Pop & Rock Vinyl New Releases - News

Central Ohio is far more of a schitzophrenic hotbed of rock than the Library of Alexandria would lead you to believe. If you squint your eyes past the big city lights & skyscrapers (Rep likes to call them "DIEscrapers") , you can see the outlines of the fertile Ohio Vallley Crescent from which much Midwest D.I.Y. Punk emerged in the aftermath of a late-60's/early-70's gestation period. When digging into the Columbus strata of petrified 70's fossil-rock pure Columbus area underground entities bubble up from the deep: Jim Shepard, Ron House, Tommy Jay, Nudge Squidfish, The Quotas, Screaming Urge... many more. It seems that in some way or another Mike Rep has been intertwined with, 'Lovingly Fucking With', melding with, accompanying and/or leading the charge with many comerades in arms into the hipster Ohio Hell unknown for 40+ freaking years.
Describing the allure of the mid-70s Ohio sound to the uninitiated isn't too difficult. Take the freaked-out post-13th Floor Elevators to Velvet Underground to Stooges to RFTT/Pere Ubu barbed wire bop and compound those influences with the dawn of home recording equipment access, a D.I.Y scene began to evolve . Just the right mixture of humidity, THC & malt liqour-fueled a primal pool ripe for spontaneous generation producing much fruit from apparant sterile soil as viewed from the overlook of big city coastal-dominated Hipsterism. Rep's homemade debut single "Rocket To nowhere" was recorded in 1975/ "released" in 1978 and nobody noticed for the next ten years. Add to that the incredible 'Grim-O-Comix Sequence' LP packed with angst ridden 1974 basement recordings (you need to drop everything and track it down if u haven't heard this unblinkingly look into the maw of the 70's loser teen maelstrom).
HERE & NOW, on Hellbender you get a full primal serving of mostly previously unheard chaos, recorded between '75 and '78, that will no doubt cause future generations to marvel at just how one could be so brutally honest, raw, and wasted yet, live to chronicle it all. HOZAC ARCHIVAL is bringing these sounds to you now. Why Because it IS the kind of mind-numbing, eyeball-popping guttural PURE DIY ROCK & ROLL that saved so many miserable souls from succombing to the "American Dream" sham, and continue to inspire the DIY spirit in all who care to dare. MIKE REP & THE QUOTAS' / HELLBENDER- Very rare, mostly previously unheard recordings from 1975-78 , very recently gleaned straight from the long thought lost original reel-to-reel master tapes.
Rep never expected anyone to give a Rat's Ass about this stuff, but many do. So CRANK IT as loud as you can - this "Crazy Audio Damage" (as one rejected prospective lathe cutter described it before being shown the door) IS NOT for the timid or feint of heart. Hey, It's Rep's Movie maaaan - is it yours too REP sez, "live the dream 'til u drop". - This is as good a place to start or continue as any. "NO SURVIVORS! ROCKET MUSIC ON! DESTINATION UNKNOWN". Just as it should be. Hell YEAH! - Buck Cancer / VictimofTime

Recommended If You Like: True Believers, Capt. Beefheart, Stooges, Debris, George Brigman, Wild Man Fischer, Roky Erickson, Tommy Jay, Nudge Squidfish, Screamin' Mee-Mee's, Twinkeys, Lou Reed, Jim Shepard
1st press Black vinyl edition of 500 copies
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Psychedelic tunesmith & game developer from Karachi, Pakistan, Nawksh produces music from a fantasy future world called Ceratyl, putting elements of LA's beat scene, 2010's new age atmospherics, 2000's neo-psychedelia such as Animal Collective & Warp Records techno into a salad bowl & mixing them together to produce an abstract, experimental ambient pop album. Final track features fellow Karachi based artist, SMAC.

Veteran Erased Tapes recording artist Peter Broderick set to release
new studio album Partners on 19th August 2016. For close to a decade, Portland's Peter Broderick has cut his own unpredictable
path through the world of contemporary music. So far, his wanderings have led him from solo works into the realms of film, dance and documentary scores, as well as art installations.

Now Peter takes that unpredictability one step further. For his latest album, a series of voice and piano recordings, he experiments with chance, surrendering an entire song's composition to the roll of dice.
As he explains below in an email to Erased Tapes founder Robert Raths, it was John Cage's tendency to remove himself from his music, to somehow automate his own process, which inspired the strange mechanics with which this record was created. In the words of Cage himself, 'the world is teeming; anything can happen.'

A truly sophisticated pop band that knows it's way around the Byrds/Beatles/Zombies/Love territory quite well, Soft Candy recently came out of dormancy after being out of commission for a couple years when one of the original band members left town. The band reconfigured and bounced back and just in time for a debut single rich with flourishes that eerily echo those riveting 'Fading Yellow' vibes and hazy UK dream pop that always delivered on such labels at Parlophone, Hansa, Deram, and Harvest, of course. Their command of their instruments is impeccable, their bizarre stage presence always provocative, and this double A-side of impenetrable songs are just too torturous for you to pass up. Angelic baroque pop entranced with hypnotic rhythms, delivered with genuine style, there really just isn't much on this level.

It's a shame how many mediocre bands gravitate around the 'pop/psych' genre these days, as there really are a few brilliant examples of the form done right. Most of the best examples are usually overshadowed by the goofy baseball cap and tie-dye shirt 'garage/psych' crowd, and if you're sick of that, then consider this the real deal. Far-out guys with serious classical influences and true kaleidoscope eyes, not stoney bros in jean vests with man-buns and IPA-stained cut-off shorts. Soft Candy may not be for everyone and that's ok, it's delicate, it's intricate, and it's flat out-mesmerizing, causing that 'frission' to kick in during the first ten seconds of each side of this immaculate debut single. -VictimofTime

RIYL: Love, The Byrds, Billy Nichols, White Fence, The Zombies, The Leaves, Left Banke, Idle Race, The Marmalade, Fading Yellow comps

1st press Black vinyl edition of 300

COMES WITH FREE DOWNLOAD

Blame Canada. Or for that matter, Ottawa. The Capital's
kings of punk-power-fuzz are back and better than ever.
After a whack of records and worldwide touring, Graceland
is Steve Adamyk Band's most dynamic and cohesive
record to date, without breaking the mould. Colleen Green
(Hardly Art) sings on it, Mike Krol (Merge) croons on it
and members of Sonic Avenues are now staples in the band.
This time, the band bunkered down in Montreal with engineer
Adrian Popivich (Solids, The Dears) to bring Graceland
to life. In the meantime, scream along to 'Through
My Fingers' or get lost in the depths of 'High Mile'—the
choice is yours.
Mr. Adamyk has been nothing but prolific since coming
aboard the Dirtnap roster. This is already his fifth LP, with
a sixth in the planning stage. The label finds his trademark
brand of speedy, caffeinated, catchy-but-not-too-wimpy
pop perfectly exemplifies their aesthetic. They'll keep putting
these out as long as he keeps makin' 'em.

Continuing their commitment to celebrating and shining a light on classic and influential music from Detroit, Third Man Records is honored to be able to re-introduce the world to the undeniable importance of the Detroit Cobras.
As one of the earliest salvos in the great Detroit garage explosion of the turn of the century, the Detroit Cobras Mink, Rat or Rabbit is a landmark album. Comprised solely of cover songs (as has always been the band's MO) the Cobra's spirited takes on Motown classics ('I'll Keep Holding On' originally by the Marvellettes), garage punk laments ('Bad Girl' originally known as 'Bad Man' by the Oblivians) girl group Tear-Jerkers ('Easier to Cry' originally by the Shangri-Las) and New Orleans soul standards ('Break-a-way' originally by Irma Thomas) and the end result is nothing short of a staple that any record collection is empty without.

Originally released in 2001, the Detroit Cobras Life, Love and Leaving is the group's best-known effort, coming at a time when bands like the White Stripes and Dirtbombs were also releasing seminal albums that started picking up recognition outside of their collective hometown of Detroit. Hitting hard with songs by soul heavyweights like Solomon Burke ('Stupidity'), Mary Wells ('Bye Bye Baby'), Otis Redding ('Shout Bamalama'), the inimitable vocals of Rachel Nagy would no-doubt be a template from which folks like Amy Winehouse would work from years later. A landmark collection of covers.
- Hometown: Detroit
- Features the previously unreleased 'This Old Heart' (originally by
James Brown) an outtake from the Life, Love and Leaving sessions,
unheard for over 15 years.
- 'Hey Sah-Lo-Ney' (originally listed under the incorrect title 'Hey
Sailor') was featuring on the seminal Rough Trade Shops Rock and
Roll compilation in 2002.
- Features Eddie Hawrsh (the Black Crowes) on bass.

We are proud to present yet another incredible pop band that seems to have eluded the masses but is a strong contender for the crown of that genre without even being challenged. The Jeanies are a NYC anomaly, yet even with such good company such as Games and 1-800 Band they are still very much under the radar for most pop fans, so it's with great pleasure to welcome this bunch of young upstarts into the fold, as once their sound soaks in, you won't be pulling yourself out of it's clenches any time soon. As a band that could easily confuse you upon first listen as to it's year of origin, The Jeanies burst out last year with a self-titled LP & tape release that took most folks by surprise, an unrestrained, powerful and familiar tone stretched perfectly across a collection of songs that were instantly addictive, incredibly intricate, and possessed devastatingly perfect details, linking these songs to the echoes of the past they encapsulate so well. As a band with little connection to the veteran cognoscenti of the underground pop consortium, The Jeanies are a refreshing blast of pop purity, combining the greatest nuances of the old wave into a rock-solid foundation of what's next.

Unlike with most bands falling within this genre, The Jeanies still haven't released a proper 7' single, so this debut is luckily filling that void, and once your ears get wrapped around these inescapable grooves, it won't be long until your submission is all but rendered complete. 'Amilee' is nothing short of a modern classic single, just brimming with shining riffs and explosive vocal hooks, like a modern day band raised on Everly Brothers, plugged into a cooler older sister's 70s power pop collection, yet unexposed and unjaded by the world. It's as refreshing as a watermelon to the face, and such a solid pop song with so many interworking parts, it's almost intimidating. But don't worry, that will wear off soon and then...yeah, you already better track down that debut LP while you still can.

Recommended if You Like: Dwight Twilley Band, Tom Petty & the Heartbreakers, Shoes, Milk 'n Cookies, Gentleman Jesse, Fevers, First Base, Games, 1-800-Band, Rainbow Gun Show
1st press Black vinyl edition of 300

COMES WITH FREE DOWNLOAD

Recorded on July 18th, 2014, as the opening set for Peter Walker's psychedelic guitar experience, William Tyler's Live at Third Man Records LP was buried for far too long in our backlog of masters. To release it too soon would have been to unleash the secrets of the transcendent and acclaimed new record Modern Country (Merge, 2016) before they had a chance to incubate further. Too wait any longer would have been torture for us. Originally planned to be a live single, the full, 5-song performance was too truthy, too seamless, and too perfectly whole to be whittled down to two tracks. So, surprise! A live LP is born.
For those unfamiliar with William Tyler, his story is Nashville legend... born into a songwriting family, Tyler was tapped by Kurt Wagner to become a member of Lambchop at age 19 (two decades younger than the other members), and quickly became the 'architect of the band's sound.' From there, Tyler went on to back up the Silver Jews, Bonnie 'Prince' Billy, Charlie Louvin, and others... all the while writing songs for his configuration of choice: fingerpicking solo guitar. The daring simplicity and winsome melodies of his first two albums remains in his most recent effort (which he describes as 'a love letter to what we're losing in America. To what we've already lost'), and on this live LP, but Tyler is bringing more depth and more experimentation to his compositions of late. 'Gone Clear,' which appears on both records, is a melting pot of ideas: a drone reminiscent of Hindustani classical music, a central melody that sounds distinctly Appalachian, a devolution into a kaleidoscope of colors and ideas that it's hard to believe is being produced by a single musician. This layering of textures is Tyler's trademark, and even more awe-inspiring live.
We like to think that with the purposeful lack of smart phones, bars to saddle up to, and, of course, corners, concert-goers in the Blue Room tend to be more in-the-moment than in most performance venues. But it's a rare artist who can take the already focused atmosphere in the room and quiet every last busy mind — Tyler did just that. This immortalization of the performance in all its transmundane glory will entrance you from first note.

Since Caveman first formed in 2010 they've claimed a spot for themselves at the center of the New York music scene, become in-demand DJs, toured the world (sharing stages with The War on Drugs, Jeff Tweedy, and Weezer), and received critical praise from the most prestigious media. Now the band-Matthew Iwanusa, lead guitarist James Carbonetti, bassist Jeff Berrall, keyboardist Sam Hopkins and multi-instrumentalist Matthew Prescott Clark-is aiming higher.
Caveman have their sights set on bigger goals, so on their third time around they made their biggest-sounding, most ambitious album yet.
Otero War was created over the course of three years, completely inverting the ramshackle methods used to make 2011's CoCo Beware and their 2013 self-titled LP. This time frontman Matthew Iwanusa has taken the wheel of the creative process, bringing to it a level of patience, precision, and quality that exceeds anything he's ever done before. Iwanusa wrote most of these songs in the back of tour vans with a laptop and a portable keyboard, then spent years rewriting, examining every part to make sure it was exactly right, and eventually abandoning an album's worth of insufficiently killer songs before hitting the studio with the band. To help achieve the grander sound they were after, they brought in ideal mixer, Michael Brauer (Coldplay, My Morning Jacket) to elevate the album even further.

Hailing from Montreal, Gulfer have been on constant rotation on the BSM office stereo for months now, so we're delighted to be giving their brilliant record What Gives it's first ever vinyl press.
For fans of Algernon Cadwallader, Maps & Atlases, Delta Sleep, TTNG et al, Gulfer tour the UK and Europe this summer, including an appearance at ArcTanGent Festival.

Convenience skids like a garbage truck with no brakes, barreling through passages of guitar chording bent at the wrong angles and ring-modded riffs aligning with Benjamin Jaffe's expressive sax before splitting apart into chaos. Veronica Torres assumes double-duty between vocals and bass, while Jon Campolo plays three instruments in the live setting and Andrew Spaulding four, including circuit-bent noise rigs of their own invention. Veronica's words are delivered with the speed and frenzy of someone with their life on the line, but she's also able to slow things down in a gesture of dominance, confidence, and trust. This band is wise enough to know that safety is fleeting, so they take their digs when and where they can.
Given Pill's backgrounds, their music advances a notion of what the punk spirit of NYC might be: the capture and distillation of the energy and friction that comes from living amongst so many people in such a confined space. The idea seeds in free jazz and improvisation; reached adolescence in galleries and loft spaces in the '70s; found politics in squats and independent spaces; and it grows stronger the more these several sensibilities are practiced ands stewed. Call them No wave, post-punk, noise; they are immune, content to head off in a direction of their own design.

Porcupine Tree's 'Nil Recurring' to be released on LP for the first time - presented on heavyweight Clear Vinyl.



Following the release of the critically-acclaimed 'Fear of a Blank Planet' album and the success of their 2007 North American tour, Porcupine Tree released 'Nil Recurring'.

The mini-album (29 minutes of music) was written during the 'Fear Of A Blank Planet' sessions, completed over the Summer of 2007, and is presented as a cohesive, self-contained Porcupine Tree work in its own right.








The title track features Robert Fripp on lead guitar, and the album moves through the full Porcupine Tree spectrum of atmospheric ambience, melodic hooks, and crushing riffs.

Originally released on CD in 2008, Kscope are set to give 'Nil Recurring' it's first release on LP on heavyweight 180g clear vinyl in August 2016.



Porcupine Tree began as a solo studio project created by Steven Wilson in the late eighties to a multi grammy nominated act and one of the world's most revered live bands, selling out arenas across the globe and wowing fans with their incredible performances and are regarded as one of the most impressive experimental/ progressive/ psychedelic rock bands to emerge from the UK since their inception in 1991, having enjoyed a successful recording career spanning over 15 years.



Steven Wilson is currently enjoying global chart success with his fourth solo album 'Hand. Cannot. Erase.' and is continuing to tour worldwide.



'Nil Recurring is a worthy addition to the Tree catalogue' -- Metal Hammer

'this mini-CD should be seen as an isolated piece of art that slots nicely in amongst a collection of consistent quality' -- 9/10 Terrorizer

"post-prog pearls of modern intelligent, rock-propelled pop....very tasty indeed" - Classic Rock

How do you keep a band interesting after ten years It's a question Charles Watson and Rebecca Taylor must have asked themselves as they started work on their fourth album.The answer seems to be producer Matthew E. White, the master of Southern-gothic folk, whose in-house band at Richmond's Spacebomb Studios provided the consistency and tone the album required. Almost every track was played live in the studio, allowing the long-established session band's natural chemistry to augment Charles and Rebecca's, with the double advantage of recording being very effective, and also comparatively quick.
One Day.... contains some of the best melodies they've created so far. The duo's knack for writing hooks and melody has, if anything, become stronger. The choruses instantly make you feel as though you have known them your whole life, like 'Ancient Rolling Seas' timeless, reassuring refrain of 'I'll always be by your side', or 'Champion''s Dolly Parton via-Linda Ronstadt anthem of self-celebration through the darkest times. Perhaps best of all are a pair of songs to be found at the top of what traditionalists would call 'side 2'- 'Rebecca Casanova', a slice of widescreen, four-to-the-floor pop that recalls soft-rock giants Fleetwood Mac in the way it channels heartbreak onto the dancefloor, and 'Tattoo Of The King', a tale that takes Neil Young and the Doobie Brothers to the disco.

The Rifles return with their highly anticipated 5th album 'Big Life'. The new double album contains a remarkable 18 tracks that showcases a new maturity while retaining the indie rock spirit that has become synonymous with the band
Since their last album 'None The Wiser' (which charted at #6 in the UK album mid-weeks) the band have maintained a strong plot through impressive live feats such as 4 consecutive nights at London's Electric Ballroom, a sold out show at The London Roundhouse and multiple tours across the UK and Europe. With such a strong, dedicated and engaged fanbase, we have high expectations for this new album and feel that it stands a good chance of outperforming its predecessor
"Filled with ebullient, upbeat, catchy rhythms, a big melodic guitar sound, and key rock vocals via Joel Stoker, The Rifles deliver a passionate cracker of a track." - 'Track Of The Day', Little Indie Blog

Blind Pilot's Israel Nebeker turns loss into inspiration on its new album. Written and composed by Nebeker over the course of three years, the record is a transcendent, cathartic response to the loss of his father and end of a 13-year relationship. 'Lions' is Blind Pilot's most exhilarating album to date, a lush 10-song collection that is resilient, uplifting and often majestic in the face of tragedy. Blind Pilot teamed up with producer Tucker Martine (The Decemberists, Neko Case, My Morning Jacket) and the album was mixed by Peter Katis (The National, Interpol, Kurt Vile). They completed the record at Nebeker's studio on Oregon's north coast, in the town of Astoria. 'Umpqua Rushing' was the first song written for the album, Israel's reflection on the end of a long relationship. The Umpqua River in Oregon holds memory for him and becomes a metaphor for the pulling current of his relationship. Much of the songwriting took place after Israel's father was diagnosed with cancer. 'Seeing Is Believing' was written as a song of encouragement for his dad as he was battling sickness and Israel moved home to help him. Says Israel, I think of this album as a conversation about different kinds of loss and the courage we find when we face loss honestly, cracked open and unsure of what we will become. Which is the only real way to face it.' After his father died, Israel wrote 'Like Lions', which would become the album's finale. The title comes from a story about Israel's nephews, who stood up to a bully by standing like lions,' as they told it. Lions play a central role on the album, Israel's father painted the lion flagon the album cover as a boyhood gift to his son. Israel shared 'Joik #3' from the record with NPR's All Things Considered over Thanksgiving. A joik is a 'song' in the Sami (an indigenous people inhabiting the Arctic) tradition, Israel's paternal heritage. Blind Pilot have performed on 'Ellen' and 'The Late Show With David Letterman', at the Newport Folk Festival, Bonnaroo and Lollapalooza. The group has shared stages with The Shins, Andrew Bird, Calexico and more. The project began in 2007 when Israel and co-founding member Ryan Dobrowski went on a West Coast tour via bicycle. Vinyl format includes a digital download code.

It has been a whirlwind couple of years for transatlantic indie-pop quintet Night Flowers since these close friends from North England collided with Boston, Massachusetts born vocalist Sophia Pettit in London and began forming their irresistible brand of heart stirring, romantic pop.

Night Flowers have just finished up their first tour dates in Germany and Japan, to great aclaim and have now released this single, 'Glow in the Dark'. The single is available on a limited run of 300 glow in the dark 7" vinyl.

Night Flowers are currently working on their debut album. The album's four parts of lyrical songs, instrumentals and interludes reflect the beauty, horror, mundanity, wrong turns and tiny delights of life and the ongoing struggle to make sense of it all.

It means Noisy Stars'' - Fergus Lawrie.

So it's coming up for the 20th anniversary of the We Are Urusei Yatsura' album, so what better time to look back at the broken Woolworths guitars, damaged eardrums and bleeding knuckles of Glasgow's lo-fi, Tokyo dreaming geek rock quartet

You could say it all began at the Glasgow Sound City event, when legendary BBC DJ John Peel came along to check out Urusei Yatsura at the 13th Note at the invitation of future Franz Ferdinand front-man Alex Kapranos. Liking the chaos that he saw, Peel invited the band to record a session for his show, asking live on air while guitarist and singer Graham Kemp was visiting the studio to talk about his Kitten Frenzy' fanzine the next day.

Peel arranged for us to record the session in Glasgow' says Kemp, We didn't have any amps or any money to get to London.' Producer Stewart Cruickshank told the band that it was the first Peel Session recorded outside of Maida Vale since the Undertones. So no pressure there then.

This began a long association with John Peel and the BBC, which saw the band record 5 Peel Sessions, 3 Evening Sessions for Steve Lamacq, play live to air for Mark Radcliffe, and appear regularly on Radio Scotland for John Cavanagh and Mark Percival. Digging through old C-90's that had been partly taped over with that week's charts, the band have pieced together a compilation of the best tunes for you, the discerning 90's indie rock aficionado.

..they sounded a bit like the Saints' - Thurston Moore, SELECT

Some of the recordings we did for the BBC, I think, are better than what eventually made it onto vinyl. We did Kewpies Like Watermelon' live in the control room for Radio Scotland and we had just learned it so it sounds really fresh and exciting. The version of Siamese' is the best we ever captured, and I love the Dice/Nae Dice' tune we wrote especially for Peel'. - Kemp

The challenge of recording and mixing four songs in a single day brought out the best in the band, and suited their impulsive, DIY rock n' roll spirit. The album, available on CD and vinyl, features 11 songs, including session versions of 6 singles, choice album tracks and live favourites from the only band who have been threatened by both the Yakuza and the Mafia (the latter incident generating the hilarious headline Nerds Threatened With Death' in the Sun newspaper'). The band have decided to call this hand-picked selection of the highlights of an eight year career', You Are My Urusei Yatsura, BBC Radio Sessions.

Other highlights of said career include, a number one indie single with a video shot in a Star Trek themed bar (Phasers On Stun), a Peel Festive Fifty placing (Kewpies Like Watermelon) an actual top 40 hit (Hello Tiger), numerous chaotic tours of Europe, UK and USA ,narrowly surviving a collapsing stage at Benecassim and a tent fire at Phoenix Festival, releasing three studio albums and 13 singles (including splits with Mogwai, the Delgados and the Blisters), taking Mogwai, Eska and Pink Kross on their first UK tours, supporting Super Furry Animals, Pavement and Teenage Fanclub, playing at Roskilde, Reading and T In The Park festivals, The CMJ festival in New York and MIDEM in Cannes.

The band consisted of the writers Fergus Lawrie (guitar and vocals) and Graham Kemp (guitar and vocals), with brother and sister rhythm section Elaine and Ian Graham on bass and drums respectively.

Don't sleep. Don't retreat. Stay awhile. Let's spend the night together. Cheena testify to a long history of New York nights, trading insults and borrowing beer at rooftop parties that began years ago. There's plenty of New York in this band - Lou Reed's better glam punches found a jawline or two among them, the heavy handed playing of the Dolls, and that particular manner of NY glam you can hear in Kiss- that's all in Cheena.

Spend The Night With...is a soundtrack to nights where revelry and lust are never isolated from poor decisions and vanity, where the grave sincerity of a bathroom confession explodes into cruelty and hysteria. Nights on busy streets or crowded subway cars coloured with elegant ambition and constrained by the practicality of street smarts. While we say this is NY music, we must also say this is American music. One could imagine a timeless jukebox of American RNR history from hard glam to cocaine / codeine country has blasted into the imbibed ears of our Cheens for many nights on end. Thus we hear songs for and of the night, songs pieced together out of iPhone recordings of 5am guitar histrionics and lyrics scraped out of speed fried text exchanges. There is a long history of bands as disparate as the Byrds, Gun Club, and the Flesh Eaters which had to reconcile RNR with country and blues roots, a tradition of truly AMERICAN music that feeds on itself. This is where I would isolate the sound of Cheena.

America eating itself. Every generation gets the Cheena it deserves because we still live in cities and we still need RNR to live. We still need guitars to be gripped by gods. We still need bards to write odes to heroic crime and ignoble, destitute hedonistic excess, we still need music to drink to that also contains the darkness and disease of hangovers so we aren't too far away from what is raw and what is real. With love and admiration, I kiss your hand from Melbourne to the Sacred Bones offices and the 538 roof. - DX (Total Control, UV Race, Distort)

One of the most distinctive voices in British music, Jamie T releases his hugely anticipated fourth album 'Trick' on September 2nd on Virgin EMI.
Trick arrives after a gap of less than two years shot through with the kind of vigour and vibrancy that can only come from a man who's rediscovered his love of writing, recording and performing. Spearheaded by lead single 'Tinfoil Boy', the track was Annie Mac's Hottest Record and has since been added to Radio 1, 6 Music and Radio X.
Recorded in London and Detroit, Michigan, Trick features co-production and all instruments played by Jamie and long-time creative partner James Dring and is the kind of brave and eclectic rock/punk/reggae/rap/pop celebration that only Jamie T could make. Inspired by claustrophobic London Summers, the album is a proud, punchy summing-up of all Jamie's unique signatures - Clash-like anthems, youthful reminiscence, high-speed raps, earworm choruses and snarky humour.  It follows the triumphant success of 2014's comeback album Carry On The Grudge.

'Pigeonheart', the first new album from DM Stith since 2009's 'Heavy Ghost', is engrossed with ideas of transmutation and transfiguration and expands his brilliant hermetically sealed world with the help of producer Ben Hillier (Blur, Nadine Shah). The record is built, once again, around David's remarkable voice but electro-acoustics and modular synthesizers flesh out these songs with deep canyons of bass, electronic static and vibrations of hammering heartbeats. LP includes digital download code.

Owen, the acclaimed solo musical guise of singer / songwriter / multi-instrumentalist Mike Kinsella, has made an astonishing leap forward with 'The King Of Whys', the first work in his two decade-plus career to be made entirely outside of the greater Chicagoland area. Produced by S. Carey over 18 days last winter at April Base Studios in Eau Claire, WI, the album is Owen's most inspired and evocative thus far, interpolating a group dynamic into what has long been an intensely intimate sound. Songs like 'The Desperate Act' and 'Sleep Is A Myth' remain spare but with a distinctly outward shift in scope, their open-armed sonic range a perfect foil to Kinsella's evocative explorations of marriage, melancholia and modern middle age. Fraught with hurt and wry humour, 'The King Of Whys' is a portrait of a restless artist grappling with doubt and ghosts of the past but searching for meaning through candour, creativity and an ardent need for emotional release.

Owen, the acclaimed solo musical guise of singer / songwriter / multi-instrumentalist Mike Kinsella, has made an astonishing leap forward with 'The King Of Whys', the first work in his two decade-plus career to be made entirely outside of the greater Chicagoland area. Produced by S. Carey over 18 days last winter at April Base Studios in Eau Claire, WI, the album is Owen's most inspired and evocative thus far, interpolating a group dynamic into what has long been an intensely intimate sound. Songs like 'The Desperate Act' and 'Sleep Is A Myth' remain spare but with a distinctly outward shift in scope, their open-armed sonic range a perfect foil to Kinsella's evocative explorations of marriage, melancholia and modern middle age. Fraught with hurt and wry humour, 'The King Of Whys' is a portrait of a restless artist grappling with doubt and ghosts of the past but searching for meaning through candour, creativity and an ardent need for emotional release.

Where 2014's 'Present Tense' album found Wild Beasts in reflective mood, absorbing a fascination with online culture and electronic music, 'Boy King' has them, as Tom Fleming puts it, back to being pissed off.' The quartet's ever-present knack for sensual melody via Hayden Thorpe and Fleming's dueting vocals, Ben Little's sinuous guitar groove and Chris Talbot's potent rhythm section carries in 'Boy King', an aggressive, snarling and priapic beast that delves into the darker side of masculinity and Thorpe's own psyche. A newfound creative friction between Thorpe and Fleming proved key to unleashing the unique pop sensibility of 'Boy King', with Fleming's more visceral experimentation unlocking new dimensions in Thorpe's own writing. After spending a whole year finessing this new found impetus in East London, the band emerged with a collection of songs ready to take to Dallas and producer John Congleton (St. Vincent, Swans, The War On Drugs). Both Thorpe and Fleming credit that trip to Dallas with teasing out the raw power of 'Boy King'. In the studio, the band kept up the intensity of the office hour routine they'd employed during writing sessions and, they say, responded well to Congleton's sober discipline. He made us get in there, get on and do it,' Fleming says. English politeness never featured.' The raw pop of 'Boy King's songs are the perfect foil to Thorpe's libidinous lyricism: it became apparent that that guitar almost became the character within the songs, that phallic character, the all-conquering male,' he says. I'm letting my inner Byron fully out, I thought I'd tucked him away, but he came screaming back like The Incredible Hulk.' Here lies Boy King's greatest success - between the slide of prowling aggression and interior darkness, there are glorious, gorgeous moments. It's yet another incomparable Wild Beasts record, a visceral, sensual and jolting body of work that acts as a remarkable soundtrack to the early 21st Century male malaise. The deluxe CD is housed in a card wallet with 12 page lyrics booklet. This extended album features the 'Boy King Trash' companion piece, a suite of music comprised of exclusive material including demos, previously unheard acoustic versions and aural sketches assembled by the band.

**Pink vinyl**

A brain in a microwave A metaphor for our times. Killer Brain Waves.

Post-modern Most likely. Sarcastic, energetic, manic, catchy, and fun Most definitely. Written and recorded in the post-social networking malaise, Asylums debut album Killer Brain Waves is the sound of discontent right now. We've all had them. Those life-altering, world changing ideas. You know what I'm gonna start that band, I'm gonna write those songs... And then, come the odds stacking against you. Maybe next year. But what about those absolute killer brainwaves You know what I NEED TO START THAT BAND I'VE GOT TO GET THESE SONGS OUT OF ME. Somehow, someway, but not sometime. Not next year. NOW.

From the very first demo to this very album, the band have done it all on their own fiercely DIY terms. And right now, doing everything their own way has meant that current single 'Necessary Appliances' is being championed by BBC Radio 1, 6Music, and Radio X, and a whole bunch of gigs beckons over Summer, including slots at Bestival and other prestigious festivals. Asylums have created a snapshot of a band and country in a state of change. They may have killer pop hooks, but there's no bubblegum here - songs about the death of high street retail, austerity, and rampant consumerism, sit cheek by jowl next to tales of sex, outsider culture, and gender equality. With a social media blackout for the first three singles, Killer Brain Waves is the culmination of a two year slow burn - all this in the time that has seen other bands get themselves signed and disappear off the face of the Earth. A new song every three months, each with a new DIY video on a new theme, on their own Cool Thing Records label run out a spare bedroom in Southend-on-Sea. And it's not just for Asylums - this album has secured Cool Thing a distribution deal with Brighton's Republic Of Music, meaning that they can now give other bands a platform. Some of the songs you'll know. After all, five of the tracks on Killer Brain Waves went straight onto Radio 1, and the band have been playing the length and breadth of Britain supporting the likes of The Vaseline's, Killing Joke, Ash, and Nothing But Thieves.

The rest of the songs - you may not know them yet, but you will very soon...

Tanya Donelly war nicht nur Gründungsmitglied der legendären Indierock-Bands Throwing Muses und The Breeders, sie rief auch zusammen mit dem Bassisten Fred Abong 1991 die Formation Belly ins Leben. Komplettiert wurde die Besetzung seinerzeit durch die beiden Brüder Tom (Gitarre) und Chris Gorman (Schlagzeug). Ihr erstes Album "Star" kam 1993 auf den Markt und zündete sofort. In den USA wurde das Debüt mit Gold ausgezeichnet und für zwei Grammys nominiert, weltweit verkaufte sich "Star" über zwei Millionen Mal. Die Single-Auskoppelung "Feed The Tree" knackte in Großbritannien sogar die Top-40-Marke. 1995 erschien mit "King" noch ein zweites Belly-Album, das kommerziell allerdings nicht an "Star" anknüpfen konnte. Im Jahr darauf war Belly Geschichte, da sich Tany Donelly ihrer Solo-Karriere widmen wollte. Die von 4AD liebevoll aufbereitete Wiederveröffentlichung des Dreampop-Klassikers erscheint als limitierte Doppel-LP auf weiß-marmoriertem Vinyl im Klappcover. Während Chris Gorman dem Artwork ein gelungenes Update verpasste, setzte Chris Bigg ein opulentes Verpackungsdesign obendrauf. Abgerundet wird das Spektakel durch eine "Star"-Bonus-CD.
















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Following the release of his critically acclaimed album, Crossed Paths, Shifted's next release on Mote-Evolver is the incendiary Razors EP.

The EP opens with title track 'Razors' a six minute odyssey. Sounds are layered one on top of another and create a strictly cyclical structure. Shaking, rattling sounds helicopter overhead, syncopated noise unfurls in the mid-ground and underneath hypnotic beats are laid down relentlessly. It's a dizzying combination.

Following on from this disorientation 'Over' ratchets up the BPM and rules it with an iron fist. This is merciless techno that's full of intelligent details. Out of nowhere jangling blips and bleeps collide with feral bass. Shifted is no stranger to creating dance floor optimised cuts and 'Over' is the sound of a producer with a very finely honed craft.

The flip side begins with 'Bloodless' a title that suggests cold hearted, zestless deeds and a track that is ironically anything but bloodless. Rendered in twisted beats and synthesised noise there's a cautionary tale to be heard, a warning about shiny surfaces that conceal deadening agendas.

The EP closes with the unsettlingly 'Trouble'. It's just as likely to have you listening reclined, with your eyes closed, as it is to leave you slightly paranoid looking over your shoulder. The palette is stripped back giving rise to psychologically charged atmospherica. 'Trouble' leaves you with far more questions than it answers.

Across the 'Razors EP' Shifted displays the range and diversity of his productions with
refined electronic experiments next to broken beats and strange atmospherica aside
lethal dance cuts.

The 4th Solo Album by Reknown Danish Film Music Compose Pederknow for Releases on Mo Wax, Ninjatune, Grand Royal, Ubiquity Records and his Scores , Breaking Bad' Amongst Others. The New ALbum featues and Instrumental original' Part and a 2nd Guest Version LP featuring Peders favorite danish singers: Coco from Quadron, Jonas Bjerre from Mew, Oh Land, Mikael Simpson, Jacob Bellens, Sleep Party People and more. The record is a return to more dusty and crunchy sound of his awardwinning debut And He just Pointed to The Sky' from 2007 released on Ubiquity Records. Peder began his career as a scratch DJ, household remixer for the Beastie Boys and one half of legendary danish Comedy team Gramsespektrum' (who released grammy awardwinning platinum albums in Denmark). Now he's a singer that makes dusty David Lynchian 50s music from your sweet nightmare and a filmcomposer with music featured in Breaking Bad". Plus as a director he was chosen for Saatchi & Saatchi's New Directors Showcase, Cannes Lions 2014.. This is his 4th solo album and his first on vinyl The record includes an original version and a guest version hidden inside with allmost the excat same layout. The Guest version have the same songs sung by Peders favorite danish singers: Coco from Quadron, Jonas Bjerre from Mew, Oh Land, Mikael Simpson, Jacob Bellens, Sleep Party People amongst others.

To mark their 30th anniversary The Wonder Stuff released their eighth studio album, '30 Goes Around The Sun', on March 19th 2016 - thirty years to the day since the band first walked into a rehearsal studio in the heart of The Black Country in 1986. The band chose to revisit it's old stomping ground of Stourbridge to record the album and even managed to persuade renowned heavy metal and hard rock producer, Simon Efemey (Paradise Lost/Napalm Death/The Wildhearts), to return to his home town to produce the record.