Pop & Rock Vinyl New Releases - News

Hailing from the sun-drenched shores of San Diego, California, The Black Heart Procession has sought to bring their unique dream of winter to life for nearly 2 decades. Over the course of 6 full-length LPs and numerous ancillary offerings, their songs have captured the essence of heartbreak, the tragedy of discord and the exultation of redemption. Through it all, a mysterious figure, known only as The Waiter, has made intermittent yet poignant appearances - his is a world of cold, sorrow and loss, which we experience through his ceaseless turning of memory and dream.

Chronicled here in one volume are the exhaustive laments of The Waiter - 8 chapters which span across those 6 albums and numerous releases, including one rare and one previously unreleased title. Listen and wait, unburden the heart and soul - and dream, dream, dream, my lonely one...

Originally pressed as a limited tour only CD with 7 songs, it quickly sold out. Now available on vinyl for the very first time, tracks 6 & 7 cannot be found on any studio album and the collection now includes a brand new, never released Waiter song, track 8! Limited to 1,000 copies!

Time for something a little different from Public Release.
EYE O is the convergence of a few Bay Area stalwarts—Kevin Woodruff, formerly of Tussle, and Jason Schwartz—and 'Deux O & Debut" is their first studio-recorded public offering. The five-track, fifty-minute- long LP is a weaving journey through a pastiche of styles that're all nephews, cousins, brothers, sisters of one another. Kraut-rooted motorik drums reconfigure into more complicated math-y patterns; razor-sharp dance-punk guitars stretch out and dissolve into dubby post-rock atmospherics; synth loops you'd more commonly find in house tracks get grafted onto fuzzy psychedelic breakdowns; hard rock licks lock into chunky industrial grooves.Less for dancefloor destruction and more for trippy weekenders, the instrumental record manages to both be a focused, cerebral, conceptual hunk of fat to chew on and a spaced-out, intuitive ride through the cosmos. For use during those off-kilter small hours of the night just as much as it is vision quests and introspective weekends. It's rare that an outpouring of so much can feel so simple and sublime.

Bis was formed in late 1994 by teenagers Sci-fi Steve, Manda Rin and John Disco. From 1995 on Bis released a string of 7''s and EP's, on indie labels like Chemical Underground, Guided Missile and their own Teen-C Recordings. Bis had a sound that was completely their own, an agressive yet poppy mix of punk, indie pop, riot grrrl, new wave and britpop. Their second EP for Chemical Underground, 'The Secret Vampire Soundtrack', managed to enter the British top 30, and the band was even invited to perform one of the songs of the EP, 'Kandy Pop', on Top Of The Pops. Bis released their 1997 debut album 'The New Transistor Heroes' on Wiija (Europe), the Beastie Boys' label Grand Royal (US) and Sony (Japan) - selling more than 100.000 copies of the album in Japan, where they were very popular, alone. After two more albums, 1998's 'Social Dancing', that had a more poppy and modern sound and featured hit single 'Eurodisco' and the 2001's 'Return To Central', leading the band further into electronic terrority, Bis split up in 2003. Members went on to other projects, only to return in 2005, with an extra rhythm section, als Data Panik. After three reunion shows and releasing a greatest hit compilation in 2007, Bis came back together in 2009, and have been playing shows regularly ever since, releasing the 'Data Panik' album in 2014, a bunch of (split) singles and re-releasing deluxe editions of their albums on their own 'Do Yourself In'-label. And now, in 2017, Bis ads a Christmas single to their already extensive discography, a single that shows two completely different sides of the band. The A-side, the catchy Christmas anthem 'You Wrecked My Christmas' brings 'Social Dancing'-era Bis to mind, with punky guitars, uptempo drums, 80s synths and a chorus that refuses to leave your mind once you've heard it. On the B-side Bis take Saint Etiennes' synthpop-influenced Christmas hit 'I Was Born On Christmas Day', strip it to the bones, and it ends up sounding like Bis' interpretation of a 21st Century krautrock Christmas song.

Following up their well received debut single - the 10 minute long Alternative Facts released in June as part of Too Pure's singles club - Mush have returned with a new AA 7" due for release on the 17th November. 

Whilst their previous single called out the bullshit of the White House press department, this time round Mush have set their sights on those despicable creeps, the people who exclusively live their lives in the comments section of online articles. Meanwhile on the flip-side 'Luxury Animals' is a call to arms to "sack off work and go lay down somewhere instead". 

The tracks were recorded with Matt Peel at The Nave and combine clever Television'esque interplay with the slacker-rock of their previous singles. Since forming early in 2016, the Leeds four piece have recorded an EP with MJ at Suburban Studios, been invited by Marc Riley for a BBC 6 Music session and supported the likes of Rolling Blackouts Coastal Fever and Happyness

"Baby went down a blast last summer. It stood out at every festival we performed at, as the track punters got into the most. It's got that summer vibe, so we only felt it natural to release it with This Feeling, who have supported big time, just before this year's festival season and pre-empt the good times." (Paves)

This Feeling Records is the instinctive next step for the UK's most influential name in guitar music promotion. Director, Mikey Jonns, on this release, "Baby went down a storm at last summer's festivals so I thought, why not release it around this year's festivals (they're doing loads). It's a great tune and they're great lads -the heart and soul of London's new music scene".

Paves are the London faces of Britain's new rock and roll movement, when they're not bringing their Stonesesque swagger, with what Clash describe as wah-wah flavoured guitar matched to some scorching vocals", live on stage, they're out nearly every night in support of their musical peers. Literally, the faces of the scene, Luke Shield (Lead Vocals and Guitar), Mike Whitaker (Lead Guitar), Perry Read (Bass and Backing Vocals), Tom Triggs (Drums).

The London 4-piece have gone down a storm at Isle of Wight Festival, TRNSMT + Tramlines playing to RAMMED stages and have Y Not Festival + Reading Festival still to come. 

St. Petersburg, Florida band Seafang formed as the result of a more-or-less spontaneous session in a local practice space. Guitarists Susan and Stacy were joined by Paul on drums, Heidi on vocals and Stacy's husband Gary, who played in 1990s band Honeyrider, on bass and the first few songs of the band that would become Seafang were written. About a year later, in the Summer of 2016, the band released its debut single 'Motorcycle' on local label Elephant Stone. The single met with positive reviews, with Lush, Shop Assistants, The Jesus & Mary Chain, and Veronica Falls used as references to describe the music of the band - a mixture between the UK C86 sound, shoegaze and the sixties pop of The Shangri-Las and The Beach Boys. With a second single, 'Solid Gold' released on the Emotional Response label in the Summer of 2017, the band further broadened their appeal. On their Snowflakes Christmas single, Seafang chose to cover a song that originally appeared on the 2012 Elefant Records Christmas compilation, 'You Trashed My Christmas', written by one of band's main inspirations, The Primitives. Without straying too far from the original, Seafang add some shoegaze elements and keyboards and make the song their own. The atmospheric and ethereal 'Happy When It Snows', a self-penned song that is featured on the A-side of the single, has layers of guitars and keyboards, that, together with Heidi's soft sounding vocals, create the feeling of floating amid all the snowflakes that are whirling down from the sky.

Sons of Raphael are brothers Loral and Ronnel Raphael from London. Their throats are opened graves, they use their tongues to deceive. Sons of Raphael release their debut single, double A-side 'Eating People/Rio' through Moshi Moshi on Friday 17th November 2017. The single will be released digitally and on limited edition 7' vinyl.

Double 12" 33 1/3 140g black vinyl compilation LP in gatefold 180gsm litho-printed sleeve. Running time: 1h 8mins. Strictly limited edition of 500. Features all-new recordings by: Band of Skulls, Moulettes, Anja McCloskey & Fred Kinbom, Etao Shin, Dave Miatt (Jackie Paper/Sleeping Tigers/Thomas Tantrum), Avital Raz, Moneytree, The Diamond Age, The Beaux Hardts, Lewis Ford & Dave Jones, Calico Cat, Oresteia, Zoom Around Rainbow, White Ape, Granfalloon, Pippin Atmark and Lonely Joe Parker.

The Sotones Records' SOTONES10 tour wraps up 2017 with an all-day festival of music and DIY creativity at Brighton's One Church. Moulettes headline, supported by Anja McCloskey, Avital Raz, Lonely Joe Parker, Etao Shin, Eliza Jaye, Granfalloon, Ottersgear. DJ sets from Resonators / Rosehill DJs, Niggle, Willkomen Collective.

Kakkmaddafakka nahmen "Hus" in einer alten Villa im norwegischen Bergen auf, die Frontmann Axel Vindenes per Zeichnung auf dem Cover verewigte. Entsprechend warm und familiär klingen die neuen Kakkmaddafakka Songs, wie gewohnt hübsche, kleine Ohrwürmer, angesiedelt zwischen Pop und Indie mit sehr viel Soul, einer leichten Melancholie und diesem soften Disco-Flair, das so typisch ist für die norwegische Musikszene. "Hus" enthält zehn kleine, kuschelige Geschichten über Liebe und Leben, die die zahlreichen Kakkmaddafakka Fans auf diesem Planeten lieben werden.

Das Debütalbum des schwedischen Dream-Pop-Duos Wy vereint markante Gitarrenmelodien mit den kraftvollen Vocals von Sängerin Ebba. Die 10 emotionalen Songs schwelgen zwischen sanfter Melancholie und Hoffnung. Limitierte LP-Auflage auf milchig-transparentem Vinyl.

A 30-song career spanning compilation from this long-running female fronted Bay Area punk band. BAD DADDIES (aka B.D.), run the gamut from hard-core noise-bursts, to '90s-style rock through to straight up pop-punk sensibilies. This compilation takes in a smattering of tracks from their 2011 self-released uber-rare debut singles, (editions of just 83 copies and 137 copies), to 2016's self release demo cassette (edition of 70 copies). Initial copies of this LP include an extensive zine, with band interviews, original artwork and track by track commentary. RIYL the Bags, the Urinals, Sonic Youth, Bikini Kill, Melt Banana.

Comparisons between musicians and painters don't usually work. But biographical parallels are not unusual. And just as some paintings place their creators in a particular period in their creative lives, there are also musicians who can look back on distinct creative phases. F.S.Blumm is one such musician.

At the end of the 90s there were alot of murmurs about the living room scene in Berlin, magical concerts on improvised stages in temporary event spaces. Back then it was about music without fat beats and bass. It was a counter-reaction against rockstars with all their posing and egos. You made music with acoustic instruments and kitchen appliances. Concerts were listened to attentively and with deep concentration. One of the protagonists of this scene was F.S.Blumm. Among other things, his love for untempered, often self-made instruments predestined him for this. At the turn of the century virtually any kind of music which used acoustic instruments was branded - Free Folk or - Alternative Folk . But other than a few ironic comments in interviews Blumm didnt try to monopolize on this supposed movement, rather he kept a poised distance from it. It was during this time that his album - Mondkuchen (trans. Moon Cake) was released on Morr Music. The bristly detailedness of the living room scene met serious and powerful reductionism.

F.S.Blumm has many faces. Working your way through his vast discography would be a research project all in its own right. He has collaborated with the likes of David Grubbs, Andi Otto, Harald Sack Ziegler or Nils Frahm. He realised his love for Dub Reggae with the Quasi Dub Development. In the band KINN he played dynamic Postrock. Blumm has a faible for odd beats and could write an a-z on minimal musics pattern matching. Quite where his personal musical signature lies remains something of a mystery. Nevertheless only a few bars are enough to recognize it. This may by down to his preference for open harmonies or his poingnent arrangements.

Now F.S.Blumm is entering a new phase of his creativity which one could call his nonchalant phase. Although the first few bars of his new album do sound like an echo of the deep seriousness in his studio albums with Nils Frahm. Besides a few guitar chords and the suggestion of a xylophone in the background there is nothing but the wide spaces between them. Fine almost random sounding noises are remotely reminiscent of the era of his experimental instrumental concerts with classical guitar. Then the voice comes into play and everything changes. Laid back F.S.Blumm sings with a combination of urgency and relaxation. His voice sounds like he's standing right beside the listener, singing straight into your ear. At the same time its unobtrusive. The piece sounds touching and intimate. This is the way how - Handle Bar the opening track on his new album - Welcome is delivered.

If an artist as experienced and multifaceted as this calls his new album - Welcome that really says something. Many years ago the composer and instrumental musician F.S.Blumm was already active as a songwriter. He wrote songs for three duos in which he played with various singers: Bobby And Blumm with Bobby Baby, Old Splendifolia with Jana Plewa and finally Jonsson Gille & Blumm. Now for the first time since he started making music, he is singing his own songs himself. Which is like a journey back to his roots - back to his childhood bedroom with a songbook and his first guitar. With - Sounds of Silence and - Sister Ray day in day out.

With every song on - Welcome new doors of association are opened. The second track - New Day uses reverb laden drums and hymical harmonies to great effect. But F.S.Blumm always manages to make the grandiose still sound grounded. Rather than spreading himself too thin, he prefers to explore the depths. There we find the relaxed and erotically crackling - Going Away , the optimistic - Initial Spark and the casual - Overweight . Blumm is ever traversing the field between greatness and modesty, sophisticated melodies and recordings which are like the extremely condensed sound of a cassette recorder. This aesthetic permeates the entire album.

With - Welcome F.S.Blumm has perfected the imperfect. Where other producers filter out the noise, pops and crackles, Blumm does the exact opposite. He reverses the roles of desired and undesirable sound. What remains are songs like sculptures left in the wake of acoustic tracks.

RAZZ are a reminder that simple Rock & Roll chord structure does not necessarily equate to unoriginal. A structurally sound debut LP, Time Frames lives up to the pedigree of the band's cast of characters. ANDY HUMAN (moonlighting outside his Reptoids) on bass, and PHILLIP LANTZ (TALKIES) on drums lay the groundwork on which JOEL CUSUMANO (SOB STORIES, Talkies) and DAN WOOD (ex-PETS) weave guitars with architectural precision. The blueprints for these sonic sculptures spring from the mind of Wood, one of those rare songwriters who somehow teases out the complexities of life in a few couplets and delivers them in a riveting, plaintive voice set against sweeping, jagged waves of guitar. And what sets these RAZZ tunes apart from all your other favorite great rock and roll songs Well, Wood has an uncanny knack for crafting the perfect middle eight—that part of a great song that burns white hot with all the dichotomous tensions wrapped around your heart, squeezing until its about to burst! RAZZ are TIMELESS and NOW—intricate POP disguised as BIG ROCK tunes!

A shotgun marriage of '80s jangle pop and nervy, tongue-in-cheek lyrics are the wedded bliss of SOB STORIES' eponymous debut EP. Lead singer and songwriter JOEL CUSUMANO never met a hooky chord progression, or a dark turn of phrase, he didn't like. Prior to forming Sob Stories, Cusumano played with Oakland power-poppers TALKIES—after recording with Terry Six (Exploding Hearts) and releasing a full-length cassette on Burger Records, he parted ways with the group to form Sob Stories. Other Bay Area pop pros (members of RAZZ, COCKTAILS) fill out the Sobs' lineup. The band's debut is a whirlwind of guitar pop tunes that all clock in under 2:30, and cover the rock geek milieu—heartbreak, regret, and baked Alaska.

Super Montreal-based band (with members from Moss Lime, Lantern, Each Other, Soft Cone, Sheer Agony, and R U Real), PHERN, started in 2015, is putting us again in a « Cool Coma », title of their first album released by the Canadian label Fixture. Between pop oddities, multidirectional looseness and unreal lyrics, PHERN, always wearing shorts or almost, unveils two new tracks of hypnotic, brilliant and offbeat indie-rock that Universe recommends you to listen to, preferably during your « pause clope » or when you'll have this -strange- idea to scotch two bricks together.

Despite the « amour fou » provoked by his first album, « Yes or No » (Clapping Music/ Atelier Ciseaux, 2008), FRANCOIS VIROT never went for the easy option. We had to wait until 2016 to finally listen to the Lyonnais's new LP « Marginal Spots » (Born Bad Records), played -this time- in good company (with musicians from Satellite Jockey, Coming Soon, KCidy, etc.).
From this prodigious « Yes or No » there is barely nothing left, exception made from his smiling voice and this generosity to create hits. The tempo is speeding off, velcro shoes are now laced-up, FRANCOIS VIROT offers us two tornado tracks of « slacker pop » which are going to put an endless smile on your face.

This record will be available on vinyl (limited to 250 copies) on September 28th on Atelier Ciseaux and will launch the beginning of a shared tour in Canada.

Feral Child, the on-off label that brought you vinyl only releases from Snails, Pete Astor, The New Lines and The Orange Alabaster Mushroom, returns with not one but two totally ace LUNA 45s, due for simultaneous release mid to late October 2017.

Both containing covers, the first acts as a companion piece to the great A Sentimental Education' LP, with the Orbison / Petty / Lynne penned A side, California Blue' (from Roy Orbison's hugely underrated 1989 Mystery Girl' LP). A key, if cautionary, comment from Dean Wareham himself on this one: It's not possible to duplicate the great Roy Orbison, we decided to go away from the Jeff Lynne pop style of the original and try it more in the vein of Pavement's Range Life.''

The flip features the bands' cover of Rock Yr Baby', "George McCrae's disco classic is an important single. Written by Casey/Finch (of KC & the Sunshine band), it is one of the first disco hits to feature a drum machine. It has been in our live set for a while at the stroke of midnight but only if we are playing a show on New Year's Eve.' (DW)

This first single is released in an edition of 500 only.

Feral Child, the on-off label that brought you vinyl only releases from Snails, Pete Astor, The New Lines and The Orange Alabaster Mushroom, returns with not one but two totally ace LUNA 45s, due for simultaneous release mid to late October 2017.

Both containing covers, the first acts as a companion piece to the great A Sentimental Education' LP, with the Orbison / Petty / Lynne penned A side, California Blue' (from Roy Orbison's hugely underrated 1989 Mystery Girl' LP). A key, if cautionary, comment from Dean Wareham himself on this one: It's not possible to duplicate the great Roy Orbison, we decided to go away from the Jeff Lynne pop style of the original and try it more in the vein of Pavement's Range Life.''

The flip features the bands' cover of Rock Yr Baby', "George McCrae's disco classic is an important single. Written by Casey/Finch (of KC & the Sunshine band), it is one of the first disco hits to feature a drum machine. It has been in our live set for a while at the stroke of midnight but only if we are playing a show on New Year's Eve.' (DW)

This first single is released in an edition of 500 only.

The album was penned during a time of personal unrest that, rather ironically, paralleled the peak of Katzenjammer's career - a twelve-year pursuit culminating in three albums, multi-million streams, tours spanning Austin to Australia, and praise from the likes of The Guardian, The Quietus and BBC Radio 6Music, alongside personal plaudits from David Byrne and Steve Lamacq. The band earned bonafide export status, with an enamoured international fanbase driving sales in excess of 500.000 and hitting Certified Gold status in Germany with sophomore release "A Kiss Before You Go" (2011).

"Skinhorse Playground" owes much of its sound to producer Hasse Rosbach (Moddi, Turbonegro, Team Me), who called in an eclectic mix of jazz composers, punk purists and LA-based session legends - not least of which, Jeff Babko (Neil Young, Beck, Frank Ocean, Jimmy Kimmel Live) - to push Sol even further from her Katzenjammer comforts.

Lead single and album opener "America" sets the tone for what is to come an ode to the unknown, and the promise of new places and faces. It's indicative of not only the new album, but also this new chapter for a brighter, braver Sol Heilo.

For an extended album-bio please see the separate attachment in the new release e-mail.

- Sol Heilo, founding member of successful Norwegian folktet Katzenjammer, announces her solo debut LP "Skinhorse Playground"
- Katzenjammer's career culminates in three albums, sales in excess of 500.000, multi-million streams, and tours spanning Austin to Australia (including Glastonbury, Bonaroo Music and Arts Festival, Bestival, Cambridge Folk Festival and Woodford Folk Festival).
- Debut LP "Skinhorse Playground" is produced by Hasse Rosbach (Moddi, Turbonegro, Team Me), who called in a host of session legends to feature on the record, including Jeff Babko (Neil Young, Beck, Frank Ocean, Jimmy Kimmel Live).
- Album news is paired with lead single "America" - an ode to the unknown that captures the wide-eyed wonderment and wanderlust of this new project.

Felt, The Wake, Orange Juice, The Pastels, Feelies, Belle and Sebastian, Rat Columns. David West is a musical artist from Western Australia based in New York City. He's been active in the shifting sands of underground pop for over a decade. Not dissimilar to the main character in Star Wars, his musical career began in a backwater desert village, in this case, Perth, before he migrated to more glittering metropolises like San Francisco and Melbourne, and finally landing in his current home of New York. He presently plays in the contemporary outfits Rat Columns, Rank/Xerox and Liberation. In the past he has participated in such groups as Lace Curtain, Burning Sensation and Total Control. DW began releasing eponymous platters in 2015 with the Night People/Happy Endin' full-length cassette Drop Out Of Collage. This was followed in 2016 by the Peace Or Love LP which featured the radio semi-hit 'Dream On Dreamer'. DW's move into the "own-name" category of artists came as his other bands began to develop defined identities. He felt that recording under his own name would be an excellent umbrella for both roving experimentation and a more frivolous, post-modern style of pop music that would not fit in the frameworks of his other projects. Also, after crafting band names for over a decade, it was just time. Cherry On Willow is DW's audio pop vision for 2017. It differs from the last two DW releases by introducing a more collaborative framework, creating the backing group Teardrops - an open ensemble of friends and collaborators, including Bob Jones of Eaters, Louis Hooper of Rat Columns, Mikey Young of Total Control and Eddy Current Suppression Ring, Raven Mahon of Grass Widow, dynamite drummer Griffin Harrison and other supremely talented individuals from the past and future. The recordings were quite live and spontaneous, hoping to catch some of the magic involved in speed and improvisation, harvesting creative sparks from his musical colleagues and himself. The album was recorded in various places in the latter half of 2016 - by DW in his practice space in New York City, in a rental rehearsal room in Glasgow, and a garage studio in Guildford, Western Australia, where Rat Columns' recent LP Candle Power was also recorded. Cherry On Willow was recorded quickly and with a 'first thought best thought' philosophy, to capture an old-school pop feeling, with rough edges intact, human movements tracked and uncut. Swiping liberally from various strains of underground pop, glam, rock'n'roll, synth-pop and disco.

"Signals" is Hukkelberg's long awaited fifth studio album and will cement her position as one of the best writers of electronic pop music the Nordics has produced in the last decade. Her new album made of gorgeously fluttering electronics and Hannes' pitch-bent vocals is set to be something special.

The Pains of Being Pure at Heart have long set the benchmark for bighearted, idealisti c pop songs. With The Echo of Pleasure, The Pains push beyond their many inspirati ons and embrace their role as indiepop heroes in their own right.

Showcasing the deft songwriti ng of frontman Kip Berman, The Pains' fourth album is their most confi dent and accomplished. After three critically acclaimed records, 2009's The Pains of Being Pure at Heart, 2011's Belong and 2014's Days of Abandon received praise from The New York Times, Pitchfork, The Guardian and Rolling Stone, they have put together a collecti on of songs that possess a ti meless grandeur, deeper and more satisfying than anything the band has done since their iconic debut. The record is augmented by guest vocals featuring previous Pains collaborators:
Jen Goma on So True' (A Sunny Day in Glasgow), bass guitar by Jacob Danish Sloan (Dream Diary), and horns by Kelly Pratt (Beirut, David Byrne, St. Vincent). The Pains of Being Pure at Heart live band consists of long-time guitarist Christoph Hochheim (Ablebody, ex-Depreciati on Guild), bassist Jacob Danish Sloan, drummer Chris Schackerman (ex-Mercury Girls, ex-Literature) and vocalist/keyboardist Jess Rojas.The band will tour the UK in late May, returning to New York for Northside Festi val in June with more selecti ve dates set to be announced shortly. The Echo of Pleasure arrives later this summer.

The latest must-see Spanish act to attract buzz in the wake of Hinds and The Parrots hail from Barcelona and are a psyched-up surf-pop four-piece... manage to sound dark, summery and trippy all at once.' NME

The Zephyr Bones' hazy, melodic, psychedelic rock flickers with memories that span the distance between their native Chile and their current home of Barcelona. 'Secret Place' synthesizes their guitar oriented dream pop into their own unique brand of beach wave.

The Zephyr Bones' hazy, melodic, psychedelic rock flickers with memories that span the distance that separates the native Chile of guitarists and vocalists Brian Silva and Jossip Tkalcic, and the band's current base in Barcelona, Spain - which is also home to rhythm section, Marc López and Carlos Ramos. The songs on their debut album, Secret Place, share something very intimate and invite the listener to travel to their own secret places, filled with dreams and promises, hidden away from the hectic world and these troubling times. Secret Place synthesizes The Zephyr Bones' guitar oriented dream pop
—which they have christened 'beach wave'— recorded in their own Eclectic Echo Lab studio in Barcelona, and mastered by Victor Garcia.

The Zephyr Bones emerged in 2015 with their debut EP, Wishes/Fishes, on Spanish label La Castanya, earning them a showcase at Barcelona's famed Primavera Sound. The video for 'Weird Summer' was debuted via Noisey who called it, 'hazy pop vibes like a hit of serotonin.' The band returned in 2016 with the Black Lips/Surrounded By Sunflowers 7' single, co-released worldwide between the New York label Other Music Recording Co. and La Castanya. DIY magazine featured The Zephyr Bones in a story on the Spanish underground rock scene, alongside Hinds and MOURN. In the past year the band have become a go-to support act for artists coming through Spain including
Future Islands and Boogarins.

The Zephyr Bones might reside in Barcelona but the songs on Secret Place span the galaxy. The single 'Juglar Child on the Carousel' is set on Mars, 'Las Olas' on Neptune, and 'September' is left to roast on the sun. Then again, 'I've Lost My Dinosaur' seems to be set in a delirious dream state all of its own. The album opener 'Hurricanes' sets the mood with the line, 'your eyes on the sunset', heading to an innocent place to escape the world and listen to the gentle whispering psychedelia. 'Telephone' tells of a long distance love affair, while 'Penny's Week' is about fleeing from a relationship, spending a week skate boarding and fucking off. Caught between suspense and narcosis, The Zephyr Bones provide the coordinates to their favourite place. It's not the place itself that is important but that it should be kept personal —it should be your own secret place, which can be anywhere, physical or non-physical— a place or a feeling that is kept close to heart. It could be special memories of love - with partners or friends, separated by bed sheets, miles or light years. All these are stored in the tracks on Secret Place, whether you hear them on Venus, Pluto, the Pacific, the Mediterranean coast, looking out at the sea from Chile, Barcelona, or your living room. Play the record and meet the band there.

'Slightly surreal and ultimately difficult to place,
The Zephyr Bones seem to allow the music to find its own path.'
Clash Music

'In the spirit of all thinks sun-soaked and surf-ready, Barcelona-based Zephyr bones offer up an inviting beach-like experience... Remeniscent of the saltwater brand of dream pop that DIIV mastered on their 2012 debut Oshin, the music here lives up the the 'beach wave/psychedelic pop' description on the band FB page.'
Soundblab Magazine

VERY LIMITED ONE OFF REPRESS ON 7' OF ICONIC MOSHI MOSHI SINGLES CLUB RELEASE - 500 COPIES ONLY WORLDWIDE

Florence and the Machine attended art school before dropping out to pursue music. Her big break came in late 2006 when she belted out "Something's Got A Hold On Me" by Etta James to Mairead Nash of the DJ duo Queens of Noize in a bar bathroom. After that remarkable encounter, Mairead signed Florence and a debut single, Kiss With A Fist was released on the Moshi Moshi Singles Club in June 2008. The following year, the debut album, Lungs, came out and was met with much critical acclaim.

LIMITED REPRESS WITH NEW ARTWORK FOR VINYL - 500 COPIES

A much longed-for debut from an already much loved duo, Yeah, So is the first album from Slow Club. 

From the outset there is something immediately familiar and yet vitally inventive about Slow Club, throughout the album the twin voices of Charles Watson and Rebecca Taylor conspire with an unmistakably youthful vigour, bookended by the deft ballads When I Go and Boys On Their Birthdays, dexterous soliloquies of admission and humour. As with Slow Club's early singles, Yeah So was recorded almost entirely within the bosom of their hometown Sheffield, with Richard Hawley's long term live and studio engineer Mike Timm at controls.

LIMITED REPRESS ON WHITE VINYL WITH BONUS 7' (500 COPIES)

"The Wave Pictures are conjure up some of the most gleeful, magnificent pop in town." The Guardian
"Their confessionals drip with a yearning for something more than the humdrum. Its so grimy and intimate you can smell the cigarettes and red wine on Tattersall's breath." MetroProducing seductively shabby love songs, with unsurpassed dexterity and an authenticity born out of obscurity, The Wave Pictures released their debut album Instant Coffee Baby in 2009. With lead singer David Tattersall and bassplayer Franic Rozycki growing up in Wymeswold near Loughborough, the roots of The Wave Pictures lie far from the scene centric commerciality of the prevailing mainstream. Instant Coffee Baby is an album so lyrically of its time it should be placed in the Blue Peter time capsule, and yet it's production is timeless, it's touchstones myriad and the performances little short of virtuoso.

After the success of Liverpool International Festival of Psychedelia's PZYK Vol.1 and 2 compilations - which charted the modern global neo-psychedelic movement, receiving rave reviews and an acknowledgement as 'Compilation of The Year' by Piccadilly Records - the festival-turned imprint announce a limited edition series of 12' EPs. 

PZYK 4.0 is a series of four, incredibly limited 12' vinyl cuts released every three months, with the first released on 29th September 2017 (following a limited pre-sale at Liverpool International Festival of Psychedelia across 22/23 September). Each EP will feature four artists from across the global psychedelic underground.

'Song With No Name' is an exclusive new nine-minute epic from TRÄD GRÄS OCH STENÄR, which finds the underground Swedish titans in brooding, loose and anthemic form. BONNACONS OF DUST - the festival's de facto house band - provide 'Sgrios', a blistering, industrial morsel which has been featured in shorter, snarling blasts on the festival's promotional films in the run up to the event. 'Start Running' from THE COMET IS COMING is typically sinister, a loose hipped, sax topped menace of a track. GULP are committed to the re-mix treatment, with recent cut 'Search For Your Love' worked through its paces by Django Django, resulting in the dance floor drooling Nautical Twilight remix. 

"Moon Bordeaux" - Does It Mean There's Trouble On The Way
It's always hard to describe music with words. General labels might help but set limits very often.
For example Suzan Köcher's music could be called psychedelic Folk-Rock with one leg in the 60s and one leg in the here and now. Her melody-loving songs sound as if Dusty Springfield, Serge Gainbourg and Joni Mitchell were locked in some french basement recording room of the Rolling Stones to write the soundtrack for an unreleased Tarantino-Movie.
Well, Suzan Köcher seem to be fallen out of time or rather floating in her own time-bubble. She combines the abysses of Nico with some warmth that never lets you down no matter how much trouble there is. Her melancholic vocals sound mystical and consoling at the same time. Her songs rise from her very own intellectual world as if they have always been there and without becoming entangled in traditions.
Suzan Köcher's debut "Moon Bordeaux", which will be released in October 2017 via Unique Records (Believe Digital/Groove Attack) is a fascinating parallel universe delivering a first insight into the creative power of a singer, guitarist and song-writer.
Carried by Suzan's beautiful unagitated voice the 12 songs spread a rough brightness. The gloomy-baroque mellotron-orchestration is placed on rumbling drums, a melodic beat-bass and tender to raspy Twang-, Fuzz- and Acoustic-guitars. From time to time one can hear an ancient synthesizer jerking or an old harmonium whimpering.
However Suzan Köcher does not hide her personality neither behind complex arrangements nor behind fluttering pseudonyms - her music and her lyrics get energized by plenty of inspirations and ideas and with all their references they sound naturally and throroughly like herself. And to put that into words is kind of impossible in the end.
The coloured 10" "Blood Red Wine" released in April already was a first appetizer that is finally becoming a musical feast with the album "Moon Bordeaux".

Two of the most acclaimed and gifed song writers of our generaton Lota Sea Lice' also sees them roping in friends such as Dirty Three, Stella from War-paint and Mick Harvey to create a body of work that sounds organic & candid.
Their shared chemistry is immediately apparent in the breathtaking jam of opener and frst single Over Everything', while 'Contnental Breakfast' showcases a more melodic side as the two harmonise over fnger-picked acoustc guitars. The two pay homage to 90's cult heroes Belly with a gorgeous cover of their classic Untogether' and even celebrate their mutual respect by covering each other's music later in the album. This is an intmate glimpse into the shared musical world of Courtney Barnet and Kurt Vile.

'Blancmange has been part of the soundtrack to my life ever since Happy Families was released.' JOHN GRANT 'Listening to Blancmange obsessively. Probably the most under-rated electronic act of all time.' MOBY Blancmange's new album was written and recorded by Neil Arthur and co-produced by Benge (Wrangler/John Foxx & The Maths and Gazelle Twin co-producer). It's been a fantastically creative period for both of them, releasing their debut album as a new electronic duo - Fader's First Light - in June 2017 and then the final sessions for Unfurnished Rooms followed immediately in the summer. For the new Blancmange record, all the songs were written by Arthur while Benge added percussion and layers of analogue synth, with the pair then mixing the record together in the latter's Memetune studios in Cornwall. 'Don't Get Me Wrong' features John Grant on piano and backing vocals.

With The Object Isn't There UK guitar player and producer Jack Allett has made a deeply personal masterpiece based around cyclical guitar parts and electronic percussion. Playing like a half remembered fever dream with an aesthetic that is ragged, hypnotic and spacey, its two side-long pieces touch on minimalism, kraut-infused dub and euphoric dance floor optimism. As comfortable being played after Manuel Göttschings E2-E4 as right before a Terekke lo-fi house anthem, it is laced with the melancholy of an early morning post-rave comedown. Yet for all the references and name-checking, it's a record that is hard to compare to anything else, past or present.



BIOGRAPHY



Jack Allett works as a producer in London and has been active for many years as an experimental guitar player, releasing a solo record on Blackest Rainbow and collaborating with UK avant-guitar player Cam Deas. The Object Isn't There was written, recorded, and mixed in Camberwell and Camden, London, UK. 2012-2016.



INFO



This record is about - insofar as instrumental music need be about anything - hallucinations. The title The Object Isn't There serves as a concise definition, derived from the quote 'An hallucination is a strictly sensational form of consciousness, as good and true a sensation as if there were a real object there. The object happens to be not there, that is all.' (William James, The Principles Of Psychology, 1890)



Having experienced constant tinnitus - a form of auditory hallucination - for the last 13 years, Jack has long questioned the distinction of something experienced as being either there or not-there. Even if, strictly speaking, an hallucination is something that's not there, if the reality of how it affects day-to-day existence is undeniable then to any extent that matters, it is there. But The Object Isn't There is no tale of woe, nor simply a response to this one condition, and tinnitus need not be considered only as distressing or distracting. Allett sees it merely as one example of many things in life that cross this uncertain terrain:



There are obvious parallels here with the notion of active listening. There is room for emotion too, particularly the kind of overwhelming, -all-consuming emotion that, once it fades, is hard to believe was actually how you felt. Essentially the music here is concerned with being overwhelmed by a sensation, never really being sure to what extent you are conjuring it up yourself, to what extent it exists independently of you, but ultimately deciding that it doesn't much matter; the sensation itself was undeniable.

— Jack Allett

A swirling haze with a plenitude of sounds bobbing to it's surface it's a heartfelt