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Communions is a new young quartet, from the same four-wall rehearsal space as Copenhagen contemporaries Iceage and Lower, and under the same roof as most of Copenhagen's new punk, industrial and synth scene - at the studio and venue complex called Mayhem in Copenhagen. Though Communions share a flame with the current Copenhagen wave, the torch is certainly their own. The four tracks that make up their debut EP entitled Cobblestones map out the aches and hopes of young hearts with remarkable precision and honesty, and is done with an unusual ear for melody and song writing. The four young men, brothers Martin and Mads Rehof, together with Jacob van Deurs Formann and Frederik Lind Köppen recorded their debut on their own - in their rehearsal space at Mayhem and in Frederik's living room, resulting in songs sounding exactly as they were intended, where the guitars scream like torn throats and the songs beat in rhythm of young hearts pouring over with passion.

Simply put, Malkuth are a Leviathan; rising from the West, to lay waste to the Eastern lands -- fierce and spiteful, having been awakened from centuries of contemplative slumber. In comparison to their two full-lengths on Hospital Productions, Hathir Sakta (and its accompanying disc on Prison Tatt Records, Tamahprabha, the set originally intended as one double LP) finds Malkuth in relative or even greater form, this material having been simmered to perfection, its ferocity seasoned to epic proportion -- and as always, guitar-guitar-drums -- no bass to tether it, 'define' it or in any way hem it in. Szwed and Murano's guitars tentacle one another -- dozens of possessing riffs, split in all the right places by ice shards of trebly melody -- angular, baroque and dissonant, as if Morton Feldman were somehow meeting black metal halfway; his studied, contemplative maturity juiced up on a gift-cask of USBM-tinged Kaddish wine and energy drinks, and Mr. Murano's experimental projects (Decimus, K-Salvatore, Key Of Shame, et al.), having evolved similarly during the interval, inform these Malkuth tracks in the most apropos and satisfying of ways. Matt Heyner's roiling drum kit ties it all up in twine, complementing Murano's growl with snare-hits and tom workouts like small-arms fire. Malkuth are of a rare breed within the pantheon of black metal, in that their material is both energizing (similar to the way of all bands who chose to ride the Darkthrone/Abruptum artery from the primordial Scandinavian explosion) and meditative/brooding, offering 'head' and 'hard' in equivalent doses. After spending many hours of deep listening to their material, as well as hosting them on my WFMU radio program during the bridge between their Hospital releases and these newer ones, I can say with surety that this LP and its companion are indeed Malkuth's finest hour, such that 'well worth the wait' becomes a descriptive understatement. Hathir Sakta requires your immersion, for the listeners' full envelopment to be achieved; that said, you'll undoubtedly pick up on the incredible energy of these recordings even if only half-listening, and when you're ready, the awe-inspiring, novelistic quality of Hathir Sakta will reveal itself fully and enrapture the listener in its cavernous terror and ecstasy." --Wm. M. Berger, host of WFMU's My Castle of Quiet; proprietor, Prison Tatt Records. The third Malkuth LP, recorded in the band's rehearsal space in 2010. Pat Murano on guitar and vocals, Matt Szwed on guitar, and Matt Hayner on drums.

Fortuna POP! are proud to announce the signing of London's LET'S WRESTLE, whose self-titled third album is due out in February. The record sees the band enter a new phase of maturity and sophistication giving frontman Wesley Patrick Gonzalez a forum to showcase his songwriting talents and love of classic pop. More heartfelt and musically diverse than previous albums, Let's Wrestle sees the band transformed and ready to move up to a different level completely. Straddling the sounds of the psych pop pioneers of the 60s and the Laurel Canyon cowboys of the 70s, Gonzalez still manages to give the songs a quintessentially English twist. For the first time, strings and horns are brought in giving the album a bigger, fuller sound, drawing on inspiration from the likes of Crosby, Stills, Nash and Young, Judee Sill, Harry Nilsson, Fairport Convention and The Kinks. The songs reveal an open account of Gonzalez's life during the transition to adulthood, the band's two previous albums, In the Court of the Wrestling Lets (2009) and Nursing Home (produced by Steve Albini in 2011), having been written when he was still in his teens. The path to maturity is reflected in the approach to the making of the record too: whereas the previous records were more collaborative efforts, the recording saw Gonzalez seize the reins and assume total control. Recorded at Lightship 95, a converted boat on the Thames, the album was made with ex-test Icicles/Kasma man Rory Atwell at the helm, his work for Veronica Falls, Male Bonding and the Vaccines making him the perfect man for the job. Like many great English songwriters Gonzalez is adept at evoking feeling through location. 'Pull Through For You', is a duet with Veronica Falls' Roxanne Clifford and first single 'Codeine and Marshmallow', sees Gonzalez listening to country music and comparing Stoke Newington to the Old West. Named by Lawrence (Felt, Denim) after a book by David Shrigley, Let's Wrestle were formed by Wesley Patrick Gonzalez on guitar and vocals with Darkus Bishop on drums and Mike Lightning on bass, recording their first two albums with that line-up before Mike left and was replaced by Sam Pillay (who left after the recording of the new album to focus on his band Virginia Wing). The third album also saw the addition of Max Claps of The Proper Ornaments on guitar, along with guest appearances by Darren Hayman on B Bender guitar, Meilyr Jones from Racehorses on organ and Max Bloom from Yuck on trumpet. // LIVE : Tour in April/May // PRESS: Mojo, Q, Uncut, DIY, Loud and Quiet, London in Stereo, The Fly, NME, Artrocker, Line of Best Fit, Neon Filler all confirmed, many more will be added. Noisey premiere for video. // RADIO: Marc Riley (BBC Radio 6 Music) Spot Play and session confirmed. //

On 'Leviathan' Freeform Five teams up with the legendary Róisín Murphy for an exercise in irresistible vocal power and anthemic, feel good appeal. Tom Trago delivers an incarnation of 'Leviathan' that highlights the shimmering synths and melodies and puts the funk edge and drum beats centre stage. Cage & Aviary provide a slice of dirty electro tech in their remix teeming with solid claps and bleeps and FX.

The LP will be on 180g black vinyl with a download code. Cursing The Sea, the debut album from Ireland's September Girls, is a dark kaleidoscope of echoey drums, buzzsaw bass, angular guitars and reverb-drenched vocals that blends garage rock and post-punk to extraordinary effect. Named after a Big Star song via The Bangles, September Girls are comprised of Paula (Bass/Vocals), Caoimhe (Guitar/Vocals), Lauren (Keys/Vocals), Jessie (Guitar/Vocals) and Sarah (Drums). Drawing inspiration from the likes of Phil Spector, The Velvet Underground, The Cure, My Bloody Valentine and The Jesus And Mary Chain, the five-piece play reverb-soaked noise-pop of the finest order, with distant layered harmonies, swirling organ and distorted guitars once described as "sounds from a transistor radio abandoned in a rural cinema." Formed in Dublin in 2011, the band quickly recorded some demos and began booking gigs in Ireland and the UK, before releasing a handful of well-received limited edition singles on various cassette and 7' labels around the world, most recently on the Haus of PINS cassette label run by their kindred spirits PINS, with whom the band have also toured. This release, for the song 'Ships', gave the band their biggest press to date, with a glowing review on Pitchfork. With four different songwriters and singers, each song begins with a secret life of its own, only to be unified by the distortion-drenched harmonies and hazy pop stylings of the band, songs that often seem to be of a sunny disposition taking on a darker, more sinister edge. First single proper 'Heartbeats' is a tale of unrequited love and betrayal, awash with fuzzy guitars, ethereal female vocals and entrancing melodies and underpinned by a hurt that catches the back of your throat, while the remarkable pop song that is 'Green Eyed' has the protagonist trapped in a relationship with someone untrustworthy. Elsewhere 'Sister' deals with the thorny subject of rape and victim-blaming in society over an insistent, urgent backing. Title track Cursing the Sea is an ode to long distance heartache and an apt title for the album, with many of the songs dealing with distance, insecurity and inner turmoil, and alluding to an overall sense of being adrift. In keeping with this, the band chose the setting of a beach at night for the artwork, hoping to capture that same unsettled feeling. Whirling around in a tornado of fuzz, dazzling harmonies, disarming lyrics and dizzying excitement, Cursing the Sea is awash with enough attitude and great songs to see September Girls safely to shore. '"Ships" takes their fuzzy garage pop and colors it several shades darker, resulting in an ominous amphetamine-fueled dirge full of screeching guitars, metronomic basslines, and cooly detached vocals. The Girls' pare down their sound to its steely core on "Ships", using angular guitar work to sharpen their sunniest melodies to a bleeding point, making this the most thrilling music they've released in their short existence.' (Pitchfork) // PRESS/Radio : But I Like You PR.

Limited red vinyl re-issue. If you're not familiar with Nada Surf, you haven't been paying attention to your indie-rock lately. Having released 4 full-length albums over the course of a decade, Nada Surf has compiled an impressive sales history of hundreds of thousands of units sold. Before their major label signing to Elektra, the band released a 5 song EP chock full of indie pop gems with catchy guitar hooks and sharp lyrics. Hi-Speed Soul Records is proud to re-release the Karmic EP - the album that started it all.

Lana Del Rey is releasing the Paradise edition of her debut album 'Born to Die', and this new track will be featured on there

Lace Curtain is Mikey Young and David West from Total Control, Rat Columns, Rank/Xerox, Eddy Current Suppression Ring et al, exploring an electronic world of pleasure, frustration and sadness. Bedroom dancers, synthetic singers, basement kicks in a romantic void. Influenced by the Germans, the Italians, pale British button pushers, glamorous alien pop futurists, Mid-Western sweat, NYC disco dreamers, undercover kings and queens escaping a dull grey world with rhythm and noise, sound and vision.

EP3 by Lace Curtain ushers in sounds both new and old to the Lace Curtain listener. A feeling of detached romanticism and dystopian fantasy hangs heavily over this recording, which was delivered to tape and hard drive in San Francisco, Melbourne and Rye, alone and together. "I Can't Wait" and "Lover's Fade" on Side A send affectionate yet fleeting glances in the direction of Chicago and Milano. A Korg from the past predicts the malfunctioning systems of the future. Pop is welcomed, confusion is courted. Side B drifts into headier territories. "Fortress" sweeps through percussive vistas and analog landscapes with the dream logic of an intoxicated tour guide, ending in rapturous murmurs. "Unfortunate Life" sends us down the rabbit hole of monolithic machinery and the abstractions of short-circuited lives.

Comes in a hand screen printed jacket with DL card.

"Present Tense" betiteln die Wild Beasts ihr bislang viertes Album, welches Ende Februar auf Domino erscheint. Das Leben im Hier und Jetzt ist das zentrale Thema des Albums. Ein nicht ganz leichtes Unterfangen in einer Welt, in der alle Erfindungen, die gemacht werden, auf ein Leben in der näheren Zukunft oder die Katalogisierung der Vergangenheit ausgerichtet zu sein scheinen. "Present Tense" steht aber auch für das Selbstverständnis einer Band, die nicht stehenbleibt, sich nicht ausruht auf alten Lorbeeren, sich selbst und ihre Musik stets neu definiert. In enger Zusammenarbeit mit den Koproduzenten Lexxx und Brian Eno-Protegé Leo Abrahams hat die Band ein Album produziert, das aus zahlreichen Soundschnipseln und rhythmischen Fragmenten am Computer zusammengebaut wurde, bevor daraus etwas entstand, das auch live gespielt werden kann. Und trotzdem ist "Present Tense" ein Album, auf dem jeder Song in sich stimmig ist und das als Ganzes großartig funktioniert.

In January 2014 Sophie will release her fifth album, Wanderlust, a record co-written and produced by acclaimed singer-songwriter Ed Harcourt and recorded in just two weeks with a tightly-knit group of musician friends. The record sees the 34-year-old Sophie blossoming into an accomplished singer-songwriter, with its 11 powerfully understated songs showcasing a newfound maturity, warmth and songcraft.
Wanderlust will be preceded by the single release of one of its standout tracks, Young Blood, a life-affirming, piano-driven testament to true love. That song, which comes accompanied by another of Muller's trademark videos, marks the beginning of a glorious new chapter in her career.

Judith Holofernes, Frontfrau der seit 2011 pausierenden Band Wir sind Helden, hat eine Soloplatte aufgenommen - unter dem Radar, aber mit Radau. Mit Einflüssen von 80er Jahre Groove Punk, 90er Jahre -Indie -Rock , Country, Zydeco und 60er Jahre RocknRoll liefert sie jetzt ein gutgelauntes und ordentlich zerzaustes "Debut" ab, dass schnell klarstellt: die Holofernes führt auch als Solo -Künstlerin "ein leichtes Schwert."

Das Ergebnis ist ziemlich weit entfernt von einer besinnlichen Solo -Singer -Songwriterplatte - es ist eine hüpfige, verquere Ode an den Müßiggang, an Widerspruchsgeist und Freude - getragen von einem verblüffend groovigen Geflecht aus Bass, Schlagzeug und (von Holofernes gespielten) E -Gitarren und Ukulelen.

In ihren Texten hüpft Holofernes tänzerisch von absurdistischer Dada -Poesie über herzzereißende Alltagsgeschichten zu furiosen Wortkaskaden - alles verbunden durch eine hörbare Freude am Quatsch und eine (für so viel Quatsch) erstaunliche Tiefe.

We fell in love with Norwegian Atella after hearing just a few notes. With her enchanting voice, Kristiane lures you into a dreamlike state and lets you experience the seductive sound of Atella's electronic pop music. 'The Monster' is their impressive first output and leaves us hungry for more.

London based electronic soul music duo Stubborn Heart, signed to One Little Indian, seemed perfect to add breaks and bass to 'The Monster'. We are big fans of their debut album (which was crowned Album Of The Year at Gilles Peterson's Worldwide Awards 2013), imagine how excited we were about their contribution.

Xinobi, who runs the Discotexas label with Moullinex, recently did remarkable remixes for Agnes Obel and John Grant. His taste in music is rather eclectic, as are his productions. He strips Atella's original to its core, leaving only the vocals behind. His rework is built around an uplifting piano lick and a ridiculously funky bassline. From Portugal with love.

Dean Wareham singer/songwriter of Galaxie 500 quickly follows up last years mini album with his self titled debut album produced in full by Jim James of My Morning Jacket.

In an unprecedented burst of creativity, Dean Wareham follows his well-received solo mini-album 'Emancipated Hearts' just over four months later with his solo debut proper. Consisting of eight original songs and a cover of Michael Holland's 'Heartless People', the self-titled album is a very different record to its predecessor, much less understated and more self-assured. No doubt partly due to its producer, Jim James of My Morning Jacket, who also plays on some of the tracks here (and turns in a remix of 'Happy & Free' as the iTunes bonus track). Dean has admitted that Jim James pushed him in more of a 'rock' direction, something which mini-album producer Jason Quever actively shied away from. This has resulted in surprisingly direct likes of 'Holding Pattern' (an ode to bicoastal commuting, which inexplicably turns into a list of AOR bands 'Kansas, Boston, Toto, Journey, Foreigner and Styx') and 'I Can Only Give My All', which sit comfortably alongside the countryfied rock of 'Happy & Free' and the retro-pop of 'The Dancer Disappears'. Dean Wareham biography Between 1987 and 1991 Dean Wareham was singer/guitarist/ songwriter with Galaxie 500, who recorded three albums for Rough Trade (now available on Domino). His next band, New York-based quartet Luna, recorded seven studio albums for Elektra and Beggars Banquet between 1992 and 2004. He has since released three albums with his wife Britta Phillips as Dean & Britta. Their most recent release was a soundtrack to accompany their multi-media show '13 Most Beautiful: Songs For Andy Warhol's Screen Tests'. Dean has recently acted in the film 'Frances Ha', directed by Noah Baumbach, and written a memoir, 'Black Postcards', for Penguin Books.

None The Wiser' finds the four-piece on fine form, and marks another raising of the bar. Their trademark Mod and indie pop sound are present and correct, but the band have broadened their musical palette, drawing influence from, 'Bob Dylan, Talking Heads, some Clash and as always - the Beatles.'

'Minute Mile' builds to a crescendo of raucous guitars and percussion, that leads into the super-charged rock 'n' roll of 'Heebie Geebies'. 'Go Lucky' nods towards The Jam, whilst 'You Win Some' is an uplifting British take on West Coast folk rock. 'All I Need' and 'The Hardest Place To' are filled with luscious harmonies. 'Under and Over' will no doubt become an anthem at the band's notoriously rowdy gigs.

Since their 2006 debut album 'No Love Lost', the Rifles have picked up high profile fans in musical heroes Paul Weller and Oasis. Their second album 'Great Escape' released in 2009 and 2011's longplayer 'Freedom Run', both met with widespread critical acclaim.

'None The Wiser' was recorded by the newly reformed original line up of Joel Stoker, Lucas Crowther, Robert Pyne and Grant Marsh.

The album was produced by Dave McCracken (Ian Brown), Jamie Ellis and Chris Reece at Paul Weller's Black Barn Studios. It was mixed by Steve Harris (Miles Kane) and Mike Crossey (Jake Bugg/1975).

Tracklisting:

1.
Minute Mile

2.
Heebie Jeebies

3.
Go Lucky

4.
All I Need

5.
You Win Some

6.
Catch Her In The Rye

7.
The Hardest Place To Find Me

8.
Shoot From The Lip

9.
Eclectic Eccentric

10.
Under And Over

11.
On Top Of The World (Hidden Track)

Max Herre hat ein MTV Unplugged aufgenommen. Das rückt ihn in eine Tradition mit Udo Lindenberg, Eric Clapton, Lauryn Hill, Jay Z. Mehr noch als ein konsequenter Karriereschritt und popkultureller Ritterschlag aber ist das Konzert eine Rückkehr zu seinen Wurzeln. Denn lange bevor er als Texter und MC einer ganzen Generation eine neue Stimme geben sollte, war er vor allem der Junge mit der Gitarre, der einfach nur spielen wollte. Das Gefühl, das er als 15-Jähriger im Proberaum suchte, hat er nun im 'Großen Saal'des altehrwürdigen Funkhaus Berlin Nalepastraße wiedergefunden.

Die Geschichte dieses besonderen Abends beginnt vor knapp 25 Jahren in einem Keller in Stuttgart-West. Dort jammte er mit Freunden zu dem Funk, Soul und Reggae, den er liebte - und legte, ohne es zu wissen, den Grundstein für das, was da kommen sollte. Zwei klassische Alben mit Don Philippe und DJ Friction als Freundeskreis zum Beispiel, die sich nicht nur weit über 500.000 mal verkauften, sondern eine ungehörte Musikalität in die deutsche Rap-Landschaft einführten. Drei Soloplatten, die den Bogen spannten von der '1sten Liebe' HipHop zu fragilem Folk im Stile eines Singer-Songwriters (und zurück). Eine Zweitkarriere als Labelbetreiber und Produzent. Und dazwischen immer wieder Auftritte, bei denen all diese Erfahrungen und Einflüsse auf fast magische Weise zusammenliefen.

Max Herre hat Rap immer in einem Bandkontext gedacht, HipHop stets in einem Kollektivgedanken gelebt. Das war Anfang der Neunziger so, als er als Kind der Kolchose seine ersten Live-Auftritte in süddeutschen Jazzclubs hatte. Das war später so, als er aus Freundeskreis die FK Allstars erwachsen ließ und mit ihnen über die größten Festivalbühnen des Landes tourte. Und das ist heute nicht anders, wenn er wie 2012 auf seinem fulminanten Gold-Album Hallo Welt! alte wie neue Inspirationen zu seelenvoller Rapmusik mit Ewigkeitsanspruch bündelt.

So ist es nur konsequent, dass für MTV Unplugged / KAHEDI Radio Show zahlreiche Featuregäste und Freunde nach Berlin gekommen sind: wichtige Weggefährten wie Joy Denalane, Afrob, Sékou, Gentleman, Samy Deluxe, Patrice, Sophie Hunger, Philipp Poisel oder US-Ausnahmesänger Gregory Porter, aber auch das 26-köpfige, eigens für den Abend zusammengestellte KAHEDI RADIO ORCHESTRA. Unter der Führung des musikalischen Leiters Lillo Scrimali kommen so mehr als 40 Musiker aus drei Generationen zusammen. Produzent Samon Kawamura und Host Fab 5 Freddy, einst erster Moderator der wegweisenden HipHop-Sendung Yo! MTV Raps, ziehen im Regieraum zusätzlich dramaturgische Fäden.

'Ich bin sehr dankbar und glücklich, dass ich für dieses Projekt mit einigen der besten arbeiten durfte: viele davon langjährige Freunde und Wegbegleiter', so Max über das mehr als zweistündige, komplett akustische Konzert. 'Sie alle haben nicht nur ihr Spiel und ihre Fähigkeiten eingebracht, sondern ihr Herz und ihre musikalische Vision.'

Den passenden Rahmen bietet das Funkhaus Berlin Nalepastraße am Köpenicker Spreeufer. In dem ehemaligen Hauptsitz des DDR-Hörfunks, in dem schon Barenboim und die Bartoli, aber auch Portishead und Sting gearbeitet haben, vereinen sich Feierlichkeit und funktionelle Strenge auf ganz erstaunliche Weise. Max Herre hat diesen geschichtsträchtigen Ort für MTV Unplugged / KAHEDI Radio Show neu erdacht, indem er seine ursprüngliche Funktion als Aufnahmeraum unterstrichen hat. Vom Publikum umgeben spielen die Musiker in einer 360°-Konstellation zueinander und empfinden gemeinsam nach, wie in den siebziger Jahren Soulmusik gemacht wurde.

MTV Unplugged / KAHEDI Radio Show ist ein erlebtes Experiment mit offenem Ausgang und maximaler künstlerischer Freiheit. Eine kollektive Verneigung vor Soul, Jazz, Funk, Reggae und Rap. Und die in Musik gefasste Botschaft, dass Zukunft stets auch ein Stück Vergangenheit in sich trägt.

Zumindest, wenn sie so klingt wie die Musik von Max Herre.

Hot on the heels of her fabulous new album 'Closer To The Truth' becoming her highest charting studio set since 1991's 'Love Hurts', Cher embraces her disco roots with a remix package of 'Take It Like A Man' which will be available on limited edition 12' vinyl from December 16th, packaged in a white sleeve with gold foil which will appeal to fans and collectors alike.

Los Angeles' Over The Top lead with the way with an extended hi-NRG seven-minute mix which emphasises irresistible bass-driven grooves and disco beats - their full mix is completed by an edit as well as an instrumental version. London duo 7th Heaven are one of the world's most in-demand remix teams following mixes for the likes of The Wanted, Jason Derulo and Katy Perry. Their mix emphasises euphoric synths and Cher's soaring vocals to deliver an irresistible take on one of the highlights of 'Closer To The Truth'. The package also features an edit of 7th Heaven's eight-minute mix.

Recorded over the last year in Los Angeles and London, 'Closer To The Truth' is led by her anthemic Stateside single 'Women's World' which reached the #1 spot on the Billboard Dance Club Play charts. All the way through 'Closer To The Truth', Cher's distinctive voice remains an inspiring instrument to telegraph whatever emotions the songs require. Whether it's a heartfelt ballad co-written by Pink called 'Lie to Me', a James Bondesque thriller, 'Dressed To Kill' or poignant anthem to 9/11 'Sirens', they are all beautifully executed parts of a stunning return.

Hurts have announced they will release 'Blind', the second single from their new album 'Exile', on 19th May through Major Label and have announced a UK and European tour in October and November, which will be the bands biggest tour to date.
Second album, 'Exile', was released last week and has already peaked in the top 10 in 30 countries with a #5 midweek and a #9 chart position in the UK album chart.
'Blind' is the follow-up to 'Miracle', the band's first single from their new album, which received strong support from the likes of Huw Stephens and Zane Lowe at Radio 1 and the band performed the single on both the Jonathan Ross show and Graham Norton's Comic Relief show. New single 'Blind' is an epic and anthemic track that builds into a huge chorus and is sure to become a live favourite.
'Blind' will be released on numbered, 7' vinyl and include an exclusive poster based on the cinematic video for the track.
7 vinyl + poster

The "SKA BOOTS" series marches on with two original "demo" versions of THE CLASH's "ROCK THE CASBAH" and "RED ANGEL DRAGNET" feat THE (ENGLISH) BEAT's RANKING ROGER on vocals/toasting. Produced by MICK JONES, these tracks were never released officially. "GO FEET" label for THE BEAT fans!

Clear vinyl - indie exclusive - 500 copies
Fanfarlo's third album, 'Let's Go Extinct', could be seen as a concept album about human evolution and possible futures, if it weren't more entertaining and beautiful than that could ever imply. Yes, it does grapple with the big questions, but always with a glint in its eye, a sense that nothing could ever be weirder than the truth, and a stirring chorus just about to break.

'All the songs we'd written seemed to deal in direct or roundabout ways with the things that the theory of evolution tries to answer: where the hell are we, and where are we going next,' says singer and main songwriter Simon Balthazar. 'The weirdness of being this thing we call a person and the double weirdness of other people. So we set about dealing with the subject matter with all the flippant playfulness and teenage seriousness it deserves.'

In its way, 'Let's Go Extinct' is the true successor to the band's much-feted debut, 'Reservoir'. Having cast off the colder, more synthetic feel of their second record, 'Rooms Filled With Light', 'Let's Go Extinct' is the sound of the band cutting lose from all expectation, and just letting whatever's going to come, come. In doing so, they may just have made the record of their lives.

In its newfound openness the record takes in the 50s electronic experimentations of Raymond Scott, Shadow Morton rockabilly filtered through Suicide, West Coast sacred cows Brian Wilson and Fleetwood Mac, a little Krautrock here, a spaghetti western flourish there, a blast of 'Young Americans' soul all the way over there.

What these disparate musical inflections don't reveal, however, is that Fanfarlo's latest record is never less than gorgeous, grade-A pop music. The band take the pantheon of cult artists and use them to create something utterly modern and entirely their own.

Balthazar, meanwhile, has accelerated from a talented contender into a commanding and intriguing presence, both as lyricist and singer. Even his more elliptical musings on the human condition - such as 'Myth of Myself' rendered in his warm tones, enter your brain as completely acceptable things to say in song, no matter how wacko they may appear in black and white.

'In a way we went a bit metaphysical with this one,' admits Balthazar. 'We took inspiration from the theory of Panspermia [ref] and visions of post-apocalyptic London, as well as Kurt Vonnegut, Alan Watts and Miroslav Holub, neuroscience and love, because at the end of the day, you can listen to these songs as simple stories of love, hunger and loss.'

Fanfarlo have never been ones to dwell on the stock-in-trade of the rhyming dictionary journeymen. Instead of romantic leads there have always been UFO obsessives, outsider philosophers and lone visionaries in their central casting. But the songs on this record are expressed in such an irresistible palette of colour and form that you could thrill to them without ever unpicking its various Gordian knots and discovering the hidden joys within.

'Let's Go Extinct' was recorded by the band and David Wrench at Bryn Derwyn, described by the band as an eccentric studio at a tucked away village next to a slate quarry in North Wales. 'The surroundings there eerily reminded me of the village where I grew up in Sweden, only we don't have the mountains back home,' says Balthazar. 'It's a place that makes you helplessly happy but at the same time instills a sort of spiritual sadness.'

For the very first time over 2 x 180 gram black vinyl LPs,
Gene's 2001 album Libertine will be released alongside the
new Edsel CD Deluxe Editions on January 27th 2014.
Gene were formed in London in 1993 by singer Martin
Rossiter, guitarist Steve Mason, bassist Kevin Miles and
drummer Matt James, Mason and James having previously
played together in Sp!n. Inspired by the songs of The
Smiths, The Jam and The Faces, Rossiter's literate vocals
and Mason's fluid guitar lines were perfectly complemented
by the intuitive rhythm section of Miles and James. They
released four studio albums and a collection of B-sides and
radio demos between 1995 and 2001, were named Best
New Act at the inaugural NME awards in 1995, and went on
to score 10 Top 40 hits.

Includes download card. Limited pressing of 300 only.
After a four year wait, Stockholm three-piece Museum of Bellas Artes cut the ribbon on their eagerly anticipated debut LP, 'Pieces', out 11th November on Best Fit Recordings. Full-bodied, baroque and seductively melodramatic, 'Pieces' trails the darker climes of luxe-pop, melting disco beats into church organ, sustained synth pads into chiming bells and pistols-at-dawn guitars into post-punk basslines.
Alice Luther's red velvet voice flails like a Grand Dame treading the Boards - the operatic electronica of opener 'Fantasia' paying its dues to Goldfrapp's Felt Mountain. 'Twine' scurries along in a balearic whirlwind and the haunting presence of 'Maze of Shells' lingers like a Victorian ghost.
'Bear Cubs' and 'Swan Boats' flex their rhythmic muscles with guitar and never has a 'Relapse' sounded more enticing. Childhood friends Joanna Herskovits, Leonard Öhman and Alice Luther assembled the band back in 2009 and released the neon-flecked debut EP 'Days Ahead' a year later. As they up the sonic histrionics and dim the lights, forget everything you thought you knew about Swedish pop and start over.
Museum of Bellas Artes' debut album 'Pieces' will be released on 11th November, 2013 via Best Fit Recordings in digital and limited edition vinyl formats.
1.Fantasia
2. Twine
3. Abyss
4. Maze Of Shell
5. Swan Boats
6. Come What May
7. Bear Cubs
8. Relapse
9. Glass

New London-based, Franco-Scottish pop group Jacques Caramac & The Sweet Generation release their debut single, on ltd white 'n' black striped 7" vinyl and digital.
*It Takes All Sorts... is backed with Cadbury's Voltaire on Everyday Life Recordings.

Franco-Scottish-Bolivian group Jacques Carmac & The Sweet Generation release their new single 'Snowballs' on 7' 'snowball' coloured vinyl via Everyday Life Recordings/ Rocket Girl.

*The follow-up to debut single 'It Takes All Sorts...', the Euro-Lou Reed glam pop racket of 'Snowballs' is backed with 'Take It Where You Find It' - replete with its Johnny Thunders tribute solo, it is believed to be the only rock'n'roll song to mention battenberg cake.

27. kin g kon g five
28. min ha galera
29. PRomiscuity

Following their rapturously received European tour in September 2013 which saw them praised in the pages of NME and The Fly and played on BBC 6 Music, XFM, Amazing Radio and Absolute Radio Lorelle Meets The Obsolete release their third album, Chambers. Its a surprisingly direct record which, despite locking into a pulsating krautrock groove on Whats Holding You or getting lost in a fog of white noise on recent teaser track Music For Dozens, always retains a very human heart and soul. There is diversity, too from the slide guitar and driving bass on the out of control rave up that is Sealed Scene to the narco-blues of Dead Leaves and the
folky, melancholy Grieving.

Der wundervolle Indie-Electro-Popsong "A Tout A L'Heure" (mit Bibio on vocals) ist der Haupttrack des neuen Bibio-Albums "Silver Wilkinson" (VÖ: Mai 2013). Er erscheint vorab als limitierte 7" mit einer exklusiven B-Seite. Die Auflage für DE/AT/CH beträgt 100 Stück.

At the end of October the Ghent based band Falling Man will release its self-titled debut album (distribution Rough Trade). The album is Falling Man's second release and follows the EP 'Hordes of the Battered' (2011).

At the same moment Vynilla Vinyl (the record label that sprouted from the Ghent Record Store Vynilla) releases a limted vinyl edition: 200 albums (of which 100 on coloured vinyl), with a silk-screen printed album cover (designed by Levi Seeldraeyers and Philip Callant).

'FALLING MAN snorts, chugs and fills his lungs with chunks of meticulously cut out mid-air madness. The outcome: streams of hot lava welling up, leaving dark scars on his back. Fearful tumbling in a storm of serrated guitars, whipping drums and threatening grunts...'

Key figure of the band is Sam Louwyck (actor, dancer, performer), who is best known for his work with Les Ballets C de la B, Bullhead, Any Way The Wind Blows, La Cinquième Saison, ...).

Falling Man have built themselves a solid live reputation and have supported bands like The Horrors, Ted Milton's Blurt, Caspar Brötzmann Massaker; they have played at festivals like Melkrock Tielt, RatRock Harelbeke, Schippersweekend Lauwe, TAZ, Ghent Film Fest, ...

The album was produced by Wouter Vlaeminck (cf Tomàn) and Falling Man's live sound engineer Peter Van De Veire (The Yellow Tape - studio). They have recorded the album entirely on tape, with a clear sound-signature of Vlaeminck, who captured Falling Man's live power and translated it to vinyl.

'Fiction' is taken from The xx's critically acclaimed second album, 'Coexist'.

· This single also features 'Together', taken from the soundtrack to the motion picture 'The Great Gatsby'.

· This summer, the band are curating their own 'Night & Day' festival. The three-event series has taken place in Lisbon, Berlin and in front of 12,000 people at Hatfield House in Hertfordshire. They will also be headlining Glastonbury's Other Stage in June.
· Limited to 500 copies.

Virgin 40 - 7' picture disc

Auf dem Album feiern Künstler wie Angelique Kidjo, uestlove (The Roots), M1 (Dead Prez), tUnE-yArDs, Kronos Quartet, Baloji, Spoek Mathambo, Nneka oder Tony Allen in dreizehn grandiosen Neubearbeitungen Fela Kutis musikalisches Vermächtnis. Außer der Compilation veröffentlicht Knitting Factory Records ebenfalls am 15. Oktober die letzten sechs Titel in der Reissue-Serie von Fela Kutis Gesamtwerk, die im März dieses Jahres mit der Compilation "The Best Of The Black President 2" und der ersten Staffel der CDs begonnen hatte.

Kein Zweifel, darin sind sich Kritiker wie Publikum einig, "Shields" gehört zu den besten Alben des Jahres 2012! Für den Musikhändler iTunes in den USA war "Shields" sogar das(!) Album des Jahres. Grossartige Songs wie "Yet Again", "Sleeping Ute", "A Simple Answer" oder "Gun-Shy" werden den Indierock-Kosmos für immer prägen. Nun erscheint eine limitierte, erweiterte Version, die nur über den Jahreswechsel 2013/14 erhältlich sein wird. Sie enthält unveröffentlichte Tracks aus den "Shields" Aufnahmesessions, sowie Remixes der Keysongs von Top-Produzenten wie Nicolas Jaar, Liars und Lindstrom. Die Expanded-Version erscheint als Doppel-CD (inklusive des Originalalbums), sowie als LP, die auf dem 180g-Vinyl die 5 Bonustracks, sowie einen zusätzlichen Downloadcode für die 3 Remixes enthält.

'Free Your Mind' creates a fantasy of the next youth revolution. While the two summers of love were birthed from burdening times - Vietnam and 10 years of Thatcher's reign - they were one hell of a party. 'Free Your Mind' binds the two epochs without the negative correlation.
The album was created in a whole new way, with Dan Whitford sketching a song a day over a four month period before completing the tracks with the rest of the band and finally, turning to mixer Dave Fridmann (Tame Impala, MGMT, Mercury Rev) to hone their new creations.
Having discovered a portal to the UK acid house movement through Melbourne's booming subterranean dance community, the quartet interacted on the dancefloor without uttering a word, jointly reaching a higher state, feeling involved in a secret society and ultimately becoming one with the music. A sanctuary that was seemingly only a few degrees away from a bygone era when warehouse locations were revealed by hotlines, pirate FM radio and baggy uniform.

We have always been ardent supporters of the productions of Fernando Miranda Rios aka Michoacan. Cosmic disco has been a common thread for many of Michoacan's early releases, but we have seen him adopting a much woollier and idiosyncratic production style over the years. The Kingdom Of Heaven Is At Hand is the first release since his work for DFA and last year's acclaimed Disco Sucks So Good remix EP on Eskimo.

On this new 12", Michoacan embarks on an adventurous trip down memory lane. The entire EP is suffused with seventies moog vibes. You'll hear influences from early synth pioneers, we even imagined Kraftwerk jamming by the poolside. Combine this splendid nostalgia with Michoacan's spectacular sound design, and you'll know why this hasn't been off our record player for weeks now.

Moby is one of the most innovative and individual forces in electronic and popular music today. He has sold over 20 million albums, headlined Glastonbury, and is back with arguably one of the best albums of his career, Innocents.

Moby chose to make this record with a stellar cast. For the first time in his career he worked with an outside producer, friend Mark 'Spike' Stent, whose résumé includes Madonna, U2, Muse, Björk, and Massive Attack. The list of eminent collaborators on Innocents includes Wayne Coyne (The Flaming Lips), alt-rock legend Mark Lanegan, Cold Specks, Skylar Grey - best known for co-writing and performing on Eminem and Rihanna's Love The Way You Lie; indie-folk singer Damien Jurado, and Inyang Bassey who was the vocalist on The Right Thing from Destroyed. He has named them the Innocents.

"I spend most of my time alone in my studio, so for Innocents it seemed like a really nice idea to involve other people in the making of the record. Working with all of these collaborators has helped me to make a record that I'm very proud of, and working this way also gave me some semblance of a social life.." (Moby)

The Innocents became the inspirational motif for the album, embracing human vulnerability and the desire for human connection, while celebrating imperfection in a world that too often esteems unrealistic and artificial perfection.

The thematic vulnerability is also reflected in the production, "Spike" Stent is known for big productions, but given the nature of the songs on Innocents he and Moby committed to a much more analog and lo-fi production approach. To this end they almost exclusively used old (and usually broken..) equipment in the making of the record.

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