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*** LAST REMAINING COPIES ON COLOURED VINYL ***

In The Red is happy as a pig in shit to announce the debut release by the Ty Segall Band. The Ty Segall Band is Ty Segall (obviously), Mikal Cronin, Charlie Moonheart and Emily Rose Epstein. While Segall has released many incredible solo releases, Slaughterhouse marks the first that he recorded with his touring band. For this album (it's only ten inches, but you get two!) the band recorded with Chris Woodhouse at the Hangar, turned their amps all the way up, set their fuzz pedals on obliterate and commenced to kick ass and take names. Seriously, this record will melt your face. All of Segall's usual psych-pop sensibilities are present but Slaughterhouse adds the full-throttle, go-for-the-throat bombast that the band delivers in the live setting. The fuzz riffs, bratty howl and Cro-Magnon bashing culminate with a feedback freakout that's clearly the only sensible way to end a workout of this magnitude.

A MATTER OF CONCEPTS is a very personal selection of songs by recent, active underground bands and artists that we love at DWR. Coming from the UK, US, The Netherlands, Canada, France, Russia, Australia and ranging from post-punk to coldwave to synth-pop to indie. Fast paced and dancey or romantic and moody, there's something for every soul here. We regard all of these songs as 'modern instant classics' and we bet that you'll love them, too!!

A MATTER OF CONCEPTS is presented in a limited, hand numbered edition of 205 black vinyl copies housed in a matt sleeve with printed inner sleeve (credits / band pics) and including a download code.

All songs have been mastered (or re-mastered) specifically for this vinyl release and its accompanying download.

Some of the best thrills of the Internet music revolution is the ability to find extremely rare music with great ease. But even with such vast archives to draw from, quite a lot of great songs have gone undiscovered for nearly half a decade, particularly in genres that lacked hifalutin arty pretense. Previously, only the most extremely dedicated and passionate record collectors had the stamina and prowess to hunt down long forgotten wonders in dusty record bins — often hoarding them in private collections, or selling at ridiculous collector’s prices. Legendary compilations like Nuggets, Pebbles, ad nauseum, have exhausted the mines of early garage rock and proto-punk, keeping alive a large cross-section of underground ephemera. However, few have delved into and expertly archived the wealth of proto-metal, pre-stoner rock tracks of Brown Acid: The First Trip.

Lance Barresi, co-owner of L.A.-cum-Chicago shop Permanent Records has shown incredible persistence in tracking down a stellar collection of rare singles from the 60s and 70s for the 11-track compilation. Partnered with Daniel Hall of RidingEasy Records, the two have assembled a selection of songs that’s hard to believe have remained unheard for so long.

"I essentially go through Hell and high water just to find these records,” Barresi says. “Once I find a record worthy of tracking, I begin the (sometimes) extremely arduous process of contacting the band members and encouraging them to take part. Daniel and I agree that licensing all the tracks we're using for Brown Acid is best for everyone involved.” Rather than simply bootlegging the tracks, when all of the bands and labels haven’t existed for 30-40 years or more, tracking down the creators gives all of these tunes a real second chance at success.

“ All of (these songs) could've been huge given the right circumstances,” says Barresi. “But for one reason or another most of these songs fell flat and were forgotten. However, time has been kind in my opinion and I think these songs are as good now or better than they ever were."
Brown Acid: The First Trip opens with the slithering buzzsaw guitars and hard-rock howl of Zeke’s’ “Box”, a monster that gives Blue Cheer a run for their leaden blues. Snow sways into “Sunflower” with a touch of Steppenwolf’s swagger and wind-in-their-hair wildness. Elsewhere, Zebra proves they were “Wasted” with a soul-inflected groove, while Bob Goodsite leans in on his wah-wah and phaser pedals, determined to out-Hendrix Jimi himself on “Faze.” Raw Meat’s “Stand By Girl” serves up a fierce, stomping riff intercut with Iron Butterfly style operatics. Bacchus kicks out a hostile sounding boogie, demanding to “Carry My Load.” Josefus caps it all off nicely with a hooky power-pop meets Bob Seger System meets Lollipop Shoppe anthem with the undeniably catchy chorus, “hard luck — keep truckin’!”

It’s a solid set of unknown hits you can’t believe failed to connect back in their heyday due to various unfortunate circumstances. But now in 2015, Brown Acid: The First Trip gives these long-lost gems their well deserved moment to shine.

Ed O’Brien never planned to make a solo record. As a guitarist with Radiohead, who over almost three decades and nine albums have established themselves as one of the most innovative and influential musical forces of our time, he thought his artistic side had its outlet and was happy to spend any downtime from Radiohead with his family. But suddenly a switch was flicked and the songs came pouring out of him. That creative surge resulted in an album of rediscovery and adventure by O’Brien under the moniker EOB that deftly veers from moments of delicate folk to euphoric house, its songs seamlessly pinned together by unswerving melodic hooks and candid lyricism. A spirit of collaboration runs through it, from the production team of Flood, Catherine Marks, Alan Moulder and Adam ‘Cecil’ Bartlett to the extraordinary musicians O’Brien assembled to help bring these tracks to life; Omar Hakim, Colin Greenwood, David Okumu, Laura Marling, Adrian Utley, Nathan East and Glenn Kotche. Released on CD Softpack, Black LP.

The sickest French band, a trio called France, drums, bass and amplified hurdy-gurdy. They only performs live, in the middle of the audience - turned in to face each other - full on smoke machines and strobes. And they play only one ‘song’ for the duration of their hour-long set. And it’s the most transfixing live experience of intense physical and mental focus, and there is something of early rave too, the togetherness, the energy, the euphory. The distorted hurdy gurdy plugs France’s sound into the country’s history of folk music and popular festivities, of communal trance and immersive pleasure. The rhythmic basis is pretty much the same throughout the whole live. One doesn’t need to actually be tripping balls for the auditory illusions to start coming thick and fast. Those who’ve stayed for the whole duration of their performances know they’ve shared something. However disparate the phantom forms each might have discerned in the midst of the howls and groans. Gigs like this you leave feeling you’re not quite the same person who went in, even though you’d be hard-pressed to pinpoint precisely what has changed. Far Out Far West was the band’s first gig outside of their usual comfortable friendly circle and thus was perceived as a somewhat hostile environment. This was where they met the fellows of Les Potagers Nature who will later release France’s debut untitled album. One certainty remains at least, that there is still a France we can believe in. David McKenna (The Quietus). Sales Points: - New album from trio France - All previous releases now sold out and sought after - For fans of drone, rural trance, stoner, psychedelic - 131st release on Mental Groove Music, home of WRWTFWW

-LOSER EDITION-

LP SKY BLUE VINYL

Angeführt von den Sängern, Songwritern und Gitarristen Tom Russo, Joe White und Fran Keaney und abgerundet durch den Bassisten Joe Russo sowie dem Schlagzeuger Marcel Tussie, ist "Sideways To New Italy" von Rolling Blackouts Coastal Fever eine umwerfende Rückkehr für das fünfköpfige Ensemble nach ihrem international gefeierten Debüt-Album "Hope Downs" von 2018. Nach genügend Zeit weg von zu Hause fühlt sich selbst das Vertraute langsam fremd an. Rolling Blackouts Coastal Fever (aka RBCF) haben in den letzten Jahren vor allem durch die Fenster von Flugzeugen und Tourbussen die Welt beobachtet. Auf "Sideways To New Italy" reflektieren die fünf Melbourner ihre individuelle Vergangenheit und die Orte, die sie geprägt haben. Das titelgebende New Italy ist ein Dorf in der Nähe der Northern Rivers von New South Wales - der Gegend, aus der Drummer Marcel Tussie stammt. Es wurde Ende des 18. Jahrhunderts von venezianischen Einwanderern gegründet und dient heute als eine Art lebendiges Denkmal für den Einfluss Italiens auf Australien. Auf "Sideways To New Italy" kommt das detaillierte, cineastische Songwriting von RBCF voll zur Geltung. Durchquerte Landschaften und emotionale Erinnerungen werden von den treibenden Gitarren musikalisch nachgezeichnet.

“This is an examination of madness and loss,” says Brian Christinzio, the inimitable force behind BC
Camplight. “I hope it starts a long overdue conversation.”
 Fired by his ongoing battle with mental illness, ‘Shortly After Takeoff’ is the final and finest chapter of what
Christinzio calls his ‘Manchester Trilogy’, following 2015’s ‘How To Die In The North’ and 2018’s ‘Deportation
Blues’. All three albums were created after the native Philadelphian had moved to Manchester.
 Like ‘Deportation Blues’, ‘Shortly After Takeoff’ spans singer-songwriter classicism, gnarly synth-pop and ‘50s
rock’n’roll, with Christinzio’s similarly distinctive, flexible vocal carrying a fearless approach to lyrical
introspection but the new album is a major leap forward in songwriting sophistication and lyrical
communication. “It’s important to stress that this isn’t a redemption story,” he says. “I'm a guy who maybe
lives a little hard and I’m in the thick of some heavy stuff. But as a result, I think I've made my best record.”
 The ‘heavy stuff’ has come thick and fast for Christinzio. Just days before ‘How To Die In The North’ was
released, he was deported and banned from the UK because of visa issues. Estranged from his new home,
his girlfriend and his dog, unable to promote his album and back home with his parents, Christinzio sunk
deep into the dark. An Italian passport, care of his grandparents, eventually allowed him to re-settle in
Manchester but then just days before ‘Deportation Blues’ was released, his father Angelo unexpectedly died.
 “I went into a spiral that was worse than any time since my twenties,” he recalls. Hence the title ‘Shortly
After Takeoff’: the feeling of being suddenly thwarted by what life throws at you. Making matters worse was
a neurological disorder that returned after years in remission: “I see TV static, and it messes with how my
brain interprets everything from sound to my own feelings.”
 One way to process tragedy is comedy, which elevates ‘Shortly After Takeoff’ to a heightened plateau, from
grief-stricken vulnerability to armoured bravado, from the black dog of depression to gallows humour. None
more so than ‘Ghosthunting’, which opens with an extraordinary (fabricated) passage of Christinzio doing a
stand-up routine, centring on the memory of hallucinating his father’s ghost. “I want to drag the listener into
this world and hopefully they question why they feel uneasy,” he explains.
 Bleak comedy is evident from the album’s first song. ‘I Only Drink When I’m Drunk’ features Christinzio’s
trademark ‘keep you on your toes’ style. He describes it as “Hank Williams on cough medicine being awoken
by ferocious guitars.” ‘Ghosthunting’ similarly changes tack, between serene melody, classical harps and
pounding passages: ‘Cemetery Lifestyle’ appears to feed on The Four Seasons and crunchy new wave.
Though the Nilsson-esque ‘I Want To Be In The Mafia’ (Christinzio’s favourite lyric on the album) and the
elegantly sombre ‘Arms Around Your Sadness’ are less changeable, the way ‘Back To Work’ trades dreamy
AOR and robotic funk, “sums up this record perfectly,” Christinzio feels. “The verse seems to make sense,
then out of nowhere, boom boom… just when you think you have it figured out… It’s the never-ending cycle
of mental illness.”
 Christinzio says his love of stylistic shifts is also linked to a, “pretty low attention span. I’m always stirring the
pot, I never let it settle.” His personal life is similarly restless. Few might risk everything and abscond from
the safety of home in Philadelphia, where he had released two albums, occasionally played live with local
faves The War On Drugs - whose current members Dave Hartley and Robbie Bennett were part of the
original BC Camplight live band - and guested on Sharon van Etten’s ‘Epic’ album. “If I’d stayed, I’d be dead.
Period.” he once mused and what was Philly’s loss became Manchester’s gain.
 There, Christinzio has his friends and his band. On record, ‘Shortly After Takeoff’ is “95 percent” Christinzio,
plus Adam Dawson (drums) and Francesca Pidgeon (backing vocals, sax, clarinet) and guests on cello and
violin. Dawson and Pidgeon are also members of the current live BC Camplight, alongside Tom Bellini
(guitar), Stephen Mutch (bass) and Luke Barton (synths, acoustic guitar).
 LP pressed on clear vinyl with digital download

With Velvet Desert Music Vol. 2, curator Jörg Burger has intensified his vision for this new series of compilations on Kompakt. The music he’s collected here has a unique vibration, perhaps an audio equivalent to the legendary ‘acid Western’ films of the 1960s and 1970s, when the wild frontier logic of the western met the consciousness-altering psychedelia of the counterculture.

‘Velvet Desert Music’ is Burger exploring possibilities: what happens when you extract the essence from genres as diverse as spaghetti Western soundtracks, moody lamp-lit pop, downtempo, Krautrock, minimalism, classic ‘60s psychedelia, and more, and let their scents intermingle, Des Esseintes-style?

On Velvet Desert Music Vol. 2, Burger welcomes back old friends - Fantastic Twins, Sascha Funke, Paulor, Rebolledo, Superpitcher, The Novotones – and also introduces some exciting new names, such as Golden Bug and The Limiñanas, Mount Obsidian (aka César Urbina / Cubenx), and Lake Turner. Marcus Schmickler’s Pluramon project appears, remixed by Burger, and Michael Mayer makes his first appearance with “Not So Far Away”.

The ultimate strength of Velvet Desert Music Vol. 2, though, is its seamlessness; you’re encouraged to press play, sit back, and listen to the album unfurl as a whole. Much like one of Kompakt’s other compilation series, the legendary yearly Pop Ambient collections edited by Wolfgang Voigt, Velvet Desert Music builds its own psychological environment to inhabit. And as you dig deeper into Velvet Desert Music Vol. 2, the music takes on synaesthetic turns, the textures all swirl together, igniting the senses.

Each of the artists share with Burger himself a production style that echoes the cinèma pour l’oreille (cinema for the ear), with luscious sweeps of tone and melody opening out to reveal new vistas, new terrain for the attentive listener. When listening to Velvet Desert Music, think widescreen, think broad brushstrokes, think boldness but with sensual detail. It’s the new frontier music.

The Colour of Entropy (In Three Stages) is a collaboration between Belgium's Sleeperhold Publications and multi-instrumentalist / composer Daniel O’Sullivan (DOS) with imagery by French artist Felicia Atkinson. The title of this upcoming release might not unreasonably suggest decay and decomposition. The first few bars of Entropy instantly dispel any such forebodings. You find yourself, instead, transported to some ineffably gorgeous but nevertheless very earthly paradise. Entropy is over fourteen-minutes long, staged in three parts and, as anyone who knows and loves Daniel O’Sullivan will tell you, he is nothing if not mercurial.

Daniel O’Sullivan has achieved international acclaim writing, recording and performing with Grumbling Fur, Ulver, Sunn O))), Guapo, Miracle, Æthenor and the recent reincarnation of This Heat in the form of This Is Not This Heat. As for his solo work, DOS seems to mature with every recording he puts out. The Colour of Entropy (In Three Stages) features one lengthy suite broken down into three parts which meticulously melt into one other. Every section has its own character, taking us on a voyage of majestic beauty and uniquely ornamented melancholy. With an all-star cast of musicians DOS creates a auditive spectacle with an enduring lyrical poise and an elegant palette of sounds.

Colour and its subjective meaning are highly referenced on this release. They appear to DOS as guiding spirits for his compositional process. The opening track, “Blue Music: Angelic Architecture”, eases the listener into a warm and sumptuous world. Lush instrumentation accompanied by closely harmonised voices, speak of endless landscapes, alchemy and the secret inhabitants of our anatomy. Sonically, one is reminded of the pocket symphonies of Brian Wilson, although the innate Englishness of it all recalls the village-green playfulness of Penguin Cafe Orchestra or the filmography of Peter Greenaway. The joyful swing of this first movement dovetails into a more melancholic sequence. In “Yellow Music: Chemical Wedding” the light seems to dilate even further. Warm and intimate, yet fragile and unresolved. The piece features a swathe of acoustic textures, harmonic clusters and a pianistic touch akin to some of Bill Evans’ more spaced out repertoire. As the Chemical Wedding reaches it’s zenith, we are thrust into a new realm of gargantuan proportions. “Red Music: Fire In The Breath”: A pressing polyrhythmic momentum soundtracks our ascent. DOS’ voice, understated, gracefully channels his colour mythology. This final section belies a mystical inclination which resonates throughout O’Sullivan’s work. The words afloat, dreamlike in peripheral vision, like abstracts from a dream journal, like the mescaline automatics of Henri Michaux, The Thought Forms of Annie Besant or the surrealist anagrams of Unica Zurn. The feeling is paradoxical: visceral and intoxicated yet meticulously guided and comforting in the same instance. DOS’ music speaks in an archetypal tongue; love, the human condition, devotion. A transfiguration of familiar forms. As O’Sullivan himself has stated of his process... “I want to make the unexpected sound inevitable”.

Felicia Atkinson’s colourful drawings adorn Entropy’s sleeve and one side of the wax. (All three tracks are featured on the record's A-side.) The experimental French musician, poet, and visual artist reacted in beautiful contrast to the musical output of DOS. Scrawls of colour, not quite figurative but highly suggestive messages of inner space. DOS’ music and Atkinson’s artworks, share a common ground. Views of the natural world through a lens that invokes almost alien qualities. Raising their little families while investigating a series of landscapes, both internal and external.

Written and recorded by singer-songwriter and frontman Sid Simons along with contributions from his band mates at his Bed-Stuy, Brooklyn home, Shade is on the other side combines elements of fragile folk and delicate art-rock to create ethereal chamber-pop songs that fearlessly revel in Simons most private thoughts. Musically, the album exists somewhere between monumental British statements such as All Things Must Pass and The Man Who, where quiet and tender folk meets dramatic guitar-pop. Leading the album is Forever & Always’s a supple ode to love accompanied by a visual created by Idle House that gives a nod to the hazy days of fall, culling nostalgic inspiration from classic, daydream-like clips by The Style Council, Mazzy Star, The Flaming Lips, Oasis and more.

UK indie rock band The Rifles are set to release their debut full length live 17th April on Cooking Vinyl. Live At The Roundhouse features fan favourite tracks spanning the bands entire catalogue including Local Boy, Out In The Past, The Great Escape and many more. In conjunction with this, the band have announced they are to tour the UK October/November: 31/10/20 - Manchester, 02 Academy 2 02/11/20 - Edinburgh, Summerhall 03/11/20 - Newcastle, Wylam Brewery 05/11/20 - Bristol, Fleece 06/11/20 - London, Shepherds Bush Empire 14/11/20 - Dublin, Workmans Club.

In collaboration with Markus Acher’s Alien Transistor label, Morr Music presents a collection of hard-to-find Japanese independent music, compiled by Saya, who plays with Ueno Takashi in the iconic duo Tenniscoats. They are part of a current music scene, which is little known outside of Japan. „Minna Miteru“ focuses on that very scene: the featured bands and musicians share a certain idea of DIY, and are also connected through frequent collaborations and mutual appreciation.**

The following notes were written by Markus Acher, who also plays with Saya & Ueno in the band Spirit Fest:

„In 2018 I was sitting in the Tenniscoats’ kitchen with beer and music, looking at Ueno’s wonderful risograph songbook ‘Minna Miteru’ (Everybody Watch) which collects the lyrics and chords of their friends’ songs alongside his own illustrations, when Saya suggested putting together a compilation of these and other songs for our label. I couldn’t have been happier, this sounded like a dream to me.

My first encounter with the Tenniscoats’ own music and their label Majikick was through finding the compilation ‘Songs for Nao’ (Chapter Music, 2004), which totally changed my way of listening to music. I had never heard any music like this before – very intimate, but melodic and experimental at the same time. It sounded like freedom, free from expectations, free from the fear of failing, and never afraid of beauty. They just do what they like, and sometimes it sounds like the Beatles and Albert Ayler at the same time. Beautiful and wild.

Since then I have tried to get every Tenniscoats release, following Majikick and connected labels like Pong-Kong, 7ep or Sweet Dreams Press, learning that from Germany, without speaking Japanese, this is not so easy.

But now here is „Minna Miteru“, a compilation of recent Japanese indie-music. And I’m very happy about it, because although there have been many great reissues of 70s and 80s Japanese music recently, most contemporary Japanese independent bands and artists are hardly known outside of Japan and so it’s hard to find their music. And I couldn’t think of a better guide to this special scene than Saya, whose love, dedication and personal selections have made this such a unique and beautiful compilation.

You’ll hear some of the Tenniscoats’ closest friends and collaborators (Eddie Marcon, Yumbo, Yuko Ikema), but also artists they are fans of, like the legendary Jun Konagaya (aka Grim) and many befriended bands that form a scene of uncategorisable outsiders in pop, like the one-man-orchestra Ichi, the trumpet-trumpet-organ-trio Popo, the mysterious psychedelic songwriter Aritomo and the pianist/electronic musician Ytamo. So many beautiful surprises: melodicas, electronics, folk-songs, brass bands, sound-experiments and melodies, melodies, melodies... Every song a treasure, exploding with ideas, and me personally, I could listen to the Tenniscoats and Yumbo collaboration and Zayaendo’s ‘Hiyodori’ forever on repeat.”

Die zweite 12" des britischen DJ/Produzenten Alex "Kiwi" Warren (Optimo, 17 Steps, Disco Halal, Cin Cin, Correspondant, NeedWant, Futureboogie) auf seinem neuen Imprint Crossbreed ist eine Kollaboration mit dem Electro-Produzenten Ghost Culture aka James Greenwood, der damit erstmals außerhalb seines Kult-Labels Phantasy Sound veröffentlicht. Crossbreed ist eine immer populärer werdende, sex-positive Patrtyreihe in London.

THE 1996 DEBUT FEATURE SAMPLES FROM AL GREEN, GLADYS KNIGHT , FATS DOMINO

Wieder einmal steht Tame Impala-Sänger und -Mastermind Kevin Parker als zentrale Figur im Schaffensprozess der neuen Songs im Vordergrund. Beinahe das komplette Album wurde von ihm in diversen Studios, Hotelzimmern, Flugzeugen und Häusern rund um die Welt aufgenommen und produziert. Nach dem Motto 'never change a winning team' setzte Kevin wieder auf die Kompetenz von Dave Fridmann (Flaming Lips, MGMT) an den Mixern. Der Sound von "Lonerism" erfindet sich nicht komplett neu, sondern scheint eher neu-skizziert und erstreckt sich über weitere Ebenen als zuvor. Die größte Neuerung stellen die Synthesizer dar, die kosmische und sphärische Formen in nahezu jedem Track hinterlassen, zusätzlich zu den immer noch schneidenden Gitarrenriffs, dem taumelndem Bass, den steinigen Schlagzeugrumpeleien und Kevins einzigartiger Art zu Singen. Mit "Lonerism" machen Tame Impala den verdienten und konsequenten Quantensprung nach Vorne auf dem Weg, auf den sie sich mit "Innerspeaker" begeben haben.

signiert

Limitiert auf 1000 Stück im Fold-Out Cover, einseitig gepresst mit Siebdruck auf der B-Seite. Inklusive sinnfreier Beilage und Download-Code. Sie haben wieder in dem alten Schuppen gesessen. Parfüm getrunken und auf einer knittrigen Landkarte mit Pflastern die Luftlinie nach Singapur geklebt. Einer der Nachbarn hat erzählt, die drei Männer würden dort regelmäßig eine Matinee veranstalten. Ab und zu würden merkwürdige Figuren vorbeikommen, Schlagzeugspenden durch den Spalt in der windschiefen Holztür schieben und wieder verschwinden. Die alte Kennertz sagt, die Drei würden dort mit Springseilen, Fax-Geräten, einer alten Armbanduhr, einer Klarinette und ein paar Säcken Sägemehl etwas bauen und genau danach würde auch der Lärm klingen, der alle paar Tage aus dem Schuppen strömt. Die meiste Zeit gehen diese Typen aber Essen. Lassen sich nie was kommen, immer gehen sie Essen. Dünn wie Schläuche, aber andauernd Essen gehen! Einmal im Jahr schicken sie ein Tonband weg. Letzten Herbst, als der Rasen im Goldrot der Blätter ertrank, haben sie es im Schuppen abgespielt und kurz darauf versandt. Die Kennertz hat gelauscht und sagt, am Anfang hätte es geklungen wie ein James-Bond-Film mit Robotern, gewiss seien Drogen im Spiel. Dann auf einmal dachte sie, die Lieblingsband ihrer Jugend zu hören, dieses glitschige Duo, wie hieß es noch, Wham! Eine Täuschung sicherlich. Mittendrin sei es um Karma gegangen, um den desolaten Zustand der Welt. Was geht das denn die an, habe sie noch gedacht. Dann kam andauernd ein ,Hey" und ,Ok", zackig, ungeduldig, jemand sang ,auf ins Ungewiss" oder so. Und schließlich war ihr - der alten Kennertz also - als ob eine Säge Frank Sinatra entzweie. Als habe jemand einer Oper Propenal injiziert. Es hat gar nicht geregnet, sagt sie, aber als es still wurde, seien ihre Wangen ganz nass gewesen. Jetzt sind sie wieder weg, und eine Ruhe hat sich über den Ort gelegt. Die Kennertz sagt, sie sind auf Tour.

LP includes download code. DFA Records are excited to announce the release of 'Home Economics', the new album from Prinzhorn Dance School.The starting point for the new record was the band's amazing first US shows - two of their own and a triumphant showing at DFA's 12th anniversary - in May 2013.
Inspired by their American adventure, Prinzhorn Dance School brought the recording process in from the cold of the red shed to the heart of their everyday lives.Played and recorded on the move between different flats in Brighton and Hove, then wheeled around town on a hard drive wrapped in a sleeping bag in a specially-adapted suitcase, 'Home Economics' gave them an escape route from 'that frustration you feel when you spend days trying to recapture the intimacy of a particular moment,' Tobin Prinz remembers. 'This time we could just use the original take, so sometimes these songs are almost like field recordings.'

VINYL version of the success-record "Alive And Feeling Fine" of Belgium’s finest LOST FREQUENCIES! PRESS PLAY!

It was Lost Frequencies’ summeresque signature sound that took the world by storm in 2015, but it’s his versatility that made him stand tall amongst the top dance music players since. He showed as much through 2016 album ‘Less Is More’ and he does so again with his second artist album: a double-sided world of wonder called ‘Alive And Feeling Fine’.

Featuring various of his most notable productions yet, the first part of ‘Alive And Feeling Fine’ juggles a host of known hits (e.g. ’Crazy’, ‘Recognise’, ‘Melody’, ‘Truth Never Lies’) with several previously unreleased tracks, including collabs with the likes of Mokita and Throttle. Side two is a bonus collection, featuring deluxe mixes, Tomorrowland edits and esteemed remixes of tracks from the likes of Armin van Buuren, Estelle & Kanye West and The Rasmus. The result is a fully fledged, 23-track masterpiece that not only spotlights the Belgian superstar’s production prowess in full, but also one that was created with his new Lost Frequencies Live tour in mind, which will see him take the stage alongside a band and vocalist.

Hit-maker Mind Enterprises is back with a new mini album with new and previously released singles and remixes.
The release is a collection of the artist’s recent singles including the acclaimed and Shortlist Magazine’s top 50 singles of 2017 ‘Idol’, plus ‘Gemini’ and ‘S.H.A.K.E’, which together with current new track ‘Monogamy’ marks the unveiling of an electrifying new sound.
Obsessed with vintage synthesisers and 80s beats, Mind Enterprises (aka Andrea Tirone) has created a sound which is somehow both forward thinking and nostalgic at the same time. Think Italo Disco meets retro dance, with razor sharp modern production, and you’re half-way there. ‘Monogamy’, coupled with it’s 80s style VHS video is designed to make your feet move and your heart long for simpler times. Its irresistible groove and disjointed vocals are as instant as they are idiosyncratic.

- Ursprünglich als EP zwischen den ersten beiden Bon Iver Alben veröffentlicht, enthält Blood Bank einige der beliebtesten Songs der Band - Erstpressung auf farbigem Vinyl - mit 4 brandneuen, exklusiven Live-Aufnahmen der EP-Titel, die auf der Tournee 2018, 10 Jahre nach der Entstehung der Songs, aufgenommen wurden - Bon Iver 2020 live in Berlin, Köln und München // Die "Blood Bank" EP wurde ursprünglich Anfang 2009 veröffentlicht, kurz nach dem geliebten Album "For Emma, Forever Ago". Die EP war der Vorbote eines neuen Sounds für Bon Iver: eine Bewegung weg von der akustischen Gitarren-geführten Instrumentierung des Debüts und der Beginn einer Erkundung der experimentellen Klänge, welche die Entwicklung von Bon Iver seitdem mitdefinieren. Die Neuauflage dieser bahnbrechenden EP ist gekoppelt mit brandneuen Live-Aufnahmen aller EP-Titel. Eine Reflexion über die Blood Bank EP von Ryan Matteson: When I reflect on the songs that make up the Blood Bank EP, I am drawn to mantras, both musical and lyrical. The driving and pulsating rhythm of the title track is held steady by the repeated refrain, I know it well, before it eventually yields to a beautiful array of guitar distortion and noise. These moments are significant through all four songs. When the steel guitar makes its entrance on "Beach Baby," it's transportive. A blissful, breezy feeling sweeps into the room and that puts you within the moment. Close your eyes and you can feel it. "Babys" follows perfectly. A piano guides your mind to the new beginnings that come with the changing of seasons. The awareness of time passes and makes way for another day. Then there's "Woods." A flawless finale. Foreign and new. Not just a new direction but a new beginning entirely. A place where boundaries don't exist. It was a signal change of things to come, laying the groundwork for new collaborations. A decade later, the song says so much in just three lines. Most significant to me are the words, "I'm building a sill to slow down the time." Time doesn't slow down, it races.

Well, the idea was to release some guitar psych and stuff on RTTD as well but seeing as how I don't get any demos like that you'll have to make do with another children of leir one.

New label Last Records is a front for various musical cells around the world, awaiting a signal to unleash their own quirky brand of sound. First band of insurgents are the Sukebe Collective from Fukuoka, Japan.

4th album by this minimal wave band from Düsseldorf. Perfect Retro-NDW!

Melkbelly sculpts their signature balance between subtle melody and frantic noise on new album PITH, their second for Carpark Records/Wax Nine. The Chicago-based foursome has made spatial dynamics central to its arrangements, reaching for weirder highs and more startling atmospherics, negative space giving way to enveloping walls of chaos. This sense of form is reflected not only in the purposeful production, but in the ceramic cover art created by Chicago artist Deborah Handler.

Recording in two short sessions six months apart, the band worked with longtime collaborator Dave Vettraino, this time at Bloomington, Indiana’s Russian Recording. Alongside an arsenal of rock gear and airy synth layers coaxed from a Moog Prodigy, PITH’s multidimensionality was refined by the studio’s collection of rare Russian tube mics, which were placed in every corner to capture Melkbelly’s unabashed loudness. Frontperson Miranda Winters’ charmingly bright vocals are newly effected, delayed to a menacing, mysterious thickness. Guitars, handled by Miranda and Bart Winters, interlock and separate with dizzying ease, riffs dissolving into floating trails and reappearing with metallic edges. Bassist Liam Winters’ low grooves bounce and kick along with drummer James Wetzel’s rhythmically unsettling performance, which stretches time yet never falters.

After two years touring internationally, the band felt comfortable enough to rearrange songs they knew well, their renewed closeness guiding them. Their literally familial relationship was crucial for support, as PITH was summoned from a place of mourning. “We lost an incredible friend suddenly and nostalgia always acts as a helpful tool for me in navigating difficult times,” Miranda says. “Revisiting emotionally challenging moments or significant social interactions helps shed light on confusing feelings for me. Lyrically, grief gave way to considering life,” she elaborates. Considering life is exactly right, as Miranda also attributes inspiration to her pregnancy throughout the recording process. Consequently, she drew from diverse scenes—Grimm-like children’s stories too dark for kids; thorny, mossy forests—to create stories that feel distinctly Melkbellian: philosophically strange, strikingly textural, funny and sad and open-hearted.

Maturation, as well as their DIY reverence, can be heard on the tempo-shifting “Sickeningly Teeth.” It’s an homage to “feeling like shit really loudly or obnoxiously. You know, in an unapologetic youthful way,” deadpans Miranda. James describes it as a “rhythmic exploration to make the song feel like it's pulling itself apart.” Follow-up single “LCR” similarly shapes PITH’s dynamics and mood. Its shifting signatures held steady by James’ frantic beat, the track is a purgatorial homage to motion, ultimately propelled by its tangled guitars and layered vocal harmonies. “It’s about how having conversations with the dead can scoot you along in life, even when you're really only hearing one side of the conversation or making up the other half,” says Miranda.

Since their 2017 debut Nothing Valley, the members of Melkbelly have an even better understanding of their sonic motivations. “We’re always going to sort through the past to make better sense of the present,” Miranda says, and in doing so Melkbelly continually finds ways to mutate its sound. On PITH, Melkbelly sought space, and succeeded in crafting it. What a pleasure to be let in.

Animal Collective’s live album ‘Ballet Slippers’, set
for release via Domino, is an homage to the 10-
Year Anniversary of their modern classic,
‘Merriweather Post Pavilion’.
 Recorded in the midst of the band’s extensive and
acclaimed nine-month tour in 2009, the album
features ‘Merriweather Post Pavilion’’s greatest hits
alongside favourites from ‘Strawberry Jam’, ‘Sung
Tongs’, ‘Feels’ and ‘Danse Manatee’.
 Mixed by Ajay Saggar and edited by Noah Lennox
(Panda Bear), the release is culled from several
shows from that album’s North American tour and
sequenced to reflect a full concert experience,
complete with song transitions and interludes,
creating a captivating document of the genredefying group.
 Triple LP in M-Pack gatefold with etching on side F
and digital download card.

Not so long ago, in the long winter of 2016-2017, was the
debut of Jackie Lynn. It was a year of bright lights and
alien love and an undercurrent of undisguised tension too.
It fed the music. Now it’s a new year beginning and
‘Jacqueline’ is the album of that year, bringing Jackie fully
back in front of us, larger than life, her arms reaching out
farther into the glittering darkness than before.
 ‘Jacqueline’ finds Jackie Lynn down the road apiece,
having broken in and out of the glare of American days
and nights. A casino queen in Missouri now, a stranger in a
short black dress in Odessa tomorrow - another track,
another rich slice of the life for our femme long-haul truck
driver. Each one flowing with the white-hot bursts of new
as it unfurls itself around her. The process of realizing is
palpable, as we watch Jackie roll her wheels across the
wrecked frontier. Removed from the urban play that made
her first songs hum with onyx-black edges, Jackie is an
agent of her own agency this time around, alone and
together with herself, as big-sky perspective flashes
through the windshield over and over: dreamlike passing
flares, white-line beats, twilight falling silk on the horizon.
 ‘Jacqueline’ blooms expansively from the synthetic rhythms
of her debut, blowing up their bone structure with bigger
stakes in sight. Jackie Lynn - comprised of Cooper Crain,
Rob Frye and Dan Quinlivan of Bitchin Bajas and Haley
Fohr of Circuit des Yeux - approached the material as a
group, drawing together the journey over time, inspired
collectively to find the right notes, sounds and settings to
open the landscape for Jackie - and alter it inexorably.
 ‘Jacqueline’ was recorded at home and mixed at Electrical
Audio by Cooper Crain.

ORANGE COLOURED EDITION

New York City's Macula Dog is a duo known for their singular style of clattering electronic synth music that takes influences like Devo and The Residents to their (un)natural conclusion. Macula Dog return with the Breezy EP containing four new cuts to tease the rhythmically inclined. Breezy is Macula Dog's second release on Wharf Cat Records, following 2016's Why Do You Look Like Your Dog? LP. Breezy was tracked completely live with the help of analog wizard, Paul D Millar (Ariel Pink's Band) at his Bug Sound East studio, and marks the first Macula Dog release recorded with an outside engineer. With Millar they achieve new levels of fidelity including a slapping low-end, perfectly suited to the 12" 45PRPM format and sure to knock over fans who have been waiting for these new songs, a few of which that have entered their recent live sets. Breezy tunes for Breezy times. With tales of industry, aging, apocalypse and insanity, we see the band's first attempts at pop songs and "conventional" song structures only hinted at on past gemstones like "Lawnmower" and "Purchase Power Station." Just when the racketing barrage of echoes cannonading from across the canyon's walls have begun to die down, we hear the sound of an engine reving.

The debut album from Pottery, ‘Welcome to Bobby’s Motel’, available
on CD, Hot Dog Yellow vinyl (with digital download card) and digital
download album. Produced by Jonathan Schenke.
 Hailing from across Canada and the UK, Montreal’s Pottery consists of
core writers Austin Boylan and Jacob Shepansky, along with Peter
Baylis, Paul Jacobs and Tom Gould. Initially bonding over artists such
as Orange Juice, Josef K and Devo, the band creates a sound that
combines eclectic traces of post-punk, pop and dance music, forming
an unusual atmosphere that envelopes audiences.
 For fans of Preoccupations, Jacuzzi Boys, Oh Sees, Parquet Courts,
Shame, IDLES, Gang of Four, The Fall, Ron Gallo, The Nude Party,
Orange Juice, Devo.
 “Highly addictive... brilliant” - Lauren Laverne, BBC 6 Music
 “Louche, unpredictable indie-rock heroes-in-waiting” - NME
 “Fuck exercise, one listen to this is all the endorphin rush you need.”
- DIY (★★★★1/2)
 “A little zany and plenty colourful” - Stereogum
 “Remarkable” - The 405
 “Irresistible” - Consequence Of Sound
 Pottery completed their 2019 tour having supported Fontaines D.C.
on a full US run, as well as having sold out headline UK shows
through August, including London’s Moth Club and Brixton Windmill,
not to mention epic End Of The Road Festival and Greenman Festival
performances. In 2020, the band embark on a second UK and
European tour, with dates in the UK, Europe and the US (supporting
IDLES), with a headline show at London’s Dome Tufnell Park.

LP on Dr Green Thumb colour vinyl. Originally starting as the DIY home recording project of Angus Lord and Claudia Serfaty, The Stroppies have now evolved into what some might call a "proper band". Following on from their 2017 demo cassette and a sling of singles, 2019 saw the release of their debut LP Whoosh!, a studio-based affair that evolved The Stroppies sound, underpinned with a newly discovered melodic classicism. Look Alive! represents a marriage of the two different styles of Stroppies recordings and rounds out an incredibly productive twelve months for the group. Look Alive! is the sound of The Stroppies honing their craft under new and unfamiliar conditions. If Whoosh! glimmered and sparkled with tight production and succinct pop songwriting, Look Alive! is a somewhat darker shade, employing a more diffuse, impressionistic sonic palette and a more obvious penchant for experimentation. Tracked by the band and long time friend/collaborator Alex Macfarlane (Twerps, The Stevens, Hobbies Galore) at home and then mixed and mastered direct off the tape at Phaedra studios in Coburg by John Lee, it's also a somewhat collaborative project, drawing in influence and inspiration from myriad sources. RIYL: Guided by Voices, Pavement, Terry, The Chills, The Clean, The Verlaines.

Ashley’s brand new album ‘Never Will’ will be released on the 3rd April. ‘Never Will’ follows on from Ashley’s debut album ‘Girl Going Nowhere’. Ashley has been nominated for two 2020 Grammy Awards, ‘Best Country Solo Per-formance’ and ‘Best Country Song’.

Ashley recently sold out headline shows at the Shepherds Bush Empire, Manchester Academy and Queen Margaret Union - Glasgow.

The second song released on the 13th January was ‘Martha Divine’. ‘Hang In There Girl’ will be released on the 31st January. The videos for ‘One Night Standards’, ‘Martha Divine’ and ‘Hang In There Girl’ are a trilogy series.