyrical pussyfooting this time around. Lacking the need to prove himself, he opens up and lays bare his feelings. Generally, I feel frustrated because there's a lot of this escapist stuff going on in rock and roll,' says Murphy. I just didn't want to not talk about my frustrations with what I was seeing around me. I have two little girls now, and I'm just thinking about where things are going. Love in my life has changed everything.' Recorded in Seattle in the spring of 2017 with production wizard Erik Blood (Shabazz Places, Tacocat, THEESatisfaciton), A Love Sleeps Deep is also an album of collaboration. The band seemingly threw each tune up in the air to see how it bounced around the room, making sure everyone got their hands on it. From around 30 initial demos, Blood helped select the most jam-heavy numbers. They had that vibe that made me love the band in the first place, but with a weathered distinction and confidence that moved me,' says Blood

Collected here in a deluxe boxed set are 4 of the finest Spittle compilations of 1980s Italian post-punk, art-rock, and synth-wave. MILANO NEW WAVE, SAMPLES ONLY, iV3SCR, and BODY SECTION feature some of the heavy hitters of the era including DIE FORM, FRIGIDAIRE TANGO, RINF, and more as well as more obscure artists who may have only appeared ever on these comps. A brilliant box of Italian 80s WAVE that gives a wonderful overview of the depth and breadth of the scene. Limited edition boxed set.

Individual volume descriptions and track listing are below:

MILANO NEW WAVE: 1980-1983 REDUX:
Following an idea of Italian disco guru Fred Ventura to publish some recordings that have remained in the vaults for more than 25 years, and thanks to the skillful "mastering touch" of Giovanni Versari, Spittle Records present a representative and intense snapshot of the Milanese new-wave scene of the early eighties with Milano New Wave: 1980-83 Redux. Twelve tracks that recount the salient steps of the brief but intense career of four Milanese bands from the post-punk of Other Side, to the oblique funk of State Of Art, to the Kraftwerk influences of La Maison, to the electro pop-wave of Jeunesse d'Ivoire. "Boris Karloff" features Kubrix and 2+2=5 playing with La Maison, forming the group known as Entourage L'Asino. These four bands illustrate the mood of an underground scene that burned out rapidly, mostly due to the indifference of the media and recording industry during those years.

SAMPLES ONLY:
First ever reissue of a sought-after Italian compilation highlighting all the potential of the northeastern Italian post-punk scene, originally released in 1981. Starring Ruins, European Stage, and R.A.R.A., Samples Only is your kind of compilation if you're aware of the development of the new romantic and synth wave scene. It all happened back in the day near Venice. These guys were fascinated with the whole new wave phenomenon -- the radio was pumping in their single rooms and they knew the times were changin'. They were pretty young -- mostly in their twenties -- and any influence came from abroad. Rock, beat, electronic, punk, and even white funk (did someone say A Certain Ratio) all together, as a stream of consciousness. There was a leading TV program at the time, Mr. Fantasy -- directed by an influential journalist and DJ named Carlo Massarini -- and everyone interested in post-punk and art pop was watching it, including the main characters in Samples Only. They were spending all of their small wages on imported records, duplicating them on the (in)famous C90 cassette. They were dreaming of CBGB's in New York or the Blitz in London, but the Italian clubs -- Tenax in Florence, Plastic in Milan, and even the Shindy and Memorabilia in the vast northeast area -- were not afraid of the competition. Samples Only is a postcard from those days, a shining document available again for your pleasure. Includes two tracks from the group Art Déco, exclusive to this reissue.

iV3SCR (THE GREAT COMPLOTTO 2):
All the way from the imaginary NAON state here's the second re-issue of the Great Complotto manifesto from Pordenone (birthplace of the Italian punk style). Originally issued in 1983, even if most of the songs were recorded in 1981, this second compilation is even more attractive than the 1st one. What glues together all the contributions (Sexy Angels, Gigolo Look, Cancer and Mess) is the innovative and creative use of electronics. Back in print for the first time, this vinyl edition shows the original art work (a giant poster folded in four parts) and an extra cd with the complete set list and 5 bonus tracks from the bloody rare single originally enclosed with the magazine Onda 400 (with contributions from Andy Warhol Banana Technicolor, Cancer, Sexy Angels, Fhedolts and Mind Invaders).

RIYL: The Cure, DEVO, Joy Division


BODY SECTION:
Originally released in 1983 (Electric Eye) just as the new Italian rock' movement was beginning to gain momentum, this compilation reflects the impact of a 'post-Joy Division' British new wave on the genre. Divided into two sections, the softer blue section' and the more electric red section', this compilation presents some of the most eclectic groups of the period (DIE FORM, RINF), as well as more sophisticated bands like FRIGIDAIRE TANGO and JEUNESSE D'IVOIRE. It also marked the baptism of two bands (LITFIBA and DIAFRAMMA) that would become synonymous with 'the future of Italian rock' for the next ten years.

Zola Jesus' Okovi: Additions lp offers a new angle on her 2017 album, Okovi. The collection pairs four previously unreleased songs from the Okovi sessions with four remixes by a diverse cast of artists.

Johnny Jewel turns Ash to Bone' into a late-night cinematic torch song, Tri Angle Records composer Katie Gately's Siphon' is a dark choir of warping angels, black metal band Wolves in the Throne Room's take on Exhumed' makes the pounding industrial anthem even denser and heavier, and Toronto producer Joanne Pollock (formerly one half of Poemss with Venetian Snares' Aaron Funk) makes Soak' feel like an aching classical standard— until it starts warping in on itself and goes somewhere else entirely.

The songs on Additions traverse a vast amount of sonic ground, but taken together, they cohere remarkably well as an album, all while serving to enrich the experience of Okovi.

Das dritte Album der in Berlin ansässigen Postrock-Band Cavern Of Anti-Matter der beiden Stereolab-Mitglieder Tim Gane (Frontmann) und Joe Dilworth (Drums) und des Synth-Spezialisten Holger Zapf erscheint ebenfalls auf dem eigenen Duophonic-Label. Auf "Hormone Lemonade" erzeugt das Trio aus modularen Synthesizern und selbstgebauten Drum-Machines hypnotische Soundstrukturen, die, angereichert mit minimalen Gitarrenmelodien und Live-Schlagzeug, ein reichhaltiges Gesamtwerk aus Experiment, Improvisation und Raffinesse ergeben.

Pressestimmen zum Vorgänger:
"A delightful head-trip." - Mixmag
"Their official debut is a whimsical, expansive set of cosmic post-krautrock groove." - Pitchfork
"An uber-compelling meld of Kraftwerk/Neu!/Harmonia and early techno." - Shindig!

Das zweite Studioalbum von Pavement-Gründer Stephen Malkmus und seiner Kapelle The Jicks aus dem Jahr 2003 ist jetzt wieder erhältlich.

- schwarze heavyweight LP im Gatefold Sleeve mit MP3-Downloadkarte

Mats Wawa are a pop band, plying soul music the way they think it's supposed to be done. The result is Scuzz, four catchy, groovy and soulful indie pop tunes. Mats Wang had never played with anyone else, and almost not written any songs, when he was booked to the Trondheim Calling festival in 2015. You might almost say he was thrown into it, and after a very short time, the band Mats Wawa was formed. Their debut album from 2016 showed a band that had found the essence of blue-eyed and naïve indie pop, and also the rougher and more psychedelic sides of rock, but who continued trying out different genres to find a recurrent theme in their sound.
Mats Wawa are a pop band, plying soul music the way they think it's supposed to be done. The result is «Scuzz», four catchy, groovy and soulful indie pop tunes. They've got a lot of inspiration from old heroes like The Rolling Stones, The Kinks and George Harrison, but at the same time the naïve pop songs that Mats Wawa have become known for are always their foundation. The genre 'Scandinavian psychedelic soul' might have been born with Mats Wawa and the Scuzz EP

Das Solodebüt von Pavement Gründer Stephen Malkmus (aufgenommen mit seiner Nachfolgeband The Jicks) ist wieder als CD und LP erhältlich! Erstmalig wurde das Album im Jahr 2000 via Domino veröffentlicht.

- CD in Jewelcase inklusive sechsseitigem Booklet.
- Schwarze heavyweight LP, bedruckte Inner Sleeve, vierseitiges Booklet und MP3-Downloadkarte

The fourth release on Yala! Records. Whenyoung from Limerick release their second single and it's another sugar coated golden pop nugget that sparkles with a slick production and a song that demands repeated plays. Pretty Pure sits between the powerhouse sound of The Pixies and the indie jangle of Sleeper. On the flip The Collector starts all skeletal and delicate before things pick up and it moves in the same circle as some of Big moon's more delicate moments. It shows a different side to Whenyoung's canon. Both sides are worth the admission price alone.

New York trio Sunflower Bean announce their second record Twentytwo in Blue. The album will be released on March 23rd when all members of the band - Julia Cumming, Jacob Faber and Nick Kivlen - will be 22 years old. The album comes almost two years and two months after the release of their critically acclaimed 2016 debut album Human Ceremony.

Co-produced by Unknown Mortal Orchestra's Jacob Portrait (who also mixed the record) and HC-producer Matt Molnar of Friends, Twentytwo in Blue shows Sunflower Bean stay true to their guitar band core and classic rock-inspired roots, while exploring new sonic textures with more direct and progressive themes. Unlike their debut, which was essentially a compilation of songs Sunflower Bean wrote while still in their teens, Twentytwo in Blue was made in the year between December 2016 and December 2017 and showcases how far the band has come since playing together in their high school days.

To celebrate the album announce, Sunflower Bean share a new single and follow up to I Was A Fool' entitled Crisis Fest.' 2017—we know/ Reality's one big sick show/ Every day's a crisis fest,' vocalist and bassist Cumming sings. This last year was extremely alarming, traumatic, and politically volatile,' explains the band about the track. While writing this album, we often reflected back on the people we met while on tour. We felt a strong kinship with the audiences that came to see us all over the country, and we wanted to write a song for them - something to capture the anxieties of an uncertain future. 'Crisis Fest' is less about politics and more about the power of us, the young people in this country.'

Sunflower Bean find a sublime maturity and progression to their sound and songwriting on Twentytwo in Blue. If there was a ragged beauty in the gauzy, groovy wall of sound of Human Ceremony, there's a new directness to these songs, a product of the band's growth and the insanity of the times we're in. Sunflower Bean have gained a newly confident voice that they bring to the second album, one that doesn't shy away from addressing the other events of those two years—political changes and cultural shifts that have left America and the world stupefied. This has been such an unbelievable time,' says Kivlen. I can't imagine any artist of our ilk making a record and not have it be seen through the lens of the political climate of 2016 and 2017. So I think there's a few songs on the record that are definitely heavily influenced by this sort of—whatever you want to say what the Trump administration has been.' A shit show,' offers a helpful Faber.

Ultimately, this record is much more than a political statement or piece of commentary on today's political climate. I think one word that always comes to mind when I think about this record is lovable,' says Cumming. We want the songs to be something that someone can get attached to, and have be a part of them. Because that's what I look for in songs myself, and that's the kind of experience we want to give to others.'

"Necessary brattiness" is the motto for Speedy Ortiz's dauntless new collection of songs, Twerp Verse, out on April 27th via Carpark Records. The follow-up to 2015's acclaimed Foil Deer, the band's latest indie rock missive is prompted by a tidal wave of voices, no longer silent on the hurt they've endured from society's margins. But like many of these truth-tellers, songwriter, guitarist and singer Sadie Dupuis scales the careful line between what she calls being "outrageous and practical" in order to be heard at all. "You need to employ a self-preservational sense of humor to speak truth in an increasingly baffling world," says Dupuis. "I call it a 'twerp verse' when a musician guests on a track and says something totally outlandish - like a Lil Wayne verse - but it becomes the most crucial part. This record is our own twerp verse, for those instances when you desperately need to stand up and show your teeth.Speedy Ortiz has established itself as one of this decade's most vibrant bands since their 2012 debut EP Sports. That EP introduced listeners to the band's constant study of contrasts, with Sadie Dupuis' gnarled riffs acting as both counterpoint to and bolsterer of her acerbic, conversational poetry. 2013's Major Arcana went further, the members' reflexive chemistry inspiring them to push the limits of their sound, while 2015's Foil Deer added headphone-ready detailing to the already clamorous mix. Their no-nonsense approach to progress, as evidenced by initiatives like their first of its kind in-concert "help hotline," and Dupuis' tackling of issues like bystander intervention and inclusivity in the music industry—in her lyrics, and as a frequent panelist and speaker—makes the band poised to surge into the future.

Twerp Verse, Speedy's third album and first with Philadelphian Andy Molholt (Laser Background) on second guitar, is urgent and taut, adding surprising textures like Linn drums and whirled guitar processing to their off-kilter hooks. Dupuis, whose electropop solo project Sad13 debuted in 2016 shortly after her own move to Philadelphia, has become more instinctive in her songwriting—her home-recorded demos mirror Twerp Verse's songs in a closer way than any other Speedy record—while her lyrics have become more pointedly witty. The band's camaraderie and crate-digging is evident, with diffuse reference points like Squeeze, Hop Along, Prince, Paramore, and Brenda Lee being sucked into the band's chaos. Even when Dupuis sings of alienation and political weariness, the pop maelstrom swirling around her provides a defiantly charged, mussed-but-hooky optimism.

Now as public pushback against the old guards reaches a fever pitch - in the White House, Hollywood and beyond - the band fires shots in disillusioned Gen Y theme "Lucky 88," and casts a side-eye towards suitors-turned-monsters in the cold-blooded single "Villain." Closing track "You Hate The Title" is a slinky traipse through the banality of this current moment in patriarchy - in which survivors are given the mic, but nitpicked over the timbre of their testimonies. "You hate the title, but you're digging the song," Dupuis sings wryly, "You like it in theory, but it's rubbing you wrong." Tuned smartly to the political opacity of the present, Twerp Verse rings clear as a bell.

Twerp Verse was tracked in Brooklyn DIY space Silent Barn, mixed by Omaha legend Mike Mogis (Bright Eyes, Rilo Kiley) and mastered by Grammy-nominated engineer Emily Lazar (Sia, Haim, Beck).

Deluxe LP is pink coloured vinyl with rainbow splatter in gatefold jacket. Includes Bonus

"Necessary brattiness" is the motto for Speedy Ortiz's dauntless new collection of songs, Twerp Verse, out on April 27th via Carpark Records. The follow-up to 2015's acclaimed Foil Deer, the band's latest indie rock missive is prompted by a tidal wave of voices, no longer silent on the hurt they've endured from society's margins. But like many of these truth-tellers, songwriter, guitarist and singer Sadie Dupuis scales the careful line between what she calls being "outrageous and practical" in order to be heard at all. "You need to employ a self-preservational sense of humor to speak truth in an increasingly baffling world," says Dupuis. "I call it a 'twerp verse' when a musician guests on a track and says something totally outlandish - like a Lil Wayne verse - but it becomes the most crucial part. This record is our own twerp verse, for those instances when you desperately need to stand up and show your teeth.'

Speedy Ortiz has established itself as one of this decade's most vibrant bands since their 2012 debut EP Sports. That EP introduced listeners to the band's constant study of contrasts, with Sadie Dupuis' gnarled riffs acting as both counterpoint to and bolsterer of her acerbic, conversational poetry. 2013's Major Arcana went further, the members' reflexive chemistry inspiring them to push the limits of their sound, while 2015's Foil Deer added headphone-ready detailing to the already clamorous mix. Their no-nonsense approach to progress, as evidenced by initiatives like their first of its kind in-concert "help hotline," and Dupuis' tackling of issues like bystander intervention and inclusivity in the music industry—in her lyrics, and as a frequent panelist and speaker—makes the band poised to surge into the future.

Twerp Verse, Speedy's third album and first with Philadelphian Andy Molholt (Laser Background) on second guitar, is urgent and taut, adding surprising textures like Linn drums and whirled guitar processing to their off-kilter hooks. Dupuis, whose electropop solo project Sad13 debuted in 2016 shortly after her own move to Philadelphia, has become more instinctive in her songwriting—her home-recorded demos mirror Twerp Verse's songs in a closer way than any other Speedy record—while her lyrics have become more pointedly witty. The band's camaraderie and crate-digging is evident, with diffuse reference points like Squeeze, Hop Along, Prince, Paramore, and Brenda Lee being sucked into the band's chaos. Even when Dupuis sings of alienation and political weariness, the pop maelstrom swirling around her provides a defiantly charged, mussed-but-hooky optimism.

Now as public pushback against the old guards reaches a fever pitch - in the White House, Hollywood and beyond - the band fires shots in disillusioned Gen Y theme "Lucky 88," and casts a side-eye towards suitors-turned-monsters in the cold-blooded single "Villain." Closing track "You Hate The Title" is a slinky traipse through the banality of this current moment in patriarchy - in which survivors are given the mic, but nitpicked over the timbre of their testimonies. "You hate the title, but you're digging the song," Dupuis sings wryly, "You like it in theory, but it's rubbing you wrong." Tuned smartly to the political opacity of the present, Twerp Verse rings clear as a bell.

Twerp Verse was tracked in Brooklyn DIY space Silent Barn, mixed by Omaha legend Mike Mogis (Bright Eyes, Rilo Kiley) and mastered by Grammy-nominated engineer Emily Lazar (Sia, Haim, Beck).

Cassette - 4-panel j-card - artwork by sadie dupuis - purple cassette - includes digital download

"Necessary brattiness" is the motto for Speedy Ortiz's dauntless new collection of songs, Twerp Verse, out on April 27th via Carpark Records. The follow-up to 2015's acclaimed Foil Deer, the band's latest indie rock missive is prompted by a tidal wave of voices, no longer silent on the hurt they've endured from society's margins. But like many of these truth-tellers, songwriter, guitarist and singer Sadie Dupuis scales the careful line between what she calls being "outrageous and practical" in order to be heard at all. "You need to employ a self-preservational sense of humor to speak truth in an increasingly baffling world," says Dupuis. "I call it a 'twerp verse' when a musician guests on a track and says something totally outlandish - like a Lil Wayne verse - but it becomes the most crucial part. This record is our own twerp verse, for those instances when you desperately need to stand up and show your teeth.'

Speedy Ortiz has established itself as one of this decade's most vibrant bands since their 2012 debut EP Sports. That EP introduced listeners to the band's constant study of contrasts, with Sadie Dupuis' gnarled riffs acting as both counterpoint to and bolsterer of her acerbic, conversational poetry. 2013's Major Arcana went further, the members' reflexive chemistry inspiring them to push the limits of their sound, while 2015's Foil Deer added headphone-ready detailing to the already clamorous mix. Their no-nonsense approach to progress, as evidenced by initiatives like their first of its kind in-concert "help hotline," and Dupuis' tackling of issues like bystander intervention and inclusivity in the music industry—in her lyrics, and as a frequent panelist and speaker—makes the band poised to surge into the future.

Twerp Verse, Speedy's third album and first with Philadelphian Andy Molholt (Laser Background) on second guitar, is urgent and taut, adding surprising textures like Linn drums and whirled guitar processing to their off-kilter hooks. Dupuis, whose electropop solo project Sad13 debuted in 2016 shortly after her own move to Philadelphia, has become more instinctive in her songwriting—her home-recorded demos mirror Twerp Verse's songs in a closer way than any other Speedy record—while her lyrics have become more pointedly witty. The band's camaraderie and crate-digging is evident, with diffuse reference points like Squeeze, Hop Along, Prince, Paramore, and Brenda Lee being sucked into the band's chaos. Even when Dupuis sings of alienation and political weariness, the pop maelstrom swirling around her provides a defiantly charged, mussed-but-hooky optimism.

Now as public pushback against the old guards reaches a fever pitch - in the White House, Hollywood and beyond - the band fires shots in disillusioned Gen Y theme "Lucky 88," and casts a side-eye towards suitors-turned-monsters in the cold-blooded single "Villain." Closing track "You Hate The Title" is a slinky traipse through the banality of this current moment in patriarchy - in which survivors are given the mic, but nitpicked over the timbre of their testimonies. "You hate the title, but you're digging the song," Dupuis sings wryly, "You like it in theory, but it's rubbing you wrong." Tuned smartly to the political opacity of the present, Twerp Verse rings clear as a bell.

Twerp Verse was tracked in Brooklyn DIY space Silent Barn, mixed by Omaha legend Mike Mogis (Bright Eyes, Rilo Kiley) and mastered by Grammy-nominated engineer Emily Lazar (Sia, Haim, Beck).

The Shadows is the new album from Leeds-based six-piece Tomorrow We Sail. Building on their debut release For Those Who Caught the Sun in Flight (Gizeh, 2014) over the course of three years, this new work combines perfectly the soaring atmospherics, gorgeously intertwined vocal harmonies and dramatic shifts in tone and dynamics that have come to characterise Tomorrow We Sail's sound. Yet, there is a new sense of urgency here. Very much an album of its time, The Shadows draws upon the same sense of connection to both past and present that defined its precursor but features storytelling that's even more defiant and deeply personal.
Like its predecessor, the record features seven songs but from the chiming guitars of opening track Side By Side it is clear that the stately pace of For Those Who Caught the Sun in Flight has made way for a far more dynamic and driving energy; perhaps best captured in the righteous anger of The Ghost of John Maynard Keynes. Tomorrow We Sail still invoke a keen sense of measured grace in their songwriting - from the sweeping, elegiac title track, through to the sparse, restrained, yet haunting beauty of Winifred and To Sleep. Urgent, yet assured, The Shadows demands your attention.

7" Picture Disc

Shiner was a very special group. Their sound palette had a variety of colors and intensities like no other group of their generation. They linked a work ethic (learned from Jawbox and Fugazi) to a way of understanding the composition and musical interpretation that transcended post-hardcore. It was very rare (a unique case) That a band could sound like My Bloody Valentine and then like Jawbox, then like Chavez or Helmet.

They not only killed themselves everyday touring in a van but burned hours in the rehearsal room and had more effect pedals than anybody. They were more math rock than anyone else. But what's more important - they had songs. Shiner wrote memorable songs. It's easy to try and be Radiohead, but writing songs like "The Simple Truth" is a lot more complicated.

While writing these lines I happily put on the record that BCore have reissued, "The Egg", and I once again faced the albums songs. It's many the times I still get goose bumps, and I don't think it's not due to a feeling of nostalgia (in fact age often makes the things I liked before less likable). The contagious riff in "Andalusia", the epic "Bells and Whistles", the roller coaster of emotions of "The Simple Truth" (it looks like a song by Unwound's "Leaves Turn Inside You", one of the only albums I could ever compare "The Egg"), the rock feeling of "Pills", the rhythmic game in "The Truth About Cows", "The Egg" and how tension is transformed into catharsis...

"The Egg" - released in November 2001 - was the group's fourth and final album, its creative peak and one of the most ambitious albums produced by J Robbins, whose creative participation goes beyond the mere production of the album. Not only because it is a perfectly balanced piece of work at a compositional level that makes us travel thanks to its production, but because it is a record, not just a simple collection of songs. Each element has its own entity and at the same time plays a role in the set.

Experimentation and accessible melodies. Darkness and rhythmic play. Ambitious and immediate rock. Visceral and brainy. On paper it seems difficult to blend influences like MBV, Helmet or Jawbox, but the Shiner of "The Egg" were in full blast and went straight for it. And they won.

Following their massively well-recieved debut release with Moroccan musician Majid Bekkas, Banana Hill return with music from slightly closer to home. Manchester-based drummer, DJ & producer Contours joins multi-instrumentalist XOA for a collaborative 12" of deep, percussive afrocentric house grooves. "Too Much Talking" is a cosmic dancefloor heater, with dubbed-out synths, vintage guitars, fat live bass and as the name suggests, a talking drum that underpins the whole track. Things head a little deeper on "Express" with rolling percussion, heavy sub and subtle influences of afrobeat & jazz.

· Bart Davenport's 7th album since his 2002 solo debut
· West Coast yacht rock meets '80s English pop
· Produced by L.A. Takedown's Aaron M. Olson
· Confirmed live dates in Los Angeles, San Francisco, Portland, Seattle, San Diego, Vida Festival (Spain)

Recorded in Boyle Heights, Los Angeles, Blue Motel is the new album by Bart & The Bedazzled, a brand new musical enterprise by Bart Davenport and his seventh album proper since his solo breakout in 2002. Alluding to Los Angeles with the lights down, it's an amalgam sound of '80s English pop and West Coast yacht rock jams, sprinkled with cinematic flourishes clearly influenced by the understated production of L.A. Takedown's Aaron M. Olson. The jangly pop aesthetic, resplendent with choppy chorus tinted guitar, snappy snares, sax and bass is underlined with life trodden stories about day jobs, dating, financial insecurities, lost innocence and most prominently, time travel.

The album lives somewhere in an imagined past (or future) that is curiously both the 1960s and 1980s conveying the groups's nostalgia for a fantasy world with a cheeky cynicism, despite a perception of a world that is, for Bart, on the downfall. To that end, Davenport's songs are, as always, delivered with a happy and sad sensibility reminiscent of the great Burt Bacharach. From the surreal yet humorous 'The House That Built Itself' to the sad surf music of 'Halloween By The Sea' or the romantic L.A. noir of the title track, Blue Motel arrives with a spoonful of tears, a nod and a wink.

The Bedazzled band lineup, united by their love of the 'Elegant '80s', includes the guitar of Wayne Faler (Dream Boys), drums, percussion and beats by Andres Renteria (Jose Gonzales) and post-punk bass lines from Jessica Espeleta (L.A. Takedown). The four friends from Los Angeles, united in their affection for the more sophisticated sounds of English '80s groups like Prefab Sprout and Style Council give the setlist a more distinctively pop flavour compared to Bart's soulful last outing on his album Physical World, also released on Lovemonk. Blue Motel features regular appearances from female vocalist Nedelle Torrisi (Domino, Asthmatic Kitty) who notably adds the lush layers of harmony on 'The Amateurs'. Saxophonist Billy McShane is also featured on three songs with improvisations that evoke the scene of whales in outer space.

Producer Olson often incorporates soundtrack and avant-garde elements in his own work. His gift for song arrangement, understanding of the synth and penchant for subtlety all shine brightly on Blue Motel.

FROM ÅL TO BROOKLYN AND BACK The last twelve months of Darling West's musical career can hardly be described as anything other than fantastic. Since the release of their second album, Vinyl and a Heartache' they have played concerts all over the world, been listed on the biggest radio channels in Norway and appeared on the Top 100 Country charts in the US and won a Norwegian Grammy. Despite all this, the band have no plans of resting on their acquired laurels with 3rd album While I Was Asleep' released on March 16th
They haven't changed machine these last twelve months, but you could still hear a new and revitalized Darling West. The band are still playing their sweet americana/country/folk, but there's a lot more drive in the music and the melodies are catchier than before.
Darling West is in the forefront of the new genre Nordic Americana, the new wave of music currently rolling down the mountains in Scandinavia. While I Was Asleep is the follow up to their award winning album Vinyl and a Heartache'.Their perfect harmonies, melancholic songs, and mesmerizing melodies have brought them out of the Nordics, and onto the world. The last year has been exceptional for Darling West. They have been playing festivals like SXSW, AmericanaFest and Øyafestival in Oslo, they won a Norwegian Grammy for best country album and toured with Lucinda Williams and Sam Outlaw. The new album is a lot more diverse than their last albums, and shows a new and fresh side of Darling West.

For the third Marfa Myths release, we're proud to present seven all-new songs written and recorded by Stockholm's psychedelic masters Dungen and adventurous Brooklyn indie-folk pioneers Woods. As the Myths record series progresses, the spirit of the collaborations between the artists chosen - one a member of the Mexican Summer family, the other for which we share deep admiration - deepens as well. Dungen and Woods were tourmates in the summer of 2009, traversing America and bonding with one another in the process. The familiarity with one another's music and personalities was already well in place, but the eight years that passed between the tour and the making of this record reveal that nothing was lost in the interim. That this is the most music assembled for a Marfa Myths release to date is telling of a rare and special connection, reignited by the circumstances of the occasion. Dungen's Gustav Ejstes and Reine Fiske, and Woods' Jeremy Earl and Jarvis Taveniere were provided the freedom to acclimate themselves to the unique frequencies of the Marfa experience without distraction. Marfa Myths 003 showcases a seamless merging of two bands following the same track to different locations throughout their career, as if they'd been playing together for decades, an exhilarating and buoyant example of how shared experiences can foster truly wonderful music.

Montreal's Helena Deland writes songs that are a testimony of a given time or place, converting her memories to something that sounds, in a word, unforgettable. A myriad of influences filter in and out of her writing, from '60's Parisian pop to indie folk to fuzz rock. She describes her songwriting as a collection of 'unsent letters,' perhaps fueling her self coined genre, 'sincere pop.' Helena captures the unapologetic aspects of womanhood the world needs today, highlighting powerful femininity in her vocals and refined writing in her unique lyrical choices. Helena will be touring the world over the next year, promoting the release of her upcoming collection, From the Series of Songs "Altogether Unaccompanied" Vol. I & II

The seeds of Her's have well and truly rooted themselves in Liverpool. Originally a meeting of minds between Norway's Audun Laading and Barrow-born Stephen Fitzpatrick, Her's forged a strong chemical bond through a mutual love of off-kilter humour and outsider art. Having clocked over one million streams between the two tracks on their debut single 'Dorothy' and 'What Once Was', and after following it up with the lackadaisical thrift-store humour of their sun-bleached single 'Marcel', Her's have compiled a rollicking record of their infant career so far. 'Songs of Her's' will be released on LP 16th March and it includes all their recorded output to date plus six new songs to make for the most complete introduction to their slacker world yet. Her's will be teasing this gnarly collectors-item-to-be with the release of 'Speed Racer'. With its sultry vocals and signature descending guitar and bass lick, it plays like the soundtrack to some oddball American stoner comedy involving a beach, a girl, a conspiracy, and a musical group from Liverpool.

here is the long-awaited fifth volume of the well received electronic compilation series from the 1980's color tapes label. As with the other volumes you can find great examples of cold wave, minimal wave and synth electronics made by obscure British bands such as: Berserk In A Hayfield, Disintegrators, Lives of Angels, The Lord, plus a rare track by The good Missionaries, post Alternative TV.

The notion of 'heavy music' is continuing to expand of late, with many intrepid artists finding new ways to incorporate the power of traditional metal into new music, but without all of its trappings. Enter Portland, OR quartet BlackWater HolyLight to further swirl musical elements into a captivating hybrid of emotional intensity. Heavy psych riffs, gothic drama, folk-rock vibes, garage-sludge and soaring melodies all collide into a satisfying whole with as much contrast as the band's name itself.

'I wanted to experiment with my own version of what felt 'heavy' both sonically and emotionally,' says founder and vocalist/bassist Allison Faris. 'I also wanted a band in which vulnerability of any form could be celebrated.' BlackWater HolyLight — Faris, guitarist/vocalist Laura Hopkins, drummer Cat Hoch and synth player Sarah Mckenna — formed upon the breakup of Faris' longtime band and she sought a fresh start. 'In my last band I was the only female in a group of 6, so I wanted to see how my song writing and vulnerability could glow taking the drivers seat and working with women.'

The band's self-titled debut begins with a simple, almost grunge-like riff as a chorus of voices introduce a melodic line in call-and-response until the band kicks in, slowly building into crescendo like a lost outtake from Led Zeppelin's Houses of the Holy. Elsewhere, Sunrise' begins with a chorus-drenched post-punk groove until a sonic boom of heavily distorted guitar skree erupts out of nowhere. Nearly as suddenly, the song returns to its lulling core, subtly building the tension until it ruptures completely in a blast of noise. Likewise, Carry Her' establishes a dark, sparse melody and distinctly thin sounding drums not far removed from early work of The Cure. However, BlackWater HolyLight's penchant for surprise attack finds a sudden shift into a doom-like dirge, colored with eerie synth notes and pounding shards of fuzz. Throughout the album, their songs shirk traditional verse-chorus-verse structure in favor of fluid, serpentine compositions that move with commanding grace. The band expertly, yet subconsciously, incorporates hints of Chelsea Wolfe, Celebration, Captain Beefheart, The Raincoats, The Stooges, Pink Floyd, Jane's Addiction and more to form their unique brand of dark'n'heavy transcendence.

BlackWater HolyLight was recorded by Cameron Speice at Gold Brick Studios and The Greenhouse, and with Eric Crespo at Touch Tourcher Recording in Portland. The album will be available on LP, CD and download April 13th, 2018 via RidingEasy Records.

Limited edition (1000 copies) double album from a magical night in Asbury Park, New Jersey in August 2017. The incendiary new GBV line-up of Robert Pollard, Doug Gillard, Kevin March, Mark Shue and Bobby Bare Jr. play songs from the 2017 albums How Do You Spell Heaven and August By Cake, along with a healthy dose of GBV classics and a The Monkees cover to boot. Excellent sound recording and the band's performance smokes all the GBV bootlegs.

See My Field' is the second single from GBV's masterful Space Gun (coming March 23) The new GBV line-up (Robert Pollard / Doug Gillard / Kevin March / Mark Shue / Bobby Bare Jr.) is blazing hot, and recently wowed audiences at Growlers Fest and Coachella. The band boasts that the album is so good, they are putting out just one new album in 2018! Two non-LP power pop b-sides, sung & written by drummer Kevin March ( Leave Tomorrow') and bassist Mark Shue ("Disconnected Eyes') available on vinyl only.

Following the quickly sold out limited edition transparent orange coloured vinyl that was exclusively released for Record Store Day 2017 Space Age Recordings are pleased to announce a new vinyl pressing of Spacemen 3's seminal album "Playing With Fire'. This album is again pressed on heavyweight 180 gram vinyl with printed card inner sleeve but this version is the standard black vinyl version.

Following the quickly sold out limited edition red coloured vinyl that was exclusively released for Record Store Day 2017 Space Age Recordings are pleased to announce a new vinyl pressing of Spacemen 3's fourth and final studio album "Recurring'. This album is again pressed on heavyweight 180 gram vinyl with printed card inner sleeve but this version is the standard black vinyl version.

IRST TECHNO ALBUM ON 7" VINYL + 3,5" FLOPPY DISK! ---
Remute's new album is the definiton of limited techno. Put the needle on the record, slip the floppy into your disk drive and then get raw, get dirty and get rid of any unnecessary ballast! Get Limited.

Describing his first solo record for nine years as the most free I've felt making a record since my debut Small Moments', David Kitt's sense of freedom is bound up in themes of renewal, movement, and a constant reshaping of his musical preoccupations. The last number of years have seen him touring and recording as a member of Tindersticks, producing other musicians' work, exploring techno, disco, and house under his New Jackson moniker, remixing everyone from Shit Robot to The XX, and producing intriguing, eclectic DJ sets and radio shows.

All of these experiences have been brought to bear on his latest record Yous, which mingles a sense of freedom, and calm reflection, with an independent impulse, There was no pressure whatsoever with this record,' he says. No label or manager, or anyone breathing down my neck. I was happy to wait as long as it took to have the right 10 songs'.

"The intention was to release it very low-key via Bandcamp and do a small vinyl run, but when it was done and mastered I had a feeling I had something special on my hands, and for the first time in a long while all my friends were chiming in saying it was their favourite thing I'd done. So I played it for Olan at All City and he convinced me to give it a proper release".
Yous is a finely wrought and elemental piece of work, folding in electronic hisses and beats that ground carefully finger-picked guitars (inspired by the likes of Mississippi John Hurt and John Fahey) and stirring violin, weaving between glorious pop-kissed melodies and stark, immersive, poignant compositions - something Kitt does so well.

In the spirit of J.J. Cale, Love is Overtaking Me-era Arthur Russell, and Ronnie Lane, the relaxed nature of the album was intentional, I'm getting my electronics fix from New Jackson, so I wanted to leave room for all the live instrumentation on this, and keep the backing as simple as possible, to let every element have room to breathe, and be heard, and have a strong personality.'
The record was largely done by Kitt at his Dublin home, in a teeny attic room' although old friend and collaborator, Karl Odlum, pops up, and Margie Lewis's violin plays a crucial role throughout the record, as does Ireland, and more specifically, Dublin. The city, surrounding countryside, and its inhabitants, are a constant thread throughout, giving the album the feel of a personal travelogue that spans two decades.

This is explored on Made It Mine', a song that was the hardest to finish because of the complexities of trying to capture our particular sense of identity, The Taste of Without' tackles the financial crash that hit the country especially hard, and the recession that followed, whilst Like Lightning' explores a night of adventure after a missed bus back home from Galway on the West Coast.
The rest of the album, held together by Kitt's uniquely rich vocals, offers a great deal of variety amidst its cohesiveness. Keep the Streets Empty for Me' is a Fever Ray cover which he makes his own, whilst other moments harness early Dire Straits-influenced guitar tones, and Serge Gainsbourg grooves. While the closing track, Song of Two Birds' says Kitt, Reminds me of the record Bobby Charles made with The Band in Woodstock in the '70s, but with Warren Ellis on violin.'
Although Yous is a record that is born of a particular place (the title is an Irish colloquial term for the plural of 'you'), it is equally about personal exploration and a sense of duality, as Kitt reveals, "It also refers to the different versions of ourselves we pass through in life, which is reflected in these songs, which span a ten-year period in terms of writing, and longer, in terms of experience.'

Yous is both the waking' and the breaking' of the heart that Arthur Russell sings of, and one of Kitt's best, and most personal musical statements, to date.

When people come all this way from the valleys and towns around Canberra they cross all the bridges and water courses
and on a windy day like this they see the waves and the water and the mud that gets turned up
sometimes you think 'Man, if you fell in that lake no one would ever find your body.'
- M. Shanahan, 2013

Two stone-cold murder ballads about his hometown Canberra recorded in a blue-lit toilet somewhere in the suburbs.

Hand-numbered and hand-stamped 7" vinyl edition limited to 100 copies in picture sleeve.

Rituals is the ambitious new album from Australian musician Amaya Laucirica, which is due for release on 2 March 2018 via Opposite Number.

Amaya's work blends the swirling contours of the Cocteau Twins with the wistful melodies of The Go-Betweens and the sonic depth of Yo La Tengo. Within this rich palette of sound resides Amaya's uniquely captivating voice, restrained yet beautiful, with rich breathy tones offering touching moments of yearning and lament.

Amaya began work on Rituals in 2015 while residing in Berlin. During this period, she also spent time performing live and completed a solo tour of venues throughout Spain.

She returned to Australia in 2016, where she formed the band behind Rituals, featuring Andrew Keese (a singer/songwriter and composer in his own right, on guitar), Hugo Cran (from Beggars Banquet alumnus The Devastations on drums) and Giles Fielke (previously of Lowtide on bass). The record was produced by John Lee at Phaedra Studios and mastered by David Walker at Stepford Mastering.

The first single from the album, More Than This', was accompanied by a stunning video directed by Geoffrey O'Connor, featuring the dancer Oge Ogemdi which was premiered via Gold Flake Paint. The second single, All Of Our Time', is a gorgeously melodic ballad that manages to be wistful, introspective and uplifting all at once. It examines the strengths and weaknesses of a long-term relationship and was debuted by The Line of Best Fit.

Over the course of two EPs, three albums and countless live shows Amaya Laucirica has established a unique presence in the Australian musical landscape.

From her childhood in rural South Australia, Amaya first moved to Sydney before finally settling in Melbourne where, in 2008, she released her debut album Sugar Lights. A beguiling and delicate blend of country, folk, rock and pop, Sugar Lights was critically lauded and resulted in Amaya being invited to perform at the North by Northeast (NXNE) music festival in Canada.

In 2010 she released Early Summer, an album that truly defined Amaya's sound and captured the attention of critics and listeners alike. Early Summer was recognised as JJJ's Album of the Week' and led to Amaya undertaking a series of shows with respected international acts such as Blonde Redhead, Mark Lanegan (Screaming Trees, Queens of the Stone Age) and a national tour with Australian rock icon, Adalita in 2011.

Her third album, Sway was released in 2014 and supported by national tour dates covering both regional areas and capital cities. In addition to these dates, Amaya also performed shows at MONA, White Night and Melbourne Music Week.

Rituals is a personal and intimate album dealing with themes of time, frustration, acceptance, loss and love. Musically, it is a richly complex and layered album that, although intricate and sometimes dense, also contains sparse moments of quiet transcendence and space. Rituals marks a major artistic statement and is the perfect demonstration of her talent for her first international release.

Rituals will be released on March 2, 2018 on UK label Opposite Number. The album will also be supported by a UK tour including dates to be announced in England, Scotland and Ireland.

Jackson MacIntosh may be an alien figure to most, but his resume pinpoints him as near the epicenter of the recent explosion in fantastic pop music currently being forged in the city of Montreal and exported the world over. He spent 2016 and 2017 deploying funky, percolating bass lines on the road for indie pop outfit TOPS.

He recorded and engineered the last two albums for labelmate Homeshake at his now-defunct home Montreal studio and venue, Drones Club. He has collaborated with cherished LA weirdo Drugdealer as well as Montreal's Bernardino Femminielli, all in addition to fronting the masterfully hooky power pop band Sheer Agony. Such is the man's work ethic that, when catching up with MacIntosh, the question that inevitably springs to your lips is: so what are you working on next

And so it is that Sinderlyn is proud to introduce listeners to My Dark Side, the debut solo album from Jackson MacIntosh. Recorded over three years and two break-ups, My Dark Side is as confessional as it is casual: a collection of songs that oozed out of necessity.