Pop & Rock Vinyl New Releases - News

Emerging back into earshot, erstwhile Kaiser Chief Nick J.D. Hodgson is pleased to announce his debut solo album Tell Your Friends. Set for release on January 26th 2018 on his own label imprint Prediction Records.

As main songwriter and founder member of Kaiser Chiefs, Hodgson already has an enviable record of global hits under his belt, including number 1 single Ruby and I Predict A Riot. Since leaving the band in 2012 he has written and produced for other artists, and has seen success in this new world with the likes of Mark Ronson, John Newman, Hurts and Ratboy. A solo career was not something Hodgson was even considering, as he explains: 'It was a long time since I'd written a song just for myself... and then I wrote Thank You'.

Thank You was written one night in Leeds when Hodgson was suffering from manu and waiting for an email that never arrived about a track he had co-written for another artist. It proved a pivotal moment in the making of Tell Your Friends, and was quickly followed by rst single Suitable and RSVP in the same week: I suddenly thought, OK, let's make this a proper album.'

All the tracks were written and recorded at Hodgson's home studio in London in the summer of 2017. And as quickly as the ideas came to fruition, the album was completed when he ...couldn't write any more and knew that it was nished.' It was produced alongside Dave McCracken (Ian Brown, Depeche Mode) whom he met on the Ivor Novello judging panel, highlighting again the serendipitous creation of Tell Your Friends.

Hodgson played all the instruments himself, aside from a guitar solo by Kaiser's cohort, Whitey on Feel Better, violin on Don't Forget To Go To Sleep courtesy of Anna C Hodgson, and My Own American Dream features The Music's Rob Harvey (keeping it in the Leeds family) on backing vocals.

Adept at his craft, Tell Your Friends marks Hodgson's leap from band member to solo artist, and is a collection of songs that sees him expressing himself in a more personal way than ever before: The lyrics are very honest, I wanted to express myself on this record, delve a little deeper and draw out some feelings I'd never touched on in songs before... I'd mainly written with someone else's voice in mind, so the lyrics would reect that. I would shy away from writing very personal things, but with this album I thought there's no point doing it unless it's honest.'

Encompassing his knack for a melody, the album basks in his ability to conjure a great lyric and punchy chorus, be it about love, frustration or fear.

Tell Your Friends is released through Prediction Records on 26th January 2018 and available on all formats via all usual outlets and is available to pre-order now. The ofcial video for Suitable is out now.

It was directed by Nick's wife Anna in Suffolk one summer morning at 4.30am as the sun rose. It was lmed on an iPhone using a £4 sele-stick with some pretty sleepy and confused cows as spectators. Nick J. D. Hodgson supports The Cribs at Brudenell Leeds, 18th December 2017

Nothing is stable, everything is usually on the brink of collapse, yet Phobophobes have dragged their weird and wonderful dark psychedelic rock'n'roll into the light of Miniature World', their debut album.

The band currently consists of frontman Jamie Bardolph Taylor, keyboardist Chris Olivares Chandler, drummer Dan Lyons, guitarist Christo McCracken, guitarist Jack Fussey and bassist Bede Trillo. Their influences are widespread - and atypical - with the music closer to the spirit of apocalyptic garage rock than it is to consumer pop. Think Wall of Voodoo, Joe Meek and Leonard Cohen via Monty Python and The Magic Roundabout. Jamie and Chris, both south Londoners, founded the band in 2013. The intervening years have played out anything but smoothly: they've been through two managers, four producers, five studios and eleven band members. And last year brought with it tragedy. George Bedford Russell, who played guitar, died of a heroin overdose. He was a beautiful person, and a close friend,' says Jamie. He suffered from severe depression and used to self-medicate with the wrong kinds of drugs. And his prescription drugs alone didn't provide any kind of long-term solution.' For Elliot Nash, a bassist and one of George's closest friends, staying in Phobophobes proved too difficult and he dropped out. After some time off, however, the rest of the band decided to go on.

We spoke about it a lot and think it's what George would have wanted,' says Jamie. His mother told us he had some of his happiest times playing in the band. Being told that kept us together.' George's spirit lives on in every song on the album - the first lines of the dark, gritty opening track included. On Where Is My Owner', Jamie sings lines from one of George's poems: I do not sink, I do not fall / The ground is a friend to all'. George lived in fiction. He was always reading books and poetry,' Jamie remembers. He had huge admiration for Will Self, both for his writing and for the way he dealt with his addictions.'

The band asked Will Self if they could record him reading one of George's poems. Happily, he agreed. Steve Lamacq played the corresponding single Human Baby' on BBC 6 Music every day for a week, along with further support across 6 Music for the track and follow-up single The Never Never'. George played a big part in the making of this album and it was important to the band that was reflected in what we put out,' says Jamie. You can hear his guitar on every track.'

For this to happen, the band collected recordings of George playing guitar taken on phones and low-budget equipment initially intended for demo purposes only. Some of his guitar that you hear was recorded for referencing purposes only, so we had to work around this technical problem. It was difficult to pull off - musically and emotionally - but having George on the album gives it added meaning, immediacy and depth.' So does the book of his poetry, illustrated by former band-member Elliot, which is published alongside the album. Jamie continues: We almost called the album 'The final collaboration' - a phrase Elliott came up with in reference to George - but in the end we thought it was too morbid for a debut, even for a band like us.'

Phobophobes are now as settled as a band as they have ever been and Miniature World' serves notice that a new era has begun. Recently they have started to gain more and more attention. Lauren Laverne has regularly played the band's tracks on BBC 6 Music, while the album was mixed by Youth, of Killing Joke, who produced Urban Hymns' by The Verve.

We oscillate between extremes,' admits Chris, but we've come through a really harsh period and we're enjoying making music and playing together again. That doesn't mean the element of chance and chaos that you get with us will go away.'

Phobophobes are a reminder that rock'n'roll can, even as the last embers fade, continue to mean something beyond an Instagram post and the search for five minutes of fame. They are at their best when performing live. With beautiful keyboard, soaring vocals and stunning guitars and rhythms, they appear committed to the intensity of whatever moment they find themselves in. Against excessive consumerism and everything that has become sanitised, an apocalyptic theme runs throughout the record. We want the listener to feel that,' says Jamie. Not all of the music is very pleasant. It swims in and out of a kind of abrasiveness. In places, the album can feel quite rough.' Studio space is often made by hand. Rising rents forced Jamie to build studio space wherever he has found himself, from living in Paris and later while recording in Peckham and Brixton. In Pittsburgh and Iowa, where he lived for short spells while installing and building sculptures for a prominent British artist, he would set up makeshift studios in hotel rooms to work on new tracks. Even when invited to record at Abbey Road - with the British engineer and producer Ken Scott (The Beatles and Pink Floyd among others) - the band brought along their DIY ethos. Bacteria from the older microphone at the legendary studio, along with swabs taken from past and present band members' body parts relevant to their instruments, was taken and cultivated in petri dishes. The results have been photographed for the album artwork.

Often the vocals are buried within the mix so the listener has to pay attention, as if trying to listen in on something uncomfortable. Still, while the lyrics offer an excursion into the darker side of rock, they are shot through with levity:

— Fairtrade cocaine in your system' (Human Baby)

— Will you marry me in a borrowed suit / With a borrowed attitude' (Free the Naked
Rambler)

— Drag me on a holiday / A package holiday / Seventy-two virgins on a long haul flight to
paradise' (The Fun)

For Chris, Our music is a response to our environment and surroundings. That's absolute. All the crazy people of south London have given us a lot. Rough lives can be beautiful.' No matter how shit it is,' Jamie adds, it is shitter somewhere else.'

First single off the forthcoming David Kitt LP - Yous. His first solo LP in 9 years is preceded by a four track 10 inch - Still Don't Know'. The title track sits alongside three non LP tracks. A special LP recorded with no pressure whatsoever with this record,' according to the artist 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 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 forthcoming LP which mingles a sense of freedom and calm reflection, with an independent impulse.

'Holy Doom' is the second album by Newcastle via Brighton three piece Demob Happy, an album about no one but you. it'll make you dance and shake, and question your part on this tiny planet at the same time, surfing the infinite divide with your head bobbing and your body swaying to the pulsing rhythms of a band more gallant than most.

Lovingly pressed here, with artwork designed, shot and created by the band themselves, every second of the journey through your Holy Doom has been poured over to create an album dense with melody, life, and passing sonic moments you won't hear till the 10th or 11th listen.

the postpunk autodidact's postpunk autodidact' - The Wire

Youngs recorded the album in his hometown, Glasgow, as a cycle of chamber songs, a 21st century update of the solo album - one musician playing all the instruments in a small one-room set up. The album itself began with Youngs collecting his own percussion samples: from handclaps, a battered old cymbal, an extractor fan vent, FM radio interference, cassette hiss and a kick from a disastrously '80s sounding drum machine'. These were then used to programme beats, played back at randomly determined tempos in durations mapped to randomly chosen major label songs.

The original plan was to send Belief out to the 'major' labels and collect the rejection letters as an art project. But, as soon as the album had been mixed, Daniel O'Sullivan (Grumbling Fur, This Is Not This Heat) played the songs to Tim Burgess and before the mail art project could take off, Belief became Richard's debut for Tim Burgess' O Genesis Recordings label.

Tim Burgess: Richard's album came to me via his friend Daniel O'Sullivan. He gave me some of Richard's songs and they completely bowled me over. I immediately asked if O Genesis could release it and he put me in touch with Richard. Belief is sublime gnostic pop and is the soundtrack to why I wanted to be able to release albums on our label. O Genesis had recently released Daniel's record (VELD) and it's always difficult to know what an artist thinks of our label - they might just be being polite when they say good things. If someone recommends a friend or a band that is dear to them, then that is a perfect sign for me.'

Richard Youngs has released around 140 albums and his collaborations include Makoto Kawabata (Acid Mothers Temple), Jandek, Oren Ambarchi, Alasdair Roberts, Alastair Galbraith and Heatsick. Prolific, multi-genre and impossible to categorise, Stewart Lee has said of him:  Imagine Richard Youngs as the junior member of a cabal of prolific and puritanical English musician-mystics, including The Fall's Mark E Smith, Van der Graaf Generator's Peter Hammill, Martin Carthy and The Clangers' composer Vernon Elliot, and still his nature will elude you.'

Heiß erwartetes Debütalbum der achtköpfigen Popformation. Superorganism sind in London längst - Talk of the town und werden nicht nur von englischen Medien wie NME, Fader, Clash oder eben auch BBC Radio 1 als eine der wichtigsten musikalischen Neuentdeckungen für 2018 angesehen. Auch in Deutschland ist man längst ins super-abgedrehte Superorganism-Universum eingedrungen. Ihre Single - Something for your M.I.N.D. avancierte auch hierzulande zum Indie-Hit und schaffte es auf die wichtigsten Radio- und Spotifyplaylisten. Die stets geschmackssichere 1LIVE Plan B Musikredaktion nahm Superorganism in die Reihe der wichtigsten 1LIVE-Plan B-Newcomer für 2018 auf.

LTD Edition!

Heiß erwartetes Debütalbum der achtköpfigen Popformation. Superorganism sind in London längst - Talk of the town und werden nicht nur von englischen Medien wie NME, Fader, Clash oder eben auch BBC Radio 1 als eine der wichtigsten musikalischen Neuentdeckungen für 2018 angesehen. Auch in Deutschland ist man längst ins super-abgedrehte Superorganism-Universum eingedrungen. Ihre Single - Something for your M.I.N.D. avancierte auch hierzulande zum Indie-Hit und schaffte es auf die wichtigsten Radio- und Spotifyplaylisten. Die stets geschmackssichere 1LIVE Plan B Musikredaktion nahm Superorganism in die Reihe der wichtigsten 1LIVE-Plan B-Newcomer für 2018 auf.


Keyfacts:

- LTD Schwarze heavyweight LP im glow in the dark Gatefold Sleeve mit vierseitigem Booklet inklusive MP3-Downloadkartek

Thomas James White is nothing if not prolific. Jupiter, Florida is the third album in just two years from his latest project The Fiction Aisle and is released through Chord Orchard on January 19th.

Whilst the previous two Fiction Aisle albums were low-key, limited edition affairs - the result of White taking a deliberate step back from the music industry - his ongoing mission into widescreen emotional pop has reached tipping point with Jupiter, Florida. This cult act are now ripe for wider discovery.

Despite their swoonsome, electro-orchestral arrangements, the first two Fiction Aisle albums were created in a swirl of depression and drink, largely exploring the personal rollercoaster White had been on since coming out as a gay man. An artist with rock solid credentials - a founding member of The Electric Soft Parade and Brakes, and a host of solo works and collaborations with the likes of Patrick Wolf and British Sea Power amongst his impressive CV - White is now reconnected and channeling his muse into something profoundly positive.

Drawing from a musical palette of influences including Nina Simone, Harry Nilsson, Broadcast and Lee Hazlewood's 1970 album Cowboy in Sweden, and produced at Jolyon Holroyd's Valvetastic Studio near Exeter, from its opening cut, 'Gone Today', Jupiter, Florida announces that things are getting better in the world of Thomas James White.

Pulp-ish ballad 'Some Things Never Die' is a co-write with White's life-partner. It's about, explains White - that sad/beautiful feeling that when we leave this world, it will carry on as normal and we're just this thing passing through for a little while, making our tiny little imperceptible mark. Those intense emotional moments where things are so heightened you're almost seeing and sensing the world in multiple dimensions, or with extra senses. It's my favourite song on the record, and I think some of my best writing so far.'

'Black River' is a photographic wintery snapshot about how accepting change may be the key to happiness, the Morrissey-esque 'Ten Years Time' is full of pithy self-assessment, while the twinkling space-disco of 'Memory' is aglow with hope.

I don't keep a diary,' Thomas explains, but a record is a loose encapsulation of a period of time. In a lot of ways the new album is a break from the past - it's me saying, 'Right, I'm going to do something with all this building up inside me'.'

Titled after a white picket fence American town, Jupiter, Florida is the sound of Thomas James White mining his emotions with newfound relish, letting The Fiction Aisle truly blossom, ready for whatever comes next.

- 180 GRAM AUDIOPHILE VINYL
- GATEFOLD SLEEVE
- EXPANDED EDITION CONTAINS ORIGINAL ALBUM
PLUS 12 BONUS TRACKS, INCLUDING I KNOW THAT
LOVING (ADRIAN SHERWOOD REMIX)', TWISTED WHEEL' (DEMO VERSION OF CAN WE START
AGAIN') AND PUPPYFAT'.

Tindersticks is an English alternative rock band formed in 1991 by Stuart Staples, Dave Boulter, Neil Fraser, Dickon Hinchliffe, Al Macaulay and John Thompson. In 1993 they released their first self-titled album, and the following years they recorded several albums, documentaries and film soundtracks. During the 90s Tindersticks stood apart with their dark, literary lyrics and melancholy orchestrations and were a different breed as both the British indie scene and the Brit-Pop sound dominated the UK charts.

Their fourth album Simple Pleasures steered the group into snappier and lighter songs, however the liner notes proved that the recording process was a painstaking experience. The respectful cover of Odyssey's If You're Looking For A Way Out' is a perfect example of their new influences by soul, gospel and jazz music.

This Music On Vinyl Expanded Edition features the original album (9 Tracks) and no less than 12 bonus tracks, including Twisted Wheel' (which is the demo version of Can We Start Again') and the Adrian Sherwood remix of I Know That Loving'.

Another year, another compilation of the known, the soon to be known and the soon to be forgotten. But the one thing that connects them all is that Rough Trade Shops love them. Sleeve by graffiti artist Danny Minnick. Features King Gizzard and The Lizard Wizard, Starcrawler, Superorganism, Alvvays, Lice, Jerkcurb, Priests, Princess Nokia, Colter Wall, Flat Worms, Aldous Harding and more. The tracks are made up of shop favourites that have been on constant repeat in all five shops, obscure gems we think more people should adore, bands that blew us away whilst the Rough Trade Shop was on tour at End of the Road, Primavera etc and basically anything we wanted to put on.

I Love You marks the debut for Brynjolfur on Eskimo and we absolutely treasure it. Supported by Agoria, Justus Köhncke, Dj Harvey, diskJokke, Low Motion Disco, Tensnake, Kasper Bjorke and more.

On the flip side you'll find the amazing Dubka remix of Majestique's Must Get There. Played by Aeroplane, Dimitri From Paris, Alex Metric, Kidnap Kid, Zimmer, C90's, Pete Herbert...

Now available as a limited edition 10".

After an impressive 17 years together, seven studio albums and over a million records sold worldwide, they might be excused a bit of downtime. But no... the London 4-piece Turin Brakes have announced their eighth studio album 'Invisible Storm' coming in January 2018 on Cooking Vinyl, followed by a major UK tour. 2016 saw them back lighting up the airwaves with national radio playlisting for three singles from critically acclaimed album 'Lost Property' coupled with a packed schedule of touring. Yet all along the way new material kept bubbling through. New songs kept popping up, in soundchecks. Light-bulb moments materialised in midnight sessions in hotel rooms or in any spare moments found. Invisible Storm is big-picture music played on a small screen, refracted through lyrics that embrace the personal and the universal, without offering the comfort of easy answers. Formed in Balham South London, Turin Brakes released their Mercury Music Prize nominated debut album The Optimist in 2001 followed by Ether Song in 2003 which featured the top 5 hit single Pain Killer (Summer Rain). One of the finest indie bands of the last decade with 7 top 40 hits to their name Turin Brakes are a band that's weathered many Invisible Storms, that are sure of who they are and what they've set out to do, and know that there's always a story left to tell...

Very pleased to be working with Prettiest Eyes. I first saw them ages ago at the Satellite and they were cake-takers that night. Now, they are stronger and weirder than ever. I couldn't believe this new batch of tunes and their bananasenergy live show and, their fans are hard-core heads, just a soup of dance and mouths agog. Brutal, fractured, pogoing beats played by Pachy (Garcia), also the singer, belching out vocal smoke rings in the laser light above the din—they are flat out commands, militaristic in their delivery and yet catchy, like you like em. Marcos, an extro-sensual bassist who climbs inside of your mind-clothes while grinding out aggressively greasy throbs and pulls and Paco, the keyboardist, who at times plays reeling wailing lines that could
be mistaken for a number of other instruments...and the hair on this dude! I have a hard time remembering how nice his face is offstage, all you can see is a whip wigging out.
They are captivating, they are odd, they make strange and interesting choices. Futuristic and yet drawn from the same sonic sludge that all mankind derives from, they live and breathe early Los Angeles-punk vibes while still innovating at every turn. There is electricity in this sound, they simply rule and what a pleasure to hear Pools doesn't stray far from what makes them just melt it
in person. Recorded perfectly to harness the animal on a nice inanimate slab of plastic you can take home. For fans of Screamers, Suicide, Chrome, and yes, a hint of a down unda Birthday Party.'

—John Dwyer

Re-release of the debut album by Easy available as a 10 track gatefold vinyl vinyl lp (+ cd) and a 16 track gatefold cd.

It was twenty seven years ago that Swedish indie band Easy released their debut album Magic Seed on the renowned Blast First label. Label supremo Paul Smith evidently recognized the perfect combination of Sonic Youth-like intensity and the sweet harmonies of The Beach Boys.
When Easy first arrived in England they met audiences who were unaware of Swedish pop, except for ABBA of course. Easy's singer Johan Holmlund quickly took advantage of the situation. With his tongue firmly in his cheek, Johan pointed out that Abba's Agnetha Faltskog was babysitting in their native Jonkoping.
The journalists liked what they heard.
In June 1990 the NME's Dele Fadele wrote:
''I think Easy will help break down that traditional English snobbish attitude towards European acts. People will be made to sit up and notice, 'cos what they're doing right now is intrinsically more valid than most of the inadequates who clog up record shops.''
Easy released three singles: Castle Train, He Brings The Honey and Horoscope which all found place in the UK indie charts) and toured all around Europe with the likes of The Gun Club, The House Of Love, Lush, The Charlatans and The Jesus and Mary Chain.
So early 2018 sees the release of the remastered version of this classic debut on gatefold vinyl and cd, all with hypnotic original artwork by William Latham.

On Rock Island, their second LP, Palm produces evidence of a distinct musical language, developed over time, in isolation, and out of necessity. On the island, melodies are struck on what might be shells or spines. Rhythms are scratched out, swept over, scratched again. Individual instruments, and sometimes entire sections, skip and stutter. There is the sense of a music box with wonky tension or a warped transmission in which all the noise is taken for signal.

Like other groups so acclaimed for their compulsive live show, Palm has been burdened by the constant comparison between their recorded material and their touring set. On Rock Island, they render this tired discussion moot, using the album form to present that which could never be completely live, reserving for performance that which could never be completely reproduced.

Despite appearing behind the instruments typical of rock music, Palm trades in sounds of their own making. On these songs, one of the guitars and the drum kit are used as MIDI triggers, producing an index that can be combed through later and replaced with new information. The percussion is sometimes augmented so as to suggest a multiplication of limbs. The strings are manipulated to choke, crack, and hum like other instruments, or other bodies, might.

Working again with engineer Matt Labozza, the band spent the better part of a month in a rented farmhouse in Upstate New York. With the benefits of time and space, Palm recorded the various elements piecemeal, only rarely playing together in groups larger than two or three. While some members tracked, others holed up in the next room, experimenting with quantization, beat replacement, and other methods borrowed from electronic music. Even accounting for the many labors that brought them to be, these materials seem produced by an organic logic. Their complex friction forms a habit of thought, scores a network of grooves on the floor of the mind.

This is music with dimensionality. Sonic objects are deployed, developed, and dissected in various states of mutation. The listener flits about between the field and the lab. The tone is warm in a way only the sun could make, the pace as forceful and as variable as a gale. Whether one locates Rock Island in a sea or in a refinished attic (as in Greg Burak's album cover), whether one escapes to there or is banished, its psychic environs are charted clearly enough. Only at this remove from the mainland can we sense the conditions necessary for such a strange species of sound.

On Rock Island, their second LP, Palm produces evidence of a distinct musical language, developed over time, in isolation, and out of necessity. On the island, melodies are struck on what might be shells or spines. Rhythms are scratched out, swept over, scratched again. Individual instruments, and sometimes entire sections, skip and stutter. There is the sense of a music box with wonky tension or a warped transmission in which all the noise is taken for signal.

Like other groups so acclaimed for their compulsive live show, Palm has been burdened by the constant comparison between their recorded material and their touring set. On Rock Island, they render this tired discussion moot, using the album form to present that which could never be completely live, reserving for performance that which could never be completely reproduced.

Despite appearing behind the instruments typical of rock music, Palm trades in sounds of their own making. On these songs, one of the guitars and the drum kit are used as MIDI triggers, producing an index that can be combed through later and replaced with new information. The percussion is sometimes augmented so as to suggest a multiplication of limbs. The strings are manipulated to choke, crack, and hum like other instruments, or other bodies, might.

Working again with engineer Matt Labozza, the band spent the better part of a month in a rented farmhouse in Upstate New York. With the benefits of time and space, Palm recorded the various elements piecemeal, only rarely playing together in groups larger than two or three. While some members tracked, others holed up in the next room, experimenting with quantization, beat replacement, and other methods borrowed from electronic music. Even accounting for the many labors that brought them to be, these materials seem produced by an organic logic. Their complex friction forms a habit of thought, scores a network of grooves on the floor of the mind.

This is music with dimensionality. Sonic objects are deployed, developed, and dissected in various states of mutation. The listener flits about between the field and the lab. The tone is warm in a way only the sun could make, the pace as forceful and as variable as a gale. Whether one locates Rock Island in a sea or in a refinished attic (as in Greg Burak's album cover), whether one escapes to there or is banished, its psychic environs are charted clearly enough. Only at this remove from the mainland can we sense the conditions necessary for such a strange species of sound.

Clear Vinyl

On Rock Island, their second LP, Palm produces evidence of a distinct musical language, developed over time, in isolation, and out of necessity. On the island, melodies are struck on what might be shells or spines. Rhythms are scratched out, swept over, scratched again. Individual instruments, and sometimes entire sections, skip and stutter. There is the sense of a music box with wonky tension or a warped transmission in which all the noise is taken for signal.

Like other groups so acclaimed for their compulsive live show, Palm has been burdened by the constant comparison between their recorded material and their touring set. On Rock Island, they render this tired discussion moot, using the album form to present that which could never be completely live, reserving for performance that which could never be completely reproduced.

Despite appearing behind the instruments typical of rock music, Palm trades in sounds of their own making. On these songs, one of the guitars and the drum kit are used as MIDI triggers, producing an index that can be combed through later and replaced with new information. The percussion is sometimes augmented so as to suggest a multiplication of limbs. The strings are manipulated to choke, crack, and hum like other instruments, or other bodies, might.

Working again with engineer Matt Labozza, the band spent the better part of a month in a rented farmhouse in Upstate New York. With the benefits of time and space, Palm recorded the various elements piecemeal, only rarely playing together in groups larger than two or three. While some members tracked, others holed up in the next room, experimenting with quantization, beat replacement, and other methods borrowed from electronic music. Even accounting for the many labors that brought them to be, these materials seem produced by an organic logic. Their complex friction forms a habit of thought, scores a network of grooves on the floor of the mind.

This is music with dimensionality. Sonic objects are deployed, developed, and dissected in various states of mutation. The listener flits about between the field and the lab. The tone is warm in a way only the sun could make, the pace as forceful and as variable as a gale. Whether one locates Rock Island in a sea or in a refinished attic (as in Greg Burak's album cover), whether one escapes to there or is banished, its psychic environs are charted clearly enough. Only at this remove from the mainland can we sense the conditions necessary for such a strange species of sound.

- 180 GRAM AUDIOPHILE VINYL
- GATEFOLD SLEEVE
- INCLUDES 5 BONUS LIVE TRACKS
- 15TH ANNIVERSARY EDITION
- LIMITED PRESSING OF 1.500 INDIVIDUALLY NUMBERED COPIES ON BLUE & GOLD MIXED VINYL

Welcome to the sound and poetry of recovery and redemption. On Beth Hart's third album Leave The Light On, she has taken her already lean, rootsy approach to writing, scaled it back to what is essential in a song, then poured the very grain of her being into each performance. Leave the Light On is filled with songs that take no prisoners, such as Bottle of Jesus' or Broken & Ugly', with fierce melodies and burning guitar crunchiness.

This exclusive expanded vinyl edition includes no less than 5 bonus tracks (Side 1, including a duet with Barry Hay recorded in Holland) + 5 bonus live tracks (Side 4, of which 4 tracks recorded in Amsterdam). No matter what happens, this album will always sound necessary and is a vital example of classic rock.

Celebrating the 15th Anniversary of the album, 1.500 individually numbered copies are pressed on Blue & Gold mixed vinyl! Strictly limited!

Cardiff-based band Gulp, made up of Guto Pryce (Super Furry Animals) & Lindsey Leven are back and sharing new single "Morning Velvet Sky'. Mixed by Luke Abbott, the track is taken from their new album, which is coming out in early 2018 with more details to be announced soon. The limited 12' vinyl (500 copies) comes complete with a stunning 3am dancefloor remix and dub version from Richard Norris (Beyond the Wizards Sleeve / Circle Sky).

In the words of the band ""Morning Velvet Sky is a song about dawn, with arpeggiating machines. The intent of Morning Velvet Sky is to wrap the listener in a blanket of the fuzzy feeling created by waking up on a warm dewy morning and having appreciation for the beauty in nature when things may not be perfect."

After touring across the UK this summer with festival shows at FOCUS Wales, Sea Change, Festival No. 6, End Of The Road, Kendal Calling, Liverpool Sound City and more, "Morning Velvet Sky" is the latest instalment of Gulp's luscious psych-pop sounds and a hit of what to expect from their next full-length next year. The single is available via E.L.K. records and on 1st December on 12' Vinyl.

Gulp make warm, fuzzy, luscious pop by combining ethereal sounds of both acoustic and electric drums and synths. Their music is like a road trip, the landscape and events along the way, filmic scenes and melodies - from the sun-squinting, flickering saturation and lens flare of the Californian desert, to the gloamin of rural Scottish and Welsh homescapes. The pair are joined by permanent member Gid Goundrey on guitar and various friends on drums including Stuart Kidd (Euros Child/Norman Blake), Kliph Scurlock (Flaming Lips/ Gruff Rhys), Gwion Lleweyln (Meilyr Jones) & others.

- 180 GRAM AUDIOPHILE VINYL
- PRINTED INNERSLEEVE
- CONTAINS EXCLUSIVE 6 PAGE INSERT
- 10TH ANNIVERSARY EDITION
- UK NO 1 ALBUM
- FEATURING THE HIT SINGLES GREAT DJ', THAT'S NOT MY NAME', BE THE ONE' AND MANY MORE
- LIMITED EDITION OF 1.000 INDIVIDUALLY NUMBERED
COPIES COLOURED (BLUE & SILVER MIXED) VINYL

We Started Nothing is the debut studio album by English indie pop duo The Ting Tings. Jules & Katie's combination of dance, indie pop and new wave proved to be one of the hottest things in 2008. The result being the album peaking at number one in the UK Albums Chart.

We Started Nothing spawned no less than six hit-singles, including That's Not My Name', which reached number one on the UK Singles Chart.

Eventually, the band, the album and several singles and videos were nominated for a variety of NME, MTV, Grammy and Brit awards. The Ting Tings won the MTV Award for best UK act and Shut Up and Let Me Go' won the award for best UK video.

For the first time since its original release, both international and UK front covers are brought together in one package. The latter being the innersleeve. This package also contains a 6-panel insert, including pics, credits and lyrics.

To top it off, the first pressing is a strictly limited 10th Anniversary edition. 1.000 individually numbered copies are pressed on silver & blue mixed vinyl. A very cool combination for one of the coolest albums of the last decade. We ain't fakin' this!

Bird Brains is a four song collection from Holy Fuck, recorded live at various studios over
the past few years. They represent the ongoing creative process of a band whose members
live in different cities (in both Canada and the US) yet insist their music should be a
collaborative process. These four songs aim to capture the raw energy of four people, not
apart as bedroom producers, but together as a spirited exchange of ideas, a dynamic
interaction that comes from years of friendship. While Bird Brains was largely self-produced,
a few very talented Engineers/Producers aided greatly in that process, including Shawn
Everett (John Legend, Warpaint, Alabama Shakes), who recorded the song "Chains" at The
Banff Centre for the Arts, and David Wrench (Caribou, FKA Twigs, The XX) who mixed the
song "New Dang".
The cover image was designed by long time friend Seth Smith, visual artist, film maker, and
musician from Nova Scotia. As the band describes, "the image is quite gross and beautiful,
natural and artificial all at the same time, which we feel best represents how we hear our
music."

Product Highlights
- Limited 10"
- 'Bird Brains EP' featured on Clash, DIY Mag, Line Of Best Fit, London In Stereo, Noisey, The
Skinny, Stereoboard, Consequence of Sound, Stereogum, Exclaim!, DIY and more
- Radio support from Chris Hawkins, Lauren Laverne, Marc Riley, Mary Anne Hobbs, Nemone,
Tom Ravenscroft, Gidoen Coe and more.

Lassigue Bendthaus is the electro-industrial project of Uwe Schmidt aka Atom™ or Señor Coconut from Germany. Uwe Schmidt began making music in the early 1980s, first playing drums, then switching to programming a drum computer after he had heard a Linn Drum on the radio. In 1986 he co-founded the cassette label N.G. Medien, on which his first musical work under the name Lassigue Bendthaus, ''The Engineer's Love'', was released. Soon after, he started to work on what would become his first official record release, the album ''Matter''. The recordings and production began in 1986 and took almost 4 years, until the album finally came out in 1991 on the German Parade Amoureuse label. Musically somewhere between late ''Industrial'' and ''Electronic Body Music'', yet already anticipating ''Acid'' and ''Techno'', this production managed to cause quite a stir, due to its advanced production techniques. Songs pay strong homage to Kraftwerk, approaching the early industrial dance scene with a softer sequential approach than most of his contemporaries. ''Matter'' is a hermetic reflection about the relationship between perception, nature, science, technology and labor. This reissue comprises the entire 1991 ''Matter'' LP, as well a bonus 7'' record containing 2 tracks never before released on vinyl. All songs on ''Matter'' were recorded and mixed by Tobias Freund (Pink Elln). All songs have been remastered for vinyl by George Horn at Fantasy Studios in Berkeley. The vinyl is housed in a jacket featuring the photographic traces of a high-energy photon hitting a proton. Each LP includes a 2-sided insert with original album reviews, press clippings, liner notes by Atom™ and photos.

Red Axes have come a long way since the 2014's Ballad Of The Ice. Tel-Aviv, now a scene and sound that the duo were instrumental in putting on the map, has burst onto the world stage armed with limitless electronic bravado and the city's strong guitar music heritage. Now, the much loved duo return, sophomore album in tow on their own label Garzen Records.

Unique moments and significant experiences gleaned over the course of an exceptionally intense year left Dori Sadovnik and Niv Arzi with depths of inspiration for their new record. Throughout December 2016, the Axes worked in their Tel-Aviv studio, surrounded by their extended Garzen family - Abrão, Eylonzo Crotch, Gabriel Broid, Adi Bronicki, Thomass Jacksonn & Iñigo Vontier all feature - giving life to a new psychedelic cosmic adventure. The outcome, a 12 track album which invites listeners to The Beach Goths world.

Red Axes snake their way through genres and periods, clearing an unorthodox highway through conventions, nodding to the past, eyes on the future. Live drums, jangling guitars, fuzzed out synths and an all pervasive psychedelia emerge as the backbone of The Beach Goths. Opener Ride The Sus leads in with a nonchalant blues indebted bluster; Tarzan Blues and Relaxation (For Your Mind And Body) call halftime with a bow down to Dead Kennedys and Cramps era proto punk and rockabilly. While the Axes are quick to jam out exotic post-punk numbers, the land of The Beach Goths is a land of contrasts. The clubs are never far and the drum machines come out on prime time club ready chuggers Piper Work, Shir 1 and the album's first choice excerpt Tantram Power.
Dori and Niv's vocal chops feature heavily, standing out on the youthful, kaleidoscopic ballad Loosen and hippy trippy song What Is In Your Head.
Closing the album with a warm embrace, helped by Deaf Chonky's lead singer Adi Bronicki, on psychedelic ballad Into Your Arms.

The land of The Beach Goths is a land of contrasts.

However you might try to find the words for it, Total Control's caustic charm is stunning and oblique. A sensible account of the band typically focuses on its parts—the associated groups, the touring configurations, etc.—as if finding ways by which Total Control is divisible gleans critical information for breaking through their cryptic sheen

Fünftes Album der belgischen Top 10 Alternative Pop Band! "Schlichtheit, Effizienz und Präzision nah an der Perfektion, viele Ideen, ihre Musik erinnert uns an Grandaddy, Blonde Redhead und sogar dEUS", schrieb das französische Magazin Magic über Girls in Hawaii und auch das neue Album zeichnet sich ähnlich aus. Vor allem Fans von Balthazar, Grizzly Bear und Midlake kommen hier auf ihre Kosten.

A multi-instrumentalist who draws on the full spectrum of pop, he seems able to handle everything from placid melody to ferociously avant garde ideals.'

CLASH

'SANDS' is the debut EP from London-based multi-instrumentalist SANDS out now via Shower Records. 'SANDS' was written by Andrew Sands and recorded with Brett Shaw at 123 Studios (Ghostpoet, Florence and the Machine, Daughter, Roisin Murphy) in Peckham, London.

SANDS began making music early, at the age of 13, quickly becoming obsessed by records and playing drums and guitar in bands, later getting into the recording and engineering side. His musical influences include Neil Young, The Smiths, Bowie, Talk Talk, Stone Roses, Spiritualized, Mark Lanegan, Primal Scream, David Lynch, Echo and the Bunnymen, the Gun Club, QOTSA, Chris Isaak, Grant Lee Buffalo, George Harrison, The Rolling Stones and Italian composer Carlo Rustichelli amongst others!

Poison in You', the first single lifted from SANDS upcoming Ep, premiered by CLASH magazine, Wonderland Mag, Music Week & Pop Dust is a hypnotic, gritty song with dark magnetic rhythms and a hint of grunge. It showcases edgy lyrics sung on a slightly upbeat and electric tempo with a sound reminiscent of Spiritualized, PJ Harvey, Type O' Negative and Arcade Fire.

SANDS says Being a multi-instrumentalist, it was quite natural to kind of develop the idea of the arrangement at the same time as the songs flew, so I was eager to get in the studio and see how things came out. It was fun and exciting losing myself in the process of building the whole sound, as well making some room for experimenting and improvising. Sometimes is easier, other times it seems you have to struggle a bit.'.

Remarkable polished pop..with echoes of Badly Drawn Boy..almost disintegrating Syd-Barrett-isms'
- The Sunday Times

Like an underbelly of Leonard Cohen's 'Songs From a Room', Gold's debut is a tactile journey through the toxicity of memory. Where Justin Vernon escaped to the woods, Ethan Gold escaped deeper into the city, recording and mixing alone in a collapsing building in the wastelands of Los Angeles. Gold, native son of San Francisco, grew up in the hangover that followed free love - son of Beat-adjunct writer Herbert Gold - and was raised with various step-families by his mother Melissa, who was tragically killed in a helicopter crash with the legendary rock promoter Bill Graham. For Ethan, the escape was always into his songs and the dreams where he hears them. After producing and arranging Elvis Perkins' blog-hyped 'Ash Wednesday', moonlighting as bass player in his brother Ari's folk party band the Honey Brothers with Entourage star Adrian Grenier on drums, and scoring his twin's feature 'Adventures of Power', Ethan quietly self-released his debut in America to underground acclaim: Emotions delivered with an unfiltered, glaring legibility' - Pitchfork The most interesting record I've listened to in the past 5 years.' - Rock N Roll Experience
Haunted'  - Glide Magazine Amazing'  -  Revolt

He then began rolling out a series of videos from the album showcasing his visceral approach. While working on his next film score in New York, Ethan fell in a freak accident at a warehouse, sustaining a significant head injury. He lost the ability to speak and to do complex tasks like sound engineering and found himself returning to his childhood influences and writing even more. During this 'rebirth', Ethan dug up an album of synth-strumental paintings, completed a collection from live covers of some of his favorite songs, and finished the score to the upcoming 'The Song of Sway Lake', with his songs being sung by John Grant and the Staves. The follow-up album - due for release next year - the multipart epic 'Earth City' will include his evergreen romantic-political anthem  'Our Love is Beautiful', currently racking up millions of views on fan uploads on YouTube. While we wait for his new music and his return to live performing, we are proud to be introducing Ethan's sweet & raw subterranean 'Songs From a Toxic Apartment' to the hearts of Europe.

Blur's Graham Coxon releases a special new single on Parlophone Records on December 15th. 'Falling' is a double A-side single which was written by the talented, but unknown song-writer and musician Luke Daniel.

One side features 'Falling' recorded by Graham and the other features Luke Daniel's original recording of the same track.

Proceeds from the sale of this single will be donated to CALM (the Campaign Against Living Miserably), an award-winning charity dedicated to preventing male suicide, the single biggest killer of men under the age of 45 in the UK.

'Falling' will also be available to Download and Stream.

*REPRESS ALERT* Today we introduce Charles Howl, a London-based brit-psyche group with a thrillingly melodic sound.
Charles Howl release their debut album 'Sir Vices' with a dozen tracks that deliver. Comprised of Charles Howl & Bobby Voltaire (both of The Proper Ornaments) they elected to record at Syke Lane's warehouse studio on the outskirts of Leeds, utilizing the foggy and remote atmosphere. Locked away Howl honed his songwriting, and production skills, slowly bringing in a team of friends, including Chris Hicks (Talons) on bass and Wesley Patrick Gonzalez (Let's Wrestle), who laid down a lead line on track 5 while round for a cup of tea.
As some of the last children of the '80s and with a britpop upbringing, it's no wonder Charles Howl has produced an album that sounds like The Modern Lovers channeling The Stone Roses while maintaining its contemporary charm. It makes for an album that is outward looking with tight rhythms tying down whirling guitars and lustrous textures bouncing off melodies.
The band have already shared stages with the likes of Let's Wrestle, Younghusband, Toy and Fidlar, set to head out on a run of European dates in March (London show Shacklewell Arms 13th February).
CHARLES HOWL floor filler to big top filler, from sweaty club shows, fashion parties to festival stages, they always deliver, its sonic attack with soul, one of my favourite bookings
Sean McLusky
THE 1-2-3-4 FESTIVAL

After the release of their first album 'Born Under Saturn' in 2012, and its follow up in 2015, musical adventurers Django Django went on to unchart new sounds and announce the release of 'Marble Skies", their new album, on January 26th 2018. 'Tic Tac Toe' is the first extract of this forthcoming album, and gets an exclusive 7 EP release. The track is a dancing, psychedelic uptempo and terribly catchy rock title; and will fulfill every Django Django's rockabilly influence fan's expectations. Actually, the track is inspired from the very same improvisation that WOR and Shake & Tremble recorded for 'Born Under Saturn". The music video was directed by John Maclean, brother of David (drummer and producer of Django Django), and director of the atypical western 'Slow West".

Mit "NOMC15" erscheint nun eine Art Deluxe Album des letzten Studioalbums "Music Complete" von New Order als Live-Version. Zum VÖ des Albums spielte die Band aus Manchester zwei Shows in der Brixton Academy London. Eine wahrlich großartige Live-Aufnahme eines der beiden ausverkauften Konzerte erscheint nun als Doppel-CD und 3-fach LP auf MUTE!

New Release by Django Django´s own Kick + Clap label. 12 comes with a generic Kick + Clap sleeve with white inner sleeve.

'Your Wife' is the first track to be set free from Rebecca Taylor, under her new solo guise Self Esteem. Impeccably produced by Django Django's Dave Mclean, the track been greeted by high praise by fans and critics alike - drawing influence from her the dark and light within her own life, and her experience's in an indie band in the music industry for 10 years. 'An electro-pop jam' DIY 'Balanced between empowerment and vulnerability, 'Your Wife' is an emphatic opening statement.' Clash 'Magnificent' The Line Of Best Fit

Repress in limited coloured vinyl of 2013 RSD release DOES NOT include Festival Programme, Postcard Certificate or DL
Paean to Wilson is arguably Vini Reilly and the Durutti Columns most important and consistent piece of work since the demise of the original and seminal Factory Records in the early 1990's. It was commissioned MIF (Manchester International Festival of Music), July 2009. Vini had already composed pieces for Tony to listen to whilst he was ill in hospital and it was from here that the project developed. The opening night of the three sell-out festival shows formed part of the BBC2 'Culture Show' coverage on the event.Dave Simpson - MIF Review - The Guardian 20/7/09 4 out of 5 ' Near the beginning of the final night of the Durutti Column's 70-minute international festival tribute to Tony Wilson, A Paean to Wilson, guitarist Vini Reilly announced that he wouldn't be singing: "So you won't have to put up with my awful voice and schoolboy lyrics." If Wilson was with us, he would have chuckled. The Granada presenter-turned-Factory Records boss spent years urging his first signing to stop singing, and concentrate on the virtuosity that led Red Hot Chili Pepper John Frusciante to call Reilly "the greatest guitarist in the world". Two years after his death, Wilson got his way, one of many lovely touches in a very personal, emotional and often warmly funny musical tribute. Wilson signed Joy Division and Happy Mondays, yet never gave up on this cult band he adored, working with them even after his legendary label went bankrupt.