Pop & Rock Vinyl New Releases - News

Bitter Earth is the much anticipated, long-in-the-making new album from John Duncan joined by a broad cast of adroit collaborators; Oren Ambarchi, Jim O'Rourke, Smegma, Chris Abrahams, Joe Talia, CM Von Hausswolff, Eiko Ishibashi, France Jobin - all written in dedication to Mika Vainio (who, for avoidance of doubt, is not dead!). It's a remarkable suite of cover versions - from The Gun Club to Nina Simone and Iggy Pop - and original material by an arch experimenter who continues to explore unfamiliar territory..
Sometimes important records are released. This is one of them, no doubt. John Duncan is expanding his universe on 'Bitter Earth', his new album and the first one where he performs songs, singing songs. And he does is brilliantly.
This record flips our previous assumptions on their fleshy bonce, taking in a sweltering, almost cinematic psych version of The Gun Club's The House On Highland Avenue along with his own original, gospel-like spiritual Red Sky and capped off with an achingly intimate solo piano twist on The Four Tops' Reach Out.
The effect is most often shocking in the sweetest way, especially if you're more familiar with his esoteric work mapping the Nazca Lines for Planam or the indescibable breadth of his First Recordings 1978-85 V.1.2 box set, for example.
Perhaps it's an exercise in catharsis after so many years of heavy drones and outsider experimentation, or perhaps it's intended to draw a perpendicular connection between that work and pop/folk/jazz idioms. But, either way, his cracked, naked voice is utterly captivating, whether accompanied by shivering tambourine in a take on Pere Ubu's Dark or transporting Jefferson Airplane's Comin' Back To Me to a scene of cicadas and lilting, metallic drums and electronics somewhere between Tel Aviv and Bologna.

Half of this Belgian duo was still wearing diapers when The Crash Test Dummies had their moment of fame; the other half wasn't even born yet. There's a fair chance they don't even know the Canadian band that music lovers might think about when they hear their name. Musically they couldn't have been more different, as these two guys from Kortrijk make music that's energetic, experimental and full of pumping bass lines. After winning the prestigious Rock Rally competition they were quickly added to the Belgian electro family of Goose, The Subs and Front 242.
Now they are ready for the next step: release of their new album 'Silver Souls'.
"We're all the same silver souls / Just wrapped in different kinds of foil."

This 17-song collection comprises the complete studio recordings (including five unreleased tracks) of Angry Angles, the Jay 'Reatard' Lindsey and Alix Brown project that came together shortly after the mid-2005 demise of the former's long-running primary endeavor, The Lost Sounds. The sheer
immensity of Lindsey's musical discography relative to the artist's demise in January of 2010 at the age of 29 is an undeniably impressive attribute of his legacy. But unlike other artists with massively prolific output, Lindsey's militantly self-imposed standard of quality control assured this project was not simply a prolonged demo or practice session for what came next—his landmark solo debut Blood Visions.
Sure, extraneous live documents reveal a handful of set items that turned up on that album, and there's more than a passing riff among the songs collected here that did the same. Ms. Brown herself even appeared on that album's 'I See You Standing There' and 'We Who Wait.' But Blood Visions
didn't really 'come next' at all. Angry Angles' musical demise, at some point during the latter half of 2006, was a direct result of Brown and Lindsey's demise romantically. In fact, the release of Blood Visions in October of 2006 was to be followed closely by a proper studio full-length by Angry Angles,
with the latter receiving heavier promotion.
And unlike much of the man's discography, this was not 'The Jay Show' all the way. Brown wrote three of these tracks: the amazing 'Apparent - Transparent' as well as no-slouches 'In My Room' and 'You Call It Love,' the latter of which originally closed out the Angles' debut 7-inch EP. The band's songs are guitar-based noise-pop / punk (not 'pop punk') certainly
informed by the garage-rock / punk landscape that Lindsey was constantly and effortlessly schooling. There are outside influences (post-punk...whatever the hell that means, really) but 'the hook' is the biggest concern at the end of the day.
This Angry Angles retrospective is the result of nine months of work by the involved parties of Goner Records; co-founder and handler of the band's visual presentation, Alix Brown; Adam Shore, Lindsey's manager / rchivist in life and beyond; tour and sometimes studio drummer, Ryan Rousseau, then of Tokyo Electron and then and now the man responsible for the almighty
Destruction Unit.

INSTOCK - SHIPPING FOR 29TH APRIL**Punk Slime Recordings are proud to
present the latest addition to their
ever-growing roster - Beach Skulls with
their infectious debut album Slow Grind
arriving on April 29. Formed in Liverpool
and now also based in Manchester and
Glasgow it's some of the best laid-back
indie-pop we've come across.
Beach Skulls originally got started in
2011 as the solo project of frontman Ry
Vieira and soon Jordan Finney joined up - with the line-up being
completed after a trip to Berlin when Dan West took on bass duties. Over the past few years Beach Skulls have released a variety of 7' singles, tapes and online-only EPs while playing around the UK - and last year the band headed into Parr Street Studios in Liverpool to record their full-length debut Slow Grind over four days, with support from the Merseyside Arts Foundation

David Nance lives in a world where rock has been influenced
as much by This Kind of Punishment and The Pin
Group as by The Velvet Underground and The Rolling
Stones. Omaha's best-kept secret, up to now known primarily
to DIY tape collectors and record club subscribers,
Nance welcomes all with More Than Enough, his first fullband
full-length, which follows the stellar but criminally
under-heard 2013 Actor's Diary LP on Grapefruit Records,
as well as a string of limited-edition, over-modulatingly
intense and emotionally destructive cassette releases.
Recorded in Los Angeles, scrapped, then re-recorded after
a move back to his Omaha hometown with his wife,
More Than Enough sounds like the very last record to have
undergone any process longer than a few hours of recording.
It's that immediate and on fire. The recipe: (a) get a shithot
group of musicians; (b) cut songs down to their most
'on' moments, or alternately let them ride a groove into
the sun; (c) capture it all on actual tape. That's the Nance
approach, and it's as much an ode to home-recorded brilliance
as it is to whoop-ass inspiring rock.
Nance will be touring this summer with Itasca, and later
on with Simon Joyner and The Renderers. Blare on.

Edward Penfold's music is a blend of the old and the new, nostalgic but not dated. More than anything it sounds like now. It's music from the heart, a hazy collection of sounds and moods - sometimes upbeat, sometimes down but always genuine and always captivating. His lyricism reflects the observation
and eloquence of a very English sort of poetry, seeing the depth in the shallows of life, the profundity in the mundane. All accepted with a matter-of-factness that is reflected in the driving impetus in every song, whether slow or fast or groovy.

Re-release of Happy Meals' 2nd release.
Fruit Juice is the follow up to Happy Meals' Scottish Album Of The Year-nominated debut album Apéro. Shorter in scale but sharpened and expanded, Fruit Juice takes the tender experimental beginnings and unabashed pop moments of ther first LP into undiscovered countries glowing with possibility.

Since Fruit Juice's original release in 2016, Suzanne Rodden and Lewis Cook have toured the globe, from Moscow to Bangalore via various European festivals, invited to tour by the likes of Liars, Andrew Weatherall and Flaming Lips, and have honed their dynamics live, in the moment, improvising and twisting the beat into new forms. As their live show has become more visceral and cinematic, Fruit Juice documents the duo's new confidence. Run Around opens the E.P., with a sun-soaked tropicalia as conceived by the BBC Radiophonic Workshop, Rodden's vocals warped into wordless peons to the rising sun. Lá Lá-bas reaquaints the listener to Rodden's Franco-Gallic tendancies, but this time Happy Meals reveal a sparse melancholy, with spacious percussion and synth fragments giving way to one of the group's most immediate moments to date. If You Want Me Now is pop music, pure and from the source. Alternating between French and English, Rodden recreates the live persona that has emerged since the group's beginnings, an unrestrained performer bringing the innate sensuality beneath Happy Meals' surface exploding into the light.

Cook's production work here sounds fresh and classic simultaneously, a glorious Jacno tribute enthralled to House music and Italo Disco. Fruit Float, opening Side 2, brings us back up into the cosmos, with arpeggiated synths from Cook's synth arsenal duetting with a flute solo before Suivez-Moi delivers another pop song worthy of eternal repeat, a slice of electro not unlike the heady heights of Dare!-era Human League. Seductive and irresistible, it precedes the biggest step-up in Happy Meals' history, the acid-fried Now That You Have Me: ostensibly a high-BPM remix of If You Want Me Now that hints at the insanity of the final moments of a Happy Meals live show.

NEW TO FORTE!!!
The third and final album from the HOT SNAKES originally released in 2004. Led by John Reis (ROCKET FROM THE CRYPT, DRIVE LIKE JEHU), Audit In Progress elaborates on the band's downstroked rhythms and subsonic pulses with more fire to the mix than ever

Stockholm's Magic Potion - formed by
Gustaf Montelius, Andreas Sandberg
and Kristoffer Byström and now joined
by Johan Harrius - burst out of
nowhere in the spring of 2015 with the
debut single 'Deep Web', a
home-recorded gem that brought the
attention of bloggers all around the
world. Soon the debut EP Melt,
including the single 'Booored', was
released via PNKSLM Recordings and
Beech Coma to acclaim from the likes
of NME, KEXP, The Line of Best Fit and
Noisey - warped out slacker pop of the best kind, recorded on an old
reel-to-reel, it instantly wormed its way into the ears and hearts of its
listeners.
Now Magic Potion are finally able to unveil their debut album Pink Gum,
which is due on May 27th via PNKSLM Recordings on vinyl and digitally
and through Beech Coma on cassette. The fruits of over a year's work,
Pink Gum includes 'Deep Web' and 'Booored' from the Melt EP along
with eight new tracks that truly fifinds the band coming into their own.
Terrific melodies and songwriting, all recorded on the same old
reel-to-reel and self-produced by the band it's a marvelous debut from
one of Sweden's most exciting new acts, with lead single 'Milk' showing
the way.

Bermuda is the latest effort by San Diego's dismal-pop outfit
Mrs. Magician and their second full-length release on
Swami Records. The album offers a concise collection of punk songs inspired
by the big sounds of classic '60s pop and rock 'n' roll, with structures more associated with '70s and '80s power pop. Thomas Garcia's blissed-out backwash guitar
tones and fuck-it fuzz attack juxtapose the band's dry and thudding foundation, creating a tropically depressed grog. Cutting through the lacquer with a glossy shimmer, producer Swami John Reis (Drive Like Jehu, Rocket From
The Crypt, Hot Snakes) coaxes a tightly wound, rigid backdrop
for vocalist Jacob Turnbloom's morose-pop delivery.
Lyrically far more non-linear than their 2012 debut album
Strange Heaven, Bermuda echoes the familiar selfdeprecating
humor that is heavily present in the band's
prior work, but focuses less on interpersonal relationships,
favoring broader inspirations of alienation and melodrama.
Themes of gentrification, addiction, religion and the intoxicating
aroma of modern day conspiracy theories wrestle
against a bright and tight sonic terrain. This is the ghetto of
Kokomo. Bermuda has a boozy and breezy island malaise on
the surface. But once submerged, the listener is exposed to
confusion, nihilism and the notion that even with all of our
technology and omnipresence of big brother, essentially we
are all still very lost.

Parquet Courts brought a sweltering performance to the hallowed grounds of Third Man's Blue Room on June 5th of last year--and very fortunately, TMR was able to lovingly capture it with their one-of-a-kind, direct-to-acetate recording process. The set included a dynamic selection of songs from last year's critically acclaimed album Sunbathing Animal, as well as the 2013 EP, Tally All The Things That You Broke. The end result A record that will have your feet stompin' and body rockin' as soon as the needle hits.

Recorded in the midst of an actual extreme winter weather
event, Blizzard conjures the early synthesizer experiments
of Popol Vuh and Tangerine Dream combined with the gritty
reel-to-reel tape manipulations long employed by both
Aaron Dilloway (Hanson Records / ex-Wolf Eyes) and
Robert Turman (founding member of the pioneering industrial
outfit NON and a celebrated solo artist in his own
right).
As the story goes, Blizzard was recorded in January 2009
during an Ohio snowstorm which hit on the very day that
Dilloway was preparing for a move to Michigan. Alone,
his wife and child already settling into the new place, and
stranded in a cold and empty house, he was welcomed into
Turman's home. They decided to make the best of the occasion
and hunkered down for a few days of late-night recording.
Crawling synth drones and looped effects keep
things bleak throughout. The wind gusts outside are strangely
regular. Snow scratches at the windows more rhythmically
than seems natural. Are those woodwinds or animal
calls Are the streetlights obscured by blown branches, or
are they slowly strobing Suddenly a normal house in a
common Midwestern blizzard feels like a house stalked by
a sentient storm, bearing down for a final freeze. Throw
another log on the fire and make yourself comfortable for
the last time.
Blizzard was originally released on CD by Hanson Records
in 2009. This first-time vinyl edition is limited to
500 copies.

The stunning debut LP from Philadelphia-based artist
Rosali Middleman, Out of Love is hard to pin down. It rolls
like an omnipotent fog through the canyons of Topanga,
smothering the once-bohemian enclaves of East / West
Village NYC, all the while blinding every vibrant peak 'n'
hollow from the Ozarks to the Appalachian Mountains. The
guitars are sublime, with occasional flickers of higher-key
psychedelia punctuating the breathless, reflective cadence
that is Rosali's transcendent delivery.
While drawn from personal catharsis, Out of Love
achieves that uncanny ability to speak to us all. It's LZ IV,
stripped of its pomp and circumstance. This time it's more
about the triangle / pyramid symbol found on the inner
sleeve than the man with the bundle of sticks on the cover.
And if you know what I'm talking about, then twist 'em up,
'cause summer '16 is the year Out of Love takes on a whole
lotta love.
Rosali has shared the stage with Meg Baird, Kurt Vile,
Mary Lattimore, Purling Hiss, as well as many other local
luminaries. Look for her on the nation front throughout this
year.

Sonny Smith (Sonny & the Sunsets) has written a monologue, an hour long story, called SEES ALL KNOWS ALL. A tale of LOVE, SEX, DRUGS, SPACESHIPS, ROMANCE, HALLUCINATIONS, BITTER TEARS and CHAMPAGNE. A story set in a fast-disappearing San Francisco. A bohemian quarter-life crisis (in six parts) told by a man who never had anything to gamble with, but his life. As Sonny put it "Sort of a Spalding Gray typa thing if Spalding Gray had a band and wasn't himself but was me." Sonny premiered SEES ALL KNOWS ALL live with a band at The Lost Church in San Francisco. The run lasted five nights and each night featured a different musical guest: Kelley Stoltz, Tim Cohen (Fresh & Onlys / Magic Trick), Kyle Field (Little Wings), Alexi Glickman (Sandy's), & Sun Foot (Chris Johanson). It was very much a San Francisco thing. A nod, perhaps, to both Eggers and Ferlinghetti. Indeed, excerpts from this story have been published in San Francisco's reknown literature, arts, and culture magazine, The Believer. Narrated by Smith, this audio recording of SEES ALL KNOWS ALL features sounds made by a talented group of local musicians including Kelley Stoltz, Shayde Sartin, Rusty Miller, James Finch, German Carracosca, Jordi Llobet, and Sonny himself. The result is a Joe Frank meets Michael Hurley meets R. Crumb production: a dry, witty, autobiographical look at the meaning(s) of life from an underdog with deep nostalgia for America's lost folk culture and a strong sense kinship with the marginalized. Perhaps you saw one of the live performances; or maybe you are familiar with Sonny's stories via the tiny comic books stashed in his early vinyl releases... but you probably have never heard him try to pronounce "Panaderia". So, light a fire/joint, get comfortable and lose yourself in a man's attempt to find himself; or at least, exert a shred of control over his own destiny.. SEES ALL KNOWS ALL is limited to 300 blue powder (the stuff of the universe) splattered LPs via Empty Cellar Records. Each LP is packaged in a deluxe old-style linen jacket and features artwork by Bay Area greats: Chris Johanson, Shayde Sartin, and Shannon Shaw (Shannon & The Clams).

2015's quick succession of two full-length albums by Austin, TX,
trio Spray Paint—Punters on a Barge in June on Australia's Homeless
Records followed by Dopers via Austin's Monofonus Press—
showed the band repeatedly visiting some proverbial 'next level' relative
to the steady developmental trajectory framed by their preceding
2012-2014 arrival-and-vision-quest phase (itself a three-album, three-
7-inch chunk of catalog not appropriate for dismissal). At the risk of
corniness in conveying the sterling truth, Feel the Clamps could be
considered to represent drummer Chris Stephenson, guitarist Cory
Plump and other guitarist George Dishner arriving at a 'next level,'
but next after what They appear to have skipped a few.
It would be inaccurate to call Feel the Clamps the band's 'definitive'
document because it only 'defines' where the band is at this
stage, and the impressive distance between right now and the trio's
genesis less than five years ago. Spray Paint is hyper-prolific because
these guys have something that needs to stay up in the world's grill.
A rapid-fire output is sometimes confused with 'worth a shit.' You
know why the world is choked with aggressively mediocre music
Because the aggressively mediocre are really, really prolific and have
amazing work ethics. But Spray Paint is no relation to the stylistic
transients who couch-surf sub-genres in what should be a new movement
tagged 'try-too-hardcore.' Their linear path of inspiration suggests
there won't even be a language to describe what the trio is making
five years from now. Feel the Clamps will clear the fence of any
remaining solitary butts and if not, it's recommended said body part be checked for its owner's head. —Andrew Earles, 2016

A home-recording project completely open to experimentation but in love
with songs, The Lavender Flu is masterminded by Chris Gunn (The
Hunches, Hospitals). Their massive 30-song debut double-album Heavy Air
was conceived over a period of years and outside of the genre concentration
camps. Like Terrence Malick's Tree of Life remade by the ghost of Phillip K.
Dick, it's psychedelic and dense, projecting sounds as images inside your
head, layers and layers yielding new secrets with each listen.
Heavy Air winds a circuitous path through pop songs ('My Time,' 'Those
That Bend'—with a 'Waterloo Sunset' vibe), blasted rockers ('Fingers Like
Wounds'), beautiful instrumentals ('Feel the Ground,' 'Telepathic Axe'),
fractured folk ('Between The Trees'), weirder experimental pieces ('Vacuum
Creature,' 'La-Bas'), straight-up fried epics ('Transcendental Hangover')
plus a few covers in the mix, including a maximal / minimal take on
The Godz' mantra-like ode to sun worship and a Townes Van Zandt tune that
is derailed by a massive panic attack. Lyrics and melodies appear and reappear
as half-remembered dreams or reconstructed memories. Traces of Big
Star, Royal Trux, Brian Eno, Meat Puppets II and American Beauty are in the
DNA but The Lavender Flu is its own beast.
'Stitched together with a ragged twine of thought, the album could prove exhausting
to the uninitiated, but those who've found room for Gunn's brand of
veiled pop bombast will find Easter Eggs aplenty throughout this release. Out
of the clamor and clash rise some beautiful moments of folk pop like 'Those
That Bend' or 'My Time,' both cuts that wouldn't seem out of place cozying
up to some Elephant 6 disciples. Hell, the whole record would fit in with
the Collective's vibe of sun-streaked psych mixed with 'Green Typewriters'-
style experimentation and for the cadre of listeners out there looking for that
heady stew, look no further, Lavender Flu's world is a dense rabbit hole worth
exploring and re-exploring. Plenty of psychic fallout to tide you 'til Springtime.'
—Raven Sings the Blues
'
album of songs, instrumentals and studio fragments. There are a few relatively
straightforward (but distortion-buzzed) songs and many others that are
mixed inside-out or come unglued and mutate as they go. 'Between you and
the abyss is what you want to know,' Mr. Gunn sings amid the fuzztone and
tinkly percussion of 'Transcendental Hangover'; that's where the Lavender
Flu situates itself.' —Jon Parles, The New York Times

01. Atrial Flow
02. Know Fear
03. I Was the Sun
04. My Time
05. Coke Sunday
06. Like a Summer Thursday
07. Those That Bend
08. Vacuum Creature
09. Fingers Like Words
10. False Promises From Future Selves
11. Demons in the Dusk
12. Owl in Daylight
13. Sligo River Blues
14. Telepathic Axe
15. The Lawn
16. Beer Garden
17. L-Bas
18. He Hides From the Mirrors
19. Sleep Without Alcohol
20. Between the Trees
21. Transcendental Hangover
22. Keyboard Christ
23. Wrong Womb Pt. 1
24. The Living Garment
25. Assad Eyes
26. A Drift in Rooms
27. Feel the Ground
28. Lay in the Sun
29. Nothing Was Breathing
30. So Clear

From Sacramento via outer space comes The Twinkeyz and their Alpha Jerk
LP, restored to excellence after 40 years! During the sizzling hot summer of 1976, Donnie Jupiter, Tom Darling and Walter Smith decided to break out of their boredom with a band. The group was named after Pink Fairies drummer Twink, and influnced
by the Fairies, Velvet Underground, Thirteenth Floor Elevators and other
underground favorites. In 1977, The Twinkeyz recorded and self-released their classic first single, 'Aliens in Our Midst.' 1978 saw its followup, 'E.S.P. / Cartoon Land.' And in 1979, the album Alpha Jerk was released on the Dutch label Plurex, run by
Wally Van Middendorp of the Minny Pops. Though the songs on Alpha Jerk
were great, the final mix was botched and the mastering job flawed. What
should have been a classic stiffed as one of rock 'n' roll's 'could have been
great.' Now it is! In 1994, Anopheles Records' Karl Ikola decided to do The Twinkeyz right. Ikola got ahold of the master tapes and, with Jupiter and Greg Freeman, remixed the entire album. In 1997, he released the restored Alpha Jerk, along with abandoned single tracks, live songs and other tidbits, as a CD entitled
Aliens in Our Midst. The collection and its vinyl companion Cartoon Land
went out of print more than fifteen years ago. Now after four decades, S-S Records presents Alpha Jerk as it was intended, with the original cover art and the superior Ikola / Jupiter mix. This version has been mastered by John Golden and pressed in an edition of 500 copies.

'The Twinkeyz are one of those exceptional bands whose appearance during
the early phase of the punk revolution was a reminder that all which had gone
before was not shit... The Twinkeyz are wildly deserving of a legendary status
that has not yet enveloped them.' —Byron Coley

'The Twinkeyz were easily the best and the hippest [of the late '70s Sacramento
area bands]... I'd say that The Twinkeyz were a much bigger influence
on the Dream Syndicate than the Velvet Underground.'
—Steve Wynn, Dream Syndicate

'When I was a teenager in Sacramento in the late '70s, The Twinkeyz were
the only instance of a band surviving in the local public eye with an innovative
sound... strange, insular, dedicated people who took a palpable risk just
by putting such wonderful and unfamiliar sounds on stage....'
—Scott Miller, Game Theory / Loud Family

ULTIMATE PAINTING is a young, yet already distinguished UK duo comprised of Jack Cooper and James Hoare. As the story goes, these two spent time touring together with Cooper's band, Mazes, supporting Hoare's band, Veronica Falls. A fateful friendship developed and, to make it quick, demos were recorded and swapped, which all eventually led to their debut seeing release on Trouble In Mind, one of our top favorite Chicago labels. The project has been so thoroughly adored for its uncomplicated, beautifully calm approach to VU-style riff-making and loose-but-biting vibes that the follow up, Green Lanes, was released a mere ten months later. Needless to say we're so glad they carved their way through the great land of Nashville, TN.

Recorded direct-to-tape, Live at Third Man Records is an impeccable document of English rock 'n' roll. The band is in top form here and their set consists of the finest material from the band's first and second albums, Ultimate Painting and Green Lanes respectively, with a handful of extended jams featured here. This live record is a must own for fans of the band, not to mention anyone smitten with mellow guitar magic that absolutely explodes into some true, stately mayhem.

Castle Face Records has got fresh new jitters from Useless
Eaters: a new batch called Relaxing Death.
Relaxing it is not—sleepless synths and serrated drum
machine loops populate their sharp-edged, futuristic
sound. Nightmare punks on a hallucinatory run through
empty streets; angry and intense, tightly wound and razor
sync'd. Up to no good. It knocks like it's cut with something
nasty, and it's out June 3rd.

Attention fans of Timmy's Organism, VIDEO and Wolf Eyes, please, set your eyes/ears to front and center. Seems like only yesterday the AUDIO SOCIAL DISSENT supertroupe was touring this troubled continent in a duo of vans fueled by an unbelievable (but very real) commitment to harsh sonics and nothing else—not even petrochemical. Those were beautiful times but now...it's disappearing in the rearview. Cut to a shot of a single tear running down my face. Cut to another shot of me smirking like Scut Farkus.

Why Well, I thought it might be nice to impart a little of the leftovers to those who might appreciate it most. It just wouldn't be right to hide these beautiful records—BLUE WITH BLACK WISPS—in our HQ warehouse forever and ever.

Recorded direct-to-tape in the Blue Room at Third Man Records on Devil's Night 2015, this is a three-day lead on a limited edition live record and previously unavailable, tour exclusive. The LP features the psychotic squall from Timmy's Organism, the fire and vitriol of Texas punkers VIDEO, and, notably, an otherwise unreleased Wolf Eyes song, 'Devil's Knights Inn Blues,' which ranks as one of the most profound expressions of American avant-spew.

Here's your chance, America. Prove you love the freedom to feel what we're layin' down.

Big Thief's music, rooted in the songs of Adrianne Lenker, paints in vivid tones "the process of harnessing pain, loss, and love, while simultaneously letting go, looking into your own eyes through someone else's, and being okay with the inevitability of death," says Adrianne.

Masterpiece, Big Thief's debut album, is -lled with characters and visceral narratives, songs that pivot in the space of a few words. Adrianne's voice and guitar playing speak of rich emotional territory with grace and insight. In her words, the record tracks "the masterpiece of existence, which is always folding into itself, people attempting to connect, to both shake themselves awake and to shake o­ the numbness of certain points in their life. The interpretations might be impressionistic or surrealistic, but they're grounded in simple things.'

Adrianne met her longtime musical partner, guitarist and singer, Buck Meek, in Brooklyn a few years ago, and they quickly formed a creative bond tempered by the experience of traveling and performing for months on end in old dive bars, yards, barns, and basements together. They recorded a pair of duo albums (A-Sides and B-Sides), and Adrianne showcased her songs on a solo album, Hours Were The Birds.

Now, as a full rock and roll band, with Buck on guitar, Max Oleartchik on bass, and James Krivchenia on drums, they bring a steady wildness, giving the songs an even deeper layer of nostalgia. "These guys feel like a pack of wolves at my back," says Adrianne, "they make the songs howl and bark with a fierce tenderness that gives me courage."
After spending last July in an old house that they turned into a studio on Lake Champlain with producer Andrew Sarlo, the resulting collection soars on what Big Thief fan Sharon Van Etten calls "...a real journey, with intelligent stories and twist-and-turn melodies.

Continuing their run of critical acclaim and national attention, alt-pop five-piece Shields release their limited edition RAK Singles Club 7' vinyl on 27th May 2016.

Shields have spent the past few years crafting a reputation for stunning live performances, honed by tour support slots with the likes of Placebo, and Everything Everything. Their debut album 'How Can We Fix This' (recorded by double Grammy-award winner Adrian Bushby), was released to widespread praise from The Independent and The Sunday Times, and was also an early tip for debut album of the year in The Guardian.

1978 punk rock classic from Turin in a numbered limited edition of 300 copies featuring 10 previously unreleased tracks. Available only on vinyl from Onde Italiane.

30th anniversary issue of the Italian garage rock classic. Featuring one previously unreleased track in an embossed sleeve with a gatefold insert. Available only on vinyl from Onde Italiane in hand numbered limited edition of 700 copies.

One of the most amazing things about the group B/B/S/ is that even though it does sound like the logical sum of its parts, listening to their output is like devoting yourself to an emotional haze of interaction. All based on improvisations recorded within two sessions at Golden Retriever Studios in Berlin, the ten new tracks, spanning almost 80 minutes total, are so fluid and natural that they abandon separating the musicians' individual contribution for a soundscape that is overwhelming in the best possible way. However, the place B/B/S/ puts you in is not a gleaming one: It could be imagined as an empty room with just a chair to sit on to be surrounded and pervaded by flickering guitars, effects and drums - a scenery that is as murky as it is gripping and best digested without further distraction.

Making you feel comfortable might not be their main intention but Aidan Baker, Andrea Belfi and Erik Skodvin know all the tricks to turn this into an exciting atmospheric experience with plenty of vigour and hope shining through the duskiness. Their second album for Miasmah masters in tension that is building up like a blueprint, maybe starting in one room but revealing many doors, corridors and passages to explore. There are no dead ends in their Palace: It's a dark territory and sparse in light but each turn is a success and each glance a revelation.

Limited to 500 Copies. 'Breakin' Point is the title track from Peter Bjorn and John's forthcoming new album, also called 'Breakin' Point'. The single was produced by Grammy Award winner Emile Haynie - who also adds some synthesizer to the track - and is released as a limited edition 7".

Trementina raised from the south of Chile with infectious noise and dreamy melodic sounds that gets you in a string of deep and epic feelings, a snappy mellow dirty hit. Many references such as Lush and Slowdive just for giving some names, makes this shoegaze coming from south-america in the vibe we love the music for, an urgent call that makes move out of your chair and encourage you to do something worthy. To drive far far away with extra boost on your side. The band begun on 2012 in Valdivia, one of the most beautiful cities in Chile, 800 km south from Santiago.

They met each other in Fine Arts School at Universidad Austral. As a couple, Cristóbal Gratz-Ortiz and Vanessa Cea started making sound experiments with his guitar noise and her vocals, using a country house near the city. With their friend Lucas Martinic from the skate scene joining on bass guitar, they moved forward to the song structure, landing ideas of the music they all were inspired by, mostly shoegaze from UK: The Boo Radleys, Ride, My Bloody Valentine, Lush, Chapterhouse and Slowdive among others, founding a savage sound and fueling their teenage anxiety, that would later burn' on stage on every gig. With the final addition of Simon Basement' on drums, they became the soundtrack of a lot of people interested in punk rock, grunge and noise-pop in Valdivia and Osorno audiences and bands, who arrived to Santiago in the previous years. With an LP going out 2016 and one more to come, the guys already went to Japan thanks to a large fan base formed around White Noise Superstar Fest and label-record store Vinyl Junkie, who also edited their first work on CD Brilliant Noise' on 2013.

Similar to modern gazers Ringo Deathstarr and Russian dream poppers Pinkshinyultrablast, Trementina marry the colossal walls of guitar warps and amp feedback with hushed female vocals, a sublime simplicity of two polar opposites. Gorgeous track after gorgeous track await your ears'

- 180 GRAM AUDIOPHILE VINYL

- INSERT

- ETCHED D-SIDE

- INCLUDING 2 BONUS TRACKS

- FIRST PRESSING OF 1000 NUMBERED COPIES ON GOLD COLOURED VINYL - 300 only in uk!!!!



Golden Greats is the second solo album released by Ian Brown, the ex-frontman of The Stone Roses. Despite the title, the album is not a compilation, but a studio album.



It was described by NME as 'a left-field masterpiece and Brown's best work for a decade'. The album contains soaring sonic textures and electronic dance beats; it is less song-oriented than Unfinished Monkey Business. Golden Greats showcases a diverse usage of instruments including strings, mellotron and organs.

Turbo Recordings is proud to present the first single off the upcoming LP from Munich superproducer Zombie Nation.
We are beyond excited to present the latest release from one of our favorite artists, ZZT co-chairman Zombie Nation. These four amazing tracks offer a taste of his forthcoming full-length for Turbo (due at the end of the year), while demonstrating his eccentric studio genius and unique hitmaking sensibility.
"Meathead" starts things off in big-room banger mode, before segueing into a carnivalesque breakdown, with moody synths that acknowledge that all feasts - culinary, erotic or otherwise - must come to an end. "Attic Sundays" is analog snake charmer magic, bouncing cavernous sonar bass off every wall of the Bavarian Pyramids. "Blueberries" blends high-NRG synths with intricate clockwerk rhythms, redefining the landscape of acceptable peak-time geography. Finally, "Schoove" offers a full scholarship to Groove School, wedding a mangled vocal hook to alternately classy and grimy Kraut-Hop.

'Their debut single features three doses of shambly Television Personalities/Swell Maps style earworm indie rock.' Brooklyn Vegan

" A nervy throwback to that late-'70s era when punk began to mutate in countless directions, matching a deadpan vocal with an incessant chord progression and piling on the sonic chaos. 'Why would you say sorry for that' they wonder aloud, and certainly there's no need to apologize for keeping this strain of musical antagonism alive." Stereogum

Love is a highway, but you're not likely to find Terry there anymore. He's on the train. Terry saw the light, and he put on his sunhat. Ring Ring...'If you're carsick, get outta the car!'
There's only room for one big pug in this doggy daycare. Terry's taken to the night. Thank you nurse, I'll see myself out.
 
LOOK! There he is, peeping through the cracks in your screen. Nuanced. Mercurial. Free.Blowing you a kiss. Marcel Marceau, Shmarshel Shmarsheau! But Terry.... How unforgettable.
 
What will you do when the cloud gives way When the map leads you to a pile of potatoes We wuz wrong. Hit me with your algorithm stick!

Siri, is death an illusion Siri, am I locked in a prison of my own making Don't pull that thread kiddo.Siri's gone. Talk about truth! But when you're ready for real answers...Talk about TERRY.

WOMAN drop their debut EP via Asmara Records (produced by Zebo Adam/ Bilderbuch)

Woman are one of the up and coming bands from the vital Cologne music scene. Their Pop music approach doesn't resemble much of what Cologne's music scene is famous for though. Instead of minimal Techno Woman's take on indie pop is equally rooted in blue eyed soul, AOR, 80s synthesizers as well as Radiohead & Grizzly Bear. The music is catchy without forcefully following classic patterns of radio hits, clever and well thought thru, yet access-able.

After being looked up in their studio for a very long time, the 3 piece band decided to finally release their debut recording with Asmara Records & are about to currently extend their local following to a wider audience now.
For the production they teamed up with Bilderbuch's Producer Zebo Adam in Vienna, who was into the band from the very first minute & therefore produced their entire EP.
Playing very few & selected live shows, also together with their new label-mates from Xul Zolar, the band realized they'd finally be ready to make their own way through musical landscape. Already having played notable German Music Festivals such as MS Dockville, C/o Pop & New Fall Festival, they also supported the mighty Jungle (UK) on their tour 2015 for the Cologne Show.
Their debut EP will be available as the second ever release through Jakarta Records' Sub-label, ASMARA Records.
The first Single 'Psychedelic Lover' will be premiered by on friday, 11.02.2016.

'The shimmering shoegazing majesty of Wintergreen's Magic Road will no doubt still be treasured in several years' time'

- Sounds XP

'Simply wonderful stuff... rushing pop that charismatically engages toy electronics, melodicas and strumming guitars'

- Losing Today

Wintergreen are a London-based avant pop band. Formed by founder members Andy Keen and Gareth Jones (also of The Leaf Library) in Manchester in 1999. They evolved over the next decade through the electronic-tinged indie pop of early singles The Magic Road and Clockwork Mice/Autumn Leaves, via a constantly shifting live set involving laptops, drones, layered vocal samples, autoharps, accordions and assorted other noise-generating devices.

This phase of Wintergreen's history culminated in a headline slot on the church stage at the inaugural Indietracks festival in 2007, before a temporary retreat from live performance to build their own studio (Studio Klank in Wood Green, North London) where they recorded their debut album The Rule of Small Things.

The Magic Road is Wintergreen's debut single, released by SQUIRL Recordings in 2003.

Psychedelic sound scapes, reverb and melodic vocals as well as a pulsating energy - all that is the typical characteristics of Solingen based quartett Blackberries. Since their debut "Music For The Night" was released in 2012 the band was touring across Germany - amongst headliner shows and festivals, the musicians also shared the stage with acts such as Imagine Dragons, Bastille, Pond or Toy.

Moreover they kept writing new songs, which will be released on their long awaited second record "Greenwich Mean Time". The double vinyl contains the matured Blackberries sound. Carefree 60s and Neo-Psychedelic combined with Kraut rock, dark Acid-Folk and the very ownBlackberries touched melodies create a record full of atmosphere.

Straight vitas or sensefull traineeships are kind of out of fashion these days. Find yourself and try everything is the modern way of working. That can also be implemented on a whole band - for example Blackberries from Solingen (GER). 2012 saw the release of their debut "Music For The Night". Since that the band was touring a lot - headliner shows, festivals as well as support shows for acts like Imagine Dragons, Bastille, Pond or Toy.

So you can say that the sound of the new record "Greenwich Mean Time" was not only created in the studio but rather on stage. Cause gigs kept going, only time for recording was hard to find. Til the new songs got too overwhelming and kind of pushed the band into the studio. The crowd also wanted to hold something in their hands - so it was definitely time to record! Ideas and frames were already there, were developed and sharpened and grew til "Greenwich Mean Time" was born.

A record full of atmosphere and depth with hymns to bands of the mid-60s, German kraut-rock and to the "Sound of Psychedelia". The mixture of that influences with the own Blackberries-version creates the typical trademark of the Solingen quartett Blackberries: Psychedelic sound worlds, reverb and melodic vocals as well as pulsating energy.

Psychedelic sound scapes, reverb and melodic vocals as well as a pulsating energy - all that is the typical characteristics of Solingen based quartett Blackberries. Since their debut "Music For The Night" was released in 2012 the band was touring across Germany - amongst headliner shows and festivals, the musicians also shared the stage with acts such as Imagine Dragons, Bastille, Pond or Toy.

Moreover they kept writing new songs, which will be released on their long awaited second record "Greenwich Mean Time". The double vinyl contains the matured Blackberries sound. Carefree 60s and Neo-Psychedelic combined with Kraut rock, dark Acid-Folk and the very ownBlackberries touched melodies create a record full of atmosphere.

Straight vitas or sensefull traineeships are kind of out of fashion these days. Find yourself and try everything is the modern way of working. That can also be implemented on a whole band - for example Blackberries from Solingen (GER). 2012 saw the release of their debut "Music For The Night". Since that the band was touring a lot - headliner shows, festivals as well as support shows for acts like Imagine Dragons, Bastille, Pond or Toy.

So you can say that the sound of the new record "Greenwich Mean Time" was not only created in the studio but rather on stage. Cause gigs kept going, only time for recording was hard to find. Til the new songs got too overwhelming and kind of pushed the band into the studio. The crowd also wanted to hold something in their hands - so it was definitely time to record! Ideas and frames were already there, were developed and sharpened and grew til "Greenwich Mean Time" was born.

A record full of atmosphere and depth with hymns to bands of the mid-60s, German kraut-rock and to the "Sound of Psychedelia". The mixture of that influences with the own Blackberries-version creates the typical trademark of the Solingen quartett Blackberries: Psychedelic sound worlds, reverb and melodic vocals as well as pulsating energy.

Limited to 500 copies !!

Polar white colored vinyl

THE GROUP: Wintergreen are a London-based avant pop band. Formed by founder members Andy Keen and Gareth Jones (also of The Leaf Library) in Manchester in 1999, they evolved over the next decade through the electronic-tinged indie pop of early singles The Magic Road and Clockwork Mice/Autumn Leaves, via a constantly shifting live set involving laptops, drones, layered vocal samples, autoharps, accordions and assorted other noise-generating devices.

THE SOUND: Recorded at their self-built Studio Klank in Wood Green, North London, the band describes The Rule of Small Things as 'pop music that occupies itself with fragility, incompleteness, and the provisional, contingent nature of things'.

The album was mastered by Lawrence English and cut to vinyl at Dubplates & Mastering. The artwork is by Matt Ashton of The Leaf Library.