Pop & Rock Vinyl New Releases - News

TEEN's new album, Love Yes, explores the disharmony and empowerment that both sexuality and spirituality can create within the modern woman's psyche. Universal ideas of loyalty, pleasure, purity, power, aging, and love are confronted with a knowable specificity. There is a quality of wholesomeness, but also an edge—a kind of wise anger and electricity.

After extensive touring following their breakthrough release The Way and Color (2014), the band had to keep traveling to find Love Yes. The group first went to Woodstock in the dead of winter to write new material. Here, keyboardist and singer Lizzie Lieberson created the stunning, autobiographical Please.' But the band, and especially lead singer and multi-instrumentalist Teeny Lieberson, felt a crushing lack of creative energy. Recognizing the need to recharge, they took some time off. Teeny moved to a small lakeside cabin in Morehead, Kentucky. Surrounded by rolling hills, sparked with sudden thunderstorms, and inspired by the musical joy of uninhibited late-night bluegrass jams and barn parties, Teeny immediately began writing again. Here she felt a new freedom in her songwriting, drawing on themes important to her identity as a woman, and exploring love, sexuality, and the tension between desire and the construct of desire that can exist within oneself, in relationship, and within society.

After three weeks in Morehead, Teeny returned to New York to workshop with rest of the band, including drummer Katherine Lieberson and bassist Boshra Al-Saadi. Acknowledging the benefits of being creative in a cocoon like the lakeside Kentucky country, the band decided to record at the Old Confidence Lodge, in secluded Riverport, Nova Scotia. Leaving the noise and relentless energy of the city behind, TEEN retreated into the nurturing stillness of Nova Scotia, the Lieberson sisters' childhood home. Situated on the La Have River, the studio was hidden in a perpetual mist while the band recorded day and night. Fueled by new material, a change of place, and creative collaboration, the lull of the winter lifted and the band came together in a new way. Teaming up once again with producer Daniel Schlett, TEEN wanted to capture the energy of full band recording. Rather than multi-tracking, Schlett worked with the band as they played the songs relentlessly, waiting to achieve the right energy and take as a group.

The result is a beautiful, detailed album about womanhood and the embodiment of the sensual, played by a group fully in step with one another. Love Yes bursts into the static air
with a vibrancy recognized by its confidence and power.

On the album cover, the quartet is bejeweled in crystals and bathed in Venusian red. This red is the colour of vitality and pulsing life — unmistakable traits of Love Yes. It is the iconic red of Dorothy's slippers and Eve's apple — potent with society's tales and notions of innocence lost. In Love Yes, something else more mysterious and tender is gained.

Limited deluxe pressing on 2x transparent red vinyl
TEEN's new album, Love Yes, explores the disharmony and empowerment that both sexuality and spirituality can create within the modern woman's psyche. Universal ideas of loyalty, pleasure, purity, power, aging, and love are confronted with a knowable specificity. There is a quality of wholesomeness, but also an edge—a kind of wise anger and electricity.

After extensive touring following their breakthrough release The Way and Color (2014), the band had to keep traveling to find Love Yes. The group first went to Woodstock in the dead of winter to write new material. Here, keyboardist and singer Lizzie Lieberson created the stunning, autobiographical Please.' But the band, and especially lead singer and multi-instrumentalist Teeny Lieberson, felt a crushing lack of creative energy. Recognizing the need to recharge, they took some time off. Teeny moved to a small lakeside cabin in Morehead, Kentucky. Surrounded by rolling hills, sparked with sudden thunderstorms, and inspired by the musical joy of uninhibited late-night bluegrass jams and barn parties, Teeny immediately began writing again. Here she felt a new freedom in her songwriting, drawing on themes important to her identity as a woman, and exploring love, sexuality, and the tension between desire and the construct of desire that can exist within oneself, in relationship, and within society.

After three weeks in Morehead, Teeny returned to New York to workshop with rest of the band, including drummer Katherine Lieberson and bassist Boshra Al-Saadi. Acknowledging the benefits of being creative in a cocoon like the lakeside Kentucky country, the band decided to record at the Old Confidence Lodge, in secluded Riverport, Nova Scotia. Leaving the noise and relentless energy of the city behind, TEEN retreated into the nurturing stillness of Nova Scotia, the Lieberson sisters' childhood home. Situated on the La Have River, the studio was hidden in a perpetual mist while the band recorded day and night. Fueled by new material, a change of place, and creative collaboration, the lull of the winter lifted and the band came together in a new way. Teaming up once again with producer Daniel Schlett, TEEN wanted to capture the energy of full band recording. Rather than multi-tracking, Schlett worked with the band as they played the songs relentlessly, waiting to achieve the right energy and take as a group.

The result is a beautiful, detailed album about womanhood and the embodiment of the sensual, played by a group fully in step with one another. Love Yes bursts into the static air
with a vibrancy recognized by its confidence and power.

On the album cover, the quartet is bejeweled in crystals and bathed in Venusian red. This red is the colour of vitality and pulsing life — unmistakable traits of Love Yes. It is the iconic red of Dorothy's slippers and Eve's apple — potent with society's tales and notions of innocence lost. In Love Yes, something else more mysterious and tender is gained.

TEEN's new album, Love Yes, explores the disharmony and empowerment that both sexuality and spirituality can create within the modern woman's psyche. Universal ideas of loyalty, pleasure, purity, power, aging, and love are confronted with a knowable specificity. There is a quality of wholesomeness, but also an edge—a kind of wise anger and electricity.

After extensive touring following their breakthrough release The Way and Color (2014), the band had to keep traveling to find Love Yes. The group first went to Woodstock in the dead of winter to write new material. Here, keyboardist and singer Lizzie Lieberson created the stunning, autobiographical Please.' But the band, and especially lead singer and multi-instrumentalist Teeny Lieberson, felt a crushing lack of creative energy. Recognizing the need to recharge, they took some time off. Teeny moved to a small lakeside cabin in Morehead, Kentucky. Surrounded by rolling hills, sparked with sudden thunderstorms, and inspired by the musical joy of uninhibited late-night bluegrass jams and barn parties, Teeny immediately began writing again. Here she felt a new freedom in her songwriting, drawing on themes important to her identity as a woman, and exploring love, sexuality, and the tension between desire and the construct of desire that can exist within oneself, in relationship, and within society.

After three weeks in Morehead, Teeny returned to New York to workshop with rest of the band, including drummer Katherine Lieberson and bassist Boshra Al-Saadi. Acknowledging the benefits of being creative in a cocoon like the lakeside Kentucky country, the band decided to record at the Old Confidence Lodge, in secluded Riverport, Nova Scotia. Leaving the noise and relentless energy of the city behind, TEEN retreated into the nurturing stillness of Nova Scotia, the Lieberson sisters' childhood home. Situated on the La Have River, the studio was hidden in a perpetual mist while the band recorded day and night. Fueled by new material, a change of place, and creative collaboration, the lull of the winter lifted and the band came together in a new way. Teaming up once again with producer Daniel Schlett, TEEN wanted to capture the energy of full band recording. Rather than multi-tracking, Schlett worked with the band as they played the songs relentlessly, waiting to achieve the right energy and take as a group.

The result is a beautiful, detailed album about womanhood and the embodiment of the sensual, played by a group fully in step with one another. Love Yes bursts into the static air
with a vibrancy recognized by its confidence and power.

On the album cover, the quartet is bejeweled in crystals and bathed in Venusian red. This red is the colour of vitality and pulsing life — unmistakable traits of Love Yes. It is the iconic red of Dorothy's slippers and Eve's apple — potent with society's tales and notions of innocence lost. In Love Yes, something else more mysterious and tender is gained.

Deluxe content only w/download code.

¡VIVA HINDS! Hinds will release their highly anticipated debut album entitled Leave Me Alone on January 8th, 2016 via Lucky Number. Twelve perfectly imperfect and charmingly lo-fi tracks inspired by contemporary American garage rockers like Mac DeMarco, Ty Segall and The Black Lips, Leave Me Alone is an exciting introduction to the fun-loving quartet pioneering the burgeoning indie music scene in Madrid.

Heavyweight Transparent Yellow Heavyweight Vinyl w/download code.

¡VIVA HINDS! Hinds will release their highly anticipated debut album entitled Leave Me Alone on January 8th, 2016 via Lucky Number. Twelve perfectly imperfect and charmingly lo-fi tracks inspired by contemporary American garage rockers like Mac DeMarco, Ty Segall and The Black Lips, Leave Me Alone is an exciting introduction to the fun-loving quartet pioneering the burgeoning indie music scene in Madrid.

¡VIVA HINDS! Hinds will release their highly anticipated debut album entitled Leave Me Alone on January 8th, 2016 via Lucky Number. Twelve perfectly imperfect and charmingly lo-fi tracks inspired by contemporary American garage rockers like Mac DeMarco, Ty Segall and The Black Lips, Leave Me Alone is an exciting introduction to the fun-loving quartet pioneering the burgeoning indie music scene in Madrid.

A year ago Rhodes had played just a handful of live shows. Now, 12 months later, he is something of a veteran, having supported Sam Smith, London Grammar, Laura Marling, Nick Mulvey and Rufus Wainwright. He has toured the UK, sold out three nights at London's Sebright Arms, as well festival performances at Glastonbury, Wilderness and Latitude to name a few.
Now signed to Ministry of Sound through his own Rhodes Music imprint, Rhodes releases a stunning new EP 'Home' October 19th. He is a singular talent. His voice is striking and the stark simplicity of his songs is initially deceptive. Whether he plays electric guitar or keyboards, solo or with a band, the sound totally belongs to him.
Using producers Ian Grimble (Daughter), Tim Bran/Roy Kerr (London Grammar) and Iain Archer (Jake Bugg), 'Home' showcases Rhodes impressive song writing talent. Lead track 'Breathe' is beautiful, held together by a stripped back verse and a glimmering chorus. The endearing anthemic title track leads into bittersweet piano ballad 'What If Love'. The EP picks up the tempo and closes with the warming and catchy 'Crash'.
Rhodes will tour the UK with his band in support of 'Home'

Malian blues heroes Songhoy Blues follow-up their critically acclaimed debut LP, Music In Exile, with Re-Covered - an EP of covers
- Having already had a hugely successful 2015, including a recent nomination in the Best New Band category at this year's Q Awards, Songhoy Blues go into the end of the year by announcing their biggest UK headline show to date, a deluxe version of their much-acclaimed debut album 'Music In Exile' and a brand new EP, 'Re-Covered'.
- The deluxe edition of 'Music In Exile', released on CD and download, features three new tracks - staggering re- interpretations of tracks by some of the group's key influences. These bonus tracks are also released as a standalone single on 12' and digital download.
- A re-versioning of the Clash's 'Should I Stay Or Should I Go' features new lyrics addressing the difficult decision confronting refugees around the world - a literal 'Should I Stay' and suffer persecution at home or 'Should I Go' and face potential social injustice and prejudice.

Rhodes grew up in Hitchin where his father introduced him to the blues when he was small most notably Robert Johnson. Soon after he began to play guitar and his best friend's sister later turned him onto Nirvana, Blur and Oasis at which point he took up piano. While at a local college, Rhodes regularly met other musicians at Club 85. After moving to London, he joined a band as their bassist, which quickly became a catalyst for songwriting.
It taught me a lot about putting songs together,' says Rhodes. About rhythm and what gives a song its backbone.' However, singing came late to him. I've been playing guitar since I can remember but singing was something I was just too afraid to do.'
He's spent the last 18 months quickly making up for lost time because it's his voice that really defines Rhodes, setting him apart from everyone else. This was never more apparent than on a recent Huw Stephens Radio 1 session when Rhodes performed an incredible cover of Taylor Swift's 'Blank Space'. It was so good that Taylor Swift re-tweeted the session.
A brooding and melancholic collection of self-written songs, debut album, 'Wishes' is refreshing in its stripped back beauty, with Rhodes' haunting and unique vocals taking centre stage. The album confirms the arrival of a major talent who has already been compared to artists as diverse as Jeff Buckley and Adele, with a flair for writing songs that build from something incredibly fragile to a hugely powerful climax. Nowhere is this more evident than on new single 'Close Your Eyes'.
Rhodes has travelled a long way in a short time building on what has been a phenomenal beginning to a career that promises longevity. He's supported Ben Howard, London Grammar, George Ezra and Sam Smith while selling out his own shows including his biggest show to date at London's Village Underground in March.With his eagerly anticipated debut album 'Wishes' on the way in September, Rhodes will be taking the stunning record on the road this autumn, including his biggest show to date at Koko October 9th.

1986, an American diner at night. Janet Jackson, her shoulders jerking to a steely boom-bap beat from within a buttoned-up blue satin blouse and waistcoat, is staring down a neglectful lover with an intense, unforgiving, defiant fire in her eyes. He used to treat her right, she explains over fizzing electro-pop keyboards, as dancers bolt their way across the diner's faded booths, painted jukeboxes and milkshake spills. But, the Indiana-born mega star then asks - "what have you done for me lately"

Fans today could be forgiven for asking the same question of Jackson that she posed in that famous video. It's been eight long years since her last album, 2008's 'Discipline', after all. Instead, though, as the world gears itself for feverously anticipated new album 'Unbreakable', the 49-year-old's power and influence as a zero-bullshit, don't-mess, honey-voiced R&B queen remains strong - as 'Dear Janet', a new tribute album featuring cult indie experimenters Dirty Beaches, Karl Blau, Marker Starling, Tune-Yards and many more goes to show.

Swapping the pearlescent productions and siren synths of Jackson's biggest and best tracks for rawer, more lo-fi spins, the record is an affectionate, intimate ode to a soul-pop master that was born one night in Domino innovators Dirty Projectors' Brooklyn apartment. "I mentioned to Dave Longstreth, Amber Coffman and Angel Deradoorian that I was always more attached to Janet's Prince-inspired sound than her brother's," remembers compilation curator Jan Lankisch of German label Tomlab.

A few months later, a record was ready of Janet Jackson songs as had never been heard before. Dirty Projectors' Deradoorian contributes the opening track, stripping 1986 album 'Control' single 'Pleasure Principle' of its dancey keytar slink to its emotional essentials, resulting in an echoing piano ballad. Drag City maverick Scout Niblett injects 'Nasty' with woozy atmospherere and drones, to the point of delirium, in sharp contrast to the sunshine bossa nova chill of Marker Starling's take on 'Young Love'. Dark disco kings Batsch meanwhile, provide one of Lankisch's favourite covers on the compilation: "Their version of 'Together Again' reminds me of New Order in parts."

Jackson, as Lanksch points out, went out of her way to carve her own niche when emerging as an artist in the early 1980s, in the shadow of her monumentally succesful elder sibling. "She wanted to be different from Michael in any way she could. MJ was huge, the big star. Janet was just the little sister. It was a great challenge for her, to find her own way in the music business." In a way, then, it's only fitting that the cover version on 'Dear Janet' from some of the brightest names in the American and European indie underground, take Jackson's songs on intrepid journeys into other genres and sounds.

Clear vinyl - comes with download with bonus track 'I Comb My Hair'
Baltimore's Co La, the creative cloak for Matt Papich, fabricates a club music environment where solidarity and psychosis enmesh.
Emerging from the humid undergrowth of 2013's Moody Coup, No No gathers tracks built during the northeastern deep freeze of 2014: sonically these songs are clear & uninsulated: cracking. No No is a reflection of Papich's interest in the never ending psycho-drama that is the American news cycle (f5 syndrome), blanketed with a style of auditory/performative humor that operates as a coping strategy, a modifier for an otherwise oblique sonic world.
Where Co La's past work focused on rendering impressions of physical spaces, designs and objects into broad musical forms, Papich now turns his interest inward, investigating the sensual and emotional aspects of terrestrial life. No No is inscribed with content - it points to basic fears/desires and scrambles them, creating an oddly emotional & alien dimension.
Simple inversion is a focal point of No No. Club culture categorically offers an escape from the real world for revelers. Co La, a seminal player in Baltimore's experimental club environment, (Club Undo), regularly abstracts the party into intellectually confrontational encounters, be it a rifle scope aimed directly on his forehead or building temporary soundsystems out of zipcars.

Working for a Nuclear Free City have never been too concerned with genre. Since their debut release almost a decade ago they have danced around the constraints of genre, eschewing predictability and expectation in the process by creating a body of work dictated by invention and momentum.

Their latest release is no exception although, like much of their previous work, whilst it is difficult to pinpoint it is not lacking in stylistic coherence, 'When putting the record together I was trying make something cohesive in some way.' Says one of the group's founding members, Phil Kay.

The end result is an expansive, pop-tinged, experimental album that can be as propulsive as it can be restrained, bringing to mind artists as diverse and brilliant as Beck and Brian Eno to the Super Furry Animals.

The situations and inspiration around the record have been rather hodgepodge, 'I listen to the radio most of the time, stations that play pretty diverse things, or I put things on shuffle a lot - mainly just trying to take the decision making process out of what I choose to listen too' Kay says, whilst also stating that the environments in which the record were created were just as all over the place, 'I move around a lot so all the tracks are from different areas. Some from back in Manchester, a few from here in London, a couple I recorded in LA up in the Hollywood hills in Jennifer Anniston's old apartment.' This geographically vast record was also done over a period of time too, making it a continent-spanning record that has had years' worth of thoughts and ideas funnelled into it, 'It was recorded over such a long period of time that each track has its own distinct memories for me.' Kay says of the process.

The title of the album What Do People Do All Day Has a dual meaning, as Kay points out, 'I was writing a kids book at the time so had loads of Richard Scarry books lying around. I think we hit on the title as it of course reminds you of Scarry and puts you in that playful territory but the second meaning of it is about the mundanity and futility of life, so there's that juxtaposition. It was supposed to be this loose concept album about peoples lives or various snapshots of people lives. The songs also all seem to relate to these imagined characters and their lives - perhaps a days in their lives'

As a result the songs vary enormously and when discussing what some of the individual tracks are about, Kay paints a picture of a little universe of strange tales and stories, one song is about 'Media and politics and bullshit and living in a city and everyone wired up and concrete and adverts and too much noise' whilst others are about: 'A girl who dreams of killing her boss, quitting her mundane job and living in a magazine'; 'The heir to Blackpool Pleasure Beach who turns it into a Vegas-style resort, makes millions, moves to Venice beach and turns it into Blackpool' and 'Teenagers getting stoned in a park in suburbia and discovering a secret portal'. As illustrated by these unique and vast narrative situations, it's an album with huge scope and one that has set out to be as lyrically ambitious as it is sonically.

South London quartet Inheaven have already got Strokes frontman Julian Casablancas' seal of approval, releasing their debut single 'Regeneration' on his Cult Records label in the US earlier this year (the track got a release on up-and-coming new label AMF Records over here). Now they're following it up with an even more promising cut in 'Bitter Town'. It's a dose of gloomy '80s-indebted indie rock, recalling Jesus And Mary Chain and Echo & The Bunnymen in its expansive atmosphere and echoing vocals.

Go March are an instrumental group based in Antwerp, Belgium and consist of Philipp Weies (guitars), Hans De Prins (synthesizers) and Antoni Foscez (drums). It is a new project born out of jam sessions that have resulted in their self-titled debut album, Go March, an electronic, Germanic-infused, post-rock screamer that is a sort of Mogwai meets Kraftwerk synthesis yet with all the futuristic propulsions of a new, fresh and hungry band making music not just for 2015 but for beyond. That said, while the group have landed on this irresistible blend of electronics, rock and more ambient passages, on Go March the initial conceptions for the record varied somewhat "My initial ideas for a possible sound were actually based around bands like Boris or Lightning Bolt, but the moments when we just improvised were simply far more interesting." Says Weies of the groups early evolutionary period. "When I first showed our demos to a friend of mine he said it reminded him of something between Trans Am and Maserati. My reply was: "Wow, we need to check them out!"

Whilst the group state that "It's quite difficult to pinpoint where inspiration actually comes from" Weies does concede that one particular inspiration holds especially strong for him, "I am vastly inspired by the movies of David Lynch, especially Lost Highway and even more specifically the sequence where a car is driving through the dark and all you see are the median strips passing by. The image has this distinct tunnel vision-feel to it that I am often looking for when making music." The beauty in repetition and hurtling down a pitch-black highway at midnight is an idea that runs through the record. "The first time I played demo versions of our tunes for somebody was in a car when we drove home around dusk. I can be a bit insecure about showing people what I do, but that situation seemed about perfect. I can totally dig a perfect 3:22" pop song, but I always had a weakness for seemingly endless repetition, mainly because it can put you in that state of trance. At a certain point you just get sucked in there and lose yourself completely"

Repetition, groove and minimalism are words that might spring to mind when describing Go March, but that's not to say the album is singular in it's vision. While the impact of Germanic proto-techno bands is a clear influence on the group, the freedom of contemporary electronic music, math rock and modern classical are all audible in the grooves of the album. "Personally I am diving into electronic music for some time now, which definitely had a big influence on how I produced the record" says Phillip ; "We didn't go for acoustically well sounding instruments. It was more important that every bit within a song served the other. And we took care that we didn't add more elements than necessary. It's something I'm looking for and I often find that kind of approach in electronic music (yes, I know there's a gazillion genres hidden in that term...) You often encounter more freedom there, especially in the way they process instruments.

Freedom from "gear heads", genre tropes and pre-conceived musical ideas is a rare thing, and Go March have managed to create a body of work through gut-instinct, intuition and feeling allowing the music to develop naturally to them. From debut single "Rise" which stretches a post-rock groove over the five minute mark, to 'Slow Horse' and 'White Lodge' which are smothered in glacial keys, synthesised throbs and shuffling poly-rhythms, Go March is a record that defies expectations and challenges the listener in equal measure. "The record obviously doesn't file under "summer hits of 2015" jokes Philipp, 'But even though the word "dark" slipped through my mind quite some times, I don't think it covers the intentions and how the album turned out to be. What we are looking for is more of an undistinct feeling somewhere in between melancholy and hopefulness", and you won't find that on a Now 54 compilation.

180g Vinyl Edition

The Viper Label started trading in January 1999. To celebrate our 100th release and 15 years at the forefront of Liverpool music, it is our pleasure to mark the occasion with the release of Viper 100.
This album features favourites from various Viper albums and compilations- illustrating the inspired, dynamic and varied work of some twenty Liverpool Groups and Singer Songwriters.
Artists included here are Viper founders Mike Badger and Paul Hemmings, (The La's & The Lightning Seeds), The Stairs, (featuring Edgar Summertyme), Tramp Attack (featuring Dave McCabe of the Zutons), Tommy Scott (Space/The Floatation Project), the Hokum Clones and many more....

Drone-based experiments (notably with Tony Conrad, extremely present on the album, and John Cale), and purely electronic compositions - a path (almost) nobody knew MacLise had explored. Miraculously salvaged by Gerald Malanga, these archives provided a new perspective on the artist's whole body of work and expanded considerably his artistic palette. And so we are now able to draw a whole record's worth from MacLise's early electronic music. Angus MacLise, born, March 4,1938 in Bridgeport, Connecticut, was a percussionist composer, poet, and calligrapher. He was a member of La Monte Young's Theater of Eternal Music, with John Cale, Tony Conrad, Marian Zazeela and sometimes Terry Riley. He contributed to the early Fluxus newspaper V Tre, edited by George
Brecht and George Maciunas, and was also an early member of The Velvet Underground, having been brought into the group by flatmate John Cale when they were living at 56 Ludlow Street in Manhattan. MacLise played bongos and hand drums during 1965 with the first incarnation of the Velvet Underground. Although the band regularly extemporised soundtracks to underground films during this era (The Invasion of Thunderbolt Pagoda by Ira Cohen, Chumlum by Ron RiceŠ), MacLise never officially recorded with them. Later in the 1960s, Angus and his wife Hetty traveled around between Vancouver, Paris, Greece and India, finally settling in Nepal. They also
had a son, Ossian Kennard MacLise, who was recognized by Rangjung Rigpe Dorje, the 16th Karmapa, as a reincarnation of a Tibetan saint, or tulku, and at age four became a Buddhist monk. MacLise died of hypoglycemia and pulmonary tuberculosis in Kathmandu
in 1979, aged 41. He recorded a vast amount of music that went largely unreleased until 1999. These recordings, produced between the mid-'60s and the late-'70s, consist of tribal trance workouts, spoken word, poetry, drones and electronics, as well as many collaborations with his wife Hetty. In 2008, Hetty MacLise bequeathed a collection of her husband's tapes to the Yale Collection of
American Literature.

Classic/ Experimental.. " Hydras Dream is a special collaboration between the Swedish musicians ANNA VON HAUSSWOLFF and MATTI BYE (winner of the Guldbaggen 2014 price for scoring the film drama ""Faro"" and composer of the film score for ""The 100-Year-Old Man Who Climbed Out the Window and Disappeared""). The concept behind this project is to interpret stories, movies and myths into musical landscapes. For their debut album ""The Little Match Girl"", von Hausswolff and Bye construed the beautiful and melancholic story by H.C. Andersen of the same title. Asked about the reason for this particular choice, the two musicians state: ""It was her tragic faith in the winter's cold that inspired us. She is freezing to death with no money and no comfort, she is all alone, dreaming of a warmer place. When death strikes her she is filled with magical illusions and dreams. Oddly enough, hypothermia and death are the only two comfort zones we experience in this story. Sad but beautiful." The music of Hydras Dream is mostly made through improvisation and by using repetitious patterns and melodies. Indeed, the two musicians state ""We want to use intuition and spontaneity as two key elements in the compositions, and therefore we don't pre-record anything. We just play whatever feels good and fits the theme and press rec."" Thus it is no surprise that ""The Little Match Girl"" was written and recorded during only three days in Matti Bye's studio. Exploring the entire spectrum of their instruments, von Hausswolff and Bye ingeniously combined their virtuosity in order to craft an eclectic and delicate album, located somewhere inbetween neo-classical experimentalism and avantgarde dream-pop. One can virtually image how the notes of this debut faintly resound behind the candle-lit windows which separate the little match girl from the life-saving warmth, how their echoes join her in her inevitable fate ... CD: Digipak. Vinyl: thick covers + thick printed inner sleeves, 180g vinyl, different vinyl colours, free download.

LP: Incl. printed inner sleeve, initial copies on blue Vinyl, incl. mp3
New album by on of the most appreciated US-Indie-Bands 'Dodos'. Having just wrapped up the sessions for 'Carrier', and fired up on the level of comfort achieved with brothers Jay and Ian Pellicci at Tiny Telephone studio, the duo immediately began laying to tape the batch of songs that would make up the energetic new album 'Individ'. And what comes naturally to the Dodos is creating music that sounds positively epic

A song title like 'Ready to fly' actually gives you all necessary information to categorize the album in your hands as psychedelic spacerock that certainly makes you recall the ancient days of the 1970s when HAWKWIND ruled and LSD was the hot shit to get up from the ground and trip through open space. 'Ready to fly' is for certain one of these typical up tempo space rock songs with a straight and hypnotic beat, oscillating synthesizer lines, swishing distorted guitars and monotone chants buried under layers upon layers of echo effects. What has been great in 1972 can still capture your spirit more than forty years later. But there is more behind this album than meets the ear. It begins with a four minute long drone entitled 'Kâ' made of sitar sounds coupled with swirling synths and strange voice samples. Next comes 'Ready to fly' as the prototypical space rocker followed by 'Take a long walk', which could not be more different then. Here we have folky psychedelic music that flows gently with a haunting, melancholic melody and some fine guitarleads lost in reverie. Early P.F. during their days as the hottest band in the London underground club scene in 1967 come to my mind. And we move on from here to heavily grooving yet utterly washy and simmering power rock with vocals that mill into your mind and back to these gently floating psychedelic folk with guitar sounds that feel like whale chants, swirling synthesizer noises in the back, dark and melancholic vocal harmonies. You want your space and heavy psychedelic music colorful, viola, these French trippies deliver the goods in a way that will please every acid rock fundamentalist who concentrates on the 60s and 70s scene as well as all the desert rock aficionados who were born too late for the freak outs in Swinging London back in the day. And be sure, this is much more than just a record full of music. This is the key to unlock the gate to a world of color, joy and passion where love can be felt as a physical force. The 1960s garage psyche of bands like THE THIRD BARDO, the acid outbursts of the embryonic P.F. and HAWKWIND's straight ahead space rock drive combined could hardly match with the music of their heirs.

Single 12" vinyl, spined sleeve and printed inner bag, all with a gloss finish. Includes a download code.

Debut album on vinyl (different artwork to Record Store Day 2015 version)

The Maccabees are an indie rock band from London. They have released four albums to date, 'Colour It In' (2007), 'Wall Of Arms' (2009), Mercury-nominated 'Given To The Wild' (2012) and the number one album 'Marks To Prove It' (2015).

On 28th August, Nirvana's self-titled 7 x platinum-selling posthumous collection Nirvana makes its debut on Deluxe 45rpm double LP on heavyweight 180-gram vinyl with a digital download card for 24-bit 96kHz HD audio, as well as a standard 33rpm single LP 180-gram heavyweight vinyl edition which will feature a download card for 320kbps MP4 audio. Nirvana will also be released as a Blu-Ray Pure Audio in high resolution 24-bit 96kHz in three stereo audio formats: PCM, DTS-HD Master Audio and Dolby TrueHD stereo.

Originally released in 2002, Nirvana features the rare and previously unreleased studio version of You Know You're Right', the last song the band ever recorded, available exclusively on this compilation. Also among the 14 classics on Nirvana: 1991's breakthrough Smells Like Teen Spirit', and fellow Nevermind singles Come As You Are', and In Bloom', In Utero singles Heart-Shaped Box' and Pennyroyal Tea', as well as deep cuts including About A Girl' from first album Bleach, Been A Son' from the Blew EP, the non-LP single Sliver', and live acoustic versions of All Apologies' and David Bowie's The Man Who Sold The World' from the GRAMMY® winning MTV Unplugged In New York.

Chris Alexander: Musician, Director and former editor of Fangoria presents this, his first album in quite some time, remastered and rejigged for vinyl by us here at GDHQ. The soundtrack for your bleak midwinter. Dark as space, drugged-out helltracks for paranoid dreamers and night-fantastists. Spooktactular art by Eric Lee, Mastered by Alek Stark.

Snowflake 10 features two songs by Tele Novella, from Austin, Texas. Self-described as "psych-pop, indie-pop, macabre-pop, pop-pop. The pop kind", Tele Novella is Natalie Ribbons, Jason Chronis, Matt Simon and Sarah La Puerta and was formed in 2012, sometime after Natalie's previous band Agent Ribbons and Jason and Matt previous band Voxtrot broke up. Influenced by bands like Os Mutantes, Aislers Set, Velvet Underground, The Bachs and Belle and Sebastian, Tele Novella self-released their debut 7" 'Don't Be A Stranger' late 2013 - the record was met with raving reviews and sold out very quickly. Early 2014 saw their second 7", 'Trouble In Paradise', released on American Laundromat Records. That year, the band also contributed to the Wes Anderson tribute compilation on the same label, and they released a 5-song cassette EP on Lollipop Records.

Early 2016, Tele Novella will release their debut album. The A-side of their Snowflakes Christmas Singles Club single, 'Christmas Spirit', is a song that is a much a Halloween as a Christmas song - it's catchy, it's a bit silly, it's a perfect song to singalong too and it's over before you know it. On the B-side, Tele Novella cover Marvin Gaye's 'Purple Snowflakes', and make it sound as an authentic 1960s recording. The single comes on snow white vinyl and is limited to 350 copies.

The band was founded in Cologne in 2011 by Ronald Röttel and Marin Geier after they met at a local show at infamous Club Scheisse (engl. - Club Shit ) and discovered their mutual taste for bands like The Smiths and Talking Heads. They started writing their first songs after quickly gaining attention with their first DIY shows from local promoters (amongst them DJ and and Kompakt- affiliate Tobias Thomas) and built up a reputation for being one of the most exciting live acts in the country, which led to appearances at notable German Music Festivals such as Immergut Festvial, Appletree Garden Festival, Reeperbahn Festival and MS Dockville.

So far they released a couple of 7 -Singles (sold out), the latest being their track - Hex , which was picked up by several Indie-broadcasting stations and Radio-DJs like Klaus Fiehe (who is often referred to as - Germany's John Peel ) and made them one of Germany's most talked about new acts in the underground Indiemusic scene. After supporting Rangleklods for a couple of shoes in Europe this summer, the band has just finished up their first Tour all over Itlay (8 dates) & will be playing a Germany showcase tour in October including an appearance in Düsseldorfs famous Kling Klang Studios designed by the legendary KRAFTWERK.

- Demon Records is delighted to present the reissue programme of the albums by THE COMSAT ANGELS originally
recorded between 1980-'90 These albums prove beyond all reasonable doubt that while commercial recognition
may have eluded the Sheffield-based quartet, they still accumulated one of the most enviable, enduring and unsung
catalogues known to rock.
- This series begins with the trio of iconic, post-punk era LPs the Comsats recorded for Polydor - WAITING FOR A
MIRACLE; SLEEP NO MORE and FICTION); and also CHASING SHADOWS coupled with FIRE ON THE MOON (the latter
recorded while the Comsat Angels were known as Dream Command), which were both originally released by Island
Records.
- The first package is the introspective, but absorbing debut WAITING FOR A MIRACLE (1980) - an intelligent statement
of intent that remains one of their most ageless and absorbing discs.

A moment comes when you stop dreaming, start living and discover your destiny.

Based on author James Thurber's fantastical 1939 short story of the same name, the 2013 big screen rendering of The Secret Life of Walter Mitty features Ben Stiller directing and starring in the role of a day-dreamer who escapes his anonymous life by disappearing into a world of fantasies filled with heroism, romance and action. When his job along with that of his co-worker (Kristen Wiig) are threatened, Walter takes action in the real world embarking on a global journey that turns into an adventure more extraordinary than anything he could have ever imagined.

The music that accompanies those reveries reflects the actor's innate quirkiness. Film score composer Theodore Shapiro has been the go-to guy for movie comedies starring the major comic actors of the early 21st century, including Ben Stiller, Will Farrell, and Owen Wilson. Shapiro has scored numerous films, including Old School, Starsky & Hutch; The Devil Wears Prada and Blades Of Glory.

- 180 GRAM AUDIOPHILE VINYL
- GATEFOLD SLEEVE / INSERT
- PVC PROTECTIVE SLEEVE
- FEATURING JOSÉ GONZÁLEZ
- FIRST PRESSING OF 750 NUMBERED COPIES ON
WHITE & BLUE MIXED VINYL

the great debut 2x12" album by gotye

Pavlov's Dog are one of the most revered prog outfits to have emerged from 1970s America. This WABX-FM radio broadcast is an extremely rare record of the original band, boasting the unique vocals of David Surkamp, as well as Steve Scorfina (lead guitar), Doug Rayburn (Mellotron, guitar), Tom Nickeson (keyboards), Richard Stockton (bass) and Kirk Sarkisian (drums). The material is culled from their classic albums Pampered Menial (1975) and At The Sound Of The Bell (1976), and is presented here together with background notes and images.

Spearheaded by David Holmes, in collaboration with film and TV composer Keefus Ciancia (True Detective), and songwriter-vocalist Jade Vincent (The Jade Vincent Experiment), Unloved are born of 60's girl groups, influenced by the great George 'Shadow' Morton, Jack Nitzsche, the soundtracks of Morricone, Nino Rota and the electronic sounds of Raymond Scott.

As a trailer for Unloved, the Guilty Of Love EP is a breathlessly evocative roll of the title sequence, a glimpse behind the cinema curtain, a run through the rushes of their musical 'film noire'.

For the last 25 + years Andrew Weatherall has remained one of the most inspiring figures within the world of music. Whether it's post punk / rockabilly / dub / cutting edge dance music or music that is simply unclassifiable, his knowledge and enthusiasm is second to none! After he responded so positively to the album, it was a no brainier to ask for his interpretation.

Dänisches Popkind mit einem unaufhaltsamen Drang zu tanzen", so beschreibt Asbjorn sich selbst. Mit 23 Jahren ist der multi-talentierte Sänger, Songwriter, Musiker und Produzent jedoch viel mehr als das. Mit einem Album unterm Arm und dem nächsten im Anflug, arbeitet Asbjorn eifrig daran Popmusik für seine Generation neu zu definieren. Der Begriff "Pseudo Visions" enthüllt jene intensiven Momente zwischen Wirklichkeit und Traum. Mit seinen unverkennbaren, entblößenden Texten und experimentellen Produktionen, die von Asbjørn selbst und seinem Langzeit-Musikpartner Jonas Tranberg konzipiert wurden und auf denen Asbjorn die meisten Instrumente selbst spielt, schaffte er es schon früh nicht nur die Aufmerksamkeit des Publikums in seiner skandinavischen Heimat auf sich zu ziehen. Dabei enthüllt sich vor allem live die Faszination, die Asbjorn umgibt: seine Anwesenheit auf der Bühne, seine einzigartige Stimme und die niemals endende Tanzwut gehen Hand in Hand mit der Energie seiner Live-Band.

LP: Pinkfarbenes Vinyl, Inside/out-Druck bei Cover und Innersleeve, Postkarte mit Download-Code enthalten. Der Download enthält ein weiteres, brandneues Stück.

Zum 10-jährigen Jubiläum ihres legendären Debütalbums "A Certain Trigger" veröffentlicht die britische Kult-Rockband Maximo Park selbiges in einer brandneuen, remastered(!) Vinylauflage inklusive Download Code und nimmt es mit auf ihre europaweite Jubiläums-Tour. Mit dem Live- und Club-Favoriten "Apply Some Pressure" sowie den Singles "Graffiti", "I Want You To Stay" und "The Coast Is Always Changing".

Parallel zum 10-jährigen Jubiläum ihres Debütalbums "A Certain Trigger" (samt europaweiter Jubiläums-Tour) veröffentlichen die britischen Kultrocker Maximo Park ihre B-Seiten-Compilation "Missing Songs" erstmals(!) auf Vinyl (inkl. Download Code).

Release of 'Asleep In The Deep', taken from latest album by Mastodon 'Once More Round The Sun' on a 12' Picture Disc. The 12' features the album version on one side with an unreleased instrumental on the other.

After the self-titled debut EP from producer, songwriter, and multi instrumentalist Postcards From Jeff, comes this debut album Modern Language - a bold, cinematic statement that puts Postcards From Jeff in his most extroverted role yet.

Whilst Modern Language has moments that recall the full-sized 80s pop production which captured Worthington's attention during his formative years (like the New Order-tinged 'Samaritans'), it's the wild imaginations of big screen greats that also informed the album's vivid nature.

'Tired Wings' reflects a penchant for the skilled soundtracks of Angelo Badalamenti, David Torn, and Alexandre Desplat, whilst further influences include David Lynch ('Suburban Girl' is a direct reference to Twin Peaks character Laura Palmer), the relationship between Alfred Hitchcock and Tippi Hedren whilst filming The Birds, and Jonathan Glazer's sci- fi thriller Under The Skin.

Helping to visualise Modern Language's concepts, Postcards From Jeff turned to kindred spirit and Brighton-based filmmaker-photographer Steve Glashier (Primal Scream, Prodigy, Fatboy Slim, and Julliette Lewis).

As fantastical as any Tinstletown tale, Modern Language's melodic twists and turns are played out by a full cast of characters. Sometimes tragic, at other times beautiful, each eyelash flutter or slow walk along a dark hallway is marked with romance and grandeur through a simple guitar strum or drum roll. Take the temperate tone of 'Lay Low'; recalling Sparklehorse with its pensive mood and lyrics about a Viking-style burial at sea, it expertly complements 'A House'suplifting ambience that explores the dream of leaving a small town behind for the greener grass of 'a lost land'.

Conceived in his 'Distant City' Studio located in the midst of Yorkshire's rolling landscape, alongside live band members and EDM vocalist Clare Stagg, Modern Language is the product of a true purist at work. Written, played, recorded, mixed and mastered himself, it marks the point at which world outside has become a new sonic playground for Worthington's vast melodic exploration.

THE ONE AND ONLY: ROLANDO BRUNO Y SU ORQUESTRA MIDI !!!

This is Full Blast Psychedelic Latino Cumbia Garage with a touch of cheesy 70's supermarket !!!

In 2005 He started playing and recording in Buenos Aires as a side project for his raw 60's Garage Punk outfit Los Peyotes (Dirty Water Records).

They toured Europe several times, after they split up he created the MIDI one man band, cutting old Cumbia tracks together on his computer and transformed them into a Psychedelic Garage Beat Dance Monster.

Today he writes all the songs by himself, for the recordings he went to the ESTUDIO7 (Buenos Aires, recorded and mixed by Miguel Mactas) .This is Full Blast Psychedelic Latino Cumbia Garage with a very cheesy touch of a 70's supermarket !!!