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Great Ytene are a band built upon deconstruction and reassembly. In order to create something that felt truly complete, they had to tear down everything that had come before. From their formative years as 'Colours', to their reemergence as Great Ytene (taking their name from an old term for the New Forest, which is where they all grew up), they replaced sounds, members and even their name before they felt truly comfortable in their collective skin. So, it's quite fitting that In 2015 Great Ytene lost a full album's worth of material to a technological wormhole. It was just another clean slate. It was the best thing that could have happened. The band spent six months writing new songs, perfecting their shape, pulling them apart and piecing them back together until Locus was in exactly the right place. Locus, Great Ytene's first full length LP since their self- titled debut (via Bella Union) in 2014, sees the band moving forward to explore darker themes. The name 'Locus'refers to the attempt to pinpoint exact moments in time when an event took place. This idea is explored lyrically throughout the album, even as the music loops and pushes back.
If you are looking for like-minded contemporary peers then look no further than the grey and black post-punk of the likes of Disappears and Preoccupations. At times waves of noise are underpinned by tight, rigid rhythms, at others they're allowed to spill over the edges to create disquiet landscapes. The album was recorded and mixed in East London at Holy Mountain with producer and long-time collaborator Iggy B, mixed by MJ (Hookworms) at Suburban Home Studios in Leeds & mastered by Joe Caithness of Subsequent Mastering.

Mozart's Sister is the solo project of Montreal's Caila Thompson-Hannant. Her new album - Field of Love - is an explosion of glittering, celebratory pop. Intense, yet vulnerable, Field of Love marks a distinct growth in her artistry, and a departure from her critically-acclaimed debut Being (2014).
Writing for Field of Love began in early 2015. Reliving her childhood love of 90's dance pop, Caila wanted to capture the spirit of the era's pop song - colourful, cartoonish, goofy, but always earnest. Throughout the writing process, she maintained only one rule: follow through on every musical desire. The critique could happen later, once the fun was fnished. Ditching barriers and prejudice, her aim was to make music everyone was invited to.
I wrote Field of Love at a point when I truly did feel I was foating in a feld of love. Once I got going the song-writing process happened very easily. As the songs came I realized: oh I really like these. There was a naivety to them and I felt like I could really cut loose when writing'.

Field of Love is Mozart's Sister's second LP, following 2014's critically-acclaimed Being.
Features singles Eternally Girl' and Angel' (premiered via Gorilla vs. Bear and The Fader respectively).

Jarvis Cocker, former frontman of the famous Brit pop band Pulp' and Canadian pianist/rapper/producer/composer Chilly Gonzales have teamed up for this exciting new project Room 29 was initially conceived as a theatre piece about the legendary room 29 of Hollywood Hotel Chateau Marmont Cocker wrote the piece during his own stay at Room 29, inspired by one of the room's more unusual features - a baby-grand piano - as a witness of all the countless dramas  that must have taken place there- The tales from the Chateau have become so legendary that anyone with even a passing interest in rock'n'roll - or any facet of the entertainment industry for that matter - will have heard a Hollywood story related to Chateau Marmont. (...) James Dean hopped through a window to audition for Rebel Without a Cause, Judy Garland sang by the grand piano in the lobby, Canyon cowboy Gram Parsons lived here for a short time, Blues Brother John Belushi overdosed in bungalow number three, Led Zeppelin drove their Harley Davidsons into the hotel lobby, The Doors' Jim Morrison dangled precariously from his window, esteemed record producer Rick Rubin lived here for nine months in the 1990s after relocating from New York, John Frusciante, guitarist with Red Hot Chili Peppers, took up residence here in 1996, only to descend into a drugs hell that nearly claimed his life, (...) Lindsay Lohan checked in following her arrest for drink driving in 2007, (...) Heath Ledger partied here the week before he died ... Deep breath. - The Guardian

Room 29 is a studio recording of the theatre piece, consisting of catchy songs, spoken word, and piano interludes, composed by Chilly Gonzales, with lyrics by Jarvis Cocker

Passend zum warmen Abendrot in ihrer norwegischen Heimat, bringen LEMAITRE mit - Afterglow' eine neue Single raus, die vor smoothem Elektro-Pop nur so strotzt. Mit der vorangehenden, gleichnamigen EP verbuchen sie bereits Erfolge: Im Oktober 2016 digital veröffentlicht, wurde der Main Track - Playing To Lose' featuring Stanaj bis dato knapp 3 Millionen mal auf Spotify gestreamt und erreichte auf den norwegischen Shazam Music Charts seine Höchstplatzierung auf Platz 27. Jetzt möchte das Duo mit ihrer neuen Single auch über die Grenzen ihrer Heimat hinaus den Durchbruch schaffen. Nach ihrem bisher größten Liveauftritt auf dem Coachella 2016, geht es für LEMAITRE mit - Afterglow' im Gepäck Anfang 2017 nach einem kleinen ustralienabstecher auf Europatour, bei der sie an zwei Konzerten auch hierzulande zu sehen sind.

In this age of pre-set play lists and total sharing of music, you more or less get served what you expect to hear. Your musical preferences are predictable and you - with little or no effort - get access to music that suits your self-image perfectly and places you in a safe zone.
But what if these babysitting services went on vacation and you're suddenly left alone in the post-industrial outback Where do you start looking At first listen you might feel that the songs on 'Loving Hell' by Vox Low, released on Hoga Nord Rekords, might not suit your needs in such a cold, harsh existence. But that's where you're wrong. Vox low's sound might first appear frightening and cold to you but the tracks on this EP most of all carries with them depth, energy and persistence: the perfect soundtrack to reboot your system to and to get you going straight forward without looking back.
This is music for the aftermath of a cathartic experience, music that generates a propulsion that makes you wanna walk on that road forever, music to help you rediscover what punk, rock and electronica really should be about - gut feeling.

SUN is the brainchild of Kota Motomura and it's the first song from his project Beat Down 100 Soul. The Japanese DJ/producer from Tokyo has been studying music from the tender age of 14. This Grand Prize winner of Keyboard Magazine's 2009 contest takes the beautiful heydays of Jazz-Hop into the 21st century with his debut single on King Kung Foo Records.
From bar one there's this incredible beat that drives you forward with jazzy staccato chords and some amazing sparkling vibes added further into the track. When the monster bass line kicks in SUN really catches fire. It's a great mixture of a deep & soulful mid-tempo dance track and a lounge DJ's dream tool. In a parallel universe this could be a secret Soul II Soul jammin' session taking place in DJ Shadow's nirvana..!

Singer, songwriter and guitarist from Upstate New York Meg Duffy, aka Hand Habits, has been putting in her time 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 multiinstrumentalist. But let Wildly Idle (Humble Before The Void) be her open invitation to the world to step inside and take a much deeper look into who Duffy actually is.

Tracked in an Upstate New York living room, then finished in her current home in Los Angeles, this album was recorded by Meg herself, she has an acute ear for detail, has touched every corner, has seen every vision 'til its end. Because of this, Wildly Idle feels incredibly intimate, like a secret between her and the listener. It hits soft, like warm water all around you, a bath, and before you know it Meg's whisper has made its way inside you. Meg has music in her touch, and this, like many bedroom-debuts (Microphones, Jessica Pratt, Little Wings, Grouper) is only the beginning. But let us not look to the future now, and instead stand alongside her, our trust in her will, both humble before the void, with her first chorus as the mission statement: Hold you like a flower, hold you like an hour glass.

Originally released on the forward-facing Make Mine Music label in 2004, The English Cold has been described as Blissful and illusory. It is certainly music that is quietly mesmerising and persistently beautiful' (Alistair Fitchett- Unpopular-Culture blog) A gorgeous & singular album.

For lovers of the Durutti Column, Dream-Pop and Eno & more..and just lovers..

Striking release artwork is by Martin Anderson who worked together as part of v23 alongside Vaughan Oliver, creating iconic design work for 4AD Records. As Alistair Fitchett suggests in his sleevenotes :

Anthony Harding explores the imprint left by interventions within the landscape, specifically of the ghostly presence of temporary wartime airfields.'

Up next on London's mysterious Feral Child imprint, (the label with no net presence or contact point, yet somehow manages to bang out quickfire sell outs of genre defying vinyl only releases) is the magnificent debut LP from Bristol's SNAILS Safe in Silence'. A beautifully consistent full length which more than builds on the early promise shown on the bands two 45s for The Great Pop Supplement label over the last couple of years.

Succulently wrapped in a classically toned pop vintage that cools with a deceptively soft stroke of 60's psych pop bubble grooves. Its not brash, its far from wannabe and neither is it immediate like a rash. Instead 'Safe in Silence' is coolly assured, it doesn't see the point in shouting and rudely vying for your attention, rather more it hangs about quietly at the back of the queue shyly hoping to catch your ear, and when it does, between you and me, lets just say that this might well be making a bid for one of the albums of the year. A very special album indeed.'

The Sunday Experience.

In main songwriter Dan Weltman's words:

I wrote the songs for the album in a careful and considered way, but for the recording we went into the studio and put them all down very quickly. That contrast suited the band and myself very well, leaving space for playfulness and making quick and reckless decisions on the spot. I sipped whiskey, the other members mainly drank herbal teas. I wanted a lush and expansive sound for some of the tracks, and writing the orchestrations was a great excuse not just to pretend that I was working on Pet Sounds, but to call up friends from various other Bristol bands to help in the studio on terrible rates of pay.

The songs themselves were approached like a series of short stories. I stole equally from my friends' lives and my own, in a kind of desperate attempt to elevate our experiences above the mundane. But from those starting points, an internal narrative of its own would inevitably emerge and take an unexpected turn. And while writing them, I'm unashamedly trying to manipulate my audience's emotions to reflect mine, to make them cry with joy or regret, or remember falling in love. Recurring themes appeared - of loneliness, disappointment and misplaced love, but then with a nice melody underneath none of it seems quite so bad.'

There you have it. There are only 300 copies of this utter delight of an album. Already earmarked for Album of the Month' at Monorail Music, Glasgow.

Clock Opera began with Guy Connelly, a London, England-based multiinstrumentalist whose soaring, emotionally naked voice recalled the likes of Paul Buchanan (the Blue Nile), Billy Mackenzie (Associates), and Antony Hegarty (Antony & the Johnsons) without being quite as extreme as the latter two vocalists.

After forming a live band with Che Albrighton (drums, samples), Dan Armstrong (keyboards, samples), and Andrew West (bass, guitar, keyboards), Clock Opera released their first single in 2009 with the White Noise' 7' on Puregroove. Further singles followed in 2010, including Once and for All,' on Kitsuné. The same year, Connelly remixed the Phenomenal Handclap Band's Baby,' Marina & the Diamonds' I Am Not a Robot,' the Drums' Me and the Moon,' and Au Revoir Simone's Tell Me.' In 2011, the band's reputation continued grow, releasing the infectious Belongings,' single on Moshi Moshi Records. Further remixes followed for Metronomy, Feist, Everything Everything and Charlotte Gainsbourg.

Bash & Pop ist die neue Band von Tommy Stinson. Er ist Bassist bei der legendären amerikanischen Alternative-Rock-Band The Replacements. Deren Albumdebüt erschien 1981, 2015 gab es eine Re-Union-Tour. Parallel hat Tommy Stinson eine zweite Gruppe formiert, die seit 1993 operiert. Deren Bash & Pop Debüt "Friday Night Is Killing Me", erschien im gleichen Jahr. Nun - ganze 23 Jahre später - ist der Nachfolger entstanden. "Anything could happen" - so ist es! Film-Fans kennen Bash & Pop sicher vom Soundtrack zu "Clerks". Unerwähnt sollte man sicherlich auch nicht lassen, dass Tommy Stinson seit 1998 als Bassist bei Guns & Roses fungiert. Dies sollte die lange Pause zwischen den beiden Bash & Pop-Alben erklären und entschuldigen.

Cloud Nothings sind Dylan Baldi (Gesang, Gitarre), TJ Duke (Bass, Hintergrundgesang), Jayson Gerycz (Schlagzeug) und Chris Brown (Gitarre). Die Ankündigung zu "Life Without Sound", dem Nachfolger des 2014 erschienenen "Here and Nowhere Else", kommt zusammen mit der ersten Single "Modern Act". Ihr neues Album wurde Anfang des Jahres in El Paso von keinem Geringeren als John Goodmanson, der auch schon mit Sleater-Kinney und Death Cab for Cutie zusammengearbeitet hat, produziert.

Das neue Album kommt wieder via International Death Cult in Zusammenarbeit mit Kobalt Music Recordings und ist eine deutliche Weiterentwicklung. Ein klares Statement, angefüllt mit den schönsten Melodien, die sich über Tage im Gehör festsetzen.
Mit dem neuen Album zieht Carter endgültig in die Ruhmeshalle der großen britischen Antihelden ein. 'Modern Ruin' zeigt Carter als den ultimativen Rebellen, den Außenseiter und Kämpfer, der sich kontinuierlich gegen jedwede Konvention auflehnt.

In diesem Sommer erschien das selbstbetitelte Debütalbum von Minor Victories, der neu formierten Band, bestehend aus Rachel Goswell (Slowdive), Stuart Braithwaite (Mogwai), Editors Gitarrist Justin Lockey und seinem Bruder James Lockey. Jetzt legt die Band nach und kündigt erste Details zu "Orchestral Variations" an, einem Album, bei dem Minor Victories ihr Debütwerk in Instrumentalstücken neu interpretieren.
Das Album erscheint am 27.01.2017 als CD und 180g 2xLP auf Play It Again Sam.

Mit Rock Action unterhalten Mogwai nicht nur das Label, welches ihre eigenen Werke in Umlauf bringt, sondern gelegentlich nehmen sie Künstler unter ihre Fittiche, deren Musik sie schätzen. Jüngster Neuzugang ist die Band Sacred Paws. Diese besteht aus Gitarristin und Sängerin Rachel Aggs sowie der Schlagzeugerin Eilidh Rodgers. Beide spielen auch in Bands wie Golden Grrrls, Shopping und Trash Kit. Ihr Sound: Indie-Rock, verspielt aber doch direkt, mit tollen Melodien und einer erfrischenden Prise DIY-Attitüde. Und obwohl sie hunderte von Kilometern auseinander wohnen - Luftlinie von London nach Glasgow - überbrücken sie dies musikalisch nahtlos. Einen guten Eindruck bietet der Song "Everyday", der in seiner Verspieltheit an manch einen Vampire Weekend-Song erinnert.

After more than 30 years hidden in a dusty storage unit, we present the previously unreleased album from one of the most enigmatic bands from the Texas psychedelic scene.

An unusual blend of 60s garage-punk, Texas psychedelia (think 13th Floor Elevators or Golden Dawn), The Seeds, The Misunderstood, late era Velvet Underground, '70s era Stones and '70s pre-punk swagger. Awesome distorted steel guitar, super snotty vocals and the killer Wolf' Mike Long (Stone Axe, Josefus) on electric guitar.

Wolfgang were a young band from Pasadena, Texas, discovered by legendary Texas mogul C.L. Millburn (Sea Ell Records, The Coachmen, Knights Bridge, etc). Little is known about the band and what exactly happened to them after recording this album. But we do know that they were leaded by the great Wolf' Mike Long (guitar player who was also part of Stone Axe and a temporary member of Josefus) and they also featured an unusual steel guitar player whose electrified sound recalls Glenn Campbell (The Misunderstood, Juicy Lucy) at his best.

In 1970, Wolfgang recorded a set of songs written by Milburn, originally intended as demos to secure a deal with a bigger company. Eight songs were taped using Milburn's trusty Sony two-track reel-to-reel, the same one he used to record childhood friend Townes Van Zandt in late '66-'67.

The major company deal never came so the tapes were stored at the Sea Ell archives for many years and Wolfgang disappeared in the mist of time. In 1994, three tracks from the Wolfgang sessions appeared on a compilation called The History Of Texas Garage Bands In The '60s Volume 1: The Sea Ell Label Story', released by the Collectables label. They were credited to The Wolves'. Several years later, Michael Greisman from Cicadelic Records discovered the complete Wolfgang recordings while investigating the Sea Ell tape archive and Milburn revealed to him the real history behind the Wolfgang project. The complete recordings have remained unreleased until now.

*Master tape sound

*Insert with liner notes by Jeremy Cargill (Ugly Things / Got Kinda Lost)

Wolfgang's sounds carry the fuzz'n'frenzy familiar to Sea Ell collectors while equally informed by West Coast psych, culminating in a sound akin to '60s punks (all vigor intact) trying their hand at early Bay Area bark'n'brood, all set soaring by ferocious lap steel guitar (not familiar territory for the genre, spare those legendary SoCal expats in Britain, the Misunderstood).' - Jeremy Cargill (Ugly Things / Got Kinda Lost)

Debut single for one of the most promising discoveries at this years Iceland Airwaves Music Festival. A great teaser for the forthcoming longplayer!

The White Stripes' 2005, fifth studio album reminds listeners of the fundamental nature of their production. While still maintaining their iconic elements listeners can immediately identify with The White Stripes. Jack White trades in his classic, guitar heavy elements for piano ballads, mandolin, acoustic guitar and even some touches of marimba.
The Rolling Stone declared this album so wild, it could make you weep over how pitilessly the Stripes keep crushing the other bands out there.'
'Get Behind Me Satan' ranked Number 3 on both US and UK Charts, trumping their preceding albums' rank on US Charts. The album's first track and single, 'Blue Orchid', became a fast radio hit in the US and UK, making it the band's second UK Top 10 hit.
The album's second single, 'My Doorbell', boasts a piano and drums charge, reviewed by NME as the funkiest tune The White Stripes have ever put their name to.'
Slant Magazine invites listeners to take solace in the unbridled honesty of simple, solid rock n' roll' of 'Get Behind Me Satan', while Pitchfork crowns the album as some of The White Stripes' best work.
'Get Behind Me Satan' is that raw, foot-stompin', soulful sound that will take your imagination to that peaceful front porch in some cosy Southern cabin so sit back and stomp your foot to the melodic acoustic guitar, piano, stirring vocals and crickets.
First time commercially available on 180gram black vinyl. Comes with digital download code of the album.

Der Dirty Projectors-Mastermind liefert ein neues Meisterwerk!

Die Aufregung war groß, als Multi-Instrumentalist David Longstreth als Dirty Projectors Ende September den Song "Keep Your Name" veröffentlichte. Schließlich hatten die Dirty Projectors nach den aufsehenerregenden Alben "Bitte Orca" (2009) und "Swing Lo Magellan" (2012) über vier Jahre nichts mehr von sich hören lassen. Als kürzlich dann auch noch der Song "Little Bubble" veröffentlicht wurde, munkelte man immer lauter, dass 2017 wohl ein neues Dirty Projectors Album erscheinen wird.

Heute ist es offiziell: ein selbstbetiteltes Dirty Projectors Album erscheint am 24. Februar via Domino Records. Mit dabei sind unter anderem Größen wie Solange Knowles und Tyondai Braxton (Ex-Battles). Im Kern jedoch ist die Band Dirty Projectors auf ihren kleinsten gemeinsamen Nenner, David Longstreth, zusammengetaut. Kurz sah es nach der Trennung von seiner langjährigen Partnerin Amber Coffman sogar danach aus, als stünde der Bandname vor seinem endgültigen Aus. Bei der Arbeit an den Songs überzeugte Starproduzent Rick Rubin Longstreth dann davon, den Namen beizubehalten. Es sei schließlich immer schon Longstreths Songwriting gewesen, das den Kern der Band ausmachte. Wie sein längst vergriffenes Debütalbum "Graceful Fallen Mango" von 2001 ist nun auch "Dirty Projectors" ein Breakup Album geworden. Man möchte meinen, die Bandgeschichte wiederhole sich auf genial-bittere Art.

Ivory Clay's album 'Doubt' sees itself as an avant-garde attempt which is influenced by an intense examination of a Zeitgeist that is deeply affected by uncertainty and fear of future.

Weird-Pop-Männerfreundschaft: Connan Mockasin und LA Priest vereinen ihre Kräfte unter dem Moniker Soft Hair!

Unter dem Moniker Soft Hair haben sich gleich zwei Enfants Terribles der Szene zusammengefunden. Sam (Eastgate) Dust ist bereits unter seinem Pseudonym LA Priest Mitglied der Domino Familie. Zusammen mit Connan Mockasin haben beide jetzt die Haare schön. Soft Hair ist ein Projekt, das Mockasin und Dust schon vor über fünf Jahren auf Facebook angekündigt hatten. Das war etwa ein Jahr, nachdem die beiden sich auf der letzten Tour von Late Of The Pier kennengelernt hatten. Connan hatte damals den Support für Sam Dusts Band gespielt. Während Sam Dust aber die Welt bereiste, seine eigenen Instrumente erfand, malte und Bildhauerei lernte, bevor er 2015 als LA Priest sein Solo Debüt "Inji" veröffentlichte, veröffentlichte Mockasin mit "Forever Dolphin Love" und "Caramel" sogar zwei vielbeachtete Alben, tourte mit denen durch die ganze Welt und arbeitete mit Künstlern wie Vince Staples, Charlotte Gainsbourg und James Blake. Es ist so also kaum verwunderlich, dass es mehr als fünf Jahre gedauert hat, bis das Album der beiden fertig wurde. Alle Songs wurden in einer Sozialwohnung in St. Anne und einer Fabrik in Sneinton in Nottingham aufgenommen, über einer Autoreparaturwerkstatt und einem alten Schulgebäude in Anawhata, Neuseeland, im Keller und Schlafzimmer von Sams Haus in Loughborough, in Connans Wohnung nahe Old Street, London, im Studio Ferber, Paris, in einem Bungalow in Kurby Muxloe, in Leicestershire und ein bisschen auch in Hotels überall in Europa

elbow return with their seventh studio album on 3rd February 2017. 'Little Fictions' was recorded in Scotland and Manchester and sees the band collaborate with the string players of The Hallé Orchestra, the Hallé Ancoats Community Choir, members of London Contemporary Voices and session drummer Alex Reeves. As with the previous three elbow albums it was produced by Craig Potter.
'Little Fictions' is emphatically a band album. Having written individually for its chart-topping predecessor, 'The Take Off and Landing of Everything', sessions this time were collective affairs, with all four members gathered initially in a house in Scotland before moving to Guy's attic in Prestwich and finalising recordings in the familiar setting of Blueprint studios, Salford.
'Little Fictions' is an upbeat album. All the band talk of the sessions being 'joyful', Mark summarises it as 'the sound of four people who love what they do and each other', of an album that came into being naturally and, at times even unconsciously. Lead single 'Magnificent (She Says)' was embraced for the joyous, thrilling piece of music it is, positive and outward looking. Mark never even considered his audible switch towards electric guitars, most notable on the psychedelic lushness of 'All Disco', until the very end of the process.
The departure of drummer Richard Jupp prior to commencing the writing and recording process in earnest saw early sessions characterised by new approaches to rhythm, with the band utilising percussive noises, sampling and loops to build tracks. The grooves that run through much of the album, from the go-go beats of 'Gentle Storm' through the jagged trip hop of 'Kindling' to the soulful 'Firebrand & Angel' represent both the band's widest musical palette and a newfound sense of experimentation borne from both necessity and desire. That desire fuelled the title track, an eight minute piece that is epic without at any point feeling excessive. As a shorthand for the album it is perfect, crossing musical genres and experimenting with sound in ways that demonstrate the confidence and enthusiasm of the band throughout the recording process.
'Little Fictions' is, therefore, more than just yet another brilliant elbow album. In many ways it marks the start of a new chapter for the band, characterised by a rediscovery of shared purpose in doing the thing that has always brought them together, the place that Mark describes as 'the creative space where we all meet'.

Tescoland Single - classified by the Jamie T official store as a "limited-run".

Reverseries is the follow up to Abrahamson's 2012-released breakthrough Gemini Gemini, a record that earned a handful of major industry accolades in Sweden including Indie of the Year
at Manifest Awards and a nomination for IMPALA's European Indie Album of the Year. The record also earned acclaim on the international stage, especially in the UK, with a number of
publications commenting on Abrahamson's songwriting and musicianship, The Guardian describing her vocals as hypnotic' and crystalline'.
Following the release, Abrahamson and her band toured extensively through Europe including support tours with Peter Gabriel and Peter, Bjorn and John, an experience that shaped the sound of the new record. Together with her long-term studio partner Johannes Berglund (Amason, Shout out Louds, Owen Pallett, The Knife etc) and the rest of her band, they set up a goal to try and maintain the energy and the warmth of the sound they had created live on the road.
The music is confdent and welcoming, all driven by an indisputable voice that has taken more and bigger space for every record.

On the scene for twenty years, first as a theatrical-musical project and also record from 2004, the Chinese Roulette back with a new album called 'Elle Pi' in which are contained six songs. The disc is artistically produced by Joe Ray and Cristian Milani who produced Dolcenera, Francesco Sarcina, Ron, Max Pezzali, Mario Venuti, Mauro Ermanno Giovanardi, Raf, Enrico Ruggeri, Carmen Consoli and many others. 'LOGICAL' is the first single, on all radio stations since January 9, an electronic scream against contemporary discomfort of living in a system that privileges the material aspirations of human beings within standardized behaviors.

After forming a live band with Che Albrighton (drums, samples), Dan Armstrong (keyboards, samples), and Andrew West (bass, guitar, keyboards), Clock Opera released their first single in 2009 with the 'White Noise' 7' on Puregroove. Further singles followed in 2010, including 'Once and for All,' on Kitsuné. The same year, Connelly remixed the Phenomenal Handclap Band's 'Baby,' Marina & the Diamonds' 'I Am Not a Robot,' the Drums' 'Me and the Moon,' and Au Revoir Simone's 'Tell Me.' In 2011, the band's reputation continued grow, releasing the infectious 'Belongings,' single on Moshi Moshi Records. Further remixes followed for Metronomy, Feist, Everything Everything and Charlotte Gainsbourg.

Meaning all things magick and supernatural, the root of the word occult is that which is hidden, concealed, beyond the limits of our minds. If this is occult, then the Occult Architecture of Moon Duo's fourth album - a psychedelic opus in two separate volumes released in 2017 - is an intricately woven hymn to the invisible structures found in the cycle of seasons and the journey of day into night, dark into light.

Offering a cosmic glimpse into the hidden patterning embedded in everything, Occult Architecture reflects the harmonious duality of these light and dark ener­gies through the Chinese theory of Yin and Yang.

In Chinese, Yin means the shady side of the hill' and is associated with the feminine, darkness, night, earth. Following this logic, Vol. 1 embraces and embod­ies Moon Duo's darker qualities — released appropriately on February 3, in the heart of winter in the Northern Hemisphere.

According to guitarist Ripley Johnson, the concept of the dark/light, two-part album came as we were recording and mixing the songs, beginning in the dead of winter and continuing into the rebirth and blossoming of the spring. There's something really powerful about the changing of the seasons in the Northwest, the physical and psychic impact it has on you, especially after we spent so many years in the seasonal void of California. I became interested in gnostic and her­metic literature around that time, especially the relationship between music and occult qualities and that fed into the whole vibe.'

Adds keyboardist Sanae Yamada, the two parts are also intended to represent inverted components of a singular entity, like two faces on the same head which stare always in opposite directions but are inextricably driven by the same brain.'

Vol. 1 was mixed in Berlin by the band's longtime collaborator Jonas Verwijnen.

Meaning all things magick and supernatural, the root of the word occult is that which is hidden, concealed, beyond the limits of our minds. If this is occult, then the Occult Architecture of Moon Duo's fourth album - a psychedelic opus in two separate volumes released in 2017 - is an intricately woven hymn to the invisible structures found in the cycle of seasons and the journey of day into night, dark into light.

Offering a cosmic glimpse into the hidden patterning embedded in everything, Occult Architecture reflects the harmonious duality of these light and dark ener­gies through the Chinese theory of Yin and Yang.

In Chinese, Yin means the shady side of the hill' and is associated with the feminine, darkness, night, earth. Following this logic, Vol. 1 embraces and embod­ies Moon Duo's darker qualities — released appropriately on February 3, in the heart of winter in the Northern Hemisphere.

According to guitarist Ripley Johnson, the concept of the dark/light, two-part album came as we were recording and mixing the songs, beginning in the dead of winter and continuing into the rebirth and blossoming of the spring. There's something really powerful about the changing of the seasons in the Northwest, the physical and psychic impact it has on you, especially after we spent so many years in the seasonal void of California. I became interested in gnostic and her­metic literature around that time, especially the relationship between music and occult qualities and that fed into the whole vibe.'

Adds keyboardist Sanae Yamada, the two parts are also intended to represent inverted components of a singular entity, like two faces on the same head which stare always in opposite directions but are inextricably driven by the same brain.'

Vol. 1 was mixed in Berlin by the band's longtime collaborator Jonas Verwijnen.

Meaning all things magick and supernatural, the root of the word occult is that which is hidden, concealed, beyond the limits of our minds. If this is occult, then the Occult Architecture of Moon Duo's fourth album - a psychedelic opus in two separate volumes released in 2017 - is an intricately woven hymn to the invisible structures found in the cycle of seasons and the journey of day into night, dark into light.

Offering a cosmic glimpse into the hidden patterning embedded in everything, Occult Architecture reflects the harmonious duality of these light and dark ener­gies through the Chinese theory of Yin and Yang.

In Chinese, Yin means the shady side of the hill' and is associated with the feminine, darkness, night, earth. Following this logic, Vol. 1 embraces and embod­ies Moon Duo's darker qualities — released appropriately on February 3, in the heart of winter in the Northern Hemisphere.

According to guitarist Ripley Johnson, the concept of the dark/light, two-part album came as we were recording and mixing the songs, beginning in the dead of winter and continuing into the rebirth and blossoming of the spring. There's something really powerful about the changing of the seasons in the Northwest, the physical and psychic impact it has on you, especially after we spent so many years in the seasonal void of California. I became interested in gnostic and her­metic literature around that time, especially the relationship between music and occult qualities and that fed into the whole vibe.'

Adds keyboardist Sanae Yamada, the two parts are also intended to represent inverted components of a singular entity, like two faces on the same head which stare always in opposite directions but are inextricably driven by the same brain.'

Vol. 1 was mixed in Berlin by the band's longtime collaborator Jonas Verwijnen.

JUMP UP issues new SPECIALIZED charity singles from their latest BOB MARLEY & THE WAILERS tribute "ONE HEART". This traditional "Jamaican" one features THE SKATALITES w/ DOREEN SHAFFER, CHARLEY ORGANIARE w/ AKASHA, CALYPSO JOE and the PRESSURE TENNANTS. Random colored vinyl limited edition.

Founded only in 2014, young alternative-pop quintet Giant Rooks ranks among the hottest newcomers in the German independent scene. The band of small Westphalian town Hamm delights with atmospherically dense sound and the powerful voice of singer Finn. Their energetic live shows happen beyond established musical genres: Giant Rooks admirably play with their very own self-invented genre ,art-pop', meaning artistic experimentation, combined with pop elements. This makes their songs a gripping mix of indie rock, folk and electro, melancholic and danceable at the same time.

With a languid vocal bathed in isolation, an uneasy, inevitable shoulder shuffle of angular bass, synths and guitar, Stellular is a defiant soundtrack for a generation facing down global recession, political devision and personal insecurity.

I was thinking about some people I knew that were struggling to get a break' says Rose Elinor Dougall of the title track for her new album, Thinking about the endurance test I was witnessing for others... waiting for something to change.'

Stellular is the title-track of a shockingly confident new album, 11 tracks of classic songwriting, all defiantly modern, glowing with clarity and purpose. It is, in Rose's own words 'something bolder, less apologetic, more decisive... a sophisticated pop record' It is an album rooted in the London lives that shaped its lyrics, the lives and experiences of Rose's friends as their 20s slipped by in a haze of late nights, broken hearts and struggles in an increasingly unforgiving capital. "The last decade in this country has been a really fucking weird time to be young. There's a theme of promises that are falling apart, and negotiating the wreckage of choices you might make that actually start to become less flippant and do have long-standing effects on your future.' Working with producer and friend Oli Bayston, AKA producer Boxed In, the pair started by crafting small ideas, a simple rhythm, drum noises, or a sound on a Korg Delta, exploring the "essential" part of Rose's songwriting. The plan was to make the record from a limited sonic palette, to give everything a defined aesthetic. This philosophy stretches back to Rose's days in The Pipettes - a band built on a manifesto for the perfect pop group by the KLF's Bill Drummond.

Hinter LA Priest (gesprochen Lah Pree-st) verbirgt sich Sam Dust, elektronischer Musiker und ehemaliger Frontman und treibende Kraft hinter dem englischen New Rave Outfit Late Of The Pier. Jetzt ist Dust unterwegs auf Solo-Pfaden mit seinem Debütalbum "Inji". Dust verbrachte nach 2010 einige Zeit in Grönland, wo er die elektro-magnetischen Phänomene der Region Ivittuut studierte und nebenbei an über fünf geheimen Musikprojekten arbeitet - so mancher daraus entstandener Output stieß auch ohne Nennung seiner Mitwirkung auf öffentliches Interesse. Inspiriert von Künstlern wir David Byrne, Prince, Aphex Twin und nicht zuletzt Blood Orange ist "Inji" nun ein überaus gelungenes Album. Zehn nonkonforme Tracks existieren in ihrer eigenen Welt und folgen ausschließlich der Logik des LA Priest Universums. Pop aus einer anderen Dimension sozusagen.

The first album Forgetter Blues was released with Lucias Fitzsimons' guitarist/organist and longtime bandmate Ryan Foster in early 2013 on his own label—named after a slightly infamous intersection in their then-home of Long Beach—and was twelve songs of anxious garagey proto-punk-y folk-y rock, Modern Lovers demos and Velvet Underground arcana as fuel and foundation both. It deserved to go farther than it did, which sadly wasn't very far. But it sharpened Fitzsimons and his songwriting, and after three pent-up years of creativity, he was ready to burst. So he decided to record a new album in the spirit of the first, and in the spirit of everything that the Molochs made so far.
The result is America's Velvet Glory, recorded with engineer Jonny Bell at effortless (says Fitzsimons) sessions at Long Beach's JazzCats studio. (Also incubator for Molochs' new labelmates Wall of Death and
Hanni El Khatib.) It starts with an anxious electric minor-key melody and ends on a last lonesome unresolved organ riff, and in between comes beauty, doubt, loss, hate and even a moments or two of peace.
There are flashes of 60s garage rock—like the Sunset Strip '66 stormer 'No More Cryin'' or the 'Little Black Egg'-style heartwarmerslash-breaker 'The One I Love'—but like one of Foster's and Fitzsimons' favorites the Jacobites, the Molochs are taking the past apart, not trying to recreate it.

Pünktlich zur "Auf dem Weg nach Abalonia Tour 2017" veröffentlichen Turbostaat am 13.01.2017 den unveröffentlichten Song "Die Tricks der Verlierer" als 7" Vinyl. Als B-Seite liefert die Band eine bislang ebenfalls unveröffentlichte Live-Aufnahme von "Ruperts Grün", welche am 02. April 2016 in der Hamburger Markthalle aufgenommen wurde.

Berry coloured vinyl with download code

"Sugar-sweet vocals lead the way atop a hop-skip bassline - fronted by an ebb-and-flow of bubble-popping synths" - DIY

With the release of their debut single 'Take Me For A Ride' last year as a lyric video, Parisian five-piece HOLY
OYSTERS caused something of a stir. A blinding introduction to an exciting new band, the track perfectly showcased their forward-thinking 60's and 70's influenced psych-rock, garnering support from BBC Radio 1 and BBC 6Music.

Take Me For A Ride (single 1) 2 plays on BBC Radio 1 + 6Music plays Holy Oysters played the Great Escape last May

Previous single and videos featured on The Most Radicalist, Altitude, Skope Mag, IHouseU, Vive Le Roq, Born Music Online, London On The Inside.

Produced by John Agnello (Sonic Youth, Dinosaur Jr.), Instigator is Kevin Devine's ninth full-length album and comes on the heels of a busy few years: In addition to recording two albums with Bad Books (the indie-rock supergroup he formed with members of Manchester Orchestra), he released the Kickstarter-funded double-album collection Bubblegum and Bulldozer in 2013 along with the wildly ambitious 2015 Devinyl Splits 7' series with the likes of Brand New's Jesse Lacey, Perfect Pussy's Meredith Graves and Nada Surf's Matthew Caws. Devine is a master storyteller, and he imbues Instigator - from the biting power-pop of "Both Ways" to the angular "Guard Your Gates" & gorgeously finger-picked No One Says You Have To' - with intricate details and often-uncomfortable truths. Their meanings are personal, but their themes are universal. It's a skill that makes both his albums and his live show so alluring: Even when Devine's writing about the world at large, he's pointing a mirror back at himself. When Devine's past lives meet his present-day self on the career-defining I Was Alive Back Then,' the beautiful duality of his art takes center stage: Life is never all peril or perfection, a country ripped apart by war and social injustice or the joy of holding your child for the first time. The extremes might be easier to define, but it's in the middle where life really happens.