Pop & Rock Vinyl Neuheiten & Releases - News

The african journey for Mukatsuku Records continues with Volume Two of the Afro Funk Gems Series...... First up we have Swedish Rock band Archimedes Badar who join forces with Afro 70 for the huge brass heavy sound of ''Kila Mtu'' here given a dance friendly edit from Nik under his GUYNAMUKAT production guise.On the flip we go back to 1975 for African artist Ekambi Brillant who dropped this infectious slab of afro funk boogie ''Aboki'' to wide appeal that's been a sought after dancefloor bomb to those in the know ever since.

2015 Vinyl reissue incl CD - LIMIÑANAS 4 existing albums re released - FIRST TIME ON LP+CD package!

2015 Vinyl reissue incl CD

GATEFOLD LP incl CD - FIRST TIME ON LP+CD package!

Medical Records presents a very special release and selection of works from Austin, Texas' undiscovered and never before released electronic/ambient artist Kitty from the early 1990s. This band should have had a proper release in the 90s, so for a lot of people, this is a long overdue accomplishment. Formed in 1994 by guitarists Dain Luscombe and Brandon Loe, the band eventually became a trio with the inclusion of drummer Clint Thorman. Over a handful of four-track cassettes, CDR's, and one unreleased EP, Kitty developed a sound unique even in the burgeoning psychedelic and electronic music scene that occurred along the I-35 corridor from Austin, Texas north to Denton as well as a rabid cult following. From their earliest performances as a three-piece, it was apparent that Kitty's music put them in a peerage of electronic and experimental acts coming out of the UK like Seefeel and Insides rather than another Texan 13th Floor Elevators style psych band. Not that Kitty was without distortion or psychedelia. Track 1, "Harrison" has both elements and is culled from the band's unreleased EP. It erupts with a momentous throb of noise that grinds through the build up and at its instrumental chorus, lifts to soar. The track ends with an accelerating rave-up that's less go-go and more electronic auto accident. The delicate and often-flirtatious delivery of vocalist Dain Luscombe is introduced on "Eva," also from 1996's unreleased EP. However influenced by the pop sensitivities of Morrisey and then Smiths, Kitty's music represented a progression, where the opening sentiment of the lyric hangs for one pregnant moment before a tiny glacier of sounds crush the melody out by its duration. "Aquarena" showcases a fair bit of tape bleed, sounding like the flip side of a friend's mix tape until the Farfisa heavy, ambient drone takes overtakes it, buries it, twists and corrupts it, redefining the cassette tape saturation by the end of the song as a place to nest and contemplate the journey. "Rosannarquette" is Kitty at their funkiest and most energetic. Its metronomic and frantic throb was a familiar staple of their live shows and would often set the audience to dancing in venues where big-assed beers and cigarettes were more common pastimes. Late in the B-side we get a hint at a different band entirely with "Stella" and "Heartofmine." These were possibly the last, distinctively rockist moments Kitty exhibited before hitting its stride and leaving the safety of traditional song structures for more experimental progressions. "Herzog" represents the band at its peak. Electronics burble, rhythms build mathematically, and sound moves in lines and waves. Then it all careens to a stop, once again leaving us hanging, before tossing us into a tape-splice break and a final return of enveloping electronics. Fans of acts such as the aforementioned Seefeel, Insides as well as other pioneering works by Flying Saucer Attack and A.R. Kane will adore this collection. Mastered by Martin Bowes at the Cage Studios, UK. Presented on high-quality 180gram heavyweight blue vinyl. (Shipping week 11)

Fictonian will release his debut single 'Make It Be Ours' on May 4th 2015 on Distiller Music.  The single heralds the beginning of an album project which was conceived and developed over the past few years, set to unfold over Spring and Summer 2015. Multi-instrumentalist Fictonian deliberately evades definition. With the music just one part of a project incorporating visual and literary creations, the man behind it has remained elusive to date, determined to create a body of work which reflects a mind as visual as it is musical, and let the results do the talking. Tracks 'Full Circle Influence' and 'Double Negative' emerged in late 2014 to quiet but bubbling acclaim, gaining plaudits from the likes of Line of Best Fit, La Blogotheque, NME (Buzz Of The Week) and Q Magazine. Fictonian toured with Nick Mulvey this March, including a date at London's Roundhouse on March 27, full details below. London headline show to be announced soon.

Go! is the second single to be taken from Public Service Broadcasting's critically-acclaimed new album The Race For Space. The album reached #11 in the UK album charts, #1 in the Independent Chart & #1 in Record Store Chart in it's first week, spent 3 weeks in the top 50 and selling over 16,000 copies in the first 4 weeks since release. The single is a fiery and confident speed-trial of a track, with an infectious hook and the most unlikely sing-along dialogue of the year, all counting down to the moon landing itself when Neil Armstrong utters the relief-filled words, The Eagle has landed'. The Race For Space is out now via Test Card Recordings and tells the story of the American & Soviet space race from 1957-1972 via the duo's eccentric mix of guitar-driven electronica, propulsive drumming and spoken word samples culled from this uniquely rich period of modern history. The band are currently in the midst of a globe-trotting tour. They return to the UK in April where they commence what promises to be a sold out tour following their London, Brighton, Birmingham & Manchester dates selling out 2 months up front. A show at the 02 Academy, Brixton has been announced for Sunday 29 November. Go! will be released on 7' vinyl on 11 May 2015 with a remix on the B-side from Scottish electro-post-rockers Errors who have just released new album Lease Of Life. The Race For Space follows Inform - Educate - Entertain, Public Service Broadcasting's debut album which has sold over 50k copies worldwide. // Press quotes: For PSB the horizon looks boundless' NME 8/10 // Out of this world' The Observer **** // Vibrates with poignancy and grandeur' Q // A multi-faceted, yet cohesive, creation that burnishes anew the golden age of space exploration' Mojo **** // Make no bones about it, this is a beautiful record... just wonderful' Drowned in Sound 8/10 // Richly entertaining, immersive and evocative, orchestrated with fastidious care and feeling' The Independent on Sunday **** // Rich and evocative...the sound of two young men gazing heavenwards and dreaming' Uncut // Brilliantly executed' The Guardian // A magnificent record' GQ // A perfectly realised work of art' The Sun **** // Vividly conveys the triumph, the glamour and the tragedy of the space race' Album Of The Week Time Out // Kraftwerk-meets-Aphex Twin-meets-Daft Punk... suitable for a laser show at the local planetarium' NPR // Bombastically brilliant' Clash // Immense' Mail On Sunday **** // A rocket-fuelled silver screen roller coaster... PSB are pushing the boundaries of what rock music can be' DIY // Excellent' Metro// You'll never need another band ever' Esquire // Brilliantly emotional soundscaping' i **** //"This is the pinnacle of what PSB are trying to achieve, by breathing new life into dusty old relics, and it makes for truly magical, exhilarating listening" The 405 // A euphoric musical journey' Shortlist Albums of 2015 // Pop so high-brow it's nearly in orbit' Channel 4 News // UK & Ireland Dates: 22nd April - Corn Exchange, Brighton, 23rd O2 Academy, Bristol, 24th Pyramids, Portsmouth, 25th Corn Exchange, Cambridge, 28th The Foundry, Sheffield, 29th Ritz, Manchester, 30th Riverside, Newcastle, 1st May The Ironworks, Inverness, 2nd O2 ABC, Glasgow, 3rd Mandela Hall, Belfast, 5th Button Factory, Dublin, 6th Institute, Birmingham, 7th Roundhouse, London. Summer Festivals : 6 June Lunar Festival, Warwickshire, 18 June BST Hyde Park w/ The Strokes, 19 June Hurricane Festival, Scheessel, GER, 20 June Southside Festival, Neuhausen, GER, 3 July Blissfields, Hampshire, 17 July Latitude Festival, Suffolk, 24 July Secret Garden Party, Cambridgeshire, 1 Aug Kendal Calling, The Lake District, 7 August Forgotten Fields, Sussex, 8 Aug Northbound Festival, Cumbria, 23 August Green Man, Glanusk, Wales. 29th Nov O2 Academy Brixton, London

FUTURE is a three-piece band from Paris, identfed by Reverberaton Appreciaton Society and The
Black Angels' leader Christan Bland, as one of the most interestng upcoming psych bands via their
latest compilaton, THE REVERB CONSPIRACY - VOL III (alongside Goat, Mugstar, The Oscillaton, Lola
Colt and many more).
Taken in the marble, the body on the cover, designed by upcoming artst Marion Costantn, greatly
expresses the music of FUTURE. Horizons is a sensual, cold and gloomy record, sounding like the sequel
of The Cure's Pornography (1982) but made in 2015. Sure, it's shoegaze but it's also much more, it's
catchy, ferce and bright in its own darkness.
Their live shows are raw, dark and intense, a perfect soundtrack of our tmes.

hochwertiges Album in weißem Vinyl & speziellem Relief-Cover.
Die Auflösung aller Genres! Düster, melodisch, schräg, melancholisch, anders -
Indie Electronic Beats mit Top Gästen: Louie Austen, Florian Schirmacher/Wareika, Delhia de France, Tim Baker und mehr -
The resolution of all genres! Dark, melodic, angular, melancholic, different - Indie Electronica beats with top guests: Louie Austen, Florian Schirmacher / Wareika, Delhia de France, Tim Baker and more -
high quality album on white vinyl and a special embossed cover.

Coming June 2015 on the band's own Golden Chariot Records label is a deluxe, expanded and lovingly
rendered reissue 'The Decline of Britsh Sea Power', the band's debut album, originally released in June
2003 to huge critcal acclaim.
Over the course of their 5 studio LPs and three award winning flm soundtracks, Britsh Sea Power have
become a true Britsh insttuton: Top 10, Mercury nominated LP, 3 UK silver discs and renowned for
their astonishing live shows in unique and unlikley locatons - Natonal History Museum, Great Wall
of China, Cuty Sark, Cern Hadron Collider, Chelsea Flower show, down a Cornish mine, up in the hills
in the highest pub in England, Jodrell Bank and at the John Betjeman centenary with Nick Cave, Barry
Humphries, Ronnie Corbet and Prince Charles - as well as hundreds of more traditonal sell out tours
and festvals around the world.
'The Decline of Britsh Sea Power' will be re-issued on multple formats including a deluxe collectable
2CD + DVD casebound book and featuring a re-mastered version of the original studio album along
with b-sides from the band.
The album was originally released to much acclaim:
'Out of this world... The track Carrion is truly wondrous, the crowning moment of a dazzling debut' -
NME
'Britsh Sea Power's slightly camp, wholly menacing and startlingly audacious debut is unlike anything
else' - The Guardian
The best band in Britain.' - The Sunday Times

Medical Records continues it's unearthing of extremely rare singles in it's Electroconvulsive Therapy series. Once again, teaming up with Crispy Nuggets blog, we have assembled yet another collection of long out of print and underground singles and rare tracks. This compilation includes 3 complete A + B sides from 7" singles + 4 other rare songs (2 from cassette, 1 A side of a 7", and 1 track featured on a rare 80s compilation LP). All original tracks are impossible to find for less than a mint on the collector's market. The first 2 tracks are by Belgium's Tipical Me from the Claustrofobian b/w Pope No Hope 7". These 2 tracks are perfect synth pop in every way. The second artist is UK's Secession, and we have included their debut 7" released in 1983. Though known for their later more electronic based pop and dance tracks, these two tracks display their earlier dark beginnings with chilling guitars and a more early 4AD aesthetic. Both tracks from the 7" are included. The third artist is France's Leidenschaft who released one lone 3-song cassette in 1986 with 2 of the tracks featured here. Leidenschaft could loosely be compared to early Clan of Xymox with French cold wave leanings. The 2 cuts are very atmospheric and lovely indeed. Back to the UK, we included the wonderfully minimal A + B sides of the rare 1984 7" by Black Fantasy. Original copies of this single have been selling for insanely high prices these days. 2 more tracks were also included on this compilation which complete the theme nicely. V.U.D. was an Italian outfit who recorded a track entitled "Look!" which was included on the "First Relation" v/a compilation LP released in 1983 on Mask Productions and curated by Lisfrank. Quirky and undeniably catchy, we absolutely adore this track as will everybody who hears it. The last track included on this LP is the A side of the rare 1984 7" by UK's Almost Alone entitled "Blue City". Dense and atmospheric synth pop with definite New Romantic tendencies, this track is a perfect closing track for this diverse collection. This collection will certainly appeal to fans of rare minimal synth, early synth pop, or EBM. This compilation allows anyone who has desired to have one or all of these quite expensive tracks on vinyl in the best sound quality possible. Additional mastering by Martin Bowes at the Cage, UK. This compilation and reissue is specially prepared for Record Store Day on high-quality 180gram blue and magenta "half and half" colored vinyl. Limited edition.

As anyone who's ever stayed in one place far too long will know, sometimes a drastic change is what's needed. For Holy Family, the duo of non-blood brothers Anton Ekman and Viktor Hansson, a radical relocation from Sweden to Canada has helped shape the sound of their transatlantic debut album Can't Dance, Wont Steal, Need Some Help. The last months before moving to Montreal, living in Gothenburg had become increasingly unbearable,' recalls Ekman. To us, Gothenburg was the city that we'd initially adopted as our home and it's accepting us was a big deal. But inevitably we started dragging our feet behind us and needed a change of pace.'Country kids at heart, Montreal's lush scenery provided respite from the daily rigmarole of their home city with Canada's open spaces having a far bigger influence on the pair than they expected. The expedition wasn't a case of simply 'finding' themselves, this was a band who had already met, gotten to know each other, performed at Toronto Film Festival, received an award from the Swedish Association of Composers (STIM), and broken up with themselves, originally a trio until their third member left town, if anyone could be certain of their identity, it's Holy Family. As a trio we struggled to make long-distance work but after a while we had to accept that sending files back and forth between each other wasn't for us,' admits Hansson. Our sole goal was to make enough tracks to fund inter-rail tickets for an Eastern European tour. Somewhere down the line we stopped dreaming of Eastern Europe but continued making tracks.'Ironically, going the distance was precisely what the pair needed, and under their new guise as a duo they set course for Montreal having felt a kinship with Canadian exports Wolf Parade and Godspeed You! Black Emperor whilst needing to venture far enough away so that backing out wasn't an option. Whilst strolling around downtown on one of their first days in the city, the pair passed a homeless man with sign that said "Can't dance, won't steal, need some help". It stuck with us. Possibly because it did feel like we needed a whole lot of help being in a new town without any real safety nets,' they remember.Superbly demonstrating Holy Family's uniquely ambivalent sense of place, five of Can't Dance's tracks were completed in Montreal with the other five completed back in Gothenburg. The sound of two worlds colliding, it's a culmination of where the duo is headed and where they've already been. Written whilst sharing the one-bedroom Montreal apartment where the band currently resides, 'East Coast Nerves' resurfaces the mechanical rhythms heard by Viktor in a previous life as a Gothenburg dock-worker, whilst home-grown track 'Youth Cult's stripped back mood looks towards the pair's future in their new location. The fuzz ripping through the doom laden garage sound of Gothenburg track 'Keeping Up' recalls the city's unquenchable thirst for romanticising the industrial working class days and it's brilliantly offset against the uplifting atmospherics of Montreal track 'Trail Of Songs'. To be able to have the perspectives of both being inside looking out and outside looking in was important,' they say. The first couple of months after moving to Montreal we hadn't really started working so inevitably a lot of time was spent reflecting on how our lives had been previously and trying to figure out how we wanted them to be.'Whether finding a way to mix things up a little or simply as a means of escape Can't Dance is an album fuelled by hope. From questioning the status quo and social roles of a previous life to focusing upon wants and needs mostly born out of personal frustrations for now, Holy Family's distinct approach comes from appreciation rather than disdain, from hoping that life will prove itself somewhat moldable, wherever they find themselves.

Golden Gunn is Steve Gunn and Hiss Golden Messenger (Merge Records).This self-titled collaborative album was originally released as a limited Record Store Day title in 2013.  

This 2015 re-press is limited to 660 copies pressed on 140 gram silver vinyl with download card.

In 1993, The Smashing Pumpkins' released Siamese Dream, a meticulous work of '90s Alternative Rock brilliance that injected much needed eclecticism into what was labeled the Seattle Grunge Sound.' The Smashing Pumpkins would embark on a tour in support of Siamese Dream, but not before a 3-night send-off at The Metro. The hype behind Siamese Dream could have easily allowed the band to fill a much larger venue, but The Metro was the perfect place for them to celebrate the album that would introduce their music to the world because The Metro was also the venue that helped introduce their music to Chicago. Historic venue for an historic concert. Available on remastered CD and audiophile quality black and white double vinyl.

Toronto, 2014 - Toronto's Chris A. Cummings, a.k.a. Marker Starling (formerly Mantler), is set to release his new album. Written and played mostly on a Wurlitzer electric piano and produced by longtime associate Zack G, the new record is a departure from previous Mantler releases, as it features Jay Anderson (drums) and Matt McLaren (bass) on all songs but one, making it truly a band record.

"The songs we recorded in the first session were older songs of mine - 'I Guarantee You a Good Time' and 'Uphill Battle' were written between 1999 and 2001; 'Eyelet' was initially intended for a solo Wurlitzer EP in 2006 that was never finished; 'Searching for a Song' was written in 2006 for the Friends in Bellwoods compilation, for which a different version was recorded; and 'Painful Spring' was written in 2008," said Cummings.

"Between February and July 2010, I had a great deal of inspiration and wrote 'Hue and Cry,' 'Husbands' and 'Only Speak Your Name,' and completed three songs, 'Flower of Laughter,' 'Bright as Day' and 'Heed the Call.' My wife and I were expecting a baby daughter in July, and the feeling that swept me up during those months - happiness, hopefulness - poured through me into those songs."

Two key members of Anderson and McLaren's band, Steamboat - Nick Taylor (guitar) and Christopher Sandes (organ) - are featured on Rosy Maze, which also showcases some ambitious string and horn arrangements.

Toronto stalwarts Michael Davidson and Jeremy Strachan play vibraphone and saxophones/flutes (including bass and alto flute) respectively, the latter also providing the delicate string arrangement for the album's most epic track, "Heed the Call." Longtime collaborator Ryan Driver contributed additional flute playing while Felicity Williams created the vocal arrangements for three male voices (Thom Gill, Ben Gunning and Alex Samaras).

'Rosy Maze' is the latest in a series of records in the category-defying area of music that has been Cummings' stock-in-trade since 2000, and which has been dubbed "outsider easy listening" by Toronto's NOW Magazine.

Superchunk frontman Mac McCaughan will release Non-Believers, his first solo album under his own name. McCaughan wanted to use the album to explore his attraction to that early-'80s era of music when punk evolved into something more introspective, focusing on themes of isolation and eventually turning into post-punk and new wave. As he puts it, he was thinking about a time when bands were using keyboards and drum machines to relate through their music a disaffection or alienation' from society, school, whatever. The record is about a fascination with art that could only be made by someone far from where you are, but who maybe shares the frustrations and awkwardness of youth. It's about the irony that comes with being 16 and having a car but not knowing where to go in it, or having a keyboard or a guitar and not knowing how to play it.' McCaughan's songwriting isn't limited to sheer nostalgia, it's also about the more relatable theme of the point when people who grow up feeling isolated have to choose if and when they are going to join the mainstream, and about the emotional journey tied to weighing those options. What appeals to me is songs that deal with the messiness and ambiguity that come with any transitional period,' says McCaughan. Given that McCaughan comes from the indie and punk rock worlds, he's always shied away from the perceived hubris of putting out a record under his own name. There's something about it that's way too 'look at me,'' the singer and songwriter admits. However, given the fact that Non-Believers explores a very personal set of influences, putting out an album as simply Mac McCaughan for the first time just makes sense Your Hologram

Rhodes got his start in music the same way countless other artists have by playing in a friend's band just having fun and not thinking it would go anywhere in particular. Fast forward to the start of 2013 when a friend suggested he start writing his own music and that's where it all began to change - RHODES picked up his guitar and unearthed his own startlingly beautiful voice starting with his debut EP 'Raise Your Love' the same year.

From there Rhodes spent 2014 touring and releasing two EPs including the 'Home' EP that spawned the lead single 'Breathe' and continued the wave of support for him including a Radio 1 INMWT playlist addition and a performance on Channel 4's Stand Up To Cancer show. The EP release week also kicked off the start of his sold out headline UK tour including two dates at London's Olso Hackney.

Picking up where he left off Rhodes is back with 'Turning Back Around' as the first single taken from his eagerly anticipated debut album. The single sees Rhodes reunited with James Kenosha, who worked with him on his acclaimed debut EP 'Raise Your Love', to co-produce the new single.

This year Rhodes is building on what has been an incredible 18 months - not only touring with music's finest (including Ben Howard, London Grammar and Sam Smith), but selling out his last two tours completely. Rhodes heads out for 6 further shows this March including his biggest sold out show to date at the Village Underground on the 10th.

Das nach ihrem Geburtsjahr benannte 1989 ist definitiv eine musikalische Überraschung der siebenfachen Grammy-Gewinnerin: Ihr neues Album unterstreicht, wie sehr Taylor als Musikerin und Songschreiberin gewachsen ist - und wie wichtig Veränderung für sie ist. Der Faktor Pop, der in ihren Kompositionen schon immer dezent durchschimmerte, rückt dieses Mal in den Mittelpunkt, indem sie voll auf zeitgenössische Beats und Keyboard-Arrangements setzt. 'Ich habe zwei Jahre lang an 1989 gearbeitet, und zwei Jahre sind genügend Zeit, um zu wachsen, sich zu verändern, sich inspirieren zu lassen. Ich habe zu der Zeit viel Pop aus den späten Achtzigern gehört, und mir fiel auf, wie mutig diese Songs zum Teil produziert waren! Man hört ganz klar, wie die der Glaube an grenzenlose Möglichkeiten die Zeit geprägt hat. Darüber habe ich nachgedacht, und das Resultat, dieses Album, fühlt sich für mich wie eine Art Wiedergeburt an: Immerhin ist 1989 mein erstes offizielles Pop-Album überhaupt! Und es ist das musikalisch schlüssigste Album, das ich jemals aufgenommen habe - und deshalb auch mein persönliches Lieblingsalbum', kommentierte Taylor.

Als erste Single ist der Track 'Shake It Off' ab sofort erhältlich. 'Eine sehr wichtige Lektion habe ich in den letzten Jahren gelernt: Wir können zwar nicht steuern, was andere über uns sagen, aber wir können sehr wohl steuern, wie wir darauf reagieren. Wir können die Kommentare von anderen an uns heranlassen, können darüber verbittert werden, uns davon in den Wahnsinn treiben lassen - oder aber wir schütteln sie einfach ab', so ihr Statement zu 'Shake It Off'.

Die Standard-Edition von 1989 beinhaltet 13 Songs, ein von Taylor designtes CD-Booklet sowie eins von insgesamt fünf exklusiven Foto-Sets, bestehend aus 13 Bildern. Mit der Deluxe-Edition erhält der Fan neben Booklet und Foto-Set drei Bonus-Tracks sowie drei Audiomitschnitte aus Taylors Songwriting-Phase.


02 .Blank Space

Justly feted for their debut LP 'Alive in Us', a string of exquisite live performances, and the single 'Hey!' - the most played tune on Danish radio in 2011 - Copenhagen-based duo Darkness Falls return with 'Dance And Cry', an album of atmospheric pop noir that - even in March - will surely stake a claim to be one of this year's musical highlights come Christmas. Defying convention, Josephine Philip and Ina Lindgreen effortlessly blend a host of rock and pop influences, the textures and structures of electronic dance music and the haunting atmospheres of arthouse cinema soundtracks to produce an album of deep longing and icy cool - all drawn together by impeccable vocals that embody a decidedly glamorous melancholy. It's an album that will tick all the boxes for a diverse range of listeners; as they themselves put it: 'In our music, there is something for the mind, something for the heart and something for the feet too.' (More Info attached)

Staatsakt veröffentlicht zum Kinostart der Gangsterballade "Ruined Heart - Another Lovestory Between A Criminal And A Whore" des philippinischen Underground-Regisseurs Khavn de La Cruz den fantastische Soundtrack. Khavn de La Cruz ist nicht nur Filmemacher sondern auch Musiker. So ersann er das Thema zu "Ruined Heart" und gab die Komposition weiter an Stereo Total, die auf Basis des musikalischen Motivs einen vollständigen Score komponierten. Außerdem griffen Songwriter wie Scott Matthew oder die fantastische phillippinische Soulband Bing Austria & His Soul Stompers das Thema auf und schrieben ganze Songs zur Melodie. Alles in allem eine weltumspannende, psychedelische Sti(l)le-Post-Reise einer kleinen Klavier-Miniatur. Ergänzt um ein paar Songs aus dem Plattenschrank von und für Music-Lovers! Der Soundtrack erscheint als eine auf 1.000 Stück limitierte Doppel-LP (mit Downloadcode). Die Songs von Bing Austria erscheinen zusätzlich als limitiertes 7"-Vinyl. Ruined Heart ist ab dem 26. März in den deutschen Kinos zu sehen.

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Das Label Staatsakt freut sich sehr zum Kinostart der so märchenhaften wie eigensinnigen Gangsterballade "Ruined Heart - Another Lovestory Between A Criminal And A Whore" des philippinischen Underground-Regisseurs Khavn de La Cruz bekannt zu geben, dass der fantastische Soundtrack auf dem Berliner Label erscheinen wird. "Ruined Heart" ist ein ungezügelter Cocktail und eine rauschhafte Punk-noir-Oper, für die ein weltumspannendes Team zusammengekommen ist: Filmemacher Khavn de La Cruz erhielt Unterstützung von Kamera-Star Christopher Doyle, die Musik des Berliner Elektropop-Duos Stereo Total, das den Score besorgte, des australischen Singer-Songwriters Scott Matthew und der philippinischen Mabuhay Singers. In den Hauptrollen sind der japanische Schauspieler Tadanobu Asano (THOR, LAST LIFE IN THE UNIVERSE) und die Mexikanerin Nathalie Acevedo (POST TENEBRAS LUX) zu sehen. Khavn de La Cruz ist nicht nur Filmemacher sondern auch Musiker. So ersann er das Thema zu "Ruined Heart" und gab die Komposition weiter an STEREO TOTAL, die auf Basis des musikalischen Motivs einen vollständigen Score komponiert haben. Außerdem griffen Songwriter wie Scott Matthew oder die fantastische phillippinische Soulband Bing Austria & His Soul Stompers das Thema auf und schrieben ganze Songs zur Melodie - Alles in allem eine weltumspannende, psychedelische Sti(l)le-Post-Reise einer kleinen Klavier-Miniatur. Ergänzt um ein paar Songs aus dem Plattenschrank von und für Music-Lovers! Der Soundtrack erscheint als eine auf 1000 Stück limitierte Doppel-LP (mit Downloadcode). Die Songs von Bing Austria erscheinen zusätzlich als limitiertes 7"-Vinyl. Ruined Heart ist ab dem 26. März in deutschen Kinos zu sehen.



























ZB D3 | Pachelbel Canon In D Major On... - Buddy Emmons

Maestro is Tigersushi's latest discovery. After a debut 12inch and a 7inch released in 2012, the electrical duo composed of Mark Kerr (the Scottish 'butcher' and lead singer) and Fred Soulard (the French 'mad scientist') just finished a full length debut LP, ready to stir a rather dull French Indie/Electro Pop scene with healthy doses of industrial weirdness and obsessive dance patterns. Support from The Horrors and Erol Alkan.

Soulful Londoner Andreya Triana returns in 2015 with the release of her highly anticipated album, 'Giants' through Counter Records. Produced by Matt Hales (Lianne La Havas, Paloma Faith), 'Giants' is an elegant melting pot of styles, sounds and themes effortlessly brought together by a voice both distinct and timeless in equal measure. Bursting with refreshing honesty and a raw vulnerability, 'Giants' transcends a variety of moods, with 'Paperwalls' making its entrance with attitude to spare. 'Gold' etches itself into the listeners' mind with its layered hums and chants, a constant drum that is Andreya's testament to her love of music and the best times of her life.
The heartfelt 'Everything You Never Had Pt. II', is dedicated to Andreya's mother who raised her during tough times, while 'Lullaby' is an infectiously catchy and uplifting escape from the grey months ahead, perhaps surprisingly so as it's a reflection on her adolescence and her album of the decade The Miseducation of Lauryn Hill which would drag her out of the bad times, a reassurance that someone else knew what she was going through at the time. Finally, 'Keep Running' builds with its thudding heartbeat incessantly driving the track forward shows off Andreya's stunning story-telling skills.

Since his first live performances in 2002, Sean McBride, aka Martial Canterel (who also performs as half of the duo Xeno & Oaklander), has crafted his electronic sound in a peculiar intersection between avant-garde and pop. Merging the influences of the first wave of relatively unknown minimal electronic bands in northern Europe, and seminal industrial noise bands such as Throbbing Gristle and SPK, with the smoothly stylish songcraft of early British New Wave, Martial Canterel records and performs using analogue synthesizers, sequencers and drum machines exclusively, molding electricity to fix the action of music creation in substance. The mastery of his composition technique, a second nature of harmonic complexity, along with a unique talent for melodies, enables him to manufacture gems of extreme noise pop, making use of all its unexpected ingredients. Gyors/Lassù marks an important milestone in the evolution of Martial Canterel's music, progressing far beyond the cages of 'minimal synth' and embracing the noisier qualities of its sound with a renewed urgency, a kind of thickness embodied in multiple layers using only eurorack, Serge and Roland 100 modular systems at his disposal and flushing out the entire session in one take. Sine waves are rendered into walls of guitar-like noise on songs like 'And I Thought', while the stretching out and liquifaction of what were once very precise pointillistic staccato synth arpeggios are marshaled into layers of violent bliss on 'Gyors/Lassù'. The analogue labor and the density of sound highlight the character of continuous performance of the music, where the intertwining of the artist and his work is profoundly material in its quality. As in a modern embodiment of the potter's wheel...the hands, the texture of clay, with ceramic material. Translated lyrically and conceptually, music performance is for time what travel represents in space, and Gyors/Lassù is the sonic rendering of McBride's wanderings between Hungary ('Bulvàr', 'Budapest II') and the South of Italy ('Teano'), between vibrant rhythmic structures and melancholic instrumentals, balancing its bodily intensity with abstract experimentation against the regression of the modern listener.

m 17. März ist es soweit: Nach ihrem Debüt-Album, dem Chartstürmer Megalitic Symphony, stellen AWOLNATION ihr mit Spannung erwartetes neues Studioalbum mit dem Titel Run (Red Bull Records) vor. RUN wurde vom musikalischen Architekten Aaron Bruno verfasst, gespielt und produziert und im hügeligen Hinterland von Malibu in Kalifornien aufgenommen. Das neue Album ist der Höhepunkt von Brunos Erfahrungen nach dem Durchbuch ihres Debüt-Albums Megalithic Symphony. Das Endergebnis ist ein feinst abgestimmtes musikalisches Meisterwerk, das sich manchmal - und urplötzlich - expansiv atmosphärisch, übermutig, ernst und verfeinert gibt und von Momenten des typischen aggressiven Unbehagen punktiert ist. "Auf dieser Platte ist jede einzelne Sekunde sorgfältig zugeordnet", erläutert Bruno. "Jedes einzelne Element dient einem Zweck".
Neben der ersten Single "Hollow Moon (Bad Wolf)" fallen besonders das cineastische "Jailbreak", die erhebende Hymne "I Am", der Titelsong "Run", das euphorische "Windows", das schmerzlich verwundbare "Headrest for My Soal" und die atomare Rebellion von "KOOKSEVERYWHERE!!!!" auf.

(April Cargo Collective Title) Limited pressing deluxe 180 gm double gatefold edition with a free poster and album CD included inside: 750 copies clear with blue with black marble and 250 random black vinyl. Holy Vacants, the fourth album from Trophy Scars, sees the New Jersey quartet deliver their magnum opus as they continue to evolve their sound. The album was initially worked up as a 35-page screenplay by vocalist/lyricist Jerry Jones and is even more ambitious than 2011's Never Born Never Dead, which took reincarnation as its theme. Holy Vacants uses as its springboard a bizarre cocktail of mythology, ancient religion, and conspiracy theory surrounding the Nephilitic gene. The album revolves around Jones's tale of two lovers who have discovered not only that the blood of angels contains the fountain of youth, but also the formula for Qeres. This ancient Egyptian perfume is claimed to be the only substance that can kill angels and Nephilites, who are the supposed offspring of angels/human unions. Armed with this knowledge, the couple embark on a killing spree, drinking spilled Nephilitic blood to stop growing old. The narrative may be conceptually out-there, but it doesn't fence the album in and stands as a metaphor for far simpler and more widely recognized issues - the idealization of youth, loss of identity and corrupted innocence. It's also Jones' personal way of drawing a line under an intense past relationship: 'The album was about being so in love with somebody that they literally destroy you,' he explains. 'I had to write the album as a way of exorcising this person from my mind and soul. I wanted a Bonnie and Clyde-type story, because I've always loved that. There's something beautiful about the idea of rebelling together against something and losing yourself in the rebellion to the extent that it destroys your life. It's the doomed romanticism thing.' Holy Vacants was intended the band's final album , but instead constitutes a complete rebirth. 'I thought we had one more record in us and we wanted to go out with a bang',says Jones. Guitarist Ferrara, who Jones calls 'an unbelievable composer', sent the singer some bare-bones riffs and he found himself connecting with them immediately, hearing how they might work with strings here, a Moog and organ, maybe some brass and an all-girl choir there. And listening to the likes of opener 'Archangel' and 'Qeres', with its free-wheeling but complex and cathartic, psychedelic blues, it's obvious the band have moved light years away from their post-hardcore early years. They reveal their admiration for fellow New Jersey son Springsteen, circa Darkness on the Edge of Town with 'Crystallophobia', 'Everything Disappearing' and 'Extant', and for Jimi Hendrix via 'Hagiophobia', while elsewhere there are echoes of Guns N' Roses and The Mars Volta. But what might sound like an unworkable agglomeration of disparate parts is an intense and cohesive, hugely compelling whole, with powerful contrasts that make for a visceral immediacy. UK press: Hermana.

We Are The City scheinen Energie im Übermaß zu besitzen. Zunächst betreiben die Kanadier Cayne McKenzie, Andrew Huculiak und David Menzel seit ihrer gemeinsamen Zeit in der High School ihre Band, mit der sie unermüdlich touren, das unvermeidbare Auf und Ab gemeinsam überwinden und nach der sie ganz allgemein ihr Leben ausrichten. Darüber hinaus sind sie in wechselnden Konstellationen als Regisseure, Drehbuchautoren und/oder Filmproduzenten in ein nicht ganz leicht zu entknotendes Geflecht verwickelt, das neben mehreren hochwertigen Musikvideos einen eigenen Film produziert hat. Und nebenbei vollführen sie diesen Spagat mit einer ansteckenden Verve. Die Band schreibt ein Jahr lang in einem liebevoll - Magic House' getauften Haus an ihrem neuen Album "Violent". Produziert und aufgenommen wird es zusammen mit Tom Dobrzanski (Said The Whale, The Zolas, Hey Ocean) in Vancouvers Monarch Studios. Gleichzeitig dreht die Band einen gleichnamigen Film in Norwegen, der gleichermaßen wie das Album Extreme wie Tod, Liebe, Einsamkeit, Alleinsein und Erinnerung aus. Während - Violent' (Film) auf der ganzen Welt von Festivals ins Programm genommen wird (u.a. Berlinale, Vancouver International Film Festival, San Sebastian International Film Festival), tritt - Violent' (Album) nun gleichermaßen die Reise aus seiner Heimat Kanada heraus an. We Are The City werden im Frühjahr 2015 ausgiebig in Europa auf Tour gehen.

Mexican border crossings, the traditional ceremonies of surviving Native American
communities and lunar eclipses all form the lyrical rock bed of the laid-back, guitar driven debut single and album of new Welsh five-piece, Zefur Wolves.

Sin Fronteras (No Borders) is just one spellbinding shot of fuzzed-up alt-rock on the
emergent, self-titled album from Welsh five-piece Zefur Wolves, released on Strangetown Records on Monday 13 April 2015. Led by singer-songwriter Estelle ios, Sin Fronteras shows solidarity with Mexican communities forced to challenge the world's busiest border crossing - communities that the band became immersed in while writing and recording in California.

Opener, Fading Out pays its dues to legendary songwriter, Jason Pierce, following
Estelle's 24hr binge on Rated X from Spiritualized Amazing Grace album, transporting her to a clear starry night in the redwood forests of Northern California. The album and resulting tribute evokes the band's very real experiences on their autumn writing retreat, exploring largely uninhabited areas on the edge of the Pacific.

Having immersed themselves in an 'off the grid' adventure in the emerald triangle, Zefur Wolves debt to the wilds of Mendocino, Northern California are equal to the sunshineflecked, West Coast vibe of Mazzy Star and 4AD stalwarts, The Breeders.

Following Sin Fronteras' call to dissolve borders for the sake of humanity, Accept What You Feel calls on love to find a route through difficult times, by learning to leaving the past behind. It forms nearly four minutes of surging, heartfelt grunge-pop, made to pour from the radio on lazy journeys down deserted American highways.

1) Fading Out
2) No Borders
3) Troubled Soul
4) Accept What You Feel
5) Sant's Eclipse
6) Numb
7) Native
8) Wake Up
9) Too Late
10) Secret Song

Mexican border crossings, the traditional ceremonies of surviving Native American
communities and lunar eclipses all form the lyrical rock bed of the laid-back, guitar driven debut single and album of new Welsh five-piece, Zefur Wolves.

Sin Fronteras (No Borders) is just one spellbinding shot of fuzzed-up alt-rock on the
emergent, self-titled album from Welsh five-piece Zefur Wolves, released on Strangetown Records on Monday 13 April 2015. Led by singer-songwriter Estelle ios, Sin Fronteras shows solidarity with Mexican communities forced to challenge the world's busiest border crossing - communities that the band became immersed in while writing and recording in California.

Opener, Fading Out pays its dues to legendary songwriter, Jason Pierce, following
Estelle's 24hr binge on Rated X from Spiritualized Amazing Grace album, transporting her to a clear starry night in the redwood forests of Northern California. The album and resulting tribute evokes the band's very real experiences on their autumn writing retreat, exploring largely uninhabited areas on the edge of the Pacific.

Having immersed themselves in an 'off the grid' adventure in the emerald triangle, Zefur Wolves debt to the wilds of Mendocino, Northern California are equal to the sunshineflecked, West Coast vibe of Mazzy Star and 4AD stalwarts, The Breeders.

Following Sin Fronteras' call to dissolve borders for the sake of humanity, Accept What You Feel calls on love to find a route through difficult times, by learning to leaving the past behind. It forms nearly four minutes of surging, heartfelt grunge-pop, made to pour from the radio on lazy journeys down deserted American highways.

Speedy Ortiz is proud to announce their sophomore album, Foil Deer, which will be released via Carpark Records on April 20th.

'Major Arcana' released in 2013 won them glowing reviews , features and several UK tours (highlights below):

- 4 PAGE NME FEATURE

- 9/10 LEAD REVIEW IN NME: 'One of the reasons 'Major Arcana' works so well is because it's addictive and fun. The guitars and bass sound incredible, like the last Deerhunter album without the Yankee Doodle Dandy'

8/10 Drowned In Sound : ' Speedy Ortiz are way too euphoric and glorious to suffer for their artfulness. Stripping away the frills, at heart Major Arcana is a mournful treasure that asks to be celebrated.'

*NME RADAR FEATURE: 'What's miraculous, though, is that Major Arcana doesn't sound at all self-pitying; it's torrid Slint-meets-Pavement rattle bolsters Sadie's relished words so that yelling along is an exercise in gleefully exorcising your own demons'

8.4 ON PITCHFORK: : 'There's the squalling, guitar-on-guitar carnage of Archers of Loaf, the grungy mysticism of Helium (Dupuis lifted the title Major Arcana from a book she was reading on black magic), and of course the deadpan wit of vintage Liz Phair ('I was never the witch that you made me to be,' Dupuis tells a burnt-out old flame on 'Plough', 'Still you picked a virgin over me').

Standard LP is gatefold, single black LP with chapbook, plus digital download card.
Deluxe LP Is as above but with metallic gold coloured vinyl, and sticker.(200 ONLY FOR UK)
CD comes in digipak with a folded poster approximating the chapbook in the LP.

Speedy Ortiz said they would get the flowers themselves. What a lark! What a plunge!

When considering Massachusetts' Speedy Ortiz, that line from Virginia Woolf comes to mind. Not only for the obvious echoes to DIY, a form and function that's characterized the band's nascency, but in the proto-feminist undertones driving much of their sophomore album, Foil Deer. "I'm not bossy, I'm the boss," Sadie Dupuis sings on "Raising the Skate," invoking in spirit one half of the Carter-Knowles clan and echoing the other's wordplay. And wordplay makes sense, considering Dupuis-the band's songwriter, guitarist, and frontwoman-spent the band's first few years teaching writing at UMass Amherst. She's drawn to the dense complexity of Pynchon, the dreamlike geometry of Bolaño, the confounded yearning of Plath-all attributes you could easily apply to the band's 2013 debut Major Arcana, which fans and press alike have invested with a sense of purpose and merit uncommon in contemporary guitar rock.

The group, including Mike Falcone on drums, Darl Ferm on bass, and new addition Devin McKnight of Grass is Green on guitar, have spent the last year on an almost endless cross-continental touring jag, tagging along with the likes of The Breeders, Stephen Malkmus & the Jicks, and Thurston Moore. That shift into full-time musicianship brought with it an attendant reordering of priorities when it came to songwriting, and the band members' lives in general. They would get the damn flowers themselves.

Dupuis wrote much of Foil Deer at her mother's home in the Connecticut woods, where the songwriter imposed a self-regulated exile and physical cleansing of sorts, finding that many of the songs came to her while running or swimming alone. "I gave up wasting mental energy on people who didn't have my back," she says. "Listening to our old records, I get the sense I was putting myself in horrible situations just to write sad songs. This music isn't coming from a dark place, and without slipping into self-empowerment jargon, it feels stronger." Many of the songs deal with a similar sense of starting over, editing out the unnecessary drama. "Boys be sensitive and girls be, be aggressive," she sings on "Mister Difficult."

And while their debut album was recorded on the fly, Speedy Ortiz spent almost a month in the studio on Foil Deer. Falcone's drums are taut, mechanistic; Ferm's bass ranges from the aggressive rattle of an AmRep classic to smoother, hip-hop inspired lines. McKnight, meanwhile, lends spacier, textural riffs to complement Dupuis' wiry, melody-driven guitar style. "The demos for our songs have always had tons of small details and production experimentation, but we never had any money to pay for more than a couple days in the studio, so the songs came out very live-sounding and guitar heavy," Dupuis says. It was recorded and mixed at Brooklyn's Rare Book Room with Nicolas Vernhes (Silver Jews, Enon, Deerhunter), with the record mastered by Emily Lazar (Sia, Haim, Beauty Pill), lending a more polished sound and a pop sensibility that will stand out to existing fans and new converts alike. For all the lyrical complexity and guitar-based excursions Speedy Ortiz have built their reputation on to this point, Foil Deer has a sense of light-footed fun. What's the point of doing things yourself if you're not going to enjoy the trip

Standard LP is gatefold, single black LP with chapbook, plus digital download card.
CD comes in digipak with a folded poster approximating the chapbook in the LP.

Dan Deacon, der vollbärtige Wunderwuzzi des Popgeschäfts, meldet sich mit seinem neuen Album "Gliss Riffer" zurück. Das selbstsproduzierte Werk ist ein 'back to the roots' für Dan Deacon. Nach seinen letzten Ensemble-lastigen Alben "Bromst" (2009) und "America" (2012) findet er wieder zu einem einfacheren Schreib- und Aufnahmeprozess zurück. Und obwohl "Gliss Riffer" größtenteils elektronisch produziert ist, ähnelt die Klangpalette doch auch wieder den letzten beiden Alben. "Gliss Riffer" umfasst alle gewohnten instrumentellen Spielereien und hyperventilierenden Nuancen, die wir von Deacon erwarten, aber er legt ein größeres Selbstvertrauen an den Tag, was den Gesang betrifft, wie man auf "Feel The Lightening" hört. Und ja, auch die "weibliche" Stimme ist Dan Deacon. Wie schon sein 2007er Werk "Spiderman Of The Rings" ist "Gliss Riffer" ein musikalisches Erlebnis, das vor Ekstase und Energie wahrhaftig sprührt. Der klangliche Übermut wird nur von den Lyrics gedämpft, die den quälenden Ängsten der menschlichen Existenz trotzig die Stirn bieten.

Während das "Text-Album" in Momenten an Sonic Youth, Pavement, Cocteau Twins, Stereolab, Velvet Underground, The National und Sonny&Cher erinnert, lösen sich die Songstrukturen auf dem Instrumental-Album zart auf in zwingende Soundscapes zwischen Noise-Miniatur und Cinemascope-Breitwandepos, wecken Assoziationen zu Neu!, Goblin, Feelies, Young Marble Giants, Wendy Carlos oder Mogwai. Die vermeintlichen Widersprüche ihres scheinbar unbegrenzten Pop-Entwurfs, die Gleichzeitigkeit von unaufgeregt und völlig durchgedreht, schüchtern und radikal, krachig und hymnisch, radiotauglichen Melodien und Avant-Experimentalität schaffen eine große, befreiende Leichtigkeit. Und alle Konzeptualität mal beiseite: es sind einfach wahnsinnig schöne Songs. Ob mit Worten oder ohne: Locas In Love sind in ihrer Nüchternheit und Melancholie, in ihrer Unzufriedenheit und Uneinverstandenheit auf ihrer neuen Platte lebensbejahender und umarmender als jemals zuvor. Und das macht ihre Musik so hörenswert - und wertvoll.

Series of 6 7' Double A side vinyls

Whereas last time around, they were all about "vocal harmonies from NYC to Cape Town" and "massive guitars from Portland to Düsseldorf, mixed with clattering beats from Berlin to Detroit" Aloa Input - a Munich-based three-piece that seems to be just as addicted to new input as it's quick and productive when it comes to releasing more genre-smashing, ebullient output - are about to leave planet earth with their sophomore release, an album that finds them dashing through the better part of recent music history. "MARS ETC." was recorded in The Notwist's own studio, produced by Olaf Opal.

Beach Beach have spent two years swimming, front crawl style. Fast and forceful, these Majorcans fled the island they were born in and squeezed every song in their debut album Tasteless Peace (La Castanya, 2012), a record that dares you to go underwater and see how long you can go without breathing, to the last drop. Now they are back with a brand new recipe in their hands and an expanded set of cooks. In The Sea Pau Riutort and Tomeu Mulet have benefited from the participation of Àngel Garau on drums and Lluís Cabot on guitar.

Is there anything shinier than a guitar through a chorus effect, a 12-string and an acoustic guitar playing in unison Probably, you would only be able to get the same feeling by staring at the sun without your valued shades. Fast paced rhythms, overdriven basses and beautiful background vocals. They have dared to do it all: percussion arrangements, guitar solos, instrumental parts, harmony vocals... Maybe the bands from the C-86 movement will come to mind, something that the wonderful 'Just Like Before' corroborates. Crystal-clear guitar lines may remind you of The Smiths as well. But let's not forget The Feelies, or New Zealand's kiwi-pop, or Postcard Records, or American power pop à la early The Last.

The Sea greets you and then says goodbye, leaving the gift of 12 cuts with a distinct radio jingle feel, as fresh as taking a bath by the seashore rocks in the afternoon o having a glass of lemonade with lots of ice. As it was the case with Tasteless Peace, this is a feeling that contrasts with a set of lyrics that comes across as less summery, more metaphorical, inspired by Blai Bonet and his novel El Mar ('The Sea', hence the album title) or Llorenç Villalonga. Lost opportunities and growing up in a world full of cowards seem to leave no other option than running away towards some uncertain location, but always forward.

Beach Beach will rather face anguish by lying in the sun, pouring water on their wrists and the back of their necks, like moms do. They couldn't do it any other way; they've thrown the fishing line again and have taken enough fish out of the water to make us all enjoy a delicious seafood paella. It might lack the shellfish, but The Sea is a brilliant record.

Right from their inception in 1976, back in the first stirrings of punk, Wire went about making music in a subversive, conceptual way, setting themselves apart from both their peers and their influences.

'I had this idea that I wanted to avoid things that had a particular kind of tradition,' explains singer and guitarist Colin Newman. 'I thought the three-chord trick was too simplistic and that the one-chord trick would be better. Or the two chord trick where the second chord is definitely not the right chord.'

Bass guitarist and vocalist Graham Lewis identifies another trait that has run throughout the group's lifetime. ' People said, we were mysterious, arch and dark. But the only way of doing that successfully, is by also having a sense of humour. You have to have that balance. With Wire there's a peculiarity, a contrariness and that can be funny." This questing approach has served them well in guarding against repetition and cliché. In context, Wire's last album, 2013's aptly titled Change Becomes Us was another case of 'Expect the unexpected' as it found them extensively reworking a rich cache of material abandoned amid a temporary

break-up in the early 80s.



Their 13th studio album - simply titled Wire - comprises material that was written with the album in mind, but toured extensively first, as well as songs that Newman introduced to the group in the studio just prior to recording. The idea was to get the most spontaneous reaction possible from the musicians, and far from the rough and ready results one might expect from such a tack, Wire is full of swooning pop melodies with a 60s tinge and an irresistible, near motorik rhythmic momentum. One can recognise certain melodic inflections, guitar and bass motifs, and drum rhythms from Wire's idiosyncratic vocabulary but it has a remarkable freshness. The basic tracks were recorded at Rockfield Studios with overdubs added at Brighton Electric. The 11 tracks selected for release were the ones that came together most naturally.



From the outset Wire was an alliance between four very different characters and continues today with the addition, in 2012, of It Hugs Back guitarist Matthew Simms, who is around thirty years younger than the other group members. 'With Matt there was a really new dynamic that had appeared in the group's sound and that was something we wanted to capture, utilise and be creative with,' says Lewis.

Wire is the first album where Simms has been involved in formulating the material from the ground up, but when the group's particular chemistry starts working he is now very much part of the process.

Lewis provides most of the lyrics for the album, their subject matter encompassing love songs, cryptic narratives and coded messages. One time, Newman asked Lewis to send over some unfinished, unformatted text so he wouldn't be bound by what to use for the chorus. This material spawned two songs written on the same day, 'Split Your Ends' and the droll 'In Manchester'. The latter has the disorientating and rather absurd situation of having 'In Manchester' as a soaring chorus, when the song is not about Manchester beyond a single line in the lyric.

As the album progresses, some of the sunlit pop tunes become more shadowy and it ultimately plunges into the musical black hole of 'Harpooned', eight churning minutes of the group's darkest, most abrasive music to date, and a favourite in live performances since 2013.



'The point where our personal narratives meet is all about change - moving on and keeping it interesting for ourselves,' says Newman. 'We're in it for the long haul and this is a one-way trip.'
live dates outside the UK will be announced soon.

Limited edition of 300 12' heart shaped black vinyl only.
This limited edition vinyl contains two of the highlights from the hotly anticipated Nadine Shah album 'Fast Food' out April 2015.

Caul is the new album from Last Harbour. Based in the northern English city of Manchester, Last Harbour play music with a dark, gothic heart yet their songs are always beautiful and transcendent. After working with producer Richard Formby (Wild Beasts, Spacemen 3, Ghostpoet) on two previous albums, the band took time out after touring to build their own studio in 2013. This new album was recorded in that self-created space over a year between 2013-4 and bears testament to a patient and detailed recording process that allowed time for experimentation and careful arrangement.

You've Never Been Alone', the first single from the WALLS EP, was co-produced by Rob McAndrews aka Airhead, recently acclaimed by Pitchfork for his debut album 'For Years' (R&S, 2013), and mixed by the stellar French sound engineer Stephane 'Alf" Briat (Air, Phoenix, Sebastien Tellier, Francoise Hardy, etc.). The song gives an original, continental answer to the UK based 'twisted R&B-sung-by-cutely-breathy females scene" (The Guardian) that has been much-trumpeted lately. With its interrupted, intricately detailed and effects-washed sound, 'You've Never Been Alone' is an idiosyncratic yet fiercely melodic, groove-based pop hit. Throughout her EP, Andrea explores relationships, restlessness and dislocation, using a smorgasbord of sounds to dig down into the heart of her nomadic upbringing.

File Andrea's ethereal deep soul dubstep sounds and her fairy-like unique voice next to FKA Twigs, Little Dragon, The XX & SBTRKT, add some Cocteau Twins and Kate Bush reminiscence and you will not regret it. Currently writing her first album, Andrea Balency is a hauntingly beautiful singer you don't want to mess with.