Pop & Rock Vinyl New Releases - News

Fever Dream, the new solo album from Ben Watt is released worldwide on April 8 2016 on Watt's own imprint Unmade Road through Caroline International.

It was in 2014 - after sixteen years and nine albums as songwriter-performer-producer with Tracey Thorn in best-selling duo Everything But The Girl, a further ten at the helm of his award-winning electronic label Buzzin' Fly, and a radio residency on BBC 6Music - that Watt returned to his roots as a solo singer and songwriter with Hendra, his second album. Arriving thirty-one years after his UK Independent Chart No. 1 debut, it met with wide acclaim at home and abroad for its eloquent lyrics and stripped-back aesthetic, it featured prominently in end-of-year round-ups and pipped Anna Calvi and Blood Orange to win Best 'Difficult' Second Album at the AIM Independent Music Awards 2014.

Fever Dream - self-produced at London's famous RAK Studio 2, and mastered by Bob Ludwig at Gateway Mastering in Maine - takes Hendra's sonic template of open-tuned folk-jazz, distorted string-bent rock, and soulful rumination, and adds a fresh grainy intensity. It renews key partnerships with Hendra's vaunted guitarist-sideman Bernard Butler and engineer Bruno Ellingham, and sprinkles guest vocal cameos from Boston's dream-folk singer-songwriter Marissa Nadler and Hiss Golden Messenger's M.C. Taylor.

'At the album's heart I just wanted to deepen existing relationships,' Watt says. 'Two years of playing live with Bernard has created a strong bond, the music we make feels spontaneous, ardent, unsentimental. We just went in and did most of it live.

Small room, small band. A harder edge. Instruments spilling into each other.' The pair are joined by drummer/percussionist and longtime ally Martin Ditcham (Talk Talk's Spirit of Eden) and new double bassist Rex Horan (Laura Marling's Once I Was an Eagle / Neil Cowley Trio), who in Watt's words 'brilliantly blurs the boundaries between folk, jazz and rock'.

'I chose the guests to suit,' he goes on. 'Marissa's sound is gothic and gauzy but tender and revealing. I pictured her with me on the key closing track (New Year of Grace) - which is a kind of answer to the album's opener (Gradually). She was in London for twenty-four hours recently. I just doorstepped her on Twitter, and she said yes.'

Watt's non-fiction writing and lyrics have been integral to his recent acclaim. His second memoir Romany and Tom - a portrait of his parents' marriage - was longlisted for the prestigious Samuel Johnson Prize in 2014. (His first, 1996's Patient was a New York Times Notable Book of the Year). Novelist Jonathan Coe recently commented Watt is 'beyond doubt one of the great British singer-songwriters', while The Guardian's senior rock critic Alexis Petridis called the writing on Hendra 'pretty much perfect'.

Of the new songs, Watt says: 'I got back from tour with a few notes for a new book, but life got in the way. Close friends were falling apart, my own relationships were being tested. I found I wanted to capture smaller snapshots about how love shifts over time, what endures, how we cope. And they became songs. Some came out darker and more troubled, others softer and more hopeful. And that then became the album structure. First half heavier, second half lighter. A sense of transformation, rather than just a collection of songs. I hadn't done that before.'

It was in 1981 that Watt first appeared in London as a precocious nineteen year-old singer-songwriter-guitarist. His breakthrough 1982 EP Summer into Winter featured alt-folk icon Robert Wyatt and drew comparisons with Tim Buckley. His early solo work may be overshadowed by his subsequent successes with Tracey Thorn, but his 1983 debut solo album North Marine Drive reached No 1 on the UK Independent Albums Chart.

'The music I heard in my teens - jazz, folk, art-rock - still cuts the deepest with me,' he says. 'I recently spent over ten years exploring instrumental electronic music and clubland (he was nominated for Outstanding Contribution to Dance Music at DJ Magazine Awards 2009, and was a resident DJ on BBC 6Music's 6Mix from 2010-2014) but have come back to language and that band-in-a-room spontaneity. The raw human voice, unaffected words, pushing simple instruments to their limits - that is now what fascinates me again.'

Fever Dream, the new solo album from Ben Watt is released worldwide on April 8 2016 on Watt's own imprint Unmade Road through Caroline International.

It was in 2014 - after sixteen years and nine albums as songwriter-performer-producer with Tracey Thorn in best-selling duo Everything But The Girl, a further ten at the helm of his award-winning electronic label Buzzin' Fly, and a radio residency on BBC 6Music - that Watt returned to his roots as a solo singer and songwriter with Hendra, his second album. Arriving thirty-one years after his UK Independent Chart No. 1 debut, it met with wide acclaim at home and abroad for its eloquent lyrics and stripped-back aesthetic, it featured prominently in end-of-year round-ups and pipped Anna Calvi and Blood Orange to win Best 'Difficult' Second Album at the AIM Independent Music Awards 2014.

Fever Dream - self-produced at London's famous RAK Studio 2, and mastered by Bob Ludwig at Gateway Mastering in Maine - takes Hendra's sonic template of open-tuned folk-jazz, distorted string-bent rock, and soulful rumination, and adds a fresh grainy intensity. It renews key partnerships with Hendra's vaunted guitarist-sideman Bernard Butler and engineer Bruno Ellingham, and sprinkles guest vocal cameos from Boston's dream-folk singer-songwriter Marissa Nadler and Hiss Golden Messenger's M.C. Taylor.

'At the album's heart I just wanted to deepen existing relationships,' Watt says. 'Two years of playing live with Bernard has created a strong bond, the music we make feels spontaneous, ardent, unsentimental. We just went in and did most of it live. Small room, small band. A harder edge. Instruments spilling into each other.' The pair are joined by drummer/percussionist and longtime ally Martin Ditcham (Talk Talk's Spirit of Eden) and new double bassist Rex Horan (Laura Marling's Once I Was an Eagle / Neil Cowley Trio), who in Watt's words 'brilliantly blurs the boundaries between folk, jazz and rock'.

'I chose the guests to suit,' he goes on. 'Marissa's sound is gothic and gauzy but tender and revealing. I pictured her with me on the key closing track (New Year of Grace) - which is a kind of answer to the album's opener (Gradually). She was in London for twenty-four hours recently. I just doorstepped her on Twitter, and she said yes.'

Watt's non-fiction writing and lyrics have been integral to his recent acclaim. His second memoir Romany and Tom - a portrait of his parents' marriage - was longlisted for the prestigious Samuel Johnson Prize in 2014. (His first, 1996's Patient was a New York Times Notable Book of the Year). Novelist Jonathan Coe recently commented Watt is 'beyond doubt one of the great British singer-songwriters', while The Guardian's senior rock critic Alexis Petridis called the writing on Hendra 'pretty much perfect'.

Of the new songs, Watt says: 'I got back from tour with a few notes for a new book, but life got in the way. Close friends were falling apart, my own relationships were being tested. I found I wanted to capture smaller snapshots about how love shifts over time, what endures, how we cope. And they became songs. Some came out darker and more troubled, others softer and more hopeful. And that then became the album structure. First half heavier, second half lighter. A sense of transformation, rather than just a collection of songs. I hadn't done that before.'

It was in 1981 that Watt first appeared in London as a precocious nineteen year-old singer-songwriter-guitarist. His breakthrough 1982 EP Summer into Winter featured alt-folk icon Robert Wyatt and drew comparisons with Tim Buckley. His early solo work may be overshadowed by his subsequent successes with Tracey Thorn, but his 1983 debut solo album North Marine Drive reached No 1 on the UK Independent Albums Chart.

'The music I heard in my teens - jazz, folk, art-rock - still cuts the deepest with me,' he says. 'I recently spent over ten years exploring instrumental electronic music and clubland (he was nominated for Outstanding Contribution to Dance Music at DJ Magazine Awards 2009, and was a resident DJ on BBC 6Music's 6Mix from 2010-2014) but have come back to language and that band-in-a-room spontaneity. The raw human voice, unaffected words, pushing simple instruments to their limits - that is now what fascinates me again.'

The Dandy Warhols spent 2015 writing new music and the band closed out the year with a packed-to-capacity tour of the U.S. West Coast and South including a three-night stint at Los Angeles' Teregram Ballroom. Signing to Dine Alone was another highlight of the year, not only for the band, but for label owner/founder, Joel Carriere. "My first introduction to The Dandy Warhols goes back to when I was 21, and working at a record store. Good Will Hunting blew up and we were selling a ton of copies of the soundtrack. Not having a full appreciation for Elliott Smith yet, I didn't bother putting the soundtrack on when at work. When I saw the movie in the theatre, I had to know what song was playing in the background during the legendary scene when Will helps Chuckie with an arrogant MIT student.
Since we didn't have access to the Internet, let alone Shazam back then, I had to wait to scan the tracklist.
Boom! It was The Dandy Warhols and the song also happened to be on their LP The Dandy Warhols Come Down. I couldn't be more thrilled that this record store clerk is now working with a band that had such an impact.'

The Dandy Warhols spent 2015 writing new music and the band closed out the year with a packed-to-capacity tour of the U.S. West Coast and South including a three-night stint at Los Angeles' Teregram Ballroom. Signing to Dine Alone was another highlight of the year, not only for the band, but for label owner/founder, Joel Carriere. "My first introduction to The Dandy Warhols goes back to when I was 21, and working at a record store. Good Will Hunting blew up and we were selling a ton of copies of the soundtrack. Not having a full appreciation for Elliott Smith yet, I didn't bother putting the soundtrack on when at work. When I saw the movie in the theatre, I had to know what song was playing in the background during the legendary scene when Will helps Chuckie with an arrogant MIT student.
Since we didn't have access to the Internet, let alone Shazam back then, I had to wait to scan the tracklist.
Boom! It was The Dandy Warhols and the song also happened to be on their LP The Dandy Warhols Come Down. I couldn't be more thrilled that this record store clerk is now working with a band that had such an impact.'

Jim Jones and The Righteous Mind announce they are to release their second EP, Aldecide' on Brighton's Raygun Records on 1st April.

Following a string of French dates in February the bands first UK show of 2016 will be at London's 229 Club on 26th March they then play a further six UK shows with more dates to be announced.

Singer/ guitarist Jim Jones's distinctive musical history has spanned several incarnations including The Jim Jones Revue, Black Moses and Thee Hypnotics. Now with his new band, Jim Jones & The Righteous Mind, Jones and crew are sailing further into dark musical waters in search of rare and exotic beasts.

Taking the band name from a book of social psychology, Jim Jones & The Righteous Mind -- the latest manifestation of Jones's ever-evolving sonic vision -- were in the recording studio conjuring a new collection of songs a mere five days after The Jim Jones Revue had played their last encore at their final sold out show at London's Forum at the end of 2014.

Jim Jones has performed on Later with Jools Holland, the David Letterman show and numerous radio sessions including the late great John Peel. He has toured extensively and shared bills with bands including The Damned, The Black Crowes, The Cult, the Cramps, The Stooges, Grinderman and Primal Scream. His studio adventures have included recording with John Leckie, Jim Sclavunos, Jimmy Miller and Chris Robinson. He recently sat in for Guy Garvey on 6 Music presenting a special show As part of the BBC's Rock & Roll Season presenting a special show, featuring music from Eddie Cochrane, Jerry Lee Lewis, Pink Floyd, Tom Waits, The Stooges and of course Elvis.

Luneworks was created during a period of personal upheaval for Colleran, who headed out to a friend's tiny spare room in L.A with just a laptop and a few changes of clothes. What ensued was an intense month of twelve hour night-time writing and recording sessions, where Jack sought to isolate himself in order to keep the songs as pure as possible. The quietness of the city at night was a real inspiration, and the constraints of an alien environment proved something of a liberation. The ancestral, ethereal spirit of Ireland is also present throughout Luneworks. Kevin Shields (My Bloody Valentine), one of Dublin's most famous sonic outliers, is a noted influence - another musician who has wrung sweet emotion out of chaotic noise. The result is Luneworks, a fully immersive head-trip, a record that is at times brutal and at others unbearably beautiful, sometimes in the overlap of a single track. Luneworks is a mirror to the soul - a gorgeous, wordless expression of unedited, unfiltered emotion, heralding the arrival of one of the most important electronic artists of our generation. Key Points: ' Played on BBC Radio1: So much love for this, it's epic' - Phil Taggart ' Mmoths has previously played shows as special guest of Aphex Twin, and The XX, putting 'Luneworks' on the stage. ' Great support from tastemakers Media: Thump, DIY, Stereogum, The Line of Best Fit, Wonderland... ' First track Deu premiered on XLR8R

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The Spitfires release their new single 'So Long' on April 1st. The Watford 4 piece burst onto the scene in Sept 2012 with a run of powerful and energetic live shows. Comparisons were immediately made to The Jam and The Clash, and while The Spitfires boast a similar energy to punk's trailblazers, the style is all their own. Debut 7' single 'Stand Down' sold out in just 2 days, followed in August 2015 by the 13-track debut album 'Response', which reached number 6 in both the Indie & Vinyl Albums top 40 charts. In the past 12 months the band have supported Paul Weller, The Specials and The Ordinary Boys. They're currently in the studio working on their second LP and head back out on the road across the UK and Europe in early 2016. Dates below.

Helmed by one of the strongest songwriters in the business, Mick
Coogan, the boys of Brett take the wraps off their second album,
Mode. Dynamite singles "Claire Drained" and "Electric" anchor the
album, showing the band further refining its take on melodic and
meditative music. It's rare for material this instantaneous to also
express such emotional maturity. Modern pop music at its best.

All the best music is made by fanatics. The kind of people who are
immersed in its wonder, obsessed by the never ending panoply of
electric noise.Whyte Horses are an enigmatic group from Manchester
who make guitars chime like lysergic bells and sing songs so full of
wonder that they make your heart ache. They shape-shift from Turkish
psyche to Brazilian trip music, from acid house to electronica to punk
rock to guitar classic in a heartbeat. It really shouldn't work, but it's
synthesized that it absolutely does. There is a hypnotic beauty to their
music and a poetic perfection to their muse. The band is the brainchild
of Dom Thomas, a music fanatic and chronologist who scours the
planet for obscure and rare vinyl genius. This obsession is in their
musical DNA and Whyte Horses are the sound of people who, on the
quest for the perfect record, decided to make one themselves.

"Melodic, off-kilter and extremely catchy" -Emerging Icons
Fragile Creatures are a rock band on a mission to restore Britain's reputation for original guitar music. They come equipped with an inventive songbook full of instant classics led by catchy melodies, tight harmonies, clever arrangements and great lyrics. They released their debut single, double a-side 'Dear Michael / She Makes Me Nervous' in June 2012 gaining rave reviews and radioplay from Absolute Radio, BBC Introducing and many local stations. 'Dear Michael' went on to win the award for best music video in the Brighton Music Awards 2013.
They returned with an eponymous EP in Autumn 2014, collecting together recordings they'd been working on the previous year which was warmly received by radio and critics. During the summer they decamped to Bath to record a full-length album of fresh material with engineer and producer Stuart Bruce, Stuart's experience of working with diverse artists (from Kate Bush to Yes) makes him ideally placed to capture the creative essence of a band so hard to pigeon-hole.
The debut album from Brighton's Finest Presents, the newest independent label from Brighton backed by BrightonsFinest
top 10 locations reached outside Brighton are London, Manchester, Bristol, Leeds, Birmingham, Cardiff, Southampton, PortsmouthX, Edinburgh and Newcastle.

Having completed a preliminary round of work on their eponymous 2015 album at Rockfield Studios, Wire found themselves with 19 tracks. Among them, there was a critical mass of 11 aesthetically unified songs. In typical Wire fashion, however, the remaining material was something other: it had the sound of a band already moving in a different direction, beyond the album project in which they were engaged at that time. These tracks were the basis for Nocturnal Koreans. The difference between the two clusters of work birthed at Rockfield has its roots in discrete approaches to the studio process itself. Nocturnal Koreans emphasises studio construction over authentic performance, using the recording environment as an instrument, not just as a simple means of capturing Wire playing.

Although it's become de rigueur to talk about Wire's capacity for self-reinvention, that's never the whole story. Certainly, the impulse to pursue fresh ideas with each phase of work is buried deep in their artistic DNA, but they've balanced that commitment to the new with a core character and attitude that's always at some level recognisable as Wire—without being reducible to a formulaic sound. It's this enduring dialectic that gives Wire their unique status as a long-establisXhed band that continues to forge ahead with original music: always unmistakably Wire but always reimagined and reframed with each successive project.

"A Man Alive": das vierte Album der Weird-Folk Gruppe wurde von den tUnE-yArDs produziert. "A Man Alive" wurde in den Tiny Telephone Studios in San Francisco aufgenommen und von Freak Folkerin Merrill Garbus von den tUnE-yArDs produziert. Garbus hat einen neuen Sound aus ihrer Freundin Thao herausgekitzelt. Tanzbar und mit leichten Melodien ausgestattet, rahmt er ein bitteres Thema ein, denn der Man Alive, der für das Album titelgebend ist, ist kein Geringerer als Thaos Vater, der die Familie bereits in ihrer frühesten Jugend sitzen gelassen hat.
- CD in eingeschweißtem, bestickerten Digipak mit einem 12-seitigen Booklet
- LP: schwarze heavyweight LP in eingeschweißtem, bestickerten Sleeve mit bedrucktem inneren Sleeve und MP3-Downloadkarte

First Deep Distance release of the year sees the mighty debut full length from Rhododendron.



Last year saw their debut 10' sell out in 48 hours on the label and was -and remains- a favourite and staple of the more kraut themed sets of Andrew Weatherall's DJ stints. The band also headlined Phonica Records Record Store Day celebrations the year before. So to unleash the full length is timed immaculately and it does not disappoint...



Made on the South Coast entirely from wire, magnetic tape, glass and electricity, Rhododendron make English electronic, psychedelic, industrial motorik music for a cosmic jokers party with Terry Riley, Dieter Moebius and Suicide in the room and all on the wrong drugs.



Assembled by Oliver Cherer (Dollboy, Silver Servants) and Darren Morris (David Holmes, Steve Mason) in St Leonards' North Street Studios 1 and 2 (The Assistant, Wrestler, Dollboy) Rhododendron give you instrumental autobahn anthems ('New Europe', 'Car Crash - Lights Off'), electro-psych wig-out ('Church of T'), paranoid technopunk rant ('Brute Blaster', featuring Eyes In The Heat's Zizi Kanaan), Silver Apples style disto-disco ('Little Rocks') and misfit radiophonic nerd-pop ('A Foreign Language'; described recently as being 'like Sleaford Mods if they'd gone to art school'!)



Turning mindless awkward riffs into mesmerising transcendental trips and genre-hopping work-outs like the updated 'Paris Rendezvous' which features Wooden Spoon's Owen Hills on harmonica sounding like Lee Brilleux jamming with Can.



Analogue synthesizers, tape machines, tape echoes, fuzz tone guitars, test oscillators and broken machines from car boot sales.



A great album in a ltd pressing of 300 only available early to mid March. y

Drittes Soloalbum des Beta Band Frontmannes Steve Mason! Steve Mason kündigt sein drittes Soloalbum an. "Meet The Humans" bewegt sich musikalisch zwischen Electronic, Pop, Folk, Dub und Deep House und befasst sich nach dem politisch ambitionierten Konzeptalbum "Monkey Minds In The Devil's Time" von 2013 inhaltlich wieder mehr mit der persönlichen Verfassung des Gründungsmitglieds der Beta Band. "Meet The Humans" ist in Zusammenarbeit mit Produzent Craig Potter aufgenommen worden, nachdem Steve Mason von Schottland nach Brighton gezogen war. Es ist das bislang wohl unverblümteste, aufrichtigste Album seiner Karriere.

Jordan Klassens neues Album ist eine klare Veränderung seines Sounds: Damals noch Folk, konzentriert er sich heute auf atmosphärische und rhythmische Elemente, die sein bis dato lebhaftestes und vitalstes Album ausmachen. "Javelin" ist dabei von harten Zeiten geprägt und sehr persönlich: seine Depressionen sowie die Brustkrebs-Diagnose seiner Mutter ließen sein Album unter Angst und Verzweiflung entstehen. Dennoch hört man dem Album Selbstsicherheit und Einfallsreichtum an:
"With 'Javelin' Klassen turns away from folk and discovers the sound of Peter Garbiel"

Bridging the gap between their childhood love of Heavy Metal with the 90's American Indie music of their formative years, Puppy is the brainchild of Jock Norton (vocals, guitars), Billy Howard Price (drums) and Matthew Rickelton (bass).
Puppy formed in 2014 and following a few months of writing and recording released two tracks Forever and The Great Beyond, gaining them early attention from the likes of Noisey, NME, DIY and Consequence Of Sound, as well as support dates with the likes of Gengahr and Pity Sex.
"A heavy metal spin on melodic college rock in a way that sounds like Weezer covering Pearl Jam" - Noisey
"By all accounts, Puppy should be your new favourite band. They've got riffs. They've got a sick video. And my god, they've got songs...All slamming guitars, pounding drums, and sweeter-than-sugar vocals, the track's a delightful insight into the beginning of one of the most exciting new bands on our radar." - Vice
Playing live at The Moth Club, London Feb 26th

Treetop Flyers new album Palomino comes two and a half years on from their acclaimed debut album The Mountain Moves. Recorded at the band's own Soup Studios in London, self-produced along with the help of some friends -  and then mixed by Jonathan Wilson (Father John Misty, Conor Oberst, Elvis Costello) - their new outlook was to embrace the unknown, and begin experimenting. New synths, new pedals and new techniques helped them to unravel their own sound, as well as conceptions of the classic qualities laid down by their forebears, ultimately uniting them with a purposely accentuated groove and unfathomably tight vocal harmonies - all threaded together by Reid's own soulful melancholy.
Setting the tone for the album, opener 'You, Darling You' is a reflection on the old saying "sometimes loving someone means letting them go". In this case it's over a failed marriage, but the record picks up on some of the themes of death and departure that made up The Mountain Moves. 31 Years tracks a goodbye to a friend who passed away during the recording of their debut, and St Andrew's Cross is a lament to the passing of Reid's father, used almost in therapy by the band as a way to reconcile the past and the unknown ahead, all at once. Interestingly, it's the band's own smart production (as well as tracks like Dance Through The Night and Falling Back) that injects real life into Palomino.

Aziza Brahim wurde 1976 in einem Flüchtlingscamp in der algerischen Wüste geboren. Seit zwei Jahrzehnten lebt sie im Exil, erst auf Kuba, jetzt in Barcelona. Brahims Leben und Musik ist exemplarisch für die Tragödien und Hoffnungen der heutigen Migranten und Flüchtlinge. In einer Zeit, in der die Grenzen in Europa und darüber hinaus wieder vermauert werden, wirken ihre leidenschaftlichen Songs wie mit poetischem Trotz befeuert - und damit sehr aktuell. Brahims Vorgängeralbum "Soutak" wirkte schon mit großen Schritten darauf hin, ihre Botschaft der Befreiung und des Widerstands zu verbreiten. Das Album führte drei Monate lang die World Music Charts Europe an und nahm dort auch Platz 1 der Jahrescharts 2014 ein. Während auf "Soutak" der musikalische Einfluss ihres Wohnorts Barcelona klar erkennbar war, wurde er auf "Abbar el Hamada" mit Sounds aus Westafrika erweitert. Mit von der Partie sind der senegalesische Perkussionist Sengane Ngom, der Schlagzeuger Aleix Tobias, Guillem Aguilar am Bass und die Gitarristen Kalilou Sangare und Ignasi Cussó. Vom pulsierenden Wüstenrock des Songs "Calles de Dajla" zu den afrokubanischen Anklängen von "La Cordillera Negra", von der düsteren Eleganz in "El Canto Del La Arena" bis zur rauen Ballade "Mani" reflektiert "Abbar el Hamada" immer die rastlose Suche nach Heimat.

Here we go and check some rather fresh band : I FENOMENI, formed in 2010 in Italy with the intention to create the dirtiest and most fuzzed out garage beat ever. Dirty guitar sounds and cheesy Farfisa organ lines on a solid and straightly pushing rhythmical substraction with some melodic vocals sung in Italian language are the ingredients of a joy - and colorful record that feels like a lost gem from not later than 1967. Nobody could tell this was first released in 2013 and reissued right now. Sound, interplay, melodies and spirit speak of smoky clubs with swirls of colors ornamenting the walls and acid drenched drinks being served by topless waitresses in short skirts. You find yourself back in the mid sixties when it all began and the music here brings to mind tons of popular acts from that era. Starting with the early BYRDS, moving along to the US underground heroes such as THE SEEDS, THE STRAWBERRY ALARM CLOCK, THE THIRD BARDO or the later ANIMALS and psyched out JEFFERSON AIRPLANE stuff. If you look for innovations, please stop reading and grab some modern progressive rock for your own joy but if you want to be swallowed into a tunnel of sounds and colors where you can trip easy and free, this is yours. Despite the rather short length of these acid garage beat tunes you will leave what people call reality for a while. Everything here just grabs my soul and melts it away. Memorable melodies, moody riffs and those simmering fuzzed out lead guitars get me lose my senses. This is definitely addictive stuff. If you are a fan of current acid rock like BABY WOODROSE you will not only dig but definitely worship I FENOMENI. The language is rather not important in this context as the voice alone is commanding and you understand the message without understanding the language. Beautiful and haunting. A must have for all psyche and garage freaks.

A fabulous debut 45 up next on The GPS here, following the quick fire sell out of January's 'Dean and Britta' 45 and 'Saddar Bazaar' LPs.

Lake Ruth, the new group formed by vocalist Allison Brice (The Eighteenth Day Of May), instrumentalist Hewson Chen (The New Lines) and drummer Matt Schulz (Holy Fuck, SAVAK, Enon) have announced the release of their debut single 'The Inconsolable Jean-Claude / The Prisoner's Dilemma' on the esteemed UK label 'The Great Pop Supplement'.

Mixed by Greg Hughes of Still Corners, the 7' single will be released on February 22nd, 2016.

Lake Ruth's sound is rooted in 1960's sonic experimentation, and skillfully blends elements of chamber pop, psych, kraut, jazz and electronic music. Cinematic A-side 'The Inconsolable Jean-Claude', an imagined portrait of French composer Jean-Claude Vannier, may appeal to fans of his work, along with those of Serge Gainsbourg and Margo Guryan. B-side 'The Prisoner's Dilemma' evokes Pentangle and The Left Banke, with its baroque instrumentation and atmospheric vocals.

The stereo 45 (cat: GPS130) will be released and distributed direct from the label The Great Pop Supplement via all usual outlets; in a limited edition pressing of 300, and will be available for download and streaming via all major digital distributors. Both tracks will be exclusive to the single, and will not be featured on the forthcoming debut album, also to be released on The Great Pop Supplement for the Spring of 2016.

"One of the finest outings to have appeared in recent times on the illustrious GPS imprint... simply exquisite." — The Sunday Experience

Having recorded five albums in 10 years and toured extensively in support of all of them, Nada Surf opted to follow 2012's cracking The Stars Are Indifferent To Astronomy with a brief but well-earned hiatus. So in January 2015, when Caws informed Nada Surf's vociferous Facebook following that a new record was just about done, the news was greeted with explosive enthusiasm. The music was in the can, he announced, and all that remained was to finish up a few lyrics and sing a few vocals, something he planned to do on off-days off during an upcoming solo acoustic tour. Caws even included a photo of the recording set-up he was bringing in the car. I was so eager to have an album done that I believed in it as it was,' Caws recalls. But the great thing about being 'finished' is that you can take a breath and evaluate, because the pressure to 'do it' is gone. The more I listened and thought about it, the more I realized that I might want to keep working.' Caws continues. There were already a bunch of songs in the can that we all liked, so I could think more expansively about what the album could be." And lo and behold, what would have been another really good Nada Surf album (their seventh since getting signed to a major in the go-go 90's and scoring a worldwide alterna-hit with Popular') became what could well be the most representative collection of the group's two-decade career, all while pushing towards whatever comes next.

The Great Pop Supplement/Crimson Crow

London-based psych-folk outfit The Hanging Stars release their much anticipated debut album Over the Silvery Lake in March 2016 via The Great Pop Supplement / Crimson Crow (CD). Blending folky, pastoralism with swampy 60s Americana, they sound like the missing link between the California desert sun and the grey skies of London Town. The album was recorded between LA, Nashville and Walthamstow, with each of these vastly different places leaving an indelible mark on the songs.

Fronted by London-based songwriter, singer and guitarist Richard Olson (The See See, Eighteenth Day of May), The Hanging Stars are essentially a loose collective of people who weave together a blissed-out psychedelic tapestry. The rest of the core band is made up of Sam Ferman on bass and Paulie Cobra on drums, also featuring Horse (Dan Michelson and the Coastguards) on pedal steel, Patrick Ralla (The Alan Tyler Show) on banjo, guitar and assorted instruments and Phil Anderson on Keyboards. They jam rather than write and hang out rather than rehearse, harnessing a kind of tipsy euphoria resplendent with luscious arrangements and glorious vocal harmonies.

During 2015, the band released two critically acclaimed singles via The Great Pop Supplement (both of which also appear on the album). 'Golden Vanity' was premiered by The Line of Best Fit who said; 'you'd be forgiven for thinking you'd just unearthed a rare deep cut from the late 60s/early 70s boom of psychedelia infused Americana' and 'The House on The Hill' was described by The Guardian as; "a hazy, desert-dream of a song, nicely sharpened with steely-eyed guitars, Mersey-laced harmonies and just a whiff of the Gun Club'. They picked up a good amount of support at 6 Music and 'The House on the Hill' scored a much-coveted 10/10 by John Robb on Steve Lamacq's Roundtable. The Hanging Stars played a sold-out three-night residency at London's Betsey Trotwood, recently shared the stage with The Clientele at Islington Assembly Hall and have toured extensively throughout Europe.

There are a number of allusions to nature and the weather on the album, borne in part out of the contrasting surroundings in which it was produced. The band's fascination with Americana led them to record some of the material Stateside, laying down some of the parts at Battle Tapes Studios in Nashville (Lambchop, Paperhead), as well as at Vision Quest Studios in Los Angeles with Rob Campanella. His work with The Quarter After, The Brian Jonestown Massacre, Beachwood Sparks The Tyde, and GospelbeacH was a perfect match to capture their sound and they even had San Franciscan legend Chrystof Certik step in on lead guitar for a couple of tracks.

Following the LA recordings, a trip to the Californian desert provided the core notion of what they wanted to produce - a shard of light that they clung on to whilst recording the rest of the album in the significantly more rain soaked atmosphere of Walthamstow, London, under the watchful eye of Brian O'Shaughnessy at Bark Studios (The Clientele, Comet Gain, My Bloody Valentine). As the band explain: 'Ultimately we hope you can hear both the sand and the rain in this record.'

The Hanging Stars place themselves firmly as part of a long folk tradition encompassing European and North American influences - as a continuation rather than a pastiche of these styles. This is the sound of a band really coming in to their own, fully formed and in no doubt of their vision. With Over the Silvery Lake they succeed in producing a record, which has the country, blues and folk traditions at its heart. And what a big heart it is. Embrace it.

"a hazy, desert-dream of a song, nicely sharpened with steely-eyed guitars, Mersey-laced harmonies and just a whiff of the Gun Club." - Guardian

"Swampy psychedelia that recalls the Medway Delta as much as the Mississippi, the band's new single neatly conjoins these influences." - Clash

Musik, die in die Seele eindringt: George Dzodzuashvili hat sein Tagträumer-Projekt reaktiviert.

Der Projektname führt gleicht doppelt in die Irre. Weder haben wir es bei den Post Industrial Boys mit einer Gruppe zu tun, noch mit jungen Männern. Im Grunde steht hinter dem Ganzen nur George Dzodzuashvili aka Gogi, ein (erwachsener) Musiker aus Tiflis. Zusammen mit TBA / Natalie Beridze ist er auch Teil des Künstlerkollektivs Goslab. Unter dem Alias Post Industrial Boys hat Dzodzuashvili bereits zwei Alben auf Max.Ernst veröffentlicht, dem Label des Kölner Elektronikminimalisten Thomas Brinkmann. Und das, obwohl der feinsinnig-stimmungsvolle und elegante Pop, über den Dzodzuashvili eine kurios-monotone Sprechgesangsform legt, zwischen all den dort sonst üblichen klaren Techno- und experimentellen Elektronikveröffentlichungen sympathisch "fehlplatziert" klingt. Oder vielmehr: klang. Denn zwischenzeitlich hatte Post Industrial Boys eine zehnjährige Projektpause eingelegt. Mit anderen Worten ist Max.Ernst Vergangenheit, die Gegenwart lautet Karaoke Kalk. Und Dzodzuashvilis neue Label-Heimat passt soundtechnisch nun wirklich wie die berühmte Faust aufs Auge. Die zehn sehr gefühlvollen Stücke von "Unintended" verschmelzen ein dunkles Sounddesign mit zugänglichen Melodien, klinisch reinen Songstrukturen und lyrisch nachdenklichen Texten in höchster tagträumerischer Qualität.

Angriffslustiges Elektropunk-Feuerwerk aus Kiel: Das geht ins Tanzbein und bleibt im Ohr.

Wer sich bei dem Bandnamen an Trio erinnert fühlt, hat schon mal die richtige Fährte. Lassen wir mal außen vor, dass die Kieler Formation um Simme, Henner und Stulle ebenfalls aus drei markanten Individualisten besteht. Viel auffälliger ist jedoch die Ähnlichkeit mit dem Song "Sie kam Australien" des ehemaligen TrioSchlagzeugers Peter Behrens aus dem Jahr 1990. Und hört man dann noch in das Debütalbum von Sie Kamen Australien hinein, nimmt schnell der Gedanke feste Konturen an, es hier mit einem zeitgemäßen Update der Großenknetener zu tun zu haben. Will heißen: So könnten Stefan Remmler und Konsorten 2016 klingen. "Peter ist der Wolf" geht mit Wortwitz, Selbstironie und Minimal-Charme ins Tanzbein und macht trotz - oder vielleicht auch gerade wegen - klarer Botschaften und tiefgründiger Texte eine Menge Spaß. Sie Kamen Australien paaren Gesang, Gitarre, Bass und Drums mit flotten Beats aus der Konserve und köcheln daraus frische Indie-Disco-Sounds, für die auch Kraftklub, WhoMadeWho und Deichkind als Referenz herhalten könnten. Produziert wurde "Peter ist der Wolf" von Gudze Hinz und Tim Humpe (H-Blockx). Attacke!

incl collabs with Etienne de Crécy, Alex Gopher, Zombie Nation & John Roman) 'Collaborations' is an ep on which The Subs joined forces with both iconic names and underground producers

'We should really work together one day.' There's no bigger cliché to be heard in backstage areas, that mythical transit zone where producers and deejays meet, chat and then hop on their tour buses again. Belgian dance-act The Subs heroically plotted collaborations with fellow musicians in various dressing rooms across the globe. What is truly heroic is that in their case, those nightly encounters led up to actual music, and some damn fine music too.
'Collaborations' is an ep on which The Subs joined forces with both iconic names and underground producers like Etienne de Crécy, Alex Gopher, Zombie Nation & John Roman.

A new album is planned for . With this EP however, The Subs confirm their firm roots in the club scene.

FEEDBACK
early support from:

Crookers: amazing
Fake Blood: I'm into the Etienne de Crecy collab. I'm always on the look-out for good midtempo rollers!
erol alkan: thanks!
Canblaster: oh cool a track with de crecy :)
tiga: trying EDC
TAI: SOOOOO GOOOD TO HEAR BACK FROM YOU GUYS!!!!! LUV LUV LUV AND MUCH APPRETIATION MY FRIENDS!!!!
Mumbai Science: Wow! Really like this release! Very exciting stuff and can't wait to hear the album! Belgium's finest. The John Roman and Shinichi collabs will be in our sets for sure!
Jägerverb: 'The Mouth' is the one for me.
Tommie Sunshine: all 4 are super solid. FULL SUPPORT!!!
BeatauCue: Great tracks! my favorite is the one with John Roman
don rimini: The Mouth dude !!!!
Bart B More: Love the Shinichi and Hoshina collabs!
mixhell: great collabs here!!! full support! x
Shameboy: Love The Moment To Give! Classic!
Rob Threezy: John Roman kills it!!!
The Aston Shuffle: Love it.. FULL SUPPORT!!!
Raving George: Great EP, great collabs. The Moment To Give has an extremely high "feel good" rate. John Roman collab is very strong with percussion as usual. Love it. Favorite is French Soda because of the dark and somewhat spooky elements.
Compuphonic: The Subs & Etienne De Crecy ! LIKE !
Fuzz Magazine: Enkele geweldige stukken clubmuziek! Review komt er aan!
boeufx: good colabo enjoy
Matthew Samoylov: Absolute banger from The Subs. Those collaboration made they music sound even more powerful. Full Support!!!!!! Thanks
Mason: So so so good guys..
Aerotronic: The Mouth, big track!
Nobody Beats The Drum: Demon for me!
Het Alternatief/Sander Hucke: Nice tracks..Moment to Give & French soda will be played
Baroque: everything is cool! especially Hoshina !
Brandon (Metrojolt): John Roman's amazing and I love how what happened when the subs and etienne de crecy work together. not sure what i expected, but it's perfect.
Aden (MOS, au): wow - love the EDC collab!
BONES (Gotta Dance Dirty): 'Moment Of Truth' and 'French Soda' are very cool
Turbo Turbo (GND): great release! like French Soda, killer track!
Andre Langenfeld, Fritz FM Berlin: etienne de crecy is ace - thanks!
jerry bouthier JBAG: EdC for me, thx, supporting
HADE + DWFL (Ampersand): Definitely "The Mouth" - Strong!
Bird Peterson: The Moment To Give is huuuuuuuge! Great EP all around! WIll def support
Jason Eldredge: This is great!
colonel (partyharders): 9/10 ....
S-File: For me French Soda with Ice please. Hoshina did a great Job again.
Laidback Luke: Downloading for Laidback Luke
Maxcherry (Bootshaus/Cologne): Nice collaborations. Will try them out!
geht's noch: wow! the mouth is echt zot!
designer drugs: this was just what i have been looking for
Mr.Magnetik: Great release ... love the hoshinaaaaa !
Fedde Le Grand: Thank you for the music you sent us! We look forward to reviewing it. Should we decide to use your material we will notify you as soon as possible...

Eintauchen und treiben lassen: Atmosphärische Klangwelten fürs Kopfkino.

Den Titeltrack schickten sie im Herbst 2015 schon mal auf einer EP sowie als "Andrew Weatherall Remix" voraus, nun folgt das zugehörige, gleichnamige Debütalbum. Aber gerne, 2016 ist die Welt bereit für das Musikerkollektiv Unloved. Deren Stücke baden in zuckersüßen Sixties-Harmonien, zeigen sich durch George "Shadow" Morton inspiriert, lassen die epischen Soundtracks von Ennio Morricone wieder aufleben, erinnern an Phil Spectors Wall of Sound und zitieren Raymond Scott. Hört sich atmosphärisch an, und so klingt es auch. Hinter Unloved stehen der nordirische Musiker, DJ und Filmmusik-Komponist David Holmes, der Komponist und Keyboarder Keefus Ciancia ("True Detective") und die Singer/Songwriterin Jade Vincent (The Jade Vincent Experiment). Sie haben einen Kreis namhafter Musiker und Sängerinnen um sich geschart, mit denen sie seit 2013 regelmäßig während einer wöchentlichen Clubnacht im Rotary Room in Los Angeles gemeinsam, aber in wechselnder Besetzung musizieren. Bei den Aufnahmen für "Guilty Of Love" waren Woody Jackson (Red Dead Redemption), Gus Seyffert (Beck, The Black Keys), Jay Bellerose (T-Bone Burnett) und Deantoni Parks (John Cale) beteiligt.

Hingebungsvoller Pop zwischen tastenlastigem Electro-Indie-Rock und brachialfiligranem Folk.
Nachdem sie 2014 mit ihrer Debüt-EP "Curtains" die Spitze der schwedischen iTunes-Charts eroberten, diverse Awards in Schweden abräumten sowie Konzerte in Deutschland, Spanien, der Schweiz und Skandinavien ausverkauften, gelten Vita Bergen nicht nur in ihrem Heimatland als eine der "most talked about bands", sondern vielmehr als "next big thing" der europäischen Indie-Szene. Sänger William Hellström hat die Ausstrahlung eines Sektenführers auf Speed. An seiner Seite Robert Jallinder, der mit Hellström die Band gründete und den Ruf hat, einer der exzentrischsten Gitarristen Skandinaviens zu sein. Vita Bergens Auftritte sind bemerkenswert wuchtig. Auf der Bühne wirkt das Duo, das live zur achtköpfigen Band aufgestockt wird, chaotisch, getrieben und leicht exzentrisch. Hellström und Jallinder machen hingebungsvollen Pop, der zwischen den Polen tastenlastiger Electro-Indie-Rock einerseits und brachialfiligraner Folk andererseits pendelt. Doch egal in welche Richtung das Pendel ausschlägt, Vita Bergen schreiben einfach unfassbar mitreißende Melodien. Das auf Glitterhouse erscheinende Debütalbum "Disconnection" legt davon ein beredetes Zeugnis ab

Spanning from their humble beginnings way back in 1987 to the height of their popularity in 1993, from Olympia college radio to the stage of SNL, this collection showcases some of Nirvana's greatest live performances of all-time. Essential.

Nachdem sie 2014 mit ihrer Debüt-EP "Curtains" die Spitze der schwedischen iTunes-Charts eroberten, diverse Awards in Schweden abräumten sowie Konzerte in Deutschland, Spanien, der Schweiz und Skandinavien ausverkauften, gelten Vita Bergen nicht nur in ihrem Heimatland als eine der "most talked about bands", sondern vielmehr als "next big thing" der europäischen Indie-Szene. Sänger William Hellström hat die Ausstrahlung eines Sektenführers auf Speed. An seiner Seite Robert Jallinder, der mit Hellström die Band gründete und den Ruf hat, einer der exzentrischsten Gitarristen Skandinaviens zu sein. Vita Bergens Auftritte sind bemerkenswert wuchtig. Auf der Bühne wirkt das Duo, das live zur achtköpfigen Band aufgestockt wird, chaotisch, getrieben und leicht exzentrisch. Hellström und Jallinder machen hingebungsvollen Pop, der zwischen den Polen tastenlastiger Electro-Indie-Rock einerseits und brachialfiligraner Folk andererseits pendelt. Doch egal in welche Richtung das Pendel ausschlägt, Vita Bergen schreiben einfach unfassbar mitreißende Melodien. Das auf Glitterhouse erscheinende Debütalbum "Disconnection" legt davon ein beredetes Zeugnis ab.

"Ellinor Nilsson aka De Montevert is finally back with new material, A new album that she treats as her debutalbum even though she released 'Friends & Enemies' in 2012 to standing ovations. It´s a moodier, darker and more dynamic De Montevert that presents herself in 2015. A strong female artist that takes place on a very male oriented arena. An album that talks about love and betrayal into the last detail.

Raw and honest compositions with the melodies and lyrics always in the centre of attention. Because De Montevert always had the ability to explain the most complicated emotions in a crystalclear way.

This took a while. After spending almost 2 yearstrying out different studios and producers she finally found home with producer Kalle Johansson in a small small studio on the outskirts of Umeå (northern Sweden). The album was then recorded in 2 weekends. Alot of first takes, no looking for singles, just making a coherent album.'

"Ellinor Nilsson aka De Montevert is finally back with new material, A new album that she treats as her debutalbum even though she released 'Friends & Enemies' in 2012 to standing ovations. It´s a moodier, darker and more dynamic De Montevert that presents herself in 2015. A strong female artist that takes place on a very male oriented arena. An album that talks about love and betrayal into the last detail.

Raw and honest compositions with the melodies and lyrics always in the centre of attention. Because De Montevert always had the ability to explain the most complicated emotions in a crystalclear way.

This took a while. After spending almost 2 yearstrying out different studios and producers she finally found home with producer Kalle Johansson in a small small studio on the outskirts of Umeå (northern Sweden). The album was then recorded in 2 weekends. Alot of first takes, no looking for singles, just making a coherent album.'

Mastered by Sonic Boom (aka Peter Kember of Spacemen 3/Spectrum) First Light is Sennen's fifth album in a career that began back in 2002. First Light occupies its own universe , a strange hinterland that exists between opposites - consciousness and sleep, certainty and uncertainty, instinct and intuition, guitar-based rock music and something altogether more ethereal and nebulous.

Sennen have always revelled in their outsider status, forever forging forwards with new ideas, never aligned to any one scene, perenially suspicious of the shoegaze / post-rock tags pinned to them (stargaze might be a more apt term). While their acclaimed 2005 debut album Widows certainly showed an affinity with such aural architects as Explosions In The Sky and Godspeed You Black Emperor, their inability to remain static has ensured a back catalogue containing an embarrasment of riches. Where The Light Gets In (2008) was built on a seamless cross pollinating of styles - sweeping strings here, stirring pianos there - while Age Of Denial (2010) saw the dual harmonies of Laurence Holmes and Rich Kelleway defining Sennen's sound. Lost Harmony (2012) meanwhile was observational, reflective and self-critical and showed both Americana and kosmiche influences, as well as dipping into joyous synth-pop

With members now based in London and Nottingham, First Light was born out of a return to the source: making music because it is a life force. Art for art's sake. It came after a crisis of confidence of sorts. 'After our last album, the idea of being in a band beyond your twenties suddenly seemed a ridiculous and indulgent thing to do,' explains singer/guitarist Laurence Holmes. 'Life is full of distractions that can make you complacent and we found ourselves asking why do we make music Should we continue Isn't there more to life Somehow though we were drawn back to this rehearsal room to have these sessions, improvising insane half hour-long songs. None of it was Sennen - and that was a good thing. The plan was: no plan. What we learnt was that we need music as much as ever.'

Around this time all four band members read Michael Azerrad's 80s alt-rock history Our Band Could Be Your Life and recognized within its stories the same struggles that any band faces today. 'Though we're not remotely a hardcore band, we found ourselves hugely inspired by that do-it-yourself energy and willful individualism of those outsiders,' says Holmes. 'So the first song on our new album is eight minutes long, the first single is seven minutes, the biggest pop song on there doesn't even have a chorus - all of the things that made us lose our way could suddenly be viewed as strengths. It was liberating. We made music entirely on our terms. We made the soundtrack for our lives.'

Though inspired by the luminaries of first-wave shoegaze and post-rock (they took their name from a Ride song - itself from the rugged Cornish cove), Sennen prefer textures to bombast, subtle shifts to grand gestures. Honeyed harmonies over an arsenal of pedals. They create music of a discinctly melodic and pop-infatuated bent - The Carpenters were cited as a primary influence on 2012's Lost Harmony - that is progressive in its reshaping of sound.

Sonically, Sennen's sound has always been one preoccupied with melody, each barbed riff dipped in sugar, every recorded song embued with a gravitorial sense of weightlessness - what NME once described as akin to 'The sound of Simon & Garfunkel singing over Mogwai'. They professes a love for, amongst others, Glen Campbell, Neil Young, New Order (whose 'Bizarre Love Triangle' they have covered) and Elliot Smith. In First Light, some ears might also hear nodding references to the proto-ambience of Eno, the tones of Seefeel and Slowdive, the drone-pop of The Telescopes, the floral and fauna-clad sounds of British Sea Power, the evocative other-worldliness of Sigur Ros. Ultimately though it is pure pop music - cerebral and uplifting pop music, out of which emerges an irrespressible melodic streak and a clear falling in love with music all over again.

Sennen exist in the outer reaches - of both sound and music. They are outliers, outsiders, dreamers. Their intentions are utterly pure, their graceful sound that of exploration and liberation.

Re-issue on Heavy Vinyl. Last album'Distractions' on Upset the Rhythm has done very nicely so a repress here is timely. An evolving band of young future humans making truly irregular punk not quite comparable to anything else; Sauna Youth's debut long-player, 'DREAMLANDS' was a joint release between Gringo Records and Faux Discx. The band, attracted to the possibilities apparent within a DIY philosophy have been self-recording and self-releasing their own music since 2010, creating a number of 7's splits and cassettes. Weird' is a meaningless platitude, and 'art punk' is a classifier that shouldn't be required. Sauna Youth journey into the far-reaching wilds of the unfolding psyche and feast on the chaos within, quickly collapsing any pre-conceived notions within minutes of impolite introduction. The LP is a lyrical commentary on being addicted to the distractions preventing engagement with real life; unbreakable routines, relationships based on silence and mindless sex, repetitive and superficial interaction. This is not a dull lecture on disaffection, it is the dawning realisation in hundred-mile-anhour downstrokes, hypnotic samples going off like permanent alarms and competing vocals. The 5 track offering, found on the B-side, commences with a furious and bracing rush of noise bearing a dissatisfied narrative. 'PLANNED DESIGNS' leads with the dissection of artistic conventions and a treatise on space, the space we inhabit and the space we can alter and form for our own needs and desires, a dual-vocal declaring, 'Works of art of nothing/Works of art from nothing/Works of art of nothing but works of art.../We want somewhere to play'. A collective frustration reigns; it rings from the impulsive, fizzing spill of 'SNAPBACK', gathering in the blunt pace of 'PSI GIRLS'; an eloquent reflection of the lost ability to communicate. The careering 'VISCOUNT DISCOUNT' chronicles the trap of enforced life choices ('Remits, Compromise, Boxes to tick/Straight, Narrow, Guidelines, rules cut to fit/There's a mind just disengaged') and all accumulates with the knowing desperation of 'HAIRSTYLES', darkly delivered over the hardest unrelenting 4/4 backbeat. The A-side carries 'TOWN CALLED DISTRACTION', a spoken-word short story written by Patrick Fisher (of Cold Pumas) and Sauna Youth's own Harper Ecke, read by Martha Orchard (of Edible Arrangements) and Bobby Krlic (The Haxan Cloak), that serves as an introduction to the created world in which the characters and narratives of the band thus far have inhabited, gripped by an instrumental that careers with visceral energy. Artistic affinities are pledged to Eddy Current Suppression Ring, Pissed Jeans and The Intelligence, but as Kurt Cobain once asked 'Why can't we be both Black Sabbath and The Beatles', Sauna Youth consistently and urgently pose the question, 'Why can't we be both The Ramones and Steve Reich.

* 180 gram audiophile vinyl
* Gatefold sleeve / 6 page insert
* Printed innersleeves

Industrial Silence is the debut album by Norwegian alternative Rock band Madrugada. The album contains the singles "Electric", "Higher" and "Beautyproof" plus live favourite "Vocal".

The album kicks off with the majestic "Vocal", with its dense and thick guitar sound and singer Sivert Høyem's distinctive crooning on top of it all. What's really impressive on this album, besides the quality of the songs, is guitarist Robert Burås' creative and versatile playing. He plays everything from country-like slide guitar leads to fierce punk rock power chords, gentle acoustic strumming, and something not unlike flamenco on the apocalyptical "Salt".

Madrugada, although having successful singles and EPs on the Norwegian charts, are most definitely not a singles band. Their strength is not catchy three-minute pop songs, it is their epic, melancholic ballads like "Electric" and "Shine," and intense rockers like "Higher," that make Madrugada stand out.

Norwegian indie band Snøskred (pronounce the Ø as the «i» in bird) are back with their first album since 2012. «Empty House» is an elegant exploration of «bands with guitars in them» to quote Snøskred themselves.

After starting out as a shoegaze influenced act in 2012, Snøskred have reinvented themselves and the 2015 version sees them drop the cascadeing noise in favor of classic 90's indie stylings. Referential, but not conservative, they mention bands like Pavement, Wilco, Talk Talk and Yo La Tengo as important influences on their new sound. Subtle, slow burning and introvert but still quite immediate and engaging. It feels like Snøskred have something truly timeless etched in the grooves.

Lead single «Puzzle» was released in september and got lots of positive reviews, among them kind words from The Guardian and Amazing Radio.

Singer Karl Klaseie: Puzzle is a simple song living in a complex world. The melody and lyrics are innocent, while guitars are tumbling and falling around them. It was the last song written and recorded for our upcoming record, and it came at a point where a lot of the elements that makes up this record already were there: Fripp guitars, echoing drum machines, the viola sound of an Arp Omni. Too easy.

Drummer Kyrre: I remember the sun beating on the excessively large storefront window of the studio making the control room hotter and hotter. I remember missing the sound of the fans we went out to buy for the studio when I heard the recordings at home. I remember listening to strange overdubs in a room with practically no oxygen in it. My head works differently in the summer and I think that the unusually warm summer of 2014 in Trondheim gave the music its own particular logic.