Pop & Rock Vinyl New Releases - News

Rummelsnuff, der Kapitän unter den Pumpern, wirft die Maschinen wieder an. Auf seinem neuen Album hievt er nicht nur seinen langjährigen Mitstreiter, Maat Asbach, endlich gleichberechtigt auf die Titelseite, er liefert auch sein bis dato vielschichtigstes Werk ab.

Das fünfte Album von Deutschlands melodischstem Kraftpaket ist da! Kenner des muskelbepackten Donnerbolzens wissen, dass man es bei Rummelsnuffs musikalischer Denkfabrik schon seit einiger Zeit mit einem echten Superheldenteam zu tun hat, so versteht es sich fast von selbst, dass dem nun auch im Titel gebührend Rechnung getragen werden muss. Käpt'n Rummelsnuff und Maat Asbach, das dynamische Duo der derben Strommusik, erzählen von der Last der Schwerarbeit (- Treidler', - Straßenbau'), Menschliche Zuchtviecher werden mit - Harzer Käse' gefüttert und mit - Stille im Maschinenraum' wird behutsam das Thema Tod besungen. Gutgelaunt, wortkarg und ungewohnt funky tanzt Doktor Rummel mit seinem inneren Gegenspieler, dem Anarchisten Mister Snuff. Auf - Rummelsnuff & Asbach' ist kein Lied stilistisch wie das vorherige und dennoch tragen alle unverkennbar Rummelsnuffs Markenzeichen. Elektropunk und große Melodien, Folk, Disco, Seemanns-Weisen - alles ist erlaubt: Rummelsnuff, der alte Pumper mit den rostigen Hanteln, und Asbach, Tenorbariton und Sproß einer großen Schnapsbrennerdynastie, nähern sich mit diesem Album ein weiteres Stück der Perfektion... und halten dennoch immer wohltuend Abstand zu ihr. - Rummelsnuff & Asbach' erscheint als Deluxe-Doppel-CD (mit Bonus-EP mit Remixen und Neuinterpretationen), sowie als liebevoll aufgemachte Vinyl-Edition.

Formed in 1987 these British shoegaze/space-rock mainstays drew inspiration from the 60s psych and rock scene, particularly The Velvets, The 13th Floor Elevators, Love, and The Byrds, as well as contemporaries such as My Bloody Valentine, and The Jesus & Mary Chain. Their second LP, a self-titled affair from 1992 originally released on Creation is where they truly took off and found their original voice with a tight batch of hook-laden tunes. An essential piece of UK shoegaze and psychedelia, The Telescopes is back in print on vinyl for the first time in nearly a decade.

Side A:

Teeming with the energy and grit of pre-Giuliani Manhattan, Blonde Redhead's long out-of-print early recordings have finally crawled their way out of the '90s basement thanks to Numero Group who will issue the set on Sept. 30. Weighing in at 37 tracks, Masculin Féminin compiles the band's first two albums for Steve Shelley's Smells Like Records (self-titled and La Mia Via Violenta), their period singles, extant demos, and radio performances across four LPs or two CDs. Dozens of previously unpublished photographs illustrate two lengthy essays on this essential New York band's formative years.

This is the latest installment in Numero Group's 200 Line series which has also included releases from Unwound, Bedhead, Codeine, White Zombie and The Scientists. These songs combine a raw need, a ready access to neediness, with seemingly incongruous cinematic changes reminiscent of '60s Italian pop music and movie scores. They switch between emotional grandeur and eye scratching immediacy.'-Arto Lindsay

Teeming with the energy and grit of pre-Giuliani Manhattan, Blonde Redhead's long out-of-print early recordings have finally crawled their way out of the '90s basement thanks to Numero Group who will issue the set on Sept. 30. Weighing in at 37 tracks, Masculin Féminin compiles the band's first two albums for Steve Shelley's Smells Like Records (self-titled and La Mia Via Violenta), their period singles, extant demos, and radio performances across four LPs or two CDs. Dozens of previously unpublished photographs illustrate two lengthy essays on this essential New York band's formative years.

This is the latest installment in Numero Group's 200 Line series which has also included releases from Unwound, Bedhead, Codeine, White Zombie and The Scientists. These songs combine a raw need, a ready access to neediness, with seemingly incongruous cinematic changes reminiscent of '60s Italian pop music and movie scores. They switch between emotional grandeur and eye scratching immediacy.'-Arto Lindsay

As on their 2015 debut 'White Water', The Slow Show's new album 'Dream Darling' contains dramatic songs about love, death, failing and loss. Deeply affecting songs, which may move the listener to tears. Choirs and colliery brass lend The Slow Show a distinctly northern sound, with Rob Goodwin's rich baritone reminiscent of Lambchop's Kurt Wagner, though with a different accent. As before, jazz and classical stylings underpin the band's sound. A delicate varnish of Americana, sparse piano, guitar chords in minor keys, tender brass, swelling strings and choirs, each element combines to infuse the album with a northern soul. Goodwin's sonorous vocals slow down the pace, and released from the hectic sounds of rock'n'roll, The Slow Show create space and time for closer listening, sharpening the senses even for the smallest details.

Their touching lyrics are often biographical. Sometimes inspiration comes directly from decisions or mistakes we've made,' says Goodwin. And sometimes, suddenly it is triggered by love or loss. Life changes constantly. Sometimes sadly, sometimes unfairly, and then again sometimes for the better. It was this constant change in our lives that inspired the recordings and hope and optimism have prevailed in the end."

So 'Dream Darling' may report of personal failures, from showdowns and blows of fate to the mishaps of life, but the end of the day there is always hope. "It's ok. Everything is changing, but it is nothing to be afraid of,' says Goodwin. This realisation has informed us on this album."

These sentiments makes 'Dream Darling' the ideal backdrop for contemplative autumn and winter evenings.

Together since 2010, The Slow Show had only played a few gigs before landing their first big break the following year when they were picked by BBC Introducing to support Elbow on BBC Radio 2 Live In Concert at Manchester Cathedral. That led to another breakthrough when Dermot O'Leary's producer heard the broadcast and asked the band to play on a session on his radio show. In turn, a European agent heard them and asked them to play some unlikely dates abroad. Thus, a band who had barely played a note in their hometown found themselves suddenly unveiling all in European cities such as Zurich and Dresden.

The band's debut album 'White Water' was recorded throughout 2014 in Blueprint Studios in Manchester, and released in early 2015 on Haldern Pop Recordings, becoming the first UK release on the label founded by the team behind Germany's coolest Festival, Haldern Pop.

The Slow Show are:
Rob Goodwin (vocals, guitar), Fred Kindt (keyboards), Joel Byrne McCullough (lead guitar), Chris Hough (drums), James Longden (bass)

As on their 2015 debut 'White Water', The Slow Show's new album 'Dream Darling' contains dramatic songs about love, death, failing and loss. Deeply affecting songs, which may move the listener to tears. Choirs and colliery brass lend The Slow Show a distinctly northern sound, with Rob Goodwin's rich baritone reminiscent of Lambchop's Kurt Wagner, though with a different accent. As before, jazz and classical stylings underpin the band's sound. A delicate varnish of Americana, sparse piano, guitar chords in minor keys, tender brass, swelling strings and choirs, each element combines to infuse the album with a northern soul. Goodwin's sonorous vocals slow down the pace, and released from the hectic sounds of rock'n'roll, The Slow Show create space and time for closer listening, sharpening the senses even for the smallest details.

Their touching lyrics are often biographical. Sometimes inspiration comes directly from decisions or mistakes we've made,' says Goodwin. And sometimes, suddenly it is triggered by love or loss. Life changes constantly. Sometimes sadly, sometimes unfairly, and then again sometimes for the better. It was this constant change in our lives that inspired the recordings and hope and optimism have prevailed in the end."

So 'Dream Darling' may report of personal failures, from showdowns and blows of fate to the mishaps of life, but the end of the day there is always hope. "It's ok. Everything is changing, but it is nothing to be afraid of,' says Goodwin. This realisation has informed us on this album."

These sentiments makes 'Dream Darling' the ideal backdrop for contemplative autumn and winter evenings.

Together since 2010, The Slow Show had only played a few gigs before landing their first big break the following year when they were picked by BBC Introducing to support Elbow on BBC Radio 2 Live In Concert at Manchester Cathedral. That led to another breakthrough when Dermot O'Leary's producer heard the broadcast and asked the band to play on a session on his radio show. In turn, a European agent heard them and asked them to play some unlikely dates abroad. Thus, a band who had barely played a note in their hometown found themselves suddenly unveiling all in European cities such as Zurich and Dresden.

The band's debut album 'White Water' was recorded throughout 2014 in Blueprint Studios in Manchester, and released in early 2015 on Haldern Pop Recordings, becoming the first UK release on the label founded by the team behind Germany's coolest Festival, Haldern Pop.

The Slow Show are:
Rob Goodwin (vocals, guitar), Fred Kindt (keyboards), Joel Byrne McCullough (lead guitar), Chris Hough (drums), James Longden (bass)m

As on their 2015 debut 'White Water', The Slow Show's new album 'Dream Darling' contains dramatic songs about love, death, failing and loss. Deeply affecting songs, which may move the listener to tears. Choirs and colliery brass lend The Slow Show a distinctly northern sound, with Rob Goodwin's rich baritone reminiscent of Lambchop's Kurt Wagner, though with a different accent. As before, jazz and classical stylings underpin the band's sound. A delicate varnish of Americana, sparse piano, guitar chords in minor keys, tender brass, swelling strings and choirs, each element combines to infuse the album with a northern soul. Goodwin's sonorous vocals slow down the pace, and released from the hectic sounds of rock'n'roll, The Slow Show create space and time for closer listening, sharpening the senses even for the smallest details.

Their touching lyrics are often biographical. Sometimes inspiration comes directly from decisions or mistakes we've made,' says Goodwin. And sometimes, suddenly it is triggered by love or loss. Life changes constantly. Sometimes sadly, sometimes unfairly, and then again sometimes for the better. It was this constant change in our lives that inspired the recordings and hope and optimism have prevailed in the end."

So 'Dream Darling' may report of personal failures, from showdowns and blows of fate to the mishaps of life, but the end of the day there is always hope. "It's ok. Everything is changing, but it is nothing to be afraid of,' says Goodwin. This realisation has informed us on this album."

These sentiments makes 'Dream Darling' the ideal backdrop for contemplative autumn and winter evenings.

Together since 2010, The Slow Show had only played a few gigs before landing their first big break the following year when they were picked by BBC Introducing to support Elbow on BBC Radio 2 Live In Concert at Manchester Cathedral. That led to another breakthrough when Dermot O'Leary's producer heard the broadcast and asked the band to play on a session on his radio show. In turn, a European agent heard them and asked them to play some unlikely dates abroad. Thus, a band who had barely played a note in their hometown found themselves suddenly unveiling all in European cities such as Zurich and Dresden.

The band's debut album 'White Water' was recorded throughout 2014 in Blueprint Studios in Manchester, and released in early 2015 on Haldern Pop Recordings, becoming the first UK release on the label founded by the team behind Germany's coolest Festival, Haldern Pop.

The Slow Show are:
Rob Goodwin (vocals, guitar), Fred Kindt (keyboards), Joel Byrne McCullough (lead guitar), Chris Hough (drums), James Longden (bass)g

The co-writer, guitarist and musical director with Morrissey and founding member of the Polecats presents his new longplayer with guest artists including Eddie Argos (Art Brut) and more! Boz Boorer is back with an epic new solo album, "Age Of Boom" - his first proper LP of fresh recordings in ten years, featuring an array of top-drawer musical guests.

Boz can rightly be described as being at the heart of the British music scene. This brilliant guitarist, songwriter and producer has been known to music fans the world over as co-writer, guitarist and musical director with Morrissey, for over two decades, as well as being a founding member of legendary neo-rockabilly band, The Polecats. On top of this, Boz produces promising newcomers in his Portugal studio, writes songs for many other artists, and works with long-time collaborators and friends such as Edwyn Collins and Adam Ant.

The new album "Age Of Boom" has taken shape over the last four years in Boz's Studio in Portugal, and forms a cross section through the entire musical Boz Boorer universe. On the one hand it feels intense, energetic, and raw, but there is also style, melody and humour aplenty, reflecting the artist himself. With this new album, Boz Boorer again demonstrates his incredible versatility and outstanding skills as a songwriter, multiinstrumentalist and frontman. For some of the 14 songs, Boz has handpicked high-profile guest musicians and singers for support, who help turn "Age Of Boom" into a true contemporary Gesamtkunstwerk.

"This is the first record I have made for over 10 years that was tackled as an album and not just a selection of songs. The collaborations and mix of styles were carefully planned out. The title song, "Age Of Boom", is a true story about an old bar fly who sits in a pub all day talking to anyone who will listen, and often to no one at all. He was one of the boom babies, born in the 50's but now with nothing better to do than to reminisce about a bygone age that has passed us all by - Boz Boorer, 2016

"Age of Boom is released in September 2016 on Fabrique Records, and features guest artists including Eddie Argos (Art Brut), James Maker, Tom Walkden (Wolventrix), Georgina Baillie, "Limey" Dave Dahlson, Sarah Vista, Tracy Vandal, Ben Mark and Alex Lusty.

PROFILE: Boz is legendary on the rockabilly scene. Among the many bands he has played with are The Polecats, Boz And The Bozmen, Ronnie Dawson, The Deltas, John's Children, Blubbery Hellbellies, Adam Ant, Sonny George, Imelda May, psychobilly band Jet Black Machine and has even toured Japan with all girl rockabilly band The Shillelagh Sisters. He is Morrissey's musical director, co-songwriter and guitarist since 1991.

The co-writer, guitarist and musical director with Morrissey and founding member of the Polecats presents his new longplayer with guest artists including Eddie Argos (Art Brut) and more! Boz Boorer is back with an epic new solo album, "Age Of Boom" - his first proper LP of fresh recordings in ten years, featuring an array of top-drawer musical guests.

Boz can rightly be described as being at the heart of the British music scene. This brilliant guitarist, songwriter and producer has been known to music fans the world over as co-writer, guitarist and musical director with Morrissey, for over two decades, as well as being a founding member of legendary neo-rockabilly band, The Polecats. On top of this, Boz produces promising newcomers in his Portugal studio, writes songs for many other artists, and works with long-time collaborators and friends such as Edwyn Collins and Adam Ant.

The new album "Age Of Boom" has taken shape over the last four years in Boz's Studio in Portugal, and forms a cross section through the entire musical Boz Boorer universe. On the one hand it feels intense, energetic, and raw, but there is also style, melody and humour aplenty, reflecting the artist himself. With this new album, Boz Boorer again demonstrates his incredible versatility and outstanding skills as a songwriter, multiinstrumentalist and frontman. For some of the 14 songs, Boz has handpicked high-profile guest musicians and singers for support, who help turn "Age Of Boom" into a true contemporary Gesamtkunstwerk.

"This is the first record I have made for over 10 years that was tackled as an album and not just a selection of songs. The collaborations and mix of styles were carefully planned out. The title song, "Age Of Boom", is a true story about an old bar fly who sits in a pub all day talking to anyone who will listen, and often to no one at all. He was one of the boom babies, born in the 50's but now with nothing better to do than to reminisce about a bygone age that has passed us all by - Boz Boorer, 2016

"Age of Boom is released in September 2016 on Fabrique Records, and features guest artists including Eddie Argos (Art Brut), James Maker, Tom Walkden (Wolventrix), Georgina Baillie, "Limey" Dave Dahlson, Sarah Vista, Tracy Vandal, Ben Mark and Alex Lusty.

PROFILE: Boz is legendary on the rockabilly scene. Among the many bands he has played with are The Polecats, Boz And The Bozmen, Ronnie Dawson, The Deltas, John's Children, Blubbery Hellbellies, Adam Ant, Sonny George, Imelda May, psychobilly band Jet Black Machine and has even toured Japan with all girl rockabilly band The Shillelagh Sisters. He is Morrissey's musical director, co-songwriter and guitarist since 1991.

Hope Sandoval & The Warm Inventions is an indie alt band composed of Hope Sandoval from Mazzy Star and Colm Ó Cíosóig of My Bloody Valentine. This 10" is a two track black vinyl piece with the lead single 'Let Me Get There featuring Kurt Vile'. The lead track will be off the upcoming studio album, Until the Hunter, while the B side is exclusive to this release.

Inspiraton for this, the second LP from The Paradise Bangkok Molam Internatonal Band, is the musical experimentaton that has happened at their seminal venue in Bangkok, Studio Lam, and how that has infuenced their sound, whether it's the alternatve nights featuring individual band members (Paradise
Bangkok Rhythm Secton, Kammao & friends, Electric Piphat Band) or sets from other artsts and DJs like Andrew Ashong, Miles Cleret, Hugo Mendez, Awesome Tapes From Africa, Rabih Beaini, Kirk Degiorgio, and Phuong Dan.
The fact that Studio Lam has become a musical focal point for the city of Bangkok, has inevitably had an impact on the band itself, and this is refected in the presence of diferent vibes and styles of the LP. The sound of 'Planet Lam' has been shaped by late night jamming gigs, home made ya-dong, run ins with the police, and the swapping of ideas with like-minded local musicians and artsts.

"The End Of Comedy" umgarnt mit Beatles-esque psychedelic Klängen und Bacharach-artigen Orchestrierungen - das perfekte Album für einen goldenen Herbst!
Inspiriert von Jean Baudrillard, Social Media, Sergio Leones Spaghetti Western und Michael Collins (ex Run DMT und Salvia Plath), kreist eine illustre Schar von Künstlern aus L.A. um ebendiesen, wie um eine Sonne. Mit "The End Of Comedy" veröffentlicht Michael Collins das Debütalbum seines neusten Projekts - Drugdealer - und lässt hier die Freunde wie viele kleine Sonnen aufscheinen, macht sie zum Zentrum seiner Songs. Teile dieses Systems sind Ariel Pink ("Easy to Forget"), Danny James ("My Life)", Natalie Mering und Laurel Canyon ("Fictional Pictures"), Mitglieder von Regal Degal, Holy Shit!, Mild High Club, Mr. Twin Sister und Mac DeMarco's Band. "The End Of Comedy", das sind Carole King­-hafte Piano Balladen, Bacharach-artige Orchestrierungen, Psychadelic Folk à la Ultimate Spinach oder Hendrickson Road House und New York City U-Bahn Jazz.

· On 28th October, PiL will reissue the seminal albums 'Metal Box' and 'Album'. 'Metal Box' was the band's second album, originally released on 23rd November 1979 and 'Album' was their 5th studio album and was originally released on 3rd February 1986, marking 2016 as its 30th anniversary.

· The album's will both be issued as 4 CD and 4 vinyl LP super-deluxe box sets, as well as digitally. The editions will include rare and previously unreleased material along with a live disc. The CD version's feature additional tracks to the vinyl editions due to running time restrictions, however, the vinyl edition will include a download card for all tracks on the CD version's. 'Metal Box' will be issued in a square metal tin (CD & LP) (the 1979 original was issued in a round metal film canister) with an embossed PiL logo. 'Album' will be issued in a square card box with de-bossed artwork. Both super-deluxe editions will include a 72 page booklet together with an exclusive poster, art-prints (LP version) and postcards (CD version).

· With all lyrics written by John Lydon 'Metal Box' was recorded with original PiL members Keith Levene and Jah Wobble. Original drummer Jim Walker had left, to be replaced by a succession of drummers. 'Metal Box' came out less than a year after PiL's debut 'Public Image: First Issue' yet it was nothing like its predecessor. Things had changed, and so had PiL. While outside pressures mounted PiL channeled their energies (negative and positive) into a record that would set them apart back in 1979, and indeed today in 2016. Whether it be John's powerful and passionate vocals; Keith's wailing guitar and melodic synths; Wobble's sub-disco reggae basslines; or the crashing rhythm that holds it all together, 'Metal Box' has many strengths. The album was originally released as 3 x 45rpm 12' singles, housed in a metal 'film' canister. As made by 'The Metal Box Company' in London's East End; hence the name. The deluxe edition includes rare and unreleased mixes from the recording sessions, along with B-sides and BBC sessions, plus a live recording from a now legendary unplanned show at Factory Records Russell Club in Manchester arranged on the day of a Granada TV appearance.

· With its striking minimalist generic style artwork, 'Album' arrived in February 1986. Written by John Lydon and produced with Bill Laswell (with music for some tracks co-written with Jebin Bruni and Mark Schulz from the 1984-85 PiL live band) the album was recorded in Autumn 1985 in New York with prolific session players such as Steve Vai, Ryuichi Sakamoto, Tony Williams and the legendary Cream drummer Ginger Baker. The album only took three weeks to record, followed by a week of mixing. John Lydon later remarked that 'Album' was, "almost like a solo album" as he was working on his own with several hired musicians. Jazz saxophonist Ornette Coleman came into the studio while the album was being recorded and commented that Lydon sang like he played the saxophone. Lydon said it was, "still the best thing anyone's ever said to me." 'Album' peaked at No.14 in the UK charts and features perhaps the most famous PiL track 'Rise', which peaked at No.11. As well as rare and unreleased mixes from the album and single's the deluxe edition includes the original demos recorded pre-Laswell with the 1984-85 PiL live band all of which are previously unheard. Two 12' mixes of John Lydon's groundbreaking collaboration with hip hop pioneer Afrika Bambaataa are also included as bonus tracks.

· PiL will shortly set out on a string of UK & European tour dates
























s

· On 28th October, PiL will reissue the seminal albums 'Metal Box' and 'Album'. 'Metal Box' was the band's second album, originally released on 23rd November 1979 and 'Album' was their 5th studio album and was originally released on 3rd February 1986, marking 2016 as its 30th anniversary.

· The album's will both be issued as 4 CD and 4 vinyl LP super-deluxe box sets, as well as digitally. The editions will include rare and previously unreleased material along with a live disc. The CD version's feature additional tracks to the vinyl editions due to running time restrictions, however, the vinyl edition will include a download card for all tracks on the CD version's. 'Metal Box' will be issued in a square metal tin (CD & LP) (the 1979 original was issued in a round metal film canister) with an embossed PiL logo. 'Album' will be issued in a square card box with de-bossed artwork. Both super-deluxe editions will include a 72 page booklet together with an exclusive poster, art-prints (LP version) and postcards (CD version).

· With all lyrics written by John Lydon 'Metal Box' was recorded with original PiL members Keith Levene and Jah Wobble. Original drummer Jim Walker had left, to be replaced by a succession of drummers. 'Metal Box' came out less than a year after PiL's debut 'Public Image: First Issue' yet it was nothing like its predecessor. Things had changed, and so had PiL. While outside pressures mounted PiL channeled their energies (negative and positive) into a record that would set them apart back in 1979, and indeed today in 2016. Whether it be John's powerful and passionate vocals; Keith's wailing guitar and melodic synths; Wobble's sub-disco reggae basslines; or the crashing rhythm that holds it all together, 'Metal Box' has many strengths. The album was originally released as 3 x 45rpm 12' singles, housed in a metal 'film' canister. As made by 'The Metal Box Company' in London's East End; hence the name. The deluxe edition includes rare and unreleased mixes from the recording sessions, along with B-sides and BBC sessions, plus a live recording from a now legendary unplanned show at Factory Records Russell Club in Manchester arranged on the day of a Granada TV appearance.

· With its striking minimalist generic style artwork, 'Album' arrived in February 1986. Written by John Lydon and produced with Bill Laswell (with music for some tracks co-written with Jebin Bruni and Mark Schulz from the 1984-85 PiL live band) the album was recorded in Autumn 1985 in New York with prolific session players such as Steve Vai, Ryuichi Sakamoto, Tony Williams and the legendary Cream drummer Ginger Baker. The album only took three weeks to record, followed by a week of mixing. John Lydon later remarked that 'Album' was, "almost like a solo album" as he was working on his own with several hired musicians. Jazz saxophonist Ornette Coleman came into the studio while the album was being recorded and commented that Lydon sang like he played the saxophone. Lydon said it was, "still the best thing anyone's ever said to me." 'Album' peaked at No.14 in the UK charts and features perhaps the most famous PiL track 'Rise', which peaked at No.11. As well as rare and unreleased mixes from the album and single's the deluxe edition includes the original demos recorded pre-Laswell with the 1984-85 PiL live band all of which are previously unheard. Two 12' mixes of John Lydon's groundbreaking collaboration with hip hop pioneer Afrika Bambaataa are also included as bonus tracks.

· PiL will shortly set out on a string of UK & European tour dates

It's rare for an artist to bridge the divide between critical acclaim and dedicated fan engagement. Chris Pureka is a Portland-based singer-songwriter whose body of work has resonated deeply with these seemingly disparate milieus. Her bold vulnerability in processing the intimacies of her life in song has long appealed to those listeners who crave authenticity. Now, five years coming, she shares with us another powerful entry in her life's work, her sixth release, the aptly titled, Back in the Ring.

Chris's elegant emotionality as a vocalist, and her flair and immediacy as a lyricist have garnered her favorable comparisons to Gillian Welch, Ryan Adams, Bruce Springsteen, and Patty Griffin. She's earned accolades from such distinguished taste-making outlets as The New York Times, Paste, Magnet, Billboard.com, and The AllMusic Guide. She's shared the stage with such diverse and esteemed artists as Dar Williams, The Lumineers, The Cowboy Junkies, Gregory Alan Isakov, Martin Sexton, and Ani DiFranco. Along the way, Chris has remained fiercely independent, selling nearly 50,000 albums through her own label, Sad Rabbit Records.

Chris's journey in music mirrors her path toward self-discovery. At 16, writing songs became a way of journaling. I was shy and introverted, and songwriting was a very personal process. I never had any intention of performing,' she shares. Post high school, she went on to complete a biology degree at Wesleyan University, and afterwards, worked in a microbiology research lab at Smith College. Meanwhile, she established a music career parallel to her biology work through touring and issuing a clutch of well-received indie releases. In 2006, when Chris found herself turning down too many opportunities as a musician, she shifted her priorities to become a full-time artist.

Her latest album, Back in the Ring, is Chris's first studio full length since 2010's critically acclaimed How I Learned to See in the Dark. I'm not interested in releasing songs I can't get behind or records I don't love,' she says of the five-year span between albums. The title of her latest playfully suggests something of an artistic comeback, but it also references the album's themes of relationship conflict and making the decision to fight back against dark inner demons.

My music is the outward expression of the work I'm doing internally. What I do comes from my experiences, and I strive to express these experiences authentically. Speaking my truth, and being myself, is the way that I connect with people,' Chris confides. Her rise as an esteemed artist with captivating emotional integrity has been organic and always on her own terms. For someone who never had an intention of being a professional musician, it's been a life of far-reaching changes and unexpected rewards.

Mac is back with his first proper full length, Mac DeMarco 2. As opposed to RNRNC, '2' is a concerted effort to produce a cohesive work that show- cases Mac's natural ability as a songwriter, singer and producer. With a new arsenal of recording gear, the fidelity has substantially improved without compromising the immediacy and organic quality of his prior releases under any monicker

Debut double-A single by Casi, Who follows in the footsteps of Wolf Alice, Pumarosa, Jungle, Swim Deep and MØ, in releasing her debut through the London-based label. Hailing from the north of Wales and now based in Hackney, London - Casi is currently in the studio working on her debut album. RADIO Huw Stephens first play on BBC Radio 1, Huw Stephens Track of The Week, Apple Music playlist addition including Best of The Week & The A-List: New Artists . Lion is quite Florence and the Machine, if Florence was marooned in Iceland —a nimble, airy kind of siren pop. Casi, keep turning your daydreams into gold please, thanks.'

Mac is back with his first proper full length, Mac DeMarco 2. As opposed to RNRNC, '2' is a concerted effort to produce a cohesive work that show- cases Mac's natural ability as a songwriter, singer and producer. With a new arsenal of recording gear, the fidelity has substantially improved without compromising the immediacy and organic quality of his prior releases under any monicker

Following the Byrds-indebted bliss of Primal Scream's debut, Sonic Flower Groove, bandleader Bobby Gillespie reassembled a lineup and literally grew his hair long to prepare for the uninhibited riffs and leather-laden swagger of the group's eponymous sophomore album in 1989. Fans were surprised—just like when Gillespie's old group The Jesus & Mary Chain swapped noisy gauze for high-production sheen—but time has shown thrilling reinvention to be Gillespie's greatest asset.

The shift is told by the cover art: instead of Sonic Flower Groove's nod to 1960s collegiate artist chic, Primal Scream's cover depicts little more than wild manes in motion—the visual analog to both the blues-spew thump of 'Ivy Ivy Ivy' and the incredible, Beggars Banquet-era Rolling Stones homage, 'I'm Losing More Than I'll Ever Have' (which made history again as the basis for Primal Scream's crossover hit, 'Loaded'). But Primal Scream also slays with softness: 'You're Just Dead Skin to Me' features emotive keys from Felt's Martin Duffy, and 'You're Just Too Dark to Care' movingly evokes Alex Chilton's hushed despair on Big Star's 3rd. Soon after, Screamadelica christened the band with a new identity, but Primal Scream established a mode to which Gillespie would return on 1994's excellent Give Out But Don't Give Up.

Having grown up in a forest commune, Skott thrived in an environment run by 'outcast' folk musicians. They together built a very small but very supportive community there, quite remotely from anywhere of note. As a result, Skott didn't actually hear any contemporary music until she went to the city for the first time in her mid teens, despite growing up surrounded by music in this somewhat unorthodox childhood.As Skott herself says about Porcelain,' The most precious things take time and care to build, but take only a fraction of that time to destroy or break. Porcelain is about how you can spend limitless time creating something - trust, for example - but you can also let it fall to the ground in a second.'

One of the UK's most celebrated bands, Teenage Fanclub, make their their long-awaited return with the release of tenth album, Here, on 9th September. The LP will be released on the band's own PeMa label via Republic Of Music. The album's first single, I'm In Love, premiered on 6Music last week and is streaming now. Click HERE to listen.

Here is the the effortless work of a band entirely confident in their own craft - the consolidation of nearly three decades of peerless songwriting and almost telepathic musicianship amongst the band's three founder members: Norman Blake, Raymond McGinley and Gerard Love. Recorded with the band's soundman David Henderson alongside regular drummer Francis Macdonald and keyboard player Dave McGowan in three distinctly different environments (initially at Vega in rural Provence, then at Raymond's home in Glasgow before mixing at Clouds Hill in the industrial heart of Hamburg), it's a record that embraces maturity and experience and hugs them close.

As ever, song-wise the Fanclub present a textbook representation of democracy in action, the record offering four each by Blake, Love and McGinley. From the almighty chime of opener I'm In Love through The First Sight's ecstatic soul-search and the paean to unerring friendship With You, Here is a a collection of twelve songs about the only things that truly matter - life and love.

Teenage Fanclub will be touring the UK extensively throughout the Autumn, including two London shows - Islington Assembly Hall and Electric Ballroom - both of which sold out within days of going on sale. Glasgow's finest will also be making an exclusive appearance at this year's End Of The Road festival in early September.
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One of the UK's most celebrated bands, Teenage Fanclub, make their their long-awaited return with the release of tenth album, Here, on 9th September. The LP will be released on the band's own PeMa label via Republic Of Music. The album's first single, I'm In Love, premiered on 6Music last week and is streaming now. Click HERE to listen.

Here is the the effortless work of a band entirely confident in their own craft - the consolidation of nearly three decades of peerless songwriting and almost telepathic musicianship amongst the band's three founder members: Norman Blake, Raymond McGinley and Gerard Love. Recorded with the band's soundman David Henderson alongside regular drummer Francis Macdonald and keyboard player Dave McGowan in three distinctly different environments (initially at Vega in rural Provence, then at Raymond's home in Glasgow before mixing at Clouds Hill in the industrial heart of Hamburg), it's a record that embraces maturity and experience and hugs them close.

As ever, song-wise the Fanclub present a textbook representation of democracy in action, the record offering four each by Blake, Love and McGinley. From the almighty chime of opener I'm In Love through The First Sight's ecstatic soul-search and the paean to unerring friendship With You, Here is a a collection of twelve songs about the only things that truly matter - life and love.

Teenage Fanclub will be touring the UK extensively throughout the Autumn, including two London shows - Islington Assembly Hall and Electric Ballroom - both of which sold out within days of going on sale. Glasgow's finest will also be making an exclusive appearance at this year's End Of The Road festival in early September.

One of the UK's most celebrated bands, Teenage Fanclub, make their their long-awaited return with the release of tenth album, Here, on 9th September. The LP will be released on the band's own PeMa label via Republic Of Music. The album's first single, I'm In Love, premiered on 6Music last week and is streaming now. Click HERE to listen.

Here is the the effortless work of a band entirely confident in their own craft - the consolidation of nearly three decades of peerless songwriting and almost telepathic musicianship amongst the band's three founder members: Norman Blake, Raymond McGinley and Gerard Love. Recorded with the band's soundman David Henderson alongside regular drummer Francis Macdonald and keyboard player Dave McGowan in three distinctly different environments (initially at Vega in rural Provence, then at Raymond's home in Glasgow before mixing at Clouds Hill in the industrial heart of Hamburg), it's a record that embraces maturity and experience and hugs them close.

As ever, song-wise the Fanclub present a textbook representation of democracy in action, the record offering four each by Blake, Love and McGinley. From the almighty chime of opener I'm In Love through The First Sight's ecstatic soul-search and the paean to unerring friendship With You, Here is a a collection of twelve songs about the only things that truly matter - life and love.

Teenage Fanclub will be touring the UK extensively throughout the Autumn, including two London shows - Islington Assembly Hall and Electric Ballroom - both of which sold out within days of going on sale. Glasgow's finest will also be making an exclusive appearance at this year's End Of The Road festival in early September.

SOCIETY are 24 yr old singer JAMIE GIRDLER, and producer BRENDAN LYNCH
The duo's sound drawing comparisons to PORTISHEAD, THE VERVE to SERGE GAINSBOURG, LEE HAZLEWOOD, DANGER MOUSE, plus drawing influence from hip hop beatsmith J.DILLA. SOCIETY recognised for their mix of sampled beats and classic soul.

This album was recorded in mid-1985 and was produced by MARTIN HANNETT, collecting the band's early songs. The album wasn't released at the time because the band was unhappy with the production and songs, it was finally released in 1996. Contains previously unavailable early songs and versions. RETRO INDIE !

'Impressive harmonies...'—NME
'It's this South-Central Americana-meets—Laurel Canyon vibe that first grabs your attention listening to these songs.'—Paste
'Dynamic.'—The Wild Honey Pie

'Latigo', is the second EP from emerging LA-based band Wilderado, formerly known as Bird Dog, and will be released on the 12th August via National Anthem. The EP's lead single 'Wheat' was premiered by Radio 1's Huw Stephens
The new music follows the band's debut EP Misty Shrub which received widespread praise for its equal parts intimacy to a brooding euphoria. Peppered by four-part harmonies and devilish way with a hook and melody, Wilderado have quickly become well versed in the power of restraint, but the importance of playing every note like they mean it.
Vocalist Maxim Helmerich explains, 'A lot has happened since we wrote and recorded these songs in Latigo. Still, the songs carry the sound of that canyon, the memories from that house and the people we will always love. This EP is an ode to all of that.'
Like Misty Shrub, Latigo was produced by James McAlister (known for his work with Sufjan Stevens), mixed by The Shins' Yuuki Matthews and recorded in the band's own studio, set up in a dilapidated house in Latigo Canyon in Malibu, CA.
Wilderado is Maxim Helmerich (vocals, guitar), Tyler Wimpee (guitar, vocals), Colton Dearing (percussion, keys, vocals) and Justin Kila (drums). Two band members hail from Tulsa, OK while two grew up in Dallas, TX. They all came to L.A. around the same time and reconnected serendipitously.

Here I am again, here I am the only one again, and it's a story that will never end... Ebbot Lundberg, mastermind of The Soundtrack Of Our Lives (1994-2012) and Union Carbide Productions (1986-1993) is back. His new album is called "For The Ages to Come", which he has recorded together with his new band The Indigo Children. The five young lads make up Ebbot Lundbergs experiences and expressive power in a fantastic way.

Ebbot, who in the meantime is 50-years old, is expressing his talent in impressive albums and concerts. With his experiences and enthusiasm he is taking The Indigo Children back into psychedelical spheres and reveals to us vital songs of the golden age of pop music. As a young band The Indigo Children were already supporting The Soundtrack Of Our Lives. Ebbot Lundberg and The Indigo Children is a symbiosis of young and hungry musicians and an extraordinary pop icon resulting in a perfectly cross-generational dialog.

"For The Ages To Come" is a 42-minutes odyssee including ten anthems which Ebbot has not composed since "Behind the Music".

Since the split of TSOOL Ebbot could not remain passive. He released a deeplypsychedelical - one-track album , he was guest on several Swedish TV shows and furthermore was showing his acting talent in a TV-drama. Finally, with the 4th series of "Så mycket bättre" in 2013 Ebbot became famous in Sweden. Or like Ebbot says: "I'm a lot more known, I'm suddenly doing a lot more selfies..."

25th anniversary reissue of "Leisure" on turquoise coloured vinyl !

Bay area wonder kid Nick Monaco makes his shining debut on Soul Clap Records with this very limited 7' release. The A side "Butterfly" is a slo-mo, 808 laden, melodic piece of postmodern psychedelic E-Funk. On the flip side "My Baby's Back (Can't Wait)" delivers a response to 80's icon Cameo's "Single Life". An innocent yet poignant and hopeful breakup- to-makeup love song, its clear that Monaco isn't too shy to reveal his romantic side.

Clay Rendering, the tortured pop project of former Wolf Eyes member Mike Connelly and his wife Tara, pledge three diverse but unmistakably gothic sacrifices to Hospital Productions in the wake of two outstanding albums and some of the most addictive EPs we've heard from North America's erstwhile noise quarters.
Soused in the spirits of black metal, coldwave pop and shoegaze, their new cuts reflect a black indigo spectrum of tastes with an inflamed desire for proper song structures and the kind of
hooks that hearken back to teenaged thrills and what allured them to music in the first place -and it makes for perhaps their most realised set of tracks yet.
With Dominick Fernow as producer and effectively acting in a 3rd band member role, they triangulate a sound that's nostalgic for the gothic undertones of '80s and '90s darkness, getting
into gear with the hearse-cruising coldwave pop rocket We Are Aware, and casting a long,
northern-pointing shadow of BM toil and shoegaze anguish in Never Pass Away.
Ultimately though, we reckon it's the B-side - an instrumental cocktail of ice cold, downbeat 'electronics that sounds like Badalamenti meets ambient Plastikman - which will get under the
skin and stick with you longest...

Bad Sports return with a jaw-dropping new 12-inch! While
the band hasn't released anything in a couple of years, the
individual members have been anything but idle during
that time. Orville Neely continues his slow takeover of the
world with rock juggernauts OBN IIIs (who have released
two albums in the past two years), while Daniel Fried and
Gregory Rutherford's band Video got signed to Jack
White's label Third Man Records, and has been touring
ever since. The pair have also been touring a ton as one half
of Radioactivity, who released the stunning Silent Kill on
Dirtnap last year.
Originally conceived as a series of three singles, the band
and label realized that the individual seven songs worked
as one piece. Living With Secrets is another step forward
for Bad Sports—moving away from both the ebullient
punk/power pop of 2011's Kings Of The Weekend and the
anything-goes grimy punk of 2014's Bras, this EP is their
darkest, most powerful, and weirdest. The lyrics are bleak
and desperate, but the music is more dangerously catchy
than ever.

UK punk in the late 1970s was a vast and impossibly diverse sea of groper, mopers and dopers, all desperate to clamp down on the raw nerves of a new generation full of anger and distrust, and when you look deep into the well, there's so many incredible overlooked gems, most of which don't quite fit the mold of what was to be soon homogenized for the public. Apart from the higher end of the UK punk food chain, there were countless imitators instantly, all unanimously clamouring for the attention of the new wave, and one little self-released 7' EP from a group hell-bent on shaking up the emerging genre confines known as Charlie 'Ungry, was among that vast output. Band founders Jeff Gibbs and Tony Sando had done time previously in Yellow Bird, a glam rock band that released one sole single in 1974 and then fragmented upon it's immediate dismissal by the rock press, but they had more ideas to flesh out and by the time 1976 rolled around they had assembled the new group with Andy Demetriou and Steve Protheroe, named after a fictitious scapegoat Jeff's father always blamed any misdoings on, and this Charlie 'Ungry was born.

Leveling off their enthusiasm for a wider variety of sounds than most of their contemporaries, the band grasped a serious metallic sound right out of the gate, as their signature song 'Who Is My Killer' rips through the speakers in a NWOBHM style that's undeniable. However, their glammy Slade-like rhythms and break-neck speed signaled a very punkish angle, reflecting the energy and nihilism of the exploding punk phenomenon, and their unique interplay between song styles, even mid-song as in 'Who Is My Killer' had an incredible effect, yet it was sadly underexposed. In retrospect, most truly innovative bands trying something new have had a cold response in general, par for the course in the case of Charlie 'Ungry as well, with their incredible fusion of British metal guitar, pulse-pounding glam vocals, and white-knuckle punk rock delivery. Most simpletons just couldn't get their heads wrapped around it.

The band got a chance to go into a professional studio in 1977 and lay down a session of tracks at Argonaut Studios with Tom Newman (produced of Mike Oldfield's Tubular Bells LP), a singular session that yielded a full LP worth of material, all knocked out live in the studio with minimal overdubs and with their pure intensity firmly in place. The three tracks they pulled from this professional studio session were used on their self-released debut EP, but with the intricacies sewn into the would-be, albeit lengthy hit song 'Who Is My Killer,' the EP was delegated to the dreaded 33rpm 7' format. This small detail was enough to be elbowed out of rotation for many DJs of the era, assuring this little explosive gem would slip through the cracks despite it's actual top 20 UK chart action. Now we present to you, a slightly altered version of the 'House on Chester Road' EP with one song interchanged with an incredible, first-time-on-vinyl track just because you really deserve nothing but the best, so crank this up until your head starts throbbing, your 'Unger for Charlie 'Ungry will not be underestimated. - VictimofTime

Recommended If You Like: Slade, Cheap Trick, Status Quo, Plod, The Who, Budgie, NWOBHM fringe oddities

Back in January 2015, we had the pleasure of hosting Coupler in our Blue Room. The event came to life when these local acousticians and purveyors of deliberate ambience took the stage. It was twenty minutes of captivating and unhurried techno that sounded bucolic at first, then violent, then crumbling, but always with a deft momentum. You could feel it in your gut and in your skull. Coupler's set was a twenty-minutes mega-moment of song, and we decided the live album needed an accompanying piece. We invited them back to record Side B in October with a full orchestra of nine friends and musicians, and it turned out to be a very special piece exploring the nether-regions where the organic collides with the electronic. However, this wasn't our typical TMR show. We kept it a relatively intimate affair and only sold a handful of tickets to those interested in seeing a recording process become a performance making this our first installment in The Blue Room Sessions series.

Essential Tremors is something of an anomaly in a city steeped in twang, bathed in sunshine and besieged with hootenannies. Code Knr, Miller, Read Only Memory, Tan, and Eerie Neighbor make up the group voted most likely to trigger a cold sweat, and we love them for it. In the past year, the band has made the charge away from guitar music with a quiet strategy of sporadic shows of crawly, four-track downer violence. During this metamorphosis, the band cut tracks with former Terrible Two and current Serration Pulse synth-lord and tone-boss Daniel Tomczak, crafting a crisp record that is globally exasperated and groovy against all odds: a nosedive into a cesspool of circuit-bent pollution with all the precision intact, notoriously tense, rife with white-knuckle paranoia and fog. Throw in well-placed pangs of electroclash, swirling synth, waterlogged bass lines, and dark-sided shit, and you have an important reminder that good times are not forever, which we are honored to bring to your turntable. This is music for strays. Do you have a home

This is Lié's second LP, a dark/post/whatever punk affair that captures, better than ever, the amazing energy of their live sets. We have been fans since hearing their first LP and they blew us away at SXSW this year, so we're WAY excited to be putting this out!

Macula Dog is a 4 person electronic duo from NYC, making music that is just as much pop as the performers are human; its unclear. Mechanical instrumentation played with an inebriated-mule-like precision. While becoming known for their theatrical live shows across the Northeast US, they've made numerous TV & radio appearances, with live sets on WNYU's New Afternoon Show, Know-Wave radio, & The Special Without Brett Davis, & additionally with themes for Adult Swim's Live Crossword Puzzle show, & NYC public access programming. "They create the kind of music you imagine the Devo-loving shift manager at a cryogenics warehouse would play late at night." - NOISEY/VICE

Empty Cellar is proud to release the newest album by Magic Trick,
Other Man's Blues—written and recorded while songwriter Tim Cohen
split his time between two lives and two worlds, a horse ranch
with his newborn daughter, and on tour or at Phil Manley's Lucky Cat
Studios in San Francisco.
A book of songs Cohen had written while bouncing to and fro
sufficed in lieu of rehearsal time with the thirteen other musicians who
appear on the tracks: James Kim and James Barone (Beach House)
on drums; Alicia Van Heuvel (Aislers Set) and Paul Garcia on bass;
Joel Robinow (Once and Future Band / Danny James) on keys;
Emmett Kelly (The Cairo Gang / The Muggers) on guitar; and
omnipresent vocal harmonies from Alicia, Noelle Cahill and Anna
Hillburg. The album is a loose, largely improvised affair, with many
guest appearances and stop-ins. Allegedly tequila was centrally
involved. It's the principle that gave this project a name five years
ago. Especially in this case, the players on the album define what
shapes these songs take.
A ghostly choir of female voices opens the album like a séance,
with the spirit they conjure flitting about the ensuing ten tracks, from
the baroque pop of 'Forest of Kates' to the icy post-punk of 'I Held
the Ring.' There's the air-tight R&B groove of 'Startling Chimes,'
the krauty 'Purest Thing,' a jammy side-to-side trot that moves 'First
Thought' along, taking a detour into country before culminating in a
glorious Grateful Dead-indebted coda. Throughout, it's Cohen's lyrics
that are pushed to the front of the mix—collectively fleshed out, from
his composition book.

'The Rafter' is the third LP from Chicago artist Matchess AKA .Whitney Johnson of Verma. We are extremely excited to put this one out to follow the previous two beautiful records on one of our favorite labels (Trouble In Mind). We always ask our bands to make note of anything great they see while on tour and a couple years ago Marriage mentioned Matchess. We all immediately fell in love. It's an album that haunts us to bliss. Synthy, electronic strings, choir ghost vocals, and the pulse of the wind sort of explain what this sounds like.