Posts Tagged ‘Cloud Nothings’

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Lots of new albums announced this week that is keeping us busy. Out this week the new Julien Baker album, which is very good indeed. It’s her third album ‘Little Oblivions’ shows off more of his incredible story-telling with an intimate stripped-back focus some copies in limited coloured vinyl with a free postcard available.

Very limited 7″ single fromKings Of Leon, released as a taster for the album out next week.

Beautiful new record from Lost Horizons with an excellent set of guests vocalists on limited coloured 2LP . Lost Horizons release their new album “In Quiet Moments” on Bella Union label. The album features a stellar array of musical guests including John Grant, C Duncan, Marissa Nadler, Porridge Radio, Penelope Isles, Karen Peris (the innocence mission), Tim Smith (of Midlake), Ren Harvieu and many more. With all those voices, it’s testament to its creators’ judgment that it all flows so beautifully.

This week’s Neil Young release is ‘Way Down In The Rust Bucket’, a live album from 1990, on a 4LP set and a deluxe box set.
A ‘Greatest Hits’ double album from The White Stripes is out too. The new Alice Cooper album “Detroit Stories” is worth a listen.
PJ Harvey
finally gets round to reissuing ‘Stories From The City, Stories From The Sea’. plus A ‘Demos’ edition of the labrum available for the first time too!
Stereolab
offer us a fourth instalment of their ‘Switched On’ compilations.
50th anniversary
reissue of the seminal ‘Tapestry’ album from Carole King.
4AD label reissue two early albums by The National as well an EP – ‘The National’, ‘Sad Songs For Dirty Lovers’ and ‘Cherry Tree’ all available now.

Sooo many quality reissues as usual  from PJ Harvey, Stereolab, The White Stripes Greatest Hits, The National, Deftones, Neil Young, Black Crowes, Alan Vega and the Melvins.

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Julien Baker – ” Little Oblivions “

Little Oblivions is the third studio album by Julien Baker. Recorded in Memphis, TN, the record weaves together unflinching autobiography with assimilated experience and hard-won observations from the past few years, taking Baker’s capacity for storytelling to new heights. It also marks a sonic shift, with the songwriter’s intimate piano and guitar arrangements newly enriched by bass, drums, keyboards, banjo, and mandolin with nearly all of the instruments performed by Baker.

 

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Neil Young and Crazy Horse – ” Way Down In The Rust Bucket “

Recorded on November 13th 1990 in Santa Cruz, CA, where the band were rehearsing for their upcoming Weld tour, Neil Young and Crazy Horse played a club show at The Catalyst which is now released here for the first time. The show comprised three different sets along with a 12 minute encore of Cortez The Killer and all 3 sets including that encore are brought together here in over 2 hours of music. Said to be one of the great live shows that Neil Young and Crazy Horse performed, the album includes live versions of songs from their Ragged Glory album, released just prior, along with classics from across their catalogue.

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Mt Mountain – ” Centre “

Hailing from Perth, Australia, Mt. Mountain deal in a sprawling, motorik psychedelic rock sound that journeys between tranquil, drone-like meditations and raucous, full-throttle wig-outs that’ll blow your mind as much as your speakers. Taking cues from Krautrock pioneers like Neu! and Can whilst existing in a similar world to contemporaries like Moon Duo, Kikagaku Moyo and Minami Deutsch, Mt. Mountain are formidable torchbearers of the minimal-is-maximal tradition. Musically, the band’s sound is born out of long improvised jams so naturally much of the album was recorded live to capture the band at their most freewheeling. Growing up surrounded by religion but not a follower himself, Stephen Bailey (vocals / organ / flute) describes how, thematically, much of Centre is a dissection of faith – both spiritual and secular – and his personal, often complicated relationship to it.

“The album for me, lyrically, is mostly about my experience of religion. It explores these concepts and the rules that were told to me from childhood to adulthood and my thoughts on my own connection to them. Similar themes arise between the tracks whether it be lyrically or structural, both a play on repetition and simplicity.” With a number of EPs and singles and three albums behind them – their 2016 debut Cosmos Terros, 2017’s Dust and 2018’s Golden Rise – the Perth quintet have picked up a formidable reputation in their homeland and further afield, thanks especially to their wildly all-consuming live shows. Constantly touring across Australia with each release, they’ve also shared the stage with notable down-under comrades like King Gizzard & The Lizard Wizard and ORB, as well as a long list of international heavy-hitters including Sleep, MONO, Thee Oh Sees, Acid Mothers Temple and Moon Duo.

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Flyying Colours – ” Fantasy Country “

Australian four-piece Flyying Colours release their sophomore album; taking inspiration from the early 90s UK psych / shoegaze scene, Fantasy Country is rich in sonic texture and shimmering atmospherics with a heavy dose of melody. From the swooning, sludgy ‘Goodtimes’ and urgent noise-fest of ‘Big Mess’, to the gorgeous melodic pop of ‘OK’, Flyying Colours look to redefine noise within the context of pop music. Elsewhere, ‘It’s Real’ is perfect, summery dreampop while the crushingly loud ‘White Knuckles’ and chugging ‘Boarding Pass’ is a hazy, echo-laden spaced-out affair. Having released their critically acclaimed debut album Mindfullness in 2016, Flyying Colours have spent much of their time on the road with headline shows across the UK and Europe.

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Vapour Theories – ” Celestial Scuzz “

Vapour Theories New album from brothers John and Michael Gibbons, the guitarists from psychedelic drone legends, Bardo Pond. A “heavy ambient” instrumental masterpiece that explores the symbiotic relationship of the duo as they build and dismantle sounds on a unique ethereal trip.

A full-length follow up to Joint Chiefs from 2006, Celestial Scuzz is a monumental sound piece created from hours of jam sessions and crafted into a cohesive mind-blowing trip. The result has a heavy ambience, like Eno locked in a dark room with Sunn-O))))) rehearsing next door.

While Bardo Pond’s trajectory takes them deep into rock music’s ever-imploding sound, the brothers Gibbons surf a more ethereal and eclectic plain; from a heady and consuming space, a “sanctuary; balm for the soul.” Describing the writing process, Michael Gibbons explains it as “a kind of spiritual experience. Most of the time it leaves us stunned; the more stunned we are the better the jam.”

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Lande Hekt – ” Going To Hell “

Lande Hekt’s voice in music is one that’s socially aware yet often introspective, drawing awareness to serious issues but at the same time baring her soul. Much of Hekt’s compositions act as a personal diary of what’s going on in her life at any given time. This is evident in her discography with Muncie Girls, the band which she formed in her hometown of Exeter as a teenager and have released two critically acclaimed albums to date. This knack of combining her own experiences and feelings whilst highlighting larger socio-economic issues has carried through to her more contemplative solo material, which began life in an EP Gigantic Disappointment, self-released in 2019.

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Cloud Nothings – ” The Shadow I Remember “

For a band that resists repeating itself, picking up lessons from a decade prior is the strange route Cloud Nothings took to create their most fully-realized album. Their new record, The Shadow I Remember, marks eleven years of touring, a return to early song writing practices, and revisiting the studio where they first recorded together. In a way not previously captured, this album expertly combines the group’s pummelling, aggressive approach with singer-songwriter Dylan Baldi’s extraordinary talent for perfect pop. To document this newly realized maturity, the group returned to producer Steve Albini and his Electrical Audio studios in Chicago, where the band famously destroyed its initial reputation as a bedroom solo project with the release of 2012 album Attack on Memory.

Another throwback was Baldi’s return to constant song writing à la the early solo days, which led to the nearly 30 demos that became the 11 songs on The Shadow I Remember. Instead of sticking to a tried-but-true formula, his song writing stretched out while digging deeper into his melodic talents. “I felt like I was locked in a character,” Baldi says of becoming a reliable supplier of heavy, hook-filled rock songs. “I felt like I was playing a role and not myself. I really didn’t like that role.” More frequent writing led to the freedom in form heard on The Shadow I Remember. What he can’t do alone is get loud and play noisily, which is exactly what happened when the entire band— bassist TJ Duke, guitarist Chris Brown, and drummer Jayson Gerycz—convened.

The band had more fun in the studio than they’ve had in years, playing in their signature, pulverizing way, while also trying new things. The absurdly catchy Nothing Without You includes a first for the band: Macie Stewart of Ohmme contributes guest vocals. Elsewhere, celebrated electronic composer Brett Naucke adds subtle synthesizer parts. The songs are kept trim, mostly around the three-minute mark, while being gleefully overstuffed. Almost every musical part turns into at least two parts, with guitar and drums opening up and the bass switching gears. “That’s the goal—I want the three-minute song to be an epic,” Baldi says. “That’s the short version of the long-ass jam.”

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The Cramps – ” Psychedelic Redux “

The Cramps Another superior release from Ill Eagle Recs (They did that RnR Monster Bash and the revamped alt version of Songs The Lord Taught Us) Now…This is truly an amazing piece of vinyl, Pschedelic Jungle but not as you know it ! Looks like a lot of research and hard work has gone into this… it’s quality… From the sleeve artwork and the liner notes. Compiled from very rare sources, Demos, Rehearsals and selected live tracks. It chronicles the development of The Cramps 2nd release. Plain and simply magnificent !.

Sooo many quality reissues as usual  from PJ Harvey, Stereolab, The White Stripes Greatest Hits, The National, Deftones, Neil Young, Black Crowes, Alan Vega and the Melvins.

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The Distillers – The Distillers

Transparent Green With White And Black. To call The Distillers simply a punk band doesn’t do justice to either the band or the word “punk”. Guitarist, lyricist, and vocalist Brody Dalle uses her medium as a platform for a higher plane of visceral lyricism and independence. Few modern day-punk icons have not only embodied the genre so truthfully but also transformed the depth of what it can mean so thoroughly. Recorded in 2000, their self-titled album Distillers is a throwback to the raw, inyour-face aggression reminiscent of late 1970s / early 1980s punk. Fast and forceful cuts likeL.A. Girl, Oh, Serena, and Girlfixer are still exhilarating and inspired. In celebration of the 20th anniversary, Distillers has been remastered and is available on coloured Vinyl for the first time.

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Fountains of Wayne – ” Fountains Of Wayne “

Fountains of Wayne is one of those rare bands that digs back into what pop music is all about – good, fun tunes. Their self-titled debut studio album was released in 1996. Recorded when the band was just a duo, Chris Collingwood and the late Adam Schlesinger provided almost all the instrumentation during the recording. Schlesinger and Porter had also been members of The Belltower, and bassist Danny Weinkauf later played with Lincoln before joining They Might Be Giants. Although the songs were written over a period of years (as outlets to make each other laugh through inside jokes and references to suburban New York and New Jersey), the album was recorded in just five days. The song writing is straightforward and wonderful; nearly every song is a pop gem. The result is an innovative album – very few albums released in the 90’s are this pleasant, charming, and all-round likeable.

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PJ Harvey – ” Stories From The City, Stories From The Sea “

The fifth PJ Harvey studio album Stories From The City, Stories From The Sea. Produced by PJ Harvey with Rob Ellis and Mick Harvey, and originally released in October 2000, Stories From The City, Stories From The Sea features the singles Good Fortune, A Place Called Home and This Is Love and includes a duet with Radiohead’s Thom Yorke on This Mess We’re In..

The album won the Mercury Music Prize in 2001. Reissue is faithful to the original recording and package, cutting by Jason Mitchell at Loud Mastering under the guidance of longtime PJ Harvey producer Head.

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PJ Harvey – ” Stories From The City Stories From The Sea Demos “

PJ Harvey Collection of unreleased demos of every track written for the fifth PJ Harvey studio album Stories From The City, Stories From The Sea, including demos of Good Fortune, A Place Called Home and This Is Love. 
Audio has been mastered by Jason Mitchell at Loud Mastering under the guidance of longtime PJ Harvey collaborator Head. Features brand new artwork with previously unseen photos by Maria Mochnacz.

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Beachwood Sparks – ” Beachwood Sparks “

The original 2000 Sub Pop alt country masterpiece remastered replete with previously unreleased tracks. Never before issued on vinyl.

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The National – ” The National ” (Reissue)

The National Celebrating its 20th anniversary in 2021, The National’s self-titled debut album of sozzled Americana is a thing of beauty, laden with heavy hints that this was a special band in the making.

Their first release, The National arrived two years after The National formed, a time when they were juggling bandlife with needing to hold down full-time jobs. And while nods to the alt. rock artists that inspired them (Pavement, Silver Jews) can be heard, so too are the beginnings of something all their own – Matt Berninger’s stunning and unexpected lyrics being pinned to melodies that stop you in your tracks.

The National marks the start point for one of the best bands of their generation with its new master helping elevate it to new levels. A great primer to a great band.

Having been remastered at Abbey Road Studios, the 2021 represses stay faithful to their original artwork while their stunning new masters help make these much-loved records sound as vital as ever, further emphasising the early signs of the sound that would go on to make them one of the fi nest and most beloved alternative bands of their generation.

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The National – ” Cherry Tree EP ” (Reissue)

Released a year before The National broke through with their third album Alligator, 2004’s Cherry Tree EP is a thrilling record which – thanks to its collection of delicate ballads and anthemic crowd-pleasers – sums up what they do best in under 30 minutes. Now a firm fan-favourite, among Cherry Tree’s seven tracks are now National classics About Today and All The Wine, plus a thrilling live version of Murder Me Rachael that reminds of the band’s fearsome early live performances. Cherry Tree can be seen as the record that marks the moment when The National had truly found themselves, a bridge from what went before to a band ready to conquer the World.

Having been remastered at Abbey Road Studios, the 2021 represses stay faithful to their original artwork while their stunning new masters help make these much-loved records sound as vital as ever, further emphasising the early signs of the sound that would go on to make them one of the fi nest and most beloved alternative bands of their generation.

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The National – ” Sad Songs For Dirty Lovers ” (Reissue)

The National’s second album, Sad Songs For Dirty Lovers (2003) proved a leap forward from 2001’s eponymous debut, showing a band adept at delivering warm embraces and gut punches in equal measure.

With word of mouth now spreading on the band, critics proved equally enthusiastic… Pitchfork in their glowing review called it a “Gorgeous train wreck” that “Lives up to its blunt title (with) Matt Berninger’s self-eff acing barbs matched by the band’s equally potent hooks,” while Uncut also became early champions saying the album was “A genuine treasure… Livid as a bruise, this is brave, desperate, beautiful music.”

No longer a secret among those that know, Sad Songs For Dirty Lovers is an important record in The National’s discography with this new remaster showing that it’s more than standing the test of time. Having been remastered at Abbey Road Studios, the 2021 represses stay faithful to their original artwork while their stunning new masters help make these much-loved records sound as vital as ever, further emphasising the early signs of the sound that would go on to make them one of the fi nest and most beloved alternative bands of their generation.

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Yumi Zouma – ” EP I “

Repress of Yumi Zouma’s debut ​EP​. Originally released in 2014, ​EP ​represents the world’s introduction to the New Zealand dream-pop band Yumi Zouma. Though the project has since grown considerably in profile, releasing their 2020 album ​Truth or Consequences​, their winsome allure remains. ​EP​ features early favourites from the band’s catalogue including “The Brae” and “Salka Gets Her Hopes Up.”

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Yumi Zouma – ” EP II “

Originally released in 2016, EP II found the New Zealand band coming into their own as songwriters, developing their “soft-focus synth-pop” (Pitchfork) with hints of electronic piano-house pulse (“Alena”) and anthemic, movie-ready choruses (“Catastrophe”). Though the project has since grown considerably in profile (in 2020 year the band released their third full-length album Truth or Consequences), their winsome allure remains.

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It’s been 10 years since the release of “Turning On”, Cloud Nothings’ debut album. Singer-songwriter Dylan Baldi was just 18 years old when he began recording the album, creating each track in his parents’ basement in Cleveland, Ohio. Over one winter, Baldi produced an album of taut, lo-fi guitar-pop songs, playing each instrument himself. His music gained traction in the increasingly popular music blog circuit, allowing Baldi to book his first shows in new places, like New York City. He gathered a band together to play live, and Cloud Nothings were on their way. The band has accomplished a great deal since “Turning On”, signing to Carpark Records, releasing seven albums, and headlining numerous international tours. Yet, their debut isn’t dusted over in the band’s history. “Turning On” still remains the stripped-back core of Cloud Nothings style: raw and grungy, filled with catchy earworms that are surprisingly pop. The album carries all the stored potential of someone ready to venture off into the world, a feeling that bursts with energy even 10 years later.

All the tracks on “Turning On” are eruptive and restless, its lo-fi quality embodying the desperate need to record an idea by any means necessary. Songs like Hey Cool Kid encapsulate Baldi’s talent for churning, hook-filled guitar. The vocals on songs like “Can’t Stay Awake” are distorted, with scattered lyrics that echo the angst of a teenage diary. As a whole, the album delivers dissonance and edge, without sacrificing the authentic romanticism of someone who is on the verge of something big and doesn’t know it yet.

A necessary album to fully understand the world of Cloud Nothings, “Turning On” is a welcome return to the band’s origins before the release of their eighth album, “The Shadow I Remember”.

Uncut’s John Robinson awarded “Turning On” 4 stars saying the music was “tuneful, witty and sounds fantastic”. Spin ‘s Josh Modell wrote that “Baldi has a melodic knack that approaches Guided By Voices at their prime”.

Our fully quarantine-recorded album came out, called “The Black Hole Understands” It’s me on instruments with strings and singing, Jayson on drums. it is poppy and sort of sad. Cloud Nothings released The Black Hole Understands this summer, a remotely assembled album that followed the free-jazz spirals of frontman Dylan Baldi and drummer Jayson Gerycz in the spring. Then, in December, they shared the Bandcamp-exclusive “Life Is Only One Event”. Soon, they’ll deliver the all-new “The Shadow I Remember” which was produced by Steve Albini, who helmed 2012’s classic Attack on Memory

Part of the proceeds from this will be going to play on Philly and the Rainey institute (in Cleveland), two organizations dedicated to helping provide arts education in areas of Philladelphia and Cleveland where its not generally easy to access.

Cloud Nothings dropped a new song “The Spirit Of,” and it’s the latest glimpse of their forthcoming album The Shadow I Remember, out on February 26th via Carpark Records. “The Spirit Of,” the follow-up single to “Am I Something?,” is a fast-paced track propelled by ascendent guitars, and Dylan Baldi’s punk vocals reach a mighty peak by the end. We are also reissuing our debut album “Turning On” – can’t believe it’s been 10 years since it was originally released! 

Another throwback was Baldi’s return to constant song writing à la the early solo days, which led to the nearly 30 demos that became the 11 songs on “The Shadow I Remember”. Instead of sticking to a tried-but-true formula, his song writing stretched out while digging deeper into his melodic talents. “I felt like I was locked in a character,” Baldi says of becoming a reliable supplier of heavy, hook-filled rock songs. “I felt like I was playing a role and not myself. I really didn’t like that role.” More frequent writing led to the freedom in form heard on The Shadow I Remember. What he can’t do alone is get loud and play noisily, which is exactly what happened when the entire band — bassist TJ Duke, guitarist Chris Brown, and drummer Jayson Gerycz—convened.

The band had more fun in the studio than they’ve had in years, playing in their signature, pulverizing way, while also trying new things. The absurdly catchy “Nothing Without You” includes a first for the band: Macie Stewart of Ohmme contributes guest vocals. Elsewhere, celebrated electronic composer Brett Naucke adds subtle synthesizer parts.

The songs are kept trim, mostly around the three-minute mark, while being gleefully overstuffed. Almost every musical part turns into at least two parts, with guitar and drums opening up and the bass switching gears. “That’s the goal — I want the three-minute song to be an epic,” Baldi says. “That’s the short version of the longass jam.”

Lyrically, Baldi delivers an aching exploration of tortured existence, punishing self-doubt, and the familiar pangs of oppressive mystery. “Am I Something” Baldi screams on the song of the same name. “Does anybody living out there really need me?”, It’s a heart breaking admission of existential confusion, delivered hoarsely, with an instantly relatable melody. “Is this the end/ of the life I’ve known?” he asks on lead single and album opener “Oslo.” “Am I older now/ or am I just another age?” Despite the questioning lyrics, the band plays with more assurance and joy than ever before. The Shadow I Remember announces Cloud Nothings’ second decade and it sounds like a new beginning.

The Shadow I Remember is the hugely triumphant return of Cloud Nothings. It’s pretty raw, but singer-songwriter Dylan Baldi’s ability to write a banger has arguably never been as clear. Melodic whilst still full of grit.

“The Spirit Of” is taken from Cloud Nothings’ forthcoming album “The Shadow I Remember”, out February 26th, 2021.

“Does anybody living out there really need me?” is what Cloud Nothings wonder on their new single, “Am I Something,” from their forthcoming album “The Shadow I Remember”. It shows that, even though the ten-year anniversary is approaching for their debut album, not much has changed about the bands’ insecurities and contemplations. “I became familiar with Lu Yang’s work through her exhibit in Cleveland, Ohio at MOCA Cleveland in 2017,” vocalist/guitarist Dylan Baldi noted about the music video in a press release. “I was really drawn to her approach of tying religion into gender and various gendered bodily functions.

The animation style of some of her work is also exactly on my wavelength—like a psychedelic genderless Sims game. Very excited to be able to work with Lu!”

On January 29th, we are reissuing our debut album, The band can’t believe it’s been 10 years since it was originally released! reissuing Turning On for its anniversary. The Shadow I Remember arrives February 26th via Carpark Records. Listen to “Am I Something”. 

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Cloud Nothings is a ferocious, melodious alternative rock band signed to Carpark Records. The aggressive quartet have been releasing stellar post-punk influenced offerings for a decade yet continue to push the boundaries of their immense guitar-focused sound. Watch this fresh performance by Cloud Nothings live at Brooklyn Boulders Climbing Gym in Chicago, IL. Far Out is an Audiotree series

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Jason Isbell and The 400 Unit – Live From the Ryman

Americana icon Jason Isbell and his band the 400 Unit release a new live album release. The album is set in none other than the Mother Church of Country Music, the Ryman Auditorium. Live From the Ryman was recorded at Nashville’s famous auditorium, and will feature live versions of songs from Isbell’s three latest releases, Southeastern, Something More Than Free andThe Nashville Sound. Songs included on the project are Last of My Kind, Hope the High Road, Something More Than Free and the Grammy Awards-winning If We Were Vampires, among others.

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The Lucid Dream – Actualisation

The Lucid Dream return with the release of their 4th album, Actualisation. Driven by fans raising £10,000 to help replace all equipment robbed after a Paris show in early 2017, a new album became the instant focus in the summer of 2017 for a rejuvenated The Lucid Dream. Actualisation is soaked in the influence of acid house, amalgamated with dub and kosmische. The album was penned over the summer of 2017 by Mark Emmerson (vocals/guitar/synths), using only the classic Roland 303/808 synths, bass and vocals as tools for writing. Inspiration for the writing was formed via continuous listening to the Chicago to UK acid house works of 1986-1992, the focus predominantly on the groove. Several months on from those writing sessions and The Lucid Dream have completed their 4th album in 5 years. A record made for the dancefloor. Recorded at Whitewood Studios, Liverpool, with Rob Whiteley, the album is produced alongside long-time collaborator Ross Halden (Ghost Town Studios, Leeds), with mastering via Dean Honer (All Seeing I/I Monster/The Moonlandingz). The confrontational techno-punk of Alone In Fear opens the album, a 9-minute attack fuelled by the frustration and anger spawned by Brexit, government and a realisation of what 2018 Britain currently is. Recent single SX1000 (the first work from the album, unveiled via 12′ vinyl in April this year) is the band’s first move into pure acid house. The acid house fusion runs throughout the record, represented furthermore by Ardency, a track already praised by live critics when aired live for the first time earlier this year as ‘even on first hearing, would’ve raised the roof of The Hacienda’. The 2-part opus of Zenith follows, commencing with a space-dub / house instrumental groove before building into a track that will go for your head as much as your hips. Only Breakdown harks back to sounds of old for the band, a little reminder of the skull-crushing impact they can make when stripped to the bare bones. No Sunlight Dub closes the album, a dark-dub that invites the classic acid-house tool (Roland 808) into the dub. The track makes a stop-off into drum ‘n’ bass / jungle along the way before rounding up in a manner suited to Lee Perry, King Tubby, Augustus Pablo and other Jamaican greats.

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Titus Andronicus – Home Alone on Halloween

Limited to 1,300 for world on Orange Vinyl with Download. With Home Alone on Halloween, noted rock band Titus Andronicus celebrate the spookiest of the seasons by staring into the abyss and confronting the bone-chilling terror which lies at the haunted heart of our human experience. Bearing the justly feared catalog number MRG666, the 12-inch EP spans 31 minutes and features three tracks recorded concurrently with the group’s most recent full-length A Productive Cough, offering an autumnal tableauof dread and decay to complement its LP companion’s springtime visions of rebirth and new possibilities. The title track remixes A Productive Cough’s hardest-rocking selection, foregrounding its ominous strings and swelling organ and featuring a soulful new lead vocal from frequent captain Matt “Money” Miller, while Only a Hobo plucks an oft-forgotten gem from the dusty corners of the Bob Dylan songbook to paint a grim portrait of hopes dashed and potential squandered. Eeriest of all is A Letter Home, which, across nearly 17 minutes and more than 1,200 words, drags the listener along for a harrowing descent into the darkness and proves definitively that this ceremony is no mere monster mash.

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Kiran Leonard – Western Culture

Kiran Leonard is a 22 year old musician from Saddleworth, Greater Manchester. Debut album proper Bowler Hat Soup(2014) and follow-up Grapefruit (2016) were both recorded at home, with Kiran playing virtually every instrument himself. Dervaun Seraun (2017), a concept album in five movements inspired by five pieces of literature and arranged for piano, strings and voice, was an ambitious departure from his usual sound. Western Culture now sees him return to the signature sound of his first two records, yet marks a huge sonic progression thanks to the involvement of his venerable live band on record for the first time, as well as being the first to have been made in a professional studio (Old Granada Studios in central Manchester).

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Novo Amor – Birthplace

Novo Amor, aka multi-instrumentalist, songwriter and producer Ali Lacey comes from deep in the Welsh mountains. Recording, mixing and producing everything in his home studio, Lacey’s emotive vocals and the sounds he uses, often formed through sonic experimentation, make for fantastically atmospheric songs that are moving and striking. On his debut album Birthplace, the sounds of his home bleed in – the chatter of a party across the street, Bonfire Night fireworks, the seagulls that gather on the building site next door. Even the sound of the late-night recording hours kept to avoid the sounds of construction make their presence felt. The songs cover many theme and thoughts – Repeat Until Death deals with friends experiencing drug addiction, Seneca is rooted in the story of a town in Nebraska that tore itself apart over a dispute over how many horses might be kept in a yard.

LP – Single LP made from recycled vinyl, housed in full-colour printed inner sleeve and full-colour printed reverse board outer sleeve. Includes download card and 8-page 12’’ tracing paper booklet, featuring gold Pantone detail to mirror the effect of the original artwork used on the cover. As using recycled vinyl every record will be unique, no two colours will be the same. All cardboard used is FSC certified.

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The Oscillation – Wasted Space

The Oscillation are back with their sixth and most ambitious album to date, Wasted Space. A meditation on the nature of existence in the face of what can be insurmountable odds, Wasted Space finds The Oscillation painting from the darker shades of the kaleidoscopic scale. “The origins of Wasted Space go back to Monographic in 2016,” muses Demian Castellanos – themastermind behind The Oscillation. “That was a very bleak and heavy record and I really needed to move out of that mindset. Making U.E.F freed me up to write a coherent collection of narrative songs and compositions. Wasted Space is a partial continuation of a journey started with U.E.F., but one that re-incorporates more song-based ideas again.”What’s immediately apparent is that Wasted Space sets it stall well away from the prosaic third-eye tropes that have become orthodoxy. Album opener ‘Entity’ establishes the pace with a focus on the dance floor as much as on the navigation of existence. Fusing muscular grooves with an industrial wall of sound,these are bold steps into wholly new territories. “There’s an irony at play here,” considers Castellanos. “It’s a twisted party song, albeit a party for one.” But what a party it is. The mutant disco is bolstered by the rhythmic call-and-response of ‘Drop’, a track that eschews conventional methods of dance sensibility for more instinctive and primal urges. This is music that calls out to the suitably attuned.

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Cloud Nothings – Last Building Burning

Last Building Burning is the product of eight days with producer Randall Dunn (Sunn O))), Wolves in the Throne Room, Boris) in Texas studio Sonic Ranch. Clocking in just over half an hour, the eight-song album sees Cloud Nothings capture their onstage appeal with help from Dunn, who Dylan Baldi describes as “technically minded without relying on technology to perfect the live sound.” In that, Last Building Burning is a return to Cloud Nothing’s sharpest form – the unhinged, feverish, guitar-heavy sound that they explode with onstage – without their early angst. “It’s not an angry record,” says Baldi. “It’s a very joyous thing for me. And it feels so nice to scream again, especially when you know people in the crowd will be screaming along back at you.”

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Peter Holsapple vs Alex Chilton  –  The Death Of Rock

Newly discovered recordings of early solo Peter Holsapple and Like Flies On Sherbert–era Alex Chilton. Liner notes by Peter Holsapple and author / filmmaker, Robert Gordon. Previously unseen photos from the collections of Peter Holsapple and Pat Rainer. It’s 1978 at Sam Phillips Recording Service in Memphis, TN. Peter Holsapple had rolled into town chasing the essence of Big Star. He hooked up with musician / engineer / friend-of-Big-Star, Richard Rosebrough after approaching, and being turned down by, Chris Bell who Holsapple had hoped might be interested in producing him. Together Richard and Peter started laying down tracks during the off hours at the studio. Chilton meanwhile, was knee deep in the making ofLike Flies On Sherbert, also being tracked at Phillips. He told Peter, “I heard some of that stuff you’re working on with Richard . . . and it really sucks.” Alex promised to come by and show Peter “how it’s done.” The results? Alex’s tracks definitely line up with the chaos found on Flies, while several of Peter’s songs found homes on The dB’s albums (Bad Reputationand We Were Happy There) and on an album by The Troggs (The Death Of Rock retooled as I’m In Control), so not a loss at all. What we have in these newly discovered tapes, is a fascinating pivot point with both artists moving past each other headed in distinctly different directions. Chilton moved toward punk/psychobilly as he began playing with Tav Falco’s Panther Burns and produced The Cramps debut, Songs The Lord Taught Us, within a few months of these recordings. Holsapple was off to New York to audition for The dB’s and enter the world of “sweet pop.” Liner notes by Peter Holsapple tell the story of these recordings firsthand and author / filmmaker / Memphian, Robert Gordon, helps pull the time and place into focus. Previously unseen photos included in the package are drawn from the collections of Peter Holsapple and Pat Rainer.

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Dave Matthews Band – Come Tomorrow

ATO records release Dave Matthews Band’s long-awaited new albumCome Tomorrow. Come Tomorrow is the band’s ninth studio release and its first since 2012’s Away From The World, which debuted at No. 1 on Billboard 200. Working between tours at studios in Seattle, Los Angeles and Charlottesville, Dave Matthews Band chose to record with several different producers, including John Alagia, Mark Batson, Rob Cavallo and Rob Evans. The cover art for Come Tomorrow is by Béatrice Coron, who creates narrative allegories in silhouette to render archetypal stories.

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Insecure Men – Karaoke for One: Vol 1

Insecure Men return with a 10 track covers record, featuring takes on Bruce Springsteen, The Pogues, The Carpenters, Peter Andre et al.

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R.E.M.  –  Live At The BBC

REM grew up with the BBC, and this historic relationship is lovingly celebrated across an incredible collection that beautifully illustrates the career trajectory of one of modern music’s greatest bands. The collection comprises a treasure trove of rare and unreleased live and studio recordings culled from the BBC and band archives. This is a must-have collection for REM fans and an authoritative introduction for newcomers.

9CD – In-studio performances featured in the 8-CD / 1-DVD box set include a John Peel Session (1998), Drivetime and Mark and Lard appearances (2003) and a glorious Radio 1 Live Lounge performance (2008). Live broadcasts include a rough-and-tumble show from Nottingham’s Rock City (1984), the stunning 1995 Milton Keynes Monster Tour (their first after a six-year break), a blistering 1999 Glastonbury headline set and an invitation-only 2004 show at London’s St James’s Church. The DVD kicks off with a sixty-minute intimate retrospective of the band’s legendary performances at the BBC in the Accelerating Backwards film – previously broadcast only in the UK and available commercially for the first time here. Accelerating Backwards also includes revealing interviews with Peter Buck, Mike Mills and Michael Stipe, further testifying to R.E.M.’s long, special relationship with the BBC. The DVD also offers a complete 1998 Later….With Jools Holland episode uniquely dedicated to the band, plus TV appearances on Top of the Pops and more.

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Cloud Nothings’ “Modern Act” remains uniquely memorable for the sole fact of debuting on November 9th, 2016. Frontman Dylan Baldi claims he simply forgot about the PR timetable of Life Without Soundwhich is how the video went live hours after Donald Trump won the presidential election, promoting an album to be released in the first week of his administration. This honest mistake set the tone for a mild reception like recent tourmates Japandroids, Cloud Nothings were docked as many points for releasing an atypically glossy and optimistic rock record as they were for failing to anticipate January 2017 as the worst possible time for glossy and optimistic rock records. The tunnel-vision approach positioned Cloud Nothings as a trusted source of spiteful and spiky mainstream punk in a less narrative-driven time, but their latest, Last Building Burningproves Baldi isn’t going to get caught failing to read the room again.

Every possible optic of Last Building Burning is directed at writing Life Without Sound out of history, reimagining Cloud Nothings going in an even grittier, grimier direction after their 2014 potboiler Here and Nowhere Else. Life Without Sound’s cover was periwinkle? This one returns to black and white. Randall Dunn plays the same role as Steve Albini and John Congleton, a guy acclaimed for impeccable sonics and ingenious microphone placement who instead tries to make Cloud Nothings sound like they recorded inside a garage with a running car. The previous album lacked an extended freakout like Attack on Memory’s “Wasted Days” or Here and Nowhere Else’s “Pattern Walks,” so not only do they bring that back for Last Building Burningthis one (“Dissolution”) is 11 minutes.

And while no one begrudges whatever happiness, maturity, and stability Baldi has accumulated in life, expressing them as Cloud Nothings songs was, at worst, a misallocation of resources. “Leave Him Now” is a sign that Baldi hasn’t completely given up trying to be topical or the better man this time around: It’s the rare song that urges a woman to ditch the loser without implying that the singer is swooping in for the rescue. Early in the band’s career, Baldi’s voice didn’t have the heft or grain to sound tough when he screamed, and that peevish edge still works to his advantage, making petulant lyrics sound convincing (“I’ll be alone in my shame,” “I wish I could believe in your dream”).

Cloud Nothings are one of the only bands that could potentially sell their isolated drum tracks, but for long stretches ofLife Without SoundI wasn’t sure if drummer Jayson Gerycz was still around. The new album’s opener “On an Edge” doesn’t even bother with the pretense of trying to build suspense or a sonic arc—in essentially trying to cover Yank Crime within three and a half minutes, Gerycz gets to play as many fills in one song as the entirety of the last record. Throughout, he’s the embodiment of Baldi’s promised “bursts of intense, controlled chaos” Gerycz’s snare is EQ’d like a reified action hero punch, and he occasionally plays ahead of the beat, jamming in fills that threaten to throw everything off-course, except that is the course it’s supposed to take, like Russell Westbrook going to the rim, the chip on his shoulder remaining implanted no matter how much contact he makes. No one would call it efficient, but it’s effective.

Cloud Nothings Perform At The Hi Hat

“I’m obsessed with energy at the moment,” Baldi stated in a press release, heavily implying that was not the case last time around. But the suggestion of an adversarial relationship to its predecessor introduces something of a horseshoe theory with Last Building BurningBy setting its course in the equal and opposite direction of Life Without Soundit becomes its evil twin, a still-incomplete picture of Cloud Nothings. Attack on Memoryand Here and Nowhere Else were pulled taut by the band’s warring impulses—Baldi’s trying when Cloud Nothings emulate the Wipers or Hüsker Dü, but the melodies that could’ve made Vagrant Records a lot of money had he been born 15 years earlier come naturally. A lot of times, the latter doesn’t sit entirely well with Baldi and with the exception of “Leave Him Now,” his hooks are almost entirely rhythmic or instrumental—“Echo of the World” with its Trail of Dead-like churn, the doomy drone of “So Right, So Clean.” Yet Last Building Burning feels like a triumphant return because there isn’t as much pressure on it to do or say anything beyond its purely utilitarian aims. It slaps, shreds, and whips ass.

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Last Building Burning is the product of eight days with producer Randall Dunn (Sunn O))), Wolves in the Throne Room, Boris) in Texas studio Sonic Ranch. Clocking in just over half an hour, the eight-song album sees Cloud Nothings capture their onstage appeal with help from Dunn, who Baldi describes as “technically minded without relying on technology to perfect the live sound.” In that, Last Building Burning is a return to Cloud Nothing’s sharpest form – the unhinged, feverish, guitar-heavy sound that they explode with onstage – without their early angst. “It’s not an angry record,” says Baldi. “It’s a very joyous thing for me. And it feels so nice to scream again, especially when you know people in the crowd will be screaming along back at you.”

“So Right So Clean” is the latest song to be taken from the Cloud Nothings album, Last Building Burning, which is due for release on the 19th October 2018 via Wichita Recordings and Carpark Records.

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Cloud Nothings have released “Leave Him Now,” the second single from their upcoming album Last Building Burning, out October 19th via Carpark Records. The track follows “The Echo of the World” and leans more toward the sunnier pop sound last year’s album release “Life Without Sound”, albeit with more angst and thrash. In the song, frontman Dylan Baldi begging a friend to leave an abusive relationship: “You gotta go right now/Or never at all.”

The band has also announced a fall North American tour starting in October;

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“Leave Him Now” is the latest song to be taken from the forthcoming Cloud Nothings album, Last Building Burning, which is due for release on the 19th October 2018 via Wichita Recordings and Carpark Records.

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We are elated to announce the return of Cloud Nothings. Their fifth full-length album, Last Building Burning, is due out October 19th on Carpark Records (US) and Wichita Recordings (UK/EU). The new album is a culmination of the development of frontman Dylan Baldi’s ever-changing sound, following up 2017’s Life Without Sound. It is an extension of the band’s live performances, capturing the frenetic energy that’s characteristic of their shows and infusing the jagged unpredictability of guitars.

Last Building Burning are available on the Carpark/Wichita shops “I’m obsessed with the idea of energy at the moment,” Baldi says about the making of Last Burning Building. “That’s how I thought of this record: seven short, and one long, bursts of intense, controlled chaos. I wanted to make songs that come across in a way that can actually be felt.”

“The Echo of the World” is taken from Cloud Nothings’ forthcoming album, “Last Building Burning,” due out October . Cleveland’s finest indie rock band Cloud Nothing are planning their return to the UK. Developed out of singer / song writer Dylan Baldi’s solo basement studio recording project, he leads a band that also includes drummer Jayson Gerycz, guitarist Chris Brown and TJ Duke on bass.

Baldi started out by recording at his parent’s basement in 2009 using GarageBand and releasing his material through various fake profiles on MySpace, all of which directed listeners back to his work. Amongst the fake bands, a profile under the name Cloud Nothings proved to be one of the most popular which received an invite for gigs in New York prompting Baldi to seek out real members.

Now an actual band, they began to rise in popularity and soon signed to independent label Bridgetown Records through which they released the eight track EP Turning On which features the single Hey Cool Kid. They released their eponymously titled debut album in 2011 which thrilled critics,  Their incredible back catalogue also includes the albums Attack On Memory plus Here And Nowhere Else .

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