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1993
Fans of British guitar music were wondering what was coming next. Shoe-gazing had run out of steam, Madchester was over, and nothing had sprung up in their place. The scene was dominated by imported grunge music from America with Nirvana and Pearl Jam leading the way. The three biggest British guitar bands of the mid-nineties - Radiohead, Oasis and Blur - had yet to release their iconic albums which would shape the course of the UK scene for the rest of the decade.
Levitation recorded their second album, Meanwhile Gardens, in early 1993, and were set to release this ambitious and innovative work when the band split later that year. The recordings were shelved indefinitely. Had this album been released as planned, it would have had a major impact on UK guitar music, of equal importance as the breakthrough albums by the three bands mentioned above and pre-dating them by at least a year. Unfortunately, no one apart from a few dedicated fans trading low quality bootlegs were able even to hear it, and the moment was lost.

2015
Flashback Records release Meanwhile Gardens for the first time in the original planned format. The album has been painstakingly remastered at high resolution from the original tapes and sounds as fresh and new now as it did in 1993. New artwork has been commissioned from original sleeve designer Cally at antar.
Eleven tracks have been selected by the band as the definitive version of Meanwhile Gardens to be released on 23rd October 2015 as a gatefold double LP and single CD. Three tracks recorded at the same time but not included on the album were released as a limited edition vinyl only EP on Record Store Day, April 18th 2015.

Amazing live radio broadcast from the WESTWOOD ONE archives, chronicling NIRVANA at the peak of their career in front of an enthusiastic crowd in Del Mar, California, 1991.

The second album from John Lydon's post-Sex Pistols group is widely considered to be their magnum opus. Combining such diverse influences as krautrock, dub, post-punk, and the avant-garde, Second Edition is four sides of harsh and uncompromising, yet danceable, music. While not the immediate influence and sensation that Never Mind The Bullocks was, this record is certainly John Lydon's finest artistic achievement. Originally released in the UK as Metal Box this is the first vinyl reissue of the US version of the album with its different running order. Clear vinyl double LP in a deluxe gatefold package.

Expanded deluxe edition of The Deep's one and only album, originally released in 1966 and now well-established as a psychedelic classic. One night in a darkened Philadelphia studio, the Deep (Rusty Evans, songwriting partner and producer Mark Barkan, the legendary David Bromberg, whose credits include playing with Bob Dylan and many others, plus a bevy of talented musicians) laid down tempestuous garage punkers, sweetly-twisted ballads and ambiguous weirdness, all rife with hyper-psychedelic lyrical flashes of a rolling midnight expressway through the subconscious mind. A perfect representation of the psychedelic sound: free-form poetry, infectious drum beats, fuzzed out guitar, and playfully plucked bass (and vibes and tympani and so on), swirl together, coalescing into some of the most impressive psychedelic rock you'll hear. Cuts like 'Your Choice To Choose,' sound very Seeds-like or proto-Velvet Underground, Lou Reed snarl and all; others like 'Shadows On The Wall' and 'Wake Up and Find Me' are haunting acid ballads: the whole point of the album was to thoroughly explore the hallucinatory agony and ecstasy of a 12-hour Technicolor dream... although the end result is more amphetamine edgy than acid-soaked trippy. The Deep "Psychedelic Moods" pre-dates its closest kindred sprit in sound and energy (albeit not subject matter): 'The Velvet Underground and Nico" came along five months later, and the world of music shifted on its axis—but too late for the Deep.
This 3xLP release of 'Psychedelic Moods' is taken from the original four-track master tapes. In addition to the superlative master takes, there are three sides of out-takes and alternates from the Deep original four-track session tapes. This set also marks the vinyl debut of all known recordings by Inner Sanctum (aka Hydro Pyro), another LSD trip project produced by Mark Barkan in 1966. Tip-on gatefold art has liner notes detailing the mysterious rise and fall of this New York City band. Made with full co-operation of original Deep producers, Mark Barkan and Rusty Evans. A definitive example of the psychedelic sound.
"Something of a psych fan's dream, this LP was recorded in August 1966, when the idea of a conceptual acid album was completely uncharted territory. Consequently, Rusty Evans and his NYC ex-folkie pals managed to create an LP that sounds fresh many decades later. The twelve tracks are essentially a series of musical trip reports covering the whole emotional spectrum, from chaos and euphoria to introspection and melancholy, with an intense, challenging atmosphere." —Patrick Lundborg, Acid Archives

limited gatefold 180 gram coloured vinyl 2xLP + MP3 download code

The epicenter of HÔN is Jesper Lidang, frontman and songwriter of The Rumour Said Fire.
When we asked Jesper to describe his new music we received a two-page essay enttled 'I vanish'. In
HÔN Jesper Lidang's personality vanishes into a universe where he can speak with multple voices and
identtes at once - a vast and larger than life universe. HÔN is a liberated pop-machine that hits the
ground running - a many headed creature that fnds nutriton and shelter in ever changing expressions
All songs are recorded and sung by Jesper alone. Nis Bysted (producer of Iceage, Cancer, Lower) has
produced and mixed HÔN together with Jesper and the result is a powerful signature-sound where you
can either plunge into the musical deep or let your body move to the music - or do both.
'an intense new track' - the405
'A gentle indie r'n'b that could easily ft in the same category as How to Dress Well and Autre Ne Veut'
-Gimme Indie

In March 2014 Australian singer-songwriter Carl Coleman and Danish producer and pianist Caspar
Hesselager started recording and experimentng together.
Numerous online media and indie radio have since then featured the frst two tracks from Palace Win-
ter and now, a year afer the band formed and with just a handful of shows played, Palace Winter has
signed to Copenhagen-based label Tambourhinoceros (Rangleklods, Cancer, Chorus Grant, CTM etc.).
Caspar elaborates on how the two work together: 'one of the reasons working with Carl is great, is that
his background is totally diferent from mine, yet we stll seem to end up musically in a place where we
really enjoy being. I studied classical piano, played a lot of jazz and ended up doing a lot of electronic
music and pop as well, but Carl's playing and singer-songwriter background is sort of a missing piece
in all that, something I never dived into myself apart from listening to it. We both like a lot of the same
music, and I think we just compliment each other well.'
'A buoyant, blazing introducton, the clip is reminiscent of The Vaccines or even the more direct side of
The War On Drugs.' - Clash Music
'The closest music will ever get to an audible head massage' Drunken Werewolf
'A 5-minute wonder' NME on 'Time Machine'

A project very nice and convincing the general public that brings the soul pop band, deeply marked by the fusion of different musical worlds ranging from symphonic prog rock. The album features many guests who took part in the project and can boast the collaboration of excellence of the Italian music industry, Lorenzo Cazzaniga (collaborator, among others, Claudio Baglioni, Lucio Dalla, Fabrizio De André, Ray Charles, Sting, Mina, PFM, Pooh and Vasco Rossi) who took care of the mix and mastering. The album contains thirteen tracks The crazy tunes that mix the prevalent use of Italian in raids in the English language, all interspersed with instrumental inserts. It was a result of the union of a wide range of emotions to convey, a cocktail musically very original in which you can find stretches of proximity to the sound of Led Zeppelin and Pink Floyd, who are to co-exist in an equilibrium with unusual and successful melodies close to the musical production license plate PFM. The crazy tunes is a record that contains compelling ballads prog rock atmospheres able to combine gentle accelerations decided, like in Innerspace and While you fall that seem to come from a disc of The Animals. Influence "seventies" that characterizes the entire hard sometimes veering toward the lightness never trivial (as in Out!) And to the intense depth, as in the garden of my madness, a crescendo with a very strong impact. Sound convincing, much more when sung in Italian, in a result at all obvious that makes it even more worthy of attention this new musical reality, a group with great potential in the already formed thanks to a style complex but perfectly focused. The project was born from the meeting of four musicians from Milan who, after years of playing music between unpublished, cover, lectures and studio work, they decide to give birth to a new project, from which comes an album result of the meeting / clash between their stories and their paths, as diverse as they are compatible, held together by a common passion for '70s rock. Contamination of the group that brought the band all'inedito style that turns into an unusual balance between sound so different. The band consists of Simon Corazzari (vocals, guitar, songwriter and producer), Massimiliano Masciari (bass and steel drum), Francesco Meles (drums and percussion) and Mark Antony Cerioli (keyboards and vocals).

Born in Hawaii and raised in California and Israel, Sara Lov, singer and songwriter, began his adventure in 1993, giving birth, with the pianist and friend Dustin O'Halloran, to Devics, dream pop duo that produces five albums signed Bella Union, the label of Simon Raymonde of the Cocteau Twins. In 2008 Sara Lov embarks on his solo path and, at the same time, his collaboration with producer Zac Rae (Death Cab For Cutie, My Brightest Diamond, Fiona Apple), with whom he recorded "Seasoned Eyes Were Beaming", (2008, Nettwerk Music) and the collection of covers, "I Already Love You" (2011, Irma Records) .The publication of the first solo album was a great success and Sara Lov spends much of 2009 and 2010 touring Europe and the United States. The following year, the American artist publishes "I Already Love You", his personal interpretation of other people's songs, the great emotional. The new album, "Some Kind Of Champion", collects worldwide Sara: a hypnotic sound and seductive, a bitter-sweet voice that steals your heart and you reconfirmed as one of the best songwriters around. "

Limted copies of the tour-only 7" featuring "You're Brave" by Sleaford Mods & an exclusive track from Berlin's Noise rock trio Sudden Infant - 'Fat Nipple Upright'

'When people ask me what kind of music I do,' says Soko, 'I usually tell them - Punk secrets". Intimate, lo-fi, crazy, sexy, funny, tear-stained, heartbreaking, often all at once, the explosive young Frenchwoman's songs have already touched people around the world, earning her a massive global following. At one mega-gig in Australia, she had 15,000 people singing along with her. Since her teens, Soko has been on a rollercoaster journey. From a stockpile of over 100 songs, she has now finally whittled down to a selection of 14, her debut album. Aptly entitled 'I Thought I Was An Alien', it's full of love and loss and worry - the kind of fundamental, life-dictating human feelings, which are so far beyond rational explanation, they really ought to be kept under lock and key, along with that strange apparition from Roswell. Like one of her absolute heroes, Daniel Johnston, however, Soko has the rare ability to sing openly about those feelings, in a way which is utterly compelling, sometimes devastating, but also, completely uplifting. 'Most of what I do is like crying on my guitar,' she says. 'Why it took me so long to make my album' she ponders. 'It's because I'm a control freak. I wanted to feel totally independent in my music. I wouldn't've been able to release anything before I was sure I could produce myself, and I can play every single instrument, except strings and horns, and control every part that's on the record, and know that I've chosen everything myself, or I've played it myself, or I made the arrangement for it.' Like innumerable bedsit troubadours of her generation, Soko started out with just her voice, her acoustic guitar, and GarageBand. After moving to Paris, her early demoes were picked up by radio stations in Denmark, Belgium and Australia, making her too much of a new pop thing, without her own consent. In 2007, her music was used in a Stella McCartney show in Paris. Soko played gigs with Daniel Johnston, MIA, Babyhambles, Adam Green, Jeffrey Lew

Here Euros talks us through the making of his new album. A track will be included on Uncut's covermounted cd in time for the release.

Back in April my parents very kindly agreed to go on holiday for a week so that I could take over their
house in Pembrokeshire to record my eleventh album 'Sweetheart'.
My biggest concern with recording in a house was of getting complaints from the neighbours. So on
the afternoon before the sessions began I called round all the nearby houses in the village to warn
them of what was in store and to let them know we'd be finishing around eight every evening. They
were very understanding.

Here Euros talks us through the making of his new album. A track will be included on Uncut's covermounted cd in time for the release.

Back in April my parents very kindly agreed to go on holiday for a week so that I could take over their
house in Pembrokeshire to record my eleventh album 'Sweetheart'.
My biggest concern with recording in a house was of getting complaints from the neighbours. So on
the afternoon before the sessions began I called round all the nearby houses in the village to warn
them of what was in store and to let them know we'd be finishing around eight every evening. They
were very understanding.

Lost youth, fractured memories of the 1970's, pylons across fields, abandoned airfields, endless childhood summers, dappled sunlight through leaves, forgotten England, the romance of the heavens well after closing time, countryside, mornings in May, ruins, faded innocence, post-war Britain, skies of all seasons, trudging coastlines, Super8, Festival of Britain 1951, memories made with a Polaroid Landcam, Henry Moore, overgrown follies, East Anglia, time spent amongst long summer grasses, kissing under motorway bridges, grey English rain filled skies, concrete precincts and tower blocks, suburbia, better days ahead, the sound of children playing faraway, old Ordnance Survey maps, lost airmen, Orford Ness, rustic charm, John Nash, playgrounds of the city, Avebury, icy mornings and clear blue skies, poppy day, a half remembered smile, 1960's artwork by Harry Wingfield, John Berry, Martin Aitchinson, C F Tunnicliffe, Ronald Lampitt, BST, municipal parks at dusk, love, infatuation and loss. Probably nothing more...
July Skies is a Midlands (UK) based recording project commenced by Antony Harding in 1999. July Skies is also part of the fiercely independent Make Mine Music label collective. July Skies create 'British Landscape' music and are heavily inspired by nostalgia and attempt to capture faded innocence and lost times through music and design. The project is often assisted by long time collaborators Benjamin T Holton and Robert Glover from epic45. The Skies have received support from the late John Peel and Rob Da Bank of BBC Radio1, Verity Sharp of BBC Radio3 and Stuart Maconie on BBC Radio6.

great new album !!

Welcome Naytronix, was für ein Fang!
Gerade den jungen Mann Nate Brenner gesignt, schnell noch die Platte gemastert und jetzt schon die
erste Single!
Das klingt so verdammt charmant nach 70ies Pop, William Onyeabor und Arthur Russell, dass wir
nicht umhin kamen zwei der besten Tracks sofort und erstmal auch NUR auf Vinyl zu pressen!
Das Album kommt im Herbst, wir freuen uns jetzt schon sehr darauf!
"Was soll man von einem erwarten, der Merrill Garbus in ihrem wahnwitzigen Projekt Tune-Yards mit
Bass und Tat zur Seite steht Einer, der in der nicht gerade Gottes gesegneten Sonderlingsstadt
Oakland lebt Alles andere als Kaffeehausmusik jedenfalls! Nate Brenner geht solo als Naytronix steil
- und bald mit neuem Material auf große Reise. Bis dahin gilt getreu des trocken-psychedelischen
Schwinger-Funks von »What Have You Done For Me Lately«: Frag Dich nicht, was Naytronix für Dich
tun kann! Frag Dich, was Du für Naytronix tun kannst!" aus dem Programm

a1. Flume
a2. Lump Sum
a3. Skinny Love
a4. The Wolves" (Act I & II)
b1. Blindsided
b2. Creature Fear
b3. Team
b4. For Emma
b5. Re:Stacks

Consolidating 2 years of solo work, 'Hard To Please' is the debut album by Canadian polymath Sally Dige. First coming to prominence in the synth-wave scene with an elusive, meta-persona in a blur of homemade costumes, Dige's world has grown to encompass visual art, theatre and design elements. Most surprising on her long-awaited debut however is the occasional removal of the various masks and characters Dige has played to date, revealing something more tangible and fragile underneath.

Neuauflage sämtlicher Broadcast Studioalben mit bedruckten Innentaschen und Downloadcodes. Parallel werden auch alle CD-Formate wieder erhältlich gemacht. Broadcast begeistern mit einer einzigartigen Mixtur aus 60's Pop, Easy Listening, Psychedelia, 70's Soundtracks & Velvet Underground. "The Noise Made By People", das Broadcast Debütalbum aus dem Jahr 2000.

Following on from last year's widely acclaimed fourth album, Nobody Wants to Be Here and Nobody Wants to Leave, Scotland's The Twilight Sad today return with the news that a third single from the album, 'It Never Was the Same', will see a release on Fat Cat Records. It comes bolstered by the fact the AA-side will also include a cover of album highlight 'There's a Girl in the Corner' by The Cure's Robert Smith.
It's a perfect way to cap off what's been a whirlwind period for the band with Nobody Wants to Be Here and Nobody Wants to Leave drawing rave reviews from publications including the Sunday Times, the Quietus and Q, alongside topping Drowned in Sound's best albums of 2014 and earning a rare perfect ten from the site, finishing second in the Skinny's list, third in Popmatters' indie rock albums of the year, and topping Any Decent Music's Scottish albums of the year, touring extensively across both the United States and Europe, and a string of very well-received performances at this year's SXSW reiterating the band's ongoing relevance on either side of the Atlantic.
"It's not until you assemble - no, grow, because this is nothing if not organic - the whole thing, that the jaw-dropping brilliance of the album reveals itself." - Drowned in Sound (10/10)
"Simple but effective, the lyrics are bleak, bitter phrases of existential loneliness and torment. His emotion hits just as potently throughout." - NME (8/10)
"The group's fourth LP more than justifies (their) ascension. Where there were youthful, wayward meanderings, Graham has emerged a man, exorcising the sorrows of lessons learnt along the way." - The Quietus

RIYL: Feelies, Dick Diver, Parquet Courts, Velvet Underground. Green Lanes' is the second album from London-based band Ultimate Painting. Formed as a loose collaboration by Jack Cooper (Mazes) & James Hoare (Veronica Falls) the project quickly turned into a full-fledged band in 2014 with the release of their s/t debut album on Trouble In Mind. That album received praise worldwide from NME, Pitchfork,Consequence of Sound & more & with Green Lanes' the band is poised for more accolades. The album is focused & cohesive, the result of two voices becoming one and each member 's songs complimenting the other, carving out a distinct & unified voice as Ultimate Painting. Slinking out of the gate, the first song Kodiak' is an hummable future-classic with Cooper & Hoare's guitars dancing around each other with ease. The licks & lyrics conjuring up images of Sixties California & Seventies New York, a picture of dark clouds on a sunny day. The rest of the album follows suit with the air y, lush harmonies of Sweet Chris' & Two From The Vault ' and even kicks up some dust with the chooglin' (I've Got The) Sanctioned Blues' and the manic 'Woken By Noises'. While their s/t debut was all Cooper & Hoare, this time out, they are augmented by the addition of their live drummer Neil Robinson who provides propulsion on all but one of Green Lanes's tracks. The album artwork was once again provided by Portland artist Bradley Kerl, who portrayed Hoare's London flat & recording space chock full of the equipment used to record both the band's albums casually tumbling toward the viewer. 2015 sees the band hitting the road again, with appearances at UK & European Festivals as well as a full US Tour in the fall in support of Green Lanes'

East London DEXTERS return with their second album - We Paid For Blood. on 25th September 2015 for Acid Jazz. The first single - Stay Strange. is released 18th September and was recently aired for the first time when the band played to huge crowds at the Isle of Wight Festival this summer. For an early taste of the album a brand new song - Suburban Sex Dungeon. is available for free now: geni.us/DextersPaidForBlood
The four piece who consist of Tom Rowlett (vocals), Ben Deboo (guitar), Jamie Harris (bass) and Chris Mardon (drums) - home grown in Hoxton before the beards and pop-up cocktail bars arrived - have spent the last few years touring consistently, honing their classic yet contemporary sound. The result is a shockingly tight live band who are heading out on a month long UK tour in November. - We Paid For Blood. is the follow up to 2013.s - Shimmer Gold. and sees them musically evolved, whilst still maintaining their raw power and melodies. The album has a much fuller sound - a mixture of The Clash, The La.s, The Replacements, The Kinks and Captain Beefheart - although they are much more than the sum of their influences. Fired up by the political situation of 2015 (both personal and public) Rowlett uses these issues lyrically and enhances the urgency of the new record.

Death Waltz Originals are proud to present a spectacular new record curated by Blanck Mass & commissioned exclusively by the East End Film Festival, an alternative score to the 2013 film THE STRANGE COLOUR OF YOUR BODY'S TEARS, directed by Bruno Foranzi and Helene Cattet. A full-on homage to the Italian giallo films from Mario Bava and Dario Argento, the original release of the film had no original score and instead used music from existing giallo films.

A couple of years ago, Epoch established his Egyptian Avenue imprint with a few releases of skewed, bass-heavy club tracks from himself, Wen and Filter Dread. In the hiatus since, Epoch has been busy releasing on Innamind Recordings and Keysound compilations, but now - with little warning - he is resurrecting Egyptian Avenue with a startling change of direction. AVENUE001 features a couple of original Epoch productions that are a distinct step away from previous material, as he crafts two deeply reflective soundscapes built for nocturnal listening. The record's A side, Windmill, features the soulful vocal talents of London-based AFIYA. Her voice transfixes; meandering and drifting over waves of gently probing breakbeats and a grainy synth melody line to powerfully emotive effect. Even more wistful and sombre still, Devotion combines ghostly atmospherics with the chilling vocal and violin contributions of accomplished LA-based musician Alicia Kiah. Sunken ripples of sub-bass lurk beneath her violin strokes and the insistently swaying percussion, creating a mournful, yet beautiful, piece of music. The personal, emotionally charged nature of Epoch's release perhaps showcases another facet of his production, and marks a fine way to re-launch Egyptian Avenue.

Internationally renowned DJ and radio personality Gilles Peterson has called upon some of the most exciting names across the jazz, electronic and indie worlds to rework Melanie De Biasio's acclaimed album No Deal, including EELS, The Cinematic Orchestra, Hex, and Seven Davis Junior.

EELS haunting, orchestral reworking of opening track I Feel You is the first ever remix by Mark Oliver Everett (AKA E), who fell in love with De Biasio's music when she supported EELS at the Royal Albert Hall in June. The Cinemantic Orchestra give I'm Gonna Leave You an intense reworking, while beat maker C. Crisci, a.k.a Clap! Clap! gives the same track an afro-beat slant. Seven Davis Jr gives title-track No Deal an old school house flavour, while LA's Jonwayne coats With All My Love a lush balm of hip-hop. Japan's Toshio Matsuura (AKA Hex) adds an impressive urgency to The Flow, whilst France's modern classical composer Chassol provides a downtempo and discordant take on Sweet Darling Pain.

2014 has been a breakthrough year for Brussels-based De Biasio, who was recently announced the winner for Belgium of the 2015 European Border Breakers Awards (EBBA), which celebrate the best new pop, rock and dance acts in Europe which have achieved cross-border chart success. Other winners include Hosier (Ireland), MO (Denmark), Milky Chance (Germany), and Todd Terje (Norway).

No Deal received 4 star reviews from The Guardian, Mojo, and Record Collector, with Hi-Fi Plus awarding it 10 out of 10, saying "I think we have the album of the year on our hands." Her most recent single I'm Gonna Leave You was playlisted at BBC 6 Music, and last month De Biasio performed on Later...With Jools Holland, BBC2's flagship music show, becoming the first Belgian artist to be invited on the show since 1995.

Today RATATAT, the duo of Evan Mast and Mike Stroud, have revealed they'll release their fifth studio album Magnifique on July 17 via Because. The 14-track album includes the recently released single 'Cream On Chrome,' which the duo debuted during their closing, headline set at this year's Coachella. In support of Magnifique, RATATAT have already hit the road running with sold-out underplay shows in April and confirmed festival appearances at Primavera Sound, Governor's Ball, Capital Hill Block Party and HARD Summer. Following up on the experimental sounds of LP3 and LP4, RATATAT return to their core guitar-driven sound on Magnifique which was recorded over the course of four years in various studios in different locations including Jamaica (the country), upstate New York, Long Island, NY and their home studio in Brooklyn. The art for Magnifique includes a series of sketches drawn by Mast and Stroud during the recording sessions. What else can you expect on Magnifique: pedal steel guitar, the sound of a tiny 1940's guitar amp found in a thrift store in Guadalajara used on 'Intro,' a song named upon the discovery that the guys both had posters of a ' Countach' on their walls in junior high (the duo met in college), and a cover, their first ever, called 'I Will Return' by Springwater (aka Phil Cordell). Lustrous and unclassifiable, RATATAT also worked on Kid Kudi's first album, remixed Björk, Kanye West and even Notorious Big. Their tracks are often used in sync for brands like Jaguar & Apple or for Tv and Radio shows soundtracks (France 5, France Inter...) 'Ratatat have returned with a vengeance' exclaims Fader.

Argentinian guitarist Courtis and British drummer Moore, sounding out everything from grand pianos and balaphons to metal lampshades and wooden staircases.
'It is a disorienting experience to listen deeply to this music. These lengthy pieces sound densely structured... but with a seat-of-yr-pants improv feel which brings the threat of collapse and chaos... In short, neither salon nor sweat-pit, though informed by both.'

Alt-rock superstars Hüsker Dü called it a day on January
28, 1988, but the band's Bob Mould would reappear in May
1989 with his first solo album—the incredibly impassioned
and personal Workbook.

In addition to writing and producing the entire album, Mould
sang all the vocals and played many of the instruments,
sharing duties with The Golden Palominos' Anton Fier on
drums, Pere Ubu's Tony Maimone (bass) and cellist Jane
Scarpantoni from Tiny Lights. While always recognized as
an astonishing guitarist, Mould's fretwork on Workbook
traveled to levels yet unheard or imagined.

The album has since taken on iconic status, recently
celebrated with a spate of 25th Anniversary reissues. This
LP release mimics the much-sort-after 2LP Anniversary
Edition pressed on 2 LPs for sonic superiority. This edition
will also include the B-side, bonus track, All Those People
Know pressed on 180-gram heavyweight black vinyl from
the most recent digital remasters.

'Black Sheets Of Rain', Bob Mould's second solo set
followed the seminal 'Workbook', once again completely
written and produced by Mould himself. Bass and drums
are provided by Tony Maimone and Anton Fier, both
previously of Pere Ubu

Heavier, denser and more bleak than 'Workbook', the
album is perhaps more similar to the Hüsker Dü sound. No
commercial singles were issued from the album but the
catchy 'It's Too Late' was promoted to radio in the USA.

To celebrate the 25th Anniversary of the albums release in
2015, Demon Records is proud to announce this limited
edition LP reissue pressed on 180-gram heavyweight vinyl
cut from the latest digital remaster representing the first LP
remaster since release.

No Need To Argue' is the sophomore effort by Irish group The Cranberries that was originally released in 1994. Propelled by the hit song Zombie' about the Irish conflict, the album was a worldwide smash and helped make the band one of the biggest of the 90s. With a more mature approach to songs and subject matter the album features many highlights including "Ode To My Family", "Yeats' Grave" and "Ridiculous Thoughts" with a more lively rock sound than their much mellower debut album. 180 gram vinyl in gatefold cover with printed inner sleeve that includes the lyrics.

Beach Baby have announced plans for a new single, 'No Mind No Money', which will be released on July 31st via Chess Club This follows the success of debut track 'Ladybird', which picked up plays across Radio 1, 6Music and XFM, saw the band perform a sold-out headline show at Sebright Arms and also open for the likes of Jungle and Django Django. With a slot at The Great Escape festival to follow on May 19th, Beach Baby have also announced a London headline date at Boston Music Rooms for October 8th (tickets are on sale now).

On their second single, Beach Baby continue to cement their reputation as one of the more idiosyncratic new bands of the year. Warm but vaguely unsettling, 'No Mind No Money' is an atmospheric blend of summery, 60s-inspired American pop with the moodier, alternative British New Wave or Post-Punk acts (The Cure, The Durutti Column) that would follow later - all driven by Ollie and Lawrence's languid, harmonic shared lead-vocal. Lyrically more yearning and ambiguous than 'Ladybird', this is as much about loss and frustration as it is trying to embrace that in some way ( and when I close my eyes, I find I'm left behind / that's alright, yeah nevermind'). 'No Mind No Money' was co-produced by William Lowes and given a suitably dreamy mix by Cenzo Townshend (Jamie T, The Maccabees, Franz Ferdinand).

Beach Baby are a London-based four-piece whose apathetic alternative-pop finds it roots across Athens, Dorset and Sheffield. The band met in the musically-rich halls of Goldsmiths College, where co-vocalists Ollie and Lawrence placed an advert looking to build on their then-folk-driven, dual songwriting partnership: future bassist Iraklis turned up dressing like a 50s college freshman (and swiftly got the gig), before drummer Shep completed the equation. Balancing their escapist sound with make-do jobs ranging from a teaching assistant to feature-film script readers, the band have arrived fully-formed at the striking aesthetic of Beach Baby.  
'No Mind No Money' will be accompanied by another brand new song - the driving, euphoric 'U R' - together with a second video from Lily Rose Thomas, who directed the acclaimed 'Ladybird' film and further establishes a visual narrative of femininity and suburban romance. Further details will be announced shortly.

ANTI-FLAG burst through the concrete wall of apathy like a proverbial desert flower. American Spring is an empowering, energetic antidote to the crippling cynicism that infects even the most dedicated of rabble-rousers. Co-produced by AWOLNATION's Kenny Carkeet, Jim Kaufman and the band, Anti-Flag's tenth studio album is both a shot across the bow of the political discourse and creatively challenging. Album Reviews: Big Cheese, Classic Rock, Kerrang!, Morning Star, Powerplay & Vive Le Rock. Features confirmed in Big Cheese, Kerrang!, Metal Hammer, Record Collector & Vive Le Rock. Festivals throughout August. Available as standard CD and 12" LP.

A1 Fabled World
A2 The Great Divide
A3 Brandenburg Gate
A4 Sky Is Falling
A5 Walk Away
A6 Song For Your Enemy
A7 Set Yourself On Fire
B1 All Of The Poison, All Of The Pain
B2 Break Something
B3 Without End
B4 Believer
B5 Hell With Boredom
B6 Low Expectations
B7 The Debate Is Over (If You Want It)