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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.

**LP + Download - Bonus track 'Three Tears' on download***Natalie Mering, the being behind Weyes Blood, embeds her sublime song in a harmonic gauze of arpeggiated piano, acoustic guitar, druggy horns, & outer space electronics. Propulsive, spare drums carry us across the album's course. There is a faded California beauty to Front Row. A gentle honesty that recalls the finest folk music made on the West Coast of the '70s. The hue hangs in the sweet-spooky harmonies, the pulsing sway of the vibrato & the ecstatic chord resolves. But this beauty is scratched with shadow, with dark foreboding, alienation, & acceptance of change. Love & loss balance together in suspended alchemy, as the earthiness of the singer-songwriter tradition wears digital sounds like feathers in its hair. Mering, together with co-producer Chris Cohen contrasts live band intimacy with the post-modern electric sheen of A.M. radio atmospherics. The experimental flourishes sparkle amid the succinct, thoughtful arrangements.The closeness of this record - how personal, alone, & frank it feels - conceals its aspirations to the outside, to the "Earth" of its title. Weyes Blood harbors devastating weight while also universalizing the strange ways of identity & relationships. These are not typical love songs or protest songs -- they are painful, poignant riddles that celebrate the ambiguity of love & affirm the conflict of harmonious life within a disharmonic world.

**LP + Download - Bonus track 'Three Tears' on download***Natalie Mering, the being behind Weyes Blood, embeds her sublime song in a harmonic gauze of arpeggiated piano, acoustic guitar, druggy horns, & outer space electronics. Propulsive, spare drums carry us across the album's course. There is a faded California beauty to Front Row. A gentle honesty that recalls the finest folk music made on the West Coast of the '70s. The hue hangs in the sweet-spooky harmonies, the pulsing sway of the vibrato & the ecstatic chord resolves. But this beauty is scratched with shadow, with dark foreboding, alienation, & acceptance of change. Love & loss balance together in suspended alchemy, as the earthiness of the singer-songwriter tradition wears digital sounds like feathers in its hair. Mering, together with co-producer Chris Cohen contrasts live band intimacy with the post-modern electric sheen of A.M. radio atmospherics. The experimental flourishes sparkle amid the succinct, thoughtful arrangements.The closeness of this record - how personal, alone, & frank it feels - conceals its aspirations to the outside, to the "Earth" of its title. Weyes Blood harbors devastating weight while also universalizing the strange ways of identity & relationships. These are not typical love songs or protest songs -- they are painful, poignant riddles that celebrate the ambiguity of love & affirm the conflict of harmonious life within a disharmonic world.

On September 23rd Whistlejacket release a limited edition vinyl album which brings together their two digital EP releases thus far, 'Oh Brother' and 'What I Ate On Sunday', in one giant tsunami of neo-grunge fuzzrock tsound. The release coincides with live dates in Belgium, Switzerland, Germany, Denmark and The Netherlands with a headline show at The Lexington in London Town to polish things off on September 19th.
If alt.radio smashes like 'Stay-N' and 'Holiday' indicated a shimmering, low-slung face-off between Teenage Fanclub and Sonic Youth then the four-song 'Oh Brother' EP - which was released on September 2nd - fittingly saw the quintet growing up, adding groovy motorik undercurrents and trashy wig-outs to their already pretty darned tempestuous indierock template with tracks like 'Oh Brother' and 'Hotter Than Heaven', as you can hear here: It makes sense, too: over the past year Whistlejacket have shared stages with the frenetically cosmic likes of Diiv, King Gizzard & The Lizard Wizard, Yuck and Bully and stealthily worked the London underground scene with shows for Moth Club, Bad Vibrations, Club Fandango and John Kennedy's X-posure as well as their own admirable DIY promoting endeavours.

JUMP UP issues new SPECIALIZED charity singles from their latest BOB MARLEY & THE WAILERS tribute "ONE HEART". This 2-TONE / 80's one features THE CROMBIES (USA), SKAPONES (UK), ANNABELLA LWIN of BOW WOW WOW, and STIFF RECORDS legends THE EQUATORS. Colored vinyl, limited edition.

Cairobi are a headily eclectc globe-crossing fourpiece of Giorgio Pot (vocals, guitars), Alessandro Marrosu (bass), Salvador Garza (keys) and Aurelien Bernard (drums). Their psych-pop, world music bordering sound refects their various backgrounds from Italy and Mexico via France.
Their debut self-produced album was writen in Berlin and, ftngly with their diverse natonalites, was recorded between Berlin, London, Rome and New York. Music and this resultng album was Giorgio's means of fnding his way through health problems, as afer relocatng to Berlin, he started to sufer frequent, violent migraines that would incapacitate him for an average of twelve days a month.
I could either stay stll, in silence, eyes shut, or take the medicaton and hope it worked so I could move on with my day,' he recalls. Even when the medicine worked, it would make me extremely sleepy, so some of the music and lyrics on this record were writen in a state of drowsiness. That part wasn't partcularly fun, but maybe it helped me get rid of some flters.'

Consequently Cairobi have invented a hazy psychedelic sound with gorgeous pop-song structures and experimental arrangements, yet there is also an intriguing, melodious melancholy across the 11-tracks. Featuring the singles 'Zoraide' and 6music beloved 'Lupo'.

Cairobi are a headily eclectc globe-crossing fourpiece of Giorgio Pot (vocals, guitars), AlessandroMarrosu (bass), Salvador Garza (keys) and Aurelien Bernard (drums). Their psych-pop, world music bordering sound refects their various backgrounds from Italy and Mexico via France.
Their debut self-produced album was writen in Berlin and, ftngly with their diverse natonalites, was recorded between Berlin, London, Rome and New York. Music and this resultng album was Giorgio's means of fnding his way through health problems, as afer relocatng to Berlin, he started to sufer frequent, violent migraines that would incapacitate him for an average of twelve days a month.
I could either stay stll, in silence, eyes shut, or take the medicaton and hope it worked so I could move on with my day,' he recalls. Even when the medicine worked, it would make me extremely sleepy, so some of the music and lyrics on this record were writen in a state of drowsiness. That part wasn't partcularly fun, but maybe it helped me get rid of some flters.'

Consequently Cairobi have invented a hazy psychedelic sound with gorgeous pop-song structures and experimental arrangements, yet there is also an intriguing, melodious melancholy across the 11-tracks. Featuring the singles 'Zoraide' and 6music beloved 'Lupo'.

East Wall was an Italian electronic dark wave band formed by Fabrizio Chiari (ex keyboardist of Kirlian Camera) and Wilma Notari in 1982. After a series of demos and live performances, the duo recruited Angelo Bergamini of Kirlian Camera to help with arrangement and synthesizers. In September 1984 they booked a recording time at Master Studio 33 in Cremona Italy. Working with produced Ray Masola, they recorded their debut single 'Eyes Of Glass', which was released on No Comment in early 1985. The equipment set up was a PPG Wave 2, Roland ProMars, Roland Juno 60, Simmons drum, and an upright piano. 'Eyes Of Glass' is an outstanding example of 1980s Italo disco full of dark, moody atmosphere and depth. Wilma Notari's coy vocals cast a spell on the listener as she weaves a story about lost love and 'bitter tears'. Included here are the original extended 12' mix and instrumental version with mid-song breakdown and dubbed out chorus.

The Velvet Underground, Elliott Smith, Veronica Falls, The Bats, Ultimate Painting, Toy. Proper Ornaments is the project of James Hoare (Ultimate Painting, Veronica Falls) and Max Oscarnold (Toy, Pink Flames). Debut LP 'Wooden Head' (FortunaPop 2014) perfected the unique slant of their previous work. James and Max started out writing the follow-up in January 2015. On 'Foxhole' they've sliced away a whole stratum of their sound, removing some distortion and lowering the frequency of plectrum strokes to allow more nuanced, piano-led ideas to emerge. The title isn't a reference to Television's jaunty proto-punk record but seems to be more of a dark, protective interior, a head space sketched out on 'Jeremy's Song'. While their particularly recognisable production style (a bright, frozen counterpoint to the airless mixes one encounters more often) remains, three things stand out as likely reasons for the shift in mood. By the time they got around to recording again in James' bedroom in Finsbury Park that Summer, the instability around the recording of 'Wooden Head' (and the five years before) had slid into a deep and seething acrimony. Second, they both bought pianos. Third, when the band, with Daniel Nellis and Bobby Syme joining on bass and drums went to record at Tin Room in Hackney in June, the pinch wheel on the 8 track machine was broken and somehow no one noticed. All but one recording, 'The Frozen Stare,' was hopelessly warped, so they went and did it all again from scratch back at James'. We ended up doing the whole thing there as the atmosphere suited the direction of the foxhole and we were more comfortable working on it in our own time,' says James. That's why the record has a laid back, conversational, not imposing or anxious feel in my opinion. If 'Always There' was the most melodically fluid but dimly lit point of the first record, there are another half album of songs here at least that are as strikingly gorgeous and unsettling. 'Memories,' 'Just a Dream,' 'The Frozen Stare' and 'When We Were Young' are in this mould, as is the icy, slightly devastated goodbye that closes the record 'The Devils,' filled out with piano reminiscent of Big Star's 'Third' or Lou Reed's 'Berlin' and cracked double bass. What was in evidence in two of their earliest songs - 'You Still' and 'Are You Going Blind' - an understated, poetic play of moral sensitivity against a callous distance, of warmth and hostility, has reached its most sustained expression yet and gives their pop moments of a haunted love song quality along the lines of Del Shannon, Lesley Gore or Roy Orbison. 'Bridge by a Tunnel' and 'I Know You Know', on the other hand, share in the breezily abstracted character of 2014 single 'Magazine,' the later laying a sardonic (non)apology - 'I know you know, things could've been different/but they're not' over careful daubs of slide guitar. 'Cremated' is also guitar-lead, and reaches an early apogee of morbid oblivion baiting, while '1969' is a really perfectly recorded grand sweep of sound that recalls Serge Gainsbourg and 'Harvest'-era Neil Young. Proper Ornaments hold the attraction of seeming to not try very hard at all and achieve something outstanding nonetheless.

The Velvet Underground, Elliott Smith, Veronica Falls, The Bats, Ultimate Painting, Toy. Proper Ornaments is the project of James Hoare (Ultimate Painting, Veronica Falls) and Max Oscarnold (Toy, Pink Flames). Debut LP 'Wooden Head' (FortunaPop 2014) perfected the unique slant of their previous work. James and Max started out writing the follow-up in January 2015. On 'Foxhole' they've sliced away a whole stratum of their sound, removing some distortion and lowering the frequency of plectrum strokes to allow more nuanced, piano-led ideas to emerge. The title isn't a reference to Television's jaunty proto-punk record but seems to be more of a dark, protective interior, a head space sketched out on 'Jeremy's Song'. While their particularly recognisable production style (a bright, frozen counterpoint to the airless mixes one encounters more often) remains, three things stand out as likely reasons for the shift in mood. By the time they got around to recording again in James' bedroom in Finsbury Park that Summer, the instability around the recording of 'Wooden Head' (and the five years before) had slid into a deep and seething acrimony. Second, they both bought pianos. Third, when the band, with Daniel Nellis and Bobby Syme joining on bass and drums went to record at Tin Room in Hackney in June, the pinch wheel on the 8 track machine was broken and somehow no one noticed. All but one recording, 'The Frozen Stare,' was hopelessly warped, so they went and did it all again from scratch back at James'. We ended up doing the whole thing there as the atmosphere suited the direction of the foxhole and we were more comfortable working on it in our own time,' says James. That's why the record has a laid back, conversational, not imposing or anxious feel in my opinion. If 'Always There' was the most melodically fluid but dimly lit point of the first record, there are another half album of songs here at least that are as strikingly gorgeous and unsettling. 'Memories,' 'Just a Dream,' 'The Frozen Stare' and 'When We Were Young' are in this mould, as is the icy, slightly devastated goodbye that closes the record 'The Devils,' filled out with piano reminiscent of Big Star's 'Third' or Lou Reed's 'Berlin' and cracked double bass. What was in evidence in two of their earliest songs - 'You Still' and 'Are You Going Blind' - an understated, poetic play of moral sensitivity against a callous distance, of warmth and hostility, has reached its most sustained expression yet and gives their pop moments of a haunted love song quality along the lines of Del Shannon, Lesley Gore or Roy Orbison. 'Bridge by a Tunnel' and 'I Know You Know', on the other hand, share in the breezily abstracted character of 2014 single 'Magazine,' the later laying a sardonic (non)apology - 'I know you know, things could've been different/but they're not' over careful daubs of slide guitar. 'Cremated' is also guitar-lead, and reaches an early apogee of morbid oblivion baiting, while '1969' is a really perfectly recorded grand sweep of sound that recalls Serge Gainsbourg and 'Harvest'-era Neil Young. Proper Ornaments hold the attraction of seeming to not try very hard at all and achieve something outstanding nonetheless.

Band members Claire McCarthy (bass/vocals), Jonathon McCarthy (guitar/vocals) and Christopher Wessing (drums/guitar) interweaving girl-boy harmonies, insistent guitars and steady rhythms create uniquely crisp yet subtle sounds of simplicity and grandeur. Attracting comparisons to old-school greats such as The Pixies, Echo and The Bunnymen and Joy Division; the Tasmanian indie-pop trio's musicianship is of the highest calibre.Heart Beach have shared stages with Harts, Andy Bull, Teeth and Tongue, Dick Diver, Day Ravies and The Ocean Party, Tam Vantage, Kitchen's Floor, Bent, Popolice and Jealous Husband, as well as hometown heroes The Native Cats and Naked and Treehouse. In 2014 the band toured New Zealand for Camp A Low Hum music festival, followed by performances at Falls Festival, A Festival Called Panama and Rose Quartz Festival at Lake Pedder last summer.In May 2016 a repressing of the trio's self-titled debut was released in North America and Canada with Vancouver based label Kingfisher Bluez, and Heart Beach toured Australia nationally. Stay tunes for EU dates in 2017.

New Jersey indie-rock pioneers The Feelies are celebrating their 40th anniversary with the release of 'In Between', their first album of all new material in over 6 years.

Whilst working the post Velvet Underground moves they're so famous for, In Between brings interesting new ideas into the mix.

The twin-guitar attack of songwriters and founders Glenn Mercer and Bill Million is still at the core of the group's infectious sound, paired with the driving rhythmic team of drummer Stan Demeski and percussionist Dave Weckerman, with Brenda Sauter's bass guitar proving a rock solid foundation.

'On the new record we did a lot of it at my house in my home studio with extra equipment, explains Mercer. 'It's the same room where we rehearsed. We've been here since we reformed and a little bit prior to taking the hiatus in the 90's. So it's a room we're really familiar with and feel comfortable in. We also did some recording at an engineer's studio, so it was all done very low key. We refer to it as 'off the clock' when you're not paying an hourly rate, so in that sense it was a lot more relaxed. I don't think anyone would notice a drastic change in the sound or the vibe of the record. I think it sounds a lot more relaxed and laid back.'

'I think all of our albums reflect a certain degree of reaction to the work that we previously did and In Between is no exception,' continues Bill Million. 'We liked the sounds and the feel of the demos for this album and we thought it would be difficult to capture that in a recording studio. So that was our starting point and it evolved in a much more relaxed way that loaned itself to more creative interplay. Time wasn't a component. If you let it, music can take on a life of its own and we wanted to allow the songs to develop with that idea in mind.'

Formed in Haledon NJ in 1976, The Feelies have now released six albums - including their critically acclaimed and influential debut Crazy Rhythms, as well as playing concerts with The Patti Smith Group, REM, and Bob Dylan as well as touring with Lou Reed.

In 2008, The Feelies re-united after a 17 year hiatus to open for long time admirers Sonic Youth at Battery Park and then resurrected their tradition of playing low key gigs at strategic intervals throughout the year rather than doing lengthy tours. They signed with Bar/None the same year, who re-issued The Good Earth and Crazy Rhythms. Here Before was released in 2011 and marked The Feelies first studio album in nearly two decades. In Between continues The Feelies story and is out 24th February on Bar None.

Lucky Number's latest signing Brandon Can't Dance announces his new, debut physical, album Graveyard of Good Times, to be released 13th January 2017. A truly diverse collection of songs from one of America's most compelling new songwriters, Graveyard of Good Times is as cathartic and melancholic as it is sardonic and playful.

Brandon Can't Dance is the brainchild of Brandon Ayres. Born and raised in Philadelphia, Brandon has already self-released several cult underground albums online before signing to Lucky Number and releasing his LXVE EP last month. His brutally honest and self-effacing lyrics speak of love, loneliness and suburban ennui, while his music flits between brooding post-punk, fuzz heavy alt. rock and 80s inspired synth-pop. It hints at a songwriting lineage absorbed through the sombre tones of Elliott Smith, brash electronics of Nine Inch Nails and The Idiot-era Iggy Pop. Truly unpredictable, Brandon uses his vocals as another instrument, moving from deep baritone to falsetto with ease.

Entirely self-recorded and produced between summer 2015 and winter 2016, the album was recorded between shifts working nights as a security guard and looking after his grandmother, who he lives with, alongside his mother and sister.

Mit "The Adventures Of Selfie Boy Pt. 1" erscheint am 09.12.2016 das Debütalbum von Raf Rundell via 1965 Records. Raf Rundell, Selfie Boy, Raf Daddy und Teil von The 2 Bears (zusammen mit Hot Chips Joe Goddard) - der Brite ist ein musikalischer Tausendsassa und stellt nun die ersten Abenteuer des Selfie Boys vor.- FACTS: Neben der STD CD erscheint das Album auch als STD LP mit Spined Sleeve.

Jetzt auch auf schwarzem Vinyl erhältlich! Die elf Tracks auf "Blood Pressures" haben alles, was die Musik von The Kills ausmacht: schmutzige Gitarren, treibende Rhythmen und Texte, die genauso intelligent wie sexy sind. Im Vergleich zu den Vorgängern, hat der musikalische Überbau des Duos merklich an Gewicht gewonnen: Neben einem volleren Sound zeigen sich Hince und Mosshart deutlich experimentierfreudiger und vielschichtiger, aber auch harmonischer. Inhaltlich bleiben sich The Kills treu - die Texte sind ehrlich, tief empfunden und manchmal einfach herzzerreißend. Von Hince und Mosshart im Alleingang eingespielt, gibt sich das Album wieder einmal betont lässig und um keine Antwort verlegen, offenbart aber auch eine neue Nachdenklichkeit, ja sogar Wehmut und Verletzlichkeit in den Texten. Mit "Blood Pressures" behauptet die Band ihre Stellung als eine der vitalsten im aktuellen Musikgeschehen. "Blood Pressures" ist das vierte Album von The Kills, nach "Midnight Boom" (2008), "No Wow" (2005) und dem Debüt "Keep On Your Mean Side" aus dem Jahr 2002.

Vinyl promo album featuring unreleased demo versions on the a side and LIVE IN AMSTERDAM on the flip. Released during the mad hype around their first album back in 2006 - which became the fastest selling rock record in history for the UK!

SAMHAIN's 1984 debut originally released on GLENN DANZIG's PLAN 9 imprint, his first after disbanding THE MISFITS in 1983. This reissue comes with a lyric sheet and band photo, 10 tracks including "HORROR BIZ", "ALL MURDER ALL GUYS ALL FUN", "BLACK DREAM", "MACABRE" and many more.

The Selecter is led by their iconic frontwoman Pauline Black, alongside an incredible talented band of musicians, and co-fronted by original member Arthur 'Gaps' Hendrickson. The anarchic passion that fuelled Selecter gigs during the 2 Tone era is still there, except the pair (Pauline & Gaps) are more driven than ever. Their confidence is sky-high and they're also writing the best songs of their career, which is saying something given the enduring popularity of hits like Three Minute Hero, Missing Words and On My Radio. They've played at most major festivals, headlined 3 UK tours, toured the US and recorded three studio albums in the last few years.
The Beat, fronted by Ranking Roger released their spectacular fourth album Bounce (the first in over 30 years) in September 2016. The album shows off every gleaming aspect of one of the most musically diverse bands to come out of the multiracial, multicultural explosion that remade British pop from 1979 onwards. The same energy that drove the hit singles of the 80s, Mirror In The Bathroom, Stand Down Margaret and Too Nice To Talk To reggae looseness plus razor-sharp song-writing meets the paranoid pace of punk is here again.
2017 live dates are being announced now for both bands, including a co-headline tour in March and April 2017.

Originally released in 1992, PENG! is the second full-length album by sonic experimentalists Stereolab, it showcases an eclectic variety of styles, from experimental pop to Krautrock to lounge. Sometimes jam-packed with thundering keyboards and driving drums, at other times ethereal, airy and light, PENG! captures this thinking man's band at the early stages of its prolific career. Emulating aspects of the Velvet Underground's rhythms as well as the Moog-happy keyboard euphonies of the early 1970s, Stereolab's far left-of-center pop vision has always been something of a love-'em-or-hate-'em proposition. Longtime fans familiar with the band's later work will find interest in this early recording--it includes the moody, cafe-styled "K-Stars" sung fetchingly in French by Leatitia Sadier

2LP Gatefold + DL. Trupa Trupa play rock, come from Poland and consist of four musicians in a guitars-bass-drums-keyboard-vocals line-up. Their third and latest album, Headache, was released in 2015 on Blue Tapes And X-Ray Records on CD and cassette. A pretty traditional way of doing things, some would say, for a young group from a country that few consider for its rock culture. The story of Headache would perhaps have ended there if a certain Sasha Frere-Jones, one of today's most prominent and influential critics, hadn't written in the Los Angeles Times that "one of the best rock bands doing business now is from Gdansk, Poland." This is the story of a record that proves that sometimes the best things come from where we least expect them and just impose themselves as self-evident. And the quality of this album is indeed self-evident. The fact that it will still be being played in 10 years is self-evident too as is the conviction that here we are dealing with a major record. Trupa Trupa synthesizes what is best in the genre since the early 90s, from Pavement to Slint.

It's Christmas time. There is, usually, no need to be afraid.
But let's face it. It's never the most inspiring period for popular music. For every gem or two nestled in each Christmas-themed release, there's usually a sleigh-load of rubbish to wade through.
So it's a pleasure to report that the good folks Saint Etienne have decided to up the ante. And not just with an amazing single, but a tremendous album full of Christmas joy and goodness.
Be quick, though. It's a limited release and likely to get snapped up almost immediately.Given the bitter weather, it's nice of Sarah, Bob and Pete to provide something to keep you warm: a Christmas-themed set that collects together previous fan club releases, 1994's smash I Was Born on Christmas Day, and a half-dozen new additions.Alongside well-selected covers of Cliff Richard (21st Century Christmas), Chris Rea (Driving Home for Christmas), Billy Fury (My Christmas Prayer) and The Doors (Wintertime Love), there's the tinsel techno rave-up of Gonna Have a Party, the sizzling glam of Come on Christmas, the icy OMDness of Through the Winter and the instrumental interludes of Snowbound on the South Bank and Fireside Favourite. They finish off with their version of Harry Nilsson's Snow, from 2003's fan club disc.There are no new takes on carols, nor any narky topical dialogues about the commercialisation of Christmas among this lot, instead, it's a groovin' assortment of magic and sparkle all the way.A frisky, marvellous delight from beginning to end, A Glimpse of Stocking is firmly in the lineage of quality festive albums, to be filed alongside similarly themed releases by the Carpenters, Ella, The Beach Boys, Low and Phil Spector.It is - albeit not literally, nobody wants a record exploding in their hands - a cracker.

Hailing from Glasgow's south side comes a killer, new musical project which combines motorik rhythms with an electro pop sensibility and a DIY aesthetic. All aspects of course appealing hugely to London's Polytechnic Youth label. So of course this one became a no-brainer when it came to releasing this mighty debut 45.

Merging homemade sounds and dreamscape visuals with a kaleidoscopic krautrock intensity, Tomorrow Syndicate combine VHS era sci-fi innocence with the very real paranoia of the post-truth world.

Formed over the last 6 months, the band have a killer stash of tunes ready to unleash shortly, but for now it's these two gems we have to chew on and neither disappoints, both attaining huge amounts of interest in blog and social media world and the 45 is released in a numbered pressing of 250 just in time for Christmas.

Hector Plimmer's release is electronica/hip hop. A-side has psyche pop and afrobeat influences, b-side is weird afrobeat influenced electronica. It's been getting good play from Gilles Peterson, Nemone, Tom Ravenscroft and Huey Morgan on BBC 6Music, plus plenty other non BBC plays. Plus, side B, Kalimba was premiered on The Ransom Note. Hector burst onto the scene in 2014 with an appearance on Gilles Peterson's 'Brownswood Bubblers' Vol 11, alongside beatsmith Al Dobson Jr, jazz luminaries GoGo Penguin, and the ever soulful Moonchild. He went on to win the PRS Steve Reid InNOVAtion Award, firmly cementing himself on the 'ones to watch' list.

Brilliant, brilliant. Very, very good.' Gilles Peterson

Gorgeous, hypnotic' Dom Servini

We release a limited 7' of 'If I Knew' & 'In Your Bed' as a double A-side in-line with this.

Featuring Johnny Marr, Andy Rourke, Craig Gannon and original drummer Simon Wolstencroft, the original pre Morrissey line up recording has been augmented with the incredible vocal talent of Soul and House legend Angie Brown.The full story: Thirty-five years ago three enthusiastic teenagers put together a band called Freak Party. The musicians in question were the legendary Johnny Marr, Andy Rourke and Simon Wolstencroft, who was previously in an early incarnation of The Stone Roses then called The Patrol, before joining The Fall where he remained for 11 years.The inspirational first recording of the newly created songs Firefly and Don't Push Your Luck, under the Freak Party name was captured on a studio cassette all that time ago. Unfortunately the tape got lost for many years only to turn up in a drum case that Wolstencroft had mislaid during a house move.
 The recordings have never been heard apart from a different section being used as an underscore in an audiovisual advert for Simon's autobiography 'You Can Drum But You Can't Hide'. Wolstencroft drafted in Mike Bennett, the producer he had worked with on both The Fall, and Ian Brown. Mike and Simon  had co-written the smash hit Golden Gaze with Ian Brown. The enthusiastic Wolstencroft easily convinced Bennett that this original tape was worthy of a reworking. Bennett gathered together a team to work with him on getting rid of the hiss on the tape and blending in new parts, having learnt from fellow Jet Records muse Jeff Lynne , who had used a similar technique on the Beatles archive recording ' As Free As A Bird ' .Bennett was able to add brass and Hammond organ to augment and invigorate the original recordings. The band members were delighted with the results. Instead of asking Morrissey Simon Wolstencroft and Mike Bennett recruited soul and house legend Angie Brown who added new inspiring vocals culminating in truly amazing results. Further intrigue was added by Craig Gannon of the Smiths, who put additional guitars on the two superb tracks Firefly and Don't Push Your Luck These revisited recordings have never been heard in the public domain but at long last will be released on 25th November. A documentary and movie are part of the plans to promote this magnificent slice of Mancunian history.

'Convenanza' is the sound of Andrew Weatherall looking back at the clutter of a life thoroughly lived and realising it's too late to tidy it up in any meaningful way. It would be marvellous to throw out lines about the artist exploring the periphery of his musical vision or redrawing the boundary between confrontational electronica and a fondness for a decent melody. That would however indicate some kind of preconceived plan or, failing that, a musical objective which shaped the record. Even serendipity would suggest a more organised approach to the album than was actually the case. Many years of listening to music with a unique ear has resulted in the disordered cabinet of highlights, touchstones, revelations and half recalled good times that make up being Lord Sabre.
Frankfurt Advice's post funk punk rhythm takes a deep breath but soldiers on when the disquieting sound of the trumpet playing in the next room intrudes and remains firmly in control despite momentarily stumbling over an unruly guitar. The Confidence Man's self-assured top line collapses in on itself and the loosened beats enjoy a gentle unrestrained boogie atop the solid bassline before the vocal's final hymnic retreat.
The upside of Weatherall's promiscuous attitude to music is the sheer joy when it all comes into focus on We Count Our Sins... The trumpet returns but this time it's the soaring sprit of the song which strains against a deeply anchored bassline. The message of abandonment in the verse is thwarted by the obstinate optimism of the key refrain and there's a sense of resolution as the song ends and melds into the blissful Thirteenth Night.
That Andrew has grasped random thoughts, memories and life markers then assembled them so they become such a satisfying musical voyage is a testament to a mind that can draw pictures in the air but still has trouble finding the on-off button on his laptop.
Vinyl version limited to 1000 copies only

20 years! Brighton/London-based label Catskills Records has aged well and doesn't look a day over 10 years old. To celebrate Catskills are proud to present 'Catskills Records: 20 Years of Victory' - available in a beautifully designed triple-gatefold coloured vinyl, double CD and digital with added bonus tracks. Featuring 23 Catskills mini-classics that bounce nimbly between the atmospherics of the track that kicked it off with Indian Motorcycles by Sonorous Star (label founders Khalid and Amr Mallassi), to the dance-floor beats of Drop by Bushy, Featurecast and Black Grass, the drum explosions of Pepe Deluxé, the ethereal soundscapes of Husky Rescue and so much more in-between!

Also included are 2 new tracks, exclusive to this compilation: The majestic, isolation of My Shelter' by Husky Rescue and Go, Girls, Go!' by Pepe Deluxé, a breezy throwback to Pepe Deluxé's origins in Hip Hop and breaks culture. The vinyl contains a surprise bonus track from Pepe Deluxé's 'That Track!', that has been impossible to get hold of since its initial release in 1999(strictly on the QT and very, hush hush). The CD also contains all 24 tracks (minus that cheeky track from Pepe Deluxé mentioned above).

Here's to another 20 years of idiosyncratic, unpredictable and impossible-to-pigeonhole releases from Catskills Records!

20 years! Brighton/London-based label Catskills Records has aged well and doesn't look a day over 10 years old. To celebrate Catskills are proud to present 'Catskills Records: 20 Years of Victory' - available in a beautifully designed triple-gatefold coloured vinyl, double CD and digital with added bonus tracks. Featuring 23 Catskills mini-classics that bounce nimbly between the atmospherics of the track that kicked it off with Indian Motorcycles by Sonorous Star (label founders Khalid and Amr Mallassi), to the dance-floor beats of Drop by Bushy, Featurecast and Black Grass, the drum explosions of Pepe Deluxé, the ethereal soundscapes of Husky Rescue and so much more in-between!

Also included are 2 new tracks, exclusive to this compilation: The majestic, isolation of My Shelter' by Husky Rescue and Go, Girls, Go!' by Pepe Deluxé, a breezy throwback to Pepe Deluxé's origins in Hip Hop and breaks culture. The vinyl contains a surprise bonus track from Pepe Deluxé's 'That Track!', that has been impossible to get hold of since its initial release in 1999(strictly on the QT and very, hush hush). The CD also contains all 24 tracks (minus that cheeky track from Pepe Deluxé mentioned above).

Here's to another 20 years of idiosyncratic, unpredictable and impossible-to-pigeonhole releases from Catskills Records!

Repress of 100 on red vinyl.
Debut Christmas vinyl single from all star New York ska/reggae collective that includes Jamaican legend LARRY McDONALD on percussion. Holiday cheer spread inna LESTER STERLING / TOMMY McCOOK jazz reggae style - versions of "JINGE BELLS" and "GOD REST DEM IRIE GENTLEMEN". Ltd to 300 copies

Brand new Christmas 7" single from German ska champion DR RING DING. The a-side is taken from his "ONCE A YEAR" holiday album released in 2015, the flip is a German version of the song exclusive to this release. Limited edition of 500, big hole colored vinyl single for boss DJs.

Lucky', the title of Nada Surf's fifth album, is at once literal and ironic. Like the songs that singer / guitarist Matthew Caws, bassist Daniel Lorca and drummer Ira Elliot crafted for their previous two albums, Let Go' (2003) and The Weight Is A Gift' (2005), Lucky is filled with images of restlessness, longing and the elusiveness of love. Yet the band counterbalances the lyrical bitter sweetness with musical buoyancy. Intimate songs become in-it-together anthems, thanks to the chiming guitars, propulsive rhythms, and the emotional candour in Caws' vocals. A song like Beautiful Beat' segues from a sparsely arranged, confessional first verse into a harmony-laden chorus and reaches multi-layered, canon-like proportions before the track fades out. If Caws is often suggesting that romance and resolution may still be an inch or two out of reach, he's also proffering immediate musical solace. Turn up the volume, hit the repeat button, and your troubles, for a blissful three minutes or so, will disappear.

The three members of Nada Surf have played together now for a dozen years. They've survived overnight major-label success and the inevitable morning-after bleariness, persevering past obstacles that would have sunk a less resilient combo, to become one of America's most truly independent and respected bands. Experience has only made their work richer, bringing gravity to the subject matter and lightness to its presentation. Keeping things honest has become a modus operandi.

The Lick / Gold Hole is the much anticipated official debut single from baby-faced South London five piece Shame. A clattering punk one-two knockout of a double A-Side bursting at the seams with punk energy but with the patter of the Streets, the spittle of Mark E. Smith, and the underground sprit of Eddy Current.
Limited 7" single in die cut white disco bag. One of the most watched and crucially most talked about live bands in London' - Loud and Quiet. A filthy mess of The Doors, Sleaford Mods and The Pixies' - Guardian. RADIO - Track of the week on 6Music, plays on Beats and Radio 1

It hasn't been long since The Wedding Present released their latest LP Going, Going... but there's already another LP in the pipeline, albeit a collection of old sessions. The Marc Riley Sessions Volume 1 collection comes out on 2nd December via Hatch Records and contains tracks from three memorable studio sessions with DJ Marc Riley from 2007, 2008 and 2010. The sessions feature songs that span the entirety of the cult indie band's career and the consistency of David Gedge's songwriting.
Marc Riley himself commented on the release of the new album: The release of The Wedding Present sessions done for our 6
Music programme over the years is something of an honour. In the great tradition of the Peel/Selwood releases on the Strange Fruit label this record proves that even without John the BBC can still be a place where great bands can continue to grow and be creative... amongst friends.' Riley also commented on John Peel's love of the cult band: There were many other bands who benefitted from the 'Peel Effect'. T oo numerous to mention. But one of those was — as if you can't see this coming — The Wedding Present. The constant support. Plays. Sessions. Encouragement. Friendship. John's love of the George Best LP (which was a heroic support considering John's affiliation to Liverpool — Manchester United's most hated rival) was well known... and until John passed away he remained a firm fan of all things 'Gedge'.'

It hasn't been long since The Wedding Present released their latest LP Going, Going... but there's already another LP in the pipeline, albeit a collection of old sessions. The Marc Riley Sessions Volume 1 collection comes out on 2nd December via Hatch Records and contains tracks from three memorable studio sessions with DJ Marc Riley from 2007, 2008 and 2010. The sessions feature songs that span the entirety of the cult indie band's career and the consistency of David Gedge's songwriting.
Marc Riley himself commented on the release of the new album: The release of The Wedding Present sessions done for our 6
Music programme over the years is something of an honour. In the great tradition of the Peel/Selwood releases on the Strange Fruit label this record proves that even without John the BBC can still be a place where great bands can continue to grow and be creative... amongst friends.' Riley also commented on John Peel's love of the cult band: There were many other bands who benefitted from the 'Peel Effect'. T oo numerous to mention. But one of those was — as if you can't see this coming — The Wedding Present. The constant support. Plays. Sessions. Encouragement. Friendship. John's love of the George Best LP (which was a heroic support considering John's affiliation to Liverpool — Manchester United's most hated rival) was well known... and until John passed away he remained a firm fan of all things 'Gedge'.'