Francis Lung (Tom McClung) describes his new album as sounding “like a short Mancunian boy single-handedly trying to incite Beatlemania” he’s really not too far wide of the mark. Released later this summer, Lung’s much-anticipated debut. His new single “Up & Down” – the latest track to be taken from his debut album “A Dream Is U” (out 02nd august 2019).

“up & down” is a bipolar love story – two lovers with manic mood swings,

Manchester’s own Francis Lung, the nom de plume of former Wu Lyf member Tom Mclung, releases his new single his debut release for Memphis Industries, where he joins the likes of the go! team, poliça, field music, it comes with a gorgeously intricate self-produced video.

Following on from the home-recorded volumes 1 + 2 eps, which contained titbits written during his time in Wu lyf, sees Francis Lung return with a bigger, more expansive sound. recorded at low four studios with brendan williams on production duties (Dutch Uncles, Go Go penguin) it’s a baroque pop rocket that signals Francis Lung’s new found ambitions.

from the debut album ‘A Dream Is U’ out August 2nd on Memphis Industries

Mike McCartney (a.k.a. Mike McGear)’s 1974 album McGear was produced by his brother Paul McCartney who also wrote or co-wrote the majority of the tracks.  Linda McCartney, Denny Laine, Jimmy McCulloch, and Denny Seiwell also appear on McGear, which has been dubbed by some fans as a “lost Wings album.”  Now, McGear has now been newly remastered from the original master tapes in a compact but lavish box set and expanded with 21 bonus tracks, including 13 that have never been released, plus rare single edits that make their CD debut here.

The album featured a selection of tremendous songs such as ‘Rainbow Lady’, ‘Simply Love You’, ‘Givin’ Grease a Ride’ and ‘The Man Who Found God on the Moon’. McGear also featured an inspired cover of the Roxy Music song ‘Sea Breezes’, the evocative ‘The Casket’ and the hit single ‘Leave It’. Among those is the non-album single “Dance the Do” featuring the Bonzo’s Vivian Stanshall. The set also includes a DVD featuring interviews with Mike McCartney recorded at Liverpool’s Everyman Theatre and the Liverpool Institute of Performing Arts, as well as the 1974 promotional film for “Leave It.”  A 32-page booklet and foldout poster are also included.  The LP reissue is just the original album.

Esoteric Recordings is pleased to announce the release of a newly re-mastered and expanded 3 disc clamshell box set edition of the album, “McGear” by MIKE McGEAR, featuring 2CDs and a DVD. Originally released in 1974, McGear was the second solo album by Mike McGear (McCartney) and was a more “serious” record than his work with the Liverpool satirical trio Scaffold, or his work with Roger McGough on the “McGough & McGear” album.

“McGear” was charming, eccentric and unique in equal measure and was one of the great unsung albums of its time. Now acclaimed, but unavailable on CD for over twenty years, this long awaited expanded three disc edition reissue of “McGear” has been compiled with the full involvement of Mike (McGear) McCartney.

Available today in the U.K. and next Friday in North America.

Western Australia’s finest The Southern River Band continue to tease the release of their upcoming second album “Rumour and Innuendo” with the brand new single “Second Best” out now!

Showing their melodic side, “Second Best” is a hooky slice of 70’s FM rock with tight-ass harmonies and of course the band’s patented tasty guitar work courtesy of lead vocalist, guitar slinger and in-house stand-up Cal Kramer.

The song’s video, directed by Steve Browne and shot by Drew Kendell, features an amazing retro themed wrestling drama where try as he might, our hero Cal does indeed only manage to come off second best. As renowned Melbourne rock ‘n’ roll man about town and Cherry Rock impresario James Young attests, “Second Best has soul, swagger and power-pop sensibilities. Don’t let anyone say that The Southern River Band sound like The Darkness or Lynyrd Skynyrd. They don’t.”

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With a video for “Second Best” due on release, more new music on the way and some big news to come SRB are stepping it up in 2019 and ready to take on the world. Young concludes, “When I think of Southern River Band I think of Countdown on the ABC in the 70s. Colour, movement, magic and a guaranteed global smash hit.”

Released July 19th, 2019

Rightfully hailed as “the noisiest pop music on the planet” by Pitchfork, Austin, TX’s cult noise rock trio Cherubs have been purveyors of sonic bedlam since their inception in 1991. After an unforeseen return to the scene from a two-decade hiatus in 2014, the Cherubs have now joined forces with the equally revered Relapse Records for the release of their fifth long-player Immaculada High. Recorded and engineered by Erik Wofford (Explosions in the Sky, The Black Angels, My Morning Jacket) at Cacophony Studio in Austin, Immaculada High is 11 songs of signature Cherubs clamor with an added twist of Texas-sized, psychedelic racket. Smooth, rumbling low-end rhythms interplay with feedback drenched, chuggin’ guitars, relentless tone and vocalist Kevin Whitley’s shrill, life-of-the-LSD-party vocals. On Immaculada High, Cherubs loudly proclaim their title as bonafide noise rock legends who continue to forge transgressive yet remarkably accessible punk for a jaded world.

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Formed in 1992, Cherubs emerged on the Austin, TX, LSD punk scene with a jackhammer of nightmarish, rhythm-driven song structures and plenty of Butthole Surfers whimsy and terror to keep things more than interesting. Fast forward 20 years later and the band has reformed with more energy and songwriting acumen then ever.

Working Men’s Club have revealed a brand new single and accompanying video (directed by Jak Payne), along with their second physical release following the vinyl chart-topping single ‘Bad Blood’, now on it’s third pressing ‘Teeth’ sees the band exploring darker, more electronic territory, with driving drum machine and synths dominating the airspace

“It is a metaphor” teases the band’s singer, guitarist and beat-maker, Sydney Minsky-Sargeant. “It could be about going insane or what you see, what you think you feel inside, a lot of things… put through a drum machine… basically we just want to confuse the fuck out of people, in a good way!”
“The quartet’s debut single Bad Blood appears to have been no fluke: “Teeth” is darkly menacing disco, with bracing guitar squall on top.”

“Lyrically preoccupied by the passing of time and subconscious despair, the track sounds like insanity pouring out of an old television set”
Paste Magazine

Released on Heavenly Recordings. Pre-order the 7″ single and 12″ EP featuring remixes from Gabe Gurnsey, out on August 23rd.

Black Sea Dahu is the urban folk project of Zurich-based songwriter, Janine Cathrein, alongside a rotating cast of, “motely, merry pranksters”. The debut Black Sea Dahu album, “White Creatures”, came out last year and this week they’ve shared the first new material since that record, “How You Swallowed your Anger”, lifted from an upcoming EP, tiltled “No Fire In The Sand”.

A stripped back affair, How You Swallowed your Anger, is a deep dive into the complexity of a relationship, and how that only becomes clear following a break-up. A break-up song is so often presented from a place of what is lost, yet here Janine focuses on the cause, the bits of herself she could never bring herself to share, “I can’t give anything back, I’m so sorry but I swore by my mother that I wouldn’t believe in love”.  If it’s lyrically devastating, musically it’s every bit as moving, Janine’s vocals seem to linger in your ear, stealing focus from anything else, before fleeing the scene and allowing the double-bass and simple guitar strum room to soar and entwine, with a perfectly judged nod in the direction of early Bon Iver. A spellbinding four minutes, as a wash of beautiful, heartbreaking sound accompanies an intimate, lyrical outpouring, it might just be one of the year’s most compelling recordings.

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How You Swallowed your Anger is the first song from the forthcoming EP entitled No Fire in the Sand, due to drop this autumn (27.09.2019)

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No Fire In The Sand is out September 27th via Mouthwatering Records.

The Berries will release their new album Berryland on September 26th, via Run For Cover Records. The announcement comes with a new video for their lead single “Fruit.” Led by vocalist, multi-instrumentalist and songwriter Matt Berry, Director Will Anderson taps into the feeling of Berryland with his video for “Fruit,” capturing the band’s mix of vintage style alongside the modern idiosyncrasies of the songwriter.

Matt Berry, vocalist, multi-instrumentalist, and overall mastermind of The Berries, first began to turn heads with his work in louder bands in the west coast underground music scene (Big Bite, Happy Diving), but his true love has always been unfiltered melody. “I’ve always been attracted to pop sensibilities and I was interested in making music that leaned more towards that instead of volume and distortion,” he explains. After a handful of demos, The Berries’ released their 2018 debut LP Start All Over Again, which documented a miserable Seattle winter and Berry’s impressive ability to organically wear his influences on his sleeve. As he began working on a follow up, he found himself becoming more and more at ease in forging those inspirations within his own unique sonic identity.

That assured sense of identity is unmistakable on Berryland. After tracking drums with Trevor Spencer at his studio outside Seattle, Way Out, Berry began the in-depth process of recording nearly every other instrument on the album in his own home. “Every day I wake up and if I’m not working, I’m in my cave for eight hours makng music, so I was very used to spending days just working on a song,” he recalls. The extra time spent tinkering and experimenting can be heard in Berryland’s vast array of guitar tones, psychedelic flourishes, and layered vocal harmonies. Traces of Berry’s punk roots remain in the occasional noisy guitar squall, which meets the jangle and twang with surprising cohesion. Driving all the guitars is Berryland’s secret weapon: its attention to rhythm. The sense of groove and occasional electronic percussion are subtle but key elements of the album’s pulse, often inspired by Berry’s love of the 1990s intersection of rock and danceable beats.

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releases September 20th, 2019

From the opening seconds of Bananagun’s “Do Yeah” – which stirs to life in an intoxicating blend of 1970s afrobeat, fuzzed out psychedelia and immersive pop – this very much feels like the case of discovering something different. this track comes from a brand new Melbourne band. With the aim of merging the proto-garage rhythmic fury of The Monks with the tropicália grooves of Os Mutantes, the band soon forged a sound that was as loose and unravelling as it was focused and taut, with an aim of creating a real sense of place and environment. “We didn’t want to do what everyone else was doing,” the band say. “We wanted it to be vibrant, colourful and have depth like the jungle. Like an ode to nature.”

There’s a deeply percussive element to the band’s psychedelic ode to mother nature, touching upon Fela Kuti-esque repetitions, exotica, jazz and 1960s pop-rock. Much like a lot of the influences it filters into its own unique spin on it all, it’s intended as “music for the people” – a unifying groove that spans genres. Even the seemingly innocuous band name has an underlying message of connectivity that matches the universality of the music. “It’s like non-violent combat! Or the guy who does a stick up but it’s just a banana, not a gun, and he tells the authorities not to take themselves too seriously.” This extends to the underlying message of their debut single too: “try to love and not hate because you’re the one who has to carry it around.”

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Releases September 6th, 2019

Nick vanBakel – Guitar, Percussion, Voice
Stella Rennex – Bass, Voice
Jimi Gregg – ThunderDrum
Charlotte Tobin – Djembe
Jack Crook – Guitar, voice of reason

Songs written by Nick vanBakel

Maybe this Raleigh four-piece fits more squarely in the indie rock category, but there are enough post-punk rhythms and tones to justify its place here. Truth Club’s debut album Not An Exit is full of propulsive movement, but Travis Harrington’s earnest voice and tender lyrics are firmly tethered to the ground. Their guitars pump, twinkle and echo, but never remain static for too long.

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On “Student Housing,” the guitars cascade with precision, on “No Planned Sequel,” they rumble with grit, and on “Luminescence” they hum with subtlety. In addition to their guitar mystique, Not An Exit is more poetic than most indie or post-punk records. Harrington writes with mature poignancy about topics like entrapment, belonging, purpose, desire and anxiety. “Path Render” is an affecting view of one’s life from the ether, and on “Tethering,” Harrington poses a question that will leave you in silence for a while: “If everyone’s supposed to leave their own mark on everything / At what point does the world just seem too worn out?”

Band Members
Travis + Elise + Kam + Yvonne

Truth Club “Not An Exit” out May 3rd 2019 on Tiny Engines

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Whitney was born from a series of laidback early-morning songwriting sessions during one of the harshest winters in Chicago. after Julien Ehrlich and Max Kakacek (former members of Smith Westerns) reconnected – first as roommates splitting rent in a small Chicago apartment and later as musical collaborators passing the guitar and the lyrics sheet back and forth.

Whitney have shared another new song from their forthcoming album “Forever Turned Around”, which is out August 30th via Secretly Canadian. It’s called “Valleys (My Love)” and arrives with a new music video from Kamp Grizzly. Directed by Nick Woytuk, it follows a truck driver. Watch it below.

Whitney’s sophomore album features production from Brad Cook (Bon Iver, Hand Habits) and Foxygen’s Jonathan Rado (who’s worked with Weyes Blood and Father John Misty). The new single follows “Giving Up.”

Whitney are performing later this year’s at Green Man Festival Brecon Beacons, UK

“Valleys (My Love)” from Forever Turned Around, the new album from Whitney, out August 30th, 2019 on Secretly Canadian