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Innovative horn player, producer and songwriter CJ Camerieri returns with his deeply collaborative CARM project. CARM II, the second album due out this fall with 37d03d, was produced in Minneapolis by Ryan Olson and features Edie Brickell, Sid Sriram, Kristian Matsson, Justin Vernon, Gabriella Smith, Sean Carey and others. It is a genre-defying, heartfelt exploration of the possibilities in provocative musicmaking and provides a homespace for a profound variety of voices. Where the first record used horns in place of other instruments, CARM II places them even more prominently in the musical texture. The experience of playing live shaped this approach. "Standing at the front of the stage was a new experience for me and I wanted to create a record of songs that justified my being there." On CARM II, there is no mistaking that the lead "singer" of this band is Camerieri's horn. CJ also wanted to feature bandmate Trever Hagen, who takes on both production and performance roles. The featured artists on CARM II have opined on their various roles in this project. Brickell contacted Camerieri asking him to participate in her short-form songwriting project that she introduced on social media during the pandemic. Camerieri and Olson were in the middle of writing songs for the record, and one stood out as perfect for Brickell's request. Sent as a work-inprogress, she quickly responded, writing the first verse and chorus to what would become "More and More." They knew it needed to be fully realized. Says Brickell, "CJ's trumpet melodies and phrases inspired `More and More.' I just listened to him and followed his lead, trusted what came to mind and sang it. It all flowed from his music." "For `I Fall' Ryan and I created the basic track and I really struggled to write on it. It wasn't in song form, and I couldn't find my way into making it a coherent thought." CJ thought of Gabriella Smith, one of the leading composers of our day, and on a whim sent her the track. Smith sent fragments to experiment with and send back to her as she rode out the pandemic in the Norwegian countryside. After 3 months, she then sent him a fully realized score of horns/vocals. The result is a testament to the visionary composer's incredible ingenuity. "That this music was in Smith's imagination and then fully notated is mind boggling to me." "The Ones You Love" was the last song written for the record. CJ had been arranging and playing horns on Sid Sriram's forthcoming debut, falling in love with Sriram's voice and style. The song came from a jam session at with Andrew Broder on keys, Evan Slack on guitar, Chris Bierden on bass, and Hagen on drum machine. CJ and Sid trade epic lines back and forth, celebrating vulnerability and virtuosity in tandem.

London band’s debut album (after one 7” on Prefect, and a 7-inch EP on TiM/Prefect Records (UK)). Feat. current/former mbrs of Joanna Gruesome, Ex-Void, GN, Sniffany & The Nits. London group The Tubs return to Trouble In Mind with their hotly anticipated full-length album entitled “Dead Meat”. The band were formed in 2018 from the ashes of beloved UK post-punk band Joanna Gruesome by former members Owen 'O' Williams and George 'GN' Nicholls. By incorporating elements of post-punk, traditional British folk, and guitar jangle seasoned by nonchalant Cleaners From Venus-influenced pop hooks and contemporary antipodean indie bands (Twerps/Goon Sax, et al). “Dead Meat” is resplendent in hi-fidelity strum & thrum, incorporating fleeting elements of post-punk and indie jangle, but the group’s penchant for trad British folk & Canterbury folk-rock takes a noticeable, caffeinated step forward. Echoes of Fairport Convention’s decidedly English chime cross swords with singer Owen Williams’ lyrics directing Bryan Ferry’s “thinking man’s libertine” persona into a more dolorous outlook. Many songs (like “Round The Bend” and “Duped”) soar with an urgent strum under Williams’ acerbic lyrics, recalling a younger fiery Richard Thompson. They languish in an aching, bitter resignation (of both the situations described & the protagonist’s place in it), particularly near the album’s second half. Others like the previously released “I Don’t Know How It Works”, “Two Person Love” and “Illusion” (re-presented here as “Illusion Pt. II” and all rerecorded from their original 7-inch versions) up the urgency, implying that the journey for the person described in each tune is not over & may be even more desperate than before. The band has never been tighter & more dynamic, often imperceptibly ratcheting up the tension, an extra guitar strum overdubbed, a barely audible organ/synth cranking under a chorus or bridge, or unexpected backups from current Ex-Vöid (and ex-Joanna Gruesome) vocalist Lan McArdle. The Tubs are poised to take over your stereo - there’s no point in resisting

London band’s debut album (after one 7” on Prefect, and a 7-inch EP on TiM/Prefect Records (UK)). Feat. current/former mbrs of Joanna Gruesome, Ex-Void, GN, Sniffany & The Nits. London group The Tubs return to Trouble In Mind with their hotly anticipated full-length album entitled “Dead Meat”. The band were formed in 2018 from the ashes of beloved UK post-punk band Joanna Gruesome by former members Owen 'O' Williams and George 'GN' Nicholls. By incorporating elements of post-punk, traditional British folk, and guitar jangle seasoned by nonchalant Cleaners From Venus-influenced pop hooks and contemporary antipodean indie bands (Twerps/Goon Sax, et al). “Dead Meat” is resplendent in hi-fidelity strum & thrum, incorporating fleeting elements of post-punk and indie jangle, but the group’s penchant for trad British folk & Canterbury folk-rock takes a noticeable, caffeinated step forward. Echoes of Fairport Convention’s decidedly English chime cross swords with singer Owen Williams’ lyrics directing Bryan Ferry’s “thinking man’s libertine” persona into a more dolorous outlook. Many songs (like “Round The Bend” and “Duped”) soar with an urgent strum under Williams’ acerbic lyrics, recalling a younger fiery Richard Thompson. They languish in an aching, bitter resignation (of both the situations described & the protagonist’s place in it), particularly near the album’s second half. Others like the previously released “I Don’t Know How It Works”, “Two Person Love” and “Illusion” (re-presented here as “Illusion Pt. II” and all rerecorded from their original 7-inch versions) up the urgency, implying that the journey for the person described in each tune is not over & may be even more desperate than before. The band has never been tighter & more dynamic, often imperceptibly ratcheting up the tension, an extra guitar strum overdubbed, a barely audible organ/synth cranking under a chorus or bridge, or unexpected backups from current Ex-Vöid (and ex-Joanna Gruesome) vocalist Lan McArdle. The Tubs are poised to take over your stereo - there’s no point in resisting

Limited Loser edition on dark green vinyl. There are times in our life when we feel magic in the air. When new love arrives, or we find ourselves lost in a moment of creation with others who share our vision. A sense that: this is who I want to be. This is what I want to share. It's a fleeting feeling and one that Kyle Thomas, the singer-songwriter who records and performs as King Tuff, found himself longing for in the spring of 2020. But knowing he couldn't simply recreate this time in his life at will, Thomas-who hails from Brattleboro, Vermont-set out to write a love letter to those cherished moments of inspiration and to the small town that formed him. The one where he first nurtured his songwriting impulses, bouncing ideas off other like-minded artists. The kind of place where the changing of the seasons always delivered a sense of perspective and fresh artistic inspiration. Where he felt a deeper connection with nature and sense of community that had once been so close at hand. And so, Thomas seized upon his memories, creating what he calls "an album about love and nature and youth." The result is Smalltown Stardust, a spiritual, tender and ultimately joyous record that might come as a shock to those with only a passing knowledge of the artist's back catalog. On Smalltown Stardust, Thomas takes us on his journey to a place where past and present collide, where he can be a dreamer in love with all that he sees. References to his Brattleboro upbringing abound, but at the core of Smalltown Stardust is Thomas's desire to commune with nature on a spiritual level. Images of the natural world, from blizzards to green mountains to cloudy days, fill the songs. "I consider nature to be my religion," he explains, and Smalltown Stardust is nothing if not a spiritual exploration. While so much of Smalltown Stardust invokes idealized traces and places of Thomas's past, the album's recording process made his communal vision a reality. Thomas's Los Angeles home in 2020 formed a micro-scene of sorts, with housemates Meg Duffy (Hand Habits) and Sasami Ashworth recording their own heralded albums (2021's Fun House and 2022's Squeeze, respectively) at the same time. A shared spirit dominated an era spent largely on the premises, with Thomas serving as engineer and contributor to both records, and Ashworth working as co-producer on Smalltown Stardust. Ashworth's contributions are vital to the album: she co-wrote a majority of the record and contributed vocals, arrangements, and instrumentation to each song. In the end, Smalltown Stardust is not merely a nostalgia trip. Thomas not only conjured a special time in his life, he found new inspiration, surrounded by collaborators and a sense of love and wonder for nature. If the first King Tuff record was content to merely state Thomas was no longer dead, Smalltown Stardust is a paean to what that life means. A statement of belief and a hymnal to the magic still to behold all around us.

There are times in our life when we feel magic in the air. When new love arrives, or we find ourselves lost in a moment of creation with others who share our vision. A sense that: this is who I want to be. This is what I want to share. It's a fleeting feeling and one that Kyle Thomas, the singer-songwriter who records and performs as King Tuff, found himself longing for in the spring of 2020. But knowing he couldn't simply recreate this time in his life at will, Thomas-who hails from Brattleboro, Vermont-set out to write a love letter to those cherished moments of inspiration and to the small town that formed him. The one where he first nurtured his songwriting impulses, bouncing ideas off other like-minded artists. The kind of place where the changing of the seasons always delivered a sense of perspective and fresh artistic inspiration. Where he felt a deeper connection with nature and sense of community that had once been so close at hand. And so, Thomas seized upon his memories, creating what he calls "an album about love and nature and youth." The result is Smalltown Stardust, a spiritual, tender and ultimately joyous record that might come as a shock to those with only a passing knowledge of the artist's back catalog. On Smalltown Stardust, Thomas takes us on his journey to a place where past and present collide, where he can be a dreamer in love with all that he sees. References to his Brattleboro upbringing abound, but at the core of Smalltown Stardust is Thomas's desire to commune with nature on a spiritual level. Images of the natural world, from blizzards to green mountains to cloudy days, fill the songs. "I consider nature to be my religion," he explains, and Smalltown Stardust is nothing if not a spiritual exploration. While so much of Smalltown Stardust invokes idealized traces and places of Thomas's past, the album's recording process made his communal vision a reality. Thomas's Los Angeles home in 2020 formed a micro-scene of sorts, with housemates Meg Duffy (Hand Habits) and Sasami Ashworth recording their own heralded albums (2021's Fun House and 2022's Squeeze, respectively) at the same time. A shared spirit dominated an era spent largely on the premises, with Thomas serving as engineer and contributor to both records, and Ashworth working as co-producer on Smalltown Stardust. Ashworth's contributions are vital to the album: she co-wrote a majority of the record and contributed vocals, arrangements, and instrumentation to each song. In the end, Smalltown Stardust is not merely a nostalgia trip. Thomas not only conjured a special time in his life, he found new inspiration, surrounded by collaborators and a sense of love and wonder for nature. If the first King Tuff record was content to merely state Thomas was no longer dead, Smalltown Stardust is a paean to what that life means. A statement of belief and a hymnal to the magic still to behold all around us.

Tape

There are times in our life when we feel magic in the air. When new love arrives, or we find ourselves lost in a moment of creation with others who share our vision. A sense that: this is who I want to be. This is what I want to share. It's a fleeting feeling and one that Kyle Thomas, the singer-songwriter who records and performs as King Tuff, found himself longing for in the spring of 2020. But knowing he couldn't simply recreate this time in his life at will, Thomas-who hails from Brattleboro, Vermont-set out to write a love letter to those cherished moments of inspiration and to the small town that formed him. The one where he first nurtured his songwriting impulses, bouncing ideas off other like-minded artists. The kind of place where the changing of the seasons always delivered a sense of perspective and fresh artistic inspiration. Where he felt a deeper connection with nature and sense of community that had once been so close at hand. And so, Thomas seized upon his memories, creating what he calls "an album about love and nature and youth." The result is Smalltown Stardust, a spiritual, tender and ultimately joyous record that might come as a shock to those with only a passing knowledge of the artist's back catalog. On Smalltown Stardust, Thomas takes us on his journey to a place where past and present collide, where he can be a dreamer in love with all that he sees. References to his Brattleboro upbringing abound, but at the core of Smalltown Stardust is Thomas's desire to commune with nature on a spiritual level. Images of the natural world, from blizzards to green mountains to cloudy days, fill the songs. "I consider nature to be my religion," he explains, and Smalltown Stardust is nothing if not a spiritual exploration. While so much of Smalltown Stardust invokes idealized traces and places of Thomas's past, the album's recording process made his communal vision a reality. Thomas's Los Angeles home in 2020 formed a micro-scene of sorts, with housemates Meg Duffy (Hand Habits) and Sasami Ashworth recording their own heralded albums (2021's Fun House and 2022's Squeeze, respectively) at the same time. A shared spirit dominated an era spent largely on the premises, with Thomas serving as engineer and contributor to both records, and Ashworth working as co-producer on Smalltown Stardust. Ashworth's contributions are vital to the album: she co-wrote a majority of the record and contributed vocals, arrangements, and instrumentation to each song. In the end, Smalltown Stardust is not merely a nostalgia trip. Thomas not only conjured a special time in his life, he found new inspiration, surrounded by collaborators and a sense of love and wonder for nature. If the first King Tuff record was content to merely state Thomas was no longer dead, Smalltown Stardust is a paean to what that life means. A statement of belief and a hymnal to the magic still to behold all around us.

What on earth has happened to gothic rock? This was the thought burning in Joakim Knutsson’s mind, and he felt that something needed to be done to save the much-loved genre from going down the drain. He embarked on this mission with the aim to create something special but also something faithful to the original ideals of the 80’s gothic genre. “I wanted a band that would be an occult mix of The Lords Of The New Church, Adam and the Ants, John Carpenter and Billy Idol”, says Knutsson, “The end result turned out heavier, bloodier and darker than that, but that was probably our destiny anyway.” With a little help from prominent members of the Swedish metal and punk community the idea recently took a solid form. Today the band together sums more than 250 years of knowledge in music and pop culture - knowledge they shamelessly put to use in their own creation. Here they are: die Oberherren. The Gothic rock band the world has been waiting for since the golden age of the 80s. Kept strictly under wraps until now, die Oberherren feature members of the rock and metal royalty in Sweden, with past or current membership in bands such as The Coffinshakers, Ghost, The Mobile Mob Freakshow, Gehennah and many more. The band snatched their ominous-sounding moniker from the intellectual group that operated at the turn of the 20th century, by whom their lyrics are also heavily influenced. “Anarchistic, occult and apocalyptic imagery with prophets of war, armageddon, decadence and love – these themes and ideas are even more actual today than the original ‘overlords’ could ever dream of over a hundred years ago”, comments Knutsson. The debut album Die By My Hand, set for release on January 27th 2023 on Svart Records, is a collection of eight songs that are adorned with infectious hooks and laced with vintage darkness. The apocalyptic celebration will commence this Friday, Sept 7th, with the release of the first single off the album titled The Horned One Stabs.

What on earth has happened to gothic rock? This was the thought burning in Joakim Knutsson’s mind, and he felt that something needed to be done to save the much-loved genre from going down the drain. He embarked on this mission with the aim to create something special but also something faithful to the original ideals of the 80’s gothic genre. “I wanted a band that would be an occult mix of The Lords Of The New Church, Adam and the Ants, John Carpenter and Billy Idol”, says Knutsson, “The end result turned out heavier, bloodier and darker than that, but that was probably our destiny anyway.” With a little help from prominent members of the Swedish metal and punk community the idea recently took a solid form. Today the band together sums more than 250 years of knowledge in music and pop culture - knowledge they shamelessly put to use in their own creation. Here they are: die Oberherren. The Gothic rock band the world has been waiting for since the golden age of the 80s. Kept strictly under wraps until now, die Oberherren feature members of the rock and metal royalty in Sweden, with past or current membership in bands such as The Coffinshakers, Ghost, The Mobile Mob Freakshow, Gehennah and many more. The band snatched their ominous-sounding moniker from the intellectual group that operated at the turn of the 20th century, by whom their lyrics are also heavily influenced. “Anarchistic, occult and apocalyptic imagery with prophets of war, armageddon, decadence and love – these themes and ideas are even more actual today than the original ‘overlords’ could ever dream of over a hundred years ago”, comments Knutsson. The debut album Die By My Hand, set for release on January 27th 2023 on Svart Records, is a collection of eight songs that are adorned with infectious hooks and laced with vintage darkness. The apocalyptic celebration will commence this Friday, Sept 7th, with the release of the first single off the album titled The Horned One Stabs.

Monks Road Social are an ever-changing collective of artists (some well-known, some just starting out) all with one thing in common - a love of making music.

Following the three genre bending albums MRS has already released this time round Richard Clarke turned to WONDERFULSOUND head honcho Miles Copeland to navigate the the vibe alongside mainstay of the band, the inimitable Dr Robert of Blow Monkeys fame.

Miles first showed up on debut album Down The Willows with the dreamy 'Golden Day' featuring Isle Of White favourite Angelina.

First single 'I’ll Keep On Searchin’ featuring Dr Robert on vocals is a lilting soulful slice of summer pop combining sweet melancholy and wistful chord changes.

Dr Robert explains “The song came from a piece of music Miles presented to me. It put me in mind of “Friends” era Beach Boys or early Smokey so the song came very quickly. Lyrically its informed by a kind of yearning. A desire for change, growth and connection. The things we’ve all been missing so much that give life meaning”

Miles continues…
“The idea for this single came about from these 2 loops sampled from some charity shop record creating this infectious lazy, jazzy groove but I knew the music needed to change and become its own thing… so when the Monks Road Social posse came knocking I knew the calibre of musicians involved would be able to flip it around, and that’s how a majority of the LP was written”.

‘Living Rooms’ is a full-blooded debut of rich, playful, experimental pop from the artist Fe Salomon – full of unabashedly big songs and sumptuously big sounds. Fe’s soulful and arresting lead vocals weave amongst soaring strings and big band brass sections; clattering percussion and disjunctive rhythms; dirty electro synth and butchered guitar. A collaboration with producer and contemporary classical composer Johnny Parry, ‘Living Rooms’ is a true pop album with a distinct, exuberant and deeply generous sound.

Born in Northampton, Fe moved to London at 18 for a place at Theatre College; but soon left to concentrate on music and songwriting, falling quickly into the Camden music scene, and earning her a prolific career as a singer. Building on her diverse musical background and honing her unusual sonic style, this album has been percolating at the back of Fe’s mind for a long time. The perfect storm of personal and external factors thus created the moment to make it. ‘Living Rooms’ tells stories of multiple lives lived and lost

in the city, of friendships that meant everything and the characters you’ll never meet again, of transience and loneliness, and of getting by and moving on.

At the forefront of the album is an organic and fiercely honest lead vocal performance. However, Fe permits her voice to be twisted and distorted into the fabric of the instrumentation. The un-doctored lead vocals are frequently haunted by angels and demons, created through Fe’s uninhibited willingness to this manipulation, and capturing the more visceral emotions within the expression of the human voice.

‘Living Rooms’ navigates a wide spectrum of sounds and emotions. Take album opener “Polka Dot”, a track that mixes emotive vocals with an avant-garde alt/pop production to conjure a cut as stylish as it is shrouded in shadowy mystique. A track “about mourning innocence, and the darkness that’s picked up along the way, with an ‘up yours’ sarcastic tone, and not wanting to grow old”, it sets the scene for a twisting collection that up-ends expectations at every opportunity.

Elsewhere, the chunky hooks of “Super Human”, the sci-fi/country/big band of “Wired of Caffeine”, or the intimately sung vocals and Vaughan-Williams-esque string sections of “Taxicabs”, all contribute to an album that evolves like a rich and constantly surprising tapestry.

Although the conception of the album was a frenzy of wild experimentation. The album is faithful too, and celebratory of many joyous pop traditions; but searches for ways to reinterpret the familiar. And no less so than on the off-kilter centre-piece “Quintessential England”. Through wry lyricism and vivid imagination, the track paints a lucid, if lonely, depiction of a life lived out in the sticks; one that ultimately arrives at the conclusion that perhaps “the grass isn’t always greener”.

Gifted with the kind of superpowers that have blessed Alison Goldfrapp with her unwavering glam-pop allure and Stevie Nicks with that invincible soul, Fe Salomon’s empowering first release will prove she’s cut from the same cloth and ready to be your newest musical hero.

What humbly began as the amateur strums of a 10-year-old on the
ukulele, catapulted into an expansive 60-year long career that has taken Athens stalwart, Davis Causey, everywhere from playing with Marvin Gaye, Jerry Butler, and Jackie Wilson to Derek Trucks, Waylon Jennings, and Kris Kristofferson, just to name a few
Next in the long line of his musical contributions is his second album on Strolling Bones Records: New Things From Old Strings, a perfect collection of songs that have followed him through time. This album is the culmination of a lifetime dedicated to loving and making music or, in Davis' words, a great way to almost make a living! The album features old friends Randall Bramblett and Chuck Leavell plus a special appearance from Duane Allman's 1961 Gibson Les Paul
(SG).)This started out as a form of musical therapy to get through the pandemic, but soon became something more. Most songs began with just a chord progression and grew from there with the help of the other musicians. Some songs came fully formed while others had to be coaxed into existence. These songs reflect my many influences. From Chet Atkins and Johnny Smith to Duane Allman and Mark Knopfler to Martin Taylor and many others. My mom was a
great believer in me and my music being herself a writer. Once heard it said that if you steal from one source it's called plagiarism, but if you steal from a lot of sources it's called research. Consider me a researcher

1000 black vinyl LPs. London-based ‘indie-supergroup’ SUEP announce their long-awaited debut mini-album Shop, a collection of 6 oddball, car-boot-sale pop songs with a sprinkling of theatrical storytelling. Led by Georgie Stott (of Porridge Radio, Garden Centre) and Josh Harvey, SUEP was born out of a near-decade of playing in sheds and barns with like minded personnel, holding a mutual love for Paul McCartney, Jona Lewie, the B-52s, Devo and other performative freaks enjoying themselves. Following a move to London from Brighton, the pair added George Nicholls (The GN Band, Joanna Gruesome, The Tubs), Will William Deacon (PC World, Garden Centre), and Ollie Chapman (Boil King) to the line-up. The 5 piece take turns writing songs and taking the lead vocal duties in a wonderfully playful but coherent collaboration, with their debut being a kaleidoscopic off kilter pop ride, taking the listener through haunted castles, deprived encounters, days lost to the imagination in bed, and through the integral friendships that give SUEP the energy to keep dancing to their own beat. The album was arranged and recorded in the Red Lion Boys Club, an ex-youth centre in which Georgie and Josh both lived. Using equipment collected by Josh in his travels as a bootsale and market trader, the sports hall was transformed into a makeshift studio for a few days, with sessions conducted by producer Matthew Green (Sniffany & The Nits, The Tubs, etc.) Mark Riley (BBC 6 Music) described SUEP’s debut single and album opener, ‘Domesticated Dream’ (2021) as “perfect pop music.” The joyfully kitsch track brims with a 70s Yamaha disco beat, deep bass, nostalgic drum machines, and hooky melodies. Possibly the most psychedelic and infectious track born out of lockdown, it tackles homelife, drinking too much, and making big plans that never come to fruition, but with a big technicoloured positivity for the future of the human-race, with the chorus’ refrain, “the psychedelic 4000s,” predicting the return of the psychedelic Age of Aquarius in a couple of millennia time. The following single ‘Misery’ (2021) is pure cosmic swing-pop wizardry in part inspired by spy music and The Supremes. Ollie, The track’s baritone vocalist, describes it as “A love song disguised as a song about loss. It's about cherishing the things that matter but it’s also about having the courage to say goodbye,” with each line of the song a small story about a different character. Whilst latest Shop taster ‘In Good Health’ is darkly euphoric like a pleasantly strange meeting of Siouxsie Sioux and Jona Lewie. It’s a playfully discombobulating mix of 80s jangly guitar, chirpy keyboard and moody post-punk tackling mental health, drug addiction, and the power of friendship, written after the song’s vocalist Georgie came out of hospital following a mental health crisis. “I wanted to write a song that encapsulated how important my relationships with my friends and boyfriend were at that time” she explains “…and one that also felt dark like I did at the time. I couldn’t go outside due to anxiety surrounding my health so I stayed inside for weeks. People would visit and watch films with me or let me tattoo them or make music with me. My community helped me recover.” Elsewhere on Shop is ‘Just The Job’ fronted by Harvey and described by him as “About the relief of accepting a menial existence, and allowing life to be boring - but (within that) how the small things are the important ones, how pulling a sicky or extra long lunch break are important things to do for yourself. It’s an anthem for working people who’ve had enough - and a crowd favourite at SUEP gigs. The darker undertones and post-punk angles of the Georgie-fronted ‘Onions’ is inspired by the crapness of cliques, with the band calling the song “A cry of welcome to all;” and finally the hooky ‘Friend of Mine,’ described as “A love letter to all the people that come and go throughout your life no matter how long you know them”. SUEP have received coverage in Independent & Clash, (among many others), with big support from Mark Riley and Steve Lamacq (BBC 6 Music) for early singles.

Paxico Records is pleased to present Forgot About Her, the latest release by LA-based beat maker and producer Sleepyeyes.
“The record retains Sleepy’s trademark smoked out atmosphere but re-contextualizes it for the dance floor in a way that is wholly unique, but also brings to mind burgeoning lo-fi house contemporaries such as DJ Seinfeld, Ross From Friends, and Baltra.” –Earmilk
The results are something staunchly authentic. The recordings on Forgot About Her are honest and intimate as if sent from an old friend. Soft vignettes capture the emotional aftermath of separation. Eagerly alone, Sleepyeyes embraces his sound to hold the hazy memories one may feel from heartbreak’s closure. Its magnetic charm pulls us into a space where flaws become strengths and suffering becomes beauty. The site-specific titles and intimate home-recordings form its compelling and transformative qualities.
With Forgot About Her, Sleepyeyes shares the weight of letting go. It’s a slow-burning process pushed and pulled by tension and release, a movement for moving on.

The album’s seemingly brief tracklisting belies a work of great beauty and depth, and one which turned into a one-man crusade for singer/guitarist Lars Andersson, intertwining deeply personal stories with his love for the era of Romanticism. “Every time I go to a museum and I’m about to pass through the era of Romanticism I stop in awe,” says Lars of the enduring appeal of the 18th century artistic movement. “Whatever it is – stories, paintings, music – it triggers something deep within me, something profoundly human. It really hits a nerve, and it utterly immerses me to a point where I can’t move.” The album replicates this feeling; a gloriously over-the-top blend of Slowdive and Sigur Rós, mixed with the single-mindedness of Daniel Johnston and the noisiness of Nirvana, it’s as bold and beautiful and every bit as ornate as the art that inspired it. Unlike their acclaimed debut, 2019’s All That Ever Could Have Been, which gradually came into focus with a 15-minute opening track, Picturesque hits home from the very first note of the short and sweet opener, ‘Ballerina’. That’s not to say there aren’t epics here – ‘Metamorphosis’ is essentially a 12-minute suite of three movements; blistering closer ‘The Lot’ is 11 minutes of Swans-inspired heaviness – but everything is much more direct and focused. This isn’t an album to lose yourself in, it’s one to get swept away by. “‘More is more’ was definitely the credo when making this record,” agrees Lars. “A big inspiration were bands like Pond and the way they manage to fill their songs up with stuff to the absolute maximum. While I definitely tried to give the listener some room to breathe at certain points and while, in good old post-rock fashion, it still builds up and breaks down, it relies much more on simple melody and harmony as opposed to noisy experimentation to transport feeling.” Never more so than on the first single, ‘The Golden Age’, which is the album’s centrepiece; a soaring slice of über-shoegaze that is so stunning you can’t take your eyes or ears off it. Like all the songs on the album, it’s based around a fairy-tale from the Romantic era. In this case, it’s Heinrich von Ofterdingen by the German poet, author and philosopher Novalis (other influences are: The Steadfast Tin Soldier by Hans Christian Andersen; The Seven Ravens and Hans in Luck by the Brothers Grimm; Undine by Friedrich de la Motte Fouqué and The Golden Pot by E.T.A. Hoffmann), with Lars drawing parallels between the titular character’s mystical and romantic searchings and his own personal quest. This is apt as the album has been an overriding obsession for Lars for the past two-and-a-half years; as well as writing and recording the songs (bandmate Phillip Dornauer played drums), he also mixed and mastered them at his Alpine Audio studio and Picturesque is very much his Brian Wilson or Kevin Shields moment. MOLLY were in the middle of their European tour when Covid hit in early 2020, forcing Lars to retreat back to his home outside Innsbruck and giving him time and space to think about every detail of the record. “Well, I was on a quest I guess,” he admits. “Like everyone, I was stranded at home and at some point I just said to myself, ‘If not now, then when?’ It was an intense process. I’ve worked on music from other bands and artists before but producing and mixing your own music is an utterly different animal. It was probably the most intense thing I’ve ever done, but it was also incredibly rewarding and the feeling of it all coming together piece by piece is incomparable.” The artwork is just as effective. “I think of Radiohead’s OK Computer – what you hear on the record is what you see on the cover,” explains Lars. “We were inspired by what we call ‘wimmelbilder’ hidden pictures in German, a very specific style in art where there are a lot of little things happening. When you see it from further away, it looks organic like a lost painting from the area of Romanticism, but the closer you look the more digital it gets. It’s a nice analogy.” He’s right, it perfectly sums up the conflict between Romanticism and 21st century life. “Romanticism was basically an answer to the Industrial Revolution as well as the social and political norms of the Age Of Enlightenment,” concludes Lars. “Now, we all live in a much more industrialised, materialistic, individualistic and sterile society than any early Romanticist could have ever possibly imagined. Over 200 years later the Romanticists have lost the battle.” With the divine and downright pulchritudinous Picturesque, MOLLY begin the fightback.1.Ballerina 2.Metamorphosis 3.The Golden Age 4.Sunday Kid 5.So To Speak 6.The Lot

Stillness is a myth. Consider concepts such as ”still water”, or ”still air” for that matter. Go to a restaurant, ask them for a glass of still water, hold it against the light and see where we’re at. Even though the water itself has been captured and imprisoned in the glass, it never stops breathing. It’s filled with tiny particles, dancing. Everything can be explained on a molecular level, but since we’re not scientists – and even if you happen to be – it’s the natural world of perception that moves me.

Still air is very similar. A hot summer’s day with zero wind feels completely still. It’s the closest I have felt to complete stillness. Or for a more urban adaptation, imagine the same vibe inside a normal apartment. In those moments, revelations and mind- blowing experiences can be had with experiments in stillness.

Try this: Just sit down for a minute on a sunny day, making sure there’s enough natural light. Do absolutely nothing. Try not to breathe for a bit. (If you need a mental anchor, you can play Cage’s 4’33” in your head but nothing else.) Watch the tiny dots of dust dancing :..’ ̈.:; ́ ́*°.,’:,. ̈ ̈ ̈ ̈:,.’

The movement is crazy, but the feeling of stillness comes from witnessing how subtle it is. In (perceived) complete stillness, every act of microscopic mobility seems to speak volumes. Yet, it feels both reassuring and oddly threatening that the stillness is never complete. What if we would need absolute stillness? Or is it just enough that we can perceive something as such?

Extremes attract, so for both water and air, extraordinary movement is equally fascinating. That is also a luxury item of sorts. For us to enjoy a very ”loud” body of water or air, we need to be safe, in enough control of the situation. So when you are, it’s worthwhile to pay attention and take it all in.

A rapid flowing free with extreme strength and just barely in control. Look at that water go! No still water on this one, only ”sparkling”. A windy day when birds seem surprised how hard it is to fly, but in the end they make it. Trees bend but don’t break. The wind shows you its movement but doesn’t hurt you. It feels friendly, like a big clumsy dog that doesn’t quite understand its size.

It’s beautiful to be a guest of the elements, but not at the mercy of them. A new kind of dialogue forms.

Credit 00 is back on track with four monsters in his bag that are almost too dangerous to get unleashed. The Uncanny Valley regular from Leipzig sends us down into the electronic vortex while taking some detours to places that haven't been visited in a long time. Thanks to his DIY attitude and an open mindedness for all kinds of music, you can find traces of jungle, garage, trance or even 90s pop and gabber in this hard rocking machine funk. He's juggling with sounds and genres like no one else. It's just so much fun to listen and dance to these tunes. Indeed, there is no other...

Louie Vega is launching a trio of Double Pack 12” releases that includes special unreleased versions of select titles from the Expansions In The NYC album project. Each package also features unique customized art by celebrated artist Andrew Thiele who also created the art for the album jacket as well. This package is a tribute to two of Louie’s musical heroes, namely the late Patrick Adams and Larry Levan. Legendary producer Patrick Adams was the writer of Chimi and Atmosphere Strut, and equally legendary DJ Larry Levan was instrumental in breaking Bernard Fowler’s early releases with The Peech Boys at The Paradise Garage before Bernard was catapulted into worldwide fame as one of the featured back up singers on tour and in the studio for the Rolling Stones. Chimi and Atmosphere Strut also feature collaborations with Louie’s renowned Elements of Life band and New York based House and Hip Hop DJ / Producer extraordinaire DJ Spinna.

Red Vinyl

It has been exactly ten years since Finders Keepers first intrepidly entered Andrzej Korzyński’s cavernous musical vault, but it is only today that we are able to proudly announce the safe retrieval on what we consider the true heavy psych holy grail of the Polish composer’s mind-bending oeuvre. By cruel coincidence this welcome event has sadly come during the same year as the composer’s tragic passing. However, in true Korzyński style, alongside his previous Finders Keepers releases, the legacy he has left behind in this one final lost soundtrack project alone has come with musical riches beyond anyone’s wildest expectations.

The comprehensive elusive archive of the deeply psychedelic soundtrack to Andrzej Żuławski’s forbidden film Diabeł (The Devil) is perhaps the most detailed dossier one could wish to find – including audio sketches, rejected proposals and pre-butchered variations that play out like an intense and veritable creative conversation between the director and the maestro, both of whom are widely recognised as true mavericks of socialist-era Poland’s fertile artistic landscape. Never intended for anything as conventional as a straightforward movie tie-in promotional disc (state owned Eastern European record labels rarely did this), the music in this archive has required special forensic inspection. Let’s say the devil is in the detail. The 7” record you are now holding is more than just a companion piece, and it is far from a selection of the (non-existent) poppy title themes to promote a full feature-length album. This standalone release is wholly unique in its own right, giving Finders Keepers listeners a final access all areas snoop into the mind of one of the pillars of our alternative musical community.

As those familiar with Żuławski and Korzyński’s long-running relationship will understand (a methodology best exemplified in the schizoid soundtrack to the film Possession), their exchanges were deeply nuanced and often complicated, with lots of artistic “tennis” thrown into the mix. The key plot in this behind-the-scene fable is that after delivering his original off-kilter psychedelic score to the director, maestro Korzyński was asked to make the music “totally unique, like something from another planet”, to which Korzyński took his tapes, pulled down the vari-speed to a guttural grind and continued to recompose over the top using avant-garde electro-acoustic techniques while deploying psychedelic skills of guitarist Winicjusz Chróst. This limited record release proudly boasts Korzyński’s original uptempo awkward psychedelic pop music prior to the doom laden growls that make the official films soundtrack a true Goliath of Eastern European soundtrack composition. Which, when recontextualised, will stand as a veritable face-melter for stoner rock fans. As one of Finders Keepers deepest conquests, we are delighted to share The Devil Tapes… What is a grail without the wine.

For nearly 60 years, John Cale has been reimagining how his music is made, sounds, and even works. MERCY, Cale’s first full album in a decade, moves through true dark-night-of-the-soul electronic torment toward vulnerable love songs and hopeful considerations for the future with the help of some of music’s most curious young minds. Cale has always searched for new ways to explore old ideas of alienation, hurt, and joy; MERCY is the latest transfixing find of this unsatisfied mind.

John Cale announces MERCY, his first new album of original songs in a decade, out January 20th via Double Six / Domino. For nearly 60 years, or at least since he was a young Welshman who moved to New York and formed The Velvet Underground, Cale has been reinventing his music with dazzling and inspiring regularity. There was the bewitching chamber folk of Paris 1919 followed instantly by the gnarled rock of Fear, the provocative and spare song cycle Music for a New Society followed more than 30 years later by mighty and unabashed electronic updates. Once again, here is Cale, reimagining how his music is made, sounds, and even works. His engrossing 12-track MERCY moves through true dark-night-of-the-soul electronics toward vulnerable love songs and hopeful considerations for the future.

On MERCY, Cale enlists some of music’s most curious young minds: Animal Collective, Sylvan Esso, Laurel Halo, Tei Shi, Actress. They’re only some of the astounding cast here, brilliant musicians who climb inside Cale’s consummate vision of the world and help him redecorate there. Cale turned 80 in March, and he’s watched as many peers have passed away, particularly during the last decade. MERCY is the continuation of a long career’s work with wonder. Cale has always searched for new ways to explore old ideas of alienation, hurt, and joy; MERCY is the latest transfixing find of this unsatisfied mind.



The writings and recordings that shaped MERCY piled up for years, as Cale watched society totter at the brink of dystopia. Trump and Brexit, Covid and climate change, civil rights and right-wing extremism—Cale let the bad news of the day filter into his lines, whether that meant contemplating the sovereignty and legal status of sea ice melting near the poles or the unhinged arming of Americans. Lessons from a life (still being) richly lived floated to the fore, too, nodded to on the previously released “NIGHT CRAWLING.” If we’re always regretting our past, aren’t we conscripting ourselves to permanent disappointment?

During “STORY OF BLOOD,” after the piano prelude gives way to a frame-rattling beat and synthesizers that feel like sunshine splashed across a snowfield, the voices of Cale and Weyes Blood’s Natalie Mering slide past one another, two phantoms trying to find a partner amid the modern din. “Swing your soul,” they both sing in aspiration. In the final verse, Cale remembers this existence is not just about himself. “I’m going back to get them, my friends in the morning. Bring them with me into the light.” The accompanying video by Emmy-winning director Jethro Waters is a mix of disturbing and serene featuring both Cale and Weyes Blood. Its deep tones and religious images emphasize the track’s dark, spiritual mood.

Cale elaborates: “I’d been listening to Weyes Blood’s latest record and remembered Natalie’s puritanical vocals. I thought if I could get her to come and sing with me on the ‘Swing your soul’ section, and a few other harmonies, it would be beautiful. What I got from her was something else! Once I understood the versatility in her voice, it was as if I’d written the song with her in mind all along. Her range and fearless approach to tonality was an unexpected surprise. There’s even a little passage in there where she’s a dead-ringer for Nico.”

CHRISTIAN DEATH was formed by Rozz Williams in Los Angeles, California in 1979. Williams was eventually joined by guitarist/songwriter Rikk Agnew of ADOLESCENTS, James McGearty on bass and George Belanger on drums. This CHRISTIAN DEATH line-up was responsible for recording the band's iconic 1982 debut, ONLY THEATRE OF PAIN, widely regarded as the #1 American goth album of all-time. This exclusive double-LP version of OTOP commemorates its 40th anniversary- the first disc is the digitally remastered, original version of the album while the second disc is comprised of "Dogs" from HELL COMES TO YOUR HOUSE, four pre-Frontier demos, two studio demos made for a second Frontier Records' LP that never happened and two alternate studio mixes from OTOP. The gatefold LP jacket is printed in its original its black and metallic gold, includes a Colver collage poster and a hardcover copy of the photo book, ONLY THEATRE OF PAIN and all come in a hard slipcase. The oversized 12" x 12" book features rare and never-before-seen photos of CHRISTIAN DEATH as well as new interviews with photographer Edward C. Colver, the surviving band members, Frontier's Lisa Fancher and others. Colver befriended the band and followed them around in late 1981 and early 1982 at more than a dozen concerts as well as photo shoots in Rozz Williams' family home (used on the back cover and insert of ONLY THEATRE OF PAIN) and a session of now famous images at a Pomona CA cemetery. Info: Just as the theatrically-minded LA punk scene was beginning to give rise to such morbidly themed outfits as 45 Grave and the Flesh Eaters, an androgynous teenaged street performer named Rozz Williams (né Roger Painter) founded CHRISTIAN DEATH, one of the most prolific, enduring, and beloved gothic acts of all time. Williams' otherworldly groan can make "Only Theatre of Pain" difficult going for those that aren't the gothic faithful, but the loud/not-too-fast music (courtesy of ex-ADOLESCENTS guitarist Rikk Agnew and the walking-dead rhythm section of bassist James McGearty and drummer George Belanger) is appropriately doom 'n' gloomy, with inventive arrangements and clear sound - thanks to Frontier Records' go-to punk production legend, Thom Wilson- capturing the mood in full B-movie fidelity. The lyrics sacriligiously address horror topics and religion: they're overwrought (the backwards masking of 'Mysterium Iniquitatis' being one clever exception) but easy to overlook in the wash of inspired rock noise. The original lineup's recorded debut is a gem. Artists inspired by CHRISTIAN DEATH include Danzig, Craddle of Filth, Paradise Lost, Korn, Type O Negative, Nine Inch Nails, Marilyn Manson and Jane's Addiction. Press: "A depraved masterpiece, this was punk rock made poetic, subversive, and gracefully savage."- AV Club "The Gothic album to out-gothic all others" - Melody Maker "Only Theatre of Pain's influence should not be underestimated" - Record Collector Limited availability!