Emerging from the ashes of indie-soul duo Wanderlust, JunoKind represents the electronic rebirth of Jade Richards‘ and George Gunson’s creative sympatico, bringing into the fold keyboardist Brad Green (These Winter Nights) and bassist Michael Anstee-Brook (Wise Oaks) to flesh out the pair’s evocative core sound.

It’s a transformation that has absolutely worked to their credit, the foursome having turned out six layered, incredibly listenable and magnificently nuanced pieces of music on their debut EP , The Infinity Cafe.

While Wanderlust’s vox-and-guitar set-up was enticing enough in and of itself, the broadened, more developed soundscapes here — which also include electronic beats from Richards and guitar and keys from Gunson in addition to the pair’s sweetly complementary co-vocals — are exceptionally easy to melt into.

Opening track “Able” kicks off with something of a nod to Wanderlust’s more acoustic days, with piano and violin giving way to hushed synths, reverb-laced guitar and inviting warmth of Richards‘ voice. Once the beats and bass enter, the transformation is complete, and JunoKind take flight at their lush, lubricious best.

As busy as parts of their songs can get, the band display a real talent for understanding when to fill their bars and when to hold back, as the restrained, irresistible “Necessary Space” and piano-driven “Embrace” capably show, and the five-minute “Hiding Places” is another wonderful demonstration of the band’s ability to blend acoustic, organic elements into their tech-lined compositions .

Rounded out by the deep grooves of Lightning Storm and slow-burning, climactic, instrumental-till-it’s-not Easy, The Infinity Cafe is a forceful and hugely enjoyable first effort for this re-imagined outfit, produced and engineered by Andy Lawson (Eskimo Joe, Gyroscope, Tired Lion), drawing on each of the members’ copious previous experience both together and apart to create this distinctive and mesmerising new sound.

It’s the kind of thoughtful, intelligent, well-crafted and alluring release that does nothing but engender genuine excitement in the listener about not only its contents, but everything that’s yet to come from this massive well of potential.


Located at the end of winding and tumultuous road, “The Infinty Cafe” offers shelter to the electronic resurrection of Perth indie soul band, Junokind. It serves psychedelic swirling keys and guitar passages, on a bed of driving and often quirky drums and percussion, topped with surging harmonies and vocal passages. A record encompassing the loneliness of love and the tyranny of distance, “The Infinity Cafe” is Junokind’s diary of their adventure through life’s hiding places.

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Meshing rock & roll, soul, and pop music with acoustic overlays, The New Respects inhabit a genre all their own. The band cites Aretha Franklin, The Beatles, and Led Zepplin as core influencers of their music, traces of which can all be found within their catchy hooks and heavy grooves. NPR Music announced the upcoming release of the band’s 5 song EP Here Comes Trouble, which features 3 new unreleased tracks, which the band played live on tour this past spring with Robert Randolph.

Band Members
Alexandria Fitzgerald
Alexis Fitzgerald
Darius Fitzgerald
Jasmine Mullen


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Luna – the New York City-based guitar band now scattered around the country – is happy to announce the upcoming release of “A Sentimental Education“, an album of covers, as well as an EP of 6 new Luna instrumentals entitled “A Place Of Greater Safety”. Both will be released simultaneously on September 22nd via the Double Feature label. The LP and EP mark the band’s first output since Luna’s last studio album Rendezvous, released 13 years ago. Both the LP and EP were co-produced by Jason Quever (Papercuts) and recorded at Palmetto Recording in downtown Los Angeles. On “A Sentimental Education” Luna tackle songs by The Cure, Mink DeVille, Fleetwood Mac, Mercury Rev and others. The Luna lineup remains the same as it was when they last recorded: Dean Wareham, Sean Eden, Lee Wall, Britta Phillips.

Today the band share the first single from A Sentimental Education, their take of Fleetwood Mac’s “One Together” which is off their 1970 album Kiln House, Album and written by guitarist Jeremy Spencer who departed the band in 1971 to join the Children of God Sect.



There’s a kind of clarity and calm in Joan Shelley’s music that feels especially welcome in these fractious times. Her crystalline voice, with just a touch of vibrato, glides over soft finger style guitar, with melodies and imagery that seem to spring from traditional folk yet are her own. “Rest up baby, lay back now / Here the hands, here the mouth,” she sings in the opening track of her new album, Joan Shelley. “If you were made for me . . . then we’d be home.”

In spite of what its self-titling might suggest, the album Joan Shelley, produced by Wilco’s Jeff Tweedy, is not a debut—it is Shelley’s fourth solo release since 2012. She comes from Louisville, Kentucky, and is deeply connected with the music community there, with regular collaborators including Cheyenne Mize and Julia Purcell, with whom she formed the old-timey trio Maiden Radio; singer-songwriters Will Oldham (Bonnie Prince Billy) and Joe Manning; and guitarist Nathan Salsburg, her main accompanist these days on record and onstage.

On her breakthrough album, Over and Even (2015), and on Joan Shelley, Salsburg’s guitar lines blend so seamlessly with Shelley’s that the collective sound is like one instrument played by four agile hands. One reason they match so well is a shared love of British Isles folk—in her case, particularly singers such as Vashti Bunyan and Sandy Denny, and in his, guitarists such as Dick Gaughan and Nic Jones .

Where I’ll Find You – Later… with Jools Holland – BBC Two

Black Needle Noise image

This is the 2nd album by Black Needle Noise with our friends Zialand, Kendra Frost, Andrea Kerr, Jennie Vee, Mahsa Zargaran (Omniflux), Mimi Page, Ana Breton, Bill Leeb, Sivert Høyem and Dr Strangefryer

The brillant music of legendary artist-producer John Fryer is released under the moniker of BLACK NEEDLE NOISE with the album ‘Lost in Reflections’.

He is best known for producing and shaping the sound of Cocteau Twins, Depeche Mode, and numerous other artists from Mute Records, 4AD and Beggar’s Banquet and later on Nine Inch Nails, Love and Rockets, Cradle of Filth, and many more. But he is also known as 1 of 2 founders of 4AD legacy-group This Mortal Coil, together with Ivo Watts-Russell. This new album continues that legacy, with John Fryer teaming up with a series of brilliant vocalists for this collosal project.

This album arrives on the tail of news of John Fryer’s release with legendary David Lynch muse Chrysta Bell (also starring as Special Agent Tammy Preston in the new Twin Peaks series). They have paid “homage to the infinitely haunting and enduring music of Twin Peaks” in the form of a cover of ‘Falling’ by Julee Cruise, Angelo Badalamenti and David Lynch.


There’s still plenty of the rustic, new-age hippy charm in First Aid Kit’s appearance, but the one thing that’s noticeable as they launch into ‘Wolf’ from their 2012 album The Lion’s Roar is that there is a new swagger in place.The sisters from Stockholm, Johanna and Clara, feature a notable shift in presentation in the form of Johanna’s move to bass guitar from keyboard/synth. Furthermore, their music seem to now slither with a hitherto unexplored groove; bobbing up and down,Whilst they dig deep into their own catalogue – which includes a heart stopping rendition of ‘Ghost Town’ – they also take time to dig out an old 70s classic. ‘The Gambler’ is tackled with vim, vigour and it’s fair to say that it is one big winner with the festival crowd. Promisingly, new song ‘It’s A Shame’ is quickly greeted like an old favourite. Unlike ‘You Are The Problem Here’, this is in keeping with the tone and format in which devotees of First Aid Kit are familiar.

They close out with the double whammy of old favourites and trademark songs, ‘Emmylou’ and ‘My Silver Lining’. Their rise is unstoppable and they are doing it on their own terms. Wonderful.

First Aid Kit live at Glastonbury Festival 23rd June 2017.

Musicians: Scott Simpson, Melvin Duffy, Steve Moore.
1. Wolf
2. Master Pretender
3. Waitress Song
4. The Lion’s Roar
5. You Are the Problem Here
6. Ghost Town
7. King of the World
8. The Gambler (Kenny Rogers cover)
9. Stay Gold
10. Emmylou
11. My Silver Lining

Radiohead at Glastonbury

Radiohead headlined the Pyramid Stage of Glastonbury 2017 on Friday night with an astonishingly mesmerising – if not a little unruly – set in what resulted in an utterly compelling two hours and 25 minutes.

The performance came on the 20th anniversary of Radiohead’s first headline set at Glastonbury, a reminder of the reissue of the iconic album ‘OK Computer’ and a statement of intent of the band’s utter dominance.

Absorbing, challenging and achingly beautiful – Radiohead delivered a typically Radiohead sort of set for Glastonbury’s opening night. The Oxford quintet emerged, bathed in white light, to the haunting piano refrain of Daydreaming, from last year’s A Moon Shaped Pool album.

Two hours and 25 songs later, they closed with Karma Police, singing: “For a minute there, I lost myself.”

Such is their confidence, Radiohead’s set list was nothing short of experimental, eclectic and downright enthralling. Tracks such as ‘No Surprises’ tempted Thom Yorke into a brief political outburst when he ominously pleasured the crowd with “see you later, Theresa” as the song, with lyrics such as “bring down the government, they don’t speak for us,” came to a close.

Opening with ‘Daydreaming’ from 2016 record A Moon Shaped Pool, the band indulged fans with favourites such as ‘Airbag’ and the aptly titled ‘Pyramid Song’ before Yorke couldn’t resist busting out his new dance moves during a revised version of ‘Idioteque’.

Encore one saw the likes of ‘No Surprises’, ‘Nude’, Paranoid Android and Fake Plastic Trees before the second and final encore welcomed the three big hitters: Lotus Flower, ‘Creep’ and ‘Karma Police’ the last of which left the crowd and Yorke singing: “For a minute there, I lost myself.”

Thanks to faroutmagazine

It’s been a whirlwind of a ride for Maggie Rogers thus far, from a viral video clip to the official release of her astounding single “Alaska”, countless TV performances and months of touring, culminating in her breathtaking debut major label release, an EP called “Now That The Light Is Fading”. “Alaska” and its counterparts started off as another project which would count towards Rogers’ degree at NYU, where in a masterclass presided over by Pharrell Williams, the world was to become overwhelmed by her distinctive and timeless sound.

Maggie Rogers performs “Alaska” live at Indie88 in the Collective Arts Black Box.

Last year Maggie Rogers took the internet by storm after a video of her auditioning her song “Alaska” for Pharrell Williams went viral. The track left Pharrell stunned, and the video’s popularity created a huge fan base for Maggie Rogers almost overnight. Just a few months later and she’s released an EP – Now That the Light Is Fading – and embarked on a massive global tour that included a sold-out show at the Mod Club in Toronto.

While she was in town, she and her band stopped in to the Collective Arts Black Box and performed intimate renditions of “Alaska” and “On + Off”.

In many ways Maggie Rogers is still a very new artist, but she does have a back catalogue. In fact, her still active Bandcamp page is full of hidden gems, such as a Felix Snow (Kiiara, Terror Jr) remix of “Resonant Body”, the opening track of Blood Ballet – a pre-fame independent album release. “Alaska” and Now That The Light Is Fading mark a new chapter, if not an entirely new book, in Rogers’ musicianship, though. While not entirely leaving behind her folk roots, which were rich in layered vocals and adorned with cellos and the odd banjo, the new releases feel like more of an arrival than a departure. “I guess this was just for me to try out pop music and to see what my music sounded like in that space. I think the goal was to maybe play a small stage on a festival next year,” she explains of the EP. “I never in my wildest dreams thought that things could’ve gone so incredibly well.”

Doom City
Nuclear Fusion
Sleep Drifter
Alter Me I
Altered Beast II
Alter Me II
Altered Beast III
Robot Stop
(with snippet of ‘Master of the Universe’ by Hawkwind)
Gamma Knife
The Lord of Lightning
The River


Toronto-based artist, composer and producer Lydia Ainsworth releases her sublime second album, “Darling of the Afterglow”. The album is released through Bella Union. “Darling of the Afterglow” is Lydia Ainsworth’s sophomore record and follow up to the Juno-nominated and critically acclaimed Right From Real (2014). The album features a team of local Toronto musicians, woven into Ainsworth’s programming, samples and string arrangements an album of intimate emotions projected in heightened widescreen. The stunning, 11-track Darling of the Afterglow – from the lush lullaby of “Afterglow”, to the immersive Into The Blue, to the masterful cover of Chris Isaak’s Wicked Game.

Lydia Ainsworth’s music craves space to spread itself out in, and “Afterglow” might be one of the best examples of that. It’s as languid as it is intense, and every word Ainsworth sings has the force of a stone dropped down a well. When her syllables land, they echo and reverberate and ripple in concentric rings, you’ll hear what I’m talking about when Ainsworth’s voice deepens as she intones: “To play it safe is not to play at all.” It sounds huge.

Afterglow is form Lydia Ainsworth’s new album ‘Darling Of The Afterglow’ out March 31st