When they’re not foraging for salty tears in the Forest of Emo, Melbourne four-piece Slowly Slowly are deftly positioning themselves to be one of 2018’s biggest breakout bands. Songwriter Ben Stewart floats in a slipstream of never-ending lyrics that balance hyperrealism with a clever stream-of-consciousness, convention-be-damned. 2017’s ‘Aliens’ is the first offering from a new album due out this year, and while there are hooks aplenty, there’s not really a chorus to speak of; and it’s that willingness to break the rules of songwriting that makes Slowly Slowly such an interesting band. They won the Beyond The Valley competition in December, and we’re excited to watch them pump out Unconventional Anthems at every turn as 2018 unfolds.
Sweater Curse are everything that’s good about contemporary Australian DIY in 2018: double-glazed donut harmonies double-dipped in melancholia, with a hint of outer-suburban Brisvegas to taste. They’re a live force, already appearing on bills with hell cool legends like Camp Cope and Iron Chic, and scoring a festival spot at Secret Garden in Australia later on in 2018. There’s more to come, and it’s all exciting – listen out for more like 2017 standout ‘Don’t Call Me’ soon.
Formed in 1976 in Edinburgh, Scotland, John Peel favourites The Rezillos were viewed as a punk act simply because they emerged at a specific time in the history of rock. But there was so much more to The Rezillos and their music. Branding themselves a “new wave beat group”, The Rezillos’ music lacked the nihilism and social commentary of many of their counterparts, replacing this with an irreverent glam rock image and a love of science fiction, B-movie, comic book and campy girl group iconography that set them apart from their musical peers.
Initially performing mainly ‘50s and ‘60s rock ‘n’ roll covers at their live shows, Rezillos guitarist and future Human League band member – Jo Callis – began penning their own original songs, and soon after came the release of their highly acclaimed debut LP, Can’t Stand The Rezillos, contained here.
This classic album is now available in this collectable 2CD digipack release, together with their famous live recording from the Glasgow Apollo on 23rd December 1978 – released at the time under the name of “Mission Accomplished… But The Beat Goes On”.
Not only does Flying Saucer Attack contain these two great recordings, but the package also includes all the B-sides and rarities from the band’s first stint as The Rezillos between 1977 and 1979.
Includes the hits ‘(My Baby Does) Good Sculptures’, ‘I Can’t Stand My Baby’, ‘I Wanna Be Your Man’, ‘Destination Venus’, ‘Top of the Pops’, plus many rarities not included on the band’s initial two albums, such as live versions of ‘Flying Saucer Attack’, ‘Twist and Shout’, and alternative versions of ‘(My Baby Does) Good Sculptures’ and ‘Getting Me Down’.
Everything contained has been freshly re-mastered especially for this release.
Anyone who’s been living on the grapevine these past few years must have heard the rumours about the coming of the FELT reissues – well they’re here.
These vinyl records, unavailable for many years, have been remastered and revisited by Lawrence, and he has fashioned the ultimate definitive collections. They are available in a deluxe gatefold sleeve. During the ‘80s Felt made ten albums and ten singles for the Cherry Red and Creation labels. This beautifully produced series examines the work of one of the greatest underground groups of modern times.
The first five albums will be released on 23rd February 2018. These vinyl records, unavailable for many years, have been remastered and revisited by Lawrence, and he has fashioned the ultimate definitive collections. Previously named Let the Snakes Crinkle Their Heads to Death, this album is now retitled The Seventeenth Century – the original name for the album was changed late in the day. This reversal of misfortune was classed as an awful mistake and Lawrence’s biggest regret. Flash forward to now and this situation can finally be rectified. “You can’t change the title of an album” – they told him – so he said; “if Kraftwerk can and Bowie can then I can too!!”
Anyone who’s been living on the grapevine these past few years must have heard the rumours about the coming of the FELT reissues – well they’re here.
Felt was a 1980s UK indie band hailing from Birmingham, led by enigmatic Lawrence Hayward (or, just Lawrence for preference), and usually included guitarist Maurice Deebank. The band claimed to have released ten albums and ten singles in ten years but actually released 11 singles if you include their debut Index on ShanghaiPackaging. They were influenced by, among others, New York band Television and 60s icon Bob Dylan.
Forming in 1979, Felt never broke through to the mainstream, but enjoyed a substantial cult following. Throughout the early 1980s, Felt released a number of oblique, minimalistic guitar pop gems. In 1986 they broke through with the single Primitive Painters (featuring the Cocteau Twins Elizabeth Fraser), and the album Forever Breathes The Lonely Word. Here, Haywards trademark melodic songs are matched by a fuller sound – catchy organ lines from Martin Duffy (now with Primal Scream) and Deebanks cascading guitars feature throughout. Following this, releases in 1987 of Poem Of The River, in 1988 of The Pictorial Jackson Review, and in 1989 of Me And A Monkey On The Moon, cemented Felts cult following and reputation, before Hayward split the band up to pursue 70s-influenced project, Denim, and subsequently Go-Kart Mozart. Felts influence continues to reverberate in the music of current bands.
These vinyl records, unavailable for many years, have been remastered and revisited by Lawrence, and he has fashioned the ultimate definitive collections. They are available in a deluxe gatefold sleeve. During the ‘80s Felt made ten albums and ten singles for the Cherry Red and Creation labels. This beautifully produced series examines the work of one of the greatest underground groups of modern times.
The first five albums will be released on 23rd October 2018. These vinyl records, unavailable for many years, have been remastered and revisited by Lawrence, and he has fashioned the ultimate definitive collections. They are available in a deluxe gatefold sleeve.
Produced by Robin Guthrie of Cocteau Twins and featuring the skyscraping vocal of Elizabeth Fraser on the mighty track “Primitive Painters”. Felt found themselves at the top of the independent charts. Unhappy with the overall sound though – it was as if some of Lawrence’s best songs were lost in an “ethereal swirl.” John A. Rivers has been given access to the original master tapes and six songs have remixed. Also – side 2 has been focused, edited and “made symmetrical.” Finally these songs can be heard as intended by Felt. It has become at long last a cohesive whole.
Anyone who’s been living on the grapevine these past few years must have heard the rumours about the coming of the FELT reissues – well they’re here.Released February 23rd, 2018
These vinyl records, unavailable for many years, have been remastered and revisited by Lawrence, and he has fashioned the ultimate definitive collections. They are available in a deluxe gatefold sleeve.
During the ‘80s Felt made ten albums and ten singles for the Cherry Red and Creation labels. This beautifully produced series examines the work of one of the greatest underground groups of modern times.
Released on this day in 1984. Before the Stone Roses and after Be-Bop Deluxe and Plastic Ono Band, JohnLeckie worked with Felt. Booked into a metal/reggae studio in Birmingham’s industrial wasteland he sculpted a Michelangelo slice of new rock – exquisite and beautiful guitar odysseys – quite unlike anything the city had experienced before. Merging pop with a classical nuance Felt stood alone as the forerunners of a brand new style. And Gary Ainge was finally allowed to use his hi-hat!
Before the Stone Roses and after Be-Bop Deluxe and Plastic Ono Band, John Leckie worked with Felt. Booked into a metal/reggae studio in Birmingham’s industrial wasteland he sculpted a Michelangelo slice of new rock – exquisite and beautiful guitar odysseys – quite unlike anything the city had experienced before. Merging pop with a classical nuance Felt stood alone as the forerunners of a brand new style. And Gary Ainge was finally allowed to use his high-hat!
Anyone who’s been living on the grapevine these past few years must have heard the rumours about the coming of the FELT reissues – well they’re here.
During the ‘80s Felt made ten albums and ten singles for the Cherry Red and Creation labels. This beautifully produced series examines the work of one of the greatest underground groups of modern times.
The first five albums will be released on 23rd February 2018. These vinyl records, unavailable for many years, have been remastered and revisited by Lawrence, and he has fashioned the ultimate definitive collections. They are available in a deluxe gatefold sleeve. Released in 1982, Lawrence’s ambition was to release the best debut English album ever! Adrian Borland offered his services, then commitments with his band The Sound prevented this from happening. So Felt began a relationship with Swell Maps’ producer John A Rivers. Recorded and mixed in six days the band got a taste of how bitter reality fares compared to the “mellow fruitfulness” of blind ambition
Lawrence’s ambition was to release the best debut English album ever! Adrian Borland offered his services, then commitments with his band The Sound prevented this from happening. So Felt began a relationship with Swell Maps producer John A. Rivers. Recorded and mixed in six days the band got a taste of how bitter reality fares compared to the “mellow fruitfulness” of blind ambition.
Felt are: Lawrence — guitar, vocals Maurice Deebank — lead guitar Nick Gilbert — bass guitar Gary Ainge — drums
A rare “love song” from Anna Tivel. “Dust & Magic” is a song about loving someone, learning their colors, their depths. It’s about trying to see someone honestly, even when they’re hard to see. It’s about knowing and hoping the person you love can find their way back from a darker place, believing in the raw power of their beautiful spirit
Former Led Zeppelin vocalist Robert Plant begins a sold-out tour of the United States with his band the wonderful Sensational Space Shifters in Raleigh, North Carolina, tonight, he has released a video of their performance of “Carry Fire,” the title track to his latest album, at the O2 Apollo in Manchester, England, on their sold-out UK tour last November. The live concert video was directed by Ryan Mackfall and produced by Crashburn Media.
“Carry Fire” was released in October on Nonesuch/Warner Bros. Records. NPR calling it “transfixing,” adding that “Plant” and his collaborators create music that overflows with irrepressible life force … Carry Fire is rivetingly intimate.” The Evening Standard exclaims in a four-star review: “Inventive and exotic, Carry Fire proves Plant’s creative spark is still burning bright.”
Robert Plant and the Sensational Space Shifters perform “New World,” from his album Carry Fire live at the O2 Apollo Manchester on November 30th, 2017.
There’s a danger that pushing everything through the Trumpian prism collapses some of the intricacies and nuances of art. After all, The Donald is a product of the disaffection CraigFinn is exploring here, not the cause. The problem is deeper and more complex than any government-related trouble, and Finn is too wise to offer much in the way of an answer. Instead, he suggests we shift the focus of our questions. Because We All Want the Same Things is an album about relationships, but not in the usual sense. Not the transcendental, star-aligned love of Billboard hits and Hollywood flicks but coupling based on common needs. Not life-changing answers but life-preserving strategies. Luckily, in the hands of Craig Finn, this version of ‘romance’ feels somehow more fulfilling, the opposite of cynical, for better or for worse, genuinely human. Perhaps the revolution in the conclusion isn’t some violent revolt or epiphanic break, rather a gradual yet constant commitment to challenging our own expectations. To stop wanting too much for ourselves and to start being sympathetic to others. A comeback story, of sorts.”
