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Svart Records is proud to unleash the debut album from Dutch female Black Metal duo Doodswens! “Lichtvrees” (translation: fear of light) will be unveiled to the world on the 14th of January 2022. Doodswens Black Metal is a bleak, distorted wave of negative energy according to the tenets set by the Scandinavian originators but with their own new organic reflection of darkness. Their name translated as “Death Wish,” Doodswens breathe new life into the dust of the past, inspired by the rawness of the ‘90s and capturing the black hearts of a new throng of acolytes as they ignite the gloom. Founded in Eindhoven in 2017 by Fraukje van Burg (vocals and guitar) and Inge van der Zon (drums), Doodswens initially erupted into the underground scene in 2019 with their demo, which sent a shiver through its decaying corpse. With their debut album “Lichtvrees,” Doodswens opens up the cesspit of the human condition, giving voice to our bleakest emotions through old-school Black Metal like a freshly dug grave. Proudly expressing feelings of inner negativity and depression, Doodswens have taken the promise of their underground roots and crystallized their very own atmospheric war of sound on “Lichtvrees,” making it an enthralling and captivating inception. With deathly conviction and intense passion they bring their music alive on stage, playing at Roadburn Festival and many esteemed nocturnal events, their cult infamy leading them to be picked for a support slot on Marduk’s upcoming tour of Europe. If you like your Black Metal served especially cold, but with wide-screen atmosphere, then Doodswens could be your new moonless catharsis. “Lichtvrees,” is a highly conceptual work which deals with life and death, reaching enlightenment and fulfilling the symbolical “death wish” that Doodswens represents. Cast your shadow in the unholy light of “Lichtvrees” and discover a rising new star in the Black Metal cosmos.

Gonzalo Benitez and Luis Alberto Valencia were kingpins of the musica nacional movement in Ecuador. Check them out on the cover, on a rooftop in Quito’s Old Town, surveying their dominion. In 1970, when Valencia collapsed onstage during a performance of the yaravi Desesperacion — ‘My heart is already in ashes’ — and died four days later, aged 52, his coffin was carried through those city streets on the shoulders of his fans.

They began singing as a duo in their mid-teens. During twenty-eight years together they recorded more than six hundred songs, for Discos Ecuador, Nacional, Granja, Ortiz, Rondador, Onix, Fuente, Real, Tropical, Fadisa, RCA Victor — and of course CAIFE.

Their exquisitely romantic harmonising is a sublime blend of collected forbearance and abject self-annihilation, underpinned and elaborated by the heart-piercing, improvisatory guitar-playing of Bolivar Ortiz. Effectively the third member of the group. ‘El Pollo’ sets the tone and intensity for everything that follows: listen to his soloing at the start of our opener, Lamparilla.

Musically a pasillo — a cross between a Viennese waltz and the indigenous yaravi rhythm — Lamparilla draws its verses from a poem by Luz Martinez from Riobamba, written in 1918 when she was 15, under the influence of Baudelaire and Mallarme. Another pasillo here, Sombras is one of the best-loved songs in the musica nacional canon, setting lines about undercover sex and loss by the Mexican poet Maria Pren, which were considered pornographic on publication in 1911.

And Benitez & Valencia looked back still further, to the indigenous roots of Ecuadorian music, as the key to its future. Carnaval de Guaranda is their take on a song dating back to the era of the Mitimaes, a broad group of Bolivian tribes conquered by the Incas and displaced to Ecuador. ‘Impossible love of mine / I love you for being impossible / Who loves what is impossible / Is the truest lover.’

Lovingly presented in a gatefold sleeve with spot-gloss, and printed inners, with stunning photos and expert notes. Excellent sound, drawn from original tapes, by way of Abbey Road, D&M and Pallas.

Reykjavik-born producer Volruptus, kown for several crazy bombs on трип, bbbbb or Sweaty Records (with Jensen Interceptor), is back with a 4-tracks EP that is made with hypnotic elektro, brutal braindance, and many explosives substances. Ignite your senses ! Feed the fire burning within! Blaze through explosive soundscapes where the heat is blistering ! Detonate into a feverous rage! Get engulfed in it's flames!

“For me music is not a calculation, when I play I follow my intuition.
The creative impulse always comes from within me. Me and my
piano, they’re at the centre of my musical world.” - Joel Lyssarides
 For Joel Lyssarides, jazz is above all a language, a tool for
uniquely personal expression. He composed the pieces for ‘Stay
Now’ in a remote house in the forest, a good half-hour outside
Stockholm. And by preference at night, in silence, darkness and
deep concentration.
 The atmosphere of this place is audibly reflected in the music,
which is strongly influenced by space, sound and mood -
reinforced by the highly concentrated, differentiated, subtle
interplay of pianist Lyssarides with bassist Niklas Fernqvist and
drummer Rasmus Blixt.
 What these three young musicians have in common is their
capacity for great sensitivity and expressiveness. Their music is
based on a vocabulary that draws equally from European classical
music, jazz from both sides of the Atlantic and great songwriting,
with all its depth and accessibility.
 And yet this has nothing to do with crossover. Everything flows
and swings, nothing seems deliberate or contrived, one can hear a
natural understanding for the infinite possibilities of every note.
 This trio has the self-confidence to put the entirety of their efforts
into enhancing the expressiveness of the music. And it is in the
most intimate, quiet, focused and concentrated moments that the
most spectacular things happen.
 The album title ‘Stay Now’, therefore, is above all an
acknowledgement of quite how precious the here and now is.
These are the moments when we start to understand the true
value of present and past encounters. As we listen, we can let the
moment linger… and allow ourselves to sink blissfully and
unforgettably into it.

Russell Marsden and Emma Richardson first started writing songs together in their teens after meeting at school in their Southampton hometown. Forming Band of Skulls 17 years ago with drummer Matt Hayward, they went on to make five acclaimed studio albums together. Now, the pair have temporarily stepped away from Band of Skulls to focus on a new musical project they’ve been dreaming about since their earliest songwriting days.

The album covers the full breadth of human emotions, mining deeply into songs about human connection, vulnerability, loss, change, love, identity and forgiveness – as well as the future and hope. It’s vast in scope, something magnified by its grandiose cinematic feel that leans towards the soaring jazz arrangements of the 40s and 50s. The album’s strings were scored and directed by Tom Edwards, who had worked with Band of Skulls previously when he’d reimagined several of their songs. “When Tom sent back the first song, ‘Outsider’, it was a jaw-dropping moment for us to see what he’d done with it,” Emma says. “We challenged him to take inspiration from the incredible composers and arrangers from the 40s and 50s jazz era

The latest addition to Chick Corea's remarkable discography is Chick
Corea Akoustic Band 'LIVE', the long-anticipated reunion of his beloved
Akoustic Band with bassist John Patitucci and drummer Dave Weckl,
together as a trio for the frst time in more than two decades
Under any circumstances, these thrilling live recordings would be a welcome
addition to Corea's prodigious discography. With the news of his passing still so
fresh in listeners' minds, its release comes as an opportunity for fans to bid
farewell while cherishing the communal energy and playful vigor that made the
pianist a favourite of jazz lovers around the world for nearly 60 years. 'LIVE', the 2-
CD/3-LP set was recorded January 13, 2018 at SPC Music Hall in St. Petersburg,
Florida. The trio's intricate interplay and highwire jousting refects more than 30
years of collaboration between Corea's Akoustic and Elektric Bands and serves as
a celebratory reminder of Corea's singular genius, with more than two hours of
inspired playing and spirited camaraderie.
Chick Corea attained iconic status in music. The late keyboardist, composer and
bandleader was a DownBeat Hall of Famer and NEA Jazz Master, as well as one
of the most nominated artists in GRAMMY Awards history with 68 nods - and 24
wins, in addition to 4 Latin GRAMMYS. From straight-ahead to avant-garde, bebop
to jazz- rock fusion, children's songs to chamber and symphonic works, Chick
touched an astonishing number of musical bases in his career after playing with
the genre-shattering bands of Miles Davis in the late '60s and early '70s

South Africa is in fact the only country in the whole African continent that has developed a strong Jazz tradition. Initially influenced by the great American stylists, (Ellington, Gillespie...) South Africa gradually developed its own soulful style based on a distinctive taste for melody and a deep sense of groove. Masterfully selected from the so-called Golden Age of the genre, (late Fifties / early Sixties), this compilation represents the best introduction to the work of a large and varied body of musicians and composers who inevitably developed their music as part of the historical Anti-Apartheid struggle, and as means of self expression in the dark times of exile. Kippie Moeketsi, Hugh Masekela, Dollar Brand, Chris McGregor, Dudu Pukwana, Mongesi Feza, Barney Rabachan, Nick Moyake and of course the queen Miriam Makeba are just some of the main voices represented here. A bunch of true warriors. in one word: A must!

Warm presents a brand new compilation called 'Home'; a soundtrack for when we pause, take a breath, and use our senses to explore the magic of the world on our doorsteps. Morning to evening, dawn to dusk, our lives continue moving but sometimes the need to step back and reset is essential to create a balance in our lives. As we open our eyes and ears to our surroundings, our senses become stimulated by small details. Whether it be the sound of the sea lapping on the sand, the wind blowing through the canopy of trees or a robin heralding a new day; nothing is the same but all are unique.

'Home' has been pieced together over the last year by Warm’s Ali Tillett. With the majority of Warm - booking agents for Colleen ‘Cosmo’ Murphy, Gerd Janson, Horse Meat Disco, Hot Chip DJs, Lou Hayter, Luke Una - on pause, Ali took the chance to immerse himself in bringing together his passion for music, nature and art.

The 14 tracks, the majority exclusive and specially made for the compilation, includes contributions by Âme, Bobby Lee & Mia Doi Todd, Coyote, Crack’d Man (aka Crooked Man who produced Roisin Murphy's last album), Fug (with their first material for over ten years), Kirk Degiorgio presents As One, Turtle, and Ewan Pearson's World of Apples project (with their first material for nearly 20 years!). The tracks align with specific habitats in the local Dorset area, where Ali is situated, such as Harbour/Estuary, Heathland/Moorland, Woodland/Forest, and Beach/Cliffs.

To immerse the listener even further into the soundscape, critically acclaimed sound and field recording artist Gary Moore, of Springwatch/Autumnwatch fame, has been involved to help bring nature even further to the ears. Intertwined between the music are field recordings specific to area and habitat; whether it be the sound of a ship's horn in Poole harbour, avocets on the scrape, the tawny owl in the woodland or Puffins on the ledges of cliffs.

Gareth Fuller, a fabulous artist who previously lived in Dorset, has kindly allowed one of his artworks to become the centrepiece for the compilation. Titled 'Purbeck', it's a truly wonderful piece of art that encapsulates everything about the area and enables an added dimension to the immersive experience for the listener.

When Fred sent me the demos for his first release I remember being compelled to shut off all the lights and listen to them in complete darkness at full volume. I’m not sure why his music makes me want to do that but when he sent me this next batch I found myself needing to repeat the same process.

Martina Topley Bird’s new studio album ‘Forever I Wait’, features collaborations and arrangements from Robert Del Naja of Massive Attack, Euan Dickenson, Rich Morel, Christoffer Berg, Benjamin Boeldt and Tiadiad.

'Forever I Wait' is Topley-Bird’s fourth long awaited studio album and her very first self-produced and curated piece of work to date. The album, set for a digital release on September 10th, with a vinyl LP available to pre-order now, captures an extensive journey confronting, exploring, analysing and reflecting on the devastating fragilities of life as it ultimately seeks to make peace with what life is.

A sentient and sensual presence framed Tricky’s trip-hop pioneering white label debut release, Aftermath. Hauntingly unique and immediately recognisable, that voice became the defining timbre of a new music movement. Behind this voice was mysteriously soft-spoken, London-born Martina Topley-Bird, whose exquisite voice came to inspire and infuse other pioneering artists across all genres.

“It’s a trip through different emotional states and frequencies, mostly dark, from insecurity and desire, all the way through to serenity and acceptance with themes that resonate from my young teens all the way through till today. Things that I’ve seen and things I’ve felt and worked through, although sometimes I sense them trying to return”

“Forever I Wait”, as the title alludes, was written and re-written over a long period of time.

“I had to change my way of relating to music and the music industry in order to make the record I wanted to make.…and that took time. And I took the time I needed. I started in London, moved and lived in America for the first time in my life, then briefly moved back to London and finished the record in Spain.”

“After trying to work on a new record for a couple of years, I came to a realisation that in order to move forward I had to separate the concept and vision I had for this record from me as a person. I had to shift my perspective. That was a big personal win and the beginning of “Forever I Wait.”

'Forever I Wait' leans on a multitude of tense sounds, dubby atmospherics and natural instrumentation to demand the listeners attention leading to over two decades of observations, experiences and musical sacrifices. It is a bi-product of the new perspective featuring carefully selected and tailored supporting arrangements from a handful of collaborators including Robert del Naja (Massive Attack), Rich Morel (Deep Dish), Christoffer Berg (Fever Ray) and Benjamin Boeldt (Adventure).

A truthful expression of desire and heartache “Forever I Wait “Is Topley Bird’s most precise and accurate album to date.

Pure product of the Neapolitan scene, Fabrizio Fattore turns up on Cosmocities Records with his third solo effort. Comprised of two originals on the A-side, and two bespoke revamps from Vince Watson on the flip, this new EP from Fattore draws a direct bridge betwixt the idyllic coastal flow of Italian boogie and straight out pulsating alien disco, sure to keep galaxies bouncing in good order.

Clocking in first is the vibey, otherworldly 'Lyle' - a cross-pollinated ode to the healing power of laid-back, 80s-informed house, bristling with shimmering Casio synthlines and Cuban jazz-friendly pianos and drums. Heliotropic by nature, Fattore's sound sits half-way loungey summer atmospherics and trailblazing post-kosmische jaunts. Then comes 'Island Goddess', casting more of a Sino-Caribbean flavoured spin on the dance floor with its obsessive miss-mash of processed chimes and prismatic webwork of steel pans.

On the B-side dwell two versions of 'Lyle' by true house legend Vince Watson, each of which deliver in their own right. If you’re after a proper classy, straightforward roller, bound to take dancers into a ravishingly deep but rousing trip, then the 'Watson Reshape' fits the bill like a glove, whereas the 'Balearic mix' does exactly what's written on the tin - ushering you into a sense-soothing haven, where keyboard-laden escapism and Afro-style rhythms meet the elegance of muted chamber music.

Kryptox label member Niklas Wandt comes with his second vinyl release on the German jazz-tronica label. The German DJ, drummer, producer and radio host is by now one of the key figures in everything wild that's coming from Berlin these days: His jazz stuff on Kryptox is just one of his many sonic faces. He is the head of German indie-pop band Neuzeitliche Bodenbeläge as well good friend of Jan Schulte aka Bufiman- and know for several collabos with him. Now Wandt comes up with what could be his most advanced release. A free-jazz album recorded with Swedish saxophonist Otis Sandsjö. And it might sound strange to some, but Berlin is becoming an international center of free improvisation. It makes sense as the city has been the center of techno for years - the music that is extremely formalistic and all about repetition and standardised sounds and grooves. Free jazz is the extreme opposite to that formalistic tool music of the last years.

After more than a year of strengthening our bodies through workout, our poetic endeavors via the discovery of our inner worlds, and also the life of plants and mushrooms, insects, arachnids, birds and wild mammals, after a year and a half that saw us in lockdown, shattered around the planet, after one a and a half year in which we deepened our production skills and also the meaningfulness of our work, Cómeme returns to a new planet with new music.

The beginning is this unique collaboration between Medellín based musician and DJ Julianna, and Matias Aguayo aka “The Don” himself.

In this deep therapeutical exploration of rhythm and sound, these artists established a magical dialogue on distance, leading up to this EP called “Que si el mundo”, roughly translated: “What if the world”.

Between soulful industrial expressions, emotional breakdowns but also discoveries free of any grids and algorithms, Julianna and Aguayo have created a beautiful piece of work, intense as the movements that we had to experience mentally and economically. “Que si el mundo” is state of the art electronic music of today, a work that is both introspective but also extremely open to the outside world and the universe. Compositions reminiscent of Coil, Angelo Badalamenti, Closer Musik, Steve Pointdexter or Mark Broom, shaped this EP that can be considered a short album in its conceptual layout and narrative. Let’s dive into it...

A1. Hiedra
One of the more danceable tunes, ideal for both a sensual warmup or the very late night to the rising sun sensitivity, is polyrhythmical melancholy and hypnotic inevitability, slow dance, deep trance.

A2. Primer Paso
A fat, slick and modern synth sequence, accompanied by heavy drumming and celestial drops that seem to fall onto the body of the listener or dancer, this post EBM stomper is a manifestation of elegant minimalism and reason. As if Liaisons Dangereuses reincarnated in a cloudy forest, to then pause towards the end of the track, with sentimental and gloomy synth chords that open the view towards the horizon.

B1. Que Si El Mundo
The title track keeps up the more melodic approach - somewhere between ambient, avant- garde and late night jazz. Morphing melodies that are both disturbing and soothing at a time encounter smooth free jazz drumming with drums that seem to have travelled from the sixties to today’s world.

B2. Bajo Tierra
This track continues the deep drumming experience that this record means, between laid back rides and intense taikoesque drumming. Distorted dark pads and subterranean choirs build up to a heavy sadness and intensity. Again, a therapeutical track to send those demons fly.

B3. Micelio
A more hopeful conclusion of the EP is “Micelio”. Open chords, soothing and melancholic, spread over profound drum grooves of champed and house. Nothing seems as it was before. A new life has begun.

For 20 years the Tuareg culture and music has fascinated the world. Their quasi-sacred poetic songs inspire western songwriters like KURT VILE or JOSÉ GONZALEZ, while the virtuosity of their guitar playing fascinates guitar heroes like JIMMY PAGE, and finally the spirituality and meditative hypnotism impresses electronic music producers like FOUR TET.With two albums, IMARHAN has become an emblem of the new Tuareg generation, breathing new life into “Assouf”, the desert blues.

While most of current Tuareg productions are exiled to the United States, the group, led by Sadam, is part of their culture and their city, the capital of the Tuareg people, with an open door to the desert. By building their own studio in Tamanrasset Aboogi, Imarhan become the spokesmen of the young Tuareg lost generation (forgotten by Algerian, Nigerian and Malian governments).With their new album Aboogi, Imarhan manipulate the rights and ancestry of the Tuareg. By inviting the legendary Mohamed At Itlale aka Japonais (who has since, sadly, passed away) and the genius musician Abdallah Ag Alhousseyni, IMARHAN follows the heritage of TINARIWEN, the godfathers of Assouf. When they recorded with GRUFF RHYS of the SUPER FURRY ANIMALS, their brilliant and universal songwriting takes on every sense of the word. Finally, by inviting the Sudanese singer Sulafa Elyas, we understand that IMARHAN is open to all of Africa, defenders of the Tuaregs but above all spokesperson for the new African generation.

The Senior Service returns with a brand new 10” for 2022. A year or so ago, The Senior Service decided that it wanted to add a little more to its well-honed instrumental sound. On one slightly drunken night out, they approached local songwriter and chanteuse Rachel Lowrie and asked if she’d like to perform guest vocals on some specially written new material. By this time, Rachel had supplied impressive ‘pipework’ on quite a few Medway records so the band was confident that she’d be able to deliver – the band was right.
Following a lengthy hiatus in activity due to lockdown restrictions, The Senior Service was finally able to get together to record the new songs, so they piled into Ranscombe Studios to crack on. It soon became apparent that they’d lost none of the chemistry that had made them such a powerful musical collective and the instrumental backing tracks were laid down with relative ease. It was when Rachel arrived and sprinkled vocal sugar over the tracks that they really began to shine! Intuitively, she understood the approach needed and delivered a made-to-measure performance for each song. this collection includes four original tracks penned by the band plus two rollicking covers of lesser-known instrumentals; John Schroeder’s take on ‘Lovin’ You Girl’ – a slinky slice of lounge grooviness, given a slightly chunkier sound, informed by the band’s musical aesthetic, and ‘Mysterious Land’ – The Chris Lamb Orchestra’s little heard filmic masterpiece; a track seemingly tailor-made for the band to get its musical chops around. So, we invite you to spend ‘A Little More Time with The Senior Service’.

Described by his peers as a keystone in ambient-electro, Datassette is a bastion of the underground and one of alternative electronic music’s most exceptional and enigmatic talents.

His extensive and diverse discography spans two decades and includes a plethora of albums, EPs and remixes for independent record labels, including: Ai Records, Apollo/ R&S, Wall Of Sound, CPU and Shipwrec. His work and creative output also extends to the design of music libraries for TV and radio; producing sound effects for 8-bit video games; working as a graphic designer and co-running the Misc label.

Datassette has never been shy of creating complex, addictive and emotive music and this magical music formula is replicated on Sentinel, his new EP for Lapsus Records.

As is emblematic in his long-standing career, Datassette demonstrates a healthy non- conformist approach to conventional labels and pigeonholing. By using a combination of powerful vintage hardware and latest generation digital techniques, the British producer continually manages to redefine his sound. This new four track EP sees him fuse dub, electro, braindance, ambient, experimental electronica and even abstract hip hop.

»Neon City« is the debut release by Erik K Skodvin & Otto A Totland's Deaf Center project, finally re-issued 18 years since its first appearance.

Listening to »Neon City« in 2022 is like taking a melancholy journey down rainy city streets of the early naughts, made by the then two young Norwegians in their mid 20s after spending time together in a basement full of vintage items. Armed with young optimism and a sense of musical experimentation, they started sampling everything around them, be it an old television broadcaster, tape recorders, a game of table tennis or conversations on film and merging it with pianos, plucked guitar, strings and anything in-between. The record turned out as something unique in the fields bordering post classical and ambient music, though without landing on any set genre. The record was filling a place in music that was barely touched upon and made them further experiment with samples and classical music which landed them on the 2005's classic »Pale Ravine«.

Although Erik and Otto both had been making music solo before, »Neon City« was the start of their more focused future paths as purveyors of both light and darkness in music that seeps through your soul to battle the anxieties of the world. We're glad to see this important start again be available to new ears. The record comes with a remix of the opener track “Dial” by Helios aka Keith Keniff, taken from the same original.

The acclaimed Kito Jempere joins Cherrystones and DJN4 on the label for 2020, with an album full of international minds. Working with array of collaborators across a cast of friends including Jimi Tenor, Wolfram, Hard Ton, Lipelis, Rich Thair (Red Snapper), Ruf Dug, Cedric Gasaida (Azari & III) and many more, presenting this, his third long play.

A hail of freedom of thoughts and voices before these changed times, recorded and shared across continents. Kito - following releases with DFA, Lo Recordings, Bordello A Parigi, Hell Yeah and Duca Bianco - acts as curator rather than conductor, the idea not to transform the contributions but allow them absolute.

Sending music and receiving back, nothing was touched to keep the truth and honour. From Tokyo to London, Berlin to his base in St Petersburg, trusting the chosen artists led to a broad palette, as his 4/4 driven funk expands with Jazz horns to Motorik percussion, Avant-Reich vocals to White Isle melodies, J Pop Balearics to Chanson stories wrapped around Club memories.

A true world meeting, crossing borders and genres. An eye on the dance floor and week long chill outs. With remixes from the likes of Samo DJ, Lipelis, Cable Toy and more to follow, this is more than Yet Another Kito Jempere Album.

Five LP box set featuring some of the all time reggae greats.

"We all know what teenagers are like. Bratty little gobshites. Moody shits. Forever toeing the line between cocky arrogance and whiny self-doubt, and to hell with anyone who gets caught in the crossfire. And this old fucker should know; he was really good at all of the above (still keeping on top of the ‘gobshite’ part, you’ll notice). For some reason, the entirety of rock’n’roll is predicated on music made for and about these states of mind - well, I guess if you mix ‘em all together, they can make for one helluva sense of reckless abandon. So it shouldn’t come as a surprise that Melbourne quartet Mr Teenage sound exactly like their name suggests: chaotic, raw, emotionally volatile… and of course they bind all this together with their own brand of heroically melodic garage rock. Produced by Billy Gardener (of Ausmuteants, Smarts, Cereal Killer and god knows how many other vital Aus-punx), this debut EP snarls, spits and swaggers with all the glorious self-belief of a drunken 4am stumble to the petrol station to buy a pack of skins. And the songs are fucking great too. Title track ‘Automatic Love’ expertly showcases the combined sounds of their cited influences (Thin Lizzy, Dictators, Martha Reeves, etc), with frontman Nic Imfeld’s voice at times edging close to the sandpaper soul of their countryman Shogun (ex-Royal Headache). Meanwhile ‘Waste Of Time’ sees him blending their garage licks with Joey Ramone bubblegum, just as ‘The Loser’ fashions a delightfully adolescent chorus of ‘the loser says what?’ from an airy melody that either The Shangri-Las or Del Shannon would be proud of. They wrap things up with another slab of pure punk/pub rock genius called ‘Kids’ that’ll get the hairs on the back of your neck standing on end, as you fight the urge to crank-call your former school teachers and blame the kid who used to take your lunch money. Of course, singing about ‘kids these days’ marks Mr Teenage out as being older than their name suggests, and sure enough their name comes from an old wrestler rather than identifying with an age bracket they’ve outgrown. But with tunes like this… honestly, who gives a fuck what they’re called? This record is perfect." Will Fitzpatrick.