Pop & Rock Vinyl New Releases - News

Paul Heaton will release a brand new solo album ‘The Mighty Several’ on 11th October featuring new single ‘Fish ‘n’ Chip Supper’ (out now). Produced by legendary producer Ian Broudie of the Lightning Seeds and recorded at Blueprint Studios in Salford, ‘The Mighty Several’ features 12 new original songs, performed by Paul and his band + a number of special guest singers including Heaton’s regular live vocalist Rianne Downey as well as Yvonne Shelton and Danny Muldoon (all of whom are pictured on the album sleeve alongside Paul). Heaton has also announced a huge November/December UK tour including shows at Leeds First Direct Arena, Glasgow OVO Hydro, Liverpool M&S Bank Arena & Nottingham Motorpoint Arena ending in London with a show at the famous Eventim Apollo, Hammersmith. Special guests on all dates will be The Zutons

First pressing on gratuitous red vinyl, limited to 1000. Paul Leary issued his debut solo album The History Of Dogs in 1991. And now, thirty years later he’s releasing the follow up Born Stupid. Leary is best known as guitarist/vocalist for the infamous psychedelic noise rock band Butthole Surfers. The Butthole Surfers’ aggressively surrealist recordings and live shows have become mythology in the world of underground music. The headline of a 2016 profile in Vice magazine summed this legacy up neatly, stating the “Butthole Surfers Were the Epitome of Every Hell-Raising Rock 'n' Roll Legend You Ever Heard.” Beyond the group’s extreme persona, Leary was creating seriously brilliant music with the Butthole Surfers. The significance of that work can be measured in the far-reaching scope of the band’s influence. It’s widely known that Nirvana's Kurt Cobain was an ardent admirer. Much of the subversive creative spirit that fueled the Butthole Surfers’ best work can be found inside the grooves of Leary’s charmingly twisted new album. Musically, Born Stupid largely steps away from the atomic punk energy and fuzzed-out metal riffing that defined the Butthole Surfers’ sound. Instead, Leary has crafted an equally compelling soundscape filled with carnival sideshow calliopes, spaghetti western guitar motifs, and off-kilter German beer hall waltzes. But where the Butthole Surfers’ work was often squarely focused on the manipulation of sounds and textures, Born Stupid is heavily rooted in the craft of song, and the record’s finely structured musical landscapes work to support the stories being sung. The connection between Born Stupid and vintage Butthole Surfers’ music is not just stylistic. Longtime fans of Leary’s work will be pleased by the presence of a couple radically reworked interpretations of Butthole Surfers-era material, including a giddily demented singalong version of the "The Shah Sleeps in Lee Harvey’s Grave.” According to Leary, there was no grand vision behind the conception of Born Stupid. “I wasn’t planning on album, but over the years songs kept popping into my head. So I figured I might as well record them.” Leary has seized a ripe cultural moment to send this music out to the world, as Born Stupid speaks effectively to the damaged state of contemporary U.S. culture. There’s no better example than the album’s title track, a perfect anthem for the modern American age. “With so much strife and peril in this world I’d like to help make things better. But, instead, I had to be born stupid,” Leary croons in a warped country drawl, evoking the voice of Lee Hazlewood as sung through a cancer kazoo. Throughout the album Leary is joined by drummer Josh Freese, known for his work with a range of artists, including The Vandals, Guns N’ Roses, and Devo. It’s important to note that Born Stupid will be the first release on the newly relaunched incarnation of Shimmy-Disc, the influential independent record label founded by producer/musician and underground music impresario Kramer in 1987. Kramer revived Shimmy-Disc for his 2020 tenure as Joyful Noise Recordings’ Artist in Residence. Leary and Kramer have enjoyed a long collaborative relationship. Leary’s Born Stupid is a fitting project for Shimmy-Disc’s reboot, the album shares the label’s dark sense of humor, and irreverent approach to experimental music. So perhaps it’s not surprising that Kramer (who also mastered the LP) is effusive in his praise for the project. “Paul Leary’s first solo LP in thirty years is the first release on my 21st century Shimmy-Disc label, which had to begin with a big bang,” Kramer explained. “But I think that what we have here is far more than just a bang. It’s more like a shot heard 'round the world, I reckon. Deafening in its genius

Schwermütige Mörderballaden schlingern die Straße entlang, tieftraurige Songs in wahnwitzigen Kostümen leuchten sich durch die dunkelsten Wege, unperfekte Hymnen neben melodieseligem Ennui und bodenständigen Geschichten. Aber scheiß auf alle Metaphern: ,Mein schöner Hals" von Musiker, Komponist, Sänger, Gastgeber und nicht zuletzt Schauspieler PAUL SIES erscheint am 14.02.2025 auf superpolrecords. Mit dabei und mit verantwortlich für das Album sind Künstler*innen wie: MOLA (auf ,Licht"), Marlo Großhardt (auf ,Auch die Hölle hat noch einen Keller"), Moritz Krämer (auf ,Geträumt"), Patrick Reising (Produktion), Liv Solveig (Geige), Christoph Bernewitz (Gitarre), Jörg Holdinghausen (Bass), das Kammermusikensemble Laubenheim oder auch ,Der Hund Marie" an den Drums.

At the core of the The Leg’s musical boot-room are the long-term trio of mercurial vocalist and driving force Dan Mutch; cellist, producer and one-man scratch orchestra Pete Harvey; and percussive polymath Alun Scurlock (formerly Alun Thomas). The three have played together for the best part of twenty years, recently augmenting with guitarist and pedal doctor James Metcalfe and returning compadre John Mackie on bass, the swelling ranks making for a sound more fulsome and addictive than ever before.

Somewhere along the way Mutch and co collided with Paul Vickers (former frontman of Dawn of the Replicants), a one-man Brothers Grimm for the austerity age, whose skewed yarns created a demented kind of magic across five Replicants albums, and whose muse was now flying solo. 

With eight Peel Sessions under their combined belts, a star-crossed alliance was born. Over the last decade, and in parallel to their own catalogue of releases (most recently on Edinburgh’s highly regarded but currently mothballed Song, by Toad Records), The Leg have provided muscle, heft and salty shout-alongs to Vickers’ post-punk Pied Piper over three LPs. And given Harvey and Scurlock’s moonlighting with the likes of pop radio favourites Withered Hand, Modern Studies and King Creosote, Paul Vickers and The Leg are now firmly rooted in Edinburgh’s fertile if often unheralded underground micro music scene.

Where Tropical Favourites, Itchy Grumble and The Greengrocer conjured up distant islands of pastoral gothic mayhem, with Jump, Paul Vickers and The Leg somewhat appropriately take a leap down a rabbit hole of spit-and-sawdust surrealist show-tunes, arm in arm in arm with new label Tenement Records.
The lighters-in-the-air anthem of Sherbet and Chilli sounds as much a kindergarten classic in waiting as the school assembly sing-a-long of Little Turtle Wars, if such august institutions were run on gunpowder, anarchy and food fights, with the latter featuring a chorus that could have been dreamt up by Kevin Ayers.

Bolstered by The Leg’s five-headed hydra, Vickers becomes a pop-eyed Victorian explorer dragged through a punky music hall hedge and let loose in an imaginary menagerie of his own design. 

Help This Animal is a white reggae rumble in the jungle, where our four-legged friends break free from the ark of Vickers’ hyperactive imagination, as he casts himself as Dr Doolittle in ringmaster’s garb.

Chieftain of Paradise is a rinky-dink pump-house perambulation into a world of curiosity shops and Elvis’ shoes, before Xmas in the Jungle rings in the season in furious fashion.

Finally, The Blackburn Giant is a genuine epic, a folk-tale carved into immortality as a northern English grimoire riven with the pathos and tragic grotesquery of a Scott Walker dirge transplanted to a fairy-tale kingdom where being different isn’t an option.

"Between Two Fires is an album by English singer Paul Young. It was originally released in 1986 and peaked at #4 on the UK Albums Chart. The album, featuring a combination of cover versions with original songs written by Young and Ian Kewley, went on to achieve Platinum certification. It features the singles ""Wonderland"", ""Why Does A Man Have To Be Strong"", and ""Some People"" amongst others. In 2007, an expanded edition of the album was released on CD. This vinyl release of Between Two Fires presents this expanded edition for the very first time available on vinyl, including 7 bonus tracks containing 12"" mixes and B-sides. Between Two Fires (Expanded Edition) is available on vinyl for the first time as a limited edition of 1000 individually numbered copies on flaming coloured vinyl and includes an insert with lyrics. "

Peaness' double EP "Are You Sure?", featuring songs from their first ever EP "No Fun" plus previous 7" and cassette releases such as "Oh George" and "Seafoam Islands" which was originally released in 2017. As a firm fan favourite, their 'Petite Pois' as they have so affectionately named their fanbase, will be over the moon that they are finally getting a repressing of this record. Limited one off pressing on Splatter (green and yellow) coloured vinyl.

Indie darlings Peaness are aiming high once again with charming, harmony-driven pop perfection in the form of two original Christmas classics this festive season. Both songs “Kiss Me Sweet Pea” and “Sad Season” will be released on their own label Totally Snick Records.

Lead single “Kiss Me Sweet Pea” is an unapologetic pop-produced single embracing many of the Christmas cliches - including sleigh bells, a key change, and a nod to the classic Noddy Holder scream. B side and second single “Sad Season” follows a more sombre style with its stripped-back jazz standard approach to production and songwriting, which gives a more intimate piece of work from what we’ve come to expect from Peaness, with front person Jess Branney featuring alongside a piano and a string arrangement.

Das Debüt des Französisch-US-Amerikanischen Duo fühlt sich an wie ein magischer Ausflug: durch bunte Traumwelten, Meereswellen und Retro-Synthesizern. Auf dem 13 Tracks umfassenden Werk kreieren Pearl & The Oysters ein Jazz, Pop und Electronica Gemisch, das den Sweet Spot aus Steely Dan, Beach Boys und Yellow Magic Orchestra trifft.

"Monkey Mind" ist das neue Album des französisch-amerikanischen Duos Pearl & The Oysters, produziert von Jonathan Rado (Foxygen, Weyes Blood, Miley Cyrus, Father John Misty, The Lemon Twigs). Obwohl es vordergründig fröhlich und leicht wirkt, entstand das Album nach den verheerenden Waldbränden in Los Angeles im Jahr 2025 und Trumps zweiter Amtseinführung. Der Titel "Monkey Mind" ist dem buddhistischen Konzept eines ruhelosen, sich wiederholenden Bewusstseins entlehnt - das Duo nutzte seine eigenen "unruhigen Gedanken", um das Album innerhalb weniger Wochen zu schreiben und seine Sorgen durch Musik zu verarbeiten. Das Album markiert eine Abkehr vom leicht kitschigen Weltraum-Sound von Planet Pearl hin zu einem wärmeren, organischeren Klang, der vom Softrock der 70er Jahre (Todd Rundgren, The Beach Boys, Steely Dan) beeinflusst ist und Anklänge an City Pop und Exotica aufweist. Nachdem P&TO jahrelang ihre eigenen komplexen, im Homeoffice aufgenommenen Klangwelten erschaffen hatten, arbeiteten sie nun mit Produzent, Solokünstler und Foxygen Jonathan Rado zusammen und nahmen direkt auf Band mit minimalen Overdubs auf. Dabei kooperierten sie mit ihren Musikerfreunden aus Los Angeles. Das Ergebnis ist lockerer und stärker im Hier und Jetzt verankert als alles, was sie zuvor gemacht haben. Mintgrünes Vinyl mit Insert und Artwork-Design von Juliette Pearl Davis selbst.

Blue vinyl includes mp3 download, 12 x 24 inch poster: Some say life only makes sense in reverse, from the vantage point of your rear view - Magic Mirror is a looking glass of sorts. Like a modern day Alice in Wonderland, Pearl Charles beckons you to slip and fall into her world. You'll find yourself drifting with the tide - the ups, downs, and all-arounds of a life well-lived and well- loved. From start to finish you float along a reflective river, dancing in your own/the personal/private Studio 54 of your living room, decked out in sequins or nothing at all. It's a feel good album that asks us to actually take the time to feel good. Magic Mirror follows the cartography of a girl, growing into a woman, as she moves through life from singledom, to the expansive space of self-reflection, and the newly appreciated perspective of coming back together again and finding yourself, this time with someone new. A love letter to the self, a dance party for life, and at times as introspective as your best trip, Pearl takes us on a journey that, like life & love, has the tendency to surprise, delight, and leave you breathless. All you have to do is let yourself enjoy it.

On Pedro The Lion’s new album Santa Cruz, critically acclaimed musician David Bazan returns with a new chapter in his ambitious and ongoing recording project - 5 albums devoted to places he lived in throughout his life. Santa Cruz is Bazan’s third album in the series and follows up where 2022’s Havasu and 2019’s Phoenix left off. Tracks like "Modesto" and "Little Help" foreshadow Bazan's exposure and ultimate love of classic rock n' roll records, while songs like "It'll All Work Out" showcase his unique approach to synthesizers, something he introduced with the 2005 self-titled Headphones album. The stories on Santa Cruz highlight Bazan’s teenage years and solidifies what he sees as an exposition in a traditional three-act structure. After 25 years refining and building what he calls his “garden of songs,” David Bazan has sold hundreds of thousands of albums, performed in sold-out venues and living rooms around the globe, and played high-profile live sessions with the likes of NPR’s Tiny Desk, KEXP, WNYC’s Soundcheck, WXPN’s World Cafe and many others. His music has been featured in outlets such as The New York Times, Pitchfork, Rolling Stone, SPIN, Vox, Paste, Aquarium Drunkard and others.

Pedro The Lion Covers “B” By Lync. Lync “B” Original Version On The Flip Side. One-Time Retail Pressing Limited To 450 Copies. Pressed On Opaque Purple Vinyl, Includes Download Coupon. The early ‘90s Olympia trio Lync harnessed the same raw energy and passionate discord of the era’s San Diego and DC chapters of post-hardcore while building their songs on the foundation of the Pacific Northwest indie rock scene’s clever hooks and sophisticated melodies. In celebration of the recent reissue of Lync’s sole LP, These Are Not Fall Colors, singer-songwriter David Bazan has re-envisioned the album opener “B” under his Pedro the Lion moniker, stripping away the celebratory distortion and riotous clamor of the original for a hushed acoustic rendition in line with Bazan’s most austere slow-core moments. Paired together as a 7” single on Suicide Squeeze Records, these two versions of “B” highlight the multifaceted power of the original song, with Pedro the Lion’s version elevating its fundamental melodic weight, idiosyncratic chord structure, and poetic power, and the original Lync version reminding us how their distinctive brand of expressive dissonance and adrenalized execution transformed their cerebral pop songs into jagged masterpieces of the post-Nevermind punk underground

Rose Main Reading Room, the fourth full length by Peel Dream Magazine, is a lush, inviting headphones record; the kind of album made to accompany city bus rides and rainy-day solo trips to accidental destinations. The band, whose name nods to the BBC Radio 1 legend John Peel — arbiter of all things underground, quality, and (it must be said) "cool" — has since its inception been a genre-hopping experiment, jumping from motorik krautrock to shoegaze and space age pop, and their newest work is a perfect starting point for the uninitiated, beckoning toward a newfound romance and nostalgia with their catchiest collection of songs to date. Across its fifteen songs, Rose Main Reading Room ultimately proposes a world of marvels and compelling complexity: “Oblast” cheekily prods at mutually assured destruction; “Ocean Life” explores the infiniteness within ourselves; while “R.I.P. (Running in Place)” unpacks an all too familiar stagnation. It’s all part of, and crucial to, Rose Main Reading Room’s transportive power, ever reaching for the wonder and magic of the world we live in.

Rose Main Reading Room, the fourth full length by Peel Dream Magazine, is a lush, inviting headphones record; the kind of album made to accompany city bus rides and rainy-day solo trips to accidental destinations. The band, whose name nods to the BBC Radio 1 legend John Peel — arbiter of all things underground, quality, and (it must be said) "cool" — has since its inception been a genre-hopping experiment, jumping from motorik krautrock to shoegaze and space age pop, and their newest work is a perfect starting point for the uninitiated, beckoning toward a newfound romance and nostalgia with their catchiest collection of songs to date. Across its fifteen songs, Rose Main Reading Room ultimately proposes a world of marvels and compelling complexity: “Oblast” cheekily prods at mutually assured destruction; “Ocean Life” explores the infiniteness within ourselves; while “R.I.P. (Running in Place)” unpacks an all too familiar stagnation. It’s all part of, and crucial to, Rose Main Reading Room’s transportive power, ever reaching for the wonder and magic of the world we live in.

Rose Main Reading Room, the fourth full length by Peel Dream Magazine, is a lush, inviting headphones record; the kind of album made to accompany city bus rides and rainy-day solo trips to accidental destinations. The band, whose name nods to the BBC Radio 1 legend John Peel — arbiter of all things underground, quality, and (it must be said) "cool" — has since its inception been a genre-hopping experiment, jumping from motorik krautrock to shoegaze and space age pop, and their newest work is a perfect starting point for the uninitiated, beckoning toward a newfound romance and nostalgia with their catchiest collection of songs to date. Across its fifteen songs, Rose Main Reading Room ultimately proposes a world of marvels and compelling complexity: “Oblast” cheekily prods at mutually assured destruction; “Ocean Life” explores the infiniteness within ourselves; while “R.I.P. (Running in Place)” unpacks an all too familiar stagnation. It’s all part of, and crucial to, Rose Main Reading Room’s transportive power, ever reaching for the wonder and magic of the world we live in.

‘Bad Time’ is the new EP from Peeping Drexels. The London based 5-piece, who have been together since they were sixteen, have to date released a series of singles on the Permanent Creeps and Fierce Panda labels. This is their first release on BY Records. They've previously received support from the likes of Steve Lamacq, DIY, So Young among others. They've also performed live with artists such as Shame, Goat Girl and Public Practice.

First single, High Heels, sees Peeping Drexels eulogise about white pills and night thrills - anxious overtones abound until the crescendo of guttural angst takes over. "High Heels is a dimly lit journey through the narrow corridors and backrooms of a twisted underground club, all whilst under the influence of an unknown substance. The song is the first taste of Peeping Drexels rebirth; experimental new sounds, broader instrumentation, yet pop music to the bone. A never ending loop of bad-trip fuelled excess, and there is no way to escape."

Prior to lockdown, Peeping Drexels played a Sold Out Parallel Lines headline show at London’s Bermondsey Social Club and ended it with a sold out main support slot for Fat White Family at EartH (Evolutionary Arts Hackney).

The project takes influences from a broad musical spectrum, from the dance vibes of Gary Numan and Mr. Fingers to the intensity of Tyler The Creators' synth-heavy Cherry Bomb and the maximalist work of Kanye West.

Pelvis Wrestley's sophomore LP, ANDY, or: the Four Horsegirls of the Apocalypse, is a fantastical meditation on impermanence through the lens of missing persons, and people we miss. Written in the back-and-forth days of unclear pandemic guidelines, the songs are informed by the diasporas of 2020, where so many people relocated without even the suggestion of a goodbye party. The record is named for a previous Benjamin Violet project, ANDY, which saw its members relocate during lockdown. As Pelvis Wrestley, Violet repurposes the mythology of the titular demigod for a new era. Following the release of their debut record, "Vortexas Forever", the Austin-based group gained notoriety for their unique blend of Americana, baroque pop and 70s glam, reminiscent of Of Montreal, Sparklehorse and Arcade Fire. They garnered support from Kishi Bashi, The Austin Chronicle, Under The Radar, and was named NPR affiliate KUTX's artist of the month in June 2023.

Whether she’s channeling emo, pop or techno, Scott really just makes music the way she wants to hear it—whether that’s making percussion sound bolder, speeding up the tempo or maximizing the best part of the song. And as for songwriting, her dark humor and sharp social critiques are just as much a passionate display of her feelings as her pleas to be loved and understood. Her quips may be ~extremely online~, but the way she condenses complex emotions into playful, meaningful dialogues is universal. Scott released an EP titled Hazards in August of 2021, which strikes a balance between the musical styles she’s explored previously, including distorted pop and scratchy guitar songs. The EP contains three brand new tracks, plus updated versions of songs Scott wrote before Public Void and most of The Junkyard 2. “I hope that fans of my previous albums will each find their tastes represented in Hazards,” Scott says.

The Junkyard 2 came into fruition when it was released in May of last year, as an intimate collection of what she considered her best material. Scott has been taking piano lessons since she was eight years old growing up in California, and that instrumental talent is one of the most striking elements on the record. The songs reckoned with touchy subjects -- emotional labor, insecurity, healthcare -- with razor-sharp wit and care. Even if it was recorded poorly, the brilliance of the writing and performance still resonated. After that, she realized she had to do better, and so she unveiled Public Void in September. She ditched the piano, played with software, and gave her music a texture that was bolder, weirder, and catchier. Together, the two projects and Scott’s other singles have combined to amass 87.8 million on-demand U.S. streams, according to MRC data. The landscape of TikTok is cluttered, and hits are ephemeral, but Scott’s strike a unique chord and her image is constantly growing. When asked if she considers that music will be her full time job, she pauses, reluctant to think too far ahead. “I think, for the near future, yes,” she ultimately answers. “I’m definitely not leaving college for it. But the next couple of years are locked in.” As of April 2022, “Rät” is now a gold single. The album has streamed over 350M times in under 2 years.

The Junkyard 2 came into fruition when it was released in May of last year, as an intimate collection of what she considered her best material. Scott has been taking piano lessons since she was eight years old growing up in California, and that instrumental talent is one of the most striking elements on the record. The songs reckoned with touchy subjects -- emotional labor, insecurity, healthcare -- with razor-sharp wit and care. Even if it was recorded poorly, the brilliance of the writing and performance still resonated. After that, she realized she had to do better, and so she unveiled Public Void in September. She ditched the piano, played with software, and gave her music a texture that was bolder, weirder, and catchier. Together, the two projects and Scott’s other singles have combined to amass 150 million on-demand U.S. streams, according to MRC data. The landscape of TikTok is cluttered, and hits are ephemeral, but Scott’s strike a unique chord and her image is constantly growing. When asked if she considers that music will be her full time job, she pauses, reluctant to think too far ahead. “I think, for the near future, yes,” she ultimately answers. “I’m definitely not leaving college for it. But the next couple of years are locked in.”

Laura Kidd is a music producer, songwriter and digital polymath based in Bristol, UK. Starting her music career as a bassist and vocalist for hire, she toured the world and achieved her childhood dream of appearing on Top Of The Pops (three times!) with Tricky, A-Ha, Viv Albertine (The Slits), Lil' Chris, Alex Parks and Duncan James (Blue), as well as singing on screen with David Bowie in the Ricky
Gervais TV series, "Extras".

From 2010 to 2019 Laura created her own audiovisual world under the moniker She Makes War. In that time she released four full-length solo albums and sixteen music videos, playing 600 shows with artists from The Brian Jonestown Massacre to Juliana Hatfield, Frank Turner, Suede, Carina Round (Puscifer), Amanda Palmer, Nadine Shah and Filthy Friends.

Since then, Laura has been making music as Penfriend. Part reinvention, part reckoning with a more confident, wiser self, her new project is a deliberate call for more meaningful connection at a time of cheap dopamine highs and increasing depersonalisation.

The debut Penfriend record, "Exotic Monsters", builds on Kidd's accomplished ear for melody and ambitious production style, marrying disparate influences from Tanya Donelly, Juliana Hatfield and Nevermind-era Nirvana to the gritty tension of Nine Inch Nails and Puscifer and synth soundscapes of Depeche Mode, Tears For Fears and Sylvan Esso.

Written and recorded in solitary confinement during the drawn-out, tumultuous Brexit nightmare and well on into the Covid-19 pandemic, "Exotic Monsters" mirrors our dystopian world, posing questions and offering comfort, hope and a friendly shoulder to lean on. Drawing more from her wide-ranging reading list than her favourite bands, Laura deals with the gruelling emotional matters of 21st-century life with honesty, grace and warmth, using fragments of prose from
Ursula Le Guin, Barbara Kingsolver, Kurt Vonnegut, Margaret Atwood and Mark Westmoquette as jumping-off points.

Inviting her loyal audience to be a meaningful part of proceedings from Penfriend's inception was central to Laura's refocused musical mission, so she created The Correspondent's Club. This friendly community is a natural evolution of a decade of wildly successful crowdfunding and a way to celebrate and appreciate the individuals who really keep the wheels turning - music fans.

In 2020, alongside the first two standalone Penfriend singles "Everything Looks Normal In The Sunshine" and "The Only Way Out Is Through", Laura launched podcast series "Attention Engineer". Featuring deep conversations with fellow artists on creativity, grit and determination, guests include Corin Tucker (Sleater-Kinney), Tanya Donelly (with whom Laura recorded a duet in 2016), Frank Turner, Bernard Butler, Nova Twins, Sadie Dupuis (Sad13 / Speedy Ortiz) and J. Willgoose, Esq. (Public Service Broadcasting). The weekly show will continue throughout 2021.

‘Broadcasting From Home’ is the third studio album by the Penguin Cafe Orchestra, released in 1984.
The opening song was named after Penguin Cafe Orchestra leader Simon Jeffes found a discarded harmonium in an alleyway in Japan.
This is the first repress since 1987 and uses the 2008 remaster.
Pressed on white vinyl.

Double Exposure ist das neue Album des britischen Multiinstrumentalisten James Hoare, bekannt aus Bands wie Veronica Falls, Ultimate Painting und Proper Ornaments. Unter seinem Solo-Pseudonym Penny Arcade präsentiert er ein Werk, das noch roher, spontaner und experimenteller klingt als sein Debüt Backwater Collage (2024). Die Songs entstanden größtenteils schnell und intuitiv - aufgenommen auf einer 16-Spur-Bandmaschine, mit alten Drumcomputern, schwebenden Orgeln und reduzierten Arrangements. Gitarre ist erstmals nicht das zentrale Element, auch wenn Stücke wie "Regrets" zeigen, wie eindringlich Hoares Gitarrenarbeit bleibt. Das Album bewegt sich zwischen psychedelischen Folk-Momenten, Lo-Fi-Experimenten, souligen Anklängen und analogen Klanglandschaften, die an die Offenheit von Syd Barrett oder die Tape-Ästhetik von White Fence erinnern. Songs wie "Worst Trip", "Rear View Mirror" oder das träumerisch-verrauchíte "We Used To Be Good Friends" wirken wie spontane Momentaufnahmen - unfertig im besten Sinne, atmosphärisch dicht und voller subtiler Melodien. Double Exposure ist ein Album der Stimmungen und Schichten: ein intuitiver, unprätentiöser Blick in Hoares kreative Innenwelt, geprägt von Umbrüchen, Ortswechseln und der Schönheit des Ungefilterten.

People Museum's full length album Relic was written and demoed shortly after hurricane Ida displaced our community for many weeks in the late summer of 2021. The first three days of work brought 3 of the album's core songs, including the title track of the record - Relic. Each song on the record contains layers of storytelling that speak to our city while also speaking to personal stories of love, loss, the unknown, catharsis, persistence. Living in New Orleans, we often take for granted the unique magic that is our community, something that the uncertainty of a natural disaster placed in the forefront of our minds. Relic is an attempt to bottle our collective histories, our memories and experiences, our love for our city. A way to hold tightly to the gift we have while we have it. The album uses New Orleans as a character - a lover who nourishes us and breaks our heart. A friend - ever contradictory but always worth fighting for, and someone who will inevitably leave an imprint on your heart.

The long awaited 5th studio album by Pepe Deluxé. Phantom Cabinet Vol. 1 is inspired by the golden age of records, and it features the most insane collection of instruments on any album - or anywhere - ever! From the largest to the loudest musical instrument in the world, from Alexander Bell's human ear recorder to a Tibetan human skull drum, from the oldest synthesizer in the world to a synthesizer designed for group sex, from da Vinci’s drum machine to God’s Trumpet, captured with an occult Soviet machine … This peculiar assemblage contains sounds from dozens of incredible and extraordinary instruments, recorded at various museums, universities, and private collections around the world.

Thomas Dahyot. the voice of Madcaps, a feelgood French garage band
releases his debut solo LP as alter ego Pepper White.
Found in the ten songs of The Lonely Tunes Of Pepper White are Dahyot’s first
the loves in song - the casualness of JJ Cale, the smeared pop of 1969 Velvet
Underground, the profane gospel of Nat King Cole, the acoustic heartbreaks of
Ty Segall, the snap and crackle of a Barratt or Ayers.
These are wedded to the trademark signatures of his song writing: the astonishing breaks, the wonderful arrangements and the attention given to tempo.
And then there is the omnipresence of the piano whose keys he had fallen in
love with, “Lonely For Too Long”, the first song composed on the instrument
and its mellotron finale, gives some clues about the state of mind in which the
album was composed.
“Still In Love With You”, is sung on two octaves, as if Pepper was in duet with
himself. The bewitching “Home Alone” invokes the devilry of Screamin’ Jay
Hawkins, while “Rom Com” lays bare, with derision, the guilty pleasures linked
to televisual mawkishness. These are the elements, new and old, that make up
Pepper White’s music.

Die US-Band um Gründer David Thomas hat noch nie in eine musikalische Schublade gepasst – ist sie Punk, Indie, New Wave, Artrock, Garage oder…? Sie ist schlicht Pere Ubu – einzigartig und nach nunmehr fast 50 Jahren immer noch sich selbst und den Fans treu. Während der Aufnahmesessions entstanden 17 Tracks – zu viele für die endgültigen 10 Tracks des Albums und der LP-Version, aber die restlichen 7 waren einfach zu gut, um weggelassen zu werden, weshalb diese exklusiv nur auf der CD erscheinen.