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The only album to soundtrack both late-'70s Minneapolis lounges and a Travis Scott x Dior fashion show. Recorded in a host of living rooms with only a Fender Rhodes piano, a Donca Matic Mini Pops drum machine, and Senrick's wide-eyed, 20-year-old voice, the 1977 LP disappeared into the wild and joined the Wendigo in Minnesota lore. A provocative mix of marina soul, easy listening, and loner folk, Dreamin' is a sanguine sliver of the American private mind garden. Harsh winters coupled with a relative lack of interest amongst siblings allowed Chuck Senrick years of unfettered access to the family piano in their Farmington, Minnesota, home. Learning both by ear and by instruction, Senrick began gigging professionally at age 15, joining John Zimmer and the CR4 for a weekly rundown of Allman Brothers, Blind Faith, and Cream covers at the Sea Girt Inn in Lake Orchard. Tapping into James Taylor's pop-chart achievements in songwriting and enunciation, Senrick composed the bulk of the songs featured on Dreamin' before graduating from Farmington High School. At 20, Senrick migrated 30 miles north to the Twin Cities to pursue music full-time. Using borrowed equipment and borrowed living rooms, a string of informal recording sessions generated the quarter-inch tape for Dreamin'. "I didn't know how to do it," Senrick says about producing an album. "I just knew it could be done." Constructed with vocals, Fender Rhodes, and an assortment of rhythm presets on his Donca Matic Mini Pops drum machine, a mere 200 copies of the private-press masterpiece were stamped and sleeved and sold hand-to-hand at performances. Chuck's wife Lesli illustrated the album cover_a pen-to-paper portrait of her husband against the backdrop of the Minneapolis Skyline, she and their newborn son situated on a nearby knoll. Any plans for a re-press were quashed when producer Bruce W. Hansen lost the reels during a messy divorce. "I was a kid with big ideas and not much hope to do anything but play," Senrick said of the Dreamin' era. "It still amazes me that people are interested in it."

Drasii is the duo of Chris Kalis and Lisa Armstrong. Since emerging as an offshoot of Chandeliers, denizens of Chicago’s loft party scene, they have been exploring more dance-oriented tempos and song structures equally suited for a large sound system or a pair of headphones.

Influenced by the American midwest electronic music scenes that they came out of, their new 12-inch record, Spirito Celeste (ETC Records, November 15th) combines deft melodic interplay and sublimely danceable rhythms conjuring everything from dreamy ambient, moody acid, and synth pop, to classic house and techno.

BLUE VINYL REPRESS. Non-Returnable.
This is Fugazi's first full-length record, released in 1990. This album is also available on a re-mastered CD (with the 3 song 7" included).

This 12" LP was re-cut and re-issued In April 2009. This pressing of the LP is on BLUE Vinyl.

Originally Released: 1990. Recorded At Inner Ear Studios Produced By Ted Nicely

Ian MacKaye vocals & guitar Guy Picciotto vocals & guitar Joe Lally bass Brendan Canty drums

Recorded At Inner Ear Studios Produced By Ted Nicely

2024 Repress

Original music from the film,"Instrument", culled from demos and various sources, by Fugazi from 1988-1998,
The 12" LP format was re-cut and re-issued in December 2009.
Originally Released: 1999
Ian MacKaye vocals & guitar Guy Picciotto vocals & guitar Joe Lally bass Brendan Canty drums

Knapp vier Jahre nach ihrem Debut Patterns veröffentlicht Jenobi im Mai 2024 ihr zweites Album. Ein halbes Jahr lang schloss sich die in Hamburg lebende Musikerin Jenny Apelmo Mattsson in ihrem Studio ein und ließ für "Irregularity" 11 neue Songs entstehen, die sie nicht nur selbst geschrieben, sondern auch eigenständig aufgenommen und produziert hat.

Die bereits aus Patterns bekannte mystisch-skandinavische Melancholie trifft nun auf markante Beats, die zusammen mit der charakteristisch zarten Stimme eine ganz neue Dimension eröffnen. Außergewöhnliche, elektronische Elemente erinnern teilweise an Björk und The Knife, während selbstbewusster Sprechgesang zu lässigen Basslines eine Attitüde hervorbringen, die wir bei Künstlerinnen wie Rosalia und Noga Erez wiederfinden.
Irregularity steht dabei längst nicht nur für musikalische Innovation, sondern liefert auch eine starke Message, die Apelmo Mattsson nun aus ihrer Oase in die Welt heraustragen möchte. Viele Talfahrten und Herausforderungen prägten die 13-jährige Erfahrung als Musikerin, die sich stehts in einer männerdominierten Branche behaupten musste. Doch während Patterns destruktive Verhaltensmuster thematisiert, berichten die neuen Songs von einem neu erlangten Bewusstseinszustand und Stärke. Nach der Trauer kommt die Wut – das spiegelt sich in Texten, gespickt mit cleverironischem Humor, die ein bittersüßes Gefühl hinterlassen, dass sofort süchtig macht. So gelingt es Apelmo Mattsson patriarchalische Strukturen mit
einem selbstbewussten Schmunzeln zu kritisieren.

imited White Vinyl

Norwegian post punk duo Mayflower Madame return with their 3rd Studio album and we are delighted to welcome them to the Up In Her Room Family!

Norwegian band Mayflower Madame is set to release their highly anticipated third LP Insighton 1st November 2024. The lead singles, "A Foretold Ecstasy" and "Paint It All in Blue," have garnered widespread acclaim and extensive radio support, including airtime on BBC 6 Music. These tracks offer just a glimpse of what the album delivers—an expansive canvas of pulsating post-punk, shimmering shoegaze, and atmospheric psych-noir, masterfully blended with delicate sonic nuances.
Mixed and mastered by Maurizio Baggio (known for his work with The Soft Moon, Boy Harsher, and The Vacant Lots),Insightshowcases the band refining their sound into a sharper and more expansive sonic landscape than ever before. This album sees them exploring greater depths and heights, delivering a hypnotic journey through the shadows, filled with haunting melodies and dreamy melancholia. At the same time, it remains catchy and dynamic, with moments of vibrant brightness.
Insightis dedicated to frontman Trond Fagernes' stillborn daughter and is bookended by two songs—"Ocean of Bitterness" and "Insightfor the Mourning Hours"—that directly address this profound sorrow. Between these somber pieces, the album delves into a wide range of emotions, from nostalgic reflections on lost loves to feverish depictions of escapism and catharsis.
Over the past years, Mayflower Madame have gained a reputation far beyond their hometown of Oslo, Norway. They made their debut with the album ‘Observed in a Dream’ in 2016, which created a buzz in the indie music press and earned them tours across Europe and North America, while 2020s long-awaited sequel ‘Prepared for a Nightmare’ firmly established their position as one of the continent’s leading purveyors of cinematic shoegaze psychedelia swathed in 1980s post-punk and dark romanticism.

Neues limitiertes Vinylformat für "Million Dollar Baby", dem bislang ehrgeizigsten Popprojekt, das Pixey zusammen mit Tom McFarland (Jungle, Olivia Dean, Alfie Templeman) und Rich Turvey (Rachel Chinouriri, Blossoms, The Coral) produzierte. Die LP kombiniert Pixeys Liebe zu 90er Breakbeats mit ihren Skills als Popkünstlerin und -Produzentin, probiert und interpoliert einige ihrer Lieblingssongs, um nicht nur die Lücke zwischen alten und neuen Sounds zu schliessen, sondern einen völlig neuen Sound zu schaffen. Pixey erhält enorme Unterstützung von den britischen Popmedien und zierte hierzulande das Cover von Spotifys "Indie Brandneu" Playlist.

Into The Light is the new 2LP Black set from Whitesnake, and is based on David Coverdale's three solo records. The Into The Light album was originally released as David Coverdale’s 3rd solo album, in September 2000, and was his first solo record in 22 years. With an impressive musical lineup, David is joined on Into The Light by guitarists Earl Slick and Doug Bossi, bassist Marco Mendoza, who would later join Whitesnake, legendary drummer Denny Carmassi, who as well as Whitesnake, has played with Montrose and Heart, and Mike Finningan on keyboards, who had previously played with Jimi Hendrix in the 1960s. As well as plenty of unreleased songs and bonus tracks, the set includes “Too Many Tears,” a song David wrote with Adrian Vandenberg and originally featured on Whitesnake’s Restless Heart album. Also included is “River Song,” David’s tribute to Jimi Hendrix, and “With All Of My Heart,” a song David wrote for his wife, and in his own words, one of top ten songs that he’s written. Into The Light also features the singles “Slave,” “Love Is Blind” and “Don’t You Cry.” The box set will also include David’s first two solo records, WhiteSnake MCMLXXVII from 1977 and NorthWinds from 1978, the two titles he recorded immediately after leaving Deep Purple in 1976, in both remixed, expanded and remastered form.

A Mountain of One return with their second single from eagerly awaited forthcoming album "Stars Planets Dust Me".

"Dealer" sees them push further into the Cosmos with a modern take on the electronic disco pulses of Kraftwerk and Giorgio Moroder mixed with organic sensibilities, Electric sitar and reverse guitar akin to the heady moments of The Beatles track "Tomorrow never knows". Criss crossing Balearic, psychedelia, disco and electronica.



”Dealer” shows the band, made up of musical soulmates Mo Morris and Zeben Jameson, have lost nothing in the past decade. Recorded over Skype during the coronavirus pandemic, with Mo now in Bali and Zeben in west London, a shimmering, modern classic, experimental but accessible, melodic and adventurous. As ever, it is utterly unique, made in a musical universe all of their own.

When A Mountain Of One first started performing, they quickly became one of the most- acclaimed bands out there, with the likes of i-D, Sunday Times Culture, Pitchfork, NME and more raving about them and their inspired and original approach.

Sold-out shows and awesome reviews followed with “Collected Works” and “Institute of Joy”, two phenomenal globally acclaimed albums that have stood the test of time,
This heady odyssey is mastered again by Global Electronic music icon "Ricardo Villalobos", and soon to also be remixed by Ricardo on a full album of his interpretations of the forthcoming album.
Their first single "Custards last stand" from the forthcoming album had radio support from NTS radio, Worldwide FM / BBC 6.



The forthcoming album “Stars Planets Dust Me” will be released March of 2022.

Cascading through kaleidoscopic stardust and forming in the outer reaches of the music universe, transcending time and distance, cosmonaut musicians Mo Morris & Zeben Jameson reconnect to write & record songs from opposite sides of their planet (Bali and London) written over the internet during the pandemic. Landing the much anticipated and eagerly awaited new A Mountain of One album "Stars planets dust me".

Welcome to the formative British psych electronic heroes A Mountain Of Ones 3rd studio album.

Mastered and reimagined and a full forthcoming album rework by electronic wizard, master selector & global superstar Ricardo Villalobos, featuring additional collaborations from 80s/90s Balearic legends "The Woodentops`s" front man "Rolo McGinty,”, Japan’s cult heroes ``Dip in the Pool" and "Unkle" and "Toy Drum`s" Pablo Clements.

UK Dub master "Dennis Bovell MBE" also makes an incredible appearance on the "Custards Last Stands" dub versions. Now available on a ltd Japanese 10". A beautiful artwork series generously loaded in by photography legend Dick Sweeney, and co-mixed by Dea Barandana in Indonesia. With its cosmic pop sound, soulful soaring, balearic sensibilities and feel good choruses it carries all the weight of a much needed revo- lution in psychedelic, conceptual ever popular music and sounds & feels like the infamous crossover album that promised to come from the heady days of the bands ascend last time round.

So here’s some back story, garnered from the hearsay, folk law, the myths and the legends, of 10 years ago, in case, like Mo & Zeb, if they'd remembered any of it, they probably weren’t there, after 2 much acclaimed albums and sellout shows vanishing in a cosmic cloud of dust the yin and yang brothers Mo Morris (ZSOU/Electric Stew) & Zeb Jameson (Oasis/Tricky/Pretenders) uncoupled and each em- barked on a pathfinder mission to equip themselves for their inevitable return... they just didn’t know it at the time... and as the global community ground to a halt 2 years ago they sought refuge from opposite sides of the planet in each other's company again.

The solace and rejuvenation it gave had them re-emerging as invigorated, inspired and wiser music creators, this has given rise to the evolution of their 3rd all important album‘s sound.

Zeb "our capacity as human beings is more phenomenal and limitless and way beyond the conventional thinking of society constructs but also in complete harmony with the intelligence and brilliance of advancing technologies".
Experiencing this energy together, as dedicated and devoted music pioneers, these great collaborative universal truths were revealed, imbed and steeped in their writing and recording experience as the music touched and resonated with all involved to create the fresh and fully formed A Mountain Of One 2.0.

"How We Operate is the fift studio album from Gomez. Pressed on double amber translucent vinyl, exclusively for National Albums Day 2024. This is the first time on vinyl since its original release in May 2006. Features tracks: 'See The World', 'How We Operate', 'Notice' and 'Girlshapedlovedrug'

Clear vinyl. Edition of 500

The Danish-Chilean composer Molina (b.1992), explore the transformation between organic and synthetic musical landscapes. She weaves her own tapestry of dreamy guitar surfaces, soaring flutes and atmospheric vocals.

Vlek Records is pleased to announce the upcoming release of "Standing / Engraving," the latest LP from musician and video artist Jean D.L. This album features a blend of experimental folk guitar and field recordings, creating a distinctive soundscape. Each track combines guitar melodies with natural environmental sounds, producing a complex auditory experience. "Standing / Engraving" offers a meditative and immersive listening journey, evoking a range of emotions and memories. Jean D.L. has collaborated with the likes of Julia Kent (Anohni and the Johnsons), Lee Ranaldo (Sonic Youth), Margaret Hermant (Echo Collective), Mauro A. Pawlowski (Deus), Karen Willems and more

**AVAILABLE ON VERY LIMITED CLEAR PURPLE VINYL / 100 COPIES ONLY** - This is the 1995 remix version of the album - Never before released on vinyl - Remastered and cut to lacquer - Same front cover as the original though the back has been altered - The inner sleeve contains liner notes explaining the genesis of the remix - FFO: MC5, The Stooges, The Saints Living Eyes was recorded at Rockfield Studios in Wales during a break in the band’s 1978 tour of Britain and Europe. Relations between members were falling apart and Sire had dropped the band prior to the start of recording. Their breakup soon followed. Initial releases of the album were cut from a tape dub of trial mixes as the band never received an official master. In 1994 the original tapes were retrieved from Rockfield and remixed in Australia for a CD only release. This is the first time the remix version has been released on vinyl. It has been remaster and cut to lacquer.

Guadeloupe’s Manix is a self taught musician drawing inspiration from traditional Caribbean Folk and Beguine, to Salsa, Reggae and beyond. In 1980 Manix met the group ‘Tamtam 2000’ in Mulhouse, France. Embarking on many worldwide tours, Manix cemented his place in the group with 'Ti Cherie’ becoming a global hit beloved throughout the Antilles, Cape Verde, and La Réunion. Describing his singular philosophy of inciting joy ”At this moment I realised quickly that the simple act of playing wasn't just about one’s own satisfaction, but rather the need to create and share music”.

Browsing the French Football Federation's website, Dijon’s ‘Under Radaar’ was able to track down Manix as he was once the match report coordinator for his club ‘Red Star Richwiller’. It’s now our pleasure to share his music once again.

Words from Manix:
"Now in my 70s, what a joy it is to discover my songs now being loved in new parts of the world that I could never have imagined them spreading to in the mad 80s. A reissue is like a renaissance, a second wind that reaffirms my believe that both music and love will never die”

We are so excited to share our debut release which has already received support from Antal, Hunee and Palms Trax.

The lines between off-centre synth songs and catchy hits have always and forever been ultra-thin. With Immer the proof of the pudding is in the eating. Ede & Deckert managed to turn a red wine and post punk melancholy fueled jam session into a haunting alternative dance jam. While their instrumental sits neatly between the dark wave of Eleven Pond and the British Electric Foundation, it is the voice of the German singer with the mysterious name Sargland. One could think it is possibly an anagram? Called in for spontaneous vocal work, the repetitiveness and heartfelt expression of lovelorn of his tone and lyrics are quite simply irresistible and dichotomic. Whether it’s lover’s grief or delight, Immer works its magic in every way and for everyone.

"New Modern Homes" is the first album by The Chesterfields since nearly 40 years and was produced by John Parish.

The Chesterfields came to prominence in 1986 as part of a thriving UK underground scene that had turned its back on bland over-produced 1980s chart music and was looking for back to basics pop music. Bands, independent record labels, gig promoters and fanzine editors were making their own entertainment, with The June Brides, The Wedding Present, Primal Scream and The Loft leading the way, supported by Radio One's John Peel and Janice Long. They released 3 albums ('Kettle' getting to number 2 in the independent charts), 5 singles ('Ask Johnny Dee' reaching number 3), and toured the UK and Europe non-stop before splitting in 1989.

They reformed briefly in 1993 to tour Japan and release a fourth album and sixth single, and then returned to action 23 years later when they were asked to play New York Pop Fest in 2016. The current line-up features Simon Barber on bass and vocals, Rob Parry on drums, Helen Stickland on guitar and vocals, and Andy Strickland (of The Loft and The Caretaker Race) on guitar and vocals.

"Redrawing pop music’s borders in the early 21st century, London trio Sugababes occupy an important
place in the history of British music. Formed in London in 1998, the group seamlessly combined
mainstream pop with cutting-edge R&B, soul and dance music – and they added to this intoxicating mix
on 2002’s Angels With Dirty Faces, an album which brought avant-garde electronic music to the masses.
This landmark second album from Sugababes includes the era-defining ‘Freak Like Me’, which, helmed
by underground producer Richard X, rode a sample of Tubeway Army’s ‘Are “Friends” Electric?’ all the
way to the top of the UK charts in the spring of 2002. Led by the guiding hand of the Xenomania
production team, ‘Round Round’ repeated the trick, paving the way for Angels With Dirty Faces to clean
up that summer, going triple-platinum and scoring Sugababes the 2003 BRIT Award for Best British
Dance Act.


"

CRIPPLED BLACK PHOENIX ist seit Gründung im Jahr 2004 ein Leuchtfeuer für die Gebrochenen und Unerhörten. Mit Justin Greaves an der Spitze haben sie Alben geschaffen, die zu den Stimmlosen, den Ausgegrenzten und den Enttäuschten sprechen.
Mit diesem Doppelalbum, „The Wolf Changes Its Fur But Not Its Nature“ + „Horrific Honorifics Number Two(2)“, feiern CRIPPLED BLACK PHOENIX zwei Jahrzehnte des Trotzes und der Selbstreflexion.

„The Wolf Changes Its Fur But Not Its Nature“ lässt die Echos ihrer Vergangenheit wieder aufleben, indem sie Klassiker, die von der Zeit und dem Wandel geformt wurden, überarbeitet und neu aufgenommen haben. Zusammen mit alten Freunden und neuen Verbündeten pulsieren diese neu interpretierten Hymnen mit neuem Elan und rohen Emotionen. Von der ausgedehnten Odyssee von „Song For The Loved“ bis hin zur Wiederauferstehung des verlorenen Klassikers „Whissendine“ zeigt jeder Track die Erforschung des menschlichen Zustands und den immerwährenden Kampf für Gerechtigkeit und Gleichheit.

In „Horrific Honorifics Number Two(2)“ legen CRIPPLED BLACK PHOENIX einmal mehr die Seele der Musik frei, die ihren Weg geebnet hat, und huldigen den Titanen, die ihren Geist geschürt haben. Mit eindringlichen Interpretationen wie „Vengeance“ von New Model Army, einer Hymne des Widerstands und der Rebellion, und der eindringlichen, introspektiven Interpretation von Laura Branigans „Self Control“ fordern CRIPPLED BLACK PHOENIX uns auf, diese Klassiker durch eine neue, unbeirrbare Linse zu sehen.

Für Fans von Solstafir, Mogwai, Pink Floyd, Junius

After the recent release of the first pre-single, "One Of These Days," the new and fifth studio album by Mother’s Cake, titled “Ultrabliss”, will be released on October 18, 2024, via Embassy of Music (available for pre-order starting July 17).
Inspired by Stanley Kubrick's cult film “A Clockwork Orange” (1971) and largely free from structural constraints of traditional songs, the Austrian band unleashes their musical imagination with the finest jams and dancefloor fillers. “Ultrabliss” unites nine extremely varied tracks with elements of classic rock, krautrock, and prog-rock that are sure to please fans of Jimi Hendrix and Pink Floyd, as well as followers of the Red Hot Chili Peppers or British indie icons like Franz Ferdinand, the Arctic Monkeys, or Kasabian. Like its predecessor “Cyberfunk!”, “Ultrabliss” was recorded at Sevenarts Studio, Überlärm Studio, and Moonwalker Productions Studio, and once again sonically brought to life by singer, guitarist, and songwriter Yves Krismer in collaboration with Manuel Renner and Raphael Neikes. Neikes, who plays guitar and keyboards live, has become the fourth band member. Founding drummer Jan Haußels has amicably left the band after the album sessions and will be replaced by Alex Kerbl on drums from now on.

Mesmeric, confessional alt-folk with hints of americana - weaving beautiful stories with deep and poignant lyricism and relatable storytelling, creating a sense of familiarity even in the ambiguous, leaving no choice but to feel everything with her. Mann’s debut album,

- Clara Mann’s evocative debut album Rift navigates the fractured environment of the in-between—those liminal spaces exposed between light and dark, growth and remorse, loss and reclamation. It is a record that makes a strong case for hope, those luminescent silver linings in the dark. With Rift, Clara Mann acknowledges the cracks through which both despair and hope can seep. It is a deeply personal record, yet it is universally resonant, holding the mirror up to herself and to the world around her. It is a record that reflects on embracing our fault lines, navigating the ruptures that can erupt from them and moving forwards, in motion, with a renewed sense of self and aliveness. Mann’s debut album, Rift is all of her—her past, her present, her emotions, her experiences—and now, it is for you.

- Influenced by artists like Jacques Brel, Edith Piaf, Judee Sill, and Tom Waits, Mann has a deep love and care for songwriting

- The album was primarily recorded at the 4AD Studios in London, produced and mixed by Fabian Prynn (Martha Skye Murphy, Ex:Re, Fabiana Palladino) who carefully facilitated an imaginative space for Mann to express the playful, strange and real parts of herself

- She has previously toured and collaborated with the likes of Daniel Rossen (Grizzly Bear), Billie Marten, Skullcrusher, Bill Ryder-Jones, Youth Lagoon and Willie J Healey

In Times New Roman... is raw, at times brutal and not recommended for the faint of heart. And yet, it’s perhaps the most beautiful and definitely the most rewarding album in their epic discography. Founder Joshua Homme's most acerbic lyrics to date are buoyed by the instantly identifiable QOTSA sonic signature, expanded and embellished with new and unprecedented twists in virtually every song. With In Times New Roman… we see that sometimes one needs to look beneath scars and scabs to see beauty, and sometimes the scabs and scars are the beauty.

Rafael Cohen’s Spanish-language solo project Las Palabras gives the D.C. punk scene veteran and member of dance-rock group !!! (Chk Chk Chk), the words to reveal himself as a Latin alternative artist and what he calls “a cautious believer”. Fe, Faith his second Las Palabras album, and first on the Barcelona label La Castanya, “deals with what it means to have faith, what it means to have doubts, and what it means to stay open to the idea that something untouchable and unknowable may exist”.
Written and produced by Cohen in his home studio in Brooklyn and mixed by Black Pumas guitarist Adrian Quesada, Fe builds on nylon-string guitar and electric bass with live drums and synthesizers in songs that embrace elements of 70s Brazilian funk and an amalgam of beats from hip hop to bachata, interspersed with contemplative ballads on which Cohen’s voice and guitar can be quiet enough to hear the rumble of a bus going by in the background.
“Fe” is colored by musical influences that include those Brazilian grooves, but also shades of Sade, Sounds of Blackness and eighties electro funk group Zapp. The arrangements spotlight the rhythm section, with drums played by Chris Egan (!!!, Solange, Blood Orange) and featuring Alberto Lopez (LCD Soundsystem, Stanley Clarke) on percussion. Cohen credits Adrian Quesada for the album’s warm, worn-in tone: “He made the beats sound a lot bigger and gave it an ’80s hip hop feel. He really understood the references and brought his background in Latin music to it”

SONGS OF A LOST WORLD’ is the long-awaited new album from The Cure, their 14th studio release and their first in 16 years.
'SONGS OF A LOST WORLD' was written and arranged by Robert Smith, produced and mixed by Robert Smith & Paul Corkett and performed by The Cure - Robert Smith: Voice / guitar / 6string bass / keyboard, Simon Gallup: Bass, Jason Cooper: Drums / percussion, Roger O'Donnell: Keyboard, Reeves Gabrels: Guitar. The album was recorded at Rockfield Studios in Wales.
Robert Smith created the sleeve concept, and Andy Vella, a long-time Cure collaborator, handled the album's art and design. The cover art features 'Bagatelle', a 1975 sculpture by Janez Pirnat

Lemonheads’ seminal album ‘It’s A Shame About Ray’, lovingly reissued for it’s 30th Anniversary. The long overdue reissue includes a slew of extra material, including an unreleased ‘My Drug Buddy’ KCRW session track from 1992 featuring Juliana Hatfield, B-sides from singles ‘It’s A Shame About Ray’ and ‘Confetti’, a track from the ‘Mrs. Robinson/Being Round’ EP, alongside demos that will be released for the first time on vinyl. This reissue celebrates their prestigious fifth album, these deluxe bookback editions feature new liner notes and unseen photos.

Described by music journalist and author Everett True as “A 30-minute insight into what it’s like to live hard and fast and loose and happy with like-minded buddies, fuelled by a shared love for similar bands and drugs and booze and freedom.”. ‘It's A Shame About Ray’ had a considerable impact back in those heady, carefree days of '92, the record perfectly captures Dando’s ability to effortlessly encapsulate teenage longing and lust over the course of a two-minute pop song.

Singles such as 'My Drug Buddy' and the breezy perfect pop of the title track might stand out (plus the add-on of 'Mrs. Robinson' which later copies included), but the album's real strength lies in the tracks in-between; the truly fantastic 'Confetti' (written about Evan's parents' divorce), and the eye-wateringly casual acoustic cover of 'Frank Mills' (from the "hippie" musical Hair), a version that seems to resonate with every ounce of pathos and emotion felt for the lost 1960s generation. To hear Evan Dando sing lines like 'I love him/but it embarrasses me/To walk down the street with him/He lives in Brooklyn somewhere/And he wears his white crash helmet' is to truly appreciate how wonderful and tantalising pop music can be. Then, there's the rush of insurgency and brattishness on the wonderfully truncated 'Bit Part'; the topsy-turvy 'Ceiling Fan In My Spoon'... this was male teenage skinny-tie pop music on a level of brilliance with The Kinks, early Undertones, Wipers.

Wunderhorse is the alias of British musician Jacob Slater Jacob fronted The Dead Pretties, a London band who arrived in a haze of hedonism and hype, bowing out before the dust had time to settle. Blink and you'd have missed them. Time- stamped yet timeless. If there's any justice, he'll soon be played out live in sticky basement rooms up and down the country, limbs everywhere, sweat dripping from the walls. An absolute mess, but what a beautiful one.

Malegra, Reyna Tropical's long-anticipated debut full-length album, is at once a vibrant arrival and an electrifying bridge. The album is a contemporary celebration and continuation of wide-reaching cultural traditions - from Congolese, Peruvian, and cumbia rhythms to revolutionary artists like lesbian Mexican guitarist-singer Chavela Vargas - these influences meld and are remixed through the distinctive lens of trailblazing guitarist and songwriter Fabi Reyna. Traversing themes including queer love, feminine sensuality, and the transformative power of intentional relations to the earth, Malegría spotlights narratives often pushed to the margins and offers them a sonic homeland. The portmanteau, born from a 1998 Manu Chao song by the same name, is akin to bittersweet and blends the Spanish "mal" which means "bad" and "alegria" which means "happiness." Malegria marks Reyna Tropical's return to centering creative joy and movement through music. Whether enjoyed during listening parties or infectious live sets, the music will move listeners and irresistibly command a jump - into action in protection of the land, into the arms of a crush, into your own power and fearlessness, into steady body rolls along to the beat. Malegria offers us all a chance to witness history in the making.

One of THE most iconic albums to hail from Merseyside. ‘H.M.S. Fable’ was the third LP released from Shack following 1988’s ‘Zilch’ and 1995’s ‘Waterpistol’. A collection of majestic storytelling in guitar form, written by two extraordinarily talented brothers, Michael & John Head.

Originally released on Laurel Records/London Records in 1999, the band at that time comprised of
MICHAEL HEAD - Vocals, Acoustic Guitar JOHN HEAD - Electric Guitar, Vocals REN PARRY- Bass Guitar IAIN TEMPLETON - Drums, Percussion, Backing Vocals.

The album was voted #2 in both NME and Uncut’s critics album of the year polls, only missing out to The Flaming Lips’ ‘The Soft Bulletin’ in both.

Now released on the band’s newly-formed label Shack Songs, ‘H.M.S. Fable’ encompasses many musical styles, from orchestral guitar pop to psychedelic-tinged folk and even elements of Britpop, nicely summed up by the editor of NME Steve Sutherland in a 9/10 review, in June 1999:

‘’Not since Liam Gallagher howled his early indolent disdain has this music sounded so alive. 'Pull Together' is an anthem easily the equal of Oasis at their most loved-up and huge. ‘Comedy' tender and uplifting, like the missing track from 'Bridge Over Troubled Water', 'Daniella' a haunted and exhausted homage to Head's hero Arthur Lee, and 'Lend Some Dough' a rollicking Scouse Play For Today with a chorus that goes, "I've got a sore back and I'm itching’’ ”

The Shack story is one of music’s greatest legends. It incorporates hardship, bereavement and chaotic misadventure, but above all it tells the tale of beautiful music triumphing over trouble and tragedy.

In the 80s, the two brothers from the notorious Kensington estate in north Liverpool were singer and guitarist with The Pale Fountains, an effervescent pop group which imploded under the weight of two albums in 1986. The Heads returned in ‘88 as Shack and a debut album ‘Zilch’. In 1991, Shack made ‘Waterpistol’, an inspirational guitar jewel that would have proved just as influential as any British album in that era had the studio not burned down, taking the master tapes with it. Four more years passed, but by the time it was finally released on Marina it had developed ‘lost classic’ status.

The Heads battled on. They toured as their hero Arthur Lee (RIP) of Love’s backing band. In ‘97, they created a new group called The Strands and recorded the delicate, dreamy masterpiece ‘The Magical World Of The Strands’. They spent a long time making another classic ‘H.M.S. Fable’...

Singing black-lit liturgies of bog bodies caked in mud, entranced by nocturnal landscapes flickering in the moonglow and powered by queer enchantment, Tristwch y Fenywod are a Welsh-language gothic avant-rock powercoven. Exhumed from the depths of Leeds’
experimental underground, the trio consist of Gwretsien Ferch Lisbeth (Guttersnipe, The Ephemeron Loop), Leila Lygad (Hawthonn) and Sidni Sarffwraig (Slaylor Moon, The Courtneys).
Stark, striking and bewitching, Tristwch y Fenywod’s self-titled album is their debut studio recording, following just 10 gigs and a live demo. Formed in 2022, Tristwch y Fenywod ("The Sadness of Women”) record exclusively in the Welsh language, conjuring an eldritch, subterranean, alien folk music played on dual zither, electronic drums and bass guitar. With towering, siren-like vocals curling around the Welsh consonants, accompanied by stark, martial rhythms and swirling claw-plucked strings, Tristwch y Fenywod feels like an early 4AD recording dredged from the waters of an Anglesey swamp. The effect is simultaneously chilling and stirring.
The eight tracks on the record constitute what feels like a recently rediscovered, unholy grail of edgy, atmospheric, occult feminist goth emissions. Gwretsien’s dual-zither playing scatters melodic fragments and spirals of harmony around the decimated space opened up by the lugubrious bass playing and pounding, brooding drum pads.
Coupled with the Welsh vocal, Tristwch y Fenywod embody a new, unique Celtic darkwave sound, equal part Pornography-era The Cure, Svitlana Nianio’s haunted hammered string-work and the dark beauty of Dead Can Dance or This Mortal Coil. Opener Blodyn Gwyrdd feels like the last ride of Princess Ukok, with lumbering bass and 6/8 rhythms in procession to the event horizon with an entreating, impassioned vocal and surprising lyrical theme. The doomed dancing of the zither provides the mysterious melodic bedrock throughout the album, particularly on Ferch Gyda’r Llygaid Du’s heavy funereal swa and the slowly building, paroxysmal banshee breakdown of Awen: an astonishing swell of thrilling chaos.
The album was recorded and produced by Ross Halden and the band at Hohm Studio, Bradford, Summer 2023.

After an extensive tour of the UK at the end of 2022, the band decided to head into the studio to record their first long form offering. Following a passion for storytelling, they pulled together influences from Pulp Fiction to Fleabag, from Zadie Smith to Edward Hopper. They wrote relentlessly during 2022, diligently crafting what was to become this debut album. Released independently on their own Life and Times Recordings, Exit Strategy is a 13-track labour of love, recorded at Abbey Road Studios and Love Electric, enlisting the production smarts of Bernard Butler. The album is in two halves (divided literally by the two sides of the vinyl edition) entitled Galway and London and presents a multifaceted band, pushing themselves and exploring the limits of their philosophy.

Exit Strategy centres around a protagonist who moves from Galway to London in search of meaning, certain that, as the main character in the film of his own life, the solution lies in changing his surroundings and acting as someone he’s not. Both a mirror and a portal, the album promises encounters with manipulative bosses, evil ad agencies, a broken pact to flee to Australia, run-ins with the law, cheating boyfriends, drug fuelled youths, heartache, paranoia, social media anxiety and a drunk singer dressed as Jesus. Thematically the album races between emotions, between irony and sincerity, between soul searching and tongue-in-cheek finger pointing and ends where it all started, both musically and in terms of single rollout, with the nostalgic/euphoric first single Westway.

Explaining the album’s genesis and cinematic influence, James McGregor says: “We were always sure we wanted the album to be greater than the sum of its parts, so decided to create the world of a film, entitled Exit Strategy. We envisaged the record as a series of snapshots, telling the story of a group of characters trying to navigate through life.”

Hallmarked more by a philosophy than a sound, The Clockworks weave pop sensibilities with noisy, post-punk, rock-influenced stylings. The songs seem swaggering and dark yet often have an epic, nostalgic quality. They sit poetic introspection beside witty, kitchen sink drama to create something intense but playful.

With the release of Exit Strategy, The Clockworks have created a world to be explored, to be analysed and to be deciphered, but most importantly to be felt.

Manifesting a soporific vision of classic dreampop, Man Rei lands on Glasgow’s Somewhere Press with one of the years most memorably hushed albums; unfolding through an hour of quietly soaring songs that split the difference between Enya, Seefeel and Grouper.

Kristin Reiman, aka Man Rei, elevates and expands the choral tradition of their Baltic homeland with the smudged drift of this quietly epic new album. A moody, dimly lit summoning of ambient music touched by the enduring influence of classic dreampop, it’s a record full of pared-down arrangements and luxurious instrumentation, elevated by goosebump inducing vocals that make the thing so memorable.

The soothing pulse of Kranky's early years (think Labradford or even Windy & Carl) moves with tranquil momentum, playing faded lower-register riffs to accent a pervasive longing in the lyrics. On 'Edge knot city', the influence of Harold Budd and the Cocteau Twins' hangs in the air as Reiman marries muted electric piano with pastoral field recordings. That voice, blurred at the edges to enhance its ambiguity, cuts through the clouds like a knife, inserting a melancholy earworm into wafting ambiance. Even the lengthy 'Intermission', a wordless piece, maintains a masterful balance between emotional weight and atmospheric vapour.

On 'Witless', they bury the fragments of a love song beneath synth distortions, turning pebbly, slapbacked claps into a rickety rhythm on 'The thread', cooing over piano phrases that vanish into the aether until that voice takes over completely. It's gorgeous, restless and confident material that immediately sinks itself deep into the psyche - its familiarity is almost a smokescreen; the closer you listen, the stranger and more beautiful Man Rei’s world becomes.

Die neuseeländische Musikerin und Produzentin Princess Chelsea präsentiert ihr kommendes "nervous breakdown album" "Everything Is Going To Be Alright", das im pastoralen Aotearoa Neuseeland aufgenommen wurde und eine Art Trostspender ist. Es sind keine traurigen Lieder, sondern die beiden Eröffnungs- und Schlusstracks erzählen von Chelseas Genesung und sind als kathartischer Hörgenuss für alle gedacht, die es brauchen könnten. "If you feel you want to die / trust me darling / it just takes time", singt sie in "Time". In der Zwischenzeit zeigen Chelseas sorgfältig geschichtete Gesangsmelodien über Mellotron-Flöten und Harfe, verwoben mit Live-Cello und Violine, ihre Fähigkeiten als Arrangeurin und Produzentin. Princess Chelseas cineastischer, verträumter Pop hat sich in elf Jahren, fünf Alben, einer EP und elf Singles weiterentwickelt. Ihre Vortragsweise und ihr Songwriting zeichnen sich dadurch aus, dass sie eine fast naive Ernsthaftigkeit mit zynischem, augenzwinkerndem Witz und akustischen Funken überlagert. Ihr Grunge-Girlgroup-Song "I Love My Boyfriend" aus dem Jahr 2018 und ihr von Nancy & Lee inspiriertes "Cigarette Duet" aus dem Jahr 2011 haben ihren Bekanntheitsgrad durch den Einfluss einer neuen TikTok-Generation in das öffentliche Bewusstsein gerückt. Für dieses Album wurden Chelseas Instrumentalarrangements von ihrer Live-Band inspiriert, die die Schlafzimmerdemoaufnahmen mit einem überraschenden Sound interpretiert hat. Es klingt anders, als man vielleicht erwarten würde. "The Forest" wurde live in einem Take mit Chelsea und der gesamten Band im beliebten neuseeländischen "The Lab" aufgenommen und zeigt dynamische Gitarrenwände und eine leidenschaftliche Gesangsperformance. Es ist eine markante Abweichung von ihrem bisherigen Schaffen und stellt eine weitere Einführung in das dar, was sie seit der Veröffentlichung der verträumten und doch düsteren Single "Everything is Going To Be Alright" im Februar als ihr "Gitarrenalbum" bezeichnet hat. Chelseas Fähigkeiten als Arrangeurin und Produzentin kommen auf dem Album voll zur Geltung, aber oft in Form von komplizierten Gitarrenarrangements, die an The Cars und die Breeders ("Forever is a Charm") und an klassische neuseeländische Flying Nun-Bands der 80er und 90er Jahre ("Love is More") erinnern. Obwohl das Album eine deutliche musikalische Entwicklung darstellt, sind ihre Markenzeichen immer noch da - klassische 80er Jahre Synths (Yamaha DX7, Roland D-50), vielschichtige Melodien, orchestrale Instrumente, verträumter Gesang, verdrehter Pop, der oft Vergleiche mit Julee Cruise oder Enya gezogen hat.

Superior Viaduct and our new artist label, W.25TH, are proud to continue to be the home for Cindy Lee with the physical release of the celebrated album Diamond Jubilee. Universally praised, shortlisted for the 2024 Polaris Music Prize, and already hailed by Pitchfork as the 3rd best album of the 2020s, anticipation and conversation around the record has been high.

Cindy Lee is the performance and songwriting vehicle of Patrick Flegel (who previously fronted influential indie group Women). Over several albums, Flegel has combined delicate melodies and sheer beauty with moments of experimentation. With Diamond Jubilee, Flegel’s undeniable songcraft comes to the foreground, embracing a more instant connection and accessibility. Timeless tales of love and longing, surrounded by sticky hooks, take the listener on an unforgettable journey. Diamond Jubilee was written and recorded over several years by Patrick Flegel in Toronto, Durham, Calgary and Montreal at Realis- tik Studios. The album was mixed by Steven Lind, who also contrib- utes to several tracks and co-wrote “Baby Blue,” and was mastered by Joshua Stevenson.

Triple LP on black vinyl comes with 24” x 36” poster.

THE 4TH ALBUM BY ENGLISH FOLK ROCK SONGWRITER

A COMPLETELY UNINHIBITED PLAYGROUND WHERE PSYCH-FOLK DANCES WITH FREE JAZZ AND SOUL

English musician Nick Wheeldon has been on the starting blocks in Paris since 2012, churning out bands and albums at breakneck speed, from 39th and The Nortons, Os Noctambulos and The Necessary Separations to Sex Sux. In 2021, he got off to a flying start with his first solo LP, Communication Problems (2021) followed by Gift (2022) and Waiting For Piano To Fall (2024) just a few months ago. Today he brings you Make Art, his 4th solo album, a masterful, imposing work. For Nick Wheeldon aficionados, there's the same characteristic: always the same flickering, bright light. The tracks follow one another: tunnels, dead ends, nocturnal drifts. Days in the sun, lost paths, dark roads, all engraved on 4 sides of vinyl. Make Art offers a totally uninhibited and varied playground, where free jazz and soul dance together. Mixtures hitherto unknown to Nick Wheeldon. With Make Art, you're in the middle of a psychedelic-folk funfair. The musical avenues open to Nick Wheeldon widen and are likely to sweep away even the slowest and most resistant of you. Recorded with Julien Ledru, Thomas Carpentier and Paul Trigoulet.

The record is pressed on 160 gram ultra clear vinyl, housed in a high gloss printed heavy sleeve, limited to 999 copies. The new release by the UK duo known as The KVB via the Minimal Wave sublabel Cititrax. Combining shoegaze guitars, minimal synth melodies, hypnotic drum machine rhythms and reverb drenched vocals, The KVB was first formed in 2010 as the solo project of Klaus Von Barrel.

‘Tension II’, the high-energy, high-octane partner of the Number 1 album and global smash ‘Tension’, sees Kylie head further into the electronic space, and is packed full of dance floor anthems. The collection of 13 songs includes 9 brand new Kylie studio tracks as well as the latest dance hit ‘Edge of Saturday Night’ with The Blessed Madonna, plus collaborations with Orville Peck, Bebe Rexha, Tove Lo and Sia.