20 years of The Go! Team’s “Thunder Lightning Strike“, 20 years of lasers through tracing paper, orange tone oscillations, cable access hangover, music made through sunburnt circuits, a K-tel dream sequence, a haunted vision mixer, station wagon-core, straight to video, VHS in distress, something in the fog, fluff on the needle, chromakey constellations, a hovercraft on the fret board, maxing the minute maid, faxing a car alarm, a Morse code pep talk, etch-a-sketch jackknife, a daily Haley’s comet, light sound colour motion, a holiday from yourself.
This final reissue is a celebration of a record that sounded out of time in 2004, dripping in future nostalgia, and which twenty years on still sounds as unique and uncategorisable as it did when it arrived.
RT LP – Comes with an exclusive 7”, featuring new versions of “Hold Yr Terror Close” by The Pastels and The Orielles and a recreation of the original CD-R demo version of the album which stands up as a document of band leader Ian Parton’s unique method of working.
The LP – Comes with a recreation of the original CD-R demo version of the album that stands up as a document of band leader Ian Parton’s unique method of working.
Video to the track “Buy Nothing Day” featuring Bethany from Best Coast and The Girls At Dawn. From the album “Rolling Blackouts“
Indie folk singer Haley Heynderickx has shared a bare-bones, bluesy new track from her upcoming album “Seed of a Seed”.
Haley Heynderickx is back! Six years after her acclaimed debut album “I Need to Start a Garden” the folk singer-songwriter returns with a brand-new album. Known for her emotive voice and intricate guitar work, Heynderickx’s latest release promises to capture the same heartfelt storytelling and unique sound that won her a dedicated fanbase.
Haley’s musical journey continues to explore deep, personal themes with authenticity and grace.
The forthcoming album ‘Seed of a Seed’, due out November 1st, 2024 on Mama Bird Recording Co.
Since first forming in 2016, London’s High Vis have steadily polished their palette of progressive hardcore with shades of post-punk, Brit pop, neo- psychedelia, and even Madchester groove, mapping a middle ground between hooks and fury, melodies and mosh pits. Singer Graham Sayle describes their third album“Guided Tour” as an axis of competing forces: “It’s trying to be a hopeful record, while also being incensed.” Rounded out by drummer Edward ‘Ski’ Harper, bassist Jack Muncaster, and guitarists MartinMacNamara and Rob Hammaren, the band’s deep roots in the UK and Irish DIY hardcore scenes have kept them grounded but growing, inspired equally by restlessness and righteous anger. As Sayle puts it, “Everyone’s scratching, everyone’s working all the time, and their idea of relaxing is just getting fucked and avoiding reality. This album is an escape from that.”
High Vis’ anticipated third album “Guided Tour” comes out this Friday, and here’s its opening track and final pre-release single.
From its opening seconds of a cab door slamming, a car revving away, and a baggy rhythm swinging to life, “Guided Tour” sounds like a band reaching for new heights, bristling with energy. Recorded across a few weeks at Holy Mountain Studios in London with producer Jonah Falco and engineer Stanley Gravett, the results feel dynamic and dialed-in, like anthems burned into sense memory through sweat and repetition. Harper cuts to the chase: “We had a clear idea going in, every moment got used. Maybe when we’re 60 we can sit around and get a drum sound right, but for now it’s about getting things done.”
The album’s 11 songs span the spectrum of contemporary guitar music, sharpened by experience, camaraderie, and societal frustrations. From swaggering street punk (“Drop Me Out,” “Mob DLA”) to jangling indie sneer (“Worth The Wait,” “Deserve It”) to heavy alt (“Feeling Bless,” “Fill The Gap”) to shoegazey spoken word (“Untethered”), the group’s chemistry transmutes any style to their unique intensity. Sayle champions this evolving fusion: “For years coming from hardcore, we had pretty clear boundaries – other scenes were separate worlds. Now things are getting more blended, drawing from different places.”
Nowhere is this sentiment flexed more boldly than on “Mind’s A Lie,” a dance- punk anthem inspired by Harper’s love of house, garage, and pirate radio. Stabs of sampled female vocals (by celebrated South London singer and DJ Ell Murphy) build into a razor wire rhythm of low-slung bass, tense drums, and sparkling guitar before Sayle’s staunch voice starts barking harsh truths (“Face to face with all I’ve known / I can’t call these thoughts my own”). After a sudden breakdown, the track regroups and takes off, cruising into the horizon in a haze of chiming guitars and Murphy’s ascendant voice, from the streets to somewhere beyond.
Silverlites are a new supergroup featuring Peter Buck (R.E.M.), Barrett Strong (Screaming Trees), Rich Robinson (Black Crowes) and singer-songwriter Joseph Arthur. The band’s self-titled debut album will be out November 15th. Martin revealed how the album came about: “Hi everyone, I’d like to announce a new recording project called SILVERLITES, which I recorded and produced during the pandemic and is soon to be released. “It started in a Nashville hotel room in 2019, where I recorded the initial acoustic guitar tracks, and it features some truly exceptional musicians: Joseph Arthur on lead vocals, Peter Buck on acoustic guitars, Rich Robinson on acoustic and electric guitars, and myself on drums, upright bass, vibraphone, and backing vocals.
This is the first single ‘Don’t Go, Don’t Stay’ is out now on all digital platforms, and the entire album can be previewed and preordered as well. We hope you like the songs, as we spent the pandemic years doing various recording and mixing sessions, and we used a classic song writing form, which is often forgotten in this day and age. That is, acoustic guitars (with a little electric guitar in there),with superb lead vocals, catchy backing vocals, and a soulful backbeat in the rhythm section. It’s old school song writing, just like us.”.
“Don’t Go, Don’t Stay” will be included on SILVERLITES‘ upcoming self-titled debut album, which is due on November 15th via Sunyata Records. And the full length, self titled debut comes out November 15th
With another single “Dark And Magic Sky” due November 1st The album cover was made by Rich And the utmost concern was invested in making sure that we all weren’t wearing sunglasses.
Dehd have covered “Mr Grieves,” a “weird ass deep cut” from Pixies’ 1989 album “Doolittle” (which has also been covered by TV on the Radio). Dehd dropped the cover of The Pixies’ “Mr. Grimes” today, so I downloaded it on Bandcamp for a dollar. When I opened it, it is in-between to other songs, “Go” and “Without You,” which have previously been released on a 7″ single. The single was originally released prior to “Flower of Devotion”, and contained a card with seeds inside. I suppose other folks on here have said single, if so, then did you plant the card and grow the flowers? (I couldn’t bear to part with the card.) If you have, then what kind of flower(s) was it? Devotional, I suppose. If you don’t already have it, then three songs for a buck can’t be beat.
released October 16th, 2024 Produced by Jason Balla. Written by Frank Black.
Emily Kempf – vocals and bass Eric McGrady – drums Jason Balla – guitar and backing vocals
“’Beautiful Child’ has been turned into a minor key song because, well, it really should have been one in the first place!” So says Bill Callahan of his cover of Fleetwood Mac’s classic, recorded as part of a Smog Peel Session which is officially coming out as “The Holy Grail” on December 10th via Drag City.
December 2001, Maida Vale: Bill Callahan’s “Smog” perform with demonstrative zeal for their British witness at the BBC, shimmering and hissing with a Lynchian vibe of U.S. darkness in the invariable shadows of the fallen towers. Callahan & band (Jessica Billey, Mike Saenz and Jim White) cover Stevie Nicks, Lou Reed and Smog with grey, ashen resolve and tour-torn flexibility, amassing a bruised, plaintive essence of humanity with their efforts.
Chelsea Wolfe has announced a stripped-back, acoustic EP and the first single is this sombrer piano version of “Place In the Sun.”Chelsea Wolfe‘s stripped-back, acoustic side has always been one of her most appealing sides, so it was exciting news when she recently announced a run of “stripped-back” shows for this December, and it’s exciting that now she’s announced “Unbound”, an EP with acoustic versions of four songs from this year’s electronics/trip-hop-infused “She Reaches Out To She Reaches Out To She” plus a cover of Spiritbox‘s “Cellar Door” that she performed for BBC Radio 1 earlier this year.
It follows her recent remix EP “Undone” and it comes out November 15th via Loma VistaRecordings
The EP features Chelsea with either just her guitar or piano, and the first single is the piano-fuelled version of “Place In The Sun.” It’s a gorgeous rendition
Drop Nineteens, who released their first album since the ’90s last year, have unearthed a lost album they’ve titled “1991“, which will be released February 7th via Wharf Cat. The album is made up of demos that were sent out to labels with hopes of getting signed. When they eventually signed to Caroline/Hut they decided to write all new material, which would make up their debut album, “Delaware”.
Following the release of Drop Nineteens’ first album in 30 years, “Hard Light” and the re-issue of their 1992 shoegaze masterwork “Delaware”, we are excited to announce the official release of Drop Nineteens’ “1991”. This LP comprises the band’s first two demo sessions which were mailed out via cassette to labels in “1991” finding their way to the UK music press and generating instant buzz and an ensuing feeding frenzy to sign the band. After signing with Caroline Records Drop Nineteens decided to write an entirely new record, “Delaware“, for their first official release, leaving the songs on 1991 behind, frozen in time.
Swells of layered guitars and buried vocal harmonies adorn these tracks, displaying Drop Nineteens when the comparison to their UK contemporaries like Slowdive and Ride were apt. 1991’s songs, recorded with a low fi charm, show an ambitious young band capable of writing songs filled with texture and hooks, on the eve of their breakthrough with “Delaware”.
Porridge Radio have given us one more early taste of their anticipated new album ahead of its release on Friday. About “God of Everything Else,” Dana Margolin says, “After a horrible relationship I felt like a piece of shit on someone’s shoe, like I was so unimportant and completely drained of any power I once had. Lying to myself in order to get that power back. You did this to me, but I’m the god of everything else. Fuck you.
The beauty, the angst, the rage, the pain always comes through …another beautiful powerful song from a band that just gets better
A song about dissociating constantly and being in pain constantly, wandering the streets for hours with nowhere to be, never stopping to face the void, always running from it, never healing, trying to find myself in other people, not having a clue where to put my next step forward. Also a song about femininity, wondering how to be a woman, watching someone else do it so effortlessly, wondering if I could be like her would it be easier. Of course not.”
“’Grim Symmetry’ is actually one of our older songs,” says Ducks Ltd guitarist/vocalist Tom McGreevy. “We wrote it early on in the ‘Modern Fiction’ writing process, and the demo was a favourite among the people we shared those with, but we didn’t quite get it right when we tried to record it for that album. We always liked it though, so we kept it around and tried it again when we were tracking ‘Harm’s Way.’ It didn’t end up quite fitting the vibe of the album, but we did manage to get it to where we wanted it to be, so it’s exciting to finally share it.”
“Grim Symmetry” is out now on Carpark / Royal Mountain Records.
