The Byrds: Turn! Turn! Turn! —

The signature guitar orchestra led by McGuinn’s jangly twelve-string Rickenbacker dominates the music of the opening title track, “Turn! Turn! Turn! (To Everything There is a Season)”. These guitars are complimented by perfectly harmonized vocals, and Clarke’s rolling drum pattern under the chorus sections. While it is filled with so much sustained guitar textures, it stops on a dime several times between each verse/chorus sequence, including a false ending before a coda with extra intensity. The song was originally composed by Pete Seeger in the late 1950s, with many of the lyrics were lifted from Chapter 3 of the Book of Ecclesiastes, possibly written by King Solomon in the 10th century BC. With that, the song holds the distinction as the #1 pop hit with the oldest lyrics.

Like the opener, “It Won’t Be Wrong”, is another upbeat track but with more standard love song style lyrics. Co-written by McGuinn and Harvey Gerstand, this track features some interesting style changes which make it unconventional and a bit strange. Clark’s, “Set You Free This Time”, is a country/pop flavored track, especially in its vocal approach. In fact, this is the first song to feature solo lead singer, with harmonies used sparingly and with Clark’s fine harmonica solo as the song fades out.

“Lay Down Your Weary Tune”, is the first of two Bob Dylan covers on the album and is set up like a spiritual with the chorus/hook featuring heavy harmonies. Musically, this song has much the same jangly vibe and strong drums as previous tracks, but with an added heavy bass presence by Hillman. The first side concludes with an original rendition of the traditional folk tune, “He Was a Friend of Mine”, a finger-picked acoustic song with stripped down arrangement and a slight, distant organ by Melcher under the later verses.

“The World Turns All Around Her”, is a fine, pop-oriented composition by Clark which may only suffer from lack of strong rhythm presence in production mix. “Satisfied Mind”, follows as a country-esque cover of a folk song by Red Hayes and Jack Rhodes. Along with the fine sparse instrumentation and harmonica lead, this track is highlighted by profound and philosophical lyrics;

Money won’t buy back your youth when you’re old, a friend when you’re lonely or a love that’s grown cold / The wealthiest person is a pauper at times compared to the man with a satisfied mind…”

Clark’s, “If You’re Gone”, is different than any other track on the album. Vocal-centric with a slow-rock backing, the song has distinct and interesting, almost haunting, chanting low-register vocals. While not quite as potent as their cover of, “Mr Tambourine Man”, the Byrds’ cover of, “The Times They Are a-Changin’” ,still dekuvers somewhat of an interesting arrangement of the Dylan classic.

Further, the group members were pleasantly surprised when Beatles George Harrison and Paul McCartney showed up during the recording of this track. “Wait and See”, is the only song to feature Crosby as a co-writer, along with McGuinn, while the group chose to do a souped up version of the popular campfire song, “Oh! Susannah”, to close the album.

Turn! Turn! Turn! peaked in the Top 20 of album charts in both the US and UK.

The Byrds

  • Jim McGuinn – lead guitar, acoustic guitar, vocals
  • Gene Clark – rhythm guitar, harmonica, tambourine, vocals
  • David Crosby – rhythm guitar, vocals
  • Chris Hillman – electric bass (backing vocal on “Lay Down Your Weary Tune”)
  • Michael Clarke – drums (tambourine on “He Was a Friend of Mine”)

Additional personnel

  • Terry Melcher – organ on “He Was a Friend of Mine”

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Haley Bonar was first discovered by Low’s Alan Sparhawk who spotted her at a local open mic club in Duluth, Minnesota and was so impressed he immediately invited her to join t hem on tour. Which is how, a week later, the nineteen year old Haley Bonar, was transformed from college student to ambitious dropout, crammed into a Honda Civic with a guitar and a drummer for company, touring the US opening for Low.

But there is more to this story. In the decade since Haley has released a succession of recordings, each of which have garnered more praise the last, and has seen her collaborate with the likes of Andrew Bird (with whom Haley occasionally plays live) and Justin Vernon (who features on her new album). That’s not to mention the company she keeps in a rotating cast of premium band members including Jeremy Hanson (Tapes ‘n Tapes), Luke Anderson (Rogue Valley), Jeremy Ylvisaker (Andrew Bird, Alpha Consumer) and Mike Lewis (Bon Iver, Alpha Consumer). Now, with her new album ‘Last War’ Haley looks set to find a wider audience.


Much of the joy of Bonar’s songwriting is in the tension between her sparkling melodic sensibility and her deeply ambivalent lyrics. Album opener ‘Kill the Fun’ positively crackles with traces of the Cure at their most pop, as Bonar chronicles her travels with a lover, taking some moments to reveal the nature of the relationship: “You’ll be here till morning / You will get back on the plane / Go back to work / where you never knew my name.” On ‘No Sensitive Man’ (which features the most Clem Burke drums outside of a Blondie record), she claims “I don’t want no sensitive man / I don’t want to talk.” While on the captivating ‘Heaven’s Made For Two’ Bonar’s daydreaming vocal drifts ethereally as the instrumentation builds from stripped-back beginnings into a country-meets-shoegaze wall of sound crescendo.

On ‘Last War’, the complexities hit as hard as the hooks, a smart, careful balance achieved through equal doses of mystery and charm.

Originally released September 29th, 2014

“Look Alive” by The Stroppies is released today. Having initially been moved back a month due to complications relating to COVID19, the record now arrives at a time of even more distress and concern. Tough Love and The Stroppies stand united in our support for the Black Lives Matter movement. Please see below for the band’s views on the matter. We hope the music can bring some relief in these dark and uncertain times.

“It feels strange to be promoting and releasing music in the midst of what has been a strange and traumatic year for everyone. This feeling is even more acute in light of the recent events in Minneapolis and the global raising of consciousness around the adversity faced by black people and black communities the world over.

The Stroppies will be donating 100% of profits from any copies of Look Alive sold through our to the aboriginal led Literacy for Life foundation until our copies are gone- in addition to this we will donate 100% of the profits from anything sold on our Big Cartel to this charity over the next week. We have also set up an ongoing donation of $20 a month in the band’s name that will be debited monthly and indefinitely.

Australian customers please order through us and through this channel to support this initiative.
For any overseas customers you can click the link below to purchase the record through regular channels.
We hope you enjoy the record and look after each other.

Stroppies x”

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Howdy folks, there’s never a dull day in the land of Breakfast Recs, especially when we get to feature a brand new music video for immy’s brand new lockdown single ‘Anyone Anywhere’. It’s taken also from our latest compilation “Breakfast In Bed”, still pay what you want on Bandcamp with all profits going to Caring in Bristol!

Bristol-based musician, Immy is probably best known up until now as the lead singer of Woahnows. Discussing the project, immy has suggested this new solo project is both, “something more fragile and somehow simultaneously more tangible”. This week immy has shared their latest single, “Anyone, Anywhere”, a track that originally featured on Breakfast Records’ Breakfast In Bed Compilation and now, looking to shine some further light in its direction, is accompanied by an excellent new video.

The track feels like a moment of calm in a chaotic world, the warm melodies and fluttering guitars, nodding to the modern-folk tones of Grizzly Bear or Here We Go Magic. Lyrically too, this is a track that feels like it is aiming for escapism, longing for a place, “where people live freely and minds are open”, the whole track is given a bittersweet quality as immy sings, “where do you want to go?”, only to almost sigh out, “I’m done”. While it’s a gentle revolution, this feels like a big forward step for immy’s songwriting, in embracing a less-is-more approach, they might just have stumbled onto something simple, beautiful and its own way very exciting indeed.

Anyone, Anywhere is out now via Breakfast Records

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Sonic Boom, better known as Peter Kember, has always followed an unconventional musical path, whether under the Spectrum banner, his expeditions with Experimental Audio Research (a fluctuating soundscape project that has included Kevin Shields, Delia Derbyshire and AMM’s Eddie Prévost, among others), his recordings as Sonic Boom, and collaborations with acts including Stereolab, Yo La Tengo and Dean & Britta, or his work as a producer (MGMT, TEEN, Beach House). But on the recording side, the Ex-Spacemen 3 co-founder has been uncharacteristically quiet over the past ten years, aside from a Sonic Boom collaborative EP with Canadian shoegaze duo No Joy a couple years’ back, and a 16-minute track by E.A.R. in 2014, “All Things Being Equal.”

That changes June 5th when Carpark Records issues an album titled All Things Being Equal, not by E.A.R. but instead Kember’s first full album as Sonic Boom since his debut in 1990 (which was itself titled Spectrum, adding to the mixed-up confusion).

The new album first began taking shape in 2015 as instrumental electronic jams and sketches that Stereolab’s Tim Gane encouraged Kember to release as-is. “I nearly did,” says Kember, “but the vibe in them was so strong that I couldn’t resist trying to ice the cake.” Three years later, after moving to Portugal, he added vocals inspired, he says, by Sam Cooke, the Sandpipers and the Everly Brothers, as well as spoken word segments and guest singers Panda Bear and Britta Phillips, with whom he’s worked in the past.

“I learn from everyone I work with, and I wanted to bring what I learnt into this record,” Kember explains. “Everybody thinks about and listens to music in different ways.”  Thus far, a pair of trippy advance tastes from All Things Being Equal have been released: “Just Imagine” and “The Way That You Live.”

It’s auspicious that Sonic Boom—the solo project and nom-de-producer of Peter Kember (Spectrum, Spacemen 3)—returns in 2020 with its first new LP in three decades. Kember’s drawn to the year’s numerological potency, and this intentionality shines into every corner of All Things Being Equal. It’s a meditative, mathematical record concerned with the interconnectedness of memory, space, consumerism, consciousness—everything. Through regenerative stories told backwards and forwards, Kember explores dichotomies zen and fearsome, reverential of his analogue toolkit and protective of the plants and trees that support our lives.

His new home Sintra’s parks and gardens provided a different visual context for Kember’s thoughtful observations, and he thematically incorporated sunshine and nature as well as global protests into the ten resulting tracks. “Music made in sterility sounds sterile,” he says, “And that is my idea of hell.”

Over the vivid, calculating arps of opener Just Imagine, Kember nudges listeners to do as the title suggests. It’s based on a story he read about a boy who healed his cancer by picturing himself as a storm cloud, raining out his illness. The Way That You Live, a rollicking drone powered by drum machine rattles and bright chord beds, morphs political distrust into a revolutionary mantra about ethical living. “I try and live my life by voting every day with what I do and how I do it, who I do it with and the love that I can give them along the way,” offers Kember.

It’s rare to see liner notes where synthesizers rather than humans are credited (other than guest vocal stints from “co-conspirators” Panda Bear and Britta Phillips), but Kember is masterful at finding the unique personality in his machines. “I tried to find the deepest essence of the instruments and let them play,” he offers. What emerges from these considerations on technology and humanity is a honed collection both philosophical and grooving, spacious even as it fills to its brim. It’s distinctly Kember—more than that, it’s distinctly Sonic Boom.

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DUTCH UNCLES Live at Old Granada Studios was recorded in 2017 at Low Four Studio, also Our label Memphis Industries has made all our releases available digitally for pay what you like across this weekend. If there are any gaps missing in your Dutch Uncles collection Now Is Your Chance!


A live set, recorded at Old Granada Studios for Low Four, in front of a live studio audience in February 2017. It includes our cover of Stay by our faves The Blue Nile
released April 30th, 2020

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we’re very excited to share an album of demos today. please consider supporting us or an artist you love on Bandcamp today as they have graciously forfeited their cut of sales.


demos for Heavy Lifter written & recorded at home by Hovvdy.
mastered by Ben Littlejohn.
art by Ben Johnson (@johnsonstretch).
Band Members
Charlie Martin, Will Taylor
Released March 20th, 2020

This is a Record Store Day 2020 item. It will be available to purchase from our stores from 9am 20th June. Remaining stock will be available to purchase from this page at 12pm 21st June.

Hatchie and The Pains Of Being Pure At Heart cover the Jesus and Mary Chain. Both tracks are previously unreleased. Hatchie has released a new 7″ exclusive vinyl to Bandcamp and 100% of proceeds will also go to The Movement for Black Lives and The Loveland Foundation. The 7″ vinyl includes “Sometimes Always” — a collaborative cover with The Pains of Being Pure at Heart, originally by The Jesus and Mary Chain and Hope Sandoval. Side B includes the 2018 Adult Swim single “Adored”

Hatchie is the world of Harriette Pilbeam. Step inside her mind; a dreamy landscape where cascading synths, jangling guitars, propulsive rhythms and white noise undulate beneath irresistible pop melodies. Rather than focusing on the external world of her life in Brisbane, Pilbeam turns her gaze inwards, making a soundtrack out of her daydreams, setting her emotional life to song,


“Sometimes Always”, originally performed by The Jesus and Mary Chain. A collaborative cover from Hatchie & The Pains Of Being Pure At Heart.
7″ vinyl available at midnight EST on June 5th. Items will not ship until

In 1964, still bruised after turning down The Beatles, Decca Records released an album by the woman who helped make the discovery of blues musician Mississippi Fred McDowell, whose music she had been discovered in Tennessee in the late 1950s and recorded McDowell for the masses: 29-year-old Sussex folk singer Shirley Collins.

Collins may not have looked like much of a rebel on the cover of that 1964 album, but she was. Five years earlier, she had crossed the Atlantic alone to visit prisons and remote Appalachian communities, meeting there with folklorist Alan Lomax to collect folk songs.

Collins’ 1964 album, Folk Roots, New Routes, is an uncompromising work that spearheaded innovation in the middle of the folk music revival. It set a template for all the folk-rock that followed it, and inspired 21st century psych-folk decades later. Bands like Pentangle and Fairport Convention would have been very different without her, while Will Oldham, Blur’s Graham Coxon and Angel Olsen are among the contemporary fans who have recorded her songs.

It was one of the best 1960’s folk music revival albums of the 20th Century. “Folk Roots New Routes” it is a beautiful, highly respected and often the go-to British folk album which has earnt a great deal of admiration from many musicians, critics and fans around the world. At the center of this extraordinary record is Collins’ startling voice. It is clear and stark, pure but free of prettiness, a vehicle for a song and its sentiments, entirely without ego.

Davy Graham and Shirley Collins’ pioneering arrangements and playing is unyielding and timeless, yet their uncompromising approach was also very innovative.

Pressed on 180grm vinyl, analogue remastered with many tracks in stereo for the first time, directly from tapes for RSD 2020.Comes with new additional liner notes and rare photos printed on the inner sleeve. Some tracks are released in stereo for the first time ever.

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Our record/mini-album is out today on Bella Union. ‘Annual’ was written around a journal made over the course of a calendar year. It begins in winter and ends in winter. The track ‘Halo’ represents right now!

Please take the time to order the album from an independent business or via Bandcamp. Bandcamp are waiving their commission today, so any purchases will directly help the group make more records and play shows when the time is right.

Released in August 2019, Modern Nature’s debut album – How to Live – crossed the urban and rural into each other. Plaintive cello strains melted into motorik beats. Pastoral field recordings drifted through looping guitar figures. Rising melodies shone with reflective saxophone accents, placing the record somewhere between the subtle mediations of Talk Talk, the stirring folk of Anne Briggs and the atmospheric waves of Harmonia. The album was met with universal acclaim and featured in a number of publication’s ‘Best Of 2019’ lists. As the group took the album out on the road, Modern Nature became something even more expansive. “It feels like there’s scope and room to grow. I want the group to feel fluid and that whoever’s playing with us can express themselves and interpret what they think this music is” says bandleader Jack Cooper.

Their new mini-album Annual, recorded in December 2019 at Gizzard Studio in London, is another step towards something more liberated and a world away from the sound of Jack Cooper’s previous bands. Will Young sits this one out, concentrating on his work with Beak, but How To Live collaborator Jeff Tobias takes a more central role, alongside percussionist Jim Wallis. Annual acts as a companion piece to the band’s How To Live debut but also a pointer to the paths ahead.

Mustard coloured vinyl.