Pop & Rock Vinyl New Releases - News

Musical mavericks Sparks are back with their 23rd studio album. One of their most accessible albums to date and a master class in pop songwriting

The New Faith are to release their debut album 'Me On You' on 6th October. With a distinctly British sound evoked by a yearning heart and the dizzy inertia of youth, TNF's uproarious soundtrack to growing up is the product of small town dreams, failure, control and loss. Balancing melodic genius with lyrical brilliance, their grandiose yet melancholic sound features gospel choirs and orchestral strings, laced with an addictive pop sensibility that is at once haunting, beautiful, uplifting and heartfelt.

The second single 'Fritter Away' is an evocative exploration of music making that was well received in the media

Hailing from Brighton, TNF is fronted by singer and songwriter Will Charlton, whose sublimely controlled baritone croon sits a-top a wall of guitar and the orchestral arrangements of a band whose sound flits between tender and grandeur. Based around family, love and personal battles, youth and adulthood, and co-written with guitarist Sam Baldwin, the record's fourteen reflective songs narrate Charlton's different relationships as he relocated between towns and territories

The music is about being young and naive, "all those things you're warned about in your youth that you inevitably become,' says Charlton, trying to come to an understanding of how things always seem to turn out the same.' The new single 'Fritter Away' "is written as a letter to my nephew to warn him what happens as you get older, the transition between youth and adulthood and the emotions he is still too young to "understand,'

'Fritter Away' is mixed and produced by Dave Izumi, who's flair and flavour comes from his beautifully crafted Echo Zoo Studios in Eastbourne. It's full of reel to reel tape machines, old synths, steinway pianos, a rhino's head, a mousse's head and Tony Visconti's old mixer..."

The New Faith have created a peerless union of relatable lyrics, traditional songwriting and audacious arrangements, a stunning song-book filled with variety and colour.

The Gradual Progression is a transformative collection of new music by Greg Fox. The seven pieces of The Gradual Progression activate spiritual states through physical means, Fox's rigorous inner rhythms the mandalic vessel for unbound expression and arrangement. TGP signals both a reconciliation of disparate musical ventures and a new nirvanic stage in the artist's oeuvre.

Fox views TGP as an exploration of selfhood, and more specifically, the search for his true voice as an artist. Though such a journey is by nature ongoing, if not essentially elusive, the discoveries along the path are the musical riches of TGP. For his second solo album, Fox employs new methods of externalizing his polyrhythmic virtuosity into non-physical realms.

This transfer of energy is achieved through responsive environments tethered to various aspects of the performance. Sensors attached to Fox's drum kit trigger tonal palettes, or virtual instruments invented for each piece, which Fox communes with in the post-Free Jazz manner. That is, locating and emphasizing states of universal resonance in solo and ensemble settings in place of demonstrating individual ability.

This is where the album's canonic influences - and inventors - are most recognizable. Pharoah Sanders' Elevation and Don Cherry's Organic Music Society come to mind, though the guidance of master drummer and holistic healer Milford Graves ultimately made TGP possible. For Fox's astonishing 2014 album Mitral Transmissions, Graves assisted Fox in adapting software that translated output signals from biological sources to virtual instruments. For TGP, Fox again used percussion to initiate passages whose intensity and vibrancy match Fox's energetic presence and focus.

Adapting the 'intuitive gesture' of action painting, and other responsive means of art-making, Fox developed a musical language constructed to isolate its most emotional and felt states for exploration. The subjective themes that inspired these deep spaces of TGP are numerous: personal loss, self-improvement, and artistic struggle, to name a few.

Another theme, hiding in plain sight, is Fox's drumming. Years of supplying spin in collaborative bodies (Guardian Alien, Ex Eye, Liturgy, Zs) becomes a symbol of materiality on TGP, of organic animated energy seeking beyond its boundaries. Fox describes this tactile element as sensing the emotionality and physicality of the world with the senses and through mental processes--about touching the walls of a pitch black room.'

TGP includes contributions from musicians Curtis Santiago, Michael Beharie, Maria Kim Grand, and Justin Frye, all lending various voices through instrument and from within. Fox considers the power of Sensory Percussion, the software program developed by Tlacael Esparza that helped facilitate the vision for TGP, unprecedented - something akin to magic.

Though TGP tackles technical challenges, the inspirational core is the humanist goal of social progress and its parallel pursuit of self-knowledge. Fox strives for a new musical paradigm that focuses less on his drumming and more on its untapped potential as one element in a polyphonic unity. This dissolution of the self into a wider melodic abstraction signifies Fox's real artistic accomplishment in The Gradual Progression, rendering percussion's dark matter as an invisible but essential element between rhythm and life.

ONLY 100 UNITS


Van Wissem's work comes from a tradition of avant-garde minimalism & lends itself well to the director's stark cinematic works.

Jarmusch has played guitar in bands on & off since the late 70's. Van Wissem's compositional style involves hypnotic circular musical phrases that allow for a lot of contemplative space between the notes. "The sound of the lute is as bright as the sun, a beautiful red colour & my stuff sounds sort of like the moon, more like blue, like mercury' says jarmusch. recorded in New York with help from hypnotic Tilda Swinton on guest vocals, this is a captivating record.

In 2014 I was invited to perform at a residency commemorating the re-opening of Manchester Central Library. I wrote a piece in five movements for voice, piano and string trio and called it DEREVAUN SERAUN'. Each movement is written about a different piece of literature, exploring the value I see in each work and the impression it has made on me, and there is nothing more to it than that. The pleasure of books - of good verse and stories and ideas - is a very simple thing, and I felt that some lofty unifying theme for the entire piece would be a betrayal of that belief.

I think that when a work resonates with you it is an instinctive response to something. You can be taught to understand a challenging book, but not to feel affection for it, I think a lot of conversation around art, especially around literature, sometimes forgets this. In my experience, the art I like the most, irrespective of its 'difficulty', is the art I can advocate most directly and plainly, and about which I can say: I read this piece and now I do not read or think in the same way that I did before', or: This is a story that I could not explain to someone, I do not understand it word-for-word, yet I feel like innately I understand the whole, and that the whole spoke to me'. This is a piece about five books that I like and why I like them

Following 2 critically acclaimed digital-only EP's, Sløtface return with their debut album 'Try Not To Freak Out' recorded with producer Dan Austin (Pixies, Doves, Queens Of The Stone Age). The album follows tours with The Cribs and Los Campisinos!, as well as performances at many of the world's top festivals, including Reading & Leeds, Haldern Pop, Best Kept Secret and SXSW. 'Try Not To Freak Out' is nothing short of a massive rock record - one that weds the pop nous of Robyn and Blondie to the exuberant, freewheeling attack of bands like Joyce Manor and Little Big League.

The album follows two acclaimed EP's, which have picked up support from most major media outlets, including BBC Radio 1, KCRW, KEXP, Triple J, NME, The Guardian, Huffington Post, CNN, Nylon, Interview Mag, DIY Magazine, Noisey, Kerrang!, Rocksound and many, many more..The band were in the top 10 most highly recommended bands by international media at this year's Eurosonic and were similarly hyped at SXSW in March.

Following 2 critically acclaimed digital-only EP's, Sløtface return with their debut album 'Try Not To Freak Out' recorded with producer Dan Austin (Pixies, Doves, Queens Of The Stone Age). The album follows tours with The Cribs and Los Campisinos!, as well as performances at many of the world's top festivals, including Reading & Leeds, Haldern Pop, Best Kept Secret and SXSW. 'Try Not To Freak Out' is nothing short of a massive rock record - one that weds the pop nous of Robyn and Blondie to the exuberant, freewheeling attack of bands like Joyce Manor and Little Big League.

The album follows two acclaimed EP's, which have picked up support from most major media outlets, including BBC Radio 1, KCRW, KEXP, Triple J, NME, The Guardian, Huffington Post, CNN, Nylon, Interview Mag, DIY Magazine, Noisey, Kerrang!, Rocksound and many, many more..The band were in the top 10 most highly recommended bands by international media at this year's Eurosonic and were similarly hyped at SXSW in March.

Suzi Wu aka 19-year-old Londoner Suzie McDermott, and by extension her debut EP release, is a heady cocktail of Ian Dury, the Happy Mondays and Patti Smith. Clearly influenced by the visceral connection between pop, performance, personal empowerment and self-education.

Suzi says EP title track Teenage Witch was inspired by the art works of comic book artist Simon Hanslemann. I was getting up at 10pm at night, I'd quit sixth form, my life was nocturnal and bizarre. A drive thru life, there is a poetry in that I think.'

4x140g vinyl LP set with 3' mini CD - Limited edition vinyl colours.

Includes 6 never before heard bonus tracks from the archives and several additional audio clips.

Contains huge double sided poster and liner notes by Jerry Casale of DEVO.

- Molecular Mutation = Yellow vinyl with white, blue and red marble

For decades DEVO have been working non-stop at Recombo DNA Laboratories on a new kind of research to keep up with the mutating world around us! That extensive research is now ready for public consumption.

For the first time ever on vinyl FUTURISMO present unhindered access into DEVO's labs, documenting the scientific analysis and demonstrations as conducted by the band between the years 1977-2008! This tireless research has manifested itself in Recombo DNA...an unmissable collection of studio demos and unreleased rare tracks that span DEVO's entire recording career, from their original basement days to their famed 'Freedom Of Choice' era, right the way through to unused demos from their last studio album, included as part of the six bonus tracks taken from the archives that have never been released, or even heard before.

This incredible limited edition 4xLP set is a sonic fusion of demos, alternate versions and outtakes, demonstrating the true breadth and talent of one of America's most important bands. Yet, this set doesn't stop at four beautiful slabs of mutated vinyl, oh no! also included is 'The Somewhere Suite' served up on the format it was originally intended to be back in the May of '89, although it was never actually released at the time, it's contained here in all it's glory on 3' Mini CD!

This summer FUTURISMO give every DEVO fan the release they've been waiting for, a one time pressing of DEVO's Recombo DNA! Each set includes 4x140g limited edition coloured vinyl in the choice of 'Petri Dish', 'Emergency Codes' or 'Molecular Mutation' and a 3' Mini CD. Contained within the wide spined sleeve alongside this fanatastic devolved collection of recordings and bonus tracks, is a huge A1 poster, colour inner sleeves, download code and brand new liner notes by Gerald V Casale of Devo.

DEVO's Recombo DNA is an essential addition to the collection of any science fearing spud, so grab you're lab coat and witness audio mutation in action! Only while stocks last.





















































ZZA H7 | It's Not Nuclear Bombs You Must Fear With Booji Boym

It's almost trite to point out that Intergalactic Lovers have been on a journey, but - in literally every sense - they have. The Belgian band have travelled a long way, departing the dilapidated former factory building they use as a base to release two crisply superb albums and play shows in every corner of Europe and beyond.
New album 'Exhale', however, raises the bar once more. Out on September 15th, it's the sound of a band resolutely coming into their own. Clipped indie-rock in the vein of Interpol, The Cure, or Yeah Yeah Yeahs, it's punchy and concise, yet also incredibly open.
"Every album we've always moved up a step because as you're older you evolve and what happens in your world changes," explains Lara Chedraoui. "We're friends, we're family, and the farther you travel it inspires you to write different things as well."
Recorded in two English studios - The Chairworks in Leeds and Vale Studios in Worcestershire - 'Exhale' was steered by Gil Norton (Pixies, Foo Fighters, Patti Smith...) and mastered by Ted Jensen (Florence & The Machine, Arcade Fire, Muse...).
"I was pretty intimidated at first," Lara explains. "Gil works with so many bands and we were this little band from Flanders trying to prove to him that we're even bigger than any name he's ever worked with."
"The studio is one of the most confrontational places to be because you can hear every note and that can make you insecure in a way," Lara reveals. "We wanted more from this record."
And they've certainly succeeded. 'Exhale' sounds like PJ Harvey at her most seductive, Feist at her most barbed. 'Talk! Talk!' feels like Blondie's cynical cousin, 'Ego Wars' is a rousing depiction of a faltering relationship, while 'Fears' is an anthem that feels almost tailor-made for arenas.
New single 'Between The Lines' is out on June 2nd, and it's a fantastic example of what to expect: barbed songwriting with a personal touch, it's everything Intergalactic Lovers have promised to do condensed into three minutes of biting, emphatic, coruscating music.
"It's what goes on in my head and it has to come out," explains singer Lara Chedraoui. "It's that or I beat up people. So I decided I'm going to write songs - it's cathartic because it helps me get rid of anger or sorrow."
So how far can Intergalactic Lovers travel Lara smiles: "World domination is on my list. I've put the bar there."

LTD Black + Blue LP

Kscope release classic psychedelic record from the early years of progressive stars Porcupine Tree on vinyl.

'Voyage 34', an instrumental composition from 1992/93, is a journey split into 4 phases that rocks for over an hour, this was P.T.'s entry into the ambient trance genre popularised by artists such as the Orb.

Combining trance rhythms alongside more typical Porcupine Tree textures and guitar solos, Voyage 34 was a big hit in the ambient/chill out club scene of the early 1990's (when it was originally issued as two 12 inch singles).

Following the now sold-out first box set of Porcupine Tree's 'Delerium Years', and the near sold-out second box set, Kscope are re-releasing the band's records from the era, including 'Voyage 34', as a series of LP's presented in gatefold packaging. This double LP version is pressed on to 180g heavyweight audiophile vinyl, and features the tracks remastered by Steven Wilson in 2016 with more naturalistic dynamics and EQ - remasters previously only available in The Delerium Years 1991 - 1993 box set.

The artwork was completely redesigned for the original re-release and contains new images from long-term collaborator of Porcupine Tree frontman and founding member Steven Wilson, Lasse Hoile.

Steven Wilson is currently enjoying global chart success with his fourth solo album 'Hand. Cannot. Erase.', is promoting his upcoming fifth solo album, and released the anticipated new album from Blackfield, his partnership with Israeli singer Aviv Geffen, in February 2017.

(Disclaimer: release notes refer to the combined CD double-album release "Hot Flash: Best of The Voltags" on which all tracks appear together. "Electric Nightmare" and "Danger High Voltag" are released separately on vinyl format)

It does not happen that often any more that unreleased music from 40 years ago surfaces. Even more unlikely it is that the songs put on tape are such treasures. The Voltags were right at the forefront of the local Washington DC New Wave/Punk scene of the late 1970s. Influenced by Kraftwerk, Gary Numan, The Clash, and The B-52's, they have released only one 45rpm single during their existence. But during the time span of not even 18 months, they had recorded enough material for an entire album - but the songs remained in the can.

This is the story of The Voltags, a short-lived band which could have become famous and mentioned in the same breath as the aforementioned music legends of that era - if their songs had been released back in the day. Dive in and enjoy the sound of The Voltags, it is truly special. We here at Perfect Toy are thrilled to be label to finally release their work and we sincerely hope that they are finally getting the appreciation they so richly deserve.

Detailed information:
Dave Bennett and Hangnail Phillips grew up in Brookside Park, Newark, Delaware, USA, a small suburban college town nestled midway between Philadelphia and Baltimore. Their first band project evolved into Pump Productions (Pump) under which they released their only 45rpm single in 1970 (one of the two songs, "Pappy's Rug", can be heard on "Down & Wired 3", Perfect Toy Rec.). Soon after the recording of the single the two graduated from High School and disbanded Pump. Both moved on to form two new Newark bands. Dave was a founding member of "Snake Grinder & The Shredded Fieldmice" and Hangnail co-founded "Rudy Baker & The Vegetables".

In early 1979, two friends of Dave's, Nick Norris and Mike Fisher, became partners in a music production company, White Clay Productions. One of White Clay's first artists was Dave Bennett who had just written two excellent songs: "Electric Jungle" and "Son Of Sam". White Clay set up a recording session and Dave assembled a group of friends to record the songs. Before the recordings were even mixed, Dave asked Hangnail if he would join in a band to support the single and other songs he had written. When James Keesey (drums) and Rick Reid (bass) were added the line-up was complete. For a while they didn't have a name and then one day Nick Norris was looking at a photo of Dave standing next to a "Danger High Voltage" sign. Dave's head was in front of the E in Voltage and Nick laughed "Danger High Voltag" and so it was soon suggested that the band should be called "The Voltags" (pronounced Vol'-togs). After months of preparing a repertoire they were ready to play out. Their first gig was (October 20, 1979) at a gay disco in nearby Wilmington called The Backstage. On December 30, 1979, White Clay decided to put on a big show at the State Theater to celebrate the end of the Seventies ("The End Of The Decade Bash").

For the next year, with the help of White Clay, they recorded 19 songs, both studio and live recordings with White Clay's mobile unit. If not for these "off the board" recordings, many of their songs would have never been recorded. There was always talk of a second Voltags single but the strains of working so closely together were taking their toll on them and Dave decided to leave the group in December of 1980. The Voltags couldn't be The Voltags without Dave, and by the end of 1981, Hangnail, James and Rick, too, were ready to disband.


- all songs previously unreleased
- mastered from the original reel-to-reel tapes
- limited vinyl release

"West End Coast", the debut album by Young Gun Silver Fox, was one of the surprise releases of 2015 and ended up in many "Best Of" lists at the end of the year.

"Young Gun" Andy Platts and "Silver Fox" Shawn Lee are busy writing and recording the follow-up which is set for release in 2018.In the meantime, they present the first single from the new album. "Midnight In Richmond" and "Lenny" are two compositions in a classic early to mid 70s vibe, impeccably recorded and arranged but placed in the here and now, unmistakably sounding like Young Gun Silver Fox.

London's KING HAMMOND has recorded/toured with BAD MANNERS, THE SELECTER, RHODA DAKAR and LEE PERRY. This new 10 track album is recorded in 1960's British BLUE BEAT style ala LAUREL AITKEN, PRINCE BUSTER, GEORGIE FAME, and EZZ RECO. Tremendously catchy, old skool UK Columbia sleeve

Ltd to 800, handmade lino-block stamped sleeves, hand numbered, insert., incl. mp3,

Preceding her epic new record Imaginations, due May 29th, Single features two exclusive new songs not available on any other release.

Molly Nilsson is in a mood: the mood for love, perhaps For an artist who has spent almost 10 years skirting the issue of love, almost addressing it, taking it out to dinner only to stand it up, Single' almost lands a sucker love-punch to the listener's heart. About Somebody seems to be about somebody, or maybe even somebody's body, about desire too, perhaps. How else to interpret the line Babe I want to party with you every night, and have a hard-on for the rest of my life' But this is a Molly Nilsson song, and this is Empowering Content. Over a rousing, even anthemic, verse/chorus one-two, a soaring synth-string hook that rides the handclaps beautifully, we're soon left wondering whether our beloved narrator is really focusing on the other' at all. Love lets you down: treat it mean, keep it keen, and remember if you can't love yourself how the hell are you gonna love any body else

On the flip, Quit (In Time), is a classic minor-key Nilsson elegy to obsession and addiction, sounding almost close to an early 80s Springsteen love-story.

After the success of 2011's 'Past Life Martyred Saints' and 2014's prophetic 'The Future's Void', EMA retreated to a basement in Portland, Oregon - a generic apartment complex in a non-trendy neighbourhood, with beige carpeting and cheap slat blinds. Now, she returns, with a portrait of The Outer Ring: A pitch-black world of dark night highways, American flags hung over basement windows, jails and revival meetings and casinos and rage. In a year dominated by white working-class alienation and anger, EMA - a Midwesterner who never lost her thousand-yard stare -- has delivered an album that renders Middle American poverty and resentment with frightening realism and deep empathy.

I want to explain to outsiders that the people where I come from aren't beyond hope and reason', says EMA, I want this record to bridge a divide.'

The album, co-produced with Jacob Portrait of Unknown Mortal Orchestra, is a return to EMA's roots in the noise-folk outfit Gowns, whose 2007 album Red State prefigured many of Exile's core themes, along with its mix of stripped-back folk ( Always Bleeds,' originally a Gowns song), spoken word ( Where the Darkness Began') and noise epics ( Breathalyzer').

The album is unique in its mingling of gender politics with American working-class anxiety. The voices we hear in these songs — druggy, surly societal outcasts, Byronic nihilists bringing down fire — speak to a kind of rebellion that's typically reserved for men, and the archetype of the dirtbag teenage boy' dominates the album. Yet EMA claims some of that same dirtbag alienation for women — a woman who swallowed a scumbag teen boy whole,' as EMA puts it - and uses it to interrogate both her own vulnerability and how male violence shapes the world, as on the anthemic Aryan Nation.'

The result is a deeply personal, confrontational, but ultimately redemptive album from a quintessentially American artist at the peak of her form.

After the success of 2011's 'Past Life Martyred Saints' and 2014's prophetic 'The Future's Void', EMA retreated to a basement in Portland, Oregon - a generic apartment complex in a non-trendy neighbourhood, with beige carpeting and cheap slat blinds. Now, she returns, with a portrait of The Outer Ring: A pitch-black world of dark night highways, American flags hung over basement windows, jails and revival meetings and casinos and rage. In a year dominated by white working-class alienation and anger, EMA - a Midwesterner who never lost her thousand-yard stare -- has delivered an album that renders Middle American poverty and resentment with frightening realism and deep empathy.

I want to explain to outsiders that the people where I come from aren't beyond hope and reason', says EMA, I want this record to bridge a divide.'

The album, co-produced with Jacob Portrait of Unknown Mortal Orchestra, is a return to EMA's roots in the noise-folk outfit Gowns, whose 2007 album Red State prefigured many of Exile's core themes, along with its mix of stripped-back folk ( Always Bleeds,' originally a Gowns song), spoken word ( Where the Darkness Began') and noise epics ( Breathalyzer').

The album is unique in its mingling of gender politics with American working-class anxiety. The voices we hear in these songs — druggy, surly societal outcasts, Byronic nihilists bringing down fire — speak to a kind of rebellion that's typically reserved for men, and the archetype of the dirtbag teenage boy' dominates the album. Yet EMA claims some of that same dirtbag alienation for women — a woman who swallowed a scumbag teen boy whole,' as EMA puts it - and uses it to interrogate both her own vulnerability and how male violence shapes the world, as on the anthemic Aryan Nation.'

The result is a deeply personal, confrontational, but ultimately redemptive album from a quintessentially American artist at the peak of her form.

Welcome to our new series, Document, where we aim to highlight artists and music scenes from around the world that we've fallen in love with, but aren't necessarily already part of the Saddle Creek family. Our third release in the series is the yr heart 7-inch from Los Angeles' Hand Habits.

Meg Duy, aka Hand Habits, is a singer, songwriter and guitarist from Upstate New York. She has been putting her time in on the road and in the studio over the past two years with pacific northwest band Mega Bog, and the Kevin Morby Band, making an impression on everyone she comes across with her natural charisma and uncharted talent as a multi-instrumentalist.

Nachdem Jagwar Ma im letzten Jahr ihr Album "Every Now And Then" veröffentlichten, erscheint nun als Gimmick für ihre Fans begleitende 12" Vinyl.
Unter der Regie von Mastermind Jono Ma entstand das Album nach über drei Jahren weltweiten Tourens (u.a. mit Bands wie Foals, The XX und Tame Impala) und erfüllt alle durch das gefeierte 2013er Debüt "Howlin'" hochgesteckten Erwartungen.

Written and recorded in Glasgow, Pinact's approach to album 2 was noticeably different. We intentionally holed ourselves up in the Highlands to focus on bringing out the melodies, and I think that shows,' Gillies explains. The fruits of a frozen Northern labour are evident in anthemic efforts like 'Oh', an immediate sing-along, and 'Seams', which sees the singer take on challenging vocal parts with consummate ease.

In the early writing stages of the writing process the band went on a trip to Leeds to see The Cribs, the influence is notable, while fans of Dinosaur Jr., The Breeders and Weezer will find a lot to nod along to in The Part That No One Knows. However, Pinact's brand of pop- infused rock is an entity unto itself: I purposefully didn't listen to other music while writing and recording, I get lost in my own world', Gillies says, and the lyricism makes this very clear: 'Regrettable Thrill' for example lends more to a bleakly Scottish sense of humour and world-weariness that could only be Gillies, as opposed to American rock bands.

The Mynabirds' new album, BE HERE NOW, is a collection of 9 songs written and recorded in just 2 weeks in January 2017 following the Inauguration and the Women's March. Singer Laura Burhenn worked with producer Patrick Damphier in his Nashville studio (which he was being evicted as the neighbourhood began to gentrify, old warehouses turning to tech offices and luxury condos) to document the news and peoples' intense emotional responses to it all in real time. No stranger to politics in her song writing, Laura aimed to speak from the voice of the collective consciousness in a work of Emotional Journalism,' singing the heartbreak, anger, exhaustion and resolute hope she witnessed during the Muslim travel ban, the final stand at Standing Rock, and every other news story that rattled America in that period. The album vacillates in style and feel to reflect a frayed nation, featuring a Burundian refugee choir on one song, and a cacophony of dissonant saxophones in a new national anthem on another. It is the last recording made in that space.

American singer-songwriter Laura Burhenn is a shape-shifter who can't sit still. Since 2010 she's worked under the moniker The Mynabirds, releasing three critically acclaimed and stylistically different albums on Saddle Creek: What We Lose in the Fire We Gain in the Flood (2010) and GENERALS (2012), both produced by Richard Swift, and Lovers Know (2015). She has also toured as a member of the Postal Service (2013) and Bright Eyes (2011), helped found Omaha Girls Rock (a non-profit helping young girls find their voices), and in 2013 gave a TED talk based on her New Revolutionists' portrait project, exploring what it means to be a revolutionary woman in this day and age. Before The Mynabirds, Laura was a member of DC indie band Georgie James with Q And Not U's John Davis, and also put out two self-produced solo albums on the label she founded herself, Laboratory Records.

Long time Southern Cal ska/reggae band return with a new album on JUMP UP, featuring ANGELO MOORE of FISHBONE on 2 tracks plus VIG RUGGIERO of THE SLACKERS and CHRIS MURRAY. 14 tracks of feel good soul ska/reggae with powerful vocals, red vinyl pressing in picture sleeve. Limited repress

A return to simpler set-ups and times, Antwerp-based musician Dieter Sermeus has started a new chapter in the wake of his acclaimed releases with The Go Find: He is back with a new band called Dieter von Deurne & The Politics, a new formation that sees him revisit and update his indie rocking nineties roots.

Harking back to an even earlier band called Orange Black, a project he formed at 15 years old and which eventually played support shows for indie greats such as Pavement, Seam, and Stereolab, the new entity's s/t debut album is many things at once: a collective reassurance and rocking-off-chest, an ode to wild simplicity and more direct impacts, less irony, and some good old, heart-felt, fuzzy crunch.
Inspired by the very bands Sermeus used to open for with Orange Black as well as classics such as Teenage Fanclub, Dinosaur Jr., The Modern Lovers' (and more), it's the kind of album that makes you want to immediately hitch a ride to sunnier climes. Far from being merely nostalgic, it's a timeless roadtrip recorded by a musician who's always been fond of walking.

Jump starting the old engine with Nuclear Love,' the soothing, mending, reassuring quality of this release is apparent after that first wild-haired guitar solo: I'll pull you back in/cause stars don't give in,' Sermeus sings, whose voice often barely swims above those swathes of guitar and the pace-making lower end in tow, lo-fi backdrops (at times not so) carefully assembled together with his band mates.

An album about these weird times we are living in' and the Trumpness,' as the singer puts it, a lot of its essence is hidden in the lyrics of Channel': It's a beautiful life/It's a beautiful lie, goes the punch line before the tune explodes into a wild jam session. At their softest and most well-balanced, there's the pop bliss of Heart-Shaped Stone' and the hypnotic harmonies of I'm On Trial,' only to be washed away by the straight-forward fun of The Law of Misunderstanding'. Elsewhere, there's organ-based minimalism ( I Guess I Needed You More') and acoustic confessions ( Jupiter's Moon'), sonic book reviews wrapped in mellow life ruminations ( Knausgard''), explosive guitar-shredding ecstasy with multiple ignition stages ( Too Much'), until closing track You' rounds off the LP with its melancholy pop innocence.

Coming full circle after 15 years of The Go Find, Dieter von Deurne & The Politics' debut album arrives from the land of illuminated, orange freeways and, refreshingly, it doesn't even try to be any kind of new black. Instead, it just oozes that longing for transformation. For never-forgotten hooks presented in a new light. In a way, it's 1993 done à la 2017: ain't no better ointment to ease those current ailments anyway.

STACIAN is Person L is Oakland resident, solo artist and academic Dania Luck. Beginning in the American Mid West, Stacian has been an ongoing Bay Area concern since 2008, deeply involved in the minimal wave and underground electronic music scene. A dystopian vision of alienated humanity, broken communications and technoid mal-forms, Person L is her most fully developed full length and a leap forward from 2012's Songs For Cadets. Moving away from the primitive Cold Wave of previous work, Person L manages to create a bleak dystopia without relying on Ballardian cliche, though still invoking concrete prisons and urban disassociation. Person L is a throbbing, murky underworld that revels in imperfections, a submersive, digital swamp bleeding through the club.

Themes of humanoid alienation and identity confusion abound. Person L is the nominal (and sole) band member of STACIAN, a manifestation of Luck's that re-creates a near-human face in the mirror. Album opener Volx is a massive stomper, 909 kicks bringing an almost electro-glam thump into the stereo field. Luck's skill as Person L and as STACIAN is in maximilising minimalism. Volx is a simple composition, an arpeggiated analog synth and simple kick-snare but it creates the drama Luck's vocal thrives on. Headstand is similarly huge sounding, though here the track unfolds gradually with synth strings eeking out a simple melody before the catastrophising kick ramps up the pressure. It's a wonderful exercise in abstraction vs. body moving dynamics. Album single Telephonix is the closest thing to a conventional pop song on Person L, with murky electronics belying a thrilling Cold Wave dancer. We're lost in the throes of miscommunication: in placing our trust in electronic communications we've divorced ourselves from human interaction.

On Side 2, Dirgent heralds a darker portion of the album. A slow burner with a blown-out low end anchoring the doom, it marks a dark wave of distortion that swells up and consumes the listener. The narrative turns in on itself Remote Cntl, ironically marking the most human of the tracks here. Though the album is devoid of any overt feminist sentiments, here Stacian covertly samples a male voice man-splaining electronic music before burying him in electronic sludge. It's absurdly thrilling. Spooky Action At A Glance takes John Carpenter-esque atmospherics into Stacian's Maximalist approach, the horror blow up to kitch, day-glo proportions. Album closer gNoMoN takes a dub rhythm and blasts it into the Cold Wave outerverse, a menacing doom to close Person L.

Limitierte 10" aus den Sessions zum letzten Soloalbum "Until The Hunter" der US-Singer/Songwriterin Hope Sandoval, Frontfrau von Mazzy Star, das sie zusammen mit Colm O'Coisog (My Bloody Valentine) aufnahm. Mit einer Acoustic Version des Albumfavoriten "Let Me Get There" feat. Kurt Vile, sowie den drei neuen Songs: "Sleep", "Son Of A Lady" sowie dem exklusiven "Antiquity".

The Selecter, the riotous skank machine who exploded out of Coventry in the game-changing, multi-cultural 2 Tone explosion of 1979 release their brand new album 'Daylight' on October 6th. Now reunited around the nucleus of original members Pauline Black and Arthur 'Gaps' Hendrickson, The Selecter are firing on all righteous cylinders in 2017 and 'Daylight' is their most urgent, politically engaged and purely uplifting music since the days of 'Too Much Pressure' and 'Celebrate The Bullet'.
Recorded in London against a strangely familiar backdrop of political foment, anger at austerity policies and the sudden emergence of a revitalized left wing vying for Government, 'Daylight' looks at the modern world with classic Selecter energy, wit and danceability.
'Daylight' is also a spectacular return for one of the first British female stars to really shake up gender and racial stereotypes. Cropped and cool, Pauline was the girl who looked and moved like the sharpest rude boy.
She flipped the Tonic suit and porkpie hat into a feminist statement, making the famous 2 Tone label man,
flesh and female.
Many faces have moved through The Selecter's line-up since their early days in Coventry. Now a mix of musicians - four white and four black, very 2-Tone' - work with Pauline, Arthur 'Gaps' Hendrickson and producer-writer-arranger Neil Pyzer in a tight-knit family team.
The album features 10 brand new songs including new single and opening track 'Frontline' (straight onto the 6Music Playlist) which utilises a weapons-grade UK reggae rhythm to talk about the new place where confrontation takes place - digital and social media. Title track 'Daylight' sings of the straightforward joys
and pains of everyday life, whilst 'Pass The Power' is a rallying cry for a newly politicised generation. Full tracklisting goes like this:
Frontline / Remember Me / Daylight / The Big Badoof / Paved with Cold / Taking Back Control / Things Fall Apart / Mayhem / 3 Reasons / Pass the Power Heading off to the US in August to tour with Rancid & The Dropkick Murphys, The Selecter return to
Europe and the UK later in the year. They will launch 'Daylight' at the (now sold out) London Roundhouse on October 6 with a special double-header with fellow 2 Tone veterans The Beat featuring Ranking Roger.
Fans can expect classics from On My Radio' and 'Missing Words' plus the new tracks too.

Gatefold sleeve, with a folded lyric sheet insert.

Arcade Fire return with their fifth studio album. Produced by Daft Punk's Thomas Bangalter, Steve Mackey from Pulp and Markus Dravs (Björk, Brian Eno and more)

James Cullen und Dan Cobb sind Tender. Auf ihrem Debüt-Album Modern Addiction' erlauben sie sich einen zeitkritischen Blick auf die unstillbare Sehnsucht sich das Gefühl der Liebe zu bewahren. Sie betrachten in den 12 Songs des Albums dabei unterschiedlichste Perspektiven, moderner Elektro-Pop ist ihr dabei ihre Ausdrucksform.
Tender stehen für den Kontrast zwischen moderner Kühle und leidenschaftlicher Emotion. Auf der einen Seite stehen die ausgefeilten Synthie-Sounds, die Dan Cobb mit Percussion-Sounds anreichert und so arrangiert, dass sie als Club-Tracks genauso funktionieren wie auch als Songs, die in den eigen vier Wänden ihre Wirkung entfalten. Dem gegenüber stehen die Texte und der Gesang von James Cullen, der tiefe Gefühle thematisiert und diese gesanglich ausdrückt. So erzeugen sie zwischen den Polen ein Spannungsfeld, welches Songs wie - Nadir und - Erode elektrisch auflädt.

Fresh off the back of a sell-out spring tour celebrating the 10 year anniversary of the bands much lauded third album Men's Needs, Women's Needs, What-ever (which saw them headline their largest show to date at Leeds First Direct Arena), The Cribs release their new record 24-7 Rock Star Shit. Recorded live to tape in just 5 days by venerated underground engineer Steve Albini (Nirvana, Shellac, Pixies) 24-7 Rock Star Shit marks a return to the bands early roots with it's raw, rough-around-the-edges approach and sonic aggression. Originally conceived during recording sessions for the bands fifth album In The Belly Of The Brazen Bull these recordings were elevated to quasi-mythical status amongst the bands famously dedicated fan-base, with excitement building for a "punk album" flipside to 2015's more pop-leaning For All My Sisters. Originally intended as an EP, once sessions were completed the band found that they had recorded enough material for an album and decided it should be released that way instead - "That approach just really suits us, we were just having too much fun I guess" laughs the band.

Fresh off the back of a sell-out spring tour celebrating the 10 year anniversary of the bands much lauded third album Men's Needs, Women's Needs, What-ever (which saw them headline their largest show to date at Leeds First Direct Arena), The Cribs release their new record 24-7 Rock Star Shit. Recorded live to tape in just 5 days by venerated underground engineer Steve Albini (Nirvana, Shellac, Pixies) 24-7 Rock Star Shit marks a return to the bands early roots with it's raw, rough-around-the-edges approach and sonic aggression. Originally conceived during recording sessions for the bands fifth album In The Belly Of The Brazen Bull these recordings were elevated to quasi-mythical status amongst the bands famously dedicated fan-base, with excitement building for a "punk album" flipside to 2015's more pop-leaning For All My Sisters. Originally intended as an EP, once sessions were completed the band found that they had recorded enough material for an album and decided it should be released that way instead - "That approach just really suits us, we were just having too much fun I guess" laughs the band.